Presentation

Contemporary art is a richly varied field in which professions and specialisations are constantly being redefined. This programme is for holders of a Bachelor’s degree who are passionate about various aspects of this discipline – be it as an artistic practice or through a more theoretical, curatorial approach. This Master offers a unique opportunity to gain insider understanding of the contemporary art scene by experiencing its mechanisms as one of its fully-fledged actors art scene.

In particular, students are invited to temporarily join an institution of their choice so as to study the latter’s procedures and people who gravitate around them. The results of this research may be presented in the form of an artwork, exhibition project or publication. In the framework of courses provided on the ECAL premises by renowned practitioners and theoreticians, the students are involved in workshops, research work and exhibition development. They also have the benefit of the ECAL multidisciplinary course of lectures.

From pure artistic practice to exhibition curatorship, via writing, teaching or research, the range of opportunities is all the wider by creating an exceptional portfolio.

Language

English

Qualification issued

Master of Arts HES-SO in Fine Arts, major in EAE–European Art Ensemble

Yearly fees (materials included)

CHF 1 925.-

Length

4 semesters

Credits

120 ECTS

Useful links

Admissions Contact

Equipments & infrastructures

Open Space MA Visual Arts Printing, Lithography & Silk-screen Workshop

Learning Objectives

First year
Conference of Camille Henrot
Masterclass with Juergen Teller

1/2

  • Write a Master’s thesis over the entire academic year, in line with the professional field: artistic production, critical reflection, dissemination and outreach.
  • Learn about technical workshops and produce works in the different workshops (wood, steel, lithography, etc.).
  • Immerse yourself in group trips in various international contemporary art exhibition contexts.
  • Immerse yourself in collective situations of exhibition and experimentation of the different formats of creation and dissemination of contemporary art.  
  • Take part in weeks of workshops and studio visits supervised by practitioners from all over the world with the aim of carrying out collective or personal projects.
  • Benefit from interdisciplinary teaching in the form of workshops (HES-SO Pool) developed by the three schools of the MA Fine Arts, open to all students of ECAL, EDHEA and HEAD.
  • Structure your thinking in transdisciplinary seminars (History of Contemporary Ideas, led by major figures of thought in the fields of art, philosophy and social sciences).
  • Integrate the Master’s Symposium around a theme centred on the research programme which encourages exchanges between students from the five majors of the MA in Fine Arts at HES-SO.
  • Attend end-of-year feedback and evaluation sessions with teachers and art professionals.
Second year
Diploma exhibition
Diploma exhibition

1/2

  • Write a Master’s thesis over the entire academic year, in line with the professional field: artistic production, critical reflection, dissemination and outreach.
  • Get familiar with technical workshops and produce works in the different workshops (wood, steel, lithography, etc.).
  • Immerse yourself in group trips in various international contemporary art exhibition contexts.
  • Immerse yourself in collective situations of exhibition and experimentation of the different formats of creation and diffusion of contemporary art.  
  • Take part in weeks of workshops and studio visits supervised by practitioners from all over the world with the aim of carrying out collective or personal projects.
  • Take a study and research trip linked to the Master’s thesis project in collaboration with different organisations or institutions in the art world.
  • Benefit from interdisciplinary teaching in the form of workshops (Pool HES-SO) developed by the three schools of the MA Fine Arts, open to all students from ECAL, EDHEA and HEAD.
  • Structure your thinking in transdisciplinary seminars (History of Contemporary Ideas, led by major figures of thought in the fields of art, philosophy and social sciences).
  • Integrate the Master’s Symposium around a theme centred on the research programme which encourages exchanges between students from the five majors of the MA in Fine Arts at HES-SO.
  • Defend your thesis.
  • Put into practice the know-how acquired in a graduation work and a portfolio, which will serve as a business card to integrate into the labour market quickly.

