A researcher, artist and author, No Anger has been running a blog called “À mon geste défendant” since 2014, in which they reflect on physical disability from a feminist and queer perspective, drawing on their own experience. They completed a PhD in political science at the École normale supérieure de Lyon in 2019, where they analyses how the television, cinema or advertising produce worldviews that impact perceptions of women’s and LGBT+ people’s bodies and alienate their sexuality, and the ways to challenge this hegemonic reading. Their artistic practice consists of videos, lectures and performances in which they develop a critical approach to validism. Their performances have been shown at ENS Lyon, MAC VAL – Musée d’Art Contemporain du Val-de-Marne, Festival Explicit in Montpellier, and Anis Gras – Le Lieu de l’Autre, Arcueil. They won the Prix Utopi-e 2023. In 2022, together with curator, artist and researcher Lucie Camous, they co-founded the research-creation duo OSTENSIBLE, which combines disability, crip studies and contemporary art, with the aim of promoting a new approach to disability, outside any medical prism, and creating tools for the production and transmission of knowledge through a multidisciplinary programme. They are organising several study days at ENS Lyon in 2023-2024, and will be curating a group exhibition at Crac Occitanie in 2024, and will take part in a residency at the Centre d’art contemporain d’Ivry – le Crédac in 2024.

Julia E. Dyck is an artist, hypnotist and radio producer originally from Treaty One Territory/ Winnipeg who currently works and lives between Brussels and Montreal/Tiohtià:ke. Dyck’s relational and speculative practice explores the possible connections between the body, (sub)consciousness & technology through performance, composition, installation and transmission. By offering services and acts of care, Dyck creates spaces, situations and experiences for transformation. Julia often works collaboratively and is a member of the ffiles radio collective, Audio Placebo Plaza and artistic duos Future Perfect and Platitudes and their work has been presented internationally at Karachi Biennale, PK, Haus der Kulturen der Welt, DE, Cafe OTO, UK, Q-O2, BE, Palais des Beaux-Arts de Paris, FR, Fonderie Darling, QC among others.

Célin Jiang is an artist-researcher. She lives and works between Paris and Shanghai. Her transdisciplinary work, rooted in cyberfeminism, explores the relationship between the arts, technologies and the digital humanities. Her performances are regularly activated by her digital double named Bisou Magique 茜茜. Graduated from HEAR in 2018, she continues her practice in Shanghai as part of the “L’école Offshore, Création et Mondialisation” research program at ENSAD Nancy (2019), then as part of the « Arts et Créations Sonores » post-graduate program at ENSA Bourges (2019). She continued her research-creation work in the DIU of the ArTeC+ University Research School (2020) and in 2021 joined the Digital Image and Virtual Reality research team (INREV) of the Aesthetics, Sciences and Technologies of the Arts Doctoral School (EDESTA) at the University of Paris 8 with a research-creation thesis on Fembots Pop Stars (Virtual Idols) in Asia and the West. In 2020, she won 3rd prize for radio creation at Radio Campus Paris for her piece « Voyage en Bus ». In 2022, she won two artistic residencies: Fondation Nina Daniel Carasso x Cité Internationale des Arts and the REART Residency. Her work has been pre- sented at Ars Electronica (Linz, AT), Cité Internationale des Arts (Paris, FR), Fondation Pernod Ricard (Paris, FR), Magasin – CNAC (Grenoble, FR), Fondation Fiminco (Romainville, FR), Artes Sonores Tsonami Festival (Valparaiso, CL), Madein Gallery (Shanghai, CN), Rencontres internationales Monde-s multiple-s (Bourges, FR), Liebe und Zuneigung Festival – Europäischen Kulturtage (Karlsruhe, DE), *DUUU Radio (Paris, FR), Villa Arson (Nice, FR), VSRL (New York, USA). She has led workshops in a number of institutions, including Bétonsalon – centre d’art et de recherche (Paris, FR) and the Bourse de commerce | Pinault Collection (Paris, FR).

Born in Athens in 1994, Konstantinos Kyriakopoulos lives and works in Romainville. His practice revolves around a single device, adaptated to suit different contexts and purposes: the bed. His sculptures, which take passivity as their power and collaboration as their methodology, are created with other artists (Flora Bouteille, Anaïs-Tohé Commaret, Lucille Léger, Cyriaque Blanchet, Paola Quilici, Raphaël Sitbon, etc.), in order to open up spaces for creation and collective imagination. The bed is not a theme: it’s a format on which ideas, shapes and bodies rest. It is also a space that can be activated in a variety of ways that disarm the logic of productivity: a place to play or to dream, to sleep or to go on strike.
Konstantinos Kyriakopoulos’ work has been presented at the Fondation Pernod Ricard in 2023 (FR), L’Aconservatoire and Monopôle in 2022 (FR), Domestic Cult at Scale, Iveco Nu and Bétonsalon in 2021 (FR) and Exo Exo and La Chaufferie in 2020 (FR), among others. Since 2023, he is a resident at the Fiminco Foundation (FR).

