Adaline Anobile


Adaline Anobile is a performer and choreographer living in Brussels. She completed a Masters in Textile Design at La Cambre Visual Arts School (BE) before completing a Masters in Choreography at ex.e.r.ce / National Choreographic Center in Montpellier (FR) and a Bachelor in Philosophy at the Université Paris Nanterre (FR).

Her interests in dance, philosophy, drawing, somatic practices, martial arts and voice have influenced the development of her work. Her work develops in the midst of things: matter, words, bodies and concepts contaminate each other in multi-textural realities that defy hierarchy and domestication. She is particularly interested in the performativity of the gaze, and her work experiments with shifts in perception.

Her latest works are SEE THAT MY GRAVE IS KEPT CLEAN (2019); À 10CM PRÈS written together with Julie Gouju (2018); NOIR APPARENT written together with sound artist Rudy Decelière (2014); as well as a series of short performances ALINEA (2016), ABBATALE DE BELLELAY (2012) and RUNNING (2010). Collective work is an important part of her work and life. She has participated in multidisciplinary projects such as the opera performance DESERTING LAS VEGAS, presented ‘on the road’ between New York and Las Vegas, made with the Swiss collective Eternal Tour (2011); the multidisciplinary event MISSING OBJECTS, curated by Denis Schüler/Ensemble Vide (2013), and later was closely involved with Atelier REAL in Lisbon (2016-2019), where she also performed in the last works of João Fiadeiro, O que fazer daqui para trás (2016), From far it was an Island and De perto, uma pedra (2018). She is currently part of the multidisciplinary and in-situ project en twinning a long-term process by choreographer Laurent Pichaud (2019-2023).

In 2022 she was involved with La Caldera/Barcelona, where she thinks and works on the BRUTAL program and the event cycle. This year she will be featured in the creations of Gaëtan Rusquet En reconnaissance (BE); Lucia Palladino Correspondances (IT/BE) ; Aurélien Dougé Hors-Sol (CH) and Pauline Brun Jardins (FR).

In residentie mountains grow unnoticed

Altered attentional states – such as dream states and hypnotic states – offer a different and broader understanding of vision: by blurring or distorting the boundaries of time, bodies, thoughts, memories, spaces, sensations and images, dreams and so-called hallucinations participate in a perceptual experience that breaks the norms we are used to. These experiences disrupt hierarchies of perspective and the domestication of the gaze, allowing for more porous and multiple experiences of vision. mountains grow unnoticed is a performance that will question how visions take place in the midst of things. During the work process we will investigate how our attention rhythms influence vision. We will consider seeing as a matter of time. Can rhythm give access to other ways of seeing and relating to what we see?

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