Wu Wei
Composer

Wu Wei was born in 1970, in Jiangsu province in southeast China. He learned to play the Chinese violin at the age of five. At the age of fifteen, he began studying the mouth organ (Sheng) at the Nanjing Academy of Arts, then went on to study this instrument at the Shanghai Conservatory of Music. He won several national and international competitions before becoming soloist with the Shanghai Chinese Classical Music Orchestra. In 1995, Wu Wei moved to Berlin, where he enriched his musical horizons by studying Western jazz traditions. Involved in numerous contemporary and improvised music projects, Wu Wei develops a new sound language around ancient Chinese instruments and opens up new aspects of contemporary music, happily experimenting with his own musical language. Using innovative playing techniques, he produces unheard-of sounds from a 3,000-year-old traditional instrument.

Julie Zhu
Composer, visual artist and carilloneur

Julie Zhu's work is conceptual and multidisciplinary, based on an expanded definition of the algorithm. The creative and ethical use of AI and machine learning in the arts is one of her research interests, as well as the subject of her post-doctoral fellowship at the University of Michigan. As an advocate of intermedia composition, Zhu collaborates with artists and musicians around the world. The results of these collaborations have been exhibited and performed in studios and residencies in Europe, North America and Asia, including Carnegie Hall (New York), Herbst Theatre (San Francisco) and Ircam (Paris), digitIZMir (Izmir, Turkey), Tetramatyka Festival (Lviv, Ukraine), Sansusī (Latvia), Chicago Home Theater Festival, Miami Design District, College Band Director's National Association, ICMC (Shenzhen, China), among others. Notable commissions include Radio France, GMEM, the San Francisco Contemporary Music Players and the University of Chicago Carillon.

André Serre-Milan
Composer, artistic director and teacher

André Serre-Milan sees composing as a way of reading our contemporary world in search of a "human etymology". To understand the meaning and potential of our times, and transcribe them in the form of useful musical testimonies for a shared, softened future. A prize-winner in instrumental, electronic and computer music composition at the CNSMD de Lyon in Philippe Manoury's class, he writes works for concerts, designs multimedia shows and installations, and collaborates with choreographers, stage directors, authors, film-makers, visual artists and music creation centers.
Head of the composition department at the Conservatoire à Rayonnement Régional de Reims, collaborator with ART ZOYD 3 studios from 2003 to 2022, with Césaré (CNCM - Reims) since 2017. His productions were selected by the International Rostrum of composers 2006 - UNESCO with " ... pour quelques âmes volées " for voice and orchestra - Orchestre Philharmonique de Radio France (recommended work); Prix Sacem 2006 for the educational score " Sur les pistes du chant " (commissioned by the Auditorium/Orchestre Nat. de Lyon); Grand Prix and Coup de Cœur de l'Académie Charles Cros 2003 ("Robinson Crusoé" with Claude Rich); Coup de Cœur de l'Académie Charles Cros 2005 ("Barbe Bleue" with Cécile de France). Thirteen recordings published by Signature / Radio France, Art Zoyd, Naïve, Frémeaux & associés, Th. Magnier, Textivore/Fuzeau, Chamade, Maguelone. International experience: residencies, creations, concerts, transmission in USA, Canada, Mexico, Argentina, Martinique, Guadeloupe, Guyana, Burkina Faso, Switzerland, Denmark, Belgium, Spain, Germany, Poland, Romania, Bulgaria.

Alexis Baskind
Musician, sound engineer and computer music producer

Trained as a sound engineer in Benoit Fabre's class at the Conservatoire à Rayonnement Régional d'Aubervilliers (La Courneuve), Alexis Baskind simultaneously pursued scientific and technical studies (electrical engineering, signal processing, applied mathematics), and in 1999 joined Ircam, where he carried out research into room acoustics, culminating in a doctorate in 2003. Since then, he has collaborated with numerous composers, musicians and production structures, including Ircam, the Conservatoire National Supérieur de Musique et de Danse de Paris, the Musiques à Ouïr company and CIRM - Centre international de recherche musicale (Nice). He has worked with composers Philippe Leroux, Beat Furrer, Hanspeter Kyburz, Hèctor Parra, Pedro Amaral, François Paris, Philippe Hurel, Vladimir Tarnopolsky, Alexandros Markeas, Fabián Panisello, Turgut Erçetin, Rebecca Saunders and stage director Jean-François Peyret, among others, on studio productions and creations for dance, theater and music combining electroacoustics with traditional instrumentarium. He regularly collaborates on artistic and technical projects requiring the development of specific sound processing and design solutions, and interfacing with gestural or visual capture technologies. A former professor of sound engineering at the Hochschule der populären Künste (Berlin) and teacher in the Tonmeister program at the Hochschule für Musik Detmold, he regularly gives specialized courses in sound engineering and electroacoustic realization at conservatories, universities and institutes dedicated to musical creation.

Caty Olive
Lighting designer

A graduate in scenography from ENSAD in Paris, Caty Olive creates luminous spaces.
Caty Olive collaborates on choreographic and performance projects on the contemporary scene, and has worked with Myriam Gourfink, Emmanuelle Huynh, Claudia Triozzi, Vera Mantero, Cindy Van Acker, Tiago Guedes, David Wampach, Donata D'Urso, Joris Lacoste, Cindy Van Acker, Sandrine Anglade, Yoann Bourgeois, Blanca Li, Alexandra Waiersall, and more specifically with Christian Rizzo.
She divides her activities between architecture, exhibitions, visual installations, musical or choreographic performances and operas, and also occasionally works with art schools. Through these various cross-disciplinary activities, she favors artistic experiences and encounters, but also the diversity of the means of expression used, and the technologies artistically exploitable. The common thread running through all her work remains her interest in the instability and alterations of light, a thread that is constantly drawn from one project to the next, a quest that opens up new worlds.