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The word parade carries within it a fertile ambiguity: both a gesture of protection and of exposure, of concealment and of unveiling. Derived from the verb parer – to defend oneself, to prepare oneself, to become visible – it evokes a surface movement, a strategy of appearance. Here, the parade is a space of emancipation through visibility as much as a terrain of resistance against the gaze that captures and freezes. What is shown never appears without reserve: brilliance shelters as much as it reveals, form protects as much as it offers itself. Judith Butler would say that showing oneself is already an act, a performative gesture through which the body asserts itself even as it eludes. Appearance is not transparency, but negotiation: a true politics of the visible.
The parade also evokes motion – a sense of unfolding, of appearance in procession. It is both choreography and structure, a succession of gestures that the material attempts to retain.…
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The word parade carries within it a fertile ambiguity: both a gesture of protection and of exposure, of concealment and of unveiling. Derived from the verb parer – to defend oneself, to prepare oneself, to become visible – it evokes a surface movement, a strategy of appearance. Here, the parade is a space of emancipation through visibility as much as a terrain of resistance against the gaze that captures and freezes. What is shown never appears without reserve: brilliance shelters as much as it reveals, form protects as much as it offers itself. Judith Butler would say that showing oneself is already an act, a performative gesture through which the body asserts itself even as it eludes. Appearance is not transparency, but negotiation: a true politics of the visible.
The parade also evokes motion – a sense of unfolding, of appearance in procession. It is both choreography and structure, a succession of gestures that the material attempts to retain.…
