Anouk LLaurens is a dance artist based in Brussels. She graduated from the Centre National de Danse Contemporaine d’Angers (CNDC) in 1992. Her works is defining itself in contact with artists such as Fernand Schirren, Deborah Hay, Steve Paxton and particularly Lisa Nelson. They have transmitted her much more than tools: they have opened her to experience that emancipate from an external authority. The rigor of their frame allowed her to live poetical spaces where known and unknown are merging. Anouk’s work is inscribed in this lineage. Her performances and workshops are frame for de-learning that wishes to leave space for the subjective experience of the moment.

Bains Connective, a socio-artistic laboratory in Brussels is one of the venues that support her investigations since 1999. There she has created several soli and “Lost & found”, a piece for dance, alto and video in collaboration with Julia Eckhart and Els van Riel (QO2, 2000-2004). Between 2003 and 2005, Anouk lives in London, collaborate with Tony Thatcher (“Scape”, Laban Centre 2004) and adapt “Room” a Deborah Hay Solo (2005). Back to Brussels she creates in 2008 “Helium, three poems in movements” in residence in Charleroi danse.

Since 2010, Anouk Collaborates with visual artist and choreographer Julien Bruneau on “phréatiques”. The project explores the intersection between dance, drawing and verbal thinking. It generates performances (“Some crosscut of some of Our improbable body”, Amsterdam Master of Choreography 2014, “Meta instrument score solo version”, Netwerk center for contemporary art 2012, “Oracle scores”, Working Title Platform, Brussels 2011), exhibitions (“Dé- orientés”, Institut Supérieur pour l’étude du Langage Plastique, Brussels 2013; “Magnitude”, Twilight Zone Gallery, 2011) and “Strata”, an internet publication on Oral Site, Sarma Brussels 2014.

Anouk leads since 2013, “Visions, research on poetic dance documentation”, in collaboration with Sonia Si Ahmed, Maya Dalinsky, Andrea Keiz, Laure Myer and Julien Bruneau a.o. This research not only defines tangibles documents (drawings, videos, texts) but practices that can be played and transformed by others. Thus, a score and in extension a performance or a workshop are also considered as poetic documents in this project.

Finally, Anouk shares and questions Tuning Scores from Lisa Nelson in different learning contexts. She leads workshops at the ImpulsTanz Vienna International Dance Festival, Summer Labs for the Candoco Dance Company in London. In Brussels she teaches for Contredanse, Charleroi danse and occasionally mentors for a-pass (advance performance and scenography studies). She also co-organises “Spectrum of the senses”, composition workshops with Eva Maes (Body Mind Centering). She is an active member of the IDOCDE project (International Documentation for Contemporary Dance Education) and published numerous documents about her teaching practice on the web site She was assistant/translator for Fernand Schirren at P. A. R.T.S (1995-1999) and Steve Paxton (2006-2007).


“Visions, a research on poetic dance documentation about eye-hand coordination” will be in residency for the second time @ Bains Connective. The guest artists that will join Anouk Llaurens for the two weeks are Sonia Si Ahmed, Maya Dalinsky and Julien Bruneau.

Is there a difference between a performance and a live document? What is the difference? What are the compositional strategies that are creating this difference? Will be the guidelines to reflect on ‘Touch’, a live document for three performers initiated during previous residencies and still in progress.

With the support of texts from artists and writers like, Francis Alys, John Cage, Georges Bataille and Francis Ponge, artists will also revisit the notion of poetic documentation that is at the core of the project.

Finally Julien Buneau will initiate the team to the web site “research catalogue” seen as a potential host for an online publication of the research.