Master
Visual Arts

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Symposium 'Eco-monde: horizons nouveaux'

Can we move from one world to another, from one period of human history to another, and still create forms, produce meaning, sell art, as if nothing had happened? To slip into a new era without taking it into account? Between the countdown of the ecological catastrophe and the new environmental conscience, we are in the process of changing paradigm, and of entering, without always knowing it, often backwards, in an unknown universe, where the political, social, scientific, artistic questions are no longer posed in the same terms. Where was the man ("ecce homo") is imposed today the interdependence of the forms of life ("to like the echo?"). Where Prometheus was unleashed, with his myth of progress and his dogma of development, a new concern arises, still badly understood, that of lasting, of letting live, of abstaining. Where substance reigns, that of products, resources, certainties, a new question now insinuates itself: the atmosphere, a matter of ambiance and resonance, of airy spirits and the bewitchment of things. And where anthropocentrism triumphed for a long time, as an imperial posture, the ground is cracking under the feet of Man, who loses his capital letter, his arrogance, his solitude too. Of this obliged ecological turn of the late modernity, the art and the culture cannot not take account. They must find a new tone, in tune with the perils, the urgencies, but also the humility and the breadth of vision required by these new times. They must explore new themes, which frenetic capitalism and the dramas of history had relegated to the background. Above all, they need to think together things that have been separated for centuries: objects and lives, air and meaning, micro and macro, time and space. It is these vast problems that the symposium will address. It is in this spirit that it will shake up our habits. It is with as much joy as questioning, with freedom as with open dialogue, that it will tackle head on the revolution in progress, and its crucial stakes for the art world - and for the simple fact of creating. We will talk about the Anthropocene, green finance, vital decay, militant slush, the relationship between the environment and the extremities, and many other things. Keeping in mind, in order not to disarm, that it is not a question of defending nature, but rather, today more than ever, of being the nature that defends itself.

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Symposium with Tristan Garcia

A l’occasion du Symposium Master Arts Visuels à l’ECAL, Tristan Garcia a réalisé une conférence sur son livre  Nous. Né en 1981 à Toulouse, Tristan Garcia est un philosophe et écrivain français, qui s’impose parmi les plus intéressants de sa génération. Il co-dirige avec Vincent Normand le laboratoire de recherche Théâtre, jardin, bestiaire : une histoire matérialiste de l’exposition, soutenu par l’ECAL et la HES-SO. Ses romans comprennent La Meilleure Part des hommes (2008) qui a obtenu le Prix de Flore en 2008 et qui fut adapté au théâtre en 2012, Mémoires de la jungle (2010), En l’absence de classement final (2012), Les Cordelettes de Browser (2012), Faber. Le Destructeur (2013) et 7 récompensé par le prix du Livre Inter 2016. Ses travaux philosophiques incluent L’Image (2007), Nous, Animaux et Humains. Actualité de Jeremy Bentham (2011), Forme et objet. Un Traité des choses (2011), Six Feet Under. Nos vies sans destin (2012), La Vie intense. Une obsession moderne (2016) et Nous (2016). Depuis 2015, il est professeur associé à l’Université Lyon-3.

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Evaluation first semestre 2017

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SOMA – Residency to Mexico

Lors de la cérémonie des diplômes Bachelor et Master qui a eu lieu fin juin, l'ECAL/Ecole cantonale d'art de Lausanne a remis à trois étudiants de 1re et 2e années du Master Arts Visuels – Gabriele Garavaglia, Vinzenz Meyner et Catarina Bota Lea – les «clés» d'une résidence d'artistes à Mexico City. SOMA est un espace d'art contemporain qui vise à s'imposer comme un contrepoint dynamique aux écoles, musées et galeries du Mexique. Il est né à l'initiative d'un groupe d'artistes mexicains qui, en s'appuyant sur les expériences des précédentes espaces d'art, comme La Panadería et Temístoclés 44, ont uni leurs forces pour créer une plateforme unique au sein de la scène culturelle. La mission de SOMA est d'encourager le dialogue, la collaboration et même la confrontation entre artistes et producteurs culturels de différents horizons et générations.

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1st semester evaluations

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Diplomas

Jérôme Wilfredo Baccaglio ,  Logos for Drones and Such... I created a catalogue for drone logos. It gathers a heterogenous iconography (invented, drawn, found) whose every motif is available for purchase as a canvas, a tattoo, a drawing or a sticker. This is an oblique strategy adopted to talk about the interpretation of an image (as the spectator, or as the artist, to assign it a meaning, a name); the versus created by hand-made work and a digital image; mercantilism; the matter of copyright and its role in an information-infested era. Tina Braegger,   Fasanenstrasse 30 I made an architectural model of white cardboard, placed on four white metal legs. I decorated the model with white curtains that flow over the model down to the floor. Inside the model, I put old toys of mine, objects that originally belong to a doll’s house. By attaching the legs directly to the model, it looks like a table. I wanted to create something surreal, like a dream; the objects inside the model are slightly too big, and the model bleeds off as the curtains overflow. Arthur Fouray ,  Andy IV, #aaafff Studio Modernes, Helio noir cendré 2011: Enters 2nd year ECAL. Dia: Beacon visit. 2012: First artist exchange with Frédéric Gabioud. 2013: Begins the notes website "arthurfouray.website. » Fine Arts Bachelor's degree. Obtains a studio funded by the city of Lausanne. Assistant to Pierre Huyghe . Co-founding of a + o - ( a-plus-o-min.us ). 2013 - 2014: The Lauren bedspring-painting inaugurates the objects-canvases series. #aaafff first painting for Philippe Decrauzat. 2015: Co-founding of Silicon Malley ( siliconmalley.ch ), artist-run space in Prilly. Julien Gremaud ,  The Big Picture Two wallpapers face each other. They are very white, their black lines are basic. The templates have been done. It was questioned whether the surfaces should be solid or empty, filled with monochromy or blocks of primary colour. One can always enlarge them if necessary. These are ai files. One no longer needs a Hasselblad camera. There is not a whole lot left of the source image. By the way: photography wants to appropriate space. But we are still unable to do so. Eventually, the finishings, very weighty. I promise you Johanne, I will take some pictures for our collaboration’s archives. Emanuele Marcuccio ,  Untitled (Serve the Servants) This is a partial truth, a fragment of my understanding, my sense of things. Being alone in the office, being alone in the library, being alone in the studio is still about a certain notion of improving. I have this impulse that pushes me right in the situation that makes me improve. Well then, I feel specially special. Photo credit : ECAL/Axel Crettenand.

