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FINE ARTS

Oriane Emery – Every stain carries a memory

by Oriane Emery

My project Every stain carries a memory represents a laundry room featuring a passport photo of my biological father (with whom I did not grow up) and a fabric embroidered with carnation stitches, also known as Algerian Eye. This installation represents my interbreeding with Algerian culture, to which I was not invited. I sublimate it through dreams, memories, spiritual heritage and the laundry room as a popular place of transformation, purification and socially perceived as feminine. Capturing a suspended time, the fabric is eternally bathed in water that retains its memory, as opposed to washing it. The passport format of a photograph symbolizes identity. Here, it's frozen, the only link I share with him.

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Lorenzo De Bellis – I furnished the den and it seems to have turned out well

by Lorenzo De Bellis

The fox serves a dual role: a trickster and a symbol of guidance and protection. Initially introduced through a documentary S. watches on TV, the fox is featured in a fox hunting documentary where it is hunted and ultimately is killed. Images from this documentary are taken and projected on panels, forming a sort of theatrical scenography. The realm is the one of the horror. The tryptic is composed of three images representing the hunting scene and developed on the wooden panels using a photosensitive emulsion. The killing of the fox represents the prelude which is simultaneously a foreshadowing. The starting point of the project is a script, which is then used as a score to compose and create the work.

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Felice Berny-Tarente – I CRAVE

by Felice Berny-Tarente

This installation combines video performance, a poem, a sound piece in collaboration with Max Klunge and images generated by artificial intelligence. The looping video is as tragic as it is comic, it is this inner tension that my piece is dedicated to. The mantra I CRAVE structures the text in passages of deep desire and fearful prostration. Although nothing much seems to be happening, the undercurrents are imbued with deep emotion. Or rather, they capture an inability to cope or break out of mental loops, as in this vacant act of running and undergoing this performance. It's hard to understand exactly what the purpose of this temporal journey is, except perhaps a brief tale of solitude and endurance.

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Ana Francesca Bălan – Studiu de mansardă (Attic study)

by Ana Francesca Bălan

Studiu de mansardă (Attic study) is a collection of family artifacts reassembled into frames carrying questions of value, heritage, haunting, and the archive as a speculative tool.

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Gabriele Ferrarini – Measures

by Gabriele Ferrarini

The work on display stages an attempt to inhabit a psychological space characterized by new intentions and antagonistic ideas. A lucid dream in which the tools for measuring architecture reappear as nailed shadows, black silhouettes. Physical and atmospheric alterations accompany a misuse of the mentioned objects, making them apparently unrecognizable. The union of each element articulates an improbable metaphor that, in a poetic and ironic key, seeks to emphasize the doubts that drive us to observe reality and the criticality of the measures that control it.

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FILM STUDIES

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FILM STUDIES

Archive as a Creative Act: The Absolute Cinema of Gregory J. Markopoulos and the Temenos Utopia

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.

UNITE DE THEORIE

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The Raving Age. Histories and figures of youth

with Vincent Normand, Stéphanie Moisdon

This research project questions what has come of youth – a conceptual, aesthetic, and political figure that was born with modernity – in the visual arts, popular culture, and the humanities. Conversely, the project addresses what the problematic category of “youth” has brought about in contemporary art and thought.

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Juri Bizzotto – Shy Opener, Transfarmer Miniconcert

by Juri Bizzotto

Shy Opener, Transfarmer Miniconcert consists of a live set and presentation of the first single + video clip Shy Opener, made for the Transfarmer Series project. The concert stage is transformed into a window into the world of Transfarmer, where sound, performance and stage elements recreate the bucolic ecosystem of a rediscovered periphery. Transfarmer is a long-term research project, which is committed to creating intersectional critical thinking with respect to the condition of queer, trans* subjectivities in the rural context – imagining metamorphoses of them and their landscape. The practical project includes drawings, texts, sound compositions, videos and props, and aims to produce an EP that will narrate the cosmovision of the character of Transfarmer.

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Simon Colliard – Celle-ci je voulais la chanter au bord du gouffre

by Simon Colliard

Celle-ci Je Voulais la Chanter au Bord du Gouffre talks about having dreams and getting lost in the process. Celle-ci Je Voulais la Chanter au Bord du Gouffre is what remains when you have been looking within for too long. Celle-ci Je Voulais la Chanter au Bord du Gouffre is a 17-minute musical performance that tells a fragment of a story.

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Sofia Fresey Angelopoulou – Juggler

by Sofia Fresey Angelopoulou

Juggler is an installation that consists of four large prints on micro-perforated tarpaulins, which are suspended from the ceiling. Viewers are welcome to walk around them and appreciate their see-through qualities. In many instances the juggler shares its identity with the magician, the jester and the fool. It is a duality: folly and non-folly, order and disorder, a joke and a warning. It is an entity that creates amusement with implements and in some cases with a physically deformed body. Through that, it generates patterns that describe the bizarre. Combinations of incompatibility, fantasy and reality, caricature and plausibility, alogicalness and hyperbolism. A big part of this project consists of images generated by an AI trained with pictures of freaks in sideshows.