Anna Holveck was born in 1993 and lives and works in Paris. As a visual artist, she uses performance, video and sound installation to explore the relationship between sound and voice production devices and space. Sometimes singing, sometimes sound engineer or sounding board, in her work the body listens to, translates or mimes the vibrations of the acoustic and political landscape in which it is embedded. Anna Holveck constructs immersive listening situations that involve both the person producing the sound and the person perceiving it, standing on a blurred boundary between ear and mouth. His work has been shown at the Centre Pompidou (Paris, FR), the Fondation Pernod Ricard (Paris, FR), the Creux de l’Enfer (Thiers, FR), the Vitrine et les Réserves of the Frac Ile-de-France (Paris and Romainville, FR), the IAC – Institut d’art contemporain – Villeurbanne/Rhône-Alpes (FR), the Actoral – International Festival of Arts & Contemporary Writings (Marseille, FR) and the Instants Chavirés (Montreuil, FR). Several of her works joined the public collections of the Frac Ile-de-France in 2021 and the Frac Franche- Comté (Besançon, FR) in 2017. Her latest piece, produced in the basement of the IRCAM (Paris, FR), can currently be seen at the Musée d’art de Joliette (CA) as part of the group exhibition “Dissolving your ear plugs”. She will be in residence at Privas at the invitation of the IAC (FR), to make a film supported by the Fondation des Artistes and the Center National des Arts Plastiques and then at a long-term residence with the art center Le Lait (Albie, FR) in partnership with the isdaT – superior insitut of art and design of Toulouse (FR).

Violaine Lochu was born in 1987, and lives and works between Montreuil (FR) and Cotonou (BJ). Her work explores voice and language, as well as notions of transformation and catharsis. Her artistic practice spans the fields of contemporary art, experimental music and sound poetry. Her projects begin with a phase of immersion in a specific environment, within which she gathers various sonic, narrative and visual elements. From this material, she creates, through collage, recomposition and reinvention, performances and installations where sound, video and drawing interact. Her work has been presented in solo or duo shows at the Frac Nouvelle-Aquitaine MÉCA (FR) in 2023, at the Carpintarias de Sao Lazzao (PT) in 2022, and at the Institut français du Bénin (BJ) in 2021, at the Villa Arson (FR) in 2020, and has also been shown in numerous group exhibitions, notably at the Philharmonie (FR), the MAC Lyon (FR), the MAC VAL – Musée d’Art Contemporain du Val-de-Marne (FR) and the Ferenczi Museumi Centrum (HU). Violaine Lochu has been invited to perform at the Centre Pompidou (FR), Palais de Tokyo (FR), Kunstverein München (DE), Centre d’Art Contemporain de Genève (CH), Centre (BJ) among others. She is the winner of the 2018 AWARE prize and of the performance program of the 67th edition of the Salon Jeune Création 2018 (FR).

Emily Mast is a Los Angeles-based visual and performing artist. She combines visual art, theater and dance to produce multi-compositional projects that employ live performance, installation and activism. For the past few years her practice has focused on power dynamics and subverting seemingly immo- veable hierarchies. Mast is particularly interested in how artistic imagination can be used to reimagine the world at a time when value, equality and the concept of freedom are demanding radical reconsideration.
Mast has staged “choreographed exhibitions” and presented live performances internationally at venues such as the Villa Medici, Rome (IT); Picasso Museum, Barcelona (ES); Theatre des Champs Elysees, Paris (FR); Fondation LUMA, Arles (FR); Grazer Kunstverein (AT); Irish Museum of Modern Art (IE); Power Plant Contemporary Art Gallery, Toronto (CA); La Ferme du Buisson (FR); Los Angeles County Museum of Art, Hammer Museum and REDCAT (US).

Lauren Tortil was born in 1986 and lives and works between Paris and Rennes. She is a sound artist and PhD student at the École universitaire de recherche in the CAPS programme (Creative approaches to public space) at Rennes 2 University. Influenced by sound studies, media archaeology and political philosophy, she is interested in the processes of listening through the prism of sound technologies, and in the interactions that exist between these media, humans and their sound environment. This approach takes the form of both iconographic and theoretical research, which feeds into her visual practice (printed objects, installations, performances and workshops). For several years, she has also been developing methods of teaching sound through workshops. Since 2021, she has been running the online editorial project [wo ks], which consists of interviews and co-creations with artists about sound art, with the support of *Duuu Radio.
The publication of her book Une généalogie des grandes oreilles in 2019 (winner in 2020 of the 5th edition of the Prix révélation du livre d’artiste awarded by ADAGP and MAD), gave rise to a cycle of three solo exhibitions: “Un cahier roulé, fortement serré et ficelé” at Ravisius Textor (Nevers, 2020), “On l’entend toujours trois fois” at Galerie Tator (Lyon, 2020) and “Cochlée & Cypraea” at ADAGP (Paris, 2022), as well as a series of performances entitled Lecture affective. Her work has also been shown in group exhibitions at the Centre Pompidou, the Fondation Louis Vuitton (Paris), the Villa du Parc (Annemasse), the Sound Gallery (CZ) and the 11th Sao Paulo Architecture Biennial (BR).

