José Parlá creates paintings and multidisciplinary works based on his interest in hybrid forms of abstraction that visually translate urban life. He draws inspiration from various mediums: calligraphy, music, dance, deteriorated walls, torn and weathered advertising, and photography. His works poetically challenge ideas about language, politics, identity, and how we define places and spaces. Parlá works with mark-making by incorporating the body’s gestures in his unique textures and calligraphic poems from stream of consciousness. This form of abstract storytelling functions as a disruption of the status quo in visual culture. 

Claudia Hilda is a Cuban-born, New York-based choreographer and performance artist whose multidisciplinary practice explores themes of identity, ancestry, feminism, and contemporary cultural narratives. As a creator of visual and movement narratives, she centers the body as a storyteller, crafting choreographic works and visual installations that challenge the boundaries of cross-disciplinary art. With a decade as principal dancer for the Cuban National Company of Contemporary Dance (2013—2023), Claudia has performed in prestigious theaters across Europe and the Americas. Her academic accolades include a master’s degree in arts and choreography from Trinity Laban Conservatoire of Music and Dance in London, supported by Chevening and Leverhulme Arts Scholarships, and a bachelor’s degree in performing arts from the University of Arts in Cuba. 

Jihae is a South Korean singer, actress, and model. She debuted as a singer in 2007 and has since released four full-length albums. As an actress, she has appeared in the miniseries Mars (2016), the film Mortal Engines (2018), the Netflix series Altered Carbon, and the HBO series Succession. 

Clave y Cuba's mission is to preserve Cuban folkloric music, history, and traditions. Through expert-led workshops, special events, and cultural programs led by musicians with Afro-Cuban ancestral lineage passed down for over 500 years, Clave y Cuba serves as a bridge, connecting diverse communities with authentic sights and sounds. 

Stefan Ruiz studied painting and sculpture at the University of California, Santa Cruz, and the Accademia di Belle Arti, Venice, before turning to photography. In addition, he has taught art at San Quentin State Prison and was the creative director for Colors magazine from 2003 to 2004. His work has appeared in magazines around the world, including The New York Times Magazine, The New Yorker, Vogue, and W. His award-winning advertising photography includes campaigns for Caterpillar, Camper, Diesel, and Air France. His photographs have been exhibited at ICP, New York, Photographers’ Gallery, London; Photo España, Madrid; Les Rencontres d’Arles, France; Havana Biennial; and the Contact Photography Festival, Toronto. He has published four monographs including “The Factory of Dreams”, a book on Mexican Soap Operas, published by Aperture, and “Mexican Crime Photographs” published by GOST Books in 2016. 

Cassandra Mayela Allen is a self-taught artist with a background in graphic and textile design. Her practice delves into identity, migration, and belonging, drawing from personal experiences, research, and conversations. Her work gravitates towards the use and creative blends of textiles and found materials. She has lived in New York since 2014, when she was forced to migrate from Venezuela.  

Mayela’s work has been exhibited at Olympia, JO-HS, NADA House, V1 Gallery, EFA Project Space, Acompi/NARS Foundation and Apexart. She’s been an artist in residence with Modern Ancient Brown and Campo Garzón (upcoming). 

Ricardo Cabret’s interdisciplinary practice uses painting and software to unravel the tensions between technology, ourselves, and the natural world. His process-based paintings reference complex computing systems while obscuring depictions of endangered landscapes and references to memories of Puerto Rico. Interested in abstraction as the process of revealing and concealing information, he uses waxy, translucent layers to point to “data logging” in software, encapsulating the history of the painting’s creation, like how software users’ actions are logged and stored in data warehouses. Cabret’s software works are a nod to Net Art by open-sourcing code-based abstractions that invite the viewer to tinker and play with these technologies. In recent work, he has dived deep into cryptographic ciphers and used popular cryptographic algorithms to generate compositions via ciphertexts. By translating the experience of these digital technologies into a visual language, he aims to demystify these processes.