© John  Vinke
© Mikha Wajnrych
Cie Mossoux-Bonté


The most insignificant things can have an unexpectedly vital potential (…) The performance is of a surgical and aesthetic precision: without emotion, the cruel and banal cycle of life.

F.R., Libération / September 2009


Monsters who give into the most terribly human of impulses: to play, to dream, to conceive, to love, to devour, to kill… Witch-like gestures lead the creator to be devoured by her own creations, just before the manipulator can rid herself of the monsters… The magician is transformed into a dishevelled and hysterical Medusa, who then reveals herself to be a fresh-face of Botticelli Madonna before donning a veil and emitting a frightening kind of braying: visibly Nicole Mossoux enjoys herself, supported in her madness by Thomas Turine, a furious and diabolically precise musician.

Fans of the Belgian artists who mix dance, theatre, music and painting in a mad physical engagement will recognize them here. For the rest: welcome to the fabulous world of Mossoux-Bonté.

Danièle Carraz, La Provence / July 2010


Kefar Nahum is fascinating from the beginning until the end - deft, inventive and full of energy – an extraordinary and consequential work with marionettes.

Matthew Isaac Cohen, Barbican Pit / January 2010


How not to be in ecstasy before such a masterful manipulation of objects, a mastery that extends to the smallest details? Incontestably Nicole Mossoux delivers an exemplary performance with a fresh perspective (…)

Laurence Berterls, La Libre Belgique / September 2008


With a face that does not show a single emotion, to such a degree that it appears to be made of wax, a fleshy mask behind a gas mask, Nicole Mossoux has invented a very beautiful theatre of objects (…)

Mathieu Braunstein, Télérama / October 2011


Here all is possible and nothing is what it seems.

Jean-Marie Wynants, Le Soir / November 2008