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	<title>Zoé Aubry</title>
	<link>https://z-aubry.com</link>
	<description>Zoé Aubry</description>
	<pubDate>Wed, 03 Sep 2025 08:45:15 +0000</pubDate>
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		<title>#Ingrid</title>
				
		<link>https://z-aubry.com/Ingrid-1</link>

		<pubDate>Wed, 22 Feb 2023 16:17:02 +0000</pubDate>

		<dc:creator>Zoé Aubry</dc:creator>

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	#Ingrid












On February 9, 2020 in Mexico City, a 25-year-old woman named Ingrid E. V. was murdered by her companion. Grisly photographs of this femicide committed by Erik Francisco Robledo Rosas, taken at the scene of the crime by the authorities, were avidly circulated by Mexican tabloids, which had no qualms in plastering the young woman’s dismembered body across their front pages. This opportunistic move by the gutter press, and the complicity of the police in making it possible, sparked a wave of protests. Spurred by a tweet to do their part in ridding the internet of these gruesome images, social media users around the world posted numerous photos of peaceful lakes, sunsets, fields of flowers and other scenes of natural beauty under the hashtag #IngridEscamillaVargas. In close collaboration with Delia who initiated this collective online response and with the Mexican independent publishing house Gato Negro Ediciones, Zoé Aubry, who has been working on the systemic and structural phenomenon of femicides and the issues raised by their media coverage since 2017, produced a book that pays homage to the memory of Ingrid Escamilla Vargas, denounces violence against womxn, and assails the voyeurism of a certain segment of the press.


These images are not addressed to us, but are present and diffused to make others disappear. For her installation, Zoé Aubry has gathered the images that were posted during the weeks that followed the murder as part of this collective movement aimed at producing invisibility by exploiting algorithms. She places them all in the foreground of her installation in such a way as to cover up a pixelated cyanotype of one of the crime-scene images that were published in the tabloids. To extend this work of struggle and demand into the public space, she invites everyone to make these images visible throughout the city in a participatory postering campaign. This continuous flow of photographs — with subtle variations, repetitions, and quotations inherent to the #Ingrid movement itself — refuses the voyeurism incited by images of violence and exemplifies the use of the image as a weapon against mediatization and government as well as police corruption.










	Exhibitions












C/O Berlin
FOTOSEPTIEMBRE, México CityFinnish Museum of Photography, Helsinki

The Lure of the Image, Fotomuseum Winterthur

Frac Bretagne




BOOK LAUNCH at Rencontres d’Arles 06.07, Librairie du Palais, 10 rue du Plan de la Cour, 14h-19h 
Jungkunst 2022, Halle 53, Winterthur

Photoforum Pasquart during Bieler Fototage #Ingrid, Fotostiftung Schweiz, Winterthur, CH currated by Doris Gassert 

Press

The Best Photo Books from Les Rencontres d’Arles 2022, AnOther




How the Reaction to a Young Woman’s Murder Sparked Change in Mexico, Elephant.Art [Words by Kate Neave]
#Ingrid, une arme visuelle pour combattre les féminicides, Vertigo, RTS

Avec"#Ingrid", Zoé Aubry questionne la représentation médiatique d’un féminicide, RTS 

Féminicide: quand l’image devient une arme numérique, Quotidien JurassienTalksThe Artist Talks by The Eyes — currated by Véronique Prugnaud, Paris Photo
« Photobooks about body, power and critical approach to feminism », with Tara Ulmann, Roxana Savin and Sarah Girard, Photobooks Switzerland, Photoforum
Pasquart — currated by Anastasia Mityukova and Jana Johanna Haeckel

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	<item>
		<title>#Ingrid &#124; book</title>
				
