Following two previous collaborations with Geneva-based association Konnekt, which brought Keiji Haino, a major figure in Japanese experimental music, to La Becque for solo performances and recording sessions, we are delighted to join forces again in support of Fushitsusha’s upcoming concert on September 2 at the Alhambra in Geneva, as part of La Bâtie Festival.

 

Led by Keiji Haino since the late 1970s, Fushitsusha has become one of the most influential and elusive groups to emerge from the Japanese experimental underground. Moving between rock, psychedelia, improvisation, and noise, the band creates an intensely physical music in which each performance unfolds as an unpredictable and immersive experience.

 

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For the 2026 edition of the Biennale Images Vevey, La Becque will host two projects and present a third in collaboration, at the Théâtre Oriental-Vevey.

 

With Poster Child, Charlie Engman revisits his photos using artificial intelligence to compose strange domestic scenes. Following an initial residency in partnership with ECAL/University of Art and Design Lausanne in 2025, Engman returns to La Becque in September 2026. In his practice, he subverts the family photo genre, examining the family circle as a structure through which society imagines its future. Engman transforms his apartment into a creative laboratory and a curious family home. The English idiom “poster child” designates a model child or an archetypal figure whose image is widely disseminated.

 

Cyanotypes 16 – 22 brings female emancipation and photography into dialogue through the relationship between a mother and her daughter. Ruth Erdt and her daughter Eva Vuillemin presents photographs taken by each of them between the ages of 16 and 22. The artists delve into their archives in search of self-portraits with formal similarities, which they develop using the cyanotype process. This historic technique erases both the age and the technological gap, while allowing them to reclaim their own likeness. The project stands as a testament to the enduring bonds shared between women of the same family.

 

Also a former resident at La Becque in fall 2025, as part of a residency initiated by Images Vevey and made possible with the support of Nestlé, Carlos Amorales is part of the Biennale with his project Todos Somos Amorales. In 1996, the artist developed a multidisciplinary body of work combining photography, video, and performance, in which he developed his alter ego, inspired by Mexican lucha libre. He revisited his original Los Amorales slides and created an autobiographical film using artificial intelligence. As both an artist and a father, Amorales presents a manifesto with Todos Somos Amorales: a blend of analog nostalgia, glimpses of family life, and a critique of technology.

La Becque, 2026, photo Matthieu Croizier

On Saturday, September 12, La Becque, FLEE Project and Brazilian artist and former resident Ventura Profana invite the public to an afternoon and evening of conversations, listening sessions and performances, concluding a week-long residency exploring the relationships between music, spirituality, archives and collective transmission.

 

The residency takes as its starting point FLEE Project’s recent publication Candomblé: Sacred Rhythms of Brazil, a bilingual book and double vinyl dedicated to Candomblé, an Afro-Brazilian religious tradition rooted in African spiritual practices, in which music, rhythm, dance and ritual play a central role.

 

Bringing together rare archival recordings from the Ilê Axé Opô Aganjú terreiro in Salvador, newly commissioned works by contemporary musicians, critical essays and previously unpublished photographs by Pierre Verger, the publication approaches Candomblé not as a fixed cultural heritage, but as a living tradition continuously transformed through ritual practice, artistic creation, migration and circulation.

 

The week culminates in a public programme bringing together a presentation of Candomblé: Sacred Rhythms of Brazil, a listening session, a performance by Ventura Profana and a DJ set by Anderson do Paraiso. Throughout the evening, publishing, performance and celebration intersect, creating a space for contemporary artistic practices, editorial research and Afro-Brazilian cosmologies to meet while engaging with questions of transmission, authority and cultural circulation.

 

4:00 pm Doors open
5:00 pm Conference
6:00 pm FLEE publication presentation + listening session
7:30 pm Ventura Profana (performance)
9:00 pm Anderson do Paraiso (DJ set)
11:00 pm Doors close

 

Based in Rio de Janeiro, Ventura Profana describes herself as the daughter of the mysterious bowels of Mother Bahia. In her artistic practice, she prophesizes the multiplication and abundance of Black and trans lives. Indoctrinated in Baptist temples, she is a missionary pastor, singer, writer, composer, and visual artist, whose work is rooted in research into the implications and methodologies of evangelization from the Abrahamic religion in Brazil and beyond, through the spread of neo-Pentecostal churches.