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Glowstone

with Neil Beloufa

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Flowstone

with Neil Beloufa

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Léonard Vazquez Vila – Whispering remains

by Léonard Vazquez Vila

Possibilité, potentiel, virtualité : séquençage, virement, rupture ; linéarité, hiatus d'intensité, intervalle impassible ; le prévisible, l’imprévisible, l’insensé ; seulement la pensée, le pensable, l'impensable ; le déjà ressenti, le ressenti, l'insensé; le possible, le possible, l'impossible réel ; le possible, le « pratiquement impossible », l'impossible en principe ; l'instrumental, l'opérationnel et le contingent ; Pareil, changement, hasard.

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Sherif Sherif – Lines to See and Not to Cross

by Sherif Sherif

My diploma project is an installation consisting of two sculptures and a video that explores physical, psychological, and societal boundaries through imaginative narratives. Lines to See and Not to Cross is a sculpture with three arrows connected to a sphere, projecting laser lines that create illusory, yet crossable boundaries, addressing psychological limits and power structures. "Hand Games" is a 3-minute video on a loop projected on a screen made of plexiglass, a red gel light filter, and tracing paper. The video explores physical boundaries through children's games. "Forbidden Fruit" is a 3D-printed sculpture of two power sockets locked with padlocks, preventing access to the power source.

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Max Klunge – Sounds like..

by Max Klunge

My project is to create a small event at the ECAL. Around a sound system, the aim is to offer students and anyone at the school, whether ECAL members or not, the chance to spend a pleasant moment, discover music, eat, drink and bring this place to life by encouraging people to meet and enjoy the moment. The approach is based on several points, the political and militant aspect of music and in this context with a sound system, the aspect of homemade and collective practice, promoting inclusive and ethical consumption through vegan food. Musically, it's a proposal that's the fruit of experimentation with compositions, selections and productions of music and the dissemination of music.

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Eva Ayache-Vanderhorst – Il y a un ciel dès lors qu’il y a une terre ou se repose les corps lourds.

by Eva Ayache-Vanderhorst

This immersive installation, consists of delicate, dreamlike paintings stretched over metal frames, suspended in space like windows into inner worlds. These paintings, on second-hand linen sheets as a medium, evoke evanescent landscapes, blurred figures, and fragmented scenes, appearing to float in a dimension between dream and reality, much like memories float in our minds. This space has the embodiment of the intangible barrier between the past and the present, between what we remember and what we forget, highlighting the ephemeral and sometimes deceptive nature of our recollections and its subjective fragmentation. The dagger-like pendulum, a divinatory tool, hangs above the ceiling. It refers to the tension emanating from such subjectivity.

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Angèle Challier Fontaine – My eyes ache to clos

by Angèle Challier Fontaine

My eyes ache to close is an installation that questions the dynamic between public space and the invisible traditions of the private sphere. The notion of “care” is symbolized by the time and attention invested in the meticulous wrapping of thread around each structure. The work is composed of six objects extracted from the urban environment, each of these elements, typically encountered in the street, is reimagined through repetitive gestures. The abstraction of use of the six selected objects reveals their aesthetic aspect and intrinsic similarities. Stripped of their original function, they become enigmatic sculptures, suspended between their utilitarian past and their new identity.

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Lucas Aulagnier – Creer Algo

by Lucas Aulagnier

In the Mediterranean regions of europe, niches in building facades contain votive statuettes, testimony to a religious past in the public space. They are closed by glass panes of the same format, delimiting the sacred space of the niche and the secular space of the street. I'm fascinated by the idea that something of the statuettes on one side and the passers-by on the other has been fixed by the glass, in a quasi-photographic way. It's the sum total of the exchanged glances that has been captured: the gaze of those who looked up at the saint in the hope that he or she would return their gaze. The extracted glass panes, marked by minute traces of paint and time, are non-signifying images, silent and bearing uncertainty.

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Flavio Visalli – Whirlpool

by Flavio Visalli

Please me, make me happy Breather, sleeper Make me happy Misty, crystal Blister, eternal Soft and liquid in the light Secret otherworldly sight Passing time in black and white If only I could dream tonight On my own Teenage lessons set me right Taught me how to dream tonight Love me warm in cold daylight Soft as skin and safe inside Smother silky sin so fine Make believe that you are mine On my own Tears and sorrow set me right Taught me how to dream tonight