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Yoonjae Lee – Umwelten: Four Humans

by Yoonjae Lee

Umwelt (pl. Umwelten) refers to the world as it is experienced by a particular organism. This installation visualises subtle differences in the Umwelt of four human beings. Eight live streaming cameras face one LED through bespoke camera filters that are shaped based on four individuals’ corneas. Specifically, the four individuals here are Yoonjae Lee herself and people she cares for. She tries to understand the fundamental differences between her dear ones and herself by discovering the morphological differences in each vision. By focusing on the fact that each person’s perception is different due to their bodily differences, before their experiences, this work questions the implicit agreement and undisclosed biases in visual arts that assume everyone sees an artwork in the same way.

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Claudia Mangone – Diagrams

by Claudia Mangone

This series of drawings is the result of a process in which the amount of information is continuously dosed. Communication is partially silenced; the structure of the shapes is blurred and lost, like a clouded mind or a hidden secret. Breaths in the room or manifestation of thoughts, they represent nothing more than what comes to the eye; the work thus becomes malleable under the gaze of the viewer, highlighting the unspoken. Made on paper, cut out, reassembled and then veiled by the milky surface of plexiglass, their manifestation is elusive. The colours are calibrated according to the surface’s capacity to hold or enhance them. The three pivots that support the drawings move around the four sides to find points of stability.

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Sebastien Rück – Jeanne’s Promdress

by Sebastien Rück

My project is a reflection on how to showcase a series of drawings. Jeanne’s Promdress was created with the same energy I would have put into making my own prom dress. I sought to create a space, a cocoon for my drawings – a place that compels visitors to linger, take a moment, peek inside and discover a selection of drawings resulting from an intimate sketchbook production, made in the living space that is the bedroom. I used different materials such as the tulle of a mosquito net or a piece of muslin fabric (100% polyester), wire, a metal circle and a hanging rod. I sewed everything myself, hence the title, Promdress.

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Clara Sipf – Outlaw History: Bird Invasion

by Clara Sipf

A couple of days ago, the birds flew into the city. Enormous flocks of all varieties of birds, plenty of crows, seagulls and sparrows. The sky became dark. Determined and angry, they swooped down on the panicked masses. Greedily they pecked the flesh of living bodies; the big birds ripped whole shreds out of them. I spotted one that the woodpeckers, with their rapid hammering movements, had carefully severed from the neck including the spinal bones and the head had rolled dully down a small slope, meeting its end in the roadside ditch. The judges must have lingered in the courthouse for some more time until a falcon threw itself like a martyr through the colourfully decorated church window and herded them out.

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Simon Pellegrini – The Time of a Song

by Simon Pellegrini

The Time of a Song is a mute confession between a child and a melting snowman, a melancholy dream. A vision in an inner place of constructed memory, between fever dreams and flashbacks. We cannot deny a willingness, or predisposition, to invest energies, of any kind, by virtue of uncertain results. Compressing thoughts like snow to give shape and different weights to something unclear, playing with a silent audience, sharing intimacy with an inanimate object, creating with an absence.

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Peilian Li – Drive Safe!

by Peilian Li

I fell asleep feeling like I had just crashed my car against a mirage. The next day, as I was leaving my house to go to school, the bushes in the garden were being trimmed by the gardeners, the folds of my pleated skirt were neatly ironed, the sun had risen over the hills in the East, the dedicated traffic lights structured the roads, the little baby had been fed, and the owner of the dessert house had set out the first freshly baked egg tarts in the early morning. There was no sign of any abysmal agony or perplexities left in sight.

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Maryam Ghasemi – Home

by Maryam Ghasemi

This work is based on the places and geographies that I have so far called home, using archives of my family photos. The pixels and glitches are used here as tools. I am interested in a liminal space between public and private, presence and absence. This is the reflection of my own personal experiences as a person who finds herself in a kind of in-between place. The installation of these private spaces that are revealed provides viewers with a sense of drifting and in-betweenness.

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Leonardo Pellicanò – Crooked Thoughts Along the Crooked Path

by Leonardo Pellicanò

The pieces on display feature a wide range of pictorial expressions, oscillating between narrative figuration and abstraction. They play on archetypes drawn from myth and folklore that come to surface in an intimate language of fragile apparitions. Untitled and Crooked Thoughts Along the Crooked Path are small-scale works on unprepared wood that illustrate the presence of ghostly and eerie narratives. Between the two, there is the big square canvas Lilac Unseen, apparently a monochrome on raw linen, which upon closer inspection reveals many shades of colour, functioning almost as a macro expansion of the smaller works or a fragment of a rarefied landscape.