 

Based in Belo Horizonte, Anderson do Paraiso is a DJ and producer and one of the key figures behind the city’s distinctive Funk BH sound. Emerging from the local baile funk scene, his music takes an unorthodox approach to the genre’s typically frenetic energy, slowing it down into sparse, atmospheric and often haunting compositions. Combining electronic elements with orchestral instrumentation, silence and reverb, his productions create a cinematic tension that has helped shape a new generation of Brazilian funk while expanding the possibilities of the dancefloor.

 

Founded by Olivier Duport, Alan Marzo, and Carl Åhnebrink, FLEE is an independent publishing house, record label, and curatorial platform dedicated to documenting and reappraising hybrid cultures. Taking a critical, informed stance on what gets defined as “authentic” heritage, the platform produces book-record objects at the crossroads of ethnomusicology, documentary research, and sound creation, and organizes exhibitions and residencies internationally.

On October 2 La Becque continues its collaboration with Geneva based association Konnekt.  After jointly welcoming Keiji Haino to La Bâtie festival in Geneva, this time the two organisations reprise their conversations with the Afro-Carribean continuum of British improvised music: a year from hosting vocalist Elaine Mitchener at La Becque, this time they welcome pianist and composer Pat Thomas for a solo concert at Temple Saint-Théodule in La Tour-de-Peilz.

 

A major figure in British free music, Thomas has developed a singular musical language over more than three decades, moving freely between jazz, free improvisation, electronic music, jungle, funk, and contemporary composition, in solo and collaborative settings as well as with the monumental quartet أحمد [ahmed].

 

Equally at home on piano and electronics, his practice combines a deep engagement with musical history with a constant drive toward experimentation, making each performance an open-ended exploration of sound, rhythm, and improvisation.

 

Concert at 8 PM, Temple de Saint-Théodule in La Tour-de-Peilz.
Free admission.
Additional program information to be announced shortly.

Former residents Invernomuto present 福々っとぶんちゃん / Blissful Bun-chan at the Venice Biennale, a new 87-minute film documenting Keiji Haino’s 2025 performance at Temple Saint-Théodule in La Tour-de-Peilz.

 

Filmed during Haino’s stay at La Becque, the work transforms the concert into a spectral audiovisual document. While the musician himself appears only as a ghostly retinal afterimage, Phaibun, La Becque’s resident cat, wanders through the church as a recurring presence, moving between the performance, the architecture, and the camera’s gaze.

 

The project grew out of Invernomuto’s encounter with Haino at La Becque, following an earlier collaboration that had been interrupted when the musician’s European tour was cancelled. Directed, filmed, and edited by Simone Bertuzzi and Simone Trabucchi, Blissful Bun-chan was shot on location at Temple Saint-Théodule, La Tour-de-Peilz, and produced by La Becque.

 

The film will be presented at the Arsenale, Tese dei Soppalchi, from October 16 to 18, 10 AM–6 PM.

Invernomuto, 福々っとぶんちゃん / Blissful Bun-chan, 2026, still

On November 19, Hanne Lippard, Ellen Arkbro, and Hampus Lindwall return to Temple Saint-Théodule in La Tour-de-Peilz to present How do I know if my cat likes me?, their collaborative album released in May 2025 by La Becque Editions and Blank Forms Editions.

 

Following Lippard and Arkbro’s residencies at La Becque in 2023, the two artists returned in 2024 with Lindwall to record the album, in large part on the organs of Temple Saint-Théodule. Bringing together Lippard’s deadpan spoken word with Arkbro and Lindwall’s organ compositions, the record playfully explores the automated routines and absurdities of contemporary life. The trio’s return brings the album back to the very space in which it was recorded.

 

Concert at 8 PM, Temple de Saint-Théodule in La Tour-de-Peilz.
Free admission.
Additional program information to be announced shortly.

La Becque invites you to the artists’ residency for an afternoon of discoveries and encounters.

 

Throughout the afternoon, visitors are invited to move freely between studios, installations, presentations, and performances, discovering the wide range of artistic practices currently being developed at La Becque. Conceived as a moment of openness and exchange, the Open Studios offer an opportunity to meet the artists, ask questions, and gain insight into the different stages of their creative processes.

 

A program of presentations and performances will take place throughout the afternoon, alongside installations on view continuously across the residency.

 

Free admission. Bar and food available on site.

 

La Becque’s public program is supported by the City of La Tour-de-Peilz, Loterie Romande, the Coromandel Foundation, the Philanthropique Famille Sandoz Foundation, and Pensimo Fondsleitung AG.

La Becque, 2026, photo Matthieu Croizier