Résultats pour “people” (10)
Valentin Woeffray – Doing God s Work with Other People s Money « Nous sommes surveillés par l Etat et les géants de la tech, dirigés ou détenus par un petit nombre. Avec notre argent, dans un système où ce sont eux qui fixent les règles, ils nous surveillent, s assurant que nous nous comportons comme prévu, nous faisant dépenser comme prévu. L Etat policier veille à ce qu aucun grain de sable ne puisse se retrouver dans les rouages, à ce que nous puissions encore consommer frénétiquement d une manière qui mènera à notre perte. Et lorsque cela se produira, cette même élite partira pour l espace et colonisera des Terres nouvelles, sans nous.»
Jérémy Aberlé Sven Abplanalp Bruno Adrien Aguirre Mina Albespy Faustine Ardaine Marvin Armand Djellza Azemi Emidio Battipaglia Sidonie Bays Maya Bellier Pablo Bellon Sascha Bente Pierre-Antoine Berthy Robin Bervini Louis Bