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The

Artist

Nominated in
2025
By
Photo Elysée
Lives and Works in
Geneva, Switzerlan
Zoé Aubry (1993) develops a practice of critical, feminist, and experimental visual research through photography, within installations that unfold in space. Her work aims to reveal the mechanisms of visibility, and invisibility of dominant media narratives, notably through the use of poor images, inverting the logics of the attention economy. Holder of a Bachelor’s degree in Photography from ECAL - École cantonale d’art de Lausanne and a Master’s degree in Contemporary Artistic Practices from HEAD - Haute école d’art et de design de Genève, her book #Ingrid (2022), co-published by RVBBOOKS and Gato Negro Ediciones, was shortlisted for the Autor Book Award at the Rencontres d’Arles and won the Most Beautiful Swiss Books award. Her work has been exhibited in group and solo exhibitions, including « The Lure of the Image » at Fotomuseum Winterthur, «LES RESISTANTES» in Paris, « Concerned » at the International Red Cross and Red Crescent Museum, at the Musée des beaux-arts du Locle or in Arles, and several festivals including Athens Photo Festival, Biennale de l’image tangible Paris, Guernsey Photography Festival or Les Rencontres de la Photographie de Marrakech. She was the laureate of the Photographic Survey of the City of Geneva in 2021, and of the Swiss Federal Design Awards in 2018. Converging or in parallel, she fights within collective and associative projects and co-founds several initiatives where cultural work and political commitment meet to militate both towards utopias and direct field perspectives.
Projects
2023

NOMS INCONNUS_REPRODUCTION. SUTURE._#INGRID

Positioning themselves between a societal and media criticism, Zoé Aubry’s research-based projects are articulated around the problematic of visualization modes and the transformation of perception formats questioning uses and gestures relative to the erased names victims of systemic and structural murders. Damaged, the anti-pictures of which she makes use, act, activate, arm, suture, recompose themselves in a collective movement. Investigating macho, state and media violence, her approach is built on a relationship between societal phenomena and individual experiences, creating spaces of confrontation. The press clippings collected for UNKNOWN NAMES predominantly feature images showing the previous accomplices in these murders, as in most cases they were warned in advance : the police and justice authorities intervening at the scene of the crime after the fact. The result of a performative process of degradation and revenge, the prints undergo atrocities similar to those caused to the victims. Like ESTELLE VENEUT - BADR SMATI in the first serie, the works in REPRODUCTION. SUTURES. degrade themselves as they are shown. Within this project, a place is given to the victims made invisible by the Western re-appropriation of the term femicide by white feminists, who defined it according to their own reality by reducing it to conjugal murder cis hetero by a partner or ex-partner. #INGRID is a work that critically examines our digital attention economies and their effects. The work refers directly to the femicide of Ingrid Escamilla Vargas, a Mexican woman who was brutally murdered by her husband. Rejecting the voyeurism encouraged by photographs of violence published by the tabloid press, this project embodies the use of images as a popular and collective weapon. In a participatory gesture to make these macabre images disappear from the flow of social networks, Internet users all over the world massively posted photographs of peaceful lakes, sunsets and fields of flowers under the hashtag #IngridEscamillaVargas.
2023

NOMS INCONNUS_REPRODUCTION. SUTURE._#INGRID

Positioning themselves between a societal and media criticism, Zoé Aubry’s research-based projects are articulated around the problematic of visualization modes and the transformation of perception formats questioning uses and gestures relative to the erased names victims of systemic and structural murders. Damaged, the anti-pictures of which she makes use, act, activate, arm, suture, recompose themselves in a collective movement. Investigating macho, state and media violence, her approach is built on a relationship between societal phenomena and individual experiences, creating spaces of confrontation. The press clippings collected for UNKNOWN NAMES predominantly feature images showing the previous accomplices in these murders, as in most cases they were warned in advance : the police and justice authorities intervening at the scene of the crime after the fact. The result of a performative process of degradation and revenge, the prints undergo atrocities similar to those caused to the victims. Like ESTELLE VENEUT - BADR SMATI in the first serie, the works in REPRODUCTION. SUTURES. degrade themselves as they are shown. Within this project, a place is given to the victims made invisible by the Western re-appropriation of the term femicide by white feminists, who defined it according to their own reality by reducing it to conjugal murder cis hetero by a partner or ex-partner. #INGRID is a work that critically examines our digital attention economies and their effects. The work refers directly to the femicide of Ingrid Escamilla Vargas, a Mexican woman who was brutally murdered by her husband. Rejecting the voyeurism encouraged by photographs of violence published by the tabloid press, this project embodies the use of images as a popular and collective weapon. In a participatory gesture to make these macabre images disappear from the flow of social networks, Internet users all over the world massively posted photographs of peaceful lakes, sunsets and fields of flowers under the hashtag #IngridEscamillaVargas.
Zoé Aubry
was nominated by
Photo Elysée
in
2025
Show all projects
Each year every member of the FUTURES European Photography Platform nominates a set of artists and projects to become part of the FUTURES network.

Zoé Aubry's work is bold, confrontational and unapologetically militant. While her photography is deeply rooted in feminist issues, such as denouncing feminicide and systemic violence against women, her practice extends beyond these themes to explore broader questions of resistance to systems of power and digital oppression. Aubry asks how individuals and communities can challenge and subvert these structures, particularly in an era dominated by technological control and surveillance. Her anti-capitalist stance is reflected not only in her imagery, but also in her approach to art as a tool for redistribution and solidarity. In her latest project, she sells her prints to raise funds, which she then redistributes to support organisations in Lebanon, transforming her art into a direct act of activism and solidarity.

In contrast, Younès Klouche takes a more subtle and reflective approach. His work explores the intricate connections between the past and the present, weaving together powerful symbols and analogue narratives that invite the viewer to engage in a more contemplative way. Klouche's photography is suggestive rather than explicit, leaving room for interpretation and personal reflection. His photo book Panamera (Poursuite, 2023) exemplifies this approach, blending historical references with contemporary issues to create a layered and evocative visual language. In this way, Klouche encourages the audience to draw their own connections and meanings, fostering a deeper engagement with the stories he tells.

Photo Elysée has taken a particular interest in the publication of both artists' photobooks - #Ingrid (RVB Books, 2023) by Zoé Aubry and Panamera by Younès Klouche - recognising them as significant contributions to the field of contemporary photography. The Museum is committed to supporting these two artists in their ongoing endeavours, highlighting the importance of their work in shaping conversations about social justice, historical memory and the role of art in activism.
In presenting Aubry and Klouche, Photo Elysée not only celebrates their individual talents, but also underscores the diversity of approaches within socially engaged photography. Their inclusion in FUTURES 2025 underlines the museum's commitment to supporting artists who use photography to question, challenge and inspire.

Photo Elysée's 2025 nominations were curated by:

Nathalie Herschdorfer, Director
Manuel Sigrist, Curator, Head of exhibitions and programmes
Sarah Bourget, Scientific Collaborator, Exhibitions Department
Julie Dayer, Scientific Collaborator and digital project manager , Exhibitions Department
Lydia Dorner, Scientific Collaborator and Prix Elysée Manager, Exhibitions Department
Hannah Pröbsting, Scientific Collaborator, Exhibitions Department