		<link>https://z-aubry.com/Ingrid-book</link>

		<pubDate>Sun, 22 Mar 2020 11:22:46 +0000</pubDate>

		<dc:creator>Zoé Aubry</dc:creator>

		<guid isPermaLink="true">https://z-aubry.com/Ingrid-book</guid>

		<description>
	 #Ingrid&#38;nbsp; &#38;nbsp; 
[ed. RVB BOOKS &#38;amp; Gato Negro Ediciones]

On February 9, 2020 in Mexico City, a 25-year-old woman named Ingrid E. V. was murdered by her companion. Grisly photographs of this femicide committed by Erik Francisco Robledo Rosas, taken at the scene of the crime by the authorities, were avidly circulated by Mexican tabloids, which had no qualms in plastering the young woman’s dismembered body across their front pages. This opportunistic move by the gutter press, and the complicity of the police in making it possible, sparked a wave of protests. Spurred by a tweet to do their part in ridding the internet of these gruesome images, social media users around the world posted numerous photos of peaceful lakes, sunsets, fields of flowers and other scenes of natural beauty under the hashtag #IngridEscamillaVargas. In close collaboration with Delia who initiated this collective online response and with the Mexican independent publishing house Gato Negro Ediciones, Zoé Aubry, who has been working on the systemic and structural phenomenon of femicides and the issues raised by their media coverage since 2017, produced a book that pays homage to the memory of Ingrid Escamilla Vargas, denounces violence against womxn, and assails the voyeurism of a certain segment of the press.


These images are not addressed to us, but are present and diffused to make others disappear. For her installation, Zoé Aubry has gathered the images that were posted during the weeks that followed the murder as part of this collective movement aimed at producing invisibility by exploiting algorithms. She places them all in the foreground of her installation in such a way as to cover up a pixelated cyanotype of one of the crime-scene images that were published in the tabloids. To extend this work of struggle and demand into the public space, she invites everyone to make these images visible throughout the city in a participatory postering campaign. This continuous flow of photographs — with subtle variations, repetitions, and quotations inherent to the #Ingrid movement itself — refuses the voyeurism incited by images of violence and exemplifies the use of the image as a weapon against mediatization and government as well as police corruption.



&#38;nbsp;
	












Nicht nur schön&#38;nbsp;· Laura Breitschmid &#38;amp; Jonas WandelerPermanent Beta Episode 83&#38;nbsp;·
“For when the search for your Name, they will find Flowers” Doris Gassert


Tique · publication on contemporary art

The Best Photo Books from Les Rencontres d’Arles 2022, AnOther




How the Reaction to a Young Woman’s Murder Sparked Change in Mexico,&#38;nbsp;Elephant.Art [Words by Kate Neave]
#Ingrid, une arme visuelle pour combattre les féminicides, Vertigo, RTS

Avec"#Ingrid", Zoé Aubry questionne la représentation médiatique d’un féminicide,&#38;nbsp;RTS 

Féminicide: quand l’image devient une arme numérique,&#38;nbsp;Quotidien Jurassien
Talks

	
		
		
	
	
		
			
				
					
The Artist Talks by The Eyes — currated by Véronique Prugnaud, Paris Photo
« Photobooks about body, power and critical approach to feminism », with Tara Ulmann, Roxana Savin and Sarah Girard, Photobooks Switzerland, Photoforum
Pasquart — currated by Anastasia Mityukova and Jana Johanna Haeckel

PDF&#38;nbsp;











steal it, download it, print it, share it x comrades, put in on infokiosques!


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</description>
		
	</item>
		
		
	<item>
		<title>pr0-t3$t 80y¢077 ¢3n$ur3</title>
				
		<link>https://z-aubry.com/pr0-t3-t-80y-077-3n-ur3</link>

		<pubDate>Sun, 19 May 2024 21:40:30 +0000</pubDate>

		<dc:creator>Zoé Aubry</dc:creator>

		<guid isPermaLink="true">https://z-aubry.com/pr0-t3-t-80y-077-3n-ur3</guid>

		<description>

	










pr0-t3$t 80y¢077 ¢3n$ur3

Questioning strategies for diverting the society of cyber-control and censorship by orienting discourse, “pr0-t3$t 80y¢077 ¢3n$ur3” raises, within the digital realm, visual gestures and the creation of a language that transcends algorithmic oppression.
Taking over the space of Les Halles [a contemporary art space in Porrentruy], images and texts are activated, positioned and disregard walls, requiring both physical and critical movement. To confront them, we first have to push open the vaulted doors whose windows have been completely opaque, through which we can barely make out certain scenographic elements.

