Miss O’Range, performance photographique à Dubai, 2014
© Caroline Amoros - Raphaël Helle

Résidences sur mesure (Custom residencies): 2020 winners


Updated on 02/03/2020

The Résidences sur mesure (Custom residencies) allow French artists or foreign artists residing in France to carry out and/or deepen personal research for a project of their choice abroad and in the countries indicated.With the goal of providing better support to artists, custom residencies are set up every year on a rotating basis. The disciplines for 2020 are Performing Arts (street arts, new circus and puppets – dance, performances – theatre) and Creative Music.

 The commission met in January and selected 15 projects for 2020.

Miss O’Range, performance photographique à Dubai, 2014 © Caroline Amoros - Raphaël Helle
Photo du spectacle Points de non-retour texte mise en scène Alexandra Badea, 2019 © Velica Panduru
Fernando CABRAL - Performance "Incorporer l'animal" à Fazenda - Etat de Sao Paulo, Brésil, 2015 © Alexandra Dreyfus
Dinah Bird : A box of 78s, 2012 © Dinah Bird
Guillaume Cayet © Guillaume Cayet
Pierre-Louis Gallo - CHA Ô, visuel © Pierre-Louis Gallo
Catherine Hargreaves, portrait © Claudius Pan
Catalina Insignares – Carolina Mendoça, useless land, 2019 Performance Day – Ferme du Buisson © Emile Ouroumov
J. J. - Jill Johnston et Fred Herko (1963) - Pauline Le Boulba et Aminata Labor (2019) © DR
Photo du spectacle 20mSv de Bruno Meyssat, 2018 © Bruno Meyssat
Performance - Yves Mwamba © Yves Mwamba
Alexis Paul - Orgue, Portugal, 2016 © Alexis Paul
Portrait Yuval Rozman © Antonin Amy-Menichetti
La Forêt de Cristal mise en scène Bino Sauitzvy © Bernard Bousquet
Portrait Lucas Viallefond © Lucas Viallefond
  • Caroline Amoros – Princess’Us-Nous (Street art, performance - United States)

Born from the visual and physical theatre of the Antwerp scene, she conducts experiments between reality and fiction, staging and space, that momentarily change landscapes with her company Princesses Peluches and using characters imbued with humour. In each country she recreates a new episode of her journey across the planet. 

Inspired by Edgar Morin’s quote: “We are sleepwalking toward disaster,” she travelled to the United States as part of her Princess'Us-Us project researching identity, ecology, food, norms and progress. 


  • Alexandra Badea - En quête de résistances (Seeking Resistance) (Theatre - Brazil) 

A writer, director and director born in Romania, she has lived in France since 2003 and has chosen French as her language of writing. Her theatre questions the places where politics intrudes into intimacy. She has published 10 plays as well as a novel published by L’Arche and translated into several languages. She won the 2013 Grand Prize for Dramatic Literature for her play Pulvérisés (Pulverised.) She is developing a trilogy at the Théâtre National de la Collineon on the missing narratives of France's recent history Points de non-retour (Points of No Return), the second part of which Quais de Seine (Quays of the Seine) was created in 2019 at the Avignon Festival. 

Her residency in Brazil is based on the notion of resistance. She goes out to meet people trying to build utopian projects.


  • Fernando Cabral – (Re)incorporer la mémoire, mon corps comme feitiçoor (Re)incorporate Memory, My Body As feitiço- (Dance - Brazil)

A Brazilian choreographer and dancer based in France for 14 years, he has worked as a dancer with Dominique Brun, Benoît Lachambre, Ambra Senatore, Lorena Dozio and Thierry Bédard. His has presented his creations at the Théâtre de Vanves, the Etoile du Nord, the Centre d’Art Bétonsalon and the Carreau du Temple in Paris, Lieu Unique in Nantes, Printemps de Sévelin in Lausanne, Tanzhaus in Zurich and Itaù Cultural in Brazil in the Rumos Dança programme. 

For this project, the choreographer undertook a path of rapprochement with Brazil and an autobiographical search around a family and intimate memory, linked in particular to the period of the first post colonial decades in the south of the country. He wants to highlight this particular moment in history by questioning the active role of his ancestors, indigenous and Afro-Brazilian, in how he represents his body today, dancing and projecting the creation of a dance. 


  • Dinah Bird - Cent Mille (One Hundred Thousand) (Creative Music - India)

An indefatigable sound artistand radio artist, she has been exploring the physical, narrative and conceptual aspects of this medium and its consequences for over 20 years, through extraordinary waves and frequencies. 

