Loona Dusser

Graduation work Fine Arts 2026, KABK "Monde de brutes" explores the potential importance of playing in times of violence. In this piece, metal or human performers, or even the audience are all part of the same hierarchical system; a system in which nobody and everybody can lead and be lead. Everyday, two metal squares filled with water are hit by sunlight at around 09:43 and 13:59, creating a reflection of visible poetry in the space.

Graduation work Fine Arts 2026, KABK "Monde de brutes" explores the potential importance of playing in times of violence. In this piece, metal or human performers, or even the audience are all part of the same hierarchical system; a system in which nobody and everybody can lead and be lead. Everyday, two metal squares filled with water are hit by sunlight at around 09:43 and 13:59, creating a reflection of visible poetry in the space.

Graduation work Fine Arts 2026, KABK "Monde de brutes" explores the potential importance of playing in times of violence. In this piece, metal or human performers, or even the audience are all part of the same hierarchical system; a system in which nobody and everybody can lead and be lead. Everyday, two metal squares filled with water are hit by sunlight at around 09:43 and 13:59, creating a reflection of visible poetry in the space.

Graduation work Fine Arts 2026, KABK "Monde de brutes" explores the potential importance of playing in times of violence. In this piece, metal or human performers, or even the audience are all part of the same hierarchical system; a system in which nobody and everybody can lead and be lead. Everyday, two metal squares filled with water are hit by sunlight at around 09:43 and 13:59, creating a reflection of visible poetry in the space.

Graduation work Fine Arts 2026, KABK "Monde de brutes" explores the potential importance of playing in times of violence. In this piece, metal or human performers, or even the audience are all part of the same hierarchical system; a system in which nobody and everybody can lead and be lead. Everyday, two metal squares filled with water are hit by sunlight at around 09:43 and 13:59, creating a reflection of visible poetry in the space.

Ox: This work is a pure collaboration with @loonaeol. As Loona decided to explore the retroscene of a clown life and its body movement, I continue my exploration of Junghian Theory. I see the clown masks as the process of wearing a persona to cover the turbulent psychic landscape. Who get hurt when we get hurt, and who get hurt when we hurt ? How many time do we have to crash before we lose our ability to feel ? With a personal method for automatic writing I let my Anima archetype speak through my hand. During a long depression I let her disappear in the shadow, and she is questioning why I left her fading alone in the dark corner of the shadow. I choose Italian to test a deeper and primal connection with the audience. The text performance was non linear and iterative, becoming a complex dynamic mantra. Written by Nicola Ruffino, Sound Performance by Nicola Ruffino Co-directed with Loona Dusser @loonaeol Body movement exploration Loona Dusser @loonaeol Thanks @laura.moood for aftermath feedback session Pictures: Justine Ellul @justineellulphotographer For @early_hours_myths takeover @laak.bar @laak.club 4th October 2025.

Ox: This work is a pure collaboration with @loonaeol. As Loona decided to explore the retroscene of a clown life and its body movement, I continue my exploration of Junghian Theory. I see the clown masks as the process of wearing a persona to cover the turbulent psychic landscape. Who get hurt when we get hurt, and who get hurt when we hurt ? How many time do we have to crash before we lose our ability to feel ? With a personal method for automatic writing I let my Anima archetype speak through my hand. During a long depression I let her disappear in the shadow, and she is questioning why I left her fading alone in the dark corner of the shadow. I choose Italian to test a deeper and primal connection with the audience. The text performance was non linear and iterative, becoming a complex dynamic mantra. Written by Nicola Ruffino, Sound Performance by Nicola Ruffino Co-directed with Loona Dusser @loonaeol Body movement exploration Loona Dusser @loonaeol Thanks @laura.moood for aftermath feedback session Pictures: Justine Ellul @justineellulphotographer For @early_hours_myths takeover @laak.bar @laak.club 4th October 2025.

Ox: This work is a pure collaboration with @loonaeol. As Loona decided to explore the retroscene of a clown life and its body movement, I continue my exploration of Junghian Theory. I see the clown masks as the process of wearing a persona to cover the turbulent psychic landscape. Who get hurt when we get hurt, and who get hurt when we hurt ? How many time do we have to crash before we lose our ability to feel ? With a personal method for automatic writing I let my Anima archetype speak through my hand. During a long depression I let her disappear in the shadow, and she is questioning why I left her fading alone in the dark corner of the shadow. I choose Italian to test a deeper and primal connection with the audience. The text performance was non linear and iterative, becoming a complex dynamic mantra. Written by Nicola Ruffino, Sound Performance by Nicola Ruffino Co-directed with Loona Dusser @loonaeol Body movement exploration Loona Dusser @loonaeol Thanks @laura.moood for aftermath feedback session Pictures: Justine Ellul @justineellulphotographer For @early_hours_myths takeover @laak.bar @laak.club 4th October 2025.