× To be Completed Language No Problem Preview Le Grand Plongeon BALEEN Detalk Show Medusen KIT FIT

[kollektiv iиterиatioиal totem]


KIT is a Zurich based _________made up of varied constellations composed of performers, poets, programmers, improvisers, architects, soundtrackers and _______ who mutualise what they don’t know, playing together with everything around them, making their environment striking. Their games consist in tracking, recording, interpreting and re-enchanting the links between them and those who cannot be seen, what cannot be heard, transcribed by acoustic, electronic and self-made instruments. They summon the other living beings from this planet earth : ______ non-human, reality or myth,organic and inorganic bodies, placing them on stage. Their aesthetic explores the tension between programmable material and the potential for its failure.

All their works are presented as a kit : individual and collective patterns, colonized capitalism frames, written scores, improvisation, __________ assembled into “ scenic devices”, which ___, catch, translate what is alive, in between all these layers, amongst performers and audience. Their practice enlarges and shares, piece after piece, their taste for ______, joy and acceptance of what is now and present.


Kollektiv : To connect the unresolved, the non-individual shared between several individuals would be the condition for a collective. It is in a way the awareness of this shared incompleteness - necessary for a healthy lifestyle, which seeks to resolve vital tensions by entering into relationship with other living beings.

Interиatioиal : we are cosmopolitan and (try) eating local. The и is the difference between the urkrainain alphabet and the russian one.

Totem : A totem is a community of living bodies who are interrelated. Totemism is a way of life that recognizes the alterity of the others : we play together even if we don't have the same family, blood, culture, we don’t have the color of skin, we are not from the same species, we don’t speak the same language.


KIT *2015 is an association regularly supported by Canton of Zurich and city of Zurich since 2019.

members - attribute
Léo Collin* FR forecaster
Leandro Gianini CH solution finder
Nuriia Khasenova* RU audio interface
Dalius Singer LT ideas generator
Mariana Vieria-Grünig BR polyglot
Kay Zhang* AUS mind map
Eric Larrieux US Engineer


2015-2020 Zurich University of the Arts

Research art/performance
Quallen-Jellyfishes- Meduses
2020 Medusen
2018 des astres
2017 Bordkarte
2017 The Hamster and the Dame

2019 Baleen
2016 Tranzit

Video Performances / one shot
2019 le grand plongeon
2018 Motherboard
2017 De-Pod
2017 The name of the Film
2017 Rhino (Opération Noah)
2017 Riot (how people learn to speak)
2017 Murder with Foley (how to make a fruit salad?)
2016 Pinyin (how people read musical scores?)
2016 Dada (how do people make money?)

Grants / Supported by
2019 Kanton Zürich, Stadt Zürich, C+P Kupper Stiftung, Ernst Göhner Stiftung
2018 SIS Fondation suisse desartistes interprètes
2016 Avina Fondation, Zurich

Selected to festivals
2019 IGNM Bern
2019 Portal Fest Wellington
2019 Tilde New Music Festival Melbourne
2018 Tac Tac Tac Lausanne
2018 White Pulse Marathon Zurich
2017 Fringe Festival Amsterdam
2017 Two days Two nights Odessa
2017 Deviant Art Festival Geneva
2017 Impuls Graz
2017 Sax Fest Zurich
2016 Fringe Festival Shenzhen
2016 Manifesta Zurich

2019 Nicati Concours “Open Space”
2017 2nd prize Interpretation Competition Zurich
2016 1st prize composition Klang & Gloria
2016 2nd prize Interpretation Klang & Gloria
2016 2nd prize interpretation Competition Zurich

2019 S.Keller Is this reality
2019 F.C.Darras Extinction
2019 C. Quevillon Origines
2019 B. Ryser Fragebogen
2019 J. Cage Living Room Music
2018 G. Aperghis les guetteurs de sons
2018 J.Giger Maestro
2017 J.Harvey The Riot
2017 A. G.Madsen Weiss Schwarz Blau
2016 M Shlomowitz Letter Piece n°8
2016 N. Huber Clash Music

Teaching-sharing- workshop
2016 Students from HK
2019 workshop Melbourne and NZ
2020 Luzern Ko-operator


Using the life of Augustus le Plongeon (explorer and prognosticator of the location of Atlantis) as a pretext for the concept, the piece is based on a reinterpretation of the piece by composer Peter Eötvös Atlantis. In a speculative investigation of how people live in rural Europe today when they cannot afford to travel while witnessing the world, and a questioning of the rising waters - or melting alpine glaciers. The scenography is a bar in a town of less than 10,000 inhabitants whose economic and social situation is very difficult. A journalist who would like to report on whether these bars make more income if they have a place to bet and therefore predict. The play is based on the idea that people do everything they can to avoid having to endure their lives, even if there is nothing they can do - they can feel useless, alone: prognosis is a way to counteract boredom and to play with the future, to learn and make decisions accordingly. Climatologists, after all, are paid to understand the world's data so that they can be as accurate as possible about the weather to come and the years to come. Many artists are sensitive to the future, confronting the current ecological crisis which for those living in Western Europe is not really visible or audible. In Switzerland the glaciers are the ones who complain. The project is therefore a spokesperson for this way of life, aware that the present can be shaped by the future and the past.

