Artists' list
Here you can find all the speakers at IT'S A MATCH 2023 - Day 2
Ontdek de biografieën van alle kunstenaars op 21 november 2023
AZAHARA UBERA BEIDMAN
Azahara Ubera Biedman (she/her, they/them) is an artist, choreographer and researcher. They first arrived in Brussels to complete a Research Cycle at P.A.R.T.S. studios. Their practice is situated at the intersection of dance, choreography, experimental pedagogy, artistic creation and how to translate philosophical and political ideas around feminism and queer culture into somatic practices. Through performances, installations, workshops and social situations they create spaces for being together, intimate encounters to connect with otherness through movement, language games and sound creation with objects. Azahara develops their work and practice together with several collectives and organisations in Brussels and thanks to all the learnings with Somatecx, a research group initiated by philosopher Paul B Preciado in Madrid.
TENDER FRICTIONS
Azahara Ubera is working with two collaborators on the creation of a new performance piece called Tender Frictions. Human characters lose themselves in a queer game in which their identities and desires are healed and shuffled in a quest for radical imagination. The tools they play with are hair brushes, care, pleasure and their relations with Plants.
TENDER FRICTIONS
Azahara Ubera is working with two collaborators on the creation of a new performance piece called Tender Frictions. Human characters lose themselves in a queer game in which their identities and desires are healed and shuffled in a quest for radical imagination. The tools they play with are hair brushes, care, pleasure and their relations with Plants.
Cie Hej Hej Tak
TBA
Cécile Morelle - Cie Le Compost
Originally from Picardy, she joined the ESAD in 2008 under the direction of Jean Claude Cotillard. During the 2011/2012 season, she joined the Comédie Française as a student actress, working with Catherine Hiegel, Jérôme Deschamps, Eric Ruf and Anne Kessler.
In 2013/2014, she trained as a dressmaker with Marina Nicotra and learned French sign language at the IVT.
In May 2015, she wrote, directed and designed the costumes for the show ÉCHAFAUDAGE for the company Le Compost. She has performed in several shows: J'irai twister sur vos tombes by the company Les skieurs de fond, Saisons, a burlesque creation for the company Fiat Lux. She continues to tour in Retrouvailles! by Compagnie du Double, Christine L. by Compagnie Maëlström and EDNA, délinquante by Marie Pouchain, produced by La bête à bon dieu.
In 2020, she became a laboratory assistant at the Maison du Conte in Chevilly-Larue, enabling her to put the notion of collecting and telling stories at the heart of her work. With Julien Tauber, she co-wrote LA BOUCHE PLEINE, a short play about devouring. She is currently performing a one-woman show on the road: LA TROUÉE questions the place and voice of women in the world of farming. She is continuing her collaboration with the Groupe Alis by joining the Typoballadeuses team.
In 2013/2014, she trained as a dressmaker with Marina Nicotra and learned French sign language at the IVT.
In May 2015, she wrote, directed and designed the costumes for the show ÉCHAFAUDAGE for the company Le Compost. She has performed in several shows: J'irai twister sur vos tombes by the company Les skieurs de fond, Saisons, a burlesque creation for the company Fiat Lux. She continues to tour in Retrouvailles! by Compagnie du Double, Christine L. by Compagnie Maëlström and EDNA, délinquante by Marie Pouchain, produced by La bête à bon dieu.
In 2020, she became a laboratory assistant at the Maison du Conte in Chevilly-Larue, enabling her to put the notion of collecting and telling stories at the heart of her work. With Julien Tauber, she co-wrote LA BOUCHE PLEINE, a short play about devouring. She is currently performing a one-woman show on the road: LA TROUÉE questions the place and voice of women in the world of farming. She is continuing her collaboration with the Groupe Alis by joining the Typoballadeuses team.
Cie La Malagua
TBA
COLLECTIF 3ème VAGUE - Lea Tarral, Maxime Arnould, Aurélien Leforestier
3ème Vague is a Brussels-based group, active since 2019. Bringing together the artists Léa Tarral, Aurélien Leforestier and Maxime Arnould, it questions the practices of political ecology in the performing arts sector. By political ecology, we do not mean 'environmental protection', but the study of a given environment, its modes of production and the way in which capitalist fiction weighs on the field of art. Our work is aimed at developing practices, reflections and working tools through performances, publications and encounters between arts workers, activists, audiences and institutions. 3ème vague is not a performance project, but a group mobilised around our need to change by proposing alternatives to the habits of our professional environment.
