Graduated from the ENSAPC Art School in France in 2016, I am an interdisciplinary visual artist, performance maker and choreographer whose work blurs the boundaries between image, object, and movement with emphasis on the body as the central form of expression. Based on trans-disciplinary research and collective experimentation, I create, curate and produce, in all horizontality, a body of work with a strong political, ecological and social dimension. I consider the moving body together with its immaterial aspects - such as perception, empathy, emotions, intuitions - as a political tool to forge emancipated communities, create social connections and surprising interactions.
Since 2018 I have been working as a choreographer for the performance company Gray Box.
Choreography, Immersive compositions
I am interested in how anti-canonical and anti-contemporary aesthetics, “non-dance dance” and “non-art art” can be used as a means of opposition to challenge class hierarchies, and how they can become a tool in the struggle against normative behaviors and dominant ideologies. Coming from the visual arts, I practiced the technique of collage for years. Today, as a performance maker I still use this technique, except that I am creating compositions not on paper but in space. My solo performances can both be considered as single ones, but put together, they compose one. I arrange my solos in space and time as if they were “cut-outs”, I reconsider them as fragments of a whole, part of a coherent composition both in terms of concept and aesthetic.
Community building
I consider sustainable community building and collaboration as part of my main artistic medium. At the intersection of a workshop, a pop-up research group and an interactive performance, I create and curate non-judgmental and non-hierarchical political soft-spaces for moving, experimental contexts for producing knowledge and tools, sharing learning and unlearning processes, developing new forms of relational aesthetics based on inclusion, connection, empathy and solidarity.
I created the “School of Disobedience”, an experimental, anti-canonical and radical Performance Art School and Fight Club, only for women. Based on critical pedagogy, empowerment methods and guerrilla tactics, the school helps participants achieve political consciousness through the regular practice of creating and fighting.
Here, we explore alternative, almost invisible strategies of protests, we rehearse for an upcoming liberation, and practice physical and political resistance. I encourage participants to raise their voice, echo freely the broader socio-political context, challenge hegemonic class, gender, normative behaviors, and dominant ideologies, develop their capacities to revolt against their oppression: achieve structural and sustainable changes.
Ant-fast art: an apology for slowness, small actions and sustainable changes
I believe that contemporary art can be democratic, less exclusionist, more solidarity based and community-oriented. In my opinion, contemporary art that reaches its viewers only through mediation – for instance, with the help of descriptive texts, exhibitions or museum education workshops – is addressed not to the wider public but to a privileged segment of society. Instead of popularizing initiatives that endeavour to make art more accessible to a wider audience, I feel there is a need for reform towards a contemporary art that is more autonomous, direct, accessible, interesting, and open to a broader spectrum of social strata. I believe in a new economy of the performing arts: less fast, more local, more sustainable and more ethical, with the hope to stop geographical divisions, and to respond to the evolution of social and environmental issues of our time. By deciding to perform in alternative, remote, small, lesser-known and outlying places as well, I wish to free myself from the obsession with career, fame, glory, this race for novelty and visibility generates. I try to create and co-create my projects with and for the inhabitants, the users and the local associative fabric in order to create bridges between those who have access to art and those who do not. I believe that art can be used as a tool for social justice, that art can make the difference.
I also worked as a performance artist in commissioned works during my studies (Palais de Tokyo, Musée Georges Pompidou...), now I present my projects in both exhibition spaces, theaters (Ludwig Museum, Museum of Modern Art Yerevan, National Museum of History Paris, Theater MU Budapest, Institut Français…). in major cities and small towns alike, in formal and informal, indoor and outdoor spaces. I have been in-residence with many theaters and at universities (FR, HU, SB, AM, AT...). I also have a significant teaching experience in art and performance education (Academy of Fine Arts Vienna (AT), Conservatory of Dance and Choreography (AM), University of Artois (FR), University of Novi Sad (SRB), ZfinMalta National Dance Company (MT), Mediterranean Dance Center (HT), Dance City Theater Newcastle (GB)...).
Since 2018 I have been working as a choreographer for the performance company Gray Box.
Choreography, Immersive compositions
I am interested in how anti-canonical and anti-contemporary aesthetics, “non-dance dance” and “non-art art” can be used as a means of opposition to challenge class hierarchies, and how they can become a tool in the struggle against normative behaviors and dominant ideologies. Coming from the visual arts, I practiced the technique of collage for years. Today, as a performance maker I still use this technique, except that I am creating compositions not on paper but in space. My solo performances can both be considered as single ones, but put together, they compose one. I arrange my solos in space and time as if they were “cut-outs”, I reconsider them as fragments of a whole, part of a coherent composition both in terms of concept and aesthetic.
Community building
I consider sustainable community building and collaboration as part of my main artistic medium. At the intersection of a workshop, a pop-up research group and an interactive performance, I create and curate non-judgmental and non-hierarchical political soft-spaces for moving, experimental contexts for producing knowledge and tools, sharing learning and unlearning processes, developing new forms of relational aesthetics based on inclusion, connection, empathy and solidarity.
I created the “School of Disobedience”, an experimental, anti-canonical and radical Performance Art School and Fight Club, only for women. Based on critical pedagogy, empowerment methods and guerrilla tactics, the school helps participants achieve political consciousness through the regular practice of creating and fighting.
Here, we explore alternative, almost invisible strategies of protests, we rehearse for an upcoming liberation, and practice physical and political resistance. I encourage participants to raise their voice, echo freely the broader socio-political context, challenge hegemonic class, gender, normative behaviors, and dominant ideologies, develop their capacities to revolt against their oppression: achieve structural and sustainable changes.
Ant-fast art: an apology for slowness, small actions and sustainable changes
I believe that contemporary art can be democratic, less exclusionist, more solidarity based and community-oriented. In my opinion, contemporary art that reaches its viewers only through mediation – for instance, with the help of descriptive texts, exhibitions or museum education workshops – is addressed not to the wider public but to a privileged segment of society. Instead of popularizing initiatives that endeavour to make art more accessible to a wider audience, I feel there is a need for reform towards a contemporary art that is more autonomous, direct, accessible, interesting, and open to a broader spectrum of social strata. I believe in a new economy of the performing arts: less fast, more local, more sustainable and more ethical, with the hope to stop geographical divisions, and to respond to the evolution of social and environmental issues of our time. By deciding to perform in alternative, remote, small, lesser-known and outlying places as well, I wish to free myself from the obsession with career, fame, glory, this race for novelty and visibility generates. I try to create and co-create my projects with and for the inhabitants, the users and the local associative fabric in order to create bridges between those who have access to art and those who do not. I believe that art can be used as a tool for social justice, that art can make the difference.
I also worked as a performance artist in commissioned works during my studies (Palais de Tokyo, Musée Georges Pompidou...), now I present my projects in both exhibition spaces, theaters (Ludwig Museum, Museum of Modern Art Yerevan, National Museum of History Paris, Theater MU Budapest, Institut Français…). in major cities and small towns alike, in formal and informal, indoor and outdoor spaces. I have been in-residence with many theaters and at universities (FR, HU, SB, AM, AT...). I also have a significant teaching experience in art and performance education (Academy of Fine Arts Vienna (AT), Conservatory of Dance and Choreography (AM), University of Artois (FR), University of Novi Sad (SRB), ZfinMalta National Dance Company (MT), Mediterranean Dance Center (HT), Dance City Theater Newcastle (GB)...).