Pauline Agnès a.k.a. Nghiêm Yannie Payen (or PAYP) works at the crossing of dance, performance, and visual arts. Pauline is particularly interested in paradoxes, voices, faces, powers, shadows, chewing gums, dreams, attitudes, loops, slippery things, death, sound, poetry, theatricality, magic, social stereotypes, personas, and other ghosts.
Pauline studied visual art in Toulouse and moved to Berlin. She graduated from M.A SODA HZT Berlin in 2018. Trained in somatics, she is a Feldenkrais practitioner. In recent years, Payen developed a particular attention to psychological sound techniques such as Musak, super-charged-positive-affirmations and binaural beats. Between 2017-2019 she worked for Brazilian choreographer Xica Lisboamdeveloping the attention to facial movement through the practice of “Movement-Image-Awareness”. In 2019-2020 she works for choreographer Antje Velsinger in “dreams in a cloudy space” a duo with a 75 years old dancer. Since 2020 she has developed research on the topic of grief, somatics and empowerment and created the piece HIGH TIDE. She is part of the Psychedelic Choir led by Zorka Wollny, Collective Vietnam Dioxine, and the Marzahn Movement Studios.
DOROTA MICHALAK (PL/DE) is a choreographer/dancer based between Poznań and Berlin; a graduate of Tanz, Kontext, Choreographie (HZT Berlin) and Intercultural Communication (UAM Poznań); scholarship holder of danceWEB, PROMOS by DAAD and Młoda Polska. She develops choreographic modes of working inspired by the notion of meshwork. It takes forms of staged and site-adaptive performances as well as social and educational projects. As a dancer she has collaborated with i.a.: Isabelle Schad, Pauline Payen, Forough Fami, Magdalena Meindl, Moritz Majce & Sandra Man, Angela Schubot & Jared Gradinger, Renae Shadler.
Berlin-based, born in France, Lyllie Rouvière locates her work at the nexus of spatialities and bodies. She explores approaches and methods to deepen a sensitive and emotional relationship with our environment. She understands herself as a spatial mover who collaborates with both human and non-human entities. In her artistic practice, all types of space are moved by dance and choreography and become a subject of an investigation into the normativity of our environment. Rouvière's artistic practice is greatly informed by her professional training in architecture and dance. Her performances have been presented in France at Festival Artdanthé, Festival d’Avignon OFF, and Mains d’Oeuvres, and in Germany at Open Spaces Tanzfabrik, Dock11, Performing Arts Festival Berlin, Radialsystem V, Deutsches Architekturzentrum, and in Iran at the Invisible Centre of Contemporary Dance. As a performer and artist companion, she collaborates with artists: André Uerba, Pauline Payen, Matteo Marziano Graziano. She recently works as a dramaturg with the visual artist Moran Sanderovich and with the ephemeral collective l'Exp and has a longstanding collaboration history with choreographer Julian Weber, the Suddenly collective, and the psychedelic choir.
HANNA KRITTEN TANGSOO is a lighting designer and a choreographer based in Berlin. She studied Dance in Tartu University Viljandi Culture Academy in Estonia 2011-2014 and BA Tanz, Context, Choreographie in HZT Berlin 2014-2017. Since then she has worked as a freelance artist both in dance and lighting. She is part of the ETC Fred Foster Mentorship program international branch 2021 for young lighting designers. She is a co-founder of a young dance collective called Suddenly since 2017.
As a choreographer Hanna Kritten has made: a video series Funzel Funzel 2020 in Kaunti Gildi SAAL Tallinn, a dance-light video work Generalwäsche 2021 in Berlin, a co-choreographed dance piece with Grete Smitaite called Limitation Piece 2 in Tanzfabrik Berlin 2018, a duet The Blue Blue Me in ada Studios 2018 and two bigger-group works Baby, don't hurt me 2017 and The Prince of Piece 2017 both in Uferstudios Berlin. As a lighting designer Hanna Kritten has worked with many emerging Berlin independent dance field choreographers.
CHARLIE AUBRY graduated from isdaT (fine art school in Toulouse) with honors. He quickly develops installations summoning various objects that he assembles, crafts and hijacks. These structures are often autonomous and activated with a programmed score and they frequently generate sound. At the same time, he develops performative music projects using short-circuited machines and various recordings that he accumulates resulting in a total confusion of sounds, mostly powered by a dirty beat. He performs under the name Sacrifice Seul. Since 2013, he has regularly collaborated with the company Maguy Marin. In 2014, he composed the soundtrack of the show « Bit » and then « deux mille dix sept » which he played live during the performance. In 2018, he created the music and scenography of the piece « Ligne de crête ».
FIFI (She/He) is a Berlin-based drummer and sound-artist interested in the social function of music, randomness and noise. Growing up between the UK and US, their work taps into musical styles of both countries while injecting the jagged, disorienting sense of place that has emerged from the internet and information culture. She works across a variety of styles, including dance music at the rave Suck the Lemon, sound-design with the choreographer Julien Weber and hyper-corporate-Youtube-Interruption-Sound for Apple, Intel and Honda.