Nada Gambier

Nada Gambier often works collaboratively, engaging in dialogue as a form of investment and love of the relational. Tired of having to tick the box to which category her work belongs she recently started calling it crash-disciplinary. The crash-disciplinary approach refers to a voluntary ignorance of disciplinary borders. The process determines the format. Often, Nada begins by working from a multitude of things; objects, images, texts, questions, concepts and her processes are about finding the inner logic specific to the combination of elements brought together in the first place. This is an attitude that attunes to context and time. One could call it a kind of durational jazz.

Nada’s background is in dance and choreography but she now works within an expanded notion of performance, where choreography, writing, video, acting, curating and social engagement constantly converse and collide. Her work is experimental in nature and her practice consists of walking, asking a lot of questions, experimenting with materials and spending time hanging out with people playing, waiting, improvising, talking, listening.

Nada also regularly collaborates on other artists’ projects as a performer and artistic advisor. She has worked a.o. with Kate MacIntosh, Edit Kaldor, Forced Entertainment, Simone Aughterlony, Jorge Léon, Maria Jerez, Diederik Peeters, Charlotte Vanden Eynde and Phil Hayes.

Nada is interested in how art can be a territory of cohabitation between the intimate and the social, sameness and difference, familiarity and strangeness.