Chèr·e·s artistes que nous avons tant aimés | Dear Artists We've Loved So Much
Our next performance, Dear Artists We've Loved So Much, is a dialogue of love and questions between the three of us and the tutelary figures who have marked our careers. We are writing to fifty artists to enter into a dialogue with them, and we are asking them about their relationship to artistic creation in these times of ecological crisis. As in love, it's sometimes easier to stay in a pattern that doesn't make us happy than to break with it. It is from this questioning, combining affect and politics in a single movement, that we are addressing the artists in our sector.
The responses received will give rise to a form of conversation, with political and aesthetic points of view that are sometimes concordant, sometimes antagonistic, which we will try to put into perspective. We'll be using a scenographic device with several small speakers on wheels, which we'll be able to move around, creating a form of conversational choreography between these different artists and ourselves.
We subscribe to the idea that art is an ongoing recycling process, that we don't invent anything but repeat and distort ideas until they find their way into society.
Chèr·e·s artistes que nous avons tant aimés | Dear Artists We've Loved So Much
Our next performance, Dear Artists We've Loved So Much, is a dialogue of love and questions between the three of us and the tutelary figures who have marked our careers. We are writing to fifty artists to enter into a dialogue with them, and we are asking them about their relationship to artistic creation in these times of ecological crisis. As in love, it's sometimes easier to stay in a pattern that doesn't make us happy than to break with it. It is from this questioning, combining affect and politics in a single movement, that we are addressing the artists in our sector.
The responses received will give rise to a form of conversation, with political and aesthetic points of view that are sometimes concordant, sometimes antagonistic, which we will try to put into perspective. We'll be using a scenographic device with several small speakers on wheels, which we'll be able to move around, creating a form of conversational choreography between these different artists and ourselves.
We subscribe to the idea that art is an ongoing recycling process, that we don't invent anything but repeat and distort ideas until they find their way into society.
Robbert&Frank Frank&Robbert
Robbert&Frank Frank&Robbert
Since 2012, Frank and Robbert go through life as the artist duo Robbert&Frank Frank&Robbert. This intense collaboration forms the basis for their artistic practice and symbolizes their vision on friendship, collectivity, interplay and knowledge sharing. Together, they realise a multidisciplinary body of works, containing objects, prints, installations, videos, actions in public places and cross-over performances on the border between arts and theatre. With their works, they actively relate to the global society and formulate questions and poetical alternatives.
Since 2012, Frank and Robbert go through life as the artist duo Robbert&Frank Frank&Robbert. This intense collaboration forms the basis for their artistic practice and symbolizes their vision on friendship, collectivity, interplay and knowledge sharing. Together, they realise a multidisciplinary body of works, containing objects, prints, installations, videos, actions in public places and cross-over performances on the border between arts and theatre. With their works, they actively relate to the global society and formulate questions and poetical alternatives.
Their performances have been (co-)produced by Beursschouwburg (Brussels), Viernulvier (Ghent), CAMPO (Ghent), Wuwao (Ghent), NEXT Festival (Kortrijk), Reiefestival (Bruges), PACT Zollverein (Essen), Auawirleben (Bern).
They have presented their work internationally at Actoral (Marseille), Latitudes Contemporaines (Lille), FIMP (Porto), Belfast Int Theater Festival, Nederlands Theaterfestival (Amsterdam), Jonge Harten (Groningen), Cement (‘s Hertogenbosch), Tweetakt (Utrecht), Spoiwa Kultury (Sczeczin), 4+4 Days in Motion (Prague), Mousonturm (Frankfurt Am Main), Westwind (Düsseldorf), Unidram (Potsdam), etc.
Most of their work originate from their atelier-based visual arts practice. Besides their participation in official exhibitions and festivals, they show their works with self-initiated actions in public spaces.
They graduated with a master’s degree in visual arts from KASK Ghent in 2012. Since January 2021, they are represented by Fred&Ferry Gallery (Antwerp). Since 2023 they are collaborating with Vincent Company to position and disperse their performance works.
Table Dialogues
Frank&Robbert Robbert&Frank will present their project Table Dialogues, a collection of five intimate, immersive participatory performances. By combining extended reality (VR, AR), interactive theatre and visual art they are creating lightweight modular works that can be presented in a wide range of contexts. They are joined by Eline Dewaele from Vincent Company, an alternative distribution agency supporting R&F F&R to present and position their work.
