The live show is a living material that crosses eras and is crossed by our lives.

How were the projects organized in Germany? How did you choose the creations that are diffusedées ?

Anna Gritz, curator of the Haus am Waldsee museum, initiated this project, and invited curators Kathleen Reinhardt of the Kolbe Museum, as well as Andrea Niederbuchner of the Sophiensäle to invent it with her.

It's not so much a retrospective, in the sense that we didn't aim to present my work exhaustively, nor my oeuvre from its history from 1999 to the present day, but rather a curatorial project that allows visitors and viewers to discover my practice through its various forms, and my formal work on perceptual frames.

In the case of the Kolbe Museum, my work is put into perspective with that of my precursors, the European artists of modern art, who worked at the intersection of sculpture and performance, and who also worked with anthropomorphic objects as critical tools.

It's exciting to work with Anna Gritz, Kathleen Reinhardt, Andrea Niederbuchner and all their and my collaborators, because they do curatorial work that really allows history to be written in the present, with a reflection on history and art history.

This is therefore very much a collaboration, and we chose the works and their articulation together, in order to build and write this experience in Berlin, questioning notions of silences, immobilities, the present and the real through their physical experiences.

The result of a collaboration between the Haus am Waldsee, the Georg Kolbe Museum and the Sophiensælen, the exhibitions "Gisèle Vienne. This Causes Consciousness to Fracture - A Puppet Play" and "Ich weiß, daß ich mich verdoppeln kann. Gisèle Vienne und die Puppen der Avantgarde" have been open in Berlin since last September. One of them takes the form of a play. What do you particularly like about the staging?

In this case, what I call a play, is indeed an exhibition, but I invite visitors to approach it as a play, as this already changes their point of view. Changing expectations can help us to think differently. Calling the Haus am Waldsee exhibition "a puppet play" as a subtitle invites museum visitors to approach the exhibition with the expectations associated with theater. These expectations are usually associated with movements, narratives and sounds that are part of the theater's specific history. This exhibition invites visitors to listen to all that is said in what is called "silence", and which is not silent, and to observe the movements of so-called immobility.

What I call choreography is a semiotics of bodies. Observing and listening to bodies and their interactions in space and time is a language that speaks; a language that we don't normally learn to read, or that is discarded as such, but that it is crucial to read and that we are actually able to read. For we can understand all kinds of non-verbal language if we look and listen carefully. My choreographic practice influenced the way I composed the exhibition. A piece that stages what so-called silences and stillnesses say.

I create my work in a variety of venues, such as theaters, opera houses, museums and also outdoors. My practice encompasses sculpture, film, photography, puppetry, theater and choreography as a coherent body of work. Each location and medium involves different cultural and artistic histories, economies, social environments and expectations. Considering them together corresponds to my perception of the world.

Creating for me means inventing a working methodology that allows me to think, and think in a particular way, based on philosophical phenomena and questions.

Your créations possè have a powerful visual identity, brought to life by dancers, actors or even puppets. What are your sources of inspiration? How are your projects born ?

My sources of inspiration are many. My experiences and acquaintances, the artists I work with, are all collaborators, with whom exchanges teach me a great deal. Philosophy, literature, cinema, dance, music and all the arts nourish me, experimenting with other works is decisive for me.

For me, creating means inventing a working methodology that allows me to think, and think in a particular way, based on philosophical phenomena and questions. It's questions, desires, rages and joys that make me think, move and create.

After performances in Berlin, your play Crowd is about to be performed at the Grande Halle de la Villette in Paris. Can you tell us about this work, which features fifteen male and female dancers?

Crowd unfolds the density of present-time experience, where past, present, anticipated future, memory construction, imagination come together, and questions the influence of the emotional prism on perception. This work also explores the physicality of amorous sentiment and the singular perceptual state it can generate.

Crowd also tells the story of underground techno in the 90s in , those critical spaces on the margins where people try to invent other ways of being. Crowd tells the stories of countercultures, immense and crucial creative, intellectual and political breeding grounds.

The works are always at work and constantly evolving. That's what makes touring exciting, and why we can work for years on a work.

Crreleased in 2017, Crowd has become a classic in your repertoire. Do you evolve your works over time and performances?

Yes, the works are always at work and constantly evolving. That's what makes touring exciting, and that we can work for years on a work. I think it also makes the audience's experiences much more interesting and touching.

The live show is a living material that crosses eras and is crossed by our lives. This is the strength of this artistic practice, which is always in motion.

What are your upcoming projects? After the success of Extra life, do you already have another play in mind?

The book This causes consciousness to fracture, of the same name as the exhibition, was recently published by Haus am Waldsee and Spector Books. This book is an artistic project in itself, and we worked on the question of choreography and its writing, in collaboration with photographer Estelle Hanania, using the medium of the book. So it's a work that articulates with the other artistic experiments present in Berlin.
And I'm also working on writing a new play to be premiered in December 2026, and writing a film. I take a lot of time to create each project, so I can move around in my process, and that movement takes a lot of work.