• Some of my go(d)es died in Iasci, Concordia, Montreal, été 2022
  • SACRAL, Theosexual, Montreal, mai 2019
  • Des Particules d’Amour Actives, Transmedial, , Septembre 2017, Mexico
  • Hardware Stories, New york
  • Planck ! avril 2015, Lezartloco, Val David, et La passe, Montreal
  • Les Menstres, mars 2015, Radical Queer Week, Montreal
  • Operating systems <performance tests >, OHM Nederland, august 2013
  • Is starlight a wifi signal  +  Is startlight a wifi signal 2 ? (a project by Nancy Mauro Flude), June 2013
  • Black Magic | White Magic @ Networked Art Forms and Tactical Magick Faerie Circuits (NAF:TMFC), Hobart, Tasmania, mai juin 2013
  • Algorithmies diaphanes, Sight and sound, Montréal, Mai 2012,
  • Les veuves aux miroirs, contre festival Armée de culture, Mai 2011, Montréal

Some of my god(e)s dies in Iasci

With the help of artist and healers, such as Free Woman, Tabita Razaire, Mariana Marcassa and Tatiana Koroleva , i was able to reconnect with some burried memories:
My jewish / romanian ancestors, their shame and ways of silencing history and the way some of them died in the pogrom of Iasci in Romania.
Somehow, i had flashes of what had happened when i was 6-8 years old. I can t explain those visions and sensations but i know that it is precious to revisit some of them through embodied rituals, performances and humming.
Often i feel like a spiritual orphan, and i wonder, if visiting ancestors with offering could heal something.


Rituel pour resacraliser
mes orifices,
leurs ancêtres
et tout.e.s leurs habitant.e.s.


La performance rituelle fut présentée le 9 mai a 19h00 au CDEX, 405, rue Sainte-Catherine Est, local J-R940, dans le cadre de la soirée Theosexual  : spiritual porn, commissarisée par Jonathan Sardelis and Shandi Azk Bouscatier

plus de détail:


Des Particules d’Amour Actives, Mexico, Septembre 2017

Performance en trio, Taniel Morales, goldjian, Geraldine Eguiluz, Transitio, Mexico

Artist, hackers & spiritual researchers, we are looking in the sky /in our heart/ in the cells & organisms within & around us, to relearn together what is it to make love in this universe. Against all cynism, that framed love as a damned freezing state or as a deeply damaging violations, we’ve learned from bell hooks that it s all about relearning how to shape deeply caring actions.

Armed with stetoscopes, telescopes and microscopes, and other devices for macrocosmic, microscosmic and (h)earthien recording, we collect knowledge from ancestral and contemporary lovers. We look at the future by magnifying movement of particules, to better understand the activities of creation maintenance and evolution of life We know it’s all about love, but we have forgotten the way, so we look into the future. We listen to visionary fiction and story tellers, as they gather evidence that we are the science fiction of ancient times, and the birth giver of our future. We look in the interstices of rocks, mosses and earth and listen to stories of decolonial love. We collect the sounds of the earth. We plant seeds or look at them growing, without us. From our path, we gather, what we’ve found, what we’ve learned and discovered, pedagogies, methodologies and practices of love, dedication, and infinite care, together, to move forward, to get out of the anthropocen


avril 2015

planck page de couverture

Planck retrace une triple histoire qui avance en ellipse.
Celle de l’origine de l’univers, telle que photographiée par le satellite éponyme.
Celle d’une flopée d’humain.e.s embarqué.e.s dans un tourbillon et qui cherchent à comprendre comment notre cailloux est arrivé à tourner rond et ce que nous foutons là, à piocher dedans.
Celle d’un retour sur terre, mal emmanché, un peu myope bringuebalant, pour s’occuper de nos moutons, qui vont mal, comme de fait, et comme le cailloux.
Du plus loin des amonts, du plus profond des infinitudes et des origines des mondes : qu’est-ce que nos mythes de création nous racontent, et de là où va-t-on ?
Un groupe variable de invité.e.s improviseront, en poésie, en musique et en danse, sur une structure ellipsoïdale à l’issue incertaine.


Les menstres

mars 2015

Anne Goldenberg, Isabelle Fortier, Géraldine Éguiluz
danse, chants, instruments divers
rétro-projections et menstruations
30- 40 min
(English Below)

Les Menstres rassemblent trois artistes performeuses autour d’une séance alchimique visant à transformer des fluides menstruels en matériel visionnaire.

Ce travail s’inscrit dans une démarche plus large d’art relationnel et de bio-hacking féministe : nous collectons les menstruations de nos proches, tenons une banque de sang, nous écoutons et regardons ce qui émerge de ces échanges, transferts et transformations. En explorant les potentiels artistiques et subversifs de ces secrétions, nous touchons aux frontières du vivant et du mort, du déchet et du trésor, du commun et du secret. En donnant une seconde vie à ce sang pacifique, il devient miroir, galaxie, planète, espoir, matière à oracle et à introspection.

