Three intersecting viewpoints, united by a shared experience of fetishization and dehumanization.
Twice a month, Maison Gertrude, an art center within a care home, opens its doors and invites you to discover its collection of artworks created in situ. (…)
They give her the importance that she deserves, and that so many women deserve, turning this biblical tale into a magical one.
Starting from her family history, the actress investigates her own truth, and tries to understand how a simple, everyday inability bears witness to the marks that the great History leaves in human destinies.
The piece was born from this unlikely, almost miraculous friendship, which challenges the obvious.
The Pieuvre site draws its energy from a disappearance, and examines what is unsaid.
Mrs Muir, retires to a house by the sea with her daughter and a servant. The ghost of the former owner, Captain Gregg, haunts the premises.
With a free, fantastical rewriting of The Divine Comedy, Justices follows Vincent, an artist with Down's syndrome, in an existential search through the circles of a graphical, pop-aesthetic hell.
The bodies tangle, overflow from the frame, allow themselves to be carried along in an energetic, organic chaos.
A living celebration, weaving links between artists and city-dwellers.
In this new creation, Disanka connects the history of Congo with that of his mother in the form of a kasala – a sort of eulogy in the Kasai culture, to which his mother belonged.
From the suburbs to the theatre stage: where is our colonial heritage hiding, and how can it be revealed?
