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The BAAV is inviting two leading figures to its semestrial workshops: Pierrine Poget, author and poet, and Marie-Caroline Hominal, dancer and performer, both from Geneva. The former, described by one student as an "osteopath of the brain", invites a group of students to make a family with the voices in their heads, while the latter invites bodies into the space of the party for a performance in the ECAL film studio.
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FILM STUDIES
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FILM STUDIES
with François Bovier
Artists who produce archives from their own work approach archival activity as a creative gesture: here, the archive literally becomes a work of art. In parallel with the “archival impulse” that has run through contemporary art since the 1960s, this research project examines the “performative agency” of archives when they are constituted from “image acts”. The selected corpus is based on an extremely singular case, the cinematographic work of Gregory J. Markopoulos (1928-1992) and the Temenos archives.
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by Lou-Anna Ulloa del Rio
“I think that the goal of installation art should be to create an experience between objects so that viewers are transported outside themselves to recognise a larger, more complex world.” – Julie Becker
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by Shkelqim Qestaj
The sky lacks wings. We’re still looking for those places. Places to love and embrace each other. Modern comfort. In the starless morning, you bring me roses, I send you back with thorns. Outdated body and soul. We never lose sight of the shadow for the prey. Balance is our law. We leave to explore what lies behind the wall. We can walk a tightrope without danger. Dance without falling into the void.
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by Lylou Müller
This work summons reflection on concepts of security, isolation and protection. The veil, which is woven in the manner of chainmail armour, invites us to reconsider the space of the bedroom, of intimacy, in a context of violence.
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by Axel Mattart
It won’t even blink. Mostly because it can’t. YOU are on its last optical nerve!
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by Nolan Lucidi
I will try harder. I will try harder. I will try harder. I will try harder. I will try harder. I will try harder. I will try harder. I will try harder. I will try harder.
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by Julie Wuhrmann
« Je suis gueïe, eh toi tu aïe guette aussie ? » Guillaume Dustan, “Queer”“, e.m@le, n°66, 1999 “Je suis gueïe, eh toi tu aïe guette aussie?” Guillaume Dustan, “Queer”, e.m@le, n°66, 1999
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by Ysé Willemin
(Ah, ah-ah, ah-ah) (Ah-ah, ah-ah-ah-ah) (ah-ah) (Ah, ah, ah-ah) ‘Cause when love is gone There’s always justice And when justice is gone There’s always force And when force is gone There’s always Mom, hi Mom (Ah, ah) (Ah, ah, ah-ah) I have no choice, I don’t know what to do So hold me, Mom, in your long arms In your automatic arms, your electronic arms In your arms So hold me, Mom, in your long arms Your petrochemical arms, your military arms In your electronic arms (Ah, ah-ah)
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by Laura Hagmann
I had a flashback of something that never existed.
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by Alix Bitz
Installation objects & lithographs Size: approx. 2 x 2 m At eye level, a white line. A void. Looking up, a series of self-portraits stare back at us. Faces in transmutation. A single portrait cannot show the full extent of a being. So it unfolds before exploding to better reappear. Underneath, a collection of objects, like the wanderings of a life that has led to this moment and stops. Memories flow from the heads that have become objects. Through this staging, the shattered quest for a self that slips away as soon as we seem to approach it.
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by Clément Grimm
No sinister prop adds banal meaning. No melodramatic detail usurps an easy role. All the painter had to do was interpret the figures’ energy, expression, attitudes and gestures in his sober, masterly style.
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by Ali Chatila
My graduation project consists of four 90 x 200 cm wooden boards – in total, eight sides on which I have been painting for over two years. I paint mainly for the pleasure of painting and like to focus on the present moment. At the end of my studies, I will continue working on these four boards. They are therefore not finished and may never be. The title of the work announces the temporary interruption. I do not have any particular technique; I just paint with what I find. My four boards were salvaged from a dumpster and most of the material I use was destined to be thrown away. For my installation, my paintings are fixed on the wall, revealing only the four sides.
