Nora Rupp
—contact@norarupp.com
+41 (0) 76 520 91 38
Nora Rupp (1981), vit et travaille à Lausanne en suisse. Elle a étudié la photographie à l’École d’Arts Appliqués de Vevey. En parallèle à sa pratique artistique, elle travaille en tant que photographe pour le Musée des Beaux-Arts de Lausanne, Plateforme 10. Depuis plus de dix ans, Nora Rupp développe et expose divers projets photographiques. A travers ses derniers projets, «Un corps à soi» et «Cabanes des possibles», Nora Rupp remet en question notre société aliénante dans laquelle nos corps, nos habitats et nos conduites sont déterminés et organisés. La photographe se confronte à son propre rapport au monde et au vivant. Ses projets engagés nous amènent à observer les oppressions exercées sur les femmes ainsi que sur toutes les formes du vivant et du non-vivant, ils nous poussent à sortir de nos zones de confort et à décoloniser nos imaginaires, pour en créer de nouveaux.
Cabanes des possibles
Un corps à soi
2021
2009
2022
2022
2022
2021
2020
2013
2013
2011
2010
2010 - 2022
2009
2008
2007
All images © Nora Rupp
Design: Aurèle Sack
Code: Romain Cazier
Typeface: LL Grey/Lineto
© 2024 Nora Rupp. All rights reserved.
Since 2004, Nora Rupp often goes to Mougnon, a village in Benin; she works and even lives there for a while. From 2010, the photographer decides to carry out a photographic project staging all the families of the village she holds dear. The result is a series of 61 family portraits.
In the style of early photographic portraits, her sitters pose in a group in front of one of their houses. One wonders about each of the villagers’ role in the group, about their relationships and their everyday life. The series also brings attention to the background against which each family stands. By interacting with the depictions of the houses and of their interiors, the project gains rhythm as a whole and recounts how people from Mougnon live.
Following an almost ethnographic approach, the photographer shot the pictures according to the inhabitants’ preferred position in the group and took note of each family member’s name. Her modus operandi, which was the same for each family, sheds light on both the repetitions and the differences in the whole series.