Puisant dans nos vécus intergénérationnels, dans nos expériences d’invasions corporelles par une médecine froide et clinique, dans nos hontes, dans nos dégoûts, dans nos secrets, nous mettons en œuvre un rituel alchimique à caractère métaphysique, critique, burlesque et onirique. Déployant les ramifications d’un laboratoire ambulant, nous faisons de ces menstruations une matière et un matériau à exploration et à génération et revenons sur un palimpseste de tabous millénaires en retraçant des formules interdites par le biais d’opérations mouvementés, visuelles, auditives et olfactives. Et si nous sommes monstrueuses, soyons le joyeusement et étendons nos êtres jusqu’au bout de nos fluides.


Lors de la performance, nous apporterons notre banque de sang et notre laboratoire ambulant et travaillerons avec :

Une valise, des linges, des fioles, des gants
Un tissu ou une toile de projection et d’ombre chinoise (à suspendre)
Notre rétroprojecteur, des plaques de verre et des poches de plastique pour des explorations organiques
Divers instruments de musique, des amplificateurs de body-noise1

Nous apporterons notre projecteur/un rétro-projecteur, ainsi que du matériel de laboratoire, disposé sur un cabaret mobile. Il nous faudrait probablement un accès à une multiprise vers le centre de la scène (ou un câble assez long pour la traverser). Nous aurions besoin de suspendre un linge blanc dans l’espace et d’un éclairage tamisé

1 Produits par le collectif Quimera Rosa


The Mensters brings together three performers for an alchemic session to transform menstruation into visionary material.
This work is part of a wider feminist relational and bio-hacking art project: We collect menstruation from our friends, keep a blood bank, and observe what emerges from these exchanges, transfers and transformations. By exploring the artistic and subversive potential of these secretions, we reach the borders of life and death, of waste and treasures, the common and secrecy. Giving a second life to this peaceful blood, it becomes a mirror, galaxy, planet, hope, oracle and introspective matter.Drawing on our intergenerational experiences – of being invaded by a cold, clinical medicine, our shame, our disgust, our secrets – we implement an alchemical, metaphysical, critical, burlesque and dreamlike ritual. Deploying the ramifications of a mobile laboratory, we make this blood a material for exploration and generation. We return on a palimpsest of old taboos by enacting prohibited operations which are hectic, visual, auditory and olfactive. And if we are monstrous, let us joyfully expand our beings to the end of our fluids.

During the performance, we bring :
our blood bank
our mobile laboratory
suitcases, cloths, vials, gloves
projection surface, bed sheets and clothesline
Our projector, glass plates and plastic bags
Various musical instruments, body noise amplifiers

We bring our overhead projector, as well as laboratory equipment, arranged on a trolley cart. We would probably need access to a power strip near the center of the scene (or a long extention cord). We need to hang a clothesline in the space and soft lighting.

Hardware Stories

Hardware stories is a research and creation project about the material and mineral origins of our electronics, their condition of production , and their destination.

Our computers deals with immaterial – speech, thoughts, knowledge. We see them as cultural goods. therefor we think they are themself, immaterial.

From violent extraction in african mines where rape culture is dominant,
to poisonous soldering and repetitive assembling in asian compagnies
the workers and makers of our every day electronics material are underpaid and live under several physical and psychological threats.

How to touch this dimension when publicity makes us so far away from this reality ?

photos: sally bozzuto

The performance presented at EcoHacking (2014) was a first exploration of the spiritual ecological dimensions of this project.   photos: sally bozzuto

photos: sally bozzuto

A second performance presented at Santiago de Chile in 2016, during the Gathering on Open Science and Hardware (GOSH) was a way to convey this sensitive questions among international hardware hackers and engineers.

In 2018, a performance planned in NAFASI Tanzania, in collaboration with Jean Katambayi, from Congo, (following an other GOSH in China) will address this questions from more local points of view.

< Performance Tests >

august 2013

Performance for computer code, electronics noises and improvised movement, Operating Systems <Performance Tests> focuses on the source of power in technological systems. The piece consists of a series of Performance Tests, associating:
• Command line poetry and computer instructions
• Live noise picked up from the computers and audification of their electromagnetic fields
• Improvised danced interpretation and rebellion against the sounds and the commands


Operating Systems is a computer code, sound and dance performance. It is reflecting on the relation between humans, computers and the operating systems via which the computers are accessed (like Mac OS or Linux or Windows). An integral perspective shall consider operating technical, organizational and somatic systems.

