It is with a solid classical training and after having been closely interested in modern jazz for a while, that Sophie Agnel, at the turn of the 90's, progressively engaged herself on the shifting and deliciously uncertain grounds of free improvisation, fascinated by the expressive power of some of the great heretics of the keyboard such as Keith Tippett, Fred Van Hove or Christine Wodrascka.
Reworking in the prism of improvised music the techniques of prepared piano imagined by John Cage in the field of contemporary music, Sophie Agnel will then apply herself to "introduce the prosaism of the contemporary world in the very belly of the western musical refinement" and transform her instrument into a kind of "extensive prep-piano" or "extended piano" thus laying the foundations of a personal universe radically materialist, by turns lyrical, abstract and sensualist.
Sound artist, improviser, composer, Pascal Battus develops a sound practice more attentive to the sound gesture, to listening and to the situation that determines them than to a defined instrument: the guitar pick-up (guitar microphone without guitar), the rotating surfaces, the "surrounded" guitar (electric guitar on table micro contact various electronic objects), the percussion (amplified objects or not) ... He played in Europe, United States of America, Canada, Asia, Middle East, Australia ... solo or more frequently with other musicians. he regularly works with dancers, visual performers (video, light, sculpture...). He creates drawings and invents Sound Massages. His work is broadcast on the airwaves (France Musique, Radio Libertaire, Resonance FM, ABC...) His records are published by Potlatch, Swarming, Caduc, Corpus Hermeticum, Amor Fati, Another Timbre, Cathnor, Organized Music From Thessaloniki, Herbal International..
Claire Bergerault studied piano and singing at the Conservatory of Poitiers, then Versailles. She obtained a master's degree in musicology at the University of Poitiers, and took writing classes with Pierre Pincemaille and Yvonne Desportes. She deepened her approach to the contemporary voice with Guillermo Anzorena and Donatienne Michel-Dansac.
Singer, accordionist and conductor, she participates today in several projects in the field of improvised and experimental music, as well as in contemporary music, and she also creates performances mixing plastic arts, dance and sound poetry. In order to continue the sound experimentation on the scale of the orchestra, she founded Le Lobe, an ensemble of 22 improvising musicians, which she has been leading since its creation in 2010.
After joint studies of music and visual arts (Beaux-Arts de Bordeaux), he developed a work of painter and visual artist while being strongly engaged in musical improvisation. He has carried out mixed projects on approaches as diverse as the forest, bees, Elisée Reclus, caves, Jean Degottex, Darwin, rivers...
He shares his work with many artists including the composer Jean-Yves Bosseur.
He is currently working with Géraldine Keller, Jean-Luc Cappozzo, Raphaël Saint-Remy, Didier Lasserre, Philippe Foch...
In addition to painting and music, he has been working for several years on radio creation.
Lives and works in Grenoble.
He uses light and shadow as a material in itself. By associating electro-mechanical mobiles with light sources, he provokes variations in rhythm, scansions of bright lights in the deep darkness and tests our visual, spatial and temporal perceptions.
These instruments allow him to develop techniques to play with light during performances with musicians, filmmakers, actors, dancers, practicing improvisation.
Fascinated by collective adventures and the human and artistic richness they generate, Patrick Charbonnier performs within four collectives and has developed his own creative structure, pépète lumière.
ARFI (Association à la Recherche d'un Folklore Imaginaire)
QUELQUES FIERS MONGOLS
Association PEPETE LUMIERE
Active on the international improvised music scene since 1997. As an improviser, he has played with a large number of musicians and has for a long time nourished his work with an intimate relationship with other practices such as dance, poetry, experimental cinema or light, plastic arts or theater.
After having participated from 1997 to 2001 in the collective adventure of the Flibuste in Toulouse. In 2002, he founded the NODAL Ensemble with Michel Doneda, which included 15 improvising musicians. From 2006 to 2009, he created the group "Traversées" which brought together musicians, dancers, actors, filmmakers and light designers. At the same time, he organized the "Actes Temporaires" festival from 2000 to 2007 in the Dordogne and put on more than a hundred concerts. He is regularly invited to perform in several festivals and places around the world.
He is regularly invited to perform in several festivals and places around the world. He is present on about twenty records and several labels in very different formations. He has also been invited several times by radio stations such as France Culture or France Musique. He founded in 2012 Le UN and in 2019 the Uppercut Festival in Bordeaux.
