"DJ Fatale started in 2022 during parties at the Beaux-Arts. I was fed up with cismec DJs having a total monopoly on music and only playing techno. So I set up DJ Fatale, with my own resources. I don't know how to mix or compose music, I mix on Virtual DJ and I only play pop sounds, like techo remixes of Mylène Farmer, summer 2007 pop, hyperpop, including remixes of Bébé Lily and Ilona Mitrcey.  All those tracks are blended without really good transitions (a bit unwillingly...) but I also like to keep the cute side of the wedding and fair DJs of my childhood".

Oscillating between frenetic beats and resonant kicks, DJGARBAGE turns her saturated mixes into a series of short respites.
Her mixes, which combine violent gabber and exhilarating hyperpop, are inspired by fantasy, with ultra-fast beats and a mystical dimension.

Before obtaining his Master of Arts in Dance at P.A.R.T.S (BE), he studied musical theatre at the Académie Internationale de la Danse (AID) and contemporary dance at the Conservatoire Nationale De Paris (CNSMDP).  

Since 2019, Stanley has been developing his choreographic work. He created the duet 'Sorry Not Sorry' with Cintia Sebok, his first solo 'The Mirror Stand' as well as the duet 'PARADE' with Mooni Van Tichel.  He is currently working on a new piece, a trio entitled 'Spine Of Desire: Wounds without tears, out of one skin in diamonds and shit' (2025). 

At the same time, Stanley is part of the Ballroom Scene as a member of the Iconic House Of Ninja.

Navigating between different artistic scenes, his approach as a DJ allows him to reclaim his mixed heritage, heal our bodies and rethink the multiple possibilities of being together through listening. He doesn't stick to a specific musical style, but frequently learns, explores and combines. He hopes to contribute to the emergence of innovative diversity and create new tools to bring greater joy and freedom.

Her heritage and sensitivity have led her to explore issues of identity, colonisation and bodily memory through movement, using a variety of media: film, dance and music. In 2020, in collaboration with designer Teddy Sanches, she wrote and directed the movie Envahisseurs, shot on film, about hip-hop dance and the notion of the circle, which she exhibited at the Palais de Tokyo as part of the Audi talents programme.

Passionate about house music and clubbing culture, she is interested in post-colonial musical movements that mix electronic music with traditional and modern music from so-called Portuguese-speaking African countries.

In 2022, she was the laureate of the Trame residency at the Cité Internationale des Arts in Paris, where she carried out research into the dances of resistance that emerged from slavery and were born out of the cultural breakdown of the populations deported to the New World.

In 2023, she directed a dance short, In Between, at Villa Kujoyama, Japan, which questioned the body and the different feminine and masculine energies that make it up, as well as its relationship to the living, inspired by African visions of the world where man is intertwined with the cosmos, nature and the community. 

In 2024, she was invited, in collaboration with designer Teddy Sanches, to give a Carte Blanche at the Bozar museum in Brussels, as part of their nocturnes and the opening of their Afropolitan Festival. Together, Deicy and Teddy Sanches took over the museum with a talk by Olivier Marboeuf and Alessandra Seutin, a performance by 8 dancers, film screenings and DJ sets, including one by artist Kem Kem.

A graduate of the ECAL (Bachelor of Visual Arts) and the Paris Conservatoire, she mixes acoustic instruments such as the clarinet, violin and cello with unstructured productions and field recording. 
Water For Aircrafts is her first solo project, a four-track EP composed by the artist and produced in collaboration with producer Roseboy666. Water For Aircrafts, conceived as an electronic opera, is a tale of sentimental and dramatic ballads, an odyssey of intimacy and lyrical flights.
A multi-faceted artist, she accompanies her musical work with visual and performance research, building a rich visual universe imbued with nostalgia and sensitivity. 
She uses the body in movement and the voice as two raw materials to tackle issues of confrontation between traditional and contemporary concert/performance/show practices, the performativity of the musician, the relationship with the audience/mob/pogo in its expectations and reactions, and the amplification/destruction of the performer's ego.