Considering systems and their operation in a broader context, we look at the powerful relation between hardware, software, textual interfaces to communicate with it and the human. All together we are testing the performance of the system. All together we operate the systems. All together we also form, shape and resist the system.

For longer presentation of the performance project, follow this link:
Operating Systems Description

Performances tests

Black Magic White Magic


Tasmania, Mai 2013

Black Magic | White Magic est une performance d’improvisation poétique, dansée et sonore qui traite des relations d’intimité, de créativité, de pouvoir et de dépendances vis-à vis de nos ordinateurs et leurs systèmes d’exploitation. Cette pièce met en scène une musicienne et deux performeuses aux allures chamanique qui s’attèlent à leurs ordinateurs personnels dans des démonstrations de puissance et de maitrise technique. Boites blanches et écrans noirs, lignes de commandes, limpidité et mystères, magies du geste, force de frappe sur touche de petit clavier. Peu à peu, la performance et l’univers sonore installent un univers contemplatif, ironique et poétique qui révise et exorcise l’esthétique relationnelle de nos systèmes d’exploitation.

  • WMBM-01 May 5th. 2013  Laboratoire Phenomena, @ Casa del populo, Montreal (with Anne Goldenberg, Maya Richman & Margareth Westby)
  • WMBM-02  June 1st, 2013 Tactical Magic, @Cast Gallery, Hobart, Tasmania, Australia (with Anne Goldenberg & Karine Rathle)
  • WMBM-03 June 23rd, 2013 Dark Mofo, @Cast Gallery, Hobart, Tasmania, Australia (with Anne Goldenberg, Karine Rathle, Idiot Lust)

Black Magic | White Magic is a dance and sound performance about intimate, ritualised and creative relations to personal computer and operating systems. A sound artist and two shamanic dancer play with an ensemble of objects relating to Linux and a Macintosh environments. They wish to demonstrate their comprehension and masteristation of their tools. Slowly they face the contemplative, absurd or irreducible dimensions of those universes and materiality. The piece poses a poetic, ironical and humorous glance on daily gestures, aesthetic, rituals, power and fragility which are at stake in these complex relationships. By doing so, it suggests to re-enchant computer mediated modus operandi.

Algorithmies Diaphanes
< instructions à mouvoir et autres impulsions sensibles >

@ L’oeuf 425
Performance d’improvisation mouvementée et sonore sur l’origine, la substance et la lisibilité du code, Algorithmies diaphanes s’inscrit dans une démarche prospective de définition des rapports entre humains et systèmes d’exploitation. Le code comme langage, connivence, dispositif d’encryption ou matière à diffusion traverse nos quotidiens et nos environnements sous des formes le plus souvent furtives. De quoi le code est-il source? Lire, manier ou partager le code: est-ce un travail d’expert, une lutte politique, une démarche poétique? En s’appuyant sur une récolte de propositions à performer et de textures phoniques, Algorithmies diaphanes explorera ces questions par une série d’improvisations pour sons et mouvements.
Instructions par: Pascale Gustin,Karine Rathle,Stéphane Couture
Impulsions par: Valentina Vuksic,D’incise
Interpretations par: Anne Goldenberg, Elise Hardy, Clarisse Delatour, Marie Lys Trudel
Inspirations: Nancy Mauro Flude
Photos noir et blanc par Marc Etienne Mongrain
Merci à Perte de Signal pour le prêt de local et d’équipement en préparation de cette performance.

Diaphanous Algorithmics
< instructions for motion & sensitive impulsions >

@ Open Process Pixel Libre & Htmlles
Diaphanous Algorithmics is a sound and improvisational movement based performance on the origin, substance and legibility of code, Diaphanous algorithms is part of an iterative work attempting to define the relationships between humans and operating systems. Code, as language, connivance, encryption device, or dissemination matter, crosses our everyday and our environments often times in stealthy ways. What is code the source of? The performance is inspired by a collection of sounds and instructions expressing our complexe relation to computer work, command line and coding.
Instructions by: Pascale Gustin, Karine Rathle, Stéphane Couture
Impulsions by: Valentina Vuksic, D’incise
Interpretations by: Anne Goldenberg, Elise Hardy, Clarisse Delatour, Marie Lys Trudel
Inspirations: Nancy Mauro Flude
Color Photos by Thien Vo

Thanks to Perte de Signal for letting us use their space and equipment in preparation of this performance.

Veuves aux miroirs,

une performance proposée par Rasili Rotz
dans le cadre de culture militaire
avec Anne Goldenberg, Camille Strand, Isabelle Lavigne, Anne Roudaut, Nadine Samuel, Tamara Copney, Chowra Makaremi et Rasili.
photos par Thien Vo