It’s a cry, it’s a song, it’s pain and blood, inventing a language like inventing a world.

A language that algorithms cannot understand. A language of citizens in revolt, exhausted but undaunted. A language that we celebrate and that we want to be alive, because it respects nothing of orthographic orders or conventions. Because the only thing that matters is that it be heard. A mutant language that seeks out the truths beyond the untruths supported by the mainstream media, our world, our continent. A language that seeks to say what cannot be said: shit, love, anger, loss, memory, intimacy. A language that bends, twists and plays with symbols and gestures. A language that, in the end, is easy to understand.




	










Exhibitions

Les halles ( espace d’art contemporain ), Porrentruy, currated by&#38;nbsp;Philippe Quelozposter4palestine.limbo Zabriskie Point, GVAFormat, Exposition d’images contemporaines en plein air, Mont-Soleil, Grand Chasseral (BE)

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</description>
		
	</item>
		
		
	<item>
		<title>Effet miroir &#124; Faire écran</title>
				
		<link>https://z-aubry.com/Effet-miroir-Faire-ecran</link>

		<pubDate>Mon, 07 Nov 2022 21:50:46 +0000</pubDate>

		<dc:creator>Zoé Aubry</dc:creator>

		<guid isPermaLink="true">https://z-aubry.com/Effet-miroir-Faire-ecran</guid>

		<description>












	Effet miroir &#124; Faire écran
Effet miroir &#38;amp; Faire écran questions the construction of contemporary identities in the age of digital images. This works are part of a reflection on the face as a sensitive surface, at once intimate and exposed, a site of projection for social norms, desires and injunctions towards self-transformation.


Through fragmented, altered or marked images, the artist creates tension between the lived body and its representation as image. The face becomes an interface, a space of negotiation between what one perceives of oneself and what is rendered visible, measurable or modifiable by technical devices.


The photographic scars and discontinuities that run through these works do not amount to a formal effect: they make perceptible the fractures of the visible and the malleability of identities, caught between exposure, control and reappropriation. Zoé Aubry's work thus opens a critical space that questions the moment when the image ceases to represent the body and begins to transform it.



	
Exhibitions
Ghostland — Fotografia Europea, Reggio Emilia
Mobilités,&#38;nbsp;Centre de la Photographie, Genève
Anatomie d’une crise — Le corps contemporain, Espace Témoin
Nuit des images x near. Photo Elysée
Bourses de la Ville de Genève BLCG, Centre d’art contemporain, Genève, CH
KIEFER HABLITZEL &#124; GÖHNER KUNSTPREIS. SWISS ART AWARDS, Halle 3 Messe, Basel, CH

The series received the support of la Bibliothèque de Genève and Pro Helvetia, Swiss Arts Council


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	Wishing to question the tangible impact that image has on a certain body mobility and a societal paradigm shift, Faire écran looks at the repercussion of the COVID-19 pandemic on the use of plastic surgery. The increase in video conferencing has led many womxn and men to reshape their faces. On the screens, our faces are anamorphosed, our noses are enlarged; more than the direct gaze of the others, it is the confrontation with this medium which was determining to build the vision that these people had of themselves. To account for the metamorphosis of the body induced by a societal evolution, patient's pictures were taken before and after the surgical interventions at clinics. Then these images are superimpose on a computer, by scrolling through them slowly they combine themselves into a single image whose transparency and structure are reminiscent of screens and their role in these facial transformations. The flexible and transparent printing medium further emphasizes the malleability of flesh and its links to screens.
Tattooed onto silicone body parts, comments and excerpts from plastic surgery forums, where people considering certain procedures can exchange ideas; printed onto practice skins, different versions of their future faces: These different facial mobilities are based on the philosophical conception of eccentricity borrowed from Helmuth Plessner, in his investigation of the human from its biological and spatial dimension. A surface of reflection and projection, the focus on the body in these eccentric interventions directs attention to new situated forms of subjectivity. This relationship implies a distance to the self and a dynamic of spatialization with a utopian and anthropic dimension.
The series is punctuated by snippets of testimonies, collages of press fragments fixed by strips of scarring.
	

