AI, Jun Aoki, Bacteria, Reyner Banham, Julie Bargmann, Bjarke Ingels Group, Marlon Blackwell, Cave Bureau, Beatriz Colomina, Diller Scofidio + Renfro, Michel Foucault, Lina Ghotmeh, Bruno Giacometti, Thomas Heatherwick, Owen Hopkins, Intelligens, Wong Kar-wai, Kengo Kuma, Yasmeen Lari, Boonserm Premthada, Carlo Ratti, Robots, Lisbeth Sachs, Rebecca Solnit, Squero Castello Gallery, Venice Biennale, Studio NEiDA, Yuki Sumner, Vector Architects, Yohji Yamamoto, Wim Wenders, Richard Wilson, Kathryn Yusoff, Zombies
James Lee Byars, Italo Calvino, Canada, Wong Weng Cheong, Croatia, Czech Republic, Finland, Fondazione Querini Stampalia, Vlatka Horvat, Ireland, Istituto Veneto di Scienze Lettere ed Arti, Emilia Kabakov, Ilya Kabakov, K21–Kunstsammlung Nordrhein-Westfalen, Kapwani Kiwanga, Eva Koťátková, Seung-taek Lee, Pia Lindman, Macau, Julie Mehretu, Palazzo Grassi, Romania, Vidha Saumya, Șerban Savu, Jimali Singh Soin, David Soin Tappeser, Kaisa Sööt, Thaddaeus Ropac, Venice Biennale, Eimear Walshe, Michael Werner, Jenni-Juulia Wallinheimo-Heimonen
Accademia di Belle Arti di Venezia, Fatima al Qadiri, Andrea Bellini, Afrofuturism, Centre d’Art Contemporain Genève, Civilisation, Guerreiro do Divino Amor, Digital, Immersive, LAS Art Foundation, Josèfa Ntjam, Ocean, Rome, Science fiction, Space, Subaqua, Technology, Venice Biennale, Worldbuilding, Switzerland
Bulgaria, Krasimira Butseva, Aleksander Denić, Exposition
Coloniale, Michel Foucault, Heterotopia, History, Ideology, Labour camp, Memory,Nonplace, Prison, Serbia, Ksenija Samardžija, Scenography, Socialism, Theatre, The
Neighbours, Venice Biennale, Vasil Vladimirov