Table Dialogues
Frank&Robbert Robbert&Frank will present their project Table Dialogues, a collection of five intimate, immersive participatory performances. By combining extended reality (VR, AR), interactive theatre and visual art they are creating lightweight modular works that can be presented in a wide range of contexts. They are joined by Eline Dewaele from Vincent Company, an alternative distribution agency supporting R&F F&R to present and position their work.
JANA DE KOCKERE
Jana De Kockere (°1994, BE) studied Philosophy at the UGent before starting her education in DRAMA at KASK. During her training as theater maker, she work on a PhD research in Philosophy (which is still in process). She graduated in 2021 at KASK with ‘GOBLINS’ (co-created with BjornFloréal). Recently she performed in Julian Hetzel’s Mount Average, and co-created Boerenpsalm with Martha Balthazar, Mats Vandroogenbroek and Barbara T’Jonck. Work in progress is BURN GLASS GATE (as a performer, by Carly Rae Heatchote), and RUSTOORD (as co-creator, with the aforementioned Martha, Mats & Barbara). Her own work focusses on the relation between seduction and conviction, with a special fascination for pre-modern European expressions of truth. Her most recent performance is the Cosmic Meaning Illusion, created with Ferre Vuye & Carly Rae Heathcote.
Cosmic Meaning Illusion
The Cosmic Meaning Illusion is created as part of Jana’s PhD research in Philosophy at the University of Ghent, about the 17th century English discussion on the ‘decay’ of nature and her possible end. People at the time expressed a belief that was very widespread in Western Europe: the belief that nature was ill, dying, and that the end was near. Indeed, the signs were clear: floods, pests, failed harvests, diseases, ice-cold winters (think of those Breughel paintings, the famous winter landscapes: the sun was really diminishing).
Cosmic Meaning Illusion
The Cosmic Meaning Illusion is created as part of Jana’s PhD research in Philosophy at the University of Ghent, about the 17th century English discussion on the ‘decay’ of nature and her possible end. People at the time expressed a belief that was very widespread in Western Europe: the belief that nature was ill, dying, and that the end was near. Indeed, the signs were clear: floods, pests, failed harvests, diseases, ice-cold winters (think of those Breughel paintings, the famous winter landscapes: the sun was really diminishing).
For this performance Jana began a collaboration with Ferre Vuye. Together they wrote a text, giving shape to someone who, in long monologues and dialogues with a fountain in his garden, gets lost in a search for the meaning of the state of nature as he experiences it. Questions at stake are the promise and also the danger of this search for meaning, or the fact that since Adam’s fall it has been dominated by a specific kind of human, burdened with guilt, longing for paradise.
The collaboration extended to Carly Rae Heathcote, who co-directed and designed the performance, and Sophia Bauer, who gave voice to the fountain on stage.
Aurore Magnier - La Ponctuelle
Aurore Magnier was born in Strasbourg in 1988. She lives in Lille.
During her Master's degree in Performing Arts, she researched the link between theory and practice in the militant theatre of the 1970s.
In 2019, she and Lucien Fradin founded La Ponctuelle. Together, they are working on their shows to create artistic forms in conjunction with local residents. They create ephemeral forms that open up spaces for reflection and new imaginations. Since 2022 they have been companion artists at Culture Commune, Scène Nationale du Bassin Minier.
Aurore worked with Le Manège, Scène Nationale de Maubeuge, from 2018 to 2019, and in 2020 she created Hapax, une histoire dangereuse. This show is about women forgotten by History, about those who disobeyed. There are many stories missing from History. For her second show, Je Suis Une Sirène (I Am a Mermaid), she brings Léonor Boyot-Gellibert on board for a duet: a mermaid goes to see her shrink, she has doubts, she's not a normal mermaid. "It's fair to say that Walt Disney really screwed up our imaginations with his crappy cartoons, isn't it?
In 2022 she set off on the great road of creating Bolide, which will leave the garage in the summer of 2025 on car parks in Picardy, Nord and Pas-de-Calais. Her artistic work is based mainly on her personal mythologies and revolves around feminist and queer themes. She also has a passion for radio, and trained on Antoine Chao's editing table, which led her to collaborate with Lorette Moreau on her performance Fort Réconfort.
La Ponctuelle:
Since 2019, the company La Ponctuelle has been hosting creations by Lucien Fradin and Aurore Magnier. Associate artists and friends, they work together or separately on protean creations. Documentary-based theatre and performance, the creation of contemporary archives of minority voices, the summoning and mixing of multiple voices are all part of their common language. More than a shared aesthetic, they are seeking to find new ways of working together without losing their singularity, to invent processes of creation and dissemination that are part of the temporality of desire. Together with Sarah Calvez and Mylène Burban, they are thinking up production and distribution models that can be part of both an institutional approach and a militant one, an economy of friendship and solidarity.
