Alvin Ng is a Southeast Asian photographic artist and educator based in Singapore. Working between reality and fantasy, he creates images that draw on celestial lore, mythology, and the quiet magic of everyday life. Through hand-manipulation and re-photography, he builds dreamlike worlds where figures and landscapes feel suspended in time. His practice invites viewers to step into a realm of wonder, where the everyday becomes otherworldly. His work has been exhibited and published internationally, including at the Royal Geographical Society as part of Earth Photo 2025, and recognised by LensCulture Critics’ Awards (Top 10, 2022) and the Foam Talent Call (longlist, 2023).

Camilla Marrese (Bologna, 1998) is a photographer and designer based in Italy, holding a MA in Information Design from Design Academy Eindhoven (NL) and a BA in Graphic Design and Visual Communication from ISIA Urbino (IT). Her artistic practice intersects documentary photography, design and writing, aiming for the expression and visual articulation of complex issues. Her book Thinking like an island, realised in a duo with Gabriele Chiapparini and published by Overlapse in 2024, was a recipient of the Photo Espana Best Photography Book Award in 2025. She was a finalist for the Luigi Ghirri Prize in 2024 and for Project Groundswell in 2025. Her work was exhibited in Verzasca Foto Festival (CH), Dutch Design Week (NL), Fotografia Europea (IT), Espaço Alto (BR), PhMuseum Lab (IT), Spazio MAD (CH), Kranj Foto Fest (SI), Focus Artphilein (CH), Casa Testori (IT). She is PhMuseum’s Visual Editor since 2023, and works as a graphic and book designer since 2021, collaborating with publishing houses and artists.

Gabriele Chiapparini (Bologna, 1980) is a photographer, director and director of photography based in Italy. With a background in sociology, he worked for several years in advertising before focusing on artistic practice and photography publishing. He is the founder and host of Small Photobook Cult, a podcast entirely dedicated to photobooks. Working in a duo with Camilla Marrese, he published Thinking like an island (Overlapse) in 2024, which was a recipient of the Photo Espana Best Photography Book Award in 2025. Their work was a finalist in Project Groundswell in 2025, and exhibited in Verzasca Foto Festival (CH), Espaço Alto (BR), PhMuseum Lab (IT), Spazio MAD (CH), Kranj Foto Fest (SI), Focus Artphilein (CH), Casa Testori (IT).

Hiền Hoàng is a Vietnamese German interdisciplinary artist working at the intersection of art, ecology, and material research. Her practice investigates how matter records violence, care, and memory. By combining scientific instruments with intimate observation, Hoàng develops methods that reveal material transformations as forms of witnessing.
Her projects have been exhibited internationally at Foam Fotografiemuseum Amsterdam, Les Rencontres d’Arles, CentroCentro Cibeles in Madrid, Epica Fundacion Barcelona, and other major media arts festivals. In 2024 she received the Paul Huf Award, which led to her first institutional solo exhibition at Foam.
Recent works include Garden of Entanglement (2024), which translated vibrational data from urban trees into sound, augmented reality, and sculptural forms; Scent from Heaven (2023), which explored the wounding and transformation of agarwood trees through CT and EEG imaging; and Across the Ocean (2023), an installation reworking migrant family archives through distortion and performance.
Hoàng is currently working between London, Hanoi, and Germany.

Ryan Lim Zi Yi (b. 1996, Singapore) explores the quiet rhythms of the unspectacular through his installations of images, sculpture, and text. His
practice draws from moments and encounters—what lingers in the background of public and private spaces. Working with ordinary materials and
subtle gestures, he reconfigures these traces into narratives and forms that feel both familiar and distant, revealing the unnoticed as tender,
uncertain, and worth remembering.
His works have been exhibited internationally, including at Carp Gallery (Taiwan), Plague Space (Russia), and LivingRoom (Netherlands); and in
Singapore with Whitestone Gallery, Temporary Unit, DECK, I_S_L_A_N_D_S, Comma Space, Objectifs, DECK.
His recent curatorial projects include Robin (2022-2023), a series of exhibitions presented in camping tents pitched in various locations across
Singapore. Currently, he runs a curatorial project titled, BACKYARD, a 7 volume subscription-based publication housing artists reports of
happenings around Singapore. BACKYARD is an idea for an art space in the form of a folder.

