Artists in Residence

He comes from Strasbourg (FR), where he began by studying visual arts at the HEAR (Haute Ecole de Arts du Rhin). He then moved to Lausanne (CH) to continue his studies in dance, as part of the Bachelor's programme in contemporary dance at the Manufacture (Haute Ecole des Arts de la Scène). Like his studies, Auguste's artistic practices lie in a porous zone between visual and performing arts. He is interested in aesthetic politics at work between bodies, the space in which they are immersed and the materials that dress them. As such, he attaches great importance to costumes, textures and colours, as well as to dance which is the central part of his work. Auguste also has a particular love for the medieval period and its iconography that has profoundly influenced his artistic work for many years. Through performance and especially dance, he aims to create moments outside the hegemony of reason. Concrete spaces where the linear temporal order is disrupted, where one laughs from one's spleens, one cries from every pore, where idiocy is a serious matter. All these concerns are reflected in his work within collectif Foulles, which he co-founded with four other artists: Collin Cabanis, Délia Krayenbhül, Emma Saba and Fabio Zoppelli. Based in Lausanne, they have been creating pieces since 2018. In 2023, he signed his first piece in collaboration with musician and performer Alex Freiheit, What will remain secret at Festival d'Avignon In as part of Sujets à vifs/ Tentatives in partnership with SACD. Auguste and Alex are now in the process of creating a second performative object, Heavy, baby  that will premiere in March 2026 at festival Printemps de Sévelin in Lausanne. Finally, Auguste's preoccupations also lie in his collaborations as performer, costume designer or artistic assistant with other artists such as Alix Eynaudi, Nicole Seiler, Catol Teixeira, Emma Saba, Vidal Bini, Régine Chopinot, Natasza Gerlach and Elias Kurth.

Aurélia Lüscher began her theatrical training at the Geneva Conservatoire and went on to study at the École de la Comédie de Saint-Étienne. It was here that she met her future collaborators.  With playwright Guillaume Cayet, she co-founded the company "Le désordre des choses". "Les corps incorruptibles" is Aurélia's latest project with the company (supported by the Fondation d'Entreprise Hermès and the Fonds de dotation POROSUS). This work explores the treatment of mortal remains in Western contexts, combining theatre, visual arts, performance and fiction in a constant exchange of practices. Its artistic ambition is to offer audiences a universe at the crossroads of theatrical writing, performance and installation. In this hybrid mode of production, she takes on multiple roles: investigator, writer, set designer, constructor and performer. Her next project, a continuation of the previous one, will deal with the relationship between the living and the dead and the construction of ghosts. She lives and works between France and Switzerland. 

The residency is sponsored by the Ernst Göhner Foundation.

Craig McCorquodale thinks of his work as Social Sculpture: performance events that ask us to look more closely at the people we share our streets with. How fragile, visceral, ineffable, accidental, unforeseen or seemingly impossible live moments can upend the tyranny of theatre and model new and vital ways of existing together. In this way, Craig’s practice exists as part of a canon of artists working internationally at the intersection of professional theatre-making and participatory practice. 

Craig invites all kinds of people into his work, and in recent years he has collaborated with children, policemen, ballroom dancers, football teams, builders, a 100 year-old, an embalmer and his neighbours in the southside of Glasgow. He feels there is something exciting here about the stage as a place for dialogue and nuance, placing real life within a heightened aesthetic frame and where the everyday exists alongside the existential. How we might recognise our own humanity in the life of another. 

Craig's work takes a variety of forms, from public meals to civic theatre events, always responding to people and place. His touring work 24 Things to Tell You is a 24 hour durational artwork where, in each place the work is performed, 24 interventions happen in public space over 24 hours - one every hour of the day, including all the way through the night. With local people working alongside local businesses and artists, the city rallies together to make the miraculous visible. Craig is currently developing two projects at scale, Landmark, where local people live in a purpose-built monument in public space, and a project with Factory International responding to polarisation of communities - inviting 100 people onto the stage to build and collapse a series of structures. 

The residency is sponsored by the Stanley Thomas Johnson Foundation.

Victor Delétraz is an artist based in Geneva. His versatile artistic practice explore the fields of installation, writing, music, video, painting and performance. Graduated from the HEAD – Genève with a MFA, he adopts a singular approach for every projects, using installation and performance to transform ordinary objects in elements of reflection, exploring narratives that are at once cartoonish, odd and political. Through an aesthetic mixing the spectacular and the absurd, his interventions unfold between the defined gesture and improvisation in wobbly and fragile actions.

His installations, which serve as stages for his performances, often incorporate objects of varied origins and typologies, which he uses to bring out their performative potential. His work address political and poetic questions around concepts of failure, vulnerability, instability, security and consumerism.