Their artistic work is also a gateway to long-term work with local communities and their inhabitants, as they have been able to do for two years at Maison Avron in the Oise region, and as they will be doing in the Pas-de-Calais in association with Culture Commune, the Bassin Minier national theatre, to create collaborative and joyful forms in situ.
Bolide
I have a sensitive relationship with my car, my only place that lets me go when I want, where I want and with whom I want. And when I'm alone in my car I can cry quietly and sing very wrongly and very loudly songs that I don't always agree with. My car also allows me to work. Bolide won't be an ecological fable, I was with the Gilets Jaunes on the Champs Élysées in Paris on Saturdays and it's been a long time since I've seen so many women demonstrating. Ahou.
Talking to my girlfriends, I realised that this particular bond with the car was shared. It's both an object of death and of freedom. We all remember parental rows on the motorway and playlists for holidays with friends. And I'd also like to talk about the eroticism and sexuality that exist in cars. Yes, sometimes I have sex in my car.
Bolide will take place outside, where everyone can see us. I'd like to take over the public space, to get out of the theatre and reach out to spectators who don't go through the doors.
During her Master's degree in Performing Arts, she researched the link between theory and practice in the militant theatre of the 1970s.
In 2019, she and Lucien Fradin founded La Ponctuelle. Together, they are working on their shows to create artistic forms in conjunction with local residents. They create ephemeral forms that open up spaces for reflection and new imaginations. Since 2022 they have been companion artists at Culture Commune, Scène Nationale du Bassin Minier.
Aurore worked with Le Manège, Scène Nationale de Maubeuge, from 2018 to 2019, and in 2020 she created Hapax, une histoire dangereuse. This show is about women forgotten by History, about those who disobeyed. There are many stories missing from History. For her second show, Je Suis Une Sirène (I Am a Mermaid), she brings Léonor Boyot-Gellibert on board for a duet: a mermaid goes to see her shrink, she has doubts, she's not a normal mermaid. "It's fair to say that Walt Disney really screwed up our imaginations with his crappy cartoons, isn't it?
In 2022 she set off on the great road of creating Bolide, which will leave the garage in the summer of 2025 on car parks in Picardy, Nord and Pas-de-Calais. Her artistic work is based mainly on her personal mythologies and revolves around feminist and queer themes. She also has a passion for radio, and trained on Antoine Chao's editing table, which led her to collaborate with Lorette Moreau on her performance Fort Réconfort.
La Ponctuelle:
Since 2019, the company La Ponctuelle has been hosting creations by Lucien Fradin and Aurore Magnier. Associate artists and friends, they work together or separately on protean creations. Documentary-based theatre and performance, the creation of contemporary archives of minority voices, the summoning and mixing of multiple voices are all part of their common language. More than a shared aesthetic, they are seeking to find new ways of working together without losing their singularity, to invent processes of creation and dissemination that are part of the temporality of desire. Together with Sarah Calvez and Mylène Burban, they are thinking up production and distribution models that can be part of both an institutional approach and a militant one, an economy of friendship and solidarity.
Their artistic work is also a gateway to long-term work with local communities and their inhabitants, as they have been able to do for two years at Maison Avron in the Oise region, and as they will be doing in the Pas-de-Calais in association with Culture Commune, the Bassin Minier national theatre, to create collaborative and joyful forms in situ.
Bolide
I have a sensitive relationship with my car, my only place that lets me go when I want, where I want and with whom I want. And when I'm alone in my car I can cry quietly and sing very wrongly and very loudly songs that I don't always agree with. My car also allows me to work. Bolide won't be an ecological fable, I was with the Gilets Jaunes on the Champs Élysées in Paris on Saturdays and it's been a long time since I've seen so many women demonstrating. Ahou.
Talking to my girlfriends, I realised that this particular bond with the car was shared. It's both an object of death and of freedom. We all remember parental rows on the motorway and playlists for holidays with friends. And I'd also like to talk about the eroticism and sexuality that exist in cars. Yes, sometimes I have sex in my car.
Bolide will take place outside, where everyone can see us. I'd like to take over the public space, to get out of the theatre and reach out to spectators who don't go through the doors.
SIEN VANMAELE
TBA
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