</description>
		
	</item>
		
		
	<item>
		<title>CRÉER DES PONTS LÀ OÙ ON NE LES VOIT PAS</title>
				
		<link>https://z-aubry.com/CREER-DES-PONTS-LA-OU-ON-NE-LES-VOIT-PAS</link>

		<pubDate>Wed, 03 Sep 2025 08:45:15 +0000</pubDate>

		<dc:creator>Zoé Aubry</dc:creator>

		<guid isPermaLink="true">https://z-aubry.com/CREER-DES-PONTS-LA-OU-ON-NE-LES-VOIT-PAS</guid>

		<description>
	CRÉER DES PONTS LÀ OÙ ON NE LES VOIT PAS











Dans de nombreux pays du Nord global, l’individualisme structurant s’inscrit dans une logique plus large propre au capitalisme contemporain et à ses formes néolibérales. Celle-ci tend à reléguer les inégalités systémiques au rang de responsabilités individuelles, et les gouvernements se déchargent progressivement de leur rôle, imputant les exclusions sociales aux trajectoires personnelles plutôt qu’aux structures collectives. Ce glissement idéologique participe à fragiliser, en période de crise, les infrastructures sociales et solidaires qui figurent ainsi parmi les premières sacrifiées. Dans un contexte marqué par la montée du fascisme, les restrictions budgétaires qui pèsent actuellement sur le secteur impactent directement les conditions de travail et la réalité du terrain. Une dynamique qui, en œuvrant au détriment des politiques sociales et solidaires, renforce les inégalités structurelles et soutient des logiques capitalistes.

Face à ce constat, dans le cadre de la carte blanche que nous a offerte la Haute école de travail social et de la santé Lausanne à l’occasion de son soixantième anniversaire, il nous a semblé crucial d’investir les questions politiques que nous croisions au contact du travail social et au fil de nos démarches artistiques. Nous avons cherché à en représenter le vaste champ d’action en prenant soin de ne pas en imposer une lecture unique.Aussi avons-nous opté pour une méthodologie visuelle participative, en proposant à des travailleur·euse·x·s sociaux·les ainsi qu’à des bénéficiaires de devenir les auteur·ice·x·s d’images collaboratives, pour témoigner de leurs expériences. Nous avons commencé par constituer un corpus d’images prises au sein d’institutions œuvrant dans le champ du handicap, de l’enfance et de la jeunesse, de l’accompagnement des personnes, de la vieillesse ou encore de la migration, basé sur les gestes et outils spécifiques propres aux pratiques du travail social et de l’ergothérapie. Nous avons par la suite partagé ce matériau avec les participant·e·x·s lors d’ateliers, en les invitant à le recomposer et le détourner pour en faire émerger leurs représentations personnelles.

En parallèle, nous avons ancré notre projet dans les fondements du travail social en retraçant les prémisses des écoles sociales romandes. Exhumer leurs archives nous a permis de mettre en lumière les réflexions collectives autour de la professionnalisation du travail social, de son organisation, ainsi que des conditions de travail intrinsèques. Des extraits d’entretiens menés auprès de professionnel·le·x·s font écho à ces documents et tissent des liens avec le contexte politique actuel. Initialement déployé sous forme d’exposition installative et d’une intervention dans l’espace public, le projet souligne, par ses formes et ses matérialités, la force du travail en réseau. Pensé comme un outil de transmission, ce livre rassemble l’ensemble des productions issues de nos collaborations et met à disposition le corpus photographique original, afin d’inviter les lecteur·ice·x·s à s’en approprier la démarche.Dans une optique inclusive, toutes les interventions de l’ouvrage sont traduites en FALC.



