1986, Paris, France. Holds a Master’s degree in Fine Arts from ENSBA (École Nationale Supérieure des Beaux-Arts, Paris, FR, 2011), graduating with special distinction (Félicitations). Between 2014 and 2019, she trained in natural dyeing under the guidance of Sandrine Rozier and Michel Garcia, completing a professional course at GRETA (Institute for Professional Training for Adults in National Education, Paris, FR). As a textile technician, she has worked in fashion (Françoise de Vanssay, Maison Martin Margiela), the arts (Joana Vasconcelos, Ulla von Brandenburg, Mélanie Matranga), and more recently in architecture (Estúdio XXXI).As an artist, she has participated in exhibitions in France and Portugal (Standard Expositions – Brest, FR; Ampersand – Lisbon, PT).

In 2018, she co-founded the Siroco Collective, which focuses on textile art and has exhibited in Portugal (Galeria do Sol – Porto; Pavilhão Branco – Lisbon; Museu de Lanifícios – Covilhã). With this collective, she developed Malva, an artistic research project on natural dyeing (2022/23).In 2020, she joined the theater company A Truta no Buraco as part of the creative team and was responsible for costumes.

Studied and taught in the Master’s program in Performance Making at Goldsmiths College, London. He is the author and director of The Camus Incident (a site-specific performance and finalist for the Oxford Samuel Beckett Theatre Trust Award), the solo performance Holding Nothing, the urban fabric-based play Land, A Morte da Audiência, Carbo, Peças, A mão humana (história da criação e da violência), among others. He has collaborated with artists such as Graeme Miller, Gustavo Ciríaco, and Allard van Hoorn. He has co-created multiple plays with writer and playwright Rui de Almeida Paiva, including the immersive theater piece O Sequestro (2018), A Vila (2019), and Peça para Intervalos (2021). He curates programs at the Arpad Szenes – Vieira da Silva Museum and is co-editor of the contemporary art magazine Wrong Wrong.net. His curatorial projects focus on performance, photography, and installation. The exhibition Acts of Disappearance, awarded the Parallel award, was presented, among other venues, at the 2019 edition of Photo London.Humberto also has a solo experimental music project and is a member of the bands CATARATA and Orchestra Elastique.

Curator of the Folio Mais 2024 and 2025 editions, Candela is a cultural programmer in various fields. She is the director of Cineclube de Tavira, where she curates regular screenings and the Open-Air Film Showcase (now in its 25th edition). She has also been responsible for the film program of the Teatro de Palha by Lavrar o Mar. She coordinated the European youth film project Rising Cinema and was co-director and programmer of the Algarve International Film and Literature Festival for three editions. Candela contributed to the artistic program for Faro’s bid as European Capital of Culture. She was a programmer and producer at Atelier Re.Al by João Fiadeiro, Bar Real, and is the founder/president of Bar Irreal in Lisbon. Co-author and editor of Este corpo que me ocupa (Lisbon, 2014) in Buala. She has taught at IESIG, now the University of Mindelo in Cape Verde. She was a PhD candidate and associate researcher at the Center for Advanced Studies at the University of Leipzig and a researcher at Unia Arte y Pensamiento in Andalusia. She co-authored the book Sevilla Imaginada (Seville, 2011). For three years, she coordinated International Cooperation projects in the Sahara, Algeria. Over the years, she has presented various theater pieces, expanded cinema, performances, and storytelling works in cities like San Sebastián, Coimbra, Leipzig, Mindelo, Lisbon, Olhão, Faro, Tavira, and Xalapa.

A multidisciplinary artist, Fernando creates experimental musical instruments and sound objects using trees, rocks, water, and other natural elements. Through listening, silence, and surprise, he questions the rhythm of daily life and the expressive and symbolic possibilities of nature. As a composer, sound artist, and performer, he merges music, theater, visual arts, and poetry to create performances, installations, and other artistic objects. His work transcends geographical, cultural, and linguistic boundaries. He collaborates with theater, dance, and film directors and companies nationally and internationally and conducts workshops with diverse groups and communities.

Guarda Rios is a collective dedicated to artistic research and creation, bringing together visual artists, performers, and researchers from fields such as archaeology, history, and biology. Since 2019, the collective has mapped issues related to water management and human impact on river ecosystems, sharing their findings through events, exhibitions, and public activities across diverse geographies, from inland to coastal areas, rural to urban environments. Notable events and exhibitions include Observatório dos Rios – Programa Atos / Odisseia Nacional, Teatro Nacional D. Maria II (2023); Ilustração à Vista – Desenhar um território, Ílhavo (2022); Fórum Antropoceno 2021 – Portuguese Presidency of the European Commission, Museu do Côa (2021); Não É Nada É Isto Tudo – Instituto, Porto & Appleton Box, Lisbon (2021); Sympósion, Tapada da Tojeira, Vila Velha de Ródão (2021); Anthropocene Campus Lisboa: Parallax, Culturgest Lisbon (2020); and Chamar os Pássaros, Lisboa Soa – Sound Art, Ecology, and Auditory Culture (2019).

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Landra is the name that Sara Rodrigues and Rodrigo Camacho give to the land where they live and is also their artistic duo name. Through landras (acorns from oak trees), they pay homage to a culture of autonomy, sovereignty, and self-sufficiency that they seek to revive. Beyond being a developing agroforestry project, Landra is also a space for experimenting with agroecological food production methods and art-life practices.

Sara and Rodrigo have worked together since 2015, starting at Goldsmiths University in London. Their projects span video, audiovisual composition, performance, installation, and public space interventions. In addition to their artistic careers, they are trained in permaculture and soil microbiology, integrating these fields into projects that blend art and science.

Born in northern Portugal in 1988, Mariana Root grew up surrounded by women in her family—mother, aunts, grandmother, and sisters—all singers named Rute, inspiring her artistic name, Root (meaning “root” in English).

Her deep connection to ancestral traditions influences her work, which merges with contemporary elements to shape her sound. Her primary instrument and area of research is the voice, which she has explored since childhood, performing across Europe and Latin America.

Holding a degree in Jazz Singing, she later traveled to the Americas, where she witnessed rituals, ceremonies, and offerings from Indigenous communities of the Amazon and Andean Cordillera, who passed on to her a form of ancestral singing deeply connected to nature.

Back in Portugal, she engaged with Portuguese ancestry through the melodies of Adufeiras from Monsanto and Paúl, experiencing and learning the art of the Adufe drum.

Her latest album, Lusitana, features the Adufeiras da Casa do Povo do Paúl and traditional percussion played by the artist herself, blending her organic style with a contemporary sound, in collaboration with producer Fred Ferreira.