Contemporary Photography - Spring 2025 - MAP1

Projects MA PHOTOGRAPHY

Contemporary Photography - Spring 2025 - MAP1

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.

Studio project (2025) with Kim Knoppers

Assistants
Tanguy Morvan
Students
Lóa Fenzy, Alix Debraine, Xiao Fu, Elisa Hampe, Binyu Lin, Zhiyue Liu, Andrey Lopatin, Thomas Martin, Gaia Pierobon, Luna Pons, Clara Stote, Julieta Tarraubella
1st year
2nd semester
ECAL/Julieta Tarraubella
ECAL/Clara Stote
ECAL/Elisa Hampe
ECAL/Andrey Lopatin
ECAL/Gaia Pierobon
ECAL/Luna Pons

1/6
ECAL/Loa Fenzy
ECAL/Loa Fenzy
ECAL/Loa Fenzy
ECAL/Loa Fenzy

1/10

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WORKSHOP - CGI WITH AREA OF WORK – 2025

MA PHOTOGRAPHY

WORKSHOP - CGI WITH AREA OF WORK – 2025

with Area Of Work

The Computer-Generated Imagery (CGI) Workshop is an introduction to 3D creation software that allows you to create images with photographic qualities that are not photographs.  This workshop centers on the theme of “Minimal,” inviting students to explore the creative and technical foundations of contemporary CGI image-making.  It emphasizes materiality and the expressive impact of reduction. Every form, light, and texture has a specific role, negative space guides the emotional tone, and fine details unify the composition.
ECAL x PAPERBOY

MA PHOTOGRAPHY

ECAL x PAPERBOY

with Charles Negre, Milo Keller, Clément Lambelet, Tanguy Morvan

Paperboy ECAL is the result of a close collaboration between Paperboy Magazine and first-year students of the Master Photography program. Under the guidance of photographer Charles Negre , they explored the potential of everyday objects to create mysterious and playful still lives. 
ECAL at OFFPRINT Paris 2025

MA PHOTOGRAPHY

ECAL at OFFPRINT Paris 2025

with Bruno Ceschel, Nicolas Polli, Milo Keller, Clément Lambelet

During Paris Photo 2025, ECAL will present a selection of its books at OFFPRINT Paris. ECAL Master Photography is pleased to present a selection of books created by its second-year students. This event offers an opportunity to engage live with the young photographers, exploring the origins of their projects and the stories behind each of these publications.
Daniel Martinez – A River Has No Shore

MA PHOTOGRAPHY

Daniel Martinez – A River Has No Shore

by Daniel Martinez

Flowing from an Alpine glacier to the Mediterranean Sea, the Rhône River runs through ice caves, forests, cities and industrial sites. It sustains ecosystems, defines geographies and connects cultures across space and time. However, the boundless flux of the world’s waters today faces increasing stories of tragedy and collapse. Climate change doesn’t manifest only on a material level but also overwhelms the emotional dimension of human life. Today, the psychological toll of environmental crisis amplifies states of eco-anxiety and solastalgia, triggered by lived experiences, mediated imagery and narratives of apocalyptic breakdown. A River Has No Shore reflects on the distress caused by climate change and its representation by looking at the water along the Rhône River in its endless forms.
Doyoung Kim – Flattened Roughness

MA PHOTOGRAPHY

Doyoung Kim – Flattened Roughness

by Doyoung Kim

The work Flattened Roughness explores war image consumption and resulting guilt. The photographer collects and prints images of death then lick and absorb them physically, confronting the emotional and physical distance created by media. Suicide drones’ cameras constantly calculate distance to humans for destruction. In this process, the distance between humans is forgotten. To overcome this distance, he brings the images into my body. This act, where intimacy and brutality coexist, transforms voyeurism into mourning and care, confronting my lost humanity. Through sensory performance, he bridges the gap between himself and mediated death, exploring the clash of dulled emotion and sensation. This confessional, physically exhausting work explores alternative sensory approaches for the recovery of broken humanity.

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