	










Une exposition conçue par Zoé Aubry et Laurence Rasti












Auteur·ice·x·s des collages réalisés lors des différents ateliers: Anthony Tarantini, Cha-cha, chaton 2.0, Clara, Coelho Thomas, Danica LA KiKS, Delphine, Emin, Geng O., Hanife, Henry, Jeremie, Jennifer antares medeiros, Lara, LACRIM, Léoñor, Lise Puigderver, lolipop, LUANA, Mahssa, MG, Mohamed..Sdka, Morgane, Noémie Pate au saumon, NKR_SK, OMERTA 47, Orianne, Valentine, Vincent Délèze

Archives issues du fond d’«Archives de la Haute école de travail social de Genève»











Traduction FALC par&#38;nbsp;Viola Poli 
RTS&#38;nbsp;· Vertigo









&#60;img width="1920" height="1440" width_o="1920" height_o="1440" data-src="https://freight.cargo.site/t/original/i/8301743113d868f4644d762daf959df39f07504324967e6b44f6c6a5d9d56723/HETSL_CreerDesPonts_ZoeAubry_DSC4349-web.jpg" data-mid="250369171" border="0"  src="https://freight.cargo.site/w/1000/i/8301743113d868f4644d762daf959df39f07504324967e6b44f6c6a5d9d56723/HETSL_CreerDesPonts_ZoeAubry_DSC4349-web.jpg" /&#62;co-édition Surfaces Utiles — HETSL graphisme Neo Neo




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		<title>justice de nos rêves</title>
				
		<link>https://z-aubry.com/justice-de-nos-reves</link>

		<pubDate>Thu, 30 Jan 2025 16:23:38 +0000</pubDate>

		<dc:creator>Zoé Aubry</dc:creator>

		<guid isPermaLink="true">https://z-aubry.com/justice-de-nos-reves</guid>

		<description>justice de nos rêves
justice de nos rêves explore le concept de polarisation par un dialogue entre lumière et politique. Interrogeant à la fois le médium de la photographie et le contexte politique actuel, elle restitue le phénomène de manière critique et historique.

La série aborde ainsi la polarisation fondamentale entre oppresseureusexs et oppriméexs, ainsi que ses effets. Abordant des thèmes cruciaux, symptomatiques des crises profondes au sein de nos sociétés capitalistes, elle appelle à des solutions radicales plutôt qu’à de simples ajustements. Elle questionne notamment la polarisation entre populations marginalisées et élites globalisées à travers le prisme du néolibéralisme. Les racines coloniales soulignent par ailleurs la nécessité de décoloniser les structures de pensée et de pouvoir, en mettant en lumière les injustices systémiques.

En physique, la polarisation désigne la propriété des ondes vectorielles à présenter une orientation privilégiée de leurs vibrations. Lorsqu’un faisceau de lumière passe à travers un filtre polarisant, seules les composantes alignées avec l’orientation du filtre sont transmises.

Selon une méthodologie propre, ces photographies sont réalisées de manière analogue et sans retouche. L’installation mise en place polarise la lumière d’un écran, sur lequel interviennent diverses couches de matériaux.

Structurée en deux pôles convergents, cette série esquisse aussi un avenir collectif et inclusif à bâtir.




	Exhibitions
Galerie Strates, LausanneTANGRAM 48, Polarisation et lutte contre le racisme











→ Souhaitant partager l’espace de parole qu’une exposition octroie aux artisxtes, des associations estudantines mobilisées contre la complicité coloniale et génocidaire, en lutte en soutien à la Palestine et au Liban, ont également été conviées à contextualiser une partie des pièces présentées.


