{"id":14819,"date":"2025-07-25T13:48:00","date_gmt":"2025-07-25T12:48:00","guid":{"rendered":"https:\/\/www.instantsvideo.com\/blog\/video\/ainda-bem-que-a-lua-existe-we-do-not-have-to-know-each-other-in-advance\/"},"modified":"2025-10-23T11:42:30","modified_gmt":"2025-10-23T10:42:30","slug":"ainda-bem-que-a-lua-existe-we-do-not-have-to-know-each-other-in-advance","status":"publish","type":"portfolio","link":"https:\/\/www.instantsvideo.com\/blog\/video\/ainda-bem-que-a-lua-existe-we-do-not-have-to-know-each-other-in-advance\/","title":{"rendered":"Nous n’avons pas besoin de nous conna\u00eetre \u00e0 l’avance"},"content":{"rendered":"\n

\u00ab\u00a0Nous n\u2019avons pas besoin de nous conna\u00eetre \u00e0 l\u2019avance\u00a0\u00bb est une \u0153uvre vid\u00e9o hybride, qui alterne des moments de performance dans\u00e9e, des images d’archives et des citations textuelles. Gabriela L\u00f6ffel s’appuie sur l’aspect politique de l’espace public pour construire sa r\u00e9flexion et d\u00e9veloppe un essai visuel qui met en sc\u00e8ne la \u00ab\u00a0performativit\u00e9 des corps dans cette zone d’action politique\u00a0\u00bb. En puisant dans l’\u0153uvre \u00e9crite de Judith Butler, philosophe et th\u00e9oricienne du genre \u00e9tats-unienne qui a travaill\u00e9 sur la question du corps et de sa repr\u00e9sentativit\u00e9 norm\u00e9e dans nos soci\u00e9t\u00e9s contemporaines, L\u00f6ffel donne v\u00e9ritablement une corpor\u00e9it\u00e9 aux questions soulev\u00e9es par l’auteure. Les citations issues de l’\u0153uvre de Butler sont donn\u00e9es \u00e0 voir en parall\u00e8le aux \u00e9l\u00e9ments dans\u00e9s et archivistiques de la vid\u00e9o. La cam\u00e9ra presque fixe permet d’examiner en d\u00e9tail les gestes lents et pr\u00e9cis des danseur\u00b7euse\u00b7s. Les d\u00e9placements de l’appareil sont presque imperceptibles, tant ils sont subtils. L’artiste et le chor\u00e9graphe C\u00e9dric Gagneur ont \u00e9troitement collabor\u00e9 afin de d\u00e9finir les divers mouvements qui composent la chor\u00e9graphie : ils proposent une abstraction des gestes de r\u00e9sistance ou de r\u00e9volte, tir\u00e9s des images d’archives issues de la collection des Archives contestataires de Gen\u00e8ve. La lenteur et le silence habitent la pi\u00e8ce et donnent suffisamment d’espace au corps pour qu’il puisse se d\u00e9ployer de mani\u00e8re individuelle ou en collectivit\u00e9. L’\u0153uvre propose ainsi une dialectique du potentiel de revendication dans l’espace public.<\/p>\n\n\n\n

\u0152uvre coproduite par le Fonds cantonal d’art contemporain, Gen\u00e8ve, avec le Fonds d’art contemporain de la Ville de Gen\u00e8ve pour le programme MIRE.<\/p>\n\n\n\n

\u00ab\u00a0We do not have to know each other in advance\u00a0\u00bb is a hybrid video work that alternates moments of dance performance with archive footage and textual quotations. Gabriela L\u00f6ffel draws on the political aspect of public space to construct her thinking, developing a visual essay that stages the \u2018performativity of bodies in this zone of political action\u2019. Drawing on the written work of Judith Butler, an American philosopher and gender theorist who has worked on the question of the body and its normalised representativeness in contemporary society, L\u00f6ffel gives corporeality to the issues raised by the author. Quotations from Butler’s work are shown alongside the danced and archival elements of the video. The almost fixed camera allows us to examine in detail the slow, precise movements of the dancers. The camera’s movements are almost imperceptible, so subtle are they. The artist and choreographer C\u00e9dric Gagneur worked closely together to define the various movements that make up the choreography: they propose an abstraction of gestures of resistance or revolt, drawn from archive images from the collection of the Archives contestataires de Gen\u00e8ve. The piece is inhabited by slowness and silence, giving the body enough space to unfold individually or collectively. The work offers a dialectic of the potential for protest in the public space.<\/em>  <\/p>\n\n\n\n

Co-produced by the Fonds cantonal d’art contemporain and the Fonds d’art contemporain de la Ville de Gen\u00e8ve for the Mire program.<\/p>\n\n\n\n

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Gabriela L\u00f6ffel<\/strong> (n\u00e9e en 1972) travaille principalement avec des m\u00e9dias temporels et se concentre sur les zones des structures et infrastructures politiques et financi\u00e8res. D\u00e9placer et traduire de l’imm\u00e9diat document\u00e9 vers les champs de l’interpr\u00e9tation et de la mise en sc\u00e8ne sont des strat\u00e9gies qu’elle utilise dans son processus de travail. Une m\u00e9thode qui donne souvent lieu \u00e0 des projets \u00e0 long terme et lui permet de cr\u00e9er des espaces de questionnement et de proposer des ruptures avec les r\u00e9cits lin\u00e9aires. Elle s’int\u00e9resse \u00e0 l’obliquit\u00e9 du sujet et de son contexte. C’est dans cet \u00e9cart, engendr\u00e9 par sa mani\u00e8re d’aborder les sujets, que son travail ouvre une r\u00e9flexion sur la fa\u00e7on dont nous comprenons un monde lorsque nous prenons conscience de la fragmentation de nos connaissances.<\/p>\n\n\n\n

Gabriela L\u00f6ffel<\/strong><\/em> (*1972 ch) mainly works with time-based media and focuses on the zones of political and finance structures, and infrastructures.<\/em> Shifting and translating from the documented immediate to the fields of interpretation and mise-en-sc\u00e8ne are strategies she uses in her work process. A method that often results in long-term projects and enables her to create spaces for questions and to propose disruptions to linear narratives. She is interested in the obliquity of the subject and his context. It\u2019s in this gap, brought about by her way of addressing subjects, that her work opens onto reflections on the sense of how we understand a world when we become conscious of the fragmentation of our knowledge.<\/em><\/p>\n\n\n\n

Website<\/a><\/p>\n\n\n\n

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