In 1978, in Toulouse, he founded the reed trio HIC ET NUNC with which he traveled in France. At the same time, with musicians, actors, dancers and poets, he participated in the foundation of the IREA (institute of research and artistic exchanges).
In the 80's he participated in many improvisation projects and became a regular guest at the Chantenay Villedieu festival. His very personal style of playing developed in contact with artists from all walks of life involved in improvisation. He met among others : Fred Van Hove, Phil Wachsmann, Max Eastley, John Zorn, Eliott Sharp, Elvin Jones.
In 1985 he recorded his first album TERRA and at the same time established relationships with musicians and artists that continue to this day: Barre Philipps, Benat Achiary, Ninh Lê Quan, Martine Altenburger, Ly Thanh Tien, Michel Mathieu, Michel Raji, Daunik Lazro, Serge Pey, Ana Ban.
The 90's will see the extension of these travels and his associations: Camel Zékri, Keith Rowe, Tetsu Saitoh, Kazue Sawai, Gunter Muller, Fabrice Charles, Gérard Fabbiani, Bhob Rainey and the dancers Masaki Iwana, Valérie Metivier, Yukiko Nakamura
Since then, he has been involved in the international improvisation scene and has traveled and performed in Europe, Africa, Japan, Russia, Canada, the USA and South America, meeting artists concerned with this practice everywhere. This transversality, marked by an openness to diversity, has shaped his unique and resolutely contemporary voice. He has recorded about fifty albums on European, Japanese and American labels.
Camille Emaille is a versatile percussionist. For her, music does not stop at a definition of genre and style, but at this fault, this groove of the sublime which hides behind a sound, a noise, a light... Performing as an improvised soloist, in his various formations (trio with Hans Koch and Dieb13, Quintet Escargot, Duo Oxke Fixu), alongside musicians such as Fred Frith, Peter Brötzmann, Heiner Goebbels or for live performances (Dance: Les Assaillants E. Sicard, Everything That Happened and would happen, H. Goebbels, Theatre: Die Schwarze Spinne, T. Köhler, etc.) she is always keen to explore her instruments in the service of a search for the sound and energy that animates her.
As a double bass player, she explores improvisation as well as more written music at the border of traditional and contemporary music. Her playing is nourished by an intimate relationship to the body, to interiority, to rhythm, to matter and to the living character of timbre.
She practices improvised music in long term projects, in trio with Lionel Garcin and Seb Bouhanna, with Céphéïdes (Gérard Fabbiani and Sophie Délisée), with Klank (with Lionel Garcin and Loic Guénin), Crissements d'Elles (double bass trio) and is enriched by singular encounters (Emilie Lesbros, Michel Doneda, Lionel Marchetti, J-M Montera, Luc Bouquet, Daniele Ors Hagen, Bastien Pelenc, Thomas barrier, Jean Cohen Solal, Dalila Khatir...).
She has played within the Montanaro Company (new traditional music) from trio to large ensemble in France and in different countries of Eastern Europe, Magreb and South America, as many opportunities to meet musicians from here and there: Djamchid Chemirani, Nena Venetsanou, Moneim Adwan, the Moroccan ensemble Al Maoussilia, Sayon Camara, Pedro Soler...
Today she continues projects mixing improvisation, contemporary writing and traditional music within the Cie Grain de son with Laurence Bourdin (electroacoustic hurdy-gurdy) as well as with the Cie Subito presto - Quartet Désirs Chroniques.
Bertrand Gauguet plays the alto saxophone in solo or collective contexts of new music improvisation. Also a composer of electronic music, he has produced numerous pieces and original soundtracks for dance, film and radio. His interests explore the relationship between music and non-music and sound as a medium for meditation. His discography counts to date about fifteen albums published by European labels. He was laureate of the Kujoyama Villa in Kyoto in 2011.
Collaborations with Éliane Radigue, John Tilbury, Sophie Agnel, Franz Hautzinger, Andrea Neumann, Eddie Prevost, Isabelle Duthoit, Xavier Charles, Thomas Lehn, Carol Robinson, Pascal Battus, Eric La Casa, Robin Hayward, Michel Doneda, Thomas Korber, Tetsu Saïtoh, Cyprien Busolini, Andy Guhl, Mike Bullock, Tetuzi Akiyama, Toshimaru Nakamura, Grands Lacs, Insub Meta Orchestra, Ensemble Un, Christian Barani (video), Sophiatou Kossoko (choreographer), Catherine Contour (choreographer).