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by Mariana Isler
Real, fluid and elusive love reveals itself in the fabric of the city, circulating in the invisible vein of beings. Installation, honeycombed polycarbonate panels, acrylic paint.
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by Mathilde Hansen
Could you take a picture of me like this? Where I’m standing, here From the other side? Is it better like this? Do I look cool? More serious or smiling? More serious, ok Great.
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by Noemi Leneman
Lolita is a filmed ballet opera starring a dancer named Lolita. In order to bend to the gaze, desire and projections of her chosen one, she tries out several roles. First, she is a ballerina, trapped in a music box; then a shepherdess, an ambiguous figure who goes from admiration for to power over, and submission to her lambs; and finally, an opera singer who gradually transforms into a wolf. This video disrupts and plays with the aesthetic codes of traditional stage representations. Eva Galmel has been teaching me to dance on pointe. Around this project, a group of young artists from my entourage formed, collaborating for several months, trying to achieve a female gaze. Choreographers: Philomène Jander and Eva Galmel Scenography: Salomé Engel Costumes: Adèle Berson and Roxane Sauvage
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by Fanny Dunning
thinking of sculptures in a big garden, on acres of land popping up like hills but hills with crowns of horns here function follows form. it has built this as a sculpture. then installed its mirrors. thinking of sculptures in a big garden people inviting artists to come and stay
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by Tianchang Gu
The title of my graduation work comes from the video game of the same name and is the sequel to my thesis “Renens Palace”, an autofiction based on a dystopian future. In this fiction, the “self”, a former immigrant in Europe, becomes an immigration officer. How can writing be transformed into performance? The observed becomes the observer. The formerly oppressed blends into the system and becomes a person of authority. Bureaucratic gestures turn into choreography. Official documents become poems. Administrative motifs and symbols of power turn into visual aesthetics. These are the questions I contemplate during this creative process. All these strangely romanticised and anxiety-inducing elements evoke a reality we don’t always want to confront.
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by Yann Fankhauser
This project is a print on a PVC tarpaulin (2500 mm x 1200 mm) of 18 silhouettes in boxes forming a black and white checkerboard. The development of the project was done from hand-made sketches, then digitised with Illustrator and arranged in a checkerboard. These sketches of silhouettes were made through various processes: 1) the modification of an initial silhouette to create a new one, 2) the juxtaposition of several silhouettes with each other, and 3) by illustrating a new angle of a silhouette already created. The concept revisits the idea of a motor-racing finish flag, transforming it into an endless journey, playing on the boundary between the figurative and the abstract in the image of pareidolia.
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by Florentina Walser
There is quite some ambiguity between real PORTRAIT ideation and imaginative/role play, almost dress-up-play – dressing up IN THE BROADEST SENSE OF THE TERM, the idea of looking at oneself from an outside perspective. It makes me wonder, who or what it actually is, that is being COMPOSED here: is it really the ORDER OF THINGS (or a social, political, visual, formal, physical, scientific VERSION OF imitation), as could be easily concluded? Is it a proxy-pleasure for someone – or rather for something – else? Or is the desire to imagine itself a proxy emotion/activity…? What follows is a perfectly choreographed ballet of violence, because as we know, to talk about Camp is to betray it. And this we must respect!
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by Caroline Bischoff, Louis Fontaine, Giada Gollin, Olivia Handschin, Amina Loumachi, Clara Luna, Axel Mattart, Achille Meier, Charlie Schär, Jamie Soria, Nayla Younes, Mayalène de Roquemaurel
Self explanatory
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by Charlie Jannes, Romain Rochat, Céleste Meylan, Baptiste Schaerer, Romane Roy, Mariana Isler, Noemi Leneman, Anna Kawahara, Tom Grbic, Julie Wuhrmann
Contexte
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by Salomé Engel
" ‘Don’t waste time beating on a wall, hoping to transform it into a door.’ Coco Chanel I would only add: 3, 2, 1, go!"
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by Soren Gunzinger
This installation consists of two videos. The first is an animation set within the project that Adolf Loos thought up for Josephine Baker, about a spider spy who finds herself to be a critic. The second lights up a blind with a short dialogue. The work addresses issues of quotations and voyeurism, as well as comic effects and twists.
