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Agata Maszkiewicz is a choreographer and performer. She lives in France.
She graduated from the contemporary dance department at the Institute of Dance Arts in Linz, and was a participant in the “ex.er.ce” program at the Centre Chorégraphique National in Montpellier. She has worked with the Superamas collective, Ivana Muller, Alix Eynaudi, Anne Juren, Paola Caspao, Weronika Szczawińska and Agnieszka Jakimiak, among others. She has performed at Komuna Warszawa Theater twice – in 2019 with the performance “Such a Landscape” (as part of the residency program “Landscape” curated by Weronika Szczawińska) and in 2019 with the performance “Still Life.”
She uses bodies, objects, things, texts, images in her choreographic work. She enjoys creating hybrid stage forms, combining different, often very distant themes and proposing strange mixtures. She uses humor as a tool. She is always looking for a specific context to create movement. She loves to dance and cares about making dance attractive to the audience as well.

Emma Tricard is a dancer, choreographer and speaker. After training with Maguy Marin, she completed HZT-Berlin (Inter-University Center for Dance) and Master Exerce at ICI-CCN in Montpellier. Since 2015, she has been developing choreographic research based on observation and the distortion between “saying” and “doing.” Thrown into a whirlwind of adventures, she invents dances of conjugation, thinks about her work in the future tense and plays with cause and effect relationships between things, thoughts, movements and natural phenomena. She creates dance performances, sound walks and develops research with Joanne Clavel, a CNRS (Centre national de la recherche scientifique) researcher in environmental humanities. In 2022, she created “Débordement / Die Ausschreitung,” a Franco-German science-fiction choreographic piece, in collaboration with Cécile Bally. As a performer, she collaborates with Cie L’Unanime, Sergiu Matis, Alain Michard, Lea Moro, DD Dorvillier, Anna Aristarkhova, among others, and accompanies Betty Tchomangi’s work as a playwright and assistant.

Séverine Rième is a performer, choreographer, light designer and poet. After studying literature, she began working as a dancer-performer in 1998, and has been choreographing and directing since 2004.
Her creative work combines body in motion, vocal practices and the creation of plastic and visual devices. She explores the areas between inertia and life, plasticity and erasure, identity and diversity. She is working on a number of stage, film and poetry projects. In 2024, she published her first book of poetry, “Nos soifs” (published by Les Carnets du Dessert de Lune). Writing is becoming an increasingly important part of her research and work.

Antoine Tirmarche

is a musician and composer. He studied jazz at the Institut Régional d’Expression Musicale in Bordeaux. He attended classes in orchestral and electroacoustic composition at the Conservatoire Gabriel Fauré in Angoulême and graduated in electroacoustic composition in 2023. He is interested in how sounds interact, and in works he often combines recordings of barely audible and unbearably loud sounds, disturbing and soothing tones. He likes to enter into a dialogue with the moving body, stage design or light and is always looking for unconventional ways of interaction.

https://ateliernautilus.bandcamp.com/track/antoine-tirmarche-the-accountant-dance

Marta Szypulska is a seamstress, costume and set designer. She graduated from the University of Arts in Poznań at the Faculty of Interior Design and Scenography with a specialization in Fashion Design. She lives on the route Poznań-Warsaw-Lublin, and works everywhere. Her artistic activities are directed towards designing unique clothing for street people, unconventional individualists and conscious fashion consumers. She draws inspiration from futuristic visions and the natural world. She is currently pursuing her career in theatrical costume design, personal tailoring, and creating customized forms for performative needs. She has worked in many theaters in Poland. With Weronika Szczawińska she realized: “No More War”, ‘Conversations About Trees’, ‘Simply’, ‘Urban Birdman’, ‘The Club’, ‘Abandonment Time’, ‘Mushrooms’, ‘Trumpet to Listen’. She worked with Wiktor Rubin on costumes for “Chaplin”, “The Curse of the Kennedy Family”, Citizen Kane”, ‘The Anthill’. Together with Wojtek Rodak, she realized the performances: “Sailor”, ‘Tom in the Countryside”, ‘Colorful Dreams’. She collaborated with Jasmina Metwaly for the Hammer Museum in Los Angeles and the KW Institute for Contemporary Art in Berlin. She has done things for Teraz Poliż, Gosia Wdowik, Hana Umeda and such choreographers as Alicja Czyczel, Marta Ziółek, Wojtek Grudzinski and Magda Jędra. Recently, at Komuna Warszawa Theater, she designed the set and costumes for the play “M4G1C BL0W.”

Agnieszka Ryszkiewicz, engaged in in situ performance, performance pedagogy, artistic mediation and choreographic games, she works in series that blur the boundaries between different art forms and twist the formats of traditional works.
She studied at the Institute of Dance Arts in Linz, at the University of Paris 8-St Denis (philosophy and dance aesthetics), and completed the two-year choreographic program “ESSAIS” at the National Center for Contemporary Dance in Angers, France (CNDC under the direction of Emmanuelle Huynh). She continues to work in different contexts, exploring the social dimensions of human bodies, their iconographies and memories. Her encounters with other bodies lead her to create stage plays, performances, happenings and performance situations with the participation of amateurs. She carries out projects in both artistic and non-artistic spaces (galleries, prisons, schools, internet, private homes).

Vincent Tirmarche has been a member of the SUPERAMAS collective since 2000, as part of which he has created numerous films, installations and performances. Often “unclassifiable,” SUPERAMAS’ shows combine critical reflection on the contemporary socio-political environment with formal research on theatrical and/or media representation, in the tradition of Guy Debord’s La société du spectacle. As an artist, he is interested in the relationship between reality and fiction. His close collaboration with Agata Maszkiewicz is a long-term relationship based on artistic respect and mutual agreement on the goal of each work of art: to move the audience and test their faith in what they believe to be right and true.