Nature II is a Brussels-based theatre group consisting of two people, Magrit Coulon and Bogdan Kikena. Magrit Coulon is a director, Bogdan Kikena is a dramaturge. They met while studying at INSAS and decided to continue their collaboration in the real world, whose customs they adopted in 2019, with only their paper diplomas turned into hats.
 

Fascinated by dust, damaged things and languages that are supposedly dead but still mumbling, they work on surveying territories that, although shared, summon their own imagination.
      Such is the case with HOME - pieces of nature in ruins, Magrit's first show, in which months of meticulous observations and recordings in a Brussels home are combined with a burlesque of diverted codes, archly non-spectacular, and the passage of time that metamorphoses the gardens into forests and the residents into kings and queens of a ruined castle.
      So it is with La Pavane, a small garden theatre made by Bogdan, where costumed figures, as if out of the wardrobe, re-enact the birth of the Western gaze, in 15th century Italy visited by Kafka.
      And so with Toutes les villes détruites se ressemblent, a show they wrote together and which launches a European Museum of Memory and Destruction (MEMED) on the road; a travelling museum in which two guardians watch over our collective memory, unless they are distractedly punching holes in it.
      This is the case with Les Robes de Chambres, in which Magrit continues the path cleared in HOME, staging a community of solitudes. How to live alone? Where do epochs go when they disappear? And why have volcanoes fallen asleep? Choreographic and musical, the show draws the landscape of a shared and perhaps infinite expectation, composed of all the nothings that make up an existence.

At the crossroads of these works, the reliefs that form the artistic landscape of the company take shape: research into the specificity of theatrical time and its writing, the investigation of the relationship we have with our memory and the way it transforms our perception of the world, the burlesque and the grotesque as tools of representation and the charge of diverting or even reversing the real that they carry within them.