→ Résolument anticapitaliste, le travail de Zoé Aubry échappe au millieu du marché de l’art et à sa spéculation. Cependant, au vu de l’urgence, pour la première fois, il est possible aux visiteureusexs d’acquerir les images composant l’exposition.

L’intégralité des bénéfices seront redistribués à des initiatives portées par des amixes de l’artiste, rencontréexs lors qu’elle vivait au Liban avec sa sœur.


→ Le tirage « Là, vous ne voulez rien savoir et vous fermez les yeux » est mis à disposition du public et donc en circulation à 500 exemplaires offset format A0, reliés par blocs de 50 feuilles. Les visiteurixces peuvent les « déchirer » et les emporter à prix libre (prix coutant 10.-/exemplaire). Les bénéfices seront reversés aux copainxes mobiliséexs à Beirut.


→ L’exposition se clôture par deux héliogravures monochromes, un et deux passages, sur papier à la cuve 100% coton Opal 250 gr/m2, Éditions de 10 exemplaires numérotés et signés, 50 x 65, framed Distance 10 Alu 12, Black matt, Artglass AR 92, 550 x 700, 2024

Les tirages ont été réalisés par Romain Crelier à l’atelier de gravure de Moutier.

L’une d’entre elle est mise en vente pour l’association SWISS ART FOR PALESTIN dont l’intégralité des bénéfices sont mis au profit du Ghassan Abu Sittah Children’s Fund, dont la première initiative fut le transport d’enfants gravement blessés, accompagnéexs leurs caretakers de Palestine au Liban, où ils pouvaient recevoir de meilleurs soins médicaux, psychologiques et sociaux, avant de rentrer chez elleux en Palestine et continuer leur rétablissement.







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	<item>
		<title>Noms Inconnus</title>
				
		<link>https://z-aubry.com/Noms-Inconnus</link>

		<pubDate>Thu, 13 Dec 2018 21:32:36 +0000</pubDate>

		<dc:creator>Zoé Aubry</dc:creator>

		<guid isPermaLink="true">https://z-aubry.com/Noms-Inconnus</guid>

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Noms Inconnus

Noms Inconnus is a work developed between 2017 and 2021 that engage with structural feminicide. Through text, image, and expansive installation, Zoé Aubry exposes the societal dimension of intimate partner violence, challenges its trivialization in the media, and restores identity and history to the victims. In Noms Inconnus, she physically intervenes in the images that depict the perverse system sustaining this oppression—using tools similar to those employed by the perpetrators themselves. Her works demand both physical and moral engagement and point to the global, intersectional reality of gender-based violence. Everything happens outside the image.
︎ &#38;nbsp;&#38;nbsp; EN&#38;nbsp; &#38;nbsp;︎


	Exhibitions

Unknown Names, Benaki Museum/Pireos 138, Athens Photo Festival, currated by Manois Moresopoulos

LES RESISTANTES, L’Onde Centre d’art de Vélizy-Villacoublay, FR currated by Nathalie Herschdorfer

Guernsey Photography Festival, UK currated by Jean-Christophe Godet
Concerné.e.x.s, MICR, Geneva, CH currated by Julie Enckell Julliard&#38;nbsp;

Biennale de l’image tangible, Paris, FR

Plat(t)form 2020, Fotomuseum Winterthur, CH

Solo Show at the MBAL currated by Nathalie Herschdorfer
Locle Museum of Fine Arts, Switzerland from November 2019 — January 2020 as the Winner of the Prix de la relève MBAL

Winner of the Prix Voies Off/2019 Contemporary Photography Awards &#124; lacritique.org —&#38;nbsp;Les Rencontres de la photographie, Arles


Rencontres de la Photographie de Marrakech, Maroc
Prix Art Humanité — CRG, CICR, HEAD — Genève, Genève, CH
(In)égalité, Human Rights Photography Award — Act on your future, Galerie Art Bärtschi &#38;amp; Cie, Genève, CH


