Lou Forster was born in Paris in 1988. He has a bachelor’s degree in Philosophy and Theatre Studies, and graduated from the Ecole des Hautes Etudes en Sciences Sociales in 2012, defending a dissertation on exhibition apparatuses for performance, supervised by Patricia Falguières and Élisabeth Lebovici.
In 2010, he began writing art criticism for journals such as A Prior, Le journal des Laboratoires d’Aubervilliers and Art21 which he co-directed from 2012 to 2013. In his writing he has engaged with the work of Walid Raad, Yvonne Rainer, Franck Leibovici, Claudia Triozzi, Juan Dominguez, Rabih Mroué and L’Encyclopédie de la Parole, among others.
In 2013 he assisted curator Pierre Bal-Blanc at the Centre d’art in Brétigny-sur-Orge for the exhibition La Monnaie Vivante. In 2015 he was guest critic at FAR° Festival des Arts Vivants in Nyon (Switzerland), where he oversaw the artistic residency of Watch and Talk, and proposed a critical approach to the festival while combining publications and writing workshops.
In parallel to his personal projects, since 2010 he has been collaborating with choreographer Lenio Kaklea, acting as dramaturge on the pieces Fluctuat nec Mergitur (2010), Arranged by Date (2012), Margin Release f/f (2015) and also collaborated on the curatorial project Iris, Alexandra, Katerina, Mariela et moi at the DansFabrik festival, Quartz-Scène Nationale de Brest.
He also worked as dramaturge on the project Treasure in the Dark (Summer 2015) by choreographer Thiago Granato and performed Timelining (2014) by Gerard & Kelly at the FIAC (Autumn 2014) and the Guggenheim Museum (Summer 2015). Since 2014, he has been collaborating with Jeanne Revel and Joris Lacoste on developing the W method — a critical, practical and theoretical approach to action in stage performance.
He curated Lucinda Childs, Nothing Personal (1963-1989), the first retrospective exhibition devoted to the work of the American choreographer and presented at the Centre national de dance (CND) and the Galerie Thaddaeus Ropac in Pantin near Paris as part of the Paris Autumn Festival.
Oscar Lozano is a performance artist and writer who trained at the Experimental Theatre Wing at NYU Tisch School of the Arts, as well as NYU Abu Dhabi and the Hemispheric Institute of Performance and Politics, where he further developed his knowledge of performative space, both the theory and practice.
He has performed in Paris, New York, Abu Dhabi and Barcelona, appearing in projects by Gerard & Kelly, Zoukak Theater Company, Rubén Polendo and Sarah Blush among others. He has assisted or collaborated with artists such as Trajal Harrell and the Yes Men, and has run a series of theatre workshops for Iraki and Syrian refugees in Zarqa, Jordan. Oscar began exploring performance through solo work, with an adaptation of the play in one act by Fernando Pessoa, The Mariner (2013). His most recent play, No Brakes (2015), deals with the refugee crisis in Jordan, exploring the dangers of identification and the importance of refusing to talk about a trauma in order to create an alternative form of “consumption”.
His movement training includes practicing Contact Improvisation for the last 6 years (Bradley Ellis, Mathieu Gaudeau), Tai-Chi (Ramón Lozano), Viewpoints (M. Overlie, Barney O’Hanlon), as well as choreography and dance workshops with Beth Gill, Thomas Hauert, and Frey Faust. He is currently collaborating with the young theatre company JOKLE, in Paris, among other things to create movement sequences for their most recent play, Bittersweet.