Sophie Ballmer, Travaux de nuit
Different figures follow each other and progressively build a small theatre of art history. The shapes are deformed, reduced to a simple representation, and pass before our eyes, mobilizing commonplaces and stereotypes.
This game plays with a tradition that needs to be discussed. The exploration is light, uninhibited, and the path gets intriguing when it joins document research with knowledge criticism. Travaux de nuit is a subjective overview that shows its operating system, emphasizing the way the journey is made.
Grégory Corthay, Personne
Explore the variety of media to experience the range of perceptions. Translate and face toward the horizon of emptiness welcoming the native return of an origin. The taste of travel narrative and stroll contributes to a significant cosmogony around notions of landscape, our presence within its conquest and reveals visions of legends, traditions and innovations.
Sylvain Croci-Torti, Uncomfortably Numb
In my work the canvas is used to reproduce and reinterpret different influences, from TCS (Swiss Automobile Club) to EMI. The long and painstaking preparation of the canvases contrasts with the quick, efficient and radical gestures with which the paint is applied. Just like a punk song played on a fancy Gibson.
Lucile Dupraz, Higher Than It Is Wide
Higher Than It Is Wide is a lecture performance paced to a stream of pictures, all of which portray the same sitter. Handling these visuals as I speak, I weave together threads of descriptive and technical language while forming narrative patterns. These take the audience through thoughts occurring to an image maker, those formed by a viewer, and transcriptions of camera or computer processes.
Wishing to address the act of looking by means of spoken words I chose a hybrid medium for a composite task. I thus saw the photograph's mute, frozen likeness evolve to richer nuances, by dint of its translation into gestures and phrasings uttered live.
MA FINE ARTS
by Alessandra Ghiazza
In the empty spaces I find pieces of dreams fields and water, of the forgotten green. A stratification of memories that leads to reveal experiences in natural landscapes, real but also places suspended between memory and the dreamlike, creating through geometric and repetitive shapes a space of contemplation on places, to find them again; postcards of a fragile and continuously changing landscape.
MA FINE ARTS
by Axel Mattart
Tired of Fighting Against Your Brain ?
MA FINE ARTS
by Camila Polania
Some say the body arrives first, and the soul takes longer. This installation begins with that delay, in the tension between presence and absence. Instructions of Rematriation is a video installation projected onto a wind-moved fabric, a surface that never fully settles. In front, white Rimax chairs evoke everyday spaces of waiting across Latin America: porches, patios, sidewalks. The work follows the passing of a single day, tracing the slow return to the body after displacement. Through video, writing, textile, and sound, the installation holds a kind of return, not geopolitical, but personal and ancestral: a political and spiritual reconnection with what was once left behind.
MA FINE ARTS
by Giorgio Cassano
ZONA DI SACRIFICIO is a film study that fuses documentary, ethnography, and poetic montage around the Fiume Tara—Taranto’s revered “miracle river.” Through a tapestry of memories, legends, visions, and personal testimonies, the film explores how this sacred source has sustained local identity and resilience, even as the encroachment of the ILVA steelworks has turned the surrounding landscape into a literal “sacrifice zone.” It is both a visual elegy to a once-pure watercourse and a poignant reflection on environmental violence, tracing the uneasy coexistence of spiritual reverence and industrial devastation in a community striving to reclaim its voice.
MA FINE ARTS
by Ludovico Orombelli
Sinopia is the culmination of a research project carried out at ECAL on the techniques and images that have shaped the Western imaginary. A scene from The "Legend of the True Cross", painted in the 15th century, has been reproduced using the same materials that its author, Piero della Francesca, employed to sketch the preparatory drawing on the wall before completing it in paint. The image thus reappears in its earliest phase, as a ghostly presence that invites us to reflect on the presence and role of the past within our present time.