Projects

This section contains a selection of emblematic or recent projects related to the disciplines taught in the Master's degree.
See all projects

Events linked

Usefulless

FINE ARTS

Usefulless

Other with Ricca

In his essay,  Theory of Metamorphosis , philosopher Emanuele Coccia celebrates the “power of caterpillars” allowing them to transition from one existence to another without having to die first nor being born again. The caterpillar thus in its full autonomy shakes up the natural order of things. This in-between state materializes in the cocoon, an intermediate yet complete stage, totalizing more than the sum of two halves. The cocoon is a circumscribed territory which has no limits, not completely life, not totally death. This solipsistic space is plural, it is host to the liquid form, embracing simultaneity and different realities. The artworks presented here echo the principle of transition which govern this exhibition. Through their relationship to space or how they question the function of an art object, through the staging of intimacy, these works identify a limit and almost mechanically, ask what lies beyond. Usefulless  is a quality specific to useful objects that are nowhere to be found when needed. Opening a middle way through the binary definition  useful/useless , the term  usefulless  defines a transitional state of utility. Here inside the exhibition, the influence of context reveals the intrinsic ambivalence of objects, useful only based on a need, at a given time, for something or to someone.  Usefulless  opens a dialogue between the works of the students of the Master Fine Arts at ECAL/University of Art and Design Lausanne and pieces from artists whose respective practices explore similar avenues.

Symposium KILL Yr IDOLS

FINE ARTS

Symposium KILL Yr IDOLS

Other

KILL Yr IDOLS The 20th century invented youth. It has inspired the century in all matters, it has become its horizon. We move forward according to its tastes. Until the end of the World War II, youth was thus only rarely considered, as if in a transitory state, stuck in an awkward age. Then, all of a sudden, with the rise of pop culture, the market economy started to seduce it. A phenomenon that was long regarded as an embarrassing growth spurt ended up dominating the world. The 21th century is nineteen, twenty years old. And youth still remains a mystery. One relishes to conceptualize and historicize it. One also knows that youth never stops to toss and turn. It exists in order to produce moments, ideas (immediately subjected to aging), new gestures, or which youth believes to be new? Amnesiacs are the content ones. One must see how the history of youth has been sketched in the last century, as a straight line, or maybe in successive layers, strata, sedimentations. Less than a century has produced a tome of attitudes that describe each and every generation, the way they took possession of the cultural field, of trends, languages, postures and all theses signs that aim to destroy the next generation (in order to provide new space for the possible). Invariants stand in the midst of all this nonetheless: the same doubts, rage, opposition, unease, fake arrogance, discoveries and the same gold. Politicized, or at least concerned, youth 2.0 is soaked in a yet to be analyzed opposition between the speed rate of its exchanges that it constantly develops further and a desire to tame late capitalism's irrevocable damages: the disintegration of the planet and its climate. Outpacing capitalist realism might well have become the new horizon of a youth that was formed by its very capabilities of speed. In this setup, what are the new postures, ideas, excesses and transformations that are – again and again – capable of inventing youth? How will the new emerge if we remain at the core of an exhausting recommencement ? Philippe Azoury

Exposition 'Ending Explained'

FINE ARTS

Exposition 'Ending Explained'

Other with MAAV

Symposium 'Eco-monde: horizons nouveaux'

FINE ARTS

Symposium 'Eco-monde: horizons nouveaux'