Cent mille 10 5 is a sonic journey through the production of shellac, produced in north east India by microscopic Kerria Lacca cochineal, and used in the manufacture of the first records. I want to record the entire process of producing this bio-plastic, which comes from resin secreted by insects, to its harvesting, using artisanal techniques as well as more modern methods. From these recordings I compose and (re)produce a bio-plastic in pure Indian shellac. 


  • Guillaume Cayet – La comparution (Appearance) (Theatre – Algeria)

 This writer-director and playwright who was born in Nancy in 1990 was part of the Department for Drama Writing at ENSATT (the National Higher College of Theatre Arts and Techniques) from 2012 to 2015 under the direction of Enzo Cormann and Mathieu Bertholet. In 2014, he published Courail with Éditions Lansman; the same year, his paper Les immobiles (The Still Ones) won the Journées des auteurs de Lyon Prize and was published in 2015 with Éditions Théâtrales. He has been supported by the Chartreuse de Villeneuve-les-Avignon Cultural Centre (c.n.e.s.) since 2015. He is a member of the company Le désordre des choses.

La comparution continues my writing cycle that began with B.A.B.A.R (le transparent noir)  or B.A.B.A.R (The Transparent Black) about the colonial divide. After studying Benin and the colonial survivors in a French family from Vosges who lived in the colonies, I am interested here in the fictional story of the Saïdi family whose father is of Algerian origin. I would like to spend a month in residence in Algiers to try to understand this battle, to meet its last participants who are still alive, and to try to understand the links between Algeria and France through meetings, exchanges etc.


  • Pierre-Louis Gallo – Cha ô Kin/Ouaga connection (Street art - Burkina Faso, DR Congo)

Actor, author, surveyor, dreamer. After studying history and theatre in Paris, he joined the FAI-AR (Advanced and Touring Training in Street Arts) in Marseille. It was through the Cha ô project that he began his journey from one side of the genre to the other. He then created the surveyor's put-together language, shaped by the expressions and registers spoken in each place he encountered.Creating street writing dedicated to each place and its inhabitants, he developed walkabout performances in which the fictional narrative mingled with the real word of the passer-by caught up in its flow.

After a trip to Ouagadougou and then to Kinshasa, he decided to set out on a quest for a new, spontaneous poetry of questioning between invented languages, proverbs, slogans, litanies of nicknames and other myths specific to these two capitals. 


  • Catherine Hargreaves - Back to Reality - Drama (UK)

English and French, she is an actress, director, translator, educator and artistic director of the company Les 7 sœurs. In her work as a director, she seeks to give the viewer a true place as an author and questions the future of authenticity when the theatre appropriates it. She creates contemporary texts that she translates or writes herself with the aim of continually reinventing herself to keep the relationship with the representation of the world alive. 

With Back to Reality, she wants to confront the fantastical vision of her home country, England, with reality. In the aftermath of Brexit, the desire is to eschew any feelings of loss to focus on what exists, resists and emerges.


  • Catalina Insignares - Ese muerto se lo cargo yo (The Dead I Carry) (Performing arts - Colombia)

Colombian choreographer and dancer based in Paris. Her work includes numerous collaborations (Else Tunemyr, Miriam Schulte, Zuzana Zabkova). With Carolina Mendonça, she created useless land, a work directed at sleeping bodies designed as part of the exhibition “the dead are living: how to ruin an exhibition” in Berlin (2018), and shown many times since. From 2017, she worked with Myriam Lefkowitz as a performer and for an action-research project that seeks to infiltrate sensory practices in the field of social assistance.

In 2018, she began researching how to use the sensory and fictional tools of dance to communicate with the invisible, especially with the dead. She has collaborated on this project with Carolina Mendonça, playwright and dancer, curator of the VERBO performance festival in 2017 at Galerie Vermelho, Sao Paulo and the Videobrasil dance season (São Paulo).


  • Pauline Le Boulba – J. J. (Performing arts - United States)

An artist and dance researcher, her work unfolded in a research-creation thesis at the Paris University-8 dance department entitled “Les bords de l’œuvre. Réceptions performées et critiques affectées” (“At The Edges of Work. Performances and Reviews") submitted in 2019. She has created several choreographic pieces: le cycle La langue brisée (The Broken Language Cycle, 2015-2017) and Ôno-Sensation (2019).

With a special interest in the history of LGBTQI+ struggles and minority narratives, the trip to the United States will be an opportunity to research the life of Jill Johnston (1929-2010), a dance critic and lesbian feminist activist in the 1960s and 1970s in New York. From the material in her archives and the stories of those who knew her, she will promote this forgotten figure through different mediums, including performance and video.