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by Emily Orlet
The background of my series is borders and the space created by them, which builds up a relation of proximity or distance. At the same time, I work with usual, everyday materials.
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by Oriane Emery
"I am interested in the physical and mental projections that our minds generate in the space we all share. I create narratives within which I can anchor myself. My paintings represent dreamlike worlds, narratives of emancipation. Organic and in constant gestation, above all, they aim to create ecosystems. My practice is multifaceted. I seek to extract myself from the frame, to underline its limits. Linked to the public, my work explores our relationship with space, both architectural and political. Through performance, I create a climate of tension with the viewers. I seek to soothe as much as to disturb… I don’t have the answer."
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by Maria Esteves
"♫ Walk with me through my fanfare It’ll ease your mind Set you fine ♫"
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by Léna Gelsomino
Plexiglas, transparent vinyl, rusty chains 1.5m x 2m Castle Luggage presents a jewellery assemblage crafted for imaginary castles. Just as I apply makeup or create props for my performances, my castles contain tales of wonder and horror which leads them to become the narrators of their own story. Tailor-made, these adornments create an interplay and a dialogue between myths and the subject who tells them. This long ornament slides over a transparent scenic installation, from which emerge the drawings of these castles and dreamlike islands, thus revealing this autonomous place of expression, which calls upon our own memory, experience and imagination.
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by Chloé Geinoz
"Also known as Devil’s apple or Devil’s turnip, it was said that anyone who pulled a mandrake out of the ground would go mad when they heard its cry. To prevent this, a dog was tied to the plant and then scared off so that it would dig up the plant as it ran away. When a mandrake is pulled out of the ground, it should be placed in a fountain immediately for a day and a night, so that every evil and contrary humour may be expelled from it." Hildegard von Bingen
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by Alexis Colin
"I was working as an interior designer in New York; one morning John Allen called me and said: - I want you to design the desert!"
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by Line Petitguyot
My dissertation focuses on reflections about the personification of various elements of nature. The death of my father and the violence I suffered have permeated my work process. These events have been integrated into the development of my work. My graduation project is linked to this emotional heritage. It is reflected in its form by the individuality of the various elements that constitute the installation. The sculptural identity is accompanied by a text dedicated to each body. The stalagmites relate to the beginning as well as the end of a cycle. The movement on the PVC plates obtained by the scraper symbolises this cyclical transition, and the different strata that are visible through the transparency of the material offer a reading like a core sample.
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by Iacopo Spini
A WHOLE LIFE SPENT SEARCHING FOR THE PURITY OF A FLOWER THROUGH THE ARTIFICIALITY OF THE MEDIA, MY BODY RIGHTLY UNDERSTANDS THAT I AM A HYPOCRITE AND PRODUCES STAMINA usually allergy is a mistake, some non-harmful substances are exchanged as such IN THIS CASE NO, IT WAS A CLEAR MESSAGE FREEDOM FLOWERS AND PLANTS
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by Hlynur Snær Andrason
A small garden is displayed in a hard case. Last autumn, three containers of fertile soil were dug in various construction sites around Lausanne. This summer, the sites had changed. One container was lost, one was destroyed and another contained various plants. Inside there was a small cross section of the most common plants in the area, like a snapshot of the local area. These are plants that would normally classify as weeds – flowers you would find in the parking lot of botanical gardens. Yet these plants had found the conditions they needed within the container. They were brought inside, replanted and preserved using the same forces humans first learned to tame: shelter, light and nutrition. What would you catch in your garden?
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by Léonard Vazquez Vila
In order to translate the madness of the procedures, to explain our ability to recognise and expand, we must repeat the explanation that can only succeed. From the same two heads to the same intelligence, the very ability to fear only spells as it goes without examples. The imposition of self to self, where only small changes in learning and repeating must be understood in their true sense: the derisive power to unveil things. The properties of the madman, the freedom of renouncing difference, the guts and the coincidence of the tools of language do their work. Beyond the transparencies of the mind, the discourse of the circle arises. The desire to communicate with others and to read everything like an arbitrary thinking being.
