Léa Katharina Meier (born 1989 in Switzerland) is a performance, theater and visual artist. By employing clowning as a performative practice, her research focuses on the notions of ridiculousness, abjection, and jubilation in order to create a visual and sensory universe that embraces the audience. Out of her intimate failures, she wishes to develop a filthy, dyke sense of humour. On stage, she strives to embody negative emotions and feelings as a source of pleasure. Storytelling, the body as archive, grotesque femininity, shame, and a childlike universe are recurrent motifs in her practice. Léa Katharina Meier has shown her work in numerous art spaces and theaters (CH: Arsenic, Tunnel Tunnel, MCBA, TU-Théâtre de l’Usine, Le Commun, La Ferme de la Chapelle, Zabriskie Point, Swiss Art Awards, Festival Programme Commun, Belluard Bollwerk, Les Urbaines, Cabaret Voltaire / IT: Lateral Roma, ADA Roma, Short Theater Festival, Festival Bande de Femmes / BR: Pivô arte e pesquisa, FAAP Residência Artistica / FR: Perfomissima at CWB Paris). In 2021, she received the audience and jury prizes at the Swiss Performance Art Awards for “Tous les sexes tombent du ciel“ who was presented in 2025 as part of the Swiss selection in Avignon (FR). In 23-24, she is a resident of the Swiss Institute in Rome (IT) and received an award of the Irène Reymond Fondation in Lausanne (CH). 

Tatiana Baumgartner is a performer and stage director whose main subject of research is power dynamics that lies behind every interaction and situation in the private and the public sphere alike. In her creations, she attempts to highlight ambiguous actions, behaviours and discourses, whether mundane or extraordinary, which form fertile ground for the manipulation of others. In doing so, she seeks to show the banality of power relations between people, and above all to remind us that we are all, potentially, affected. Her latest works includes Terminale Hysteria (Arsenic, 2024, TU Théâtre de l’Usine 2025) which she co-wrote, co-directed and in which she co-performed alongside Léa Katharina Meier. The play explores the links between laughter and violence, using these concepts as tools for emancipation to address the violence that norms exert on our bodies, as well as the violence that we ourselves can inflict as women ; and We didn’t come empty handed (Arsenic 2021, La Grange and Le Pommier 2022), a play she co-wrote and co-performed with Caroline Imhof. It stages two actresses, Tatianö and Carolinö, doublegänger of the real actresses, that have just landed their first directing job. They invite us to watch their rehearsals. Gradually transforming into power-hungry tyrants, they mistreat their artistic team, reduced to a single man, Edouardö, over budget issues. Between irrelevant demands and a casting process that goes off the rails, this tragicomedy reveals disturbing situations and ambiguous behaviour to question power relations in the workplace. Going beyond the performing arts, the play takes an incisive and uncompromising look at the psychological hold at the heart of harassment situations. Tatiana graduated with a BA of arts from HETSR La Manufacture in 2013. Before that, she trained in theater at the Lee Strasberg Institute in New York in 2009. As a child, she studied violin and music for over fifteen years at the Lausanne Conservatory.

Annamaria Ajmone is a dancer and choreographer. At the core of her research lies the body, understood as malleable, mutable matter. Her investigations unfold in a tentacular way, through different formats and durations. Her performances are the result of collective work, emerging from encounters and exchanges. She has presented her work in numerous dance, theatre and performing arts festivals, as well as museums, art galleries and foundations, including: La Biennale Danza (Venice), brut (Vienna), Palais de Tokyo (Paris), Triennale (Milan), Santarcangelo Festival, and Night Gallery/Public Fiction (Los Angeles). In 2015 she received the Danza&Danza Award as “Best Emerging Contemporary Performer”. From 2016 to 2023 she organised Nobody’s Indiscipline, a platform dedicated to the exchange of practices and research. From 2021 to 2024 she was an associate artist at Triennale Milano Teatro. Alongside her performance practice, she has for several years been engaged in the transmission of practices and knowledge through the leading of workshops and laboratories.

Marara Kelly creates mixes that bring together her research into baile funk and technobrega. With many elements of pop culture presented through remixes, she invites the public to identify with a foreign sound whose beat is the disruptive element. She interprets the practice of remixing pop songs, one of the most present features of the baile funk and technobrega scene, as a gesture of reappropriation of the common imaginary and decolonization through belonging, which translates into music full of fun, sensuality and power. Her musical research begins with the sounds of the Brazilian Amazon, where she was born, and intersects with the baile funk of Rio, where she lived for several years. She has mixed across the continental country of Brazil and the European continent in a wide variety of contexts. Her travels have greatly influenced the way she mixes, which could be imagined as the gesture of tying a knot that joins the places she passes through, her identity, feelings of belonging and the politics of coexistence. For her, mixing means being able to share a little of what’s going on in her body, while a Brazilian body means being able to mix her culture with unfamiliar bodies through music, dance and her artistic practice, performance.

Isam (Sexisuxio) (he/they) is an ecuadorean artist based in Lausanne and your favorite gender-fucking-booty-shaking dancer, choreographer and DJ. From a constant state of missing reggaetón, he indulges in old school perreo, making it dialog with newer waves, and have fun with different remixes. All to open up the space for the effects/affects of music to take over the bodies. They like to slow it down and get diiiiirty. Or hype it up to finish the night with latin club, latin core and guaracheo.