Oscar Enberg
(b. 1988 Christchurch, New Zealand) lives and works in Berlin. Recent exhibitions include: whistling minor, Peles, Berlin (2024), German Fingering, Robert Heald Gallery, Wellington (2024), Schiller’s Skull, Mysterious Vessel, Brunette Coleman, London (2023), Schiller’s skull: Das Beinhaus, The Shop, Sadie Coles HQ, London (2023), Day by Day, Good Day, Union Pacific, London (2023), Father Time in My Adam’s Apple, Mackintosh Lane, London (2022), Tut mir leid, Herr Vater, Robert Heald Gallery, Wellington (2022), Domestic Drama, HALLE FÜR KUNST Steiermark, Graz (2022), The first cuck, St Joseph, Künstlerhaus Bethanien, Berlin (2019), Death of a Housewife, stadium, Berlin (2019), ARS VIVA 2018, Kunstverein Müenchen, München and S.M.A.K, Ghent (2018), Taste and Power, Hopkinson Mossman, Auckland (2018), Der Amethyst, Die Opale, Die Agamemnon, curated by Maurin Dietrich, Frankfurt am Main, Berlin (2017), Scamming, Palazzo Lancia, Turin (2017), Troubles de la Croissance (der ursprung des pendels) (2016-18), Auckland Art Gallery Toi o Tāmaki, Auckland (2016), Les Règles du Jeu / The Rules of the Game, Centre Pompidou, Paris (2015).

Brianna Leatherbury
(b. 1995, Miami, USA) lives and works in Amsterdam. Recent exhibitions include: The Drain, A Tale of A Tub, Rotterdam (2025), Air de Repos (Breathwork), CAPC, Bordeaux (2024), Symbolic Exchange, Heidi, Berlin, (2024), Pansori, a soundscape of the 21st century, Gwangju Biennale, Gwangju, (2024), Survival Bias, Brunette Coleman, London (2024), If you stand close enough to the action, with a glass to the wall, you can hear the sound of teeth being gritted, Jacqueline, Athens (2024), Conduit House, April in Paris, Aerdenhout (2023); gilts, gifts, Cento, Glasgow (2023); Not New, Chatham Soccer, Chatham, New York (2023).