JULIEN BRUNEAU

BIO

Julien Bruneau (B) is a dancer, choreographer and visual artist based in Brussels.  At the intersection of movement, drawing and language, his work investigates the dynamic interplay between interiority and collectivity.
Since 2010, he gives his research the name phréatiques (aquifers) a project developed with the collaboration of M.Dalinsky, A. Llaurens, L.Myers, S. Si Ahmed and J. Peeters. In this frame he creates performances and dance pieces, but also drawings and installations shown in exhibition. Discursive event and on-line publication are other formats he used recently.
His work includes the dance pieces some crosscuts of some of our improbable bodies (2014), Meta-Instrument Score (2012), the performance Oracle Score (2011), the on-line publication Strata (2014), the event Enchanting Scores (workshop and discursive event – 2014), the in-situ installation Retrait (2013) and the exhibition Magnitudes (2011).                     Bruneau’s performances are/ have been supported/ produced/ shown by, a.o.,Sarma, Bains Connective, De Pianofabriek, Kaaistudio’s, Netwerk, Les Halles, Roma Europa Festival, Vooruit, Workspacebrussels and WP Zimmer. His work has also been exhibited in Iselp and The Drawing Box.                                                                                                                    He collaborated with David Weber-Krebs, Stefan Dreher, Lilia Mestre, Christine Quoiraud, Anouk Llaurens and Claude Schmitz as performer and with Norberto Llopis Segarra and Anouk Llaurens as artistic adviser/ dramaturge. In 2014, he joined the team of Sarma, working on the technical and artistic follow-up of artist on-line publications on Oral Site.         He graduated from La Cambre (Brussels) in 2002 and completed a master in choreography at the Theaterschool (Amsterdam Master of Choreography) in June 2014.

FRAME OF RESEARCH

SAY

SAY is a one-on-one performance inspired by the practice of oracles. Spectators are invited to attend to it as to a divinatory consultation, arriving with personal questions of theirs that they process through two encounters with the performer and a one week long resonance between these two meetings.