Laetitia Yalon

Date of birth


Country of residence


Country of origin




Laetitia Yalon comes from a Jewish family who emigrated in 1932 from Berlin to Granada, Spain. Two years later the family moved to Ibiza where Laeticia was born. In 1944 her father, a politically engaged activist, went to fight alongside the republican army in the Spanish Civil War but he was caught by the Nazis as he was trying to escape across the Pyrenees. He was deported to Auschwitz and killed.

Her mother was a well known explorer, travelling constantly around the world.

At home she was always surrounded by poets and artists and as a child she met celebrities such as Cezanne and Yves Klein. As a young woman she followed her Mother’s footsteps and travelled extensively to many countries. At this time she began writing poetry and performing, as well as making jewellery and painting to make some money.

In Paris she was involved with the Beat Generation and was friend of the poet Allen Ginsberg. She also met Axel Jensen and Leonard Cohen while she was in Hydra making ceramics.

After a traumatic experience she moved to Israel, where she lived for a long period (1964-1971) in the artists village Ein-Hod, near Haifa. There she started making wax paintings and was recognized as “State Artist of Israel”.

At the age of 40 she moved to Belgium where she concentrated her artistic practice in performance art. Together with an artists collective she founded the Stalker Arts Center, organising performance and art events. She has collaborated with other artists such as Ideal Standard, Mauricio Kagel. Philippe Marranne or Jan Fabre. She was also a member of the “Non-existent Gallery” group, an alternative performance art venue where artists came together to experiment and develop works, but without inviting an audience or registering the results. She also performed with the group Factor 44 and the Patacycliste.

More than just conventional performances, the works of Laetitia Yalon are free, spontaneous and ephemeral actions that remain unregistered, like the performances in the “Non-existent Gallery”.


Interviewed by Johnny Amore in Bruessels

Audio interview