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with Stéfanie Moshammer
« For this workshop there are no rules but I want you to tell me a story. I prefer to see a few images with a good concept, rather than too many images without any idea. » S.M With this invitation, the students worked on the territory of the city of Renens in search of places, people and traces of a history that is not simply a series of beautiful images.
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with Paolo Wood
It has been established that photography is a language. With all its limitations and peculiarities, but a language anyway. Photography is often a relatively poor language that constantly repeats the same nouns and verbs. In the documentary tradition, the range of subjects treated is quite limited and recurrent, and for this reason, in order to make photographs, one must learn and master this language: its vocabulary, its grammar and its history.
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with Mårten Lange
Failure is necessary and is part of the artistic development that is articulated by risk taking, luck, ambition, fear and freedom. The aim of the workshop was to successfully photograph, edit and sequence a series of images on the topic of failure. The final results are presented in various forms: editions, simple prints or more complex hangings and videos.
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with Jaya Pelupessy
At a time when the distribution of images is lightning-fast and virtually infinite, and the distinction between the original and the copy often seems irrelevant, what is left? In this workshop the students were asked to partake in an experiment dissecting and illuminating various aspects of the image and reinterpreting its meaning. Using different reproduction techniques and methods of appropriation, students reflected on the origin and status of the image.
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by Steven Rüthy
« Do we still see everything that happens around us ? Insight is a short film set in an architectural social housing complex in Bümpliz-Bern, which offers a unique perspective of the world as viewed by an elderly couple living in the Holenacker district on the outskirts of the Swiss capital. In this project I confront the viewer with a way of life which for us as visual artists and most likely for many others, is unimaginable. I question the spatial notion of a secure/safe space and how it is used and therefore perceived from an external point of view, my own. Insight therefore consists of stepping into the shoes of someone who has blurred vision, understanding what it is like and how it affects the way you live.»
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by David Benito Py
« Every city is the unique work of its inhabitants and, paradoxically, it concerns every one of them in a different way. In my opinion, in order to solve the apparent contradiction between intimacy and urbanity, the appropriation of space, both material and mental, is necessary. Only then can urban wandering be experienced as a real sensory experience. Through this installation, I invite visitors to live my personal experience of space, horizontal and vertical, contemplative and obsessive. As Jean-Christophe Bailly put it, “Each city has its own slang and has, within itself, a clandestine city that pierces it in scattered meshes whose bare thread the stroller puts back together.”»
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by Emeline Courcier
« Sous les cendres du Mekong is a film that questions the coexistence of opposed traditions and cultures, life and death, and the confrontation between history and individual stories. Against the backdrop of the health crisis and anti-Asian racism, family ties are revealed through conversations questioning my place as a Viet Kieu daughter and my lineage. Through our beliefs in reincarnation, I project myself onto a familiar yet foreign figure: my mother’s cousin, who drowned in the Mekong, creating a link between past and present, war and peace, words and silence. It is through traumatic memory and psychological heritage that the after-effects of a war from which my family escaped reach me, taking precedence in my dreams and my mind.»
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by Axelle Bruniau
« Leughenaer is an autobiographical fiction about my relationship to my childhood in a particular geography and culture – Dunkirk – a city in the north of France. This film refers particularly to my non-binarity and transfemininity in a social context where carnival culture and cross-dressing are an important part of life for three months a year. The architecture of the city of Dunkirk is of particular interest to me because of the parallel I can draw with my own person. This city was 90% destroyed during World War II and was quickly rebuilt into a modern city. Deconstructing in order to reconstruct, that is how I went back to make this film.»
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by Antoine Martin
Swiss iconography presents the mountains under two ambivalent aspects: on the one hand, a hostile and dangerous environment, and on the other hand, an environment tamed and dominated by humankind. The interesting aspect of this project is that it transposes certain characteristic images from this iconography and leads viewers to question the boundary between stereotypes and the reality in which they live. It also questions the use of mountains as an «artefact» conveyed by commercial clichés. Viewers are led to get involved physically with the image by immersing themselves in the relief of this alpine imaginary, forced to observe the paradox of its symbolic and monumental reduction through commercial imagery.
