During this residency, composer and performer Nathalie Kruger, film sound engineer Alexis Oscari, and visual artist 眯腊 Mira, creator of the Fōz Machine, will come together to finalize their interactive installation project, blending long-exposure photography and video.
This danced, naturalistic, and spatialized theater evokes the mysteries and archetypes of nature, weaving its own myths and narratives between shadow and light, at the crossroads of the sacred and technology. The latter plays an integral role in the project, whether through sound spatialization, the interplay between composed and live-produced music, or the “Fōz Machine” device.
Projet Intero (et la fōz machine) - Un spectacle interdisciplinaire spatialisé audiovisuel et danse
“A sensory alchemy, a theatricalized trance…”
Through animal, human, or phantasmagorical creatures, the piece invites us to dive inward and question our intimate, conscious and unconscious connection with nature and our own essence.
In a quest for the invisible and the unspeakable, the dancer in trance enters the Fōz Machine and the sonic universe, opening a breach into a sensory and hypnotic world.
“An art of the super-natural”
The initial sound project Intero is a 3D surround audio-live performance, inspired by the album 83% Invisible, composed by Natali Kruger and produced by the label Les Anges Noirs de l’Utopie.
Following a first residency at BUDA BXL, supported by the FWB, focused on the 3D sound environment, the composer wanted to expand her approach by creating an interdisciplinary performance. This piece is centered around her research on trance and sonosomesthesia, with an approach that explores the constant interaction between dance, visual creation, and soundscape.
“Intero” <> fōz machine”, a convergence
The Fōz Machine is an interactive projection and capture device that can adapt to various spaces. It offers a kind of “mapping” to be performed by the user(s) in real time using only incandescent or luminescent objects brought in or found on-site (flashlights, candles, or similar sources).
To enter the Fōz Machine is above all to venture into a dark space, with the possibility of constructing a luminous, ephemeral visual object on, through, and within a place, alone or with others. The device conceals itself, revealing the invisible — a spatiotemporal trace of a passage, a moment.
The Fōz Machine creates a temporarily photo-sensitive active zone, filmed by an IR camera, where bodies, objects, and the space itself (indoors or outdoors) instantly record and reflect the light that moves across them and what it reveals.
If that moment dies, if the movement ends, the visible line left behind holds — for the one who traced it and the one who witnessed it — the memory of the space traveled and the time that movement lasted.
Each venue, different every time, becomes in turn disfigured, fragmented, transfigured, transcended — shaped by the actions of those present, the images produced, and the contextual elements brought to light.
This performative show unfolds between shadow and light. Moments of darkness are deliberately chosen to enhance immersion, which is experienced as something unusual — a disruption of perception. Then, light appears, revealing gestures, presence, a landscape, and the scene that forms before us.
This is when the “photophore man in black” enters — a figure who both embodies shadow and illuminates. Thus, Fred Chemama and the Fōz Machine imprint danced gestures and objects into space, somewhere between long-exposure photography and video, creating decor elements like constellations.
Artist Natali Kruger moves through these constellated spaces in interaction with 眯腊 Mira, in a play between movement and stillness, between shadow and light.
Nathalie Garcia alias Natali Kruger (anciennement Baby Kruger - Fr/Be)
French sound artist based between Belgium and France since 2005. She is currently a sound designer, film sound editor, electronic and electroacoustic music composer (first prize from the Bordeaux Conservatory), and creator of 3D binaural radio documentaries.
Alongside her performing arts studies, she trained as an actress for five years at Théâtre en Miettes while beginning to compose electronic music.
Her debut album Selkie, released in 2012 on the Miami-based label Schematic (founded by Warp artists Phoenecia), introduced her to the IDM scene and immersed listeners in Shetland folklore.
In 2017 came SIIS on the German label Doumen Records, a finely sound-designed album opening new paths focused on world percussion and a darker, more introspective atmosphere. In 2020, the Belgian label Les Anges Noirs de l’Utopie released 83% Invisible on vinyl — an album with naturalistic accents that received widespread praise, including from The Wire, which requested a track for its compilation.