Other

Can we move from one world to another, from one period of human history to another, and still create forms, produce meaning, sell art, as if nothing had happened? To slip into a new era without taking it into account? Between the countdown of the ecological catastrophe and the new environmental conscience, we are in the process of changing paradigm, and of entering, without always knowing it, often backwards, in an unknown universe, where the political, social, scientific, artistic questions are no longer posed in the same terms. Where was the man ("ecce homo") is imposed today the interdependence of the forms of life ("to like the echo?"). Where Prometheus was unleashed, with his myth of progress and his dogma of development, a new concern arises, still badly understood, that of lasting, of letting live, of abstaining. Where substance reigns, that of products, resources, certainties, a new question now insinuates itself: the atmosphere, a matter of ambiance and resonance, of airy spirits and the bewitchment of things. And where anthropocentrism triumphed for a long time, as an imperial posture, the ground is cracking under the feet of Man, who loses his capital letter, his arrogance, his solitude too. Of this obliged ecological turn of the late modernity, the art and the culture cannot not take account. They must find a new tone, in tune with the perils, the urgencies, but also the humility and the breadth of vision required by these new times. They must explore new themes, which frenetic capitalism and the dramas of history had relegated to the background. Above all, they need to think together things that have been separated for centuries: objects and lives, air and meaning, micro and macro, time and space. It is these vast problems that the symposium will address. It is in this spirit that it will shake up our habits. It is with as much joy as questioning, with freedom as with open dialogue, that it will tackle head on the revolution in progress, and its crucial stakes for the art world - and for the simple fact of creating. We will talk about the Anthropocene, green finance, vital decay, militant slush, the relationship between the environment and the extremities, and many other things. Keeping in mind, in order not to disarm, that it is not a question of defending nature, but rather, today more than ever, of being the nature that defends itself.

Symposium with Tristan Garcia

FINE ARTS

Symposium with Tristan Garcia

Other

A l’occasion du Symposium Master Arts Visuels à l’ECAL, Tristan Garcia a réalisé une conférence sur son livre  Nous. Né en 1981 à Toulouse, Tristan Garcia est un philosophe et écrivain français, qui s’impose parmi les plus intéressants de sa génération. Il co-dirige avec Vincent Normand le laboratoire de recherche Théâtre, jardin, bestiaire : une histoire matérialiste de l’exposition, soutenu par l’ECAL et la HES-SO. Ses romans comprennent La Meilleure Part des hommes (2008) qui a obtenu le Prix de Flore en 2008 et qui fut adapté au théâtre en 2012, Mémoires de la jungle (2010), En l’absence de classement final (2012), Les Cordelettes de Browser (2012), Faber. Le Destructeur (2013) et 7 récompensé par le prix du Livre Inter 2016. Ses travaux philosophiques incluent L’Image (2007), Nous, Animaux et Humains. Actualité de Jeremy Bentham (2011), Forme et objet. Un Traité des choses (2011), Six Feet Under. Nos vies sans destin (2012), La Vie intense. Une obsession moderne (2016) et Nous (2016). Depuis 2015, il est professeur associé à l’Université Lyon-3.

Evaluation first semestre 2017

FINE ARTS

Evaluation first semestre 2017

Other

Master Class with Pierre Bismuth

FINE ARTS

Master Class with Pierre Bismuth

Other

Pierre Bismuth a présenté à l’ECAL son premier long métrage en tant que réalisateur Where is Rocky II ? Né à Neuilly-sur-Seine en 1963, Pierre Bismuth est un artiste contemporain qui s’intéresse à la règle comme manifestation essentielle de l’activité humaine. Son travail, qui couvre des champs de connaissance très divers, se nourrit des lois inhérentes de chaque système auquel il s’intéresse, dans le but de trouver leur point de rupture. En 2005, il remporte avec Michel Gondry et Charlie Kaufman l’Oscar du meilleur scénario original pour son synopsis de  Eternal Sunshine of the Spotless Mind . Where is Rocky II ? (93') 2016 Un détective privé et un duo de scénaristes hollywoodiens sont engagés dans un défi autour de l’existence d’un mystérieux objet créé et caché dans le désert, il y a 40 ans, par l’artiste américain Ed Ruscha. En traitant la matière documentaire comme s’il s’agissait d’une fiction, Pierre Bismuth réalise ce qu’il appelle une fausse-fiction.