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Salomé Chatriot – Lactose Oozing From a Breathing Singularity

by Salomé Chatriot

In 2018 a sprawling turbo alternator awakened under Salomé Chatriot’s caresses as she helped it out of its lethargy with a set of soft medical systems. They merged to create a space time destined to be dismantled, fragmented and reassembled inside the machine’s fertile matrix: Fragile Ecosystem. In this polymorphic universe, the fusion of technological and organic elements fosters the emergence of sculptures and virtual environments. Physical processes such as Chatriot’s breathing activate mechanical systems, resulting in symbiosis between the human body and her technological devices. Stuck in this nymphosis, they are constantly exchanging enzymes, hormones and proteins while infecting each other’s systems with vital breath, carnal desire and empathic energy.

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Lorenzo Benzoni – I Sit Here and I Cry

by Lorenzo Benzoni

I Sit Here and I Cry is based on a hyper-pop song performed by myself and produced by @nightclub20xx called Ghostin the Castle. The main aim of my research is to analyse capitalism from a Gen Z perspective and, as I usually do in my practice, to build images and play with elements that I create and translate between different media. I decided to play with the settings of gothic novels, in particular with the image of the castle and the vampire, in the historical transition from feudalism to capitalist economy. There is a sculpture of a castle made with salt dough, a drawing that shows what is happening inside the walls, a ghost puppet and the video of the song, in reference to Mark Fisher’s concept of “hauntology” and politically related memes.

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Benjamin Fanni – Feu Turfu Térébenthine II

by Benjamin Fanni

This installation includes two types of projects. On the one hand a series of hybrid sculptures stages spectral bodies on a seashore at dusk. Part of their vocabulary derives from Abrahamic monotheism – icon, shroud, chasuble, hijab – and the tradition of abstract painting. Through this work, I sought to replay the motifs that distinguish iconoclastic and iconophilic cultures. Abstraction and figuration struggle with one another. On the other hand, there is a mechanical piano, as much automaton-instrument as performative machine. The music that it produces is inspired by the modes of composition which characterise the North and South of the Mediterranean.

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Filippo Bisagni – Un jardin d’Egypte

by Filippo Bisagni

The installation Un jardin d’Egypte brings together two subjects that are opposite in terms of content and message, but which share similar aspects in terms of visual composition: Marcel Broodthaers’ Un Jardin d’Hiver (1974) and the so-called Egyptian Room in the Villa San Martino, Napoleon’s summer residence during his exile on Elba. What they have in common is a small group of plants arranged in a circle. Broodthaers’ installation displays palm plants that represent a critical reflection on colonialism. The Villa San Martino room displays papyrus plants which represent a nostalgic and apologetic message referring to the Egyptian Campaign. Papyrus or palms That we sow That grow A garden in Egypt ?

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Mayara Yamada – That Night Marara Kelly Played in My Town

by Mayara Yamada

That Night Marara Kelly Played in My Town is a visual appearance peripheral to the Marara Kelly Art Show, a series of performance in which Mayara Yamada creates a form of self-mythology where she seeks out, throughout an evening divided into five chapters, Marara Kelly, her personal party entity, the guardian of her childhood dreams. The project showcases a series of photographs that begin in the Brazilian Amazon and end in Lake Geneva. As well as a typical banner of the Brazilian Amazon, that here announces an otherworldly party, the world in which Marara transits is magical and disrupts the established reality. There one could imagine a party where the entrance is made during the dive in the river and the after-party begins with the emersion in Lake Geneva.

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Macula Workshop avec David Douard

with David Douard

Questionner l’économie des images et l’idée d’authorship à travers un exercice de manipulations d’images digitales vers un objet physique. Remettre en question le rapport d’une génération artistique « Google » qui se servait volontiers dans un gouffre d’image internet pour les manipuler à foison. Aujourd’hui ce rapport est contesté par de nouvelles technologies servant et à donner une valeur et une authenticité au détournement ( NFT ) David Douard propose ainsi un workshop de sérigraphie sur 3 jours comme un moment de jouissance productive où les enjeux seraient l’appropriation par la superposition. C’est une réflexion sur l’image à capturer et sur la potentialité subjective d’une image à travers le rapport au texte, la poésie ou le langage.