Anouck Genthon is a violin improviser and ethnomusicologist. She anchors her work in the elaboration of her own improvised language through the experience of sound and listening. She plays in various contexts at the crossroads of improvised, experimental, contemporary and traditional music through different projects from solo to large ensemble (solo aẓǝl, duo w/Jacques Demierre, Mathias Forge, Antoine Läng, Pascal Battus, tangent mek trio, TANDEM trio, LGBS Quartet, Insub Meta Orchestra, Le Un Ensemble, Chuchchepati Orchestra).
She likes to engage in transversal forms of research such as sound poetry, theater and dance (Tǝɣǝrit w/ Jacques Demierre, duo w/Tamara Bacci, Suivre la ligne w/Florence Freitag, The languages came first. The country after., Laborintus X...).
His work is published by Newwaveofjazz, Another Timbre, Confront Recordings, UNRec, Insub. Records, Le petit label, Thödol.
She is part of @ptt in Geneva and Sonorama in Lausanne (promotion of acoustic art in the fields of music, language, visual arts and sound studies). She is the author of the book 'Musique touarègue. Du symbolisme politique à une singularisation esthétique' (L'Harmattan, 2012) on the process of singularization of contemporary Tuareg ishumar music in Niger (UdM Montreal / EHESS Paris).
Nina Garcia experiments halfway between improvised music and noise. The device is reduced to the minimum: a guitar, a pedal, an amp. The attention is given to the gesture and to the research on the instrument, its resonances, its limits, its extensions, its impurities, its audible corners: to go with or against it, to contain it or to let it sound, to support it or to violate it.
She regularly plays solo under the name "Mariachi", in the group mamiedaragon, in duet with the Danish trombonist Maria Bertel or the drummer Augustin Bette.
She played among others at Instants Chavirés, Paris / Sonic Protest, France / LUFF, Lausanne / Cave 12, Geneva / Café de la Danse, Paris / All Ears, Oslo / Mayhem and Jazz House, Copenhagen / Café Oto, London / Echoraum, Wien / Occii, Amsterdam / Skanu Mezs, Riga / Ateliers Claus, Brussels / Festival Banlieues Bleues, Pantin / Musique Action, Nancy / Festival Météo, Mulhouse....
All audible and inaudible sounds in the universe are an inspiration for my music, such as physical movement, art, architecture, good food, electronics, quantum physics and nature.
Open-mindedness, combined with great musicianship and other pioneering disciplines, is the driving force behind my work.
I focus on experimental, improvised and contemporary music. I have been a member of groups like The Electric Aardvark, where we worked a lot with electronics, and Field of Ears, where filmmakers are involved.
In collaborations with choreographers Marek Jason Isleib, Hisako Horikawa, Lily Kiara and Julyen Hamilton it is about what happens when movement, space and sound are equal.
I have toured and recorded with Asko / Schönberg Ensemble, Nieuw Ensemble, The Ex, Oliver & Heggen, High Birds, The Barton Workshop and Lysn.
Since 2019, I have been playing in a duo with Hilary Jeffery, a trombonist and composer who lives and works in Berlin.
Key themes in our work include awareness, inner space, tuning, expanded listening, presence, and multidimensionality.
CDs and DVDs are available on my website
Convinced improviser since the beginning. The discovery of John Coltrane (by the ﬁn of his career " stellar region ") is determining, the music by the matter, to seek the sounds, to seize them, to lose them, not to find them, not to retain them, to forget them, to tame them, all at the same time?
Not to forget its origins, those which one makes the ear, the kraut, Canterbury, the psyche, the rock 70, the contemporary music which one listens young without worrying about the codes, what do I know, all that always emerges by scattered touches, with the liking of the projects:
in group; KOD B, GHOTUL, NÜK (ELECTRIK), PÜK recently, in duo with Jean Luc Petit, Jérome Noetinger, Jean Marc Foussat, Cécile Thévenot, Gaël Mevel, Sébastien Lemporte, Nicolas Thirion....
in solo ; with a new instrument, a bass drum of 1 m diameter, flat... to rub of course, but to soufﬂer too.
in collective ; LA GÉNÉRALE D'EXPERIMENTATION , propelled by WHY NOTE in Dijon and even an attempt at writing, with a very personal project L'ARPENTEUR, around the writings of Henry David Thoreau.
