Directors
GABRIEL MORAES AQUINO
Born in 1994 in Rio de Janeiro, Brazil, Gabriel Moraes Aquino lives and works in Paris. He graduated from the Ecole des Beaux-Arts in Paris in 2020.
Photographic plasticity is often found in the practice of Gabriel Moraes Aquino. Capturing a Parisian wandering during the commemoration of the independence of Brazil with Parada crua (2020) or installing prints of European palm trees with Negative Palms (2021-2022), it is a look at the tropicalism and mobility that he manipulates with this medium. The simple actions of the artist – exchanging words and coconuts in Fortune Coconuts (2021) or a Friendly haircut (2018) – noticeably counterbalance the questions of geographical remoteness and cultural displacement while arranging, physically and conceptually, spaces of conviviality. His attachment to the “local” scale and to the relationships that develop there is already apparent, working regularly in situ. Many trips border the career of Moraes Aquino, who has nevertheless settled in France since 2017. Upon leaving the Beaux-Arts de Paris in 2020, it is a roaming of residences between the Cité des Arts, the Fiminco Foundation and now at Artagon Pantin. The community that he integrates there gives birth to the most recent project of the artist reconciling collaboration and the environment of the performance that he loves.
Battle Piece (2022 – present) revolves around a community of dancers and a collaboration with Nicolas Faubert. Orchestration of duels of hip hop and various styles, these face-to-faces break down barriers between established groups in rhythm, crystallize time around bodies in motion. For the artist, gesture becomes dialogue; dance “a language we all speak. From these events will be born a series of films, the first chapter of which presents dance as an act of survival, draws a landscape of the relationship, where the absence of subtitles is enough - as in the daily life of our lives - and questions us. on what coexist. The shared conception of this project syncretizes the artist's ties to collective work, traceable from the beginning of his plastic practice as a member of the Gregário collective, in Rio de Janeiro.
Photographic plasticity is often found in the practice of Gabriel Moraes Aquino. Capturing a Parisian wandering during the commemoration of the independence of Brazil with Parada crua (2020) or installing prints of European palm trees with Negative Palms (2021-2022), it is a look at the tropicalism and mobility that he manipulates with this medium. The simple actions of the artist – exchanging words and coconuts in Fortune Coconuts (2021) or a Friendly haircut (2018) – noticeably counterbalance the questions of geographical remoteness and cultural displacement while arranging, physically and conceptually, spaces of conviviality. His attachment to the “local” scale and to the relationships that develop there is already apparent, working regularly in situ. Many trips border the career of Moraes Aquino, who has nevertheless settled in France since 2017. Upon leaving the Beaux-Arts de Paris in 2020, it is a roaming of residences between the Cité des Arts, the Fiminco Foundation and now at Artagon Pantin. The community that he integrates there gives birth to the most recent project of the artist reconciling collaboration and the environment of the performance that he loves.
Battle Piece (2022 – present) revolves around a community of dancers and a collaboration with Nicolas Faubert. Orchestration of duels of hip hop and various styles, these face-to-faces break down barriers between established groups in rhythm, crystallize time around bodies in motion. For the artist, gesture becomes dialogue; dance “a language we all speak. From these events will be born a series of films, the first chapter of which presents dance as an act of survival, draws a landscape of the relationship, where the absence of subtitles is enough - as in the daily life of our lives - and questions us. on what coexist. The shared conception of this project syncretizes the artist's ties to collective work, traceable from the beginning of his plastic practice as a member of the Gregário collective, in Rio de Janeiro.
— Alexia Pierre (original text in french)
In 2022, he participated in the “100% EXPO” exhibition at La Villette, the “Battle Piece” cultural intervention in collaboration with Nicolas Faubert at the Fiminco Foundation and in “Garage Band” by Hatch, among others. For 2022-2023, he will work with the Orange Rouge association and the Ateliers Medicis to develop collaborative projects with young college students, he will present his winning project from the Regional Fund for Emerging Talents (FoRTE) and he will participate in the "Texture" project. in collaboration with Nicolas Faubert and the Institute for Young Blind People, which will be presented at the Bourse de Commerce - Collection Pinault.
NICOLAS FAUBERT
Nicolas Faubert born in 1991 in Libreville, Gabon, with a visual handicap of more than 80%. Lives and works in Paris. Nicolas Faubert is a dancer and performer. Very young, he explored Popping, opened up to Hip-Hop, House and Locking.
In the break rooms, he clashes by dancing standing up, his eyes still being too fragile to hold positions on the ground. Nicolas is also training in event organization and cultural mediation, working with various associative structures and institutions.
He wishes to transmit values such as surpassing oneself thanks to a unique pedagogy acquired by the experience of his practice, his handicap having allowed him to develop other ways of perceiving movement and space.
In 2018, he was chosen by visual artist and videographer Laure Prouvost for his project received at the French Pavilion at the 2019 Venice Biennale of Contemporary Art. After having been one of the main actors in the short film Deep See Blue Surrounding You (See this deep blue to melt you), he performs inside the French Pavilion for the duration of the Biennale (7 months). Nicolas Faubert defines himself more as a “character” than a dancer.
Through his interbreeding, Nicolas wants to bring people together. Because of his disability, he wants to raise awareness. Dance allows him to let go of his conscience and explore its limits.
Kryzastyle: his world, his universe, his story, which he tries to introduce to the public using different alphabets, drawn from an immense variety of dances.
