Yason Banal (b. 1972, Philippines) is an artist whose work moves between photography, video, installation, text and performance, exploring myriad forms and conceptual strategies in order to research and experiment with associations and refractions among seemingly divergent systems. He obtained a BA in Film at the University of the Philippines, an MFA in Fine Art at Goldsmiths-University of London, residencies at the Rijksakademie in Amsterdam and AIT in Tokyo, and visiting lectureships at London Metropolitan University and Tokyo National University of Fine Arts. 

Banal’s work-in-progress is inspired by a conceptual astronomy around abstraction and document, ranging from Jose Rizal’s transglobal coordination and Isabelo Delos Reyes’ experimental archive amidst 19th century politics and anti-imperialist imagination, to possible contemporary coordinates in supernatural reality TV, lo-fi internet culture, geomarket forces and neo-migrant formalism. His work attempts to explore hidden meanings and associations through action led interventions. His works often place viewers and participants in vulnerable situations in order to trigger psychological experiences or memories. One such project, The Legend of the Sleepwalking Tricks, involved a group of young men who listened to death metal music while sipping milk laced with sleeping pills. Banal treads a thin line between illusion and reality, and a more serious threshold between passive consumption of art and violation of ethical taboos.

His works have been shown at the Tate, Frieze Art Fair, IFA Berlin, Oslo Kunsthall, Singapore Biennale, Shanghai Biennale, Queens Museum of Art and Cultural Center of the Philippines. Upcoming projects include Bangkok Art and Culture Center (Bangkok), Museum of Contemporary Art and Design (Manila), Garage Museum of Contemporary Art (Moscow) and Queensland Museum of Art (Brisbane).

Ringo Bunoan (b. 1974) is an artist, writer, researcher, and curator whose work explores material and conceptual histories and issues of visibility and representation. Through common and found objects, installations, site-specific projects, photographs, and videos, she examines and reflects on the transient conditions of contemporary art and everyday life.

Bunoan received her BFA in Art History from the University of the Philippines in 1997 and has exhibited widely in Manila, Asia and the United States. Her works have been featured in several international exhibitions and biennales, including the recent Time of Others at the Singapore Art Museum and Queensland Art Gallery and Sunshower: Contemporary Art from Southeast Asia at the Mori Art Museum. She is the recipient of the Thirteen Artist award from the Cultural Center of the Philippines in 2003. 

She taught at the UP College in Arts and worked as the Researcher for the Philippines for Asia Art Archive in Hong Kong. She is the co-founder of Big Sky Mind (1999–2005), King Kong Art Projects Unlimited (2010–present), and artbooks.ph (2014–present). She was the lead curator of Chabet: 50 Years, a series of exhibitions in Manila, Singapore, and Hong Kong, and the inaugural Manila Biennale: Open City in 2018. 

Sandra Palomar (b. 1971, Manila) is a graduate of the University of the Philippines (UP) College of Fine Arts and the Ecole Nationale Superieure des Beaux-Arts in Paris where she won the ENSBA Foundation Prize for multimedia in 1996. She moved on to complete her post-graduate studies at Ecole Regionale des Beaux-arts de Nantes (Erban). She co-founded and presides over a non-profit art association for Filipinos in Paris called Sanlikha. Palomar was a lecturer at the UP Diliman and Baguio, and the Ateneo de Manila University. After 16 years of residence in France, she now lives and works in the Philippines, and considers her resettlement as part of her art process.

Palomar has participated in solo and group exhibitions both locally and internationally, in galleries and institutions such as the UP Vargas Museum, the Museum of Contemporary Art and Design, Manila, Surrounded by Water Gallery, Mag:net Gallery, Silverlens Gallery, the Cultural Center of the Philippines, the Pavillon de Val de Grâce in Paris, the Cité Internationale des Arts, in Paris, and Temporary contemporary in London, to name a few.

Trek Valdizno (b. 1968) is a graduate of the University of the Philippines with a degree in Fine Arts major in Painting. His works have been exhibited in Ayala Museum, Vargas Museum and Cultural Center of the Philippines. He also did commissioned and collaborative works in various international institutions in Australia, Hong Kong and France. His art is a conscious, spiritual practice that allows him to traverse through different brushstrokes resulting in large-scale compositions that engulf the viewer into its majesty and elegance. Breaking down the components of his works, you can see the fascination and careful consideration in the littlest- bit of elements.

The artistic practice of Trek Valdizno is prolific and is overarched by conceptual processes. Making work intuitively, and being directed by impulses toward the physicality of experimentation have never been lost to him. Aesthetically, his works become reduced to conclusive abstractions that curb both traditional craftiness and gestural maladroitness. The conditions surrounding them, however, involve a kindred toward materiality and a gesture that brings together calculation and chance. With a highly process-oriented practice, Valdizno builds up and breaks down issues of dimensionality and the painted surface. With non-conventional painting materials and surfaces, he portrays an appreciation of space, color and natural form.

Paul-Armand Gette (b. 1927, Lyon) is an unclassifiable artist does not care about labels: all his work blurs the borders between natural sciences, literature, poetry, mythology and history of art. In the 1960s, after scientific studies, he decided to devote himself only to his research in the space of art. From 1968, he borrowed methods from science and introduced them into his artistic work. His studies entitled “transect” started in 1974. Fascinated by this process, he uses it scrupulously as a “gift from science to art”.

Since 1970, Paul-Armand Gette has developed a singular body of work, fed by a constant obsession with two themes: that of landscapes and the idea of nature and that of the study of the model.They are expressed through the feminine body and its possible metamorphoses, finding their perfect incarnation in the figure of the nymph, this nature-woman the artist liberally derives from Greek and Roman mythology. Thus, over the years, Paul-Armand Gette has constructed a hedonistic and pagan world inhabited by his favorite goddesses: Artemis, Aphrodite, and their nymphs.

In 2012, as part of the VIAPAC contemporary art trail, Paul-Armand Gette created 0m, Des cheveux de Vénus aux Splendeurs de la Nuit [0m, From Venus’s Hair to the Splendours of the Night], a transectal proposal from Digne to Auzet and vice versa.