SOMA – Residency to Mexico

FINE ARTS

SOMA – Residency to Mexico

Other

Lors de la cérémonie des diplômes Bachelor et Master qui a eu lieu fin juin, l'ECAL/Ecole cantonale d'art de Lausanne a remis à trois étudiants de 1re et 2e années du Master Arts Visuels – Gabriele Garavaglia, Vinzenz Meyner et Catarina Bota Lea – les «clés» d'une résidence d'artistes à Mexico City. SOMA est un espace d'art contemporain qui vise à s'imposer comme un contrepoint dynamique aux écoles, musées et galeries du Mexique. Il est né à l'initiative d'un groupe d'artistes mexicains qui, en s'appuyant sur les expériences des précédentes espaces d'art, comme La Panadería et Temístoclés 44, ont uni leurs forces pour créer une plateforme unique au sein de la scène culturelle. La mission de SOMA est d'encourager le dialogue, la collaboration et même la confrontation entre artistes et producteurs culturels de différents horizons et générations.

1st semester evaluations

FINE ARTS

1st semester evaluations

Other

Conference Dominique Gonzales Foerster

FINE ARTS

Conference Dominique Gonzales Foerster

Other

Diplomas

FINE ARTS

Diplomas

Other

Jérôme Wilfredo Baccaglio ,  Logos for Drones and Such... I created a catalogue for drone logos. It gathers a heterogenous iconography (invented, drawn, found) whose every motif is available for purchase as a canvas, a tattoo, a drawing or a sticker. This is an oblique strategy adopted to talk about the interpretation of an image (as the spectator, or as the artist, to assign it a meaning, a name); the versus created by hand-made work and a digital image; mercantilism; the matter of copyright and its role in an information-infested era. Tina Braegger,   Fasanenstrasse 30 I made an architectural model of white cardboard, placed on four white metal legs. I decorated the model with white curtains that flow over the model down to the floor. Inside the model, I put old toys of mine, objects that originally belong to a doll’s house. By attaching the legs directly to the model, it looks like a table. I wanted to create something surreal, like a dream; the objects inside the model are slightly too big, and the model bleeds off as the curtains overflow. Arthur Fouray ,  Andy IV, #aaafff Studio Modernes, Helio noir cendré 2011: Enters 2nd year ECAL. Dia: Beacon visit. 2012: First artist exchange with Frédéric Gabioud. 2013: Begins the notes website "arthurfouray.website. » Fine Arts Bachelor's degree. Obtains a studio funded by the city of Lausanne. Assistant to Pierre Huyghe . Co-founding of a + o - ( a-plus-o-min.us ). 2013 - 2014: The Lauren bedspring-painting inaugurates the objects-canvases series. #aaafff first painting for Philippe Decrauzat. 2015: Co-founding of Silicon Malley ( siliconmalley.ch ), artist-run space in Prilly. Julien Gremaud ,  The Big Picture Two wallpapers face each other. They are very white, their black lines are basic. The templates have been done. It was questioned whether the surfaces should be solid or empty, filled with monochromy or blocks of primary colour. One can always enlarge them if necessary. These are ai files. One no longer needs a Hasselblad camera. There is not a whole lot left of the source image. By the way: photography wants to appropriate space. But we are still unable to do so. Eventually, the finishings, very weighty. I promise you Johanne, I will take some pictures for our collaboration’s archives. Emanuele Marcuccio ,  Untitled (Serve the Servants) This is a partial truth, a fragment of my understanding, my sense of things. Being alone in the office, being alone in the library, being alone in the studio is still about a certain notion of improving. I have this impulse that pushes me right in the situation that makes me improve. Well then, I feel specially special. Photo credit : ECAL/Axel Crettenand.

Paris and Centre Pompidou-Metz

FINE ARTS

Paris and Centre Pompidou-Metz

Other

Photo credit : ECAL/ Julien Gremaud .

