Born in Estonia, singer and performer Lembe Lokk has lived in Paris since 1998. Deeply involved in improvised music and at the heart of an experimental and multidisciplinary performance scene, she possesses an artistic personality both radical and intimate. A long way from her roots, she is constantly questioning her origins. She brings to her work the full force of human fragility.
After years as a choral singer in Estonia, she studied voice at the Paris music school CIM/INFIMM, followed by further studies in voice and body (choreographic theatre) at the Pantheatre/Roy Hart Experimental Voice School. She also worked with artists/pedagogues such as Robert Sentieys (lyric and baroque singing) and Anne Bogart (Viewpoints).
Lembe Lokk’s artistic research covers wide territory. She has worked regularly as a jazz vocalist since 2000, and in 2004 she created her own experimental group, Gjaar Projekt, to create original compositions and develop rearrangements of contemporary jazz repertoire.
Since 2002, she has been strongly engaged in contemporary and improvised music. She pursues this work within a variety of experimental musical contexts, in particular the Pantheatre-Roy Hart Performance Group. She also directs a group of varying membership, Eventuels, a sound space open to all possibilities between improvisers and improvisations – between all types of improvised music.
In addition, Lembe creates music for theatre and video, the latter notably in collaboration with video-maker Eléonore de Montesquiou.
A number of definitive musical collaborations took place in 2005. Her eclectic musical talent and poetry found an excellent match in the bassist Peter Herbert, both as an improvisational duo and with others in the project kvartett (Herbert/Lokk/Puntin/Rohrer) which pushes the limits of improvisation, jazz, punk and poetry.
Also in 2005 her work as a performer was affirmed by two important creations. The short vocal and chorographic solo, Chambre froide, which takes the form of an incisive autobiography, and the performance In-expérience, which explores the organic transformations of the female body, are statements both artistic and human. Sitting between a confession and a reclamation, they represent the foundations of a project of life and of art.