exerce 2025-2027 — M1

— Nora BARNA  
I work at the intersection of movement, media technology, and sensory design. My practice explores the body as an extended and responsive system shaped by cultural, political, and technological structures. I’m interested in techno-intimacy, shared perception, and threshold states—creating spatial and choreographic situations where human and non-human agencies coexist. Focused on sharing visceral experiences across mediums, I create time-based artworks that combine somatic practices with media technologies, aiming to develop emotionally and physically sustainable experiences.  

— Bobby BRIM 
Bobby Brim is an artist-researcher with a background in the Fine arts School in Montpellier, PACAP6 in Lisbon, and multiple collective self-training environments. Their transmedia work combines the practice of the somatic body, the creation of hybrid situations, feminist pedagogies and visual, textual and sound electronic composition.  Their research is rooted in a family and political context profoundly marked by dominant technological imaginaries, alterations of the truth and paranoid narratives.  Active for several years in cyberfeminist, hacker and techno-critical networks, they collectively explore software fictions, affective infrastructures and glitch zones as modes of perception and intervention. Through these contexts, their performative practice has developed as a space for negotiation between digital materialities, obscure constructions of identity, ideological fantasies, desiring fantasies and shared counter-realities.  

— Suhwa KIM 
Suhwa Kim, a choreographer and a performer, explores the corporeality that arises between the body and the technological medium. She focuses on the glitches created by the human senses, which evolve more slowly compared to the rapidly advancing media technologies. Through this endeavor, Kim questions how connections and communication are facilitated through the body and media in contemporary society, and how the meaning of community is constructed and deconstructed within technology as it passes through the body. She holds a BA of Communications from Sogang University, MFA of Dance choreography from Korea National University of Arts in South Korea.   

— Daniel PIZAMIGLIO 
Daniel Pizamiglio is a queer Brazilian dance artist based in Portugal. They trained in Fortaleza (Curso Técnico em Dança, 2008–2010) and moved to Lisbon in 2012 to investigate the relationship between the Real Time Composition method (by choreographer João Fiadeiro) and the Operative Mode AND (by anthropologist Fernanda Eugénio). They completed the Choreographic Creation Program at Forum Dança (2015–2016), where they created the solo "Dança Concreta". Their artistic practice combines solo creation and collaborations, research and pedagogy, addressing notions such as encounter, affect, memory, mourning, politics, ethics, composition and improvisation.  
 
— Abibou SAWADOGO 
Born in Bobo-Dioulasso (in Burkina Faso), Abibou graduated in  Finance and Accounting at the Université Catholique de l'Afrique de l'Ouest - Unité Universitaire de Bobo (UCAO-UUB). During her first year of study, she fulfilled one of her childhood dreams by joining the Ankata Next Generation training program. Created by Serge-Aimé Coulibaly, this course is aimed at young artists and offers a multidisciplinary syllabus in performing arts. It's through this art form that Abi has found a way to convey her feelings and emotions. Her three years’s training has enabled her to take part in courses run by renowned artists such as Irène Tassambedo and Bienvenu Bazie. Next Génération and the practice of dance gave her a clearer vision of what she wanted her professional career to be: to be a committed artist.  

— Mariana TAQUES 
Mariana Taques is a Brazilian artist who explores the dancing body as a site for investigating relationships and the way they pass through and affect us. Through improvisation, she seeks forms of bodily intelligence capable of opening up a sensitive dialogue with the environment. In Brazil, she was a member of the Núcleo Improvisação em Contato and worked for several years with Diogo Granato, sharing his work in Brazil and internationally. Her choreographic research is inspired by philosophy, schizoanalysis and a radical attention to presence. 

— Kim WALZ 
Kim Walz works at the intersection of performance, choreography, sculpture, cultural management, and dramaturgy – in filmic, digital, and theatrical formats. Their practice explores ambivalent societal structures and experiments with mechanical devices as catalysts for movement. They also investigate the perception and meaning of time – including from the perspective of depressive states. Coming from a non-academic background, they found their way into the dance and theatre scene through autodidactic paths. In 2023/24, they completed the Dance Intensive program at Tanzfabrik Berlin and were a danceWEB scholarship recipient at ImPulsTanz Vienna in 2025. They have collaborated with Colette Sadler, Jérôme Bel, Nora Schlocker, and Annalena Fröhlich – at institutions such as Theater Freiburg, Theater Basel, Akademie der Künste Berlin, Tanzfabrik Berlin, Tanzbüro Berlin/ZTB, and Tanznacht Festival.