Victor Delétraz has exhibited and performed in Sofia, Athens, Bordeaux and in Switzerland for the Kiefer Hablitzel Price and in off-spaces such as Palazzina, Zabriskie, Le Commun, Espace 3353, BIG 21 & 23 or La Becque. He is currently resident for the 2024/25 season in l'Abri - Genève.

Jenny Moore is a composer, singer, choir leader and performance artist. Voice and rhythm propels her compositional work, deep-rooted somatic storytelling is at the heart of her writing and directing. This practice works from the body, rhythm, oral / aural traditions, with the theories of muscular bonding and Deep Listening, and choreographic tools for tuning, sensing and expanding music. She believes music is a social creature, ripe for political movement.

Her London-based six-piece choral-punk ensemble Jenny Moore’s Mystic Business is known for their tuned percussion, huge vocals and chanted soulful mantras, a mix of 90's R&B and post-punk. Their debut EP, "He Earns Enough," was released on Lost Map Records in 2021, with The Piano Tapes Vol. 1, recorded live in St Barnabas, Dalston following in 2022. 

Moore founded the 60-piece experimental F*Choir, composing and arranging for the diverse group of singers using non-gendered voice parts, graphic scores, no auditions to create highly energetic, rhythmic and political music. She's known for pioneering the DIY scene in bands like the dance-punk trio Charismatic Megafauna and Bas Jan, hosts a radio show on Soho Radio called 'Hitting Things,' and recently made her theatre debut as Composer for Robin Hood: The Legend Re-Written at Regents’ Park Open Air Theatre.

Moore was the first artist in residence at Borealis festival for experimental music in Bergen, Norway in 2019-20 and has been commissioned by the National Girls Youth Choir, Tate Britain, Tate Modern, Whitechapel Gallery, Camden Arts Centre, Arnolfini Bristol, CCA Glasgow and various DIY artist led spaces in London and abroad. She has performed at The Future is Female, Chapter Arts, Cardiff, Park Nights at the Serpentine Gallery with BBC Late Junction, Supernormal festival, and various DIY artist led spaces in London and abroad.

Her experimental choral musical, Wild Mix, is currently in development.

The residency is sponsored by the Stanley Thomas Johnson Foundation.

Oluwabukunmi Olukitibi is a Nigerian multidisciplinary performance artist, wellness educator, and cultural organizer. With movement as her primary medium, her practice centers breath as the impulse for exploring the intersection of body, memory, healing, resistance, space, and human connection. She is the founder of Hearts Heartist, a consortium that support interdisciplinary performance, holistic wellness, art education, and community-based practice.

Oluwabukunmi’s practice is a visual journal exploring the essence of life and her position in it within a seemingly never-ending timeline. It is an interdisciplinary practice that aims to re-examine history and understanding its influence on today as well as the future. She uses her performances as a vehicle to visually integrate ancestral modalities with the modern while preserving their essence. Her performances are rooted in psychosomatic expression and ancestral remembrance. She gleans wisdom from her Yoruba cultural heritage as an integral lens through which she acknowledges and approaches her works.

Oluwabukunmi has shared her work across Nigeria and internationally, facilitating workshops, performances, and collaborative art projects. She is committed to creating safe, expressive spaces for collective transformation, meaningful connections, provoking dialogue, contemplation, interrogation, reflection, imagination and sense of belonging among communities. A passionate believer in the power of art to heal and transform. Her approach combines creativity, compassion, and critical thinking – making her a quiet force of transformation and an inspiring changemaker committed to building a more just, peaceful, and sustainable world.

Maxime Hourani is a multidisciplinary artist working with time-based media to make visible shifting ecologies. His sonic impressions mirror the transforming landscapes that he explores in his speculative and spectral surveys.

As a self-taught electronic musician, he began building synthesizers and amplification circuits to create sound for his video works. One of his creations is the ancient instrument of the future– a 12-string electroacoustic instrument charged with the melancholy of the qanun and the bass grit of black metal guitars. His other workhouse is a modular system that is assembled around physical modelling synthesis, as sound source and filter.

Working across art forms and media, Hourani’s works have been presented at Skēnē Malmö (2025), OFF Biennale Cairo (2023), Rencontres Internationales (2020), Tensta Konsthall (2019), the Jerusalem Show (2014), and the Istanbul Biennial (2013). He has recently been in residence at the Bergen Center for Electronic Arts- BEK (2025) and PROZESS Bern (2025), as well as at KAAYSÁ Art Residency in São Paulo (2020), Badischer Kunstverein (2018), and the Delfina Foundation (2014).