After training as a classical cellist (conservatory prize) and as a music historian (doctorate), Soizic Lebrat broadened her practice as a performer to that of improviser, composer and music researcher. Committed to an experimental approach, she leads research-creation projects in music (Ope1000, Fabrique de musique, Radiophonium). She is invited to many festivals and music scenes, jazz, improvised, experimental, contemporary. She plays solo (Bleu Solo, Double Frictional Wheel, Solo Suite) or with others, in duos, trios, quartets (Trio Duthoit Oshima Lebrat, Quatuor Brac, Quatuor LGBS....) as well as in large ensembles (Système Friche, Grand FouBand, Grand8, Ensemble UN...).
Lionel Marchetti is a composer of concrete music. He works daily in what he likes to call his workshop of sounds to a musical poetics allowed by the use of the technologies of the sound - from the analogical to the digital - namely the use of the loudspeaker to the associated recording, until the acousmatic interpretation, and this, in the line of this specific art.
He likes to take up, to define his work, this formula of Kenneth White (cf. Déambulations dans l'espace nomade - Actes Sud, 1995) : " Concrete or abstract ? I like the abstract where a memory of substance remains, the concrete which is refined at the borders of the void."
Lionel Marchetti also devotes himself, on stage, in solo, to improvisation (experimental analogical device with various microphones, feedback, radio waves, tape recorder, modified loudspeakers, analogical synthesizers etc.) and with musicians such as Jérôme Marchetti.) and with musicians such as Jérôme Noetinger (electronics, tape recorder), Xavier Garcia (electronics), Seijiro Murayama (percussion, voice), Jean-Baptiste Favory (composition, electronics), Emmanuel Holterbach (composition, electronics), Pierre Mottron (en) (voice), Yan Yun (electronics), Carole Rieussec (electronics), Sébastien Églème (violin), Michel Doneda (saxophone), Patrick Charbonnier (trombone), Nicolas Losson (electronics), as well as with the Japanese musician and dancer Yôko Higashi (composition, electronics and butoh dance)
At the same time, Lionel Marchetti pursues a work of poetic writing (cf. La Revue des Ressources [archive], or the review Lampe-tempête2) as well as a theoretical approach to musique concrète and the art of the loudspeaker, as a practicing artist of the genre.
His book La musique concrète de Michel Chion (Metamkine, 1998) remains the most noticed - as well as his essay Haut-parleur, voix et miroir... - technical essay in the form of a letter (Entre-deux / Mômeludies éditions / CFMI de Lyon, 2009).
His musical compositions are considered as a real cinema for the ear.
At the crossroads between directing, visual arts and theatrical play, Michel Mathieu, an actor-protestor, is also a "performer" in the sense that he seizes these languages to crystallize them in an act, to build on pieces of meaning, content, snippets of words, a body/sign in resonance with the jolts and flaws of our recent history.
Michel Mathieu, who performs in France and abroad, maintains a privileged relationship through interactive experiences with improvising musicians. Through this type of exploration, he has often met other artists, dancers, visual artists or poets such as Serge Pey.
Michel Mathieu founded the Théâtre de l'Acte with Mamadi Kaba in 1968 in Toulouse, and has directed most of its productions since then. He also created, with Jacky Ohayon in 1988, the Théâtre Garonne in Toulouse of which he was co-director until 1994. Initiator of practical theater courses at the University of Toulouse-le Mirail, where he has taught since 1974. Recently, he founded the experimental space Le Ring (2005).
He also received the Portuguese Critics' Award for Terramoto no Chile, with the Teatro do mundo of Lisbon.
Natacha elaborates a language of resistance that she calls langue des bois, an inarticulate language that gives voice to those who have little or none, a language made of hybridizations. Over time, voice and langue des bois pollinate different ecosystems. Equipped with this language in process, the performances, improvisations of the artist, confront as much the vocal potentials as the problems of normality and
of aesthetics, that is to say the limits that one assigns to the voice, to the language: that of gender, of class, of registers, of domination of the sense...