Presse

Féminicides — Appelons un meurtre un meurtre, Radio Vacarme, RTS1 19.06.2020

“
	
		
		
	
	
		
			
				
					
						Kleio Obergfell—Zoé Aubry”
Issue—journal,&#38;nbsp;06.01.2020

Le Musée des beaux-arts du Locle a brillamment réussi son "Hiver 20-21" Bilan,&#38;nbsp;Etienne Dumont, 15.12.19

Les photos sépulcrales de Zoé AubryArcInfo,&#38;nbsp;02.12.19

Les féminicides ne sont pas des faits divers!&#38;nbsp; Nectar, 25.11.2019, RTS2 

Femmes invisibles dans l’artLa Puce à l’Oreille, 14.11.2019, RTS TV

Interview de Nathalie Herschdorfer à propos de l’exposition Noms Inconnus dont elle est la curratriceRTN,&#38;nbsp;02.11.19

Zoé Aubry, exposition au Musée des Beaux Arts
Le Locle
Artefields, 24.10.2019

NOMS INCONNUS, Zoé Aubrylacritique.org,&#38;nbsp;15.07.19


Prix de photographie des droits humains 2018 ARTEEZ,&#38;nbsp;11.18&#38;nbsp;



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	<item>
		<title>Reproduction. Suture.</title>
				
		<link>https://z-aubry.com/Reproduction-Suture</link>

		<pubDate>Sun, 22 Nov 2020 21:14:08 +0000</pubDate>

		<dc:creator>Zoé Aubry</dc:creator>

		<guid isPermaLink="true">https://z-aubry.com/Reproduction-Suture</guid>

		<description>
	Reproduction. Suture.

Since this is a political, structural and not a private matter, Reproduction. Suture. approaches the problem of feminicide from a societal perspective, dissociating it from individual experiences without ignoring them. 


The connection of spaces confronts these systemic murders conceived in the secrecy of the home with their most frequent media illustrations, significant because of their banality. Images whose essential poverty becomes a fundamental testimony to both their state and their origin. 


This recomposed movement, these sutured stories, produce a perceptive experience of spatial destructuring, questioning in particular the figure of the habitat as an expression of dominant power.


This piece is made of precarious material, poor and inclusive because of its banality.


A material that gets damaged, even during the process of creation. A material that as no value, according to the images presented, going in the continuity of the non-market position given to this work.


This piece is alive, parts quickly fade away as well as some names in our collective memories.


But a preponderant place is also left to the voids which are extremely dark. They allow us to give an important space to all the victims who are not given a place even in the media. Which our Western society invisibilizes even more.


Indeed, naming is important and legitimate. But white feminists have appropriated the meaning of the notion of femicide, have defined it according to their own reality by reducing it to conjugal murder cis hetero by a partner or ex-partner.


Originally, the notion of femicide was institutionalized in a certain post-colonial context and great social difficulties in South America. Nevertheless, femicides take different forms and objectives : lesbophobic femicides, transfemicides, mass femicides which are racist and sexist genocides, infanticide femicides killing little girls, putophobic femicides targeting female sex workers, femicides committed by fathers and brothers, femicides linked to the practice of genital mutilation, medical negligence...

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</description>
		
	</item>
		
		
	<item>
		<title>L'imbroglio législatif d'une vie sur roue</title>
				
		<link>https://z-aubry.com/L-imbroglio-legislatif-d-une-vie-sur-roue</link>

		<pubDate>Tue, 31 Oct 2023 10:50:29 +0000</pubDate>

		<dc:creator>Zoé Aubry</dc:creator>

		<guid isPermaLink="true">https://z-aubry.com/L-imbroglio-legislatif-d-une-vie-sur-roue</guid>

		<description>L’imbroglio législatif d’une vie sur roues &#38;nbsp;


	
		
		
	
	
		
			
				
					

	Aux périphéries des villes ou isolés dans la nature, des centaines de campings parsèment la Suisse. En cette fin d’été, les touristes de passage se sont faits plus rares mais des milliers de personnes y occupent encore les pelouses, souvent dans l’illégalité. S’il est possible dans certains cas de s’y domicilier, la majorité des communes l’interdisent. 