Workshops

Macula Workshop avec David Douard

FINE ARTS

Macula Workshop avec David Douard

Workshop with David Douard, Lucas Erin

Questionner l’économie des images et l’idée d’authorship à travers un exercice de manipulations d’images digitales vers un objet physique. Remettre en question le rapport d’une génération artistique « Google » qui se servait volontiers dans un gouffre d’image internet pour les manipuler à foison. Aujourd’hui ce rapport est contesté par de nouvelles technologies servant et à donner une valeur et une authenticité au détournement ( NFT ) David Douard propose ainsi un workshop de sérigraphie sur 3 jours comme un moment de jouissance productive où les enjeux seraient l’appropriation par la superposition. C’est une réflexion sur l’image à capturer et sur la potentialité subjective d’une image à travers le rapport au texte, la poésie ou le langage.

Keramicos

FINE ARTS

Keramicos

Workshop with Matthew Lutz Kinoy, Natsuko Uchino

Glowstone

FINE ARTS

Glowstone

Workshop with Neil Beloufa

Flowstone

FINE ARTS

Flowstone

Workshop with Neil Beloufa

Talk given by Camille Henrot

FINE ARTS

Talk given by Camille Henrot

Workshop

Camille Henrot, Plasticienne, New York www.camillehenrot.fr Née en 1978, Camille Henrot vit et travaille à New York. L’artiste française développe une pratique variée qui mêle film, dessin, sculpture et installation. En puisant ses inspirations et ses sujets dans la vie quotidienne et dans la littérature, la mythologie, le cinéma et l’anthropologie, l’oeuvre de Camille Henrot reconsidère avec acuité les typologies d’objets et les systèmes de pensées établis. En 2013, dans le cadre de la Smithsonian résidence à Washington DC, elle réalise le film  Grosse Fatigue , avec lequel elle remporte le Lion d’argent à la Biennale de Venise. Lauréate du Prix Nam June Paik 2014 et du Edvard Munch Art Award 2015, Camille Henrot a également participé aux Biennales de Lyon, Berlin et Sydney et a bénéficié d’expositions personnelles dans des lieux prestigieux tels que le Schinkel Pavillon à Berlin, la Kunsthalle de Vienne, le New Museum à New York ou encore au Palais de Tokyo à Paris pour une carte blanche en 2017. Ses prochaines expositions majeures auront lieu à Tokyo Opera City Art Gallery (2019) et à la National Gallery of Victoria de Melbourne (2020).

Symposium with Dominique Gonzalez-Foerster

FINE ARTS

Symposium with Dominique Gonzalez-Foerster

Workshop

Avec ce workshop, Dominique Gonzalez-Foerster prolonge sa réflexion sur les apparitions et les transfomations qu’elle pratique depuis 2012 (M.2062 et QM.15) autour du cinema, de l’opéra et de la littérature avec des personnages réels ou fictionnels qui représentent chacun un point de vue sur l’art, la représentation et l’existence. Dominique Gonzalez-Foerster (born in 1965) is a French artist and an in influential figure in international contemporary art. She is known for her great variety of work in video projection, photography, and spatial installations. Recent solo exhibitions include “1887–2058” at Centre Pompidou, Paris and K.20 in Dusseldorf (2015/2016), “Temporama” at Mam, Rio de Janeiro (2015), “Splendide Hotel” at the Palacio de Cristal/Museo Reina Sofia in Madrid (2014), “Chronotopes and Dioramas” at the Dia Art Foundation, New York (2009); “TH.2058” in the Turbine Hall, Tate Modern, London (2008). She also participated in Skulptur Projekte Münster (2007) and Documenta XI, Kassel (2002). Dominique Gonzalez-Foerster has also staged “M.2062” in London, Amsterdam, Dublin, Kyoto and Paris between 2012 and 2014, and QM.16 in Paris in 2016. Her most recent films are “Otello 1887”, “Vera and Mr Hyde” and “Lola Montez in Berlin”.