Besides, Natacha likes to nourish collective and experimental vocal practices, in various contexts (social center, art school, psychiatric center, penitentiary, in situ). In residence since 2013 at the Gmem, a national center for musical creation located in Marseille, she pursues various research and creations. Her path is marked by numerous encounters and collaborations, long term affinities are woven with eRikm, Michel Doneda, Cécile Duval, Catherine Jauniaux, Aude Romary, Christophe Cardoën, Terminal Beach... On the other hand, Natacha has breathed life into Choeur tac-til, a choir with sighted and non-sighted people, in which she creates new compositional modes, distanced from the visual field. Choeur tac-til collaborates with other composers and artists, notably the Home project of Jean Luc Guillonnet and Eric la Casa. She currently lives in Marseille and has performed in France, India, Italy, Greece, Russia, Belgium, Argentina, Germany, Quebec, Canada, Iceland, Hungary, Spain, Morocco, Austria, Palestine and Switzerland. Her concrete pieces and radio creations are broadcast on local, national and international airwaves, web radio, digital magazines: radio libertaire, france culture, france musique, EAR YOU ARE Brussels, Wi Watt 'heure-, P-node, Résonance Montréal, Chimères Athènes Grèce..
Composes concrete music in the studio and practices improvisation on stage and at home with an electroacoustic device including tape recorders, mixing desk, analog synthesizers, loudspeakers, microphones and electronics...
Also conducts conferences or workshops on concrete music, improvisation, distribution and production issues, and parallels with natural wine...
Plays solo or accompanied.
Directs Metamkine, mail order catalog specialized in electroacoustic and improvised music, from its creation in 1987 until April 2018.
Member of the editorial board of the quarterly magazine Revue & Corrigée from 1989 to 2014.
Member of the team of 102 rue d'Alembert in Grenoble from 1989 to 1998 : cinema and music programming.
He sculpts, models and digs the sound matter with his saxophones and his contrabass clarinet. Improvisation is at the center of his concerns. From solo to large ensemble, Le Lobe of Claire Bergerault, the Ensemble One directed by David Chiesa through many duets with Christiane Bopp, Benjamin Duboc, Benoît Kilian, Fabrice Favriou, Mathias Pontevia, Didier Lasserrre, Daunik Lazro ... in trio with B. Duboc and Makoto Sato or Richard Comte and Simon H. Fell, we also find him with the Barbares quartet with Jean-Marc Foussat, C. Bopp, M. Sato, and other projects always open to the acoustic research between improvised and contemporary music.
A generous, insatiable and proliﬁc musician, he has been multiplying his collaborations for several years, whether in the field of contemporary music, jazz, improvised music or live performance.
In solo ("Ipteravox" released in 2010 on Helix / Circum-Disc), he explores the spectrum of the trumpet, from the softest soufﬂe to the most vivid bursts. In an all-acoustic playing, he develops his discourse very serenely, supported by a few objects that give him an additional richness of timbre. The originality of his artistic approach has already led him to perform solo in France (Brest, Montpellier, Besançon,...) and internationally (Netherlands, England, Italy, Japan, Australia,...).
He can be seen in duos with Nicolas Mahieux or Seijiro Murayama.
He can be found alongside Satoko Fujii, Natsuki Tamura and Peter Orins in the fabulous Franco-Japanese quartet Kaze: several international tours since 2011 (Japan, Israel, Europe, USA, Canada, Australia) and 4 records ("Rafale" in 2011, "Tornado" in 2013, "Uminari" in 2015, "Atody Man" in 2018). In 2015, an extension of the quartet was created with pianist Sophie Agnel and drummer Didier Lasserre (Trouble Kaze, disc "June" released in 2017).
He is also a member of the air quartet WABLA (We Are Bodies Listening in Action), created in 2012 from this simple solution of conﬁer the soufﬂe to the air compressor to free oneself from the organic limits of breathing and focus on the sculpture of sounds and composition in time (with Thierry Madiot, Yanik Miossec and David Bausseron).
Since 2013, the artistic direction of the Grand Orchestre de Muzzix has been conﬁned to him. This variable geometry orchestra (potentially 28 musicians), where almost everything is allowed, focuses exclusively on the contemporary repertoire, the collective occasionally invites international composers such as Anthony Pateras, James Saunders or Michael Pisaro with whom he works on the interpretation of existing pieces or written especially for him.
With Didier Aschour, he co-directs the creation of "Hoketus & Slow Movement" (in November 2018 at La Rose des Vents, scène nationale de Villeneuve d'Ascq), bringing together 14 musicians from the Muzzix collective and the Dedalus ensemble in a work around two major works of post-modernism: on the one hand, David Lang's piece, Slow Movement (1993) and on the other, Louis Andriessen's emblematic work, Hoketus (1976). This collaboration of the two ensembles is not the first, since it has already generated the creation of the show "Round the World of Sound", on Moondog's madrigals (creation in May 2014 at the Rose des Vents and performances in several festivals and national stages) He is also a member of the contemporary music ensemble Dedalus, an ensemble associated with the GMEA, Centre National de Création Musicale Albi-Tarn. His repertoire is based on free instrumentation scores from North American and European experimental contemporary music from the 1960s to today. With Dedalus, Christian Pruvost has participated in numerous concerts and recordings acclaimed by critics around the world.
