Isabella Soupart is an actress, dancer, film director, director, choreographer and visual artist. She develops and presents her work in Brussels, where she is based.
Her singular creations apply different artistic expressions, such as theatre, dance, sound effects, installations, visual arts, digital art and collective performances. She brings forth a fragmented universe in which different realities and timescales are made to coexist. Constructed as a puzzle, or assembled as « contradictory » elements, (the merging of sound and multiple musical and visual experiences, for example), her work involves a tangible but rigorously personal reflection on the question of contemporary creation.
Finalist of The 2006/2007 in New-York for the Rolex Mentor and Protégés Arts Initiative.
A polyvalent artist, Isabella Soupart is also an actress (revealed to the public at large in the Dardenne Brothers’ film Le Fils (the son).
The choreographer’s projects involve numerous productive partnerships, for example with visual artists Michel François, Kurt d’Haeseleer and British visual artist Jonathan Sullam, choreographer Anne Teresa De Keersmaeker, American light designer Jim Clayburgh, the MP4 quartet, photographer Danny Willems, sound designer Thomas Turine, filmmaker Sabrina Montiel-Soto and musician Ruben Martinez Orio (Ictus).
Her work is performed on the Belgian and international scenes, in museums and galleries as well as architectural locations. Her acclaim as director and choreographer in Belgium and abroad is recognised by the public, the written press, the media, and programmers. She hosted several national, French and international festivals. The Kunstenfestivalsdesarts, Brussels (BE), Koninklijke Vlaams Schouwburg (KVS), Brussels (BE) / Festival Ars Musica, Brussels (BE) / Avignon Festival IN (FR) / Red Cat Theater, Los Angeles (US) / Teatro Canovas, Malaga (ES) / Teatro José Tamayo, Granada (ES) / Teatre Lliure, Barcelona (ES) / Festival Sommerszene, Salzburg (A) / Burgtheater, Vienna (A) / Eaux– Vives, Geneva (CH) / Salzlager, Innsbruck (A) / Théâtre de la Ville de Paris (FR) / Lieu Unique, Nantes (FR) / Stoa, Helsinki (FIN) / Maison de la danse de Lyon (FR) / Le Cuvier, Bordeaux (FR) Théâtre National de Chaillot, Paris (FR) / Lantaren Venster, Rotterdam (NL) / Théâtre de la Bastille, Paris (FR) / Centro Culturel de Bélem, Lisbon (PT) / Tanzhaus, Düsseldorf (DE) / La Ferme du Buisson, Paris (FR) / Festival IN d’Avignon (FR), Festival Musiq3 Flagey, Brussels (BE), MRBAB Fine Arts Museum, Brussels (BE).
Hugues Bultot H&B Management Production (BE), COBRA Films (BE), Kunstenfestivalsdesarts, Bruxelles (BE), Koninklijke Vlaams Schouwburg (KVS), Bruxelles (BE) / Festival Ars Musica, Bruxelles (BE) / Avignon Festival IN (FR) / Red Cat Theater, Los Angeles (US) / Teatro Canovas, Malaga (ES) / Teatro José Tamayo, Granada (ES) / Teatre Lliure, Barcelona (ES) / Festival Sommerszene, Salzburg (A) / Burgtheater, Vienna (A) / Eaux– Vives, Geneva (CH) / Salzlager, Innsbruck (A) / Théâtre de la Ville de Paris (FR) / Lieu Unique, Nantes (FR) / Stoa, Helsinki (FIN) / Maison de la danse de Lyon (FR) / Le Cuvier, Bordeaux (FR) Théâtre National de Chaillot, Paris (FR) / Lantaren Venster, Rotterdam (NL) / Théâtre de la Bastille, Paris (FR) / Centro Culturel de Bélem, Lisbon (PT) / Tanzhaus, Düsseldorf (DE) / La Ferme du Buisson, Paris (FR) / Festival Temps d’Images-ARTE (FR) / Festival IN d'Avignon (FR).
