I'm Aymen Gharbi, a curator, architect, and researcher based in Tunisia. I started out as an architect, and slowly my focus shifted toward media art and curatorial practice — but architecture never really left; space, the city, and social interaction still shape how I think and how I work. I grow being Co-founder and director of ZAKHAM (Momentum for Contemporary Culture), INTERFERENCE (an international light art project in Tunis), and SEE DJERBA (an international media art festival), where I get to keep exploring these questions in public. I'm intrigued by heritage — what comes from the past, and where it takes us next. I come from an island shaped by an ancestral heritage of conservatism and enclosure, protective practices that over time transformed into a kind of mild, deep-seated racism. Moving to the capital, and later into a wider world of nationalities, foods, and tastes, recalibrated something in me — my inner compass is now shaped to live in the in-between of human spaces. My sociocultural background and professional path keep pulling me toward questions of glocal value systems — how the local and the global negotiate, clash, and blend. I was diagnosed with a mood disorder (bipolarity), which I've come to understand as just one of the parameters that make up who I am. It sharpens my relationship to settlement and mobility, to the variations in social interaction, and to the space between fantasy and reality. These questions hold real space in my mind and soul, and they currently shape the directions and choices of my life and profession take.

I've always found myself in circles, where people tune into one another and remember the whole. My practice moves between theatre, festival-making and research. What keeps me going is meeting people with different ways of seeing the world and finding unexpected common ground.

My name is Mohamed Biyjeddiguene, though most people call me Bij. I've always been drawn to sound as a way of listening to the world. Today, I work where creation, research, and collective processes meet. My practice is rooted in Amazigh polyrhythms and the sonic textures of everyday life in Morocco, and also photography and graphics. I co-direct projects like Tekchbila, where Amazigh musical traditions meet experimental electronic approaches alongside grainy visuals. I love putting together sound collages from voices, field recordings, archives, and fragments collected through different processes. I also see DJing as a way of building intimacy with an audience, holding a conversation within frequency, and creating temporary spaces where people can listen, drift, and recognize each other. I'm interested in what sound carries : memory, landscapes, rituals, and the traces people leave behind. I guess I'm always searching for places where listening becomes a way of being together.

I am an artist and doctoral candidate at Moholy-Nagy University of Art and Design. Originally trained in architecture in London, I am interested in how food, soil, microbes, and everyday rituals can help us reconnect with the ecological processes that sustain life. Together with Sebastian Gschanes, I co-founded Fuzzy Earth, a collaborative practice that develops participatory projects, workshops, and installations exploring our relationships with living systems.

I am an ecological artist, gardener, and maker interested in the relationships between cultivation, care, and everyday interactions with the living world. Through hands-on practice, growing food, and collaborative projects, I explore how ecological knowledge can be shared and experienced collectively. Together with Tekla, I co-founded Fuzzy Earth, a practice that develops workshops, installations, and participatory projects around food systems, soil, and multispecies relationships.