Engaging with a variety of commodities travelling between different geopolitical contexts, Beier challenges, negotiates and subverts the volatile tropes they carry. Within her sculptural practice, objects oscillate between their material presence and their image, defying a singular perspective.

Nina Beier has shown internationally for the past two decades and her work has been included in exhibitions at major institutions including Lafayette Anticipations, Paris (2024); Art Sonje Center, Seoul (2023); the Hammer Museum, Los Angeles, California (2022); Pinacoteca Agnelli, Turin, Italy (2022); the High Museum of Art, Atlanta, Georgia (2019); YUZ Museum, Shanghai, China (2018); Kunsthaus Zürich, Zürich, Switzerland (2018); Walker Art Center, Minneapolis, Minnesota (2016); KW Institute for Contemporary Art, Berlin, Germany (2015); Centre Pompidou, Paris, France (2014 and 2013); Hamburger Bahnhof, Museum for Contemporary Art, Berlin, Germany (2011); Tate Modern, London, England (2012) and 2007); Kunsthalle Zürich, Switzerland (2009); Institute of Contemporary Art, London (2008); Hayward Gallery, London (2008).

Her work has been featured in major international exhibitions including the Lyon Biennale, France (2022); the Busan Biennale, Korea (2022); the São Paulo Biennial, Brazil (2021-2022); the 3rd Geneva Biennale—Sculpture Garden (2022); Glasgow International, Scotland (2021); the Riga International Biennial of Contemporary Art, Latvia (2020); 20th Sydney Biennale, Australia (2016); 13th Biennale de Lyon, France (2015); Performa, New York (2015). She has presented her work on The High Line, New York (2022); and had solo exhibitions at Rønnebæksholm, Denmark (2021); Spike Island, Bristol, England (2018); Kunstverein Hamburg, Germany (2015); Contemporary Art Centre (CAC), Lithuania (2015); Kunsthaus Glarus, Swit- zerland, (2014); DRAF, London (2014); Kunsthall Charlotten- borg, Denmark (2011); the Yerba Buena Center for the Arts, San Francisco, California (2011); Mudam, Luxembourg (2010); Contemporary Art Museum St. Louis, (2010).

After studying dance at the Conservatoire de Saint-Cloud, Alice Renavand joined the Paris Opera Ballet School in 1990, then the “corps de ballet” in 1997, at the age of 17. She was promoted to “coryphée” in 2004, “sujet” in 2005 and “première danseuse” in 2012. In 2008, she was awarded the AROP prize. She was appointed principal dancer on 20 December 2013 following a performance of Le Parc by Angelin Preljocaj. During Indochine's Black City Parade tour, she danced in the video for the track ‘Wuppertal’ screened during the concerts, as well as on stage at the Stade de France during the two concerts organised by the group. She bid farewell to the Paris Opera in 2023 in Maurice Béjart's Boléro, but has since continued to perform on international stages and at events such as the opening ceremony of the 2023 Rugby World Cup alongside actor Jean Dujardin.

Teaching is also part of her new life, notably as part of the educational missions set up by the Ecole de danse and the Académie of the Paris Opera.

Alice Renavand was appointed Chevalier of the Ordre des Arts et des Lettres and Chevalier of the Ordre National du Mérite 

He began dancing with Max Bozzoni before joining the Paris Opera Ballet School in 1987. He joined the “corps de ballet” in 1994, at the age of 17, and rose through the ranks: “coryphée” in 1996, “sujet” in 2000, “premier danseur” in 2001. On 31 December 2009, following a performance of Rudolf Nureyev's The Nutcracker, he was appointed principal dancer.

Throughout his career, he has performed the great roles of the classical, neo-classical and contemporary repertoires. He has distinguished himself in ballets by George Balanchine, Maurice Béjart, Serge Lifar, Jerome Robbins, John Cranko, William Forsythe, John Neumeier, Jiří Kylián, Roland Petit, Angelin Preljocaj and Rudolf Nureyev. His sensitive, embodied interpretation of major roles - from Albrecht to Onegin, from Don José to Quasimodo - has been acclaimed by audiences and critics alike. He has also taken part in several entries into the repertoire and premieres at the Opéra, including Le Chant de la terre by Neumeier, La Source by Jean-Guillaume Bart, and Wuthering Heights by Kader Belarbi.

Commandeur des Arts et des Lettres, he bid farewell to the stage on 31 December 2018 in Nureyev's Cinderella, on the stage of the Opéra Bastille. The following year, he directed Mon Premier Lac des Cygnes, an adaptation for young audiences presented at the Théâtre Mogador.

Since 2020, Karl Paquette has been passing on his experience to new generations as a dance teacher at the École de danse de l'Opéra national de Paris.