Workshop with Georgia Sagri

FINE ARTS

Workshop with Georgia Sagri

Workshop

Georgia Sagri

Workshop with Matthew Lutz-Kinoy

FINE ARTS

Workshop with Matthew Lutz-Kinoy

Workshop

Diplomas

Lorenzo Benzoni – I Sit Here and I Cry

FINE ARTS

Lorenzo Benzoni – I Sit Here and I Cry

Diploma project by Lorenzo Benzoni

I Sit Here and I Cry is based on a hyper-pop song performed by myself and produced by @nightclub20xx called Ghostin the Castle. The main aim of my research is to analyse capitalism from a Gen Z perspective and, as I usually do in my practice, to build images and play with elements that I create and translate between different media. I decided to play with the settings of gothic novels, in particular with the image of the castle and the vampire, in the historical transition from feudalism to capitalist economy. There is a sculpture of a castle made with salt dough, a drawing that shows what is happening inside the walls, a ghost puppet and the video of the song, in reference to Mark Fisher’s concept of “hauntology” and politically related memes.

Tudor Ciurescu – The Dream I Still Have

FINE ARTS

Tudor Ciurescu – The Dream I Still Have

Diploma project by Tudor Ciurescu

The rotating sculpture showcased in this exhibition, named The Dream I Still Have, is a reproduction of the artist’s childhood swing, a rusty post-Soviet swing that holds a forgotten character. The character draws inspiration from Glenn/Shiftace, the non-gendered animatronic with a Freudian complex from the Hollywood film Chucky that was shot in Romania. The continuous movement of the swing aims to transpose the viewer into a state of reflection – a movement that relates to the swiping of videos on TikTok and the subject of Guy Debord’s book, Society of the Spectacle. The work’s movement is activated by a human presence thanks to sensors – the human presence being essential. Just like a theme park, art becomes a place to feel fear without the consequences.

Salomé Chatriot – Lactose Oozing From a Breathing Singularity

FINE ARTS

Salomé Chatriot – Lactose Oozing From a Breathing Singularity

Diploma project by Salomé Chatriot

In 2018 a sprawling turbo alternator awakened under Salomé Chatriot’s caresses as she helped it out of its lethargy with a set of soft medical systems. They merged to create a space time destined to be dismantled, fragmented and reassembled inside the machine’s fertile matrix: Fragile Ecosystem. In this polymorphic universe, the fusion of technological and organic elements fosters the emergence of sculptures and virtual environments. Physical processes such as Chatriot’s breathing activate mechanical systems, resulting in symbiosis between the human body and her technological devices. Stuck in this nymphosis, they are constantly exchanging enzymes, hormones and proteins while infecting each other’s systems with vital breath, carnal desire and empathic energy.

Stefan Tanase – I Feel So Vacation Today…

FINE ARTS

Stefan Tanase – I Feel So Vacation Today…

Diploma project by Stefan Tanase

I Feel so Vacation Today… is a time machine that brings an existing scene from 2019 into the continuous present, namely the atypical sequence from the For Sale exhibition that took place in Bern at Ballostar Mobile, where Ștefan Tănase simulated his own accident by driving a car through the gallery window. To succeed, the artist himself used a sledgehammer with which he broke the window. The accumulation of ideas inevitably took off through a snowball technique, rolling and growing increasingly. Tănase manages to find the humorous formula between post-communist aesthetics and western economics as exemplified by the communist slogan “we work, we don’t think!”.

Christian Schulz – Trap

FINE ARTS

Christian Schulz – Trap

Diploma project by Christian Schulz

test test test test test test process of reactivating the emotional body can you hear me now in language and death as we come to the close of our broadcast day reduced to the operational function of language this is my farewell transmission notwithstanding research in protocols and anyone within the sound of my voice procedures for vocal recognition I’ve got fifty thousand watts of power the excess of sensuousness exploding into the circuitry this microphone turns sound into electricity of social communication and openings infinite game of interpretation desire can you hear me now infinite sliding transition the last watt leaves the transmitter desert of meaning desensualisation of language

Julie Magnenat – X-AYAM22 (When I’m Lying on the Earth)

FINE ARTS

Julie Magnenat – X-AYAM22 (When I’m Lying on the Earth)

Diploma project by Julie Magnenat

rammed earth, shells, porcelain Anchored and alien at the same time, this sculpture acts as an invitation to ground ourselves between the realms of the Earth and the realm of the spiritual.