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HOW SOON IS NOW? HISTORIES AND FIGURES OF YOUTH

Symposium : HOW SOON IS NOW? HISTORIES AND FIGURES OF YOUTH This symposium is the first stage of the research project How Soon Is Now? Histories and Figures of Youth. It questions “youth” as a conceptual, aesthetic, andpolitical figure born with modernity in the visual arts, popular culture, and the humanities. At the same time, this project proposes to examine the implications ofthe problematic category of "youth" in contemporary art and thought. By exploring the processes in which youth is constituted through its forms of representation, thisproject intends to render intelligible the aesthetic and political dimensions of youth, and to grasp it as a historical allegory allowing for a reconsideration of thecontemporary in the light of its most lively site. What image(s) does the notion of youth carry with it? What idea does it have of itself? How can we talk about it beyond ingrained ideas and the fantasies that society projects on it (at least in Western culture), making it simultaneously a force, a market, an age, a culture, a piece of a history which which we only began writing inthe twentieth-century, and which today has reached its critical stage? In recent history, the notion of youth has so often been conflated with “bringing down the house” that we now expect everything from it: to reinvent us, to shake us up, to carry us, to succeed in what others have failed at (establishing the most open communities possible), to build bridges for the future, to be radical, to be uncompromising where anyone outside of youth has already given up, to be desirable where others are overwhelmed. But with what means? If not those that young people make themselves, for themselves, with elements that they alone will have chosen? With their culture, their places, their clandestinity. Because that which is not yet over happens in the shadows of the world. Youth is a secret. “How Soon Is Now?”, The Smiths once asked. When is it, now?

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Ange-Frédéric Koffi – La maison est notre coin du monde

by Ange-Frédéric Koffi

According to Gaston Bachelard, the house is the physical space that reflects our internal world. We learn to inhabit the house with its traditional inhabitants: the bed, the kitchen table, the doors and windows, the fences, etc. My graduation project, La maison est notre coin du monde (“The House is our Corner of the World”), focuses on one of the oldest pieces of furniture in the world: the folding screen. I question the relationship we have with this domestic object in our home, which is defined as a “shield of beauty”.

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La festa degli innocenti

by Andrea Vescovi (Colletivo Silencio, in collaboration with Stefano Baldini)

The Feast of the Innocents is a show born from research we carried out between Savona and Renens, the former city being where we grew up, the latter where we now live. The path that led us to establish a parallel was based on the collection of stories and testimonies of those who lived in these two provinces, which although distant, are linked by strong yet silent similarities. The stories of retirees, immigrants and workers challenged our position in this flow. We therefore tried, by unravelling the relationships with the past, to weave one with the present, paving the way for a concrete search for a community. These stories are interwoven with our experience in the form of projections, music and verbal narration.

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Vanessa Udriot – Tidá nehés oyendau

by Vanessa Udriot

Coming from the field of architecture, I have developed a particular interest in the representations and perceptions of the spaces and materiality that surround us. I also seek to understand how things are linked to memories and histories, how objects and subjects evolve in their environment. My practice aims to question memory in a broad sense, often in relation to culture, from its different understandings to its many relationships. By associating borders and emotions, the question of identity is increasingly present in my work. I approach these subjects through a mix of personal experiences and a lot of research.

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Jodie Rudaz – Same Landscape of Heaven And Hell

by Jodie Rudaz

“I remember an abandoned house, on the edge of the river. The river seems, at times, to want to cross the parapet. It has lost its mind, there’s too much light for it. From here on, we should forget its name; but no more than we humans, rivers can’t get rid of the first opinion that they have provoked in the collective mind. You will want to capture it, looking for the oval of a mirror to enclose it, but already the river is flowing towards other moments, always eager for new landscapes. A scent of honey will incite it to confidence: I am the face of everyone, the caress of the gaze that survives the gaze.” Valais de coeur, Pierrette Micheloud

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Ana Marija Adomaityté – Suite

by Ana Marija Adomaityté

“The pas de deux is a dance sequence built around a theme, often symbolic of a love story or the partnership inherent in love, with the dancers portraying expressions of affectionate feelings.” On a deep blue floor, a man and a woman perform the gestures of a couple: a contemporary pas de deux about the violence of the norm. If a classical pas de deux is meant as a celebration of love, I believe it is also necessarily the celebration of suffering in love. It is, par  excellence, the performative structure in which the representation of heteronormative romanticism flourishes. Suite – a performance for two people – is a danced resistance to the norms of heterosexual love. Through the exhaustion of gestures, Suite challenges all-powerful romanticism.

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Mathilde Imesch – Reclaim Set: (re)construire son pouvoir

by Mathilde Imesch

Reclaim Set is a ceramic set that manifests ecofeminist ideas drawn from the history of witch hunts. The clay used consists of a mixture of mineral and organic materials, thus bringing together the mineral, plant and animal realms. This process also conjures up the four elements during the different phases of modelling, drying and firing. Witch hunts, which began in the 14th century, contributed greatly to the alienation of our connection with nature. The destruction of this heritage has resulted in declining autonomy and loss of power as a community in the face of institutional authority. Building your own Reclaim Set is a first step towards legitimising your power. When we use our experience to change everyday life, we transform reality and fight against cultures of oppression.