Gabriela Löffel, born in 1972 in Switzerland, works primarily with time-based media and is particularly interested in political and financial structures and infrastructures. Her method—moving from immediate documentation to interpretation and staging—results in long-term projects that create space for questioning and introduce disruptions into linear narratives.

She has recently exhibited and presented her work at several events and institutions, including a film series at the Centre Pompidou in Paris at the Ménagerie de Verre (2026), as well as at the Rencontres Internationales Paris/Berlin at the Maison Européenne de la Photographie (2025). Her work has also been featured in exhibitions at the Konschthal in Esch-sur-Alzette (Luxembourg, 2026), the Aargauer Kunsthaus in Aarau (2025), and the MAST in Bologna (Italy, 2024). She also participated in the Kochi-Muziris Biennale in India (2022/23).

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5.752.414.468

5.752.414.468 by Gabriela Löffel takes as its starting point ICSID Case No. ARB/12/12, pitting the energy company Vattenfall against the Federal Republic of Germany. Following the Fukushima disaster, Germany decided to accelerate its phase-out of nuclear power, leading to a claim for compensation of over 5.7 billion euros by the company. This dispute, emblematic of the tensions between political decisions and economic interests, forms the basis of the installation.

The artist is particularly interested in the language of international law and its mechanisms of production. She extracts fragments from the opening and closing arguments, which she transforms into a script entrusted to a casting agency. This shift constitutes a central gesture: it allows a legal discourse, often perceived as opaque, to be conveyed in a different interpretive register.

The casting process, usually invisible in film production, becomes here a tool for analysis. Nine actors audition for the roles of the various parties (judges, lawyers), reenacting the texts in a space that evokes both a stage and an operating room. This reenactment allows for the deconstruction of legal rhetoric, revealing its strategies and internal tensions.

Recordings of the hearings are combined with original audio clips from the trial, forming a three-channel video installation. The work thus highlights the performative nature of legal language and questions the mechanisms of power it mobilizes. By making visible what is usually concealed, 5.752.414.468 opens up a critical space for examining the political and economic stakes embedded in these processes.