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by Jenna Callewaert
« What do you do when you miss everything? How do you avoid being haunted by the place you left? A painful absence mixed with hope, nostalgia that associates past and future, like a paradox. Above all, this project is a quest: that of finding a part of myself in a country where I once lived, and whose only memories I had were of colours, smells and sensations. Throughout my journey, I sought to explore and confront these memories built on a form of absence. Between dismay and delight, I often asked myself the question of the integrity of these images. Were these memories real or pure fabrications of the mind? I thus designed this book with the aim of capturing a process of transformation where each image, composed of sepia, shadows and ochre, carries in its flesh the testimonies of the past and illustrates that nothing ever dies.»
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by Clara Roumégoux
The video Territoires du geste features portraits of women of different generations living in France with a dual cultural identity. From gesture to speech, the question of transmission emerges thanks to a modest mechanism, where material and immaterial dimensions meet between stories and culinary activities. How does the gesture become a symbol of silent resistance? The kitchen stages the political elements that history reveals. From couscous to meatballs, ma’amoul and Turkish coffee, these foodstuffs of historical and cultural heritage bring us back to the resulting spiritual heritage. The movement of the hands sets the stage for the political elements that their words weave, right down to the psyche of dreams and fears.
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by Justine Willa
«In the summer of 2021, Asclepios, a scientific association, organised a mission in the Swiss Alps, simulating life on a celestial body other than Earth. Confined for ten days in tunnels 450 metres below the ground, six “astronauts” transformed this hideout into an otherworldly place and modelled their daily life on the rhythm of life in space. This retro-futuristic scenario, seen in scientific circles and science fiction, questions reality, the projection of reality and the resulting image. Based on their mission, my project transcribes the fantasy of space exploration through immersion, mixing the reality of the situation with artificial images, and questions our place in the universe and our role in the future of humanity.»
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by Alizée Quinche
« They Blossom at Night explores the vision of a shifting biotechnological intimacy, the opening to an altered state of consciousness towards an undefined space, a moment in time when the connection between bodies becomes fluid(s), a form of sexuality where each partner, each relationship, transforms and helps beings evolve through sharing and emancipation. Featuring an immersive video-sound installation, the project appropriates the symbolic force of procreation. It explores the materiality of non-reproductive sexuality by developing a microbiological creature that represents the transmissions of polyamorous intimacy. The work expresses the cohesion between the organicity of relationships and a form of technology that allows for different social liberations, in reference to medically assisted procreation.»
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by Sarah Koeke
« Over the past ten years, thanks to video streaming sites, K-Pop has become a global phenomenon, completely reshaping the relationship between the music industry and the image. K-pop stars, also known as idols, have become symbols of globalisation and the cultural power of South Korea and are asserting themselves as role models for many young people in the West. Can We Always Be This Close paints a complex picture of the links between image, identity, masculinity and fan culture. Through their social networks, young fans construct their identity online. The content produced seems superficial and narcissistic, but highlights essential topics such as gender normativity, social relationships or ethnic issues.»
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by Sofia Papaefthymiou
« Being half-Cypriot half-Swiss, I somehow felt the need to understand my relationship to the territory, borders, exile and my shared origins. Το Ρόδι–The Pomegranate is a short film that has become a tool for exploration and deconstruction, bringing the geopolitical conflicts of my country up to the level of my own conflicts. This project is also a space where I can dream freely of other places, my own island – the reflections of my desires. Unable to reach this homeland, I try to grasp what I do not have, to reproduce the sensations that I experienced there. I collect archives, I commission images. I bring my female body, which I appropriate and re-appropriate through various representations, back to its origin, to find my place and speak up again.»
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by Caroline Perrenoud
There is a space between what we call reality and virtual reality, which by definition is unreal. In this in-between space, full of possibilities, identities are created and emancipated. Sexualities are discovered and avatars are roles that we choose to embody. These roles are manifold and represent the multiplicity of the self. Women in their plurality, dissidents, the in-between space enables us to show ourselves, to observe each other, to make ourselves powerful and claim our place and freedom. Through self-sexualisation, the monetisation of the self-image, sexual or romantic relationships, the avatars evolve seamlessly and transform. They decide, take over the space and meet in an immersive video installation.
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by Lara Ziörjen
No Hard Feelings is a personal exploration of the world we live in. Through these images, a powerful vision of our culture emerges – who are we, how do we consume and ultimately, where are we headed? The book shows an abundant world in which fast fashion, artificial food and useless objects accumulate. An important aspect of this work is the combination of images and the work on detail, approaching an object, analysing and understanding it. It addresses the absurdity and banality of everyday life. The images were all taken with a mobile phone, an essential tool that complements my conceptual.