From the classic, it keeps the sense of balance and self-growth; of the contemporary, its relationship to the ground and the changes in the state of the body; Popping, muscle contractions and joint fixations (isolations and isofixes); from B-Boying, the different gravitational ratios; Hip-Hop, flow groove and freedom of movement; of House, the dexterity of the legs and the musical subtlety; of Locking, the precision of the basic timings and the quality of movement. Even if Freestyle whose ability to tell stories he appreciates remains the most constitutive dance of his career, Nicolas rigorously and relentlessly absorbs new dances and movements.
A "hybridization" by which he would always like to break down the barriers between disciplines (dance, visual arts, singing, photography) and social barriers, in order to allow real access to culture for all.
After a two-year residency at the Cité internationale des arts in Paris, he chose to open his practice to new mediums. With a pedagogical methodology acquired throughout his teaching practice, as well as a constant desire, inherited from hip-hop culture, to transmit his knowledge; his research leads him to propose
new ways of transcribing a performance. Motivated by the desire to transcribe to the spectator, not only the performance itself, but also his own feelings as a dancer, a new field of possibilities opens up to him. His performances will no longer be exclusively about dance.
He notably performed at the Bibliothèques Idéales (Strasbourg) for “Sonnets à Orphée” with pianist Richard Sears, in the exhibition “La Rencontre des Eaux” organized by curator Claire Luna and “The negative version of the positive version of things”. at the Balice Hertling gallery (Paris) and in the series of videos “La Cité des arts” by the artist Mona Varichon, presented at the ICA London, at the Les Urbaines festival in Lausanne and at the National Gallery in Prague.
In 2021, he is a choreographer, improvisation coach, actor and movement scenographer for the work “Rescue Dummies” by artist Agata Ingarden, which won the Special Prize of the Future Generation Art Prize in kyiv. In December 2021, he was invited for a residency in Mayotte by Jojo Kazadi to conduct research on the territory and create links between various local organizations and associations that work to express art and culture (DAC, Préfecture d 'Overseas, International City of the Arts). In 2022, he carried out a research residency on the movement and decolonization at the Delfina Foundation (London) with the artist Shiraz Bayjoo, then they presented a performance in the Diaspora Pavilion at the 59th Venice Biennale.
In 2022, he also exhibited his first visual works at the Julio space in Belleville at the invitation of the artist Gabriel Moraes Aquino, with whom he is currently exhibiting the film “Battle Piece: Part I” at the Fiminco Foundation.
In the break rooms, he clashes by dancing standing up, his eyes still being too fragile to hold positions on the ground. Nicolas is also training in event organization and cultural mediation, working with various associative structures and institutions.
He wishes to transmit values such as surpassing oneself thanks to a unique pedagogy acquired by the experience of his practice, his handicap having allowed him to develop other ways of perceiving movement and space.
In 2018, he was chosen by visual artist and videographer Laure Prouvost for his project received at the French Pavilion at the 2019 Venice Biennale of Contemporary Art. After having been one of the main actors in the short film Deep See Blue Surrounding You (See this deep blue to melt you), he performs inside the French Pavilion for the duration of the Biennale (7 months). Nicolas Faubert defines himself more as a “character” than a dancer.
Through his interbreeding, Nicolas wants to bring people together. Because of his disability, he wants to raise awareness. Dance allows him to let go of his conscience and explore its limits.
Kryzastyle: his world, his universe, his story, which he tries to introduce to the public using different alphabets, drawn from an immense variety of dances.
From the classic, it keeps the sense of balance and self-growth; of the contemporary, its relationship to the ground and the changes in the state of the body; Popping, muscle contractions and joint fixations (isolations and isofixes); from B-Boying, the different gravitational ratios; Hip-Hop, flow groove and freedom of movement; of House, the dexterity of the legs and the musical subtlety; of Locking, the precision of the basic timings and the quality of movement. Even if Freestyle whose ability to tell stories he appreciates remains the most constitutive dance of his career, Nicolas rigorously and relentlessly absorbs new dances and movements.
A "hybridization" by which he would always like to break down the barriers between disciplines (dance, visual arts, singing, photography) and social barriers, in order to allow real access to culture for all.
After a two-year residency at the Cité internationale des arts in Paris, he chose to open his practice to new mediums. With a pedagogical methodology acquired throughout his teaching practice, as well as a constant desire, inherited from hip-hop culture, to transmit his knowledge; his research leads him to propose
new ways of transcribing a performance. Motivated by the desire to transcribe to the spectator, not only the performance itself, but also his own feelings as a dancer, a new field of possibilities opens up to him. His performances will no longer be exclusively about dance.
He notably performed at the Bibliothèques Idéales (Strasbourg) for “Sonnets à Orphée” with pianist Richard Sears, in the exhibition “La Rencontre des Eaux” organized by curator Claire Luna and “The negative version of the positive version of things”. at the Balice Hertling gallery (Paris) and in the series of videos “La Cité des arts” by the artist Mona Varichon, presented at the ICA London, at the Les Urbaines festival in Lausanne and at the National Gallery in Prague.
In 2021, he is a choreographer, improvisation coach, actor and movement scenographer for the work “Rescue Dummies” by artist Agata Ingarden, which won the Special Prize of the Future Generation Art Prize in kyiv. In December 2021, he was invited for a residency in Mayotte by Jojo Kazadi to conduct research on the territory and create links between various local organizations and associations that work to express art and culture (DAC, Préfecture d 'Overseas, International City of the Arts). In 2022, he carried out a research residency on the movement and decolonization at the Delfina Foundation (London) with the artist Shiraz Bayjoo, then they presented a performance in the Diaspora Pavilion at the 59th Venice Biennale.
In 2022, he also exhibited his first visual works at the Julio space in Belleville at the invitation of the artist Gabriel Moraes Aquino, with whom he is currently exhibiting the film “Battle Piece: Part I” at the Fiminco Foundation.