Isabelle Lutz

flat spot — after translation

video installation, 2026 [in progress].

Blurred sepia close-up of a face and shoulder, a pink mantis drawn over the hair, with overlapping strips of eyes at left.
Woman wrapped in plastic and raw meat, seated in a poultry box against a stained wall, chicken pieces scattered nearby.

ALDI’S CHICKENS IN LOVE [behind the scenes]

Video 2mn40-loop, 2012.

ALDI’S CHICKENS IN LOVE [behind the scenes]

Video 2mn40-loop, 2012.

Bare-backed figure with dark hair presses both palms against a scarred white wall, wrapped in plastic and raw chicken.

aldi’s chickens in love

video installation, 2mn40-loop, 2012.

Three-panel sequence of a woman in red boots rising from a wooden crate, a chicken thigh flying through the air above her.
Black-and-white image of a woman seated at the open edge of a large wooden crate, head bowed, in a stained, decaying room.

love is in the air.

tides or waves…
sisyphus and a myth in full exaltation.

ex nihilo

video installation, 27mn42-loop [7 videos], 2015.

Close-up portrait of a short-haired woman in a fur-collared coat, looking upward with mouth slightly open.
Sepia collage of a woman's eye repeated in overlapping panels, with a large blurred close-up of an eye and face at center.

flat spot

video installation, 12mn-loop [5 videos], 2015.

Grid of portraits of men and women against black backgrounds, each with a different expression.
Woman in a black knit beanie and dark glasses looking down in profile, against a black background.

an imprint born from an encounter at the deepest point of lack — at once “closest to and furthest from oneself”. 

Flat Spot is a video installation offering an experiment on the theme of “he absent presence“ [Derrida], as a space of expression, a convergence place between memories and hope, crystallization and repressed impulses. 

For abstracting oneself from reality and its contingencies — as in a dream in which the idealized alterity arises in reference to oneself, revealing the need to be considered in one’s singularity. […]

Dark video still of a figure crouching inside a wooden crate, working a mechanical tool on the wall, blood on the floor.

in nuts we trust

video installation, 54mn-loop, 2011.

alya noah frees herself from the grip of the alienating everyday life and projects herself in an artificial space, ephemeral indeed, but not precarious any more.

Contact-sheet strip of nine small photos showing a woman in white posing among cones, a dog, and scattered balloons.

Lilly rose is a lilliput

video installation, 11mn-loop [9 videos], 2011.

Woman in a beanie kneeling before a wall of colorful balloons, balancing a red balloon on her index finger.
A woman sits alone on the second of four orange bucket chairs in a dark room, arms crossed, legs extended, gazing to the side.

lilly rose, dressed in pale clothing, her feet bandaged, tirelessly plays out a foolish scene, “la fleur en col”.  

[…] Extracted from the material reality, absolved from liability of her actions, without any real self-consciousness, she draws attention, asserts herself apart from any form of seduction and dares her laughable humanity while vanishing into the role of the burlesque character so often devoted to men.

[…] Confined in her microcosm, cloistered behind countless doors, defined by a closed intrapsychic universe, the almost obsessive repetitive gesture that she uses liberates her willy-nilly of the weight of loneliness and of the torments of captivity without taking away her innocence.

Split-face composite portrait blending two women's faces, one with bold dark eye makeup, both in metallic striped tops.

as clean as a pussy

video installation, 2mn10-loop, 2011.

shorn by schizophrenic discourses of beauty and conformity until the outbreak of a paroxysmal state: the disillusionment.

will you marry me?

video installation, 70mn-loop [7 videos], 2010.

Close-up of a belly submerged in bathwater, with pressed red flowers and stems floating across the surface.

f.m.t. — FUCK ME TENDER

video installation, 20mn-loop [2 videos], 2015.

Fragmented horizontal strips of overlapping eyes in sepia and red tones, forming a layered composite portrait.

off-kilter

figures

THE body AS artefact

not victims

not heroines…

the na-

na’s.