Christopher Willes is an artist, musician/composer, dramaturge, and researcher based in Canada. His interdisciplinary work focuses on the subject and practice of listening, and encompasses performances, exhibitions, concerts, recordings, publications, community arts and educational projects. Often developed collaboratively with other artists, and involving the direct participation of the audience, his projects blur the lines between sounds, sites, performers and audiences, to create unusual reflections on themes of sociality, participation, sonic materiality, perception, care, collaboration and shared authorship. He is an associate artist and producer with Tkaronto-Toronto performing arts organization Public Recordings, with whom he developed What’s Collective?–– an itinerant studio research project on the subject of collective art practices. He also recently devised a collective publication on the work of Pauline Oliveros entitled Resonance Gathering, published by Art Metropole. Since 2013, Christopher has co-created several works with Montréal based artist Adam Kinner, including the one-to-one performance MANUAL, which has toured internationally. And he has worked as a dance dramaturge and sound designer for over a decade.
Christopher studied music at the University of Toronto and received an MFA from Bard College(New-York, USA). He is a former MacDowell Fellow (USA), and is currently studying Conflict Mediation at the University of Waterloo (CA).

Ellen Furey is a dance artist and choreographer based in Tiohtiá:ke– Mooniyang–Montréal, Canada. Since 2012, she has worked on and within collaborative, discursive processes that insist on a mess of subjectivities. Her work uses potentials of dance virtuosities and performer type showmanship as material for living, oblique rebellion, and debate, entangled with heavy ambiguity. She works with, for, and alongside independent artists including Dana Michel, Malik Nashad Sharpe, Andrew Tay, Christopher Willes, and Simon Portigal and has performed in choreographies by Daniel Léveillé, Frédérick Gravel, Marten Spangberg (SE), Tina Tarpgaard (DE), Sasha Kleinplatz and Clara Furey.
Ellen’s work has been presented in Europe, Canada, in the USA and the UK. She has co-created two dance works with UK based choreographer Malik Nashad Sharpe (“SOFTLAMP.autonomies” and “High Bed Lower”) and her recent work “Lay Hold To The Softest Throat” premiered at Festival TransAmériques (Montreal) in June 2023. She is a 2014 recipient of a DanceWeb scholarship, ImpulsTanz, Vienna, and a graduate of the School of Toronto Dance Theatre. Ellen is currently training in both mediumship/ psychic development and Conflict Management (University of Waterloo). Since 2019 she has been Artistic Advisor at Danse-Cité, a contemporary dance presenter in Montreal.

Brendan Jensen is a dancer, choreographer and movement teacher based in Tkaronto-Toronto. His current research investigates “practice as performance”, in relation to his work as a dance and movement teacher, and his ongoing training in Alexander Technique. He is a graduate of the National Ballet School of Canada and has worked with many dance artists and companies including the Toronto Dance Theatre. He was a recipient of the DanceWeb Europe scholarship in conjunction with the 2008 Impulstanz festival in Vienna, Austria. Brendan is an associate artist with Public Recordings, a Tkaronto-Toronto based organization focused on interdisciplinary performing arts research. He has worked with Public Recordings since 2010, when he performed in the work relay, a dance work by Canadian choreographer Ame Henderson. Since then he has contributed to numerous Public Recordings projects, as a performer, outside eye, and facilitator. Between 2017-2019 he participated in a large-scale interdisciplinary performance of Pauline Oliveros’s music, and contributed to a subsequent publication on that project entitled Resonance Gathering, devised by Canadian artist Christopher Willes and co-produced with Public Recordings.

IONE is an author, playwright, director and an improvising text-sound artist. She has created multiple performances and large music theater works with her creative partner and spouse, the composer Pauline Oliveros. These Include the opera The Nubian Word for Flowers; A Phantom Opera, 2017.
A journalist for many years, IONE published in major magazines and newspapers throughout the 1980s including The Village Voice, The Gannet Chain and Vogue. She was Artistic Director of Deep Listening Institute, Ltd for 15 years and is currently Consultant at the Center for Deep Listening ®, Troy, NY.
As Founding Director of The Ministry of Maåt in Kingston, NY since 1997, IONE conducts workshops and seminars throughout the world, disseminating the work of Pauline Oliveros and other artists and encouraging a vibrant international community of writers, visual artists, and musicians.
IONE’s memoir, Pride of Family; Four Generations of American Women of Color, was a New York Times Notable Book on its publication. IONE received the 2019 Arts Mid-Hudson Individual Artists Award and a Certificate of Merit from the General Assembly of the State of New York. Her most recent opera TOUCH, with composer Karen Power, premiered at Irish National Opera in 2021.