De nombreux Suisses ou résidents suisses ont cependant opté pour ce type d’habitats, par choix ou par défaut. En effet, face à une société marchande, spéculative et soumise à des politiques de planifications urbaines discriminantes, les conditions d’habitat se détériorent. Le manque de logements décents et accessibles relègue les populations les plus précaires en périphérie des villes. 

Jusqu’ici tolérés, l’application plus fermes de la législation, la fermeture de nombreux campings annuels ainsi que les préjugés rendent le quotidien des habitants des campings de plus en plus contraignant. 

Pourtant, malgré les difficultés administratives et la précarité qui y sont liées, la plupart des personnes vivant en camping n’envisagent pour rien au monde de retourner vivre dans un bloc de béton, «ces clapiers à lapins où l’on ne connaît pas les blaireaux qui vivent au-dessus et en dessous de nous»*.
 

	
		
		
	
	
		
			
				
					
*propos issus du témoignage d’un habitant de l’un des campings (GE)


	Projet développé en duo avec la journaliste indépendante Sophie Woeldgen dont&#38;nbsp;la pratique se base avant tout sur le terrain.
texte
légendes



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	<item>
		<title>24 times the truth</title>
				
		<link>https://z-aubry.com/24-times-the-truth</link>

		<pubDate>Sat, 02 Jul 2022 17:52:21 +0000</pubDate>

		<dc:creator>Zoé Aubry</dc:creator>

		<guid isPermaLink="true">https://z-aubry.com/24-times-the-truth</guid>

		<description>
	24 times the truth

Lors du passage au cinéma sonore, le nombre d’images par seconde fût normalisé à 24 i/s, ce qui était considéré comme le temps réel — la vitesse de défilement de la pellicule 35 mm au sein du projecteur créant l’illusion du mouvement. Or comme stipulé dans le Petit Soldat, la photographie c’est la vérité et le cinéma, c’est 24 fois la vérité par seconde. Afin donc de prendre en considération le médium même pour lequel la salle de cinéma fût créée, le processus de prise de vue introduit un mouvement de caméra au sein de l’image fixe, octroyé par un temps d’exposition de 24’’.


Contextualisation
La structure novatrice du Plaza constituée de poutraisons en aluminium est une vraie prouesse de son époque et permet de conserver la notion d’espace entièrement ouvert souhaitée par Marc-Joseph Saugey, produisant une continuité visuelle totale et un effet aérien. Nous retrouvons dans les images cette transparence qui crée un dialogue entre fiction cinématographique et réalité urbaine.


L’oeil est amené à se concentrer sur les la juxtaposition des divers volumes s’imbriquant les uns dans les autres. La charpente emprunte au monde de l’aviation ses formes coniques, biaises et arrondies, s’entrelaçant dans les photographies jusqu’à lui faire perdre pied et s’envoyer en l’air. 


L’architecte induit une certaine idée de la place de l’homme dans l’espace et le temps, notions questionnées dans la série 24 times the truth.


Au moment de la réalisation des visuels, la salle vient d’être rachetée par la Fondation Wilsdorf et est en pleine restauration. Ecrans, projecteurs, sièges, spéctateurices manquent donc à l’appel. Projection de projection, l’écran et le faisceau de projecteur s’inventent de façon allégorique dans certaines des photographies.
	Exhibitions
Photo—Génies, Plaza, Geneva, CH, currated by Sarah Zürcher

Passé Présent Futur, Plaza, Geneva, CH, currated by Sarah Zürcher

				
			
		
	


				
			
		
	




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