This piece received the first prize in the “Open Space” NICATI competition Bern 2019.

1 hour, video performance Premiere : Dampfzentrale Bern (CH) August 2019

(work in progress) 2 hours
premiere Gessnerallee Zurich (CH) march 2019

It is a practice to transform in our lives this tentation of death pulsions into alive pulsion : pushing by the media and the collective unconscious (myth, news), the death pulsion is looking towards the other as the origin of all the problems and an attempt for our survival. “Their behaviour can destroy our lives” - it is similar - in the same bag as the rotten apple who contamines all the others. If people are educated enough, their violence can be more subtle and can go to their own body or can be translated to dangerous activities, cancer, depression etc... Baleen is a cruise, with a restaurant on board, it also includes whale watching and live entertainment. The audience can, with a system of headphones, listen to the reality ( e.g they participate in a live cooking show) alongside the audience follows a fictional story ( they are watching a cooking show on the tv in their cabin). Our question is how to be aware of the “behind the scenes” but not become disillusioned by reality? It has resonance with the story of Jonas, from the bible where the “hero-prophet” has similar symptoms. We use the “call” as a metaphor for insisting, what is relevant is the relation what we have to the others and they are not the problem itself. Baleen shows there is no need to choose between whales or whale killers, no desire to add violence to violence : by his multiple layers and this overwhelmingness, Baleen pushes his audience to feel the relation, not the thing/people themselves.

(various editions)
a failed entertainment of 59 min

The Detalkshow is not an open stage where a guest can share his knowledge: rather, our talk show is a collective exploration within an hour. We interpret not only the pieces, as musicians trained in conservatoires would do, but also the personality of our guest. We go beyond the mediation for an audience, introducing an interest in our field of expertise. At the same, it is an occasion to play repertoire-pieces which have already been premiered and written, interpreted to what we like or, if we don’t like parts, we try to make it our own version to enjoy. The border between co-composition or co-interpretation within this context, blurry : Although this question is not new, such a format of a talk show seems to bring a certain freshness, spontaneous and above all conveys the joy of being together, sharing mutual (mis)understandings. It also permits us to keep this distance with the audience, by faking what we talk to a larger audience, via radio waves.

We have explored until now the themes of post-colonisation, deep ecology and soundscape. This project was selected as part of the music theater series at the IGNM Bern 2019.

Music series IGNM BERN May 2019 with Charles Quevillon
Photobastei Zurich Dec 2019 with Florent Caron Darras
Atelier Binz Zurich KIT Feb 2020 with Simone Keller
GDS Zurich June 2020 with Maximilian Whitcher
Atelier Binz Zurich June 2020 with Charles Kwong

(work in progress)
4 hours

Puzzle piece for a mini-city, four groups of audience, three performers, several objects, with optional live band, video and audio sampler. Libretto homemade In the manner of a search engine around the word “meduse”. Medusen reveals links between elements which seem at first sight heterogeneous, crossing Greek mythology, science and human history. Medusen is a multi-perspective performance, which includes a video-walk, audio-walk, treasure-hunt, a guided city tour, a concert and an installation. Each listener-viewer can select different character paths to unravel a case with another point of view. Like investigators, the audience discovers the character’s mind, walking between old hegemonic patterns and dopamine. As a navigator who interprets the sky through constellations to move forward through waters. Medusen activates the imagination of the audience to face their own reality

Premiere Amsterdam Fringe Festival September 2017
Gessenerallee Bühne A ZHdK September 2018
Hyperlokal September 2020

1H15 video-concert

Music practitioners are pushed to be fit, to be the best in order to get a few jobs available, but when the chance turns off, depression and loneliness comes often. Indeed, behind all these “fitness clubs”, the hidden illusion of being fit will dispense us to be fair and united. In order to survive when we have a problem, or when we don’t have the resources ( money, love, food, water, etc.) the only chance for us to continue is to have lots of interrelation. The more you are interrelated, the more chances you avoid disasters. This performance is about that ; The other point is we want to practice an art where we are more flexible, more available to others - our audience. Lots of composers use movement in these scores and we are happy to interact with them!

Performed in Zürich ZHdK May 2018
Geneva L’ABRI Dec 2018
Melbourne Tilde Music Festival Jan 2019
Wellington Portal FEST Feb 2019
Baden NUMU April 2019