She has created three radio documentaries, one in 3D binaural, which she presents publicly in 5.1 surround sound. For her, radio creation — being such an intimate format — deserves a collective, immersive listening experience to reach its full potential.
Her documentary work often blends conferences, interviews, sound design, and music with poetic finesse, resulting in distinctive, sensitive pieces. Several have been supported by RTBF and aired on the show Par Ouï-Dire, as well as local and international community radios.
Whether live or broadcasted, her spatialized works are experienced as true sensory journeys, presented in surprising venues — from nature festivals like La Chevêche to dark halls dedicated to electronic music.
One of her pieces, The Valley, a Psychomagic Experience — a unique, unclassifiable sound object — was broadcast as part of the Longueur d’ondes festival, aired on 26 international radios via the Radia network, and selected by Radio France for its multichannel competition Nouvoson.
Years of dance, Butoh training, and somatic improvisation now allow her to create works rooted in a free, transcendent gestural practice.
After training in Peter Hess sound massage, she began research in psychoacoustics and sound therapy, developing tailored sound concepts for specific contexts (fertility clinics, centers for autistic children, etc.), and continues to offer lectures on the power of sound.
Alexis Oscari (Be)
Cinema sound engineer who graduated from IAD in 2001. He later trained at CineBerti’s cinema mixing studio (certified Dolby and DTS) and worked for six years as a sound designer, editor, and mixer at A-Sound.
He continues as a freelancer alongside Belgium’s top Foley artists, working as a Foley mixer. He also handles mastering for various video/dance projects and electronic music albums.
He is a key contributor to each radio creation of Les Connexions Oubliées, acting as sound mixer and recorder. He manages the 3D and 5.1 environments for public performances and is the technical lead and spatial sound performer for Intero by Natali Kruger, bringing his technical expertise and high-quality diffusion adaptable to all venues.
His research on 3D focuses on musical interpretation, blending music analysis, aesthetics, and digital musicology to achieve a spatialization that borders on hyper-realism while preserving the intensity of sound design.
Fred Chemama (Fr/Be)
“Photographer, videographer, and multimedia artist, Fred Chemama, also known as 眯腊 (mira), is a multidisciplinary artist who studied audiovisual production at ESRA Maroc and photography in France. He currently lives and works between Belgium, France, and his travels that lead him to encounter other artists and cultural institutions across Europe and beyond.
In the final year of his academic journey, he traveled to Mexico to create a series of underwater portraits of fishermen from the state of Oaxaca, using a reportage camera and an original waterproof casing. These portraits are now immersed in luminous casings where they decompose underwater, a process ongoing for several years. Over time, he has undertaken several long-exposure self-portrait projects.
Action, encounters, and a self-reflective approach towards capturing imagery from reality lie at the core of his artistic pursuit. This has led him to occasionally adopt an iconoclastic stance and create transient on-site installations using discarded ink ribbons sourced from souvenir photo booths.
Preconceived actions carried out collectively and the exploration of diverse processes in producing images “drawn from reality” stand as focal points of his initial approach, already casting doubt on the authority of photographic imagery as an informational conduit and instead, transforming it into what he truly feels: a pretext for the poetic gathering of individuals.
Today, 眯腊 continues to engage in experiments at the intersection of photography, video, and digital arts; exploring the realms of the body, light, movement, situation, and place within an approach connected to bodily action.
His recent projects of interactive installations (“cyclo-kino,” the “Gestographer,” the “Fōz machine”…) blend disciplines, mediums, and transcend them into playful and intriguing devices.”
Informations
- 07 > 15.06.2025
- Couvent D’Hautrage – Transcultures
Production
- The Intero project benefited from several creative residencies: BUDA (Brussels, BE), Théâtre le Paradis – Galerie Verbale (Périgueux, FR), and La Filature – Lieu de vie culturel (Oradour-sur-Vayres, FR).
- It received support from the Cultural Agency of Dordogne-Périgord, the Digital Arts Department of the Wallonia-Brussels Federation, Transcultures, and Wallonie-Bruxelles International (WBI).
