Photo: Artists portrait by Nadia Ismail, 2026. Courtesy the artists. 

CAT:  We are very happy Agnes (Gryczkowska) did introduce you and your work to us.
The edition we launched together in particular is a series of 30 sculptures showing miniature versions of human size weasels costumes that were exhibited in your installation at Casino Luxembourg in the exhibition "Theater of Cruelity", curated by Agnes Gryczkowska.
They are all very different from another and live in diorama-like settings, in which they protest, go to therapy or throne on piles of Euro-Cent coins. Also they are part of an ongoing film project of yours. We need to know their backstory please?

A & L: Everyone thinks that rats will replace humans on earth, but rats are incapable of surviving without social interaction.
Weasels are located deeper underground and only rarely come up to the surface.
The only thing we can say is that weasels have the ability to adapt. Weasels are presented in every imaginable situation because it is believed that this is a way to tame them and better understand them. It is a bit like having a child, a dog, or a goldfish.

Installation view: Angélique Aubrit & Ludovic Beillard, Take half I have nothing left, in Theater of Cruelty, shooting, Casino Luxembourg, 2025. Photo: Courtesy the artists

CAT: You both seem to have a very good momentum going on right now. One show after another with performances and new works every time.
How do you work together as a duo? What role does each of you take on, for instance? Do you distribute different tasks in the work process to each other and if so which?

A & L: We work remotely. Angélique is in Brussels and Ludovic is in Bordeaux. Our projects often stem from our discussions—discussions that sometimes date back several years before taking shape as a project. Before working together, we were a couple, and when we separated, we decided that our relationship should take on a different form. We work by dividing up tasks and supervising each other remotely. It’s a bit like running a business together, with each of us taking turns trying to run it into the ground. We constantly switch roles, moving from woodcarving to costume design, writing, set construction, filming, editing, and so on.

Installation view: Angélique Aubrit & Ludovic Beillard, One night at L'honorable, shooting, Centre Wallonie Bruxelles, Paris, 2025. Photo: Courtesy the artists

CAT: What are the advantages of working together as a duo?

A & L: You never get bored when you work as a duo ;) it’s really just like a game. It’s much more interesting to play together than on your own.

CAT: Why is this new chapter of "une solitude vraiment terrible", which you are showing in the exhibtion "sui generis" at Kunsthalle Giessen, titled "Le moineau"?

Installation view:  Angélique Aubrit & Ludovic Beillard, Le moineau, in Sui generis, with Pierre Molinier, Kunsthalle Giessen, 2026. Photo: Courtesy the artist.

A & L: Le moineau is a cute little bird, but one that can fly off at any moment

CAT: Can you tell us more about the story of this particular chapter? What is the meaning behind this story?

A & L: Le moineau is  the story of Ines and Roberta, two inseparable sisters who have decided to live together, cut off from the outside world, in the same apartment. They agree to take in and raise the child of Rita, a famous singer.

CAT: How is this chapter positioned in the overall story arc of "une solitude vraiment terrible"?

A & L: "Une solitude vraiment terrible" depicts a closed-door situation in a public square where six people discover that the economic system has collapsed and that a magnetic force is preventing them from leaving the square. "The Sparrow" is the story Rita tells the others—or perhaps the story she tells herself. Rita feels alone in this crisis and wants to reclaim her child, whom she entrusted to the two sisters some fifteen years ago, but Ines and Roberta refuse; they  believe the child belongs to them.

CAT: How do the individual chapters relate to each other and how many will there be in total?

A & L: Each chapter represents a possible continuation of the story. All the chapters are linked by this scenario of the economic system's collapse and the lockdown of this public square. "Le moineau" is the sixth chapter. There should be about ten chapters in total but maybe more.

CAT: How does "Le moineau’s" narrative relate to Molinier and to the Kunsthalle Giessen?

A & L: "Le moineau" is linked to Molinier’s life, which we imagine as the moment when a person decides to completely transform their life and follow their desires. In Molinier’s case, we think of the evolution of his practice, which over the years has become intertwined with his personal life and his body. In "Le moineau", we imagine the fate of a person who finds himself forced to endure the choices of others, torn between his biological mother and the two people who raised him.


Detail view: Angélique Aubrit & Ludovic Beillard, Le moineau, in Sui generis, with Pierre Molinier, Kunsthalle Giessen, 2026. Photo: Courtesy the artist.

CAT: Can you tell us more about the individual characters that we meet in the story?

A & L: Ines and Roberta have been inseparable sisters since birth. They don’t understand other humans, who seem to get dumber as they get older. Rita has decided to devote her life to her singing career, and nothing will stop her from achieving success. "Le moineau" never gets a chance to make his own choices, and one day he realized that the cage had been open all along.

CAT: Can you tell us more about the performance, which will happen to activate the dolls and the setting?

A & L: The performance tells the story of the sparrow and the moment when Rita, his mother, decides it’s time to reconnect because the system is collapsing and she doesn’t want to end up alone.

CAT: What was your inspiration behind the apartment that the chapter is set in? How does the setting relate to both Molinier and the Kunsthalle Giessen?

A & L: The set we chose to build for this exhibition could be the apartment next door to Pierre Molinier’s in Bordeaux in the early 1970s. We decided to develop the story of two sisters living together in an old apartment, drawing inspiration from the furniture and tapestries that might have been found at the time. In particular, we drew inspiration from Pierre Guffroy’s film sets. Regarding the Kunsthalle, we decided not to include a ceiling in our set to reveal the venue’s architecture and to work at the boundary between a film set and a theater set by using walls that are small in scale relative to the size of the space. Thus, although our space is self-contained, the Kunsthalle’s space is never forgotten. Furthermore, we decided to incorporate works by Pierre Molinier into the apartment set we constructed in rooms adjacent to those where our story unfolds. Thus, the viewer finds themselves moving between our universe and Molinier’s within this enclosed space. 

CAT: How do the individual processual stages of the work (i.e. live performance, film recording, lifeless puppets and sound installation in the setting afterwards) relate to each other and what are their unique effects? 

Installation view: Angélique Aubrit & Ludovic Beillard, Miracolous, at Cremona Contemporanea, Cremona, 2026. Photo: Courtesy the artist.

A & L: We don’t know when the sparrow will return—or if it will return at all. We don’t know who is telling the truth or what the characters’ true intentions are. The only thing we know is that some people can’t stand being alone.