Stéphanie Garzanti studied at the Beaux-arts de Lyon and the École du Magasin in Grenoble. Her drawing work blends reproductions of art-historical works with text-slogans taken from public spaces. Her drawings have been published in Frog, exhibited at the Grant Wahlquist Gallery in Portland and L’Artothèque in Caen, and published as postcards and risographs in bookshops. She also practices experimental and poetic writing, among other things as part of the How To SupPress University Writing workshop, and has read her texts at Bétonsalon in Paris, La Salle de bains in Lyon and on DUUU radio. Her first book, Petite nature, was published in 2023 in the Sorcières collection by Éditions Cambourakis. In 2023, at Bétonsalon, she co-organized Cap pour l’île des vivantxs, a series of survey readings and events around the writing of Monique Wittig.

Paula Valero Comín (Valencia 1976) is a Spanish transdisciplinary artist and cultural producer. A graduate of the College of Fine Arts in Valencia (2001) and the Ecole Nationale Supérieure des Beaux Arts in Paris (2006), with a doctorate in research between performance and activism, her practice is cross-disciplinary (drawing, public intervention, installation, video, curating). Her work proposes spaces for shared encounters, creating poetic and political disruptions.  She works on mediation with communities and subjects located in precarious or critical spheres (Program Design Forum for the Ministry of Culture Mexico 2019, Master Permea de Médiation sociale 2020, Medialab-Madrid Prado Grigri Pixel 2018 among others). She is a laureate of the 2/12 program at Cité Internationale des arts /Montmartre and in residence at Laboratoires d’Aubervilliers ( 2023-2024). Recent projects include the ongoing series Hommages désobéissants (2019) (Centre de L’image Mexico, Centre Conde Duque Madrid, Tabakalera San Sebastián), the Actions extraordinaires project at MataderoMadrid/ (2018), Éloge de la procrastination, (Centre CCCC Valencia 2018), ENSBA with its Actions extraordinaires program (November-February 2023).

Rose Mahé Cabel’s practices are part of a production of discourse around questions of gender, desire, body and norms – through hybrid performative gestures. Her pieces often use dedication or homage as language. The materials of choice that enable her to slip through the “cracks of our heteropatriarchal-capitalist system” are “glass, wax, make-up, fabric for the creation of moulted costumes and anything derived from medicinal plants.”

Through a cycle entitled Tout va bien, parce que le vide entre nos corps est rose, Rose-Mahé Cabel proposes restorative fictions composed of writings and performances through her alter ego Rose, also a dragqueer.