Daniil Harms is the main collaborator of this project, although involuntarily deceased. We speak little on this page since you will find informations about him all around this website. But let’s say this: Daniil has a sense of mysticism as much as absurdity. Daniil is a bit like the Russian Henry Michaux, the Daumal of the steppe.
Grégory Marza is leading this project. Now, being myself him, I can touch you two words. I will speak of him by convention in the third person. He was born in Guyana, traveled the seas very young to learn Buddhist songs, then studied cell biology in Guatemala. At the same time, he is perfecting his trout cake recipe. It is by working on this recipe that he met Daniil Harms, in the books is understood. Since 2015, he has been working on adapting Kharms’ stories in video. He is still there today.
Raphael Almosni is a comedian, especially. The register of the absurd is not unknown since he currently plays in Hin und her (Back and forth) by Horvath, directed by Alain Batis since 2018, and in Stratiev’s The Autobus directed by Laurence Renn in 2007 and 2018. We met on the film Entre-Deux, with absurd accents, which marked the beginning of a rich collaboration. But he is also a director. In 2004, he directed a selection of texts by Harms in Corsica, for theater. Certainly the embryo of the project Harms …
Julie Allain frames most of the project’s films. It is the woman with the camera, the one who aims, points and structures the moving image. She practices a soft photograph with an approach where suggestion prevails over figuration. In 2018 she directed the short film Contrôle, borrowed from a very personal expressionism.
Gustave Hauer was born in Bavaria in 1971. He spent his adolescence in Guadalajara, Mexico, following his father Mariachi on his journeys. This is where his love of sound, music, which he develops until a stay in Europe at 21 years during which he remains bedridden in France for three months, following the contraction of a venereal disease fulgurante . He composed his first noisy pieces (including the famous “Kebaboutabetai 35/8 on a rainy day“) before focusing on the complex noise-image relationship. He handles all the sound aspects of HARMS.
Alain Batis. I knew him as a director. The first staging I saw was Nema Problema in 2010, a harsh and poignant monologue on the war in the Balkans that deeply moved me. Later, he created La Femme Oiseau (The Bird Woman), and brought to the stage texts conducive to the blooming of a poetry that is always present, whether under the absurd (Horváth), the spiritual (Hinterland by Virginie Barreteau), or the fantastic (The Snow by Hyakken Uchida). I learned late that he had performed on stage (Wedekind, Shakespeare, Lorca). And here he is, in Harms.