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by Marie Noury
« What possible stories can twenty-four by six centimetres trigger? A photography that I hold dear generates a collective conversation. Nous voir ensemble takes the form of an investigation into a familiar and founding archive where words and visions meet. From this vernacular photography, voices narrate, project, and imagine. What story, memory and presence do these shots, on and off-screen, generate? How do words bring back to life a picture that has been worn out over time by the viewer’s gaze ?»
PHOTOGRAPHY
with Marco Poloni
Projects realized by the second year class of the Bachelor of Photography, within the framework of the course Cine-photography directed by Marco Poloni during the first and second semester 2020-2021.
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with Matthieu Gafsou
The mere mention of the term animal already raises questions; the most general of all is the following: do we, as humans, belong to this kingdom, or have we become totally alien to it ? The aim here is not to answer such a question, but to understand that the divide between humans and non-humans is extremely strong in our society - the only one in human history that has forged such a boundary. Yet the animal is everywhere in our daily lives. There is the animal we eat, or refuse to eat, the one we domesticate, the one that lives in our - its? - environment, the one we hunt, the one we cage in zoos, the one we study, the one we protect, etc... There is now talk of the sixth mass extinction of biodiversity. This context, which is ours today, complicates our relationship with living beings and with animals in particular. We are forced to rethink our relationship with others and become aware that life is a complex network in which we do not have all the space. Moreover, recent scientific research has exploded the Cartesian theory of the animal-machine and demonstrated that we are not the only ones to have developed an interiority. During this year-long project, students were asked to produce a series that addresses one or more of the themes associated with the animal world, in the form of their choice but using reality as raw material.
PHOTOGRAPHY
with Laurence Bonvin
How can we move from the two-dimensionality of the image to the multi-dimensionality of the experience ? How can we introduce notions of space, volume, tactility and sensuality into images and the way they are presented ? If images can allow us to create new links with the world, how can we possibly move away from an essentially technically based vision, a perspectivist and anthropocentric vision ? How can we imagine and represent what a representation detached from our human point of view would be ? In our culture a separation has been established between culture and nature. This dichotomy has determined the way we see, understand and represent the world around us. How can we create images of the living, of "nature" that go beyond this distinction and this point of view ? Images that contribute to recreating a link with what is nonhuman: the plant, the mineral, the animal, the cosmic. What does an animal, a plant, an object, a tree, the earth feel and perceive ?
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with Milo Keller
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with Natacha Lesueur
Reference to the masters of the past (even if irreverent) is a recurrent com- posant of modern and contemporary artistic approaches. (Postmodernism; Situationism, Appropriationism) Quotation, homage, parody, remake, pastiche, remix, détournement, recycling, mashup, appropriation, re-enactment, simulationism, found footage, sample, palimpsest - appropriations are numerous and touch all fields.
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with Anouk Kruithof
"Earth is already crying" workshop d'une semaine avec l'artiste Anouk Kruithof.
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with Clément Lambelet
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with Benoît Jeannet
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with Anoush Abrar
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with Milo Keller
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with Nicolas Poillot, Milo Keller
Earlier this year, Carhartt WIP (for Work in Progress) teamed up with ECAL, inviting Bachelor Photography students to interpret in their own way some of the emblematic pieces of the American clothing brand, which develops its own collections from the original Carhartt work clothes. The students, led by art director Nicolas Poillot, produced an editorial report, which was included in the latest issue of "WIP Magazine" published by Carhartt WIP and some of whose images will be exhibited at the ECAL on the occasion of the launch of this book.
PHOTOGRAPHY
with Philippe Jarrigeon, Milo Keller
During the retrospective organized by the Hermitage Foundation, photography students from ECAL/École cantonale d'art de Lausanne pay tribute to this little-known artist. Without having seen his works beforehand, they explore his universe through the analysis of reproductions and some biographical elements. Throughout the semester, students delve into the mysteries of Emmenegger's work, pondering what his paintings could reveal under an X-ray scanner or how he would have used photography if given the opportunity. They employ contemporary techniques such as analog and digital photography, video, and 3D software to offer personal and poetic interpretations of his work. Their creations, presented as part of the retrospective, provide fresh perspectives on Emmenegger's oeuvre and invite viewers to discover this mysterious artist through the eyes of ECAL students. Exhibition at the Fondation de l'Hermitage, Lausanne June 25 to October 31, 2021
PHOTOGRAPHY
with Jonas Marguet