Michel François is a conceptual artist rooted in contemporary reality, producing sculptural, performance, video, photo- graphic, painting and installation work. From the early stages of his career, he displays his work in Europe, USA (New York, Los Angeles, San Antonio), Mexico, Brazil and Japan. Living and working in Brussels, his participation in two key contemporary art events (Dokumenta IX in Kassel, and the 48th Venice Biennale, where he represented his country next to Belgian artist Ann Veronica Janssens) gained him international recognition. His art also brought him to work on three shows with Belgian choreographer Anne Teresa De Keersmaeker: The Song (2009), En Attendant (2010) and Partita 2 (2013). www.xavierhufkens.com
Kurt D'Haeseleer studies audiovisual arts at the Brussels Sint-Lukas Arts Institute before joining Filmfabriek in 1999, an artists' work group situated at Bierbeek in Belgium. Filmfabriek concentrates on artistic projects which include graphic design, video and theatre. Kurt D'Haeseleer's production takes the form of experimental video and video installations, such as File (2000), Lullaby (2003), Another Dress Code (2003), S*CKMYP (2004), Fossilisation (2005) and Pop Steroids (2005). He has also produced videos for several theatrical productions, for dance and operas by Guy Cassiers, Georges Aperghis, Ictus, de Parade, Isabella Soupart, Johanne Saunier…Since 2010, he is the creative director of WERKTANK (a factory for new and old media art) and is in charge of video design for Guy Cassiers and Daniel Barenboim's Ring de Wagner performed at the Scala of Milan, as well as at the Berlin Staatsoper. He has worked with Inne Goris and Dominique Pauwels on the creation of Hautes Herbes, performed at the Kunstfestivaldesarts in May 2012, premiering at the French Temps D'Images in 2012. www.kurtdhaeseleer.com
Jim Clayburgh is a founding member of the Wooster Group of New York, reputed to be “one of the most influential avant-garde theatrical organizations in the world” and his set design recently won an award for Best Design in the first Irish Theatre Festival in NYC. Jim has previously designed at the Salzburg Festival and at the Monnaie in Brussels. His work is often cited in theatre textbooks, the New York Times, and literature surrounding avant-garde theatre, and he was the architect scenograph for La Maison de la Radio, Flagey in Brussels. In addition to his work with The Wooster Group, Jim Clayburgh has designed theater pieces at the Pepsico Festival, The New York Shakespeare Festival, The Ontological-Hysteric Theater, Creation Company, Mabou Mines and Second Stage including work directed by Richard Foreman, David Rabe, Des McAnuff, Wilford Leach, Matthew Maguire, Hal Hartley, Isabella Soupart, and Jeffrey M. Jones. He has designed lighting for dance pieces by Rosas (Anne Teresa De Keersmaeker), Michele Anne de Mey, Pierre Droulers, Joji Inc, Wim Vandekeybus, Isabella Soupart, The Musical Ensemble, Ictus and Walpurgis all Belgian companies, and as well for the Ballet de Geneve (Suisse), EN-KNAP (Slovenia). www.jojiinc.org
British visual artist based in Brussels, Jonathan Sullam has developed a visual language making paradoxical use of objects that appear as oxymorons suspended in time and space. The pieces all present a state of ambiguity as to their status or function and reveal a precarious equilibrium capturing the tensions preceding a fall or an ascent. The artist is also co-founder of the Mobile Institute, a creative platform producing performances and installations in the public space. His videos and sculptures belong to the Wonderful Fund Collection alongside well-known figures from the Young British Artists group. Jonathan Sullam frequently partners with Belgian choreographer Isabella Soupart : Get A Grip (2013), Steve Reich Project (2014), After Words (2015), I Love My Family (2015). www.jonathansullam.com
Born in France and holder of a degree in philosophy, Eleonore Valère-Lachky trained at the P.A.R.T.S. dance school (Anne Teresa de Keersmaeker). She was taken on-board by Wim Vandekeybus's Ultima Vez company in 2004, where she particularly performed in the European tour of the production Porteuses de mauvaises nouvelles. She assisted Anton Lachky in the Heaven is the place, Inner eye and Softandhard productions. Michèle Anne de Mey, who created Lands, danced and performed in Sinfonia Eroica the world over. She has also worked with Justin Garrick, Jean Abreu, Figis and William Forsyth in Human Writes. She has written several plays On Friskin, Sonifrin, and danced in Mental Finland, by Kristian Smeds. In 2015, she starts to work with choreographer and artist Isabella Soupart, in Short Films and C'est ici que le jour se lève (daybreak starts here). She dances for Jan Lauwers & Needcompany for La maison des cerfs in 2009. She is also in the cast of L'art du divertissement.
Bérengère Bodin graduated from the Centre National de Danse Contemporaine in Angers. She joined the choreographer Raimund Hoghe and worked with Joëlle Bouvier. In 2004 she joined the Nod Dance Cy and worked with Carolyn Carlson and Euan Burnet Smith, and in 2006 became a member of Kubilai Khan Investigation. In 2007 she met Isabella Soupart for whom she played and danced in several shows and films, K.O.D. (2007), Collision(s) (2010), Red Room (2010), Words Film (2012), After Words (2015). In 2009 she collaborated with JoJi Inc. and met Robyn Orlin. Since 2010 she has been a dancer with the Ballets C de la B, with Alain Platel in Primero (2010), C(h)leurs (2012), Tauberbach (2014), Nicht Schlafen (2016). In 2012 she partnered once again with Robyn Orlin for a new creation in Lille.
Thomas Turine is a composer, musician and sound engineer. He was a member of the Major Deluxe rock group and practices electronic music. He composes scores for electro-acoustic instruments merging traditional melodic sound with contemporary sound. He is also a dedicated researcher of sound language and writings and collaborates with different choreographers, performers and film directors, starting up a series of productive partnerships with contemporary theatre and dance groups. He works with choreographer Pierre Droulers, in Inoui (2004), Flowers (2009), director Claude Schmitz, Melanie Daniels (2013), Darius, Stan et Gabriel contre le monde méchant (2015), the film Le Mail (2015); he works with Belgian choreographer Isabella Soupart on In The Wind Of Time (2005), K.O.D (2007), the film Words (2012), with the Mossoux-Bonté Company in Whispers (2015), with Philippe Eustachon, la Cie Anomalie, Kris Verdonck, Michèle Anne de Mey. He has composed musical scores and sound effects as well as produced the electronic acoustic devices for the broadcasting of around forty theatrical productions, all requiring equal rigour. Over the years, he has worked on merging contemporary music within the scenic space, going beyond pure music, inventing his own musical theatre where 'quantum' musical experimentation releases more than adequate images and visions of the world. www.thomasturine.com