Materialized Photography - Spring 2024

Materialized Photography - Spring 2024

This course led by Victoria Pidust explored the creation and invention of visual languages for lens-based photographic objects and focused on the transformation of images into materialised forms. Students explored the practices of contemporary artists such as Katja Novitskova, Thomas Ruff, Seth Price and others and learnt how technologies such as CGI and photogrammetry have influenced artistic expression.

The students explored the interplay between digital and physical spaces and developed unique approaches to creating photographic objects. The course focused on understanding historical and contemporary trends, analysing artists' case studies and creating materialised works, including single images, 3D objects, installations and immersive media such as AR and VR.

Through research and practice, students conceptualised and materialised projects and presented their work as physical installations or objects. They developed the ability to articulate the meaning behind their creations, critique and collaborate with colleagues to expand their artistic practice.

Studio project (2024) with Victoria Pidust

Assistants
Giacomo Bastianelli
Students
Riccardo Androni, Elisa Azevedo, Francesca Bergamini, Min Dai, Nabarun Gogoi, Hannah Gottschalk, Doyoung Kim, Binyu Lin, Jose Martin Martinez, Daniel Martinez, Eriko Miyata, Visvaldas Morkevicius, Eva Manuela Rivas Bao
1st year
2nd semester
ECAL/Riccardo Androni
ECAL/Riccardo Androni
ECAL/Riccardo Androni

1/3

ECAL/Daniel Martinez
ECAL/Daniel Martinez

1/2

ECAL/Visvaldas Morkevicius
ECAL/Visvaldas Morkevicius
ECAL/Visvaldas Morkevicius

1/3

ECAL/Kim Doyoung
ECAL/Kim Doyoung
ECAL/Kim Doyoung

1/3

Projets similaires

Soft Photography

MA PHOTOGRAPHY

Soft Photography

with Salomé Chatriot, Charlie Engman, Simon Lehner , Milo Keller, Marco De Mutiis, Claus Gunti, Clément Lambelet, Giulia Bini, Simone Niquille

Soft Photography is a research project conducted by the Master of Photography at ECAL/University of Art and Design Lausanne with the support of the HES-SO. It aims to shed light on the role of human emotions in the creation and reception of images produced using generative Artificial Intelligence (AI) or computer-generated imagery (CGI).

Contemporary Photography - Spring 2025 - MAP1

MA PHOTOGRAPHY

Contemporary Photography - Spring 2025 - MAP1

with Kim Knoppers

Do Not Disturb – Curating in Progress The course Do Not Disturb – Curating in Progress is designed to give students a sneak peek into the craft of curating an exhibition from the perspective of an independent curator (formerly at Foam, Amsterdam 2011-2021). The course teaches to engage with the historical, theoretical, and practical matters of curating a photography exhibition, with issues regarding the desperate desire of mankind to display objects, the photography exhibition in the digital age, the blending of photography with other disciplines in a physical space, Imaging the Anthropocene and Photography in Times of Radical Change. Students were invited to create a group exhibition with a physical model and an online solo exhibition with their own work.

Self-Initiated Project - Spring 2025 - MAP1

MA PHOTOGRAPHY

Self-Initiated Project - Spring 2025 - MAP1

with Bruno Ceschel

The course is a platform for the development of personal projects that arise from the desire and curiosity of each student. The basic concept of the work must be relevant to the field of contemporary photographic images. Each project can take a different form depending on the specificities, contents and inclinations of each participant. From books to multimedia installations, from performance to CGI, group discussions will articulate a plural vision of photography’s applications today.

Materialized Photography- Spring 2025 - MAP1

MA PHOTOGRAPHY

Materialized Photography- Spring 2025 - MAP1

with Felicity Hammond

In this module, we will explore the potential for the photographic image to simultaneously be a backdrop, object, and prop. We will make images both for the purpose of being re-imaged and for their sculptural possibilities, ending in a work that investigates the potential for an endless cycle of images and objects. Crucially, we will consider the staging of the work, and the conceptual and physical site for which it is intended.

Applied Photography - Spring 2025 - MAP1

MA PHOTOGRAPHY

Applied Photography - Spring 2025 - MAP1

with Charlie Engman

This course explores contradiction, ambiguity, and authorship in photographic meaning and the role of aesthetics in shaping an image’s function across contexts. Photography operates in a complex space where visual style, context, and audience expectations interact to produce meaning. This course asks students to examine how photographic aesthetics influence interpretation and how an image’s function shifts when adapted for different applied photography frameworks. This course explores contradiction and ambiguity in photographic meaning and the role of aesthetic conventions in shaping an image’s function across contexts. Through the course, students will be expected to develop a coherent series of at least 10 images that applies a distinct treatment or aesthetic to a subject matter or multi-image narrative not typically represented in that style or aesthetic. Through this process, students will examine how visual codes, contextual shifts, and aesthetic strategies influence interpretation.

Related courses