Coline Ardouin is interested in the intersections between artistic creation, cultural heritage and themes of inclusion and equal opportunities. Trained as a curator-restorer of contemporary art, her research focused on the conservation of living organisms, particularly living plants, in contemporary installations. These areas of study stem from her sensitivity to current environmental and societal issues. She has worked to promote access to higher education for refugees and asylum seekers, and to support refugee artists in their integration into the Swiss art scene. She later specialized in cultural accessibility.

Coline Ardouin currently coordinates the Art and Disability 75 program at Souffleurs de Sens – Groupe SOS Solidarités. Issues of accessibility, inclusion, autonomy and artistic education are at the heart of Souffleurs de Sens’ concerns. The aim is to promote self-determination through access to culture as part of people’s lives. At Souffleurs de Sens, she leads the direction of the Art and Disability 75 ressource centre for professionals in the cultural and social sectors. She helps them to create arts and cultural education projects, provides training and raises awareness of cultural accessibility, and organizes professional gatherings. The Art and Disability 75 program is a part of IMAGO, the network of Art and Disability centres in the Île-de-Franc region – a space for sharing practices, methodologies and resources to promote access to culture for all.

Lucas Fritz has a doctorate in information and communication sciences. His work focuses on the role of communication devices and their accessibility in shaping social movements around neurodiversity, and more broadly, on the links between technology, activism and neuro/psychological disabilities.

He has written for various political and academic journals, including Trou Noir, Multitudes and Terminal. He coordinates the Landing Zones research-creation project, which explores the politics of rest and neurodiversity in art schools.

To the ailments endured throughout his long medical history, Benoît Piéron substitutes what he calls his ‘companion illness’, an expression that gives his acceptance an almost comforting quality. Benoît Piéron draws his materials from hospitals and medical environments and reappropriates them to open up other enchanting worlds, free of borders and far removed from the romantic heroism of the usual metaphors for illness.

His characteristic color palette, made up of pale yellows, sky blues, lilacs and pinks, which he composes in patchwork on mattresses, armchairs and other hangings, come from repurposed hospital sheets. By reclaiming them to create his works, the artist transports these historically charged fabrics to a more peaceful future, contrasting the often cold or even worrying atmosphere of the healthcare world.

Benoît Piéron’s vocabulary has grown out of his experiences of the slowed and distended time of illness, and its shrinking yet expansive space. His installations reflect his immobile journeys, the sensation of the body ‘in landscape format’, and the feeling of living ‘off-screen’. The reveries that emerge from these hospitable memories are all ways of protesting against ableist and productivist norms.