Shi Yangkun (b.1992, China) is an artist currently based in Shanghai. His practice examines the legacies of socialism and colonialism through engagements with archives, objects, locations, and materials. By activating the past, he interrogates the power structures and visual perspectives embedded within dominant historical narratives, and the ways in which they continue to shape the present.

His works have been exhibited at Forschungscampus Dahlem, Berlin (2025); Goethe-Institut Beijing (2025); A4 Art Museum, Chengdu (2025); Stadtmuseum Berlin (2024); Zhejiang Art Museum (2023); and the Peabody Essex Museum (2022). His works are held in public collections including the Peabody Essex Museum, the Alexander Tutsek-Stiftung Foundation, and the Zhejiang Art Museum.

For two decades, Song-Ming Ang has maintained an idiosyncratic
creative practice across the disciplines of art, music and writing.

Drawing from the everyday and popular culture, Ang adopts different
approaches to create objects and encounters for the audience. Much of
his work is made from the perspective of an amateur and finding fresh
perspectives to established fields of knowledge.
Previous works include Recorder Rewrite (2019), a 3-channel video
capturing a mini recorder symphony composed and performed by twenty
schoolchildren following an improvisation workshop. In Something Old,
Something New (2015), Ang remade an intricate wooden music stand from
the 19th-Century in glass, combining manual and industrial glass-
making techniques. Silent Walk (2014) is a group exercise in which
participants move and listen to the sounds of their immediate
environment in a self-organised manner. For The Book of Guilty
Pleasures (2011), Ang invited and compiled 100 responses by artists,
musicians and writers about their favourite embarrassing music.
Ang’s work has been presented at The High Line (New York, US), Camden
Arts Centre (London, UK), Haus der Kulturen der Welt (Berlin, DE),
Künstlerhaus Bethanien (Berlin, DE), Kunstinstituut Melly (Rotterdam,
NL), Hong Kong Arts Centre (Hong Kong, CN), Arts House (Melbourne,
AU) Museum Voorlinden (Wassenaar, NL), Museum of Contemporary Art
(Sydney, AU), Singapore Art Museum (Singapore, SG), National Museum
of Singapore (Singapore, SG), Suwon iPark Museum of Art (Suwon, KR),
Festival of Live Art (Melbourne, AU), Singapore Arts Festival
(Singapore, SG), Kenpoku Art Festival (Ibaraki, JP), 14th Istanbul
Biennial (Istanbul, TR), 4th Aichi Triennale (Nagoya, JP), 3rd
Singapore Biennale (Singapore, SG) and 1st Asia Society Triennale
(New York, US). In 2019, Ang represented Singapore at the 58th Venice
Biennale with a solo presentation, Music for Everyone: Various On a
Theme.

Minstrel Kuik (b. 1976, Malaysia) left her hometown Pantai Remis at 18 years old. After earning a Bachelor of Fine Art degree in Taiwan, she obtained her master’s degree in photography in Arles, France. Kuik loves working across a range of contexts by stretching the tension between the mechanic tools, the digital devices and the manual labour. Her mediums are versatile, including photography, drawing, painting, poetry, textile, mixed-media assemblage and installation, always with a focus on women’s writing (Écriture féminine).

The access to different cultures through her multilingual education has come amid the first awareness about the politics of place, gender and identity, to which her migratory body has to constantly conform or reinvent. With a belief that the private space is the major battlefield of ideological, political and economic interests, she explores art as a historical trajectory where the personal mutation through the process of reading, thinking, making, revisiting and counterbalancing is traceable, and hopefully, reflective and transformative.

Kuik has exhibited widely in Southeast-Asia and overseas institutions such as National Gallery Singapore; Singapore Art Museum; Museum of Contemporary Art Taipei; Horsham Regional Art Gallery, Australia; Ilham Gallery, Malaysia; FotoFest, Houston; Photoquai, Musée du quai Branly, Paris; Higashikawa Photo Festival, Higashikawa, Japan; and at the Lishui Biennial Photography Festival in China, Melbourne International Festival of Photography, Australia.
Her awards include the Regional Winner of one-month Fukuoka Asian Art Museum residency (2015); Winner of the UOB Painting of the Year (2014) for the Established Artist Category, Malaysia; Winner of the International Photographer Award (2013), Higashikawa Photo Festival Japan. Public collections include: Singapore Art Museum (SAM), Higashikawa International Photo Festival (Japan), United Overseas Bank (Singapore).