Classically trained on the cello, Dominique Regef is passionate about poetic songs and performs at the end of the 60's in Parisian left bank cabarets, accompanying himself on the guitar.
In the early 70's he discovered the hurdy-gurdy, a popular instrument of medieval origin, and participated in the emergence of the folk movement that marked this decade. He played in one of the first French folk groups, Mélusine, and then with the group Malicorne.
He also accompanies the singer-guitarist Steve Waring, alongside the saxophonist Philippe Maté. He got closer to the jazz scene and started practicing free improvisation, a totally innovative approach on the hurdy-gurdy.
He is also interested in medieval music, and is initiated to contemporary instruments of this period, such as the rebec and the hurdy-gurdy. His curiosity finally led him to Indian music, with an instrument from Rajasthan, the dilruba.
Settled in Toulouse in the 80's, he accompanies the Occitan singer Rosine de Peire and her daughter Martine, notably on the troubadours' repertoire.
His encounters with the Basque singer Beñat Achiary and the musicians Michel Doneda and Lê Quan Ninh confirmed his predilection for improvised music, and he created the trio SOC with the latter two.
He also performs solo with his hurdy-gurdy, where writing and improvisation are combined (CD "Tourneries").
He plays in a creation of the Toulouse singer of realistic rock Eric Lareine.
In 1993, he participated in the recording of Stephan Eicher's eponymous album in Carcassonne, which offered him the opportunity to follow him on tour by giving him carte blanche to open the concert in solo.
Today he presents a solo in which he integrates his own compositions and improvisations with covers of Anglo-Saxon (Beatles, Donovan, Sting...) and French (Brassens, Nougaro...) songs, as well as jazz (Coltrane, Miles, Dollar Brand...) and classical (Erik Satie, Franz Schubert...) themes.
He thus expresses his desire to open the artificial borders drawn up between musical cultures living too often in a vacuum, by leaning on the sound continuum of the hurdy-gurdy, whose drones trace an Ariadne's thread which takes us in a voyage through space and time.
After studying the clarinet, she has devoted herself since 1997 to the cello, and more specifically to improvisation and experimentation, orienting her work towards the search for any sound matter extractable from the instrument. Music is for her sound, matter and movement, that's why she looks for correspondences with dance (Marie Cambois, Aurore Gruel, la cie l'Astragale, Stefano Taiuti), text (cie les Endimanchés, Heidi Brouzeng), painting and drawing (Arik F Palmer), light (Jean-Gabriel Valot, Christophe Cardoen), poetry (Rémi Chechetto, Lucie Taieb) or in projects that combine various disciplines
Author of a monologue, "ME 109", she has, in collaboration with the director Hugues Reinert, worked on its theatrical adaptation in a creation combining theater, music and dance with Hélène Géhin and Pascale Manigaud (creation in January 2011 at the Centre Culturel André Malraux Scène nationale de Vandoeuvre les Nancy).
Since 2011, she has been developing a research work around the cello and electroacoustic music: "I broke my cello and ?" with Jean-Philippe Gross, "Cellostries" with Marco Marini, "Discordes" with Jérome Noetinger.
She is also interested in modern violin making, developing a play on the carbon fiber cello of the American violin makers Luis and Clark, which can be used as an extended instrument, with springs, microphones, small speakers and various objects.
In addition, she seeks to share her approach to improvisation and her openness to the classical instrument by teaching at the Ecole Nationale de Lutherie in Mirecourt.
Since 2014, she is the artistic director of the association Bruissement, which has just produced its second creation, "limbe", with Christophe Cardoen (light), Natacha Muslera (voice) and Stefano Taiuti (dance)
Born in 1973, he performs all over the world to embrace his different passions.
As an improvising violinist, he has been working since 1994 and has produced a dozen albums in France, the United Kingdom, Portugal and New Zealand. He is involved in large ensembles, as well as in numerous groups. As a sound designer, he was awarded the SCAM prize for sound discovery in 2012.
As a visual artist, he creates and exhibits his collages under the name Serial Cutter. Finally, he created with Fanny Baxter the IMAGINARY TOURISM in 2012, an artistic and patrimonial experience tour that opens the way to an innovative tourism.