Peilian Li – Drive Safe!

FINE ARTS

Peilian Li – Drive Safe!

Diploma project by Peilian Li

I fell asleep feeling like I had just crashed my car against a mirage. The next day, as I was leaving my house to go to school, the bushes in the garden were being trimmed by the gardeners, the folds of my pleated skirt were neatly ironed, the sun had risen over the hills in the East, the dedicated traffic lights structured the roads, the little baby had been fed, and the owner of the dessert house had set out the first freshly baked egg tarts in the early morning. There was no sign of any abysmal agony or perplexities left in sight.

Leonardo Pellicanò – Crooked Thoughts Along the Crooked Path

FINE ARTS

Leonardo Pellicanò – Crooked Thoughts Along the Crooked Path

Diploma project by Leonardo Pellicanò

The pieces on display feature a wide range of pictorial expressions, oscillating between narrative figuration and abstraction. They play on archetypes drawn from myth and folklore that come to surface in an intimate language of fragile apparitions. Untitled and Crooked Thoughts Along the Crooked Path are small-scale works on unprepared wood that illustrate the presence of ghostly and eerie narratives. Between the two, there is the big square canvas Lilac Unseen, apparently a monochrome on raw linen, which upon closer inspection reveals many shades of colour, functioning almost as a macro expansion of the smaller works or a fragment of a rarefied landscape.

Sunna Margrét Þórisdóttir – Five Songs for Swimming

FINE ARTS

Sunna Margrét Þórisdóttir – Five Songs for Swimming

Diploma project by Sunna Margrét Þórisdóttir

Five Songs for Swimming is an installation project that is divided into three parts: vinyl, book and performance. The vinyl consists of five original songs inspired by the late Unnur Ágústsdóttir, a swimming queen from the 40s who grew up on an isolated island in the Atlantic. The book titled An Insufficient Guide to Writing a Lullaby is written around the songs recorded on the vinyl in relation to the subject of the lullaby and daydreaming. A bright velvet fabric marks the space where the songs are performed.

Mayara Yamada – That Night Marara Kelly Played in My Town

FINE ARTS

Mayara Yamada – That Night Marara Kelly Played in My Town

Diploma project by Mayara Yamada

That Night Marara Kelly Played in My Town is a visual appearance peripheral to the Marara Kelly Art Show, a series of performance in which Mayara Yamada creates a form of self-mythology where she seeks out, throughout an evening divided into five chapters, Marara Kelly, her personal party entity, the guardian of her childhood dreams. The project showcases a series of photographs that begin in the Brazilian Amazon and end in Lake Geneva. As well as a typical banner of the Brazilian Amazon, that here announces an otherworldly party, the world in which Marara transits is magical and disrupts the established reality. There one could imagine a party where the entrance is made during the dive in the river and the after-party begins with the emersion in Lake Geneva.

Filippo Bisagni – Un jardin d’Egypte

FINE ARTS

Filippo Bisagni – Un jardin d’Egypte

Diploma project by Filippo Bisagni

The installation Un jardin d’Egypte brings together two subjects that are opposite in terms of content and message, but which share similar aspects in terms of visual composition: Marcel Broodthaers’ Un Jardin d’Hiver (1974) and the so-called Egyptian Room in the Villa San Martino, Napoleon’s summer residence during his exile on Elba. What they have in common is a small group of plants arranged in a circle. Broodthaers’ installation displays palm plants that represent a critical reflection on colonialism. The Villa San Martino room displays papyrus plants which represent a nostalgic and apologetic message referring to the Egyptian Campaign. Papyrus or palms That we sow That grow A garden in Egypt ?

