Kunstenaarslijst
Hier vind je alle kunstenaars op IT'S A MATCH 2023 - Dag 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
Frank&Robbert Robbert&Frank
Sinds 2012 gaan Frank en Robbert door het leven als het kunstenaarsduo Robbert&Frank Frank&Robbert. Deze intense samenwerking vormt de basis voor hun artistieke praktijk en symboliseert hun visie op vriendschap, collectiviteit, samenspel en kennisdeling. Samen realiseren ze een multidisciplinair oeuvre van objecten, prints, installaties, video's, acties in de openbare ruimte en cross-over performances op de grens tussen kunst en theater. Met hun werk verhouden ze zich actief tot de globale samenleving en formuleren ze vragen en poëtische alternatieven.
Sinds 2012 gaan Frank en Robbert door het leven als het kunstenaarsduo Robbert&Frank Frank&Robbert. Deze intense samenwerking vormt de basis voor hun artistieke praktijk en symboliseert hun visie op vriendschap, collectiviteit, samenspel en kennisdeling. Samen realiseren ze een multidisciplinair oeuvre van objecten, prints, installaties, video's, acties in de openbare ruimte en cross-over performances op de grens tussen kunst en theater. Met hun werk verhouden ze zich actief tot de globale samenleving en formuleren ze vragen en poëtische alternatieven.
Hun performances werden ge(co-)produceerd door o.a. Beursschouwburg (Brussel), CAMPO (Gent), Viernulvier (Gent), Wuwao (Gent), NEXT Festival (Kortrijk), Reiefestival (Brugge), PACT Zollverein (Essen), Auawirleben (Bern).
Ze toonden hun werk internationaal op 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.
Bijna al het werk ontstaat vanuit hun atelier gebaseerde visuele kunst praktijk. Naast deelnemen aan officiële tentoonstellingen en festivals, tonen ze ook werk via zelf geïnitieerde acties in de openbare ruimte.
Ze studeerden in 2012 af met een masterdiploma beeldende kunst aan het KASK Gent. Sinds januari 2021 worden ze vertegenwoordigd door Fred&Ferry Gallery (Antwerpen). Sinds 2023 werken ze samen met Vincent Company voor de verspreiding en positionering van hun performance werk.
JANA DE KOCKERE
Jana De Kockere (°1994, BE) studeerde Wijsbegeerte aan de UGent voordat ze aan de opleiding Drama aan het KASK begon. Tijdens die Drama-opleiding begon ze aan een doctoraat in de Wijsbegeerte aan de UGent (waaraan ze momenteel nog bezig is). In 2021 studeerde ze af aan KASK Drama met GOBLINS (met Bjorn Floréal). Ze werkte recent als performer in Mount Average van Julian Hetzel, en als mede-maker aan Boerenpsalm met Martha Balthazar, Mats Vandroogenbroeck en Barbara T’Jonck. Binnenkort werkt ze aan BURN GLASS GATE (als performer, in regie van Carly Rae Heathcote), en RUSTOORD (als co-creator, samen met de eerder genoemde Martha, Mats & Barbara). Haar eigen werk richt zich op de relatie tussen verleiding en overtuiging, met een bijzondere fascinatie voor premoderne Europese uitingen van de waarheid. Haar meest recente voorstelling is the Cosmic Meaning Illusion (met Ferre Vuye & Carly Rae Heathcote).
The Cosmic Meaning Illusion
The Cosmic Meaning Illusion werd gemaakt als onderdeel van Jana’s doctoraatsonderzoek in de Wijsbegeerte aan de UGent, over de 17de-eeuwse Engelse discussie over het ‘verval’ van de natuur en haar mogelijke einde. Mensen uit die tijd drukten een geloof uit dat wijdverspreid was in West-Europa: dat de natuur ziek was, stervende, het einde nabij. En inderdaad, de tekens waren duidelijk: overstromingen, de pest, mislukte oogsten, ziektes, ijskoude winters (denk aan die Breughel-schilderijen, de beroemde winterlandschappen: de zon was echt aan het uitdoven). Voor deze voorstelling werkte Jana samen met Ferre Vuye. Samen schreven ze een tekst waarin ze vorm gaven aan iemand die, in lange monologen en dialogen met een fontein in zijn tuin, verloren loopt in een zoektocht naar de betekenis van de toestand van de natuur. Vragen die op het spel staan zijn: de belofte als ook het gevaar van die zoektocht naar betekenis, of het feit dat die sinds Adam’s zondeval gedomineerd is geweest door een specifiek soort mens, gebukt gaand onder schuld, verlangend naar het paradijs. De samenwerking breidde uit naar Carly Rae Heathcote, die co-regisseerde en het ontwerp verzorgde, en Sophia Bauer, die stem gaf aan de fontein.
The Cosmic Meaning Illusion
The Cosmic Meaning Illusion werd gemaakt als onderdeel van Jana’s doctoraatsonderzoek in de Wijsbegeerte aan de UGent, over de 17de-eeuwse Engelse discussie over het ‘verval’ van de natuur en haar mogelijke einde. Mensen uit die tijd drukten een geloof uit dat wijdverspreid was in West-Europa: dat de natuur ziek was, stervende, het einde nabij. En inderdaad, de tekens waren duidelijk: overstromingen, de pest, mislukte oogsten, ziektes, ijskoude winters (denk aan die Breughel-schilderijen, de beroemde winterlandschappen: de zon was echt aan het uitdoven). Voor deze voorstelling werkte Jana samen met Ferre Vuye. Samen schreven ze een tekst waarin ze vorm gaven aan iemand die, in lange monologen en dialogen met een fontein in zijn tuin, verloren loopt in een zoektocht naar de betekenis van de toestand van de natuur. Vragen die op het spel staan zijn: de belofte als ook het gevaar van die zoektocht naar betekenis, of het feit dat die sinds Adam’s zondeval gedomineerd is geweest door een specifiek soort mens, gebukt gaand onder schuld, verlangend naar het paradijs. De samenwerking breidde uit naar Carly Rae Heathcote, die co-regisseerde en het ontwerp verzorgde, en Sophia Bauer, die stem gaf aan de fontein.
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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