Alfred Tarazi (b.1980, Lebanon) is a multi-disciplinary artist based in Beirut. In 2004, he graduated with a degree in Graphic Design from the American University of Beirut. His entire body of work, ranging from painting, photography, drawing, digital collage, sculpture and installation, revolves around complex historical investigations. His work has been acquired by prestigious public and private collections including the British Museum and the Museum of Modern Art.

In an artistic practice shaped by the ultimate event horizon of the Lebanese Civil War, Alfred Tarazi deploys his visual strategies in order to dig out fields of memory, placed haphazardly in a vast expanse of the present tense, often without direction or destination. A narrative emphasis occurs, at the root of which, the artist is unearthing critical and historical tools to read past events, provided by the past itself in the manner of a reluctant heritage. Tackling the Lebanese obsession with history, Tarazi playfully interrogates its questionable sources and selective archival practices, highlighting the role of the past as both origin and destination. With merciless realism intersecting both fiction and historiography, the artist articulates the spectacle of war as a syntax of the unimaginable, broken down, piecemeal, to a lived present. This archaeology of the ‘now’ does not aim to restore, but rather, to represent a historical condition through fragments of anomaly and singularity. The field of representation, however, prevents distance and enclosure: it is a laboratory, a journal, a political inquiry, a memory site and a reality marker.

MORROW collective is an NFT fine art consultancy founded in March 2021. MORROW collective works with galleries, artists and museums to introduce them to the NFT space and provides a premium service for new and existing collectors. Comprising a team of professionals with comprehensive experience in contemporary fine art, crypto art, curation, marketing, communications, and technology, MORROW collective supports established and emerging crypto artists by hosting events and exhibitions that showcase NFT artworks in VR, AR and IRL. Through a multi-pronged approach, MORROW collective consults and guides our partners seamlessly into the Metaverse. MORROW collective are owners of multiple gallery spaces across the most sought after and exclusive Metaverse platforms and collectors with an extensive portfolio including some of the world's leading crypto artists. Fatima Bint Mohamed Bin Zayed Initiative (FBMI) is MORROW collective’s social enterprise partner.

Saudi artist Rashed Al Shashai uses objects and imagery he finds as signifiers of the everyday, creating a “semantic field” through which philosophical questions, primarily the purpose of human existence and the functions of society, can be explored. Through playful forms that mine the mundane, Al Shashai provokes our examination of the omnipresence of media, a global descent into superficiality and the growing epidemic of apathy that has come to define modern life.

Born in Al Baha, Saudi Arabia, in 1977, Al Shashai holds a Master of Visual Arts degree and is a prominent figure in the contemporary Saudi arts scene. As a conceptual artist and arts educator, Al Shashai has influenced a new generation of Saudi talent while also nurturing local artistic practices as a founding member of the Saudi Arabia Fine Arts society and the Art Education Society. In 2009, he established the Tasami Centre for Visual Arts, an independent space that supports cutting-edge art in the Kingdom, and was the organisation’s director until 2014.

Noumenon, founded by Carl De Smet, is a research and development company based in Antwerp (Belgium) and Belgrade (Serbia). Drawing on the inspiration of different scientific fields, noumenon focuses on developing ‘programmable materials’ and pioneering the approach of ‘smartification of objects’.

Alaa Edris uses photography, film and performance to enact experimental mappings and manipulations of her social and urban environment. Acting as anthropologist, cartographer and sci-fi voyager, she contends with dominant issues in the field of Arab artistic research, including the construction of gender, the relationship between tradition and progress, and language as a medium to identify, shape and articulate a culture.

Her background as a photographer and filmmaker is evident across her practice, where individual works act like freeze-frames and provocative vignettes from which dense narratives expand. Observations of her immediate context – the UAE in the late-2010s – are manipulated through more fantastic conduits to realise uncanny dioramas and instigations, uncomfortable in their simultaneous familiarity and distortion. She mines the collective realities of morphing urban environments, the fertile bed of folklore and the forceful semiotics of gender and belief to re-propose and re-purpose the remnants of architecture, myth and social history. Each work acts as a nexus, where her excavation of these collective materials lights imagined, parallel possibilities for re-interpretation and progress – often fantastic yet potent with uncanny familiarity.

Feng Mengbo is a Professor at the Central Academy of Fine Arts (CAFA) and graduated from CAFA himself in 1991. He is the first Chinese artist to use computers in his work, and is well known for his video game pieces. Besides interactive art, his works feature calligraphy, painting, photography and music. Feng Mengbo has had solo exhibitions at Hanart TZ Gallery since 1994; Holly Solomon Gallery 1998; Dia Center for the Arts, 2001; The Renaissance Society, 2002; Museum of Contemporary Art, Taipei, 2003; Shanghart Gallery, 2003; Shanghai Gallery of Art, 2010 and 2012; Chambers Fine Art Gallery, 2010 and 2012; UCCA, 2009; PS1, 2010; Today Art Museum, 2011; and Madein Gallery, 2017. His main group shows include Venice Biennial, 1993; Kwangju Biennial, 1995 and 1997; Lyon Biennial, 1997; Johannesburg Biennial, 1997; Documenta, 1997 and 2002; ISEA, 1998; Arts Electronica, 2004; Shanghai Biennial, 2004; and the Guangzhou Biennial, 2002 and 2008. MoMA, Guggenheim, LACMA and the Fukuoka Asian Art Museum have collected his works.