Djellza Azemi – The Act of Letting Someone Into Your Home

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Djellza Azemi – The Act of Letting Someone Into Your Home

Diploma project by Djellza Azemi

So many things are promised, so many things remain exactly the same.

Program

This section lists the detailed modules and courses for each semester of the programme.

Semester 1 2 3 4

Common Modules ECAL-EDHEA-HEAD
  • POOLCH I (6 ECTS)
  • Master Seminary I (3 ECTS)
Further development module
  • Practice and research II
    Preparation to the Master Thesis
    (12 ECTS)
Orientation Module (CCC-EAE-MAPS-TRANS-WORKMASTER)
  • Collective I
    (6 ECTS)

Common Modules ECAL-EDHEA-HEAD
  • Symposium (6 ECTS)
  • Master Seminary II (3 ECTS)
Further development module
  • Pratiques et recherches I
    Préparation à la Master Thesis
    (9 ECTS)
Orientation Module (CCC-EAE-MAPS-TRANS-WORKMASTER)
  • Projections I
    (12 ECTS)

Common Modules ECAL-EDHEA-HEAD
  • POOLCH II (6 ECTS)
  • Master Seminary III (3 ECTS)
Further development module
  • Master Thesis I
    (15 ECTS)
Orientation Module (CCC-EAE-MAPS-TRANS-WORKMASTER)
  • Projections I
    (12 ECTS)

Further development module
  • Master Thesis II
    Thesis (9 ECTS)
  • Master Thesis II
    Art Project (15 ECTS)
Orientation Module (CCC-EAE-MAPS-TRANS-WORKMASTER)
  • Collective II
    (6 ECTS)

Find all the programme documents below

Alumni

Tina Braegger
Stefania Carlotti
Giulio Scalisi
Matthias Sohr
Career Opportunities

Visual artist, Art critic, Curator, Art director, Teacher, Cultural mediator, Performer, Stage manager, Exhibition designer, Video artist…

Other alumni

(BA and MA Fine Arts) Alfredo Aceto, Valentin Carron, Claudia Comte, Sylvain Croci-Torti, Stéphane Dafflon, Philippe Decrauzat, Natacha Donzé, Cyprien Gaillard, Frédéric Gabioud, David Hominal, Gilles Furtwängler, Mélodie Mousset, Simon Paccaud, Gina Proenza, Jeanne-Salomé Rochat, Denis Savary, Baker Wardlaw, Shirin Yousefi...

Staff

Head

Stéphanie Moisdon

Coordination

Assistants
Lucas Erin
Shirin Yousefi

Engraving workshop
François Kohler 

Lithography workshop
Simon Paccaud 

Silk-screen workshop
Sylvain Croci-Torti

Professors

Valentin Carron 
Stéphanie Moisdon 
Denis Savary

Lecturers

Philippe Azoury
Neil Beloufa 
Emanuele Coccia 
François Cusset 
Tristan Garcia 
Vincent Normand 
Matthew Lutz Kinoy 
Fabian Marti 
Mélanie Matranga  
Emanuel Rossetti
Bea Schlingelhoff 
Lucie Stahl
Zoé Stillpass
Natsuko Uchino

Visiting lecturers

Marie Angeletti
Daniel Baumann
Alexandra Bachzetsis 
Tenzing Barshee
Cecilia Bengolea
Pierre Bismuth
Willem De Rooij
Claire Fontaine
Dominique Gonzalez­-Foerster 
Camille Henrot
Thomas Hirschhorn
Karl Holmqvist
Michel Houellebecq
Pierre Joseph
Isabel Lewis
Balthazar Lovay
Nathaniel Mellors
Noémi Michel
Shahryar Nashat
Hans Ulrich Obrist
Susanne Pfeffer
Anne Pontégnie
Pamela Rosenkranz 
Gerwald Rockenschaub 
Georgia Sagri
Julia Scher
Slavs and Tatars
Juergen Teller
Eric Troncy
Oscar Tuazon
Xavier Veilhan
Françoise Vergès
Tris Vonna­-Michell