  • Bruno Meyssat – OTUMBA (Theatre - Mexico)

Since 1981 he has been ahead of his time practising a unique kind of writing for the stage where actors, objects, lights and sounds collide with his company, Théâtres Shaman. A working protocol combining improvisation and intense documentation with the performers themselves characterises this theatre, which focuses on anthropology and the subconscious dimensions of the themes chosen. This continuous research (some 40 shows) has recently led him to contemporary subjects, such as finance for15%in 2012 and the nuclear industry with 20 mSv in 2018. He regularly teaches in France and abroad.

To prepare BIFACE he will travel to Mexico to collect information and photographs on the sites mentioned by Cortés and the Aztec witnesses of the events of 1519-1521.


  • Yves Mwamba – Voix intérieures (Indoor Voices) (Dance - DR Congo)

Born in Kisangani in the Democratic Republic of Congo, he began teaching himself hip-hop dance at the age of 13. At 18 he wanted to become a magistrate but was introduced to choreographer Faustin Linyekula and Kabako Studios, where he studied contemporary dance, staging and improvisation workshops for five years. In 2013 he was part of Faustin Linyekula’s Drums and Digging premiere at the Avignon Festival. Residing in France since 2015, he has collaborated with Compagnie Kivuko, KMK, the new Ballets du Nord, S-vrai, Studios Kabako and Ateliers Médicis (he won the first edition of the Création en coursprogramme in 2016). 

An artist associated with Ateliers Médicis and winner of the FORTE grant, the Voix intérieureschoreographic piece project has led him to carry out documentary research in Goma with the La Lucha citizen movement.


  • Alexis Paul - Orgue Paysage Palestine (Palestine Organ Landscape) (Creative Music - West Bank, Palestinian Territories)

A composer and cultural actor, he is the founder of the Belle Arché  LouSaudaá Group and disseminates his work widely, in France and abroad, from the Caucasus to South America, outside an academic context. His most recent projects are based on the concept oforgan-landscape, an impulse which, through the prism of the organ of barbarism, aims to to collect fictional stories from popular cultures to reinvest them in a contemporary, nomadic and collective outlook. 

Through a rediscovery of Palestinian embroidery, the project aims to explore possible links between textile and sound. Using perforated cardboard as a visual and sound tool, the idea is to pierce the patterns into music by working on the repetition principle.


  • Yuval Rozman – Adesh (Theatre - Jerusalem, Palestinian Territories) 

Author and director. After studying at the National Conservatory in Tel Aviv, he created the Voltaire ensemble.His Cabaret Voltaireshow won the award for best play at the C.A.T International Festival. He has collaborated with Laetitia Dosch, Mohammed Bakri and Hubert Colas among others.

He is currently working on The Trilogy of My Land, a three-part series about the Israeli-Palestinian conflict. The first part, TBM - Tunnel Boring Machine, explores the political angle. The second, The Jewish Hour,deals with its religious aspect. The final section, Adesh, will discuss the place that money occupies: it will address the drivers of the Israeli-Palestinian economy and the consequences on it of a conflict that has been ongoing since the creation of Israel in 1948.


  • Bino Sauitzwy – The study of Brazilian animist practices for the creation of performances of street arts (Street arts, Circus – Brazil)

Director, performer, and doctor in the aesthetics, science and technology of the arts. He started as an actor in 1994 in Brazil, receiving the award for Best Director at Porto Alegre in 2001 and Best Dance Show in 2002. In 2003 in Paris he founded the Collectif des Yeux, developing various projects for performances, films and videos between physical theatre, dance, circus, butoh, visual arts, land art and street art, and he has collaborated with the director Julie Duclos and the group CocoRosie among others.

His current research focuses on the concept of the body-world through the intersection of quantum physics and animist practices, including the Brazilian Yanomami and Orixa systems as creative tools.


  • Lucas Viallefond – Researching and writing a handbook on the Jooss-Leeder method (Dance – United Kingdom)

Lucas Viallefond trained in contemporary dance at the the Paris National Conservatory for the Study of Music and Dance. He joined the Folkwang Hochschule University of the Arts to learn the Jooss-Leeder method, used and made famous by the choreographer Pina Bausch. Dancer for the Compagnie Beau Geste for several events at the Théâtre du Châtelet, the Angers National Choreographic Centre (Robert Swinston National Centre for Choreographic Development) and the Folkwang Tanz Studio. Visiting professor in France and abroad.

Close to Jean Cébron at the end of his life, the desire to write a handbook on the Jooss-Leeder method came to him when he interviewed dancers who taught this method, including Vivien Bridson in London. This project will be presented in the form of a book written in French, as no book yet exists on this method in this language.

Carole Douillard : Alive, Kabylie-Californie 1979-2016
© Henri & Carole Douillard