In 2023, the second edition of De l’impertinence, an artistic and cultural laboratory in Sète (France), brought together artists from different backgrounds, from the Paris Opera Ballet to Conservatoires Supérieurs de Danse in France, contemporary dance schools such as P.A.R.T.S and the CCN Roubaix to training programmes like CobosMika’s Seeds (Palamòs, Catalonia) and Coline in Istres (France). These artists do not define themselves as a collective but rather form an ecosystem, where some participate in each other’s projects while also creating a space for support, collaboration, and creativity.

Choreographer and dancer Julie Botet trained at La Manufacture in Lausanne (Switzerland) under Vendetta Mathea, at CCN Roubaix and CobosMika’s SEED training programme in Catalonia. She was co-director of the company Les Sapharides until 2023, creating works like Dolores, PUCIE and Jumelles. Under the name Yonsk she developed the solo project Bébé in October 2023 and began a new transdisciplinary project named Lymph Blood Story 9424, a kind of autobiographical freak show. Julie also collaborates as a performer and choreographic assistant with various companies, including Mélissa Guex, Marinette Dozeville, Bérénice Legrand and Yvann Alexandre.

Paris-based dancer and choreographer Simon Le Borgne trained at the Paris Opera Ballet School and became a company member in 2014. He has performed works by renowned choreographers like Crystal Pite, Merce Cunningham and Ohad Naharin. In 2023,
he joined Tanztheater Wuppertal, working with Boris Charmatz, and created Ad Libitum as an artist-in-residence at Gymnase CDCN Roubaix. He performed on stage at ImPulsTanz in Café Müller and Nelken in 2025.

Philomène Jander is a dancer and choreographer based between Brussels and Paris. She graduated from P.A.R.T.S. Philomène collaborates regularly with Némo Flouret and works as a choreographic assistant for Simon Le Borgne, Zoé Lakhnati and Dahlia Rebecca.
Do we need a body to dance?, her first solo, premiered in 2024 at Espace Pasolini in Valenciennes (France).

Max Gomard trained in classical dance at the Tours Conservatory and later pursued choreographic exploration through CobosMika’s SEED programme in Catalonia and Coline in Istres. He has worked with choreographers like Thomas Lebrun and Michel Kelemenis. In 2019, he collaborated with Julie Botet on the solo Bébé; they continue to create and perform together in diverse settings. In 2024, he began a new project in collaboration with Italian choreographer Michael Incarbone.

Zoé Lakhnati is a choreographer based between Brussels and Sète, who graduated in classical dance from CNSMD Lyon and P.A.R.T.S. She performed for choreographers like Mette Ingvartsen and Mathilde Monnier, while assisting others, including Dimitri Chamblas. In 2021, she co-founded the De l’Impertinence laboratory in Sète with Dora Pentchev. She recently premiered her solo This is lamort (2024).

Ulysse Zangs is a French artist working at the intersection of sound, movement and nature. Trained at the Paris Opera Ballet School and Palucca Hochschule in Dresden, he performed with the Dresden Frankfurt Dance Company until 2019. He currently works as a freelance artist, collaborating with renowned choreographers and theatre directors like Benjamin Millepied and Ersan Mondtag. As a composer, he creates music for dance, performance, installation and film, blending live improvisation with recorded music. Recently, he released his debut solo music project, Idle Hands Or, opening a new chapter in his career.

A sustained state of suspense in which all is still possible? Or final moments being savoured while gradually heading for an unavoidable abyss? There’s something cinematic about the slow motion in which the members of the French group Production Xx approach the audience. Not only because the performers’ pseudo-epic orchestration evokes Hollywood’s “larger-than-life” ethos, but also because of the range of characters embodied via the absurd props appearing one by one – a bouquet of roses, a water gun, a mechanical dog – before being discarded. Despite the grotesque scene, the five remain stone-faced and deadly serious, as if a deeper, immutable despair underlay their continual attempts at metamorphosis.

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