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by Flavio Visalli
"And if a double-decker bus crashes into us To die by your side is such a heavenly way to die." I was looking at these hills of wheat that reminded me of distant landscapes. Those that the wind outlines during stormy nights. The black anvil is freed from its weight and becomes sensitive to blows. I was thinking about your message, it reminded me of the howling sound of a V12. Carbon fibre, oak and acrylic paint
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by Roxane Christinet
Dissect a plant or a body. Breathable material. Evidence of different liquids.
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Nostalagia Is a Different Kind of Pain(t) ECAL x Cheryl Donegan On the occasion of artgenève from 3 to 6 March at Palexpo, ECAL presents projects by Bachelor Fine Arts students produced during a workshop with American artist Cheryl Donegan Initiated in the context of a collaboration with the Art & Vie Foundation, whose mission revolves around textiles, this workshop aimed at crossing everyday objects, subverting craft processes and reproductive gestures. Produced by students from the first to the third year, the selection of works presented reflects the transdisciplinary approach of the programme, where tapestry meets painting in dialogue with more performative pieces or digitally printed and cut aluminium sculptures. Students Patricia Araujo Roxanne Christinet Alexis Colin Oriane Emery Salomé Engel Maria Esteves Albertine Grbic Clément Grimm Laura Hagmann Mathilde Hansen Mariana Isler Charlie Jannes Anna Kawahara Nolan Lucidi Ella Minton Romane Roy Lou-Anna Ulloa del Rio Flavio Visalli Florentina Walser Opening hours Thursday 3 March: 12 - 7pm Friday 4 March: 12 - 8pm Saturday 5 March: 12 - 8pm Sunday 6 March: 12 - 7pm Palexpo Rte François-Peyrot 30 1218 Le Grand-Saconnex https://palexpo.ch/
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by Roxane Christinet, Salomé Engel, Maria Esteves, Assadour Matthey, Léonard Vazquez Vila, Flavio Visalli
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by Fanny Dunning, Clément Grimm, Laura Hagmann, Mathilde Hansen, Noemi Leneman, Nolan Lucidi, Lou-Anna Ulloa del Rio, Florentina Walser, Ysé Willemin
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by Charlie Jannes, Anna Kawahara, Romane Roy
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by Virginie Sistek
Mention Très bien Prix Visarte Vaud + Prix Ernest Manganel A____A |・ㅅ・| |っ ｃ| HI HI HELLO HI | | EACH MISUNDERSTANDING | | IS AN OPEN DOOR TO | | DISRUPTIVE REALITIES | | | | enjoy U￣￣U
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by Evelyn Vonesch
Behind the shots, behind the frames, behind the scenes, Behind the protective walls and behind the screens, There, sub rosa, well sheltered, Hides the long, smooth thread That comes out of life. A cloud-like fibrous substance that feeds the cotton seeds, That keeps them alive, traps them but never soothes them, In its sun-drenched homeland. A thread of inclination and attachment, Connecting all and pointing to all. It never flaunts its beginning or its end. Real dramas are not played out in the limelight. When the curtain falls, look behind the scenes.
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by Laetitia Khiara
Avance en corps, au-delà et en dehors
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by Grégoire-Cesare Marcel
When a news item arises, when it involves very strong impulses, when it reveals something about our society, the media take hold of it. I see information as material to analyse and decipher in order to highlight the different realities it generates. The media flow acts like a machine, an accelerator of stories.
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by Lydia Liu
Sam is the main protagonist of the video game Death Stranding . He is a delivery man in an apocalyptic world. I drove Sam into the snowy mountain and under a shelter, I put him to sleep. Sam occasionally mutters in his sleep. “Just a little longer...”. Sometimes he breathes heavily. Sam is still sleeping, but BB wakes up often. A thunderstorm is rumbling in the distance... Elsewhere, a ladder has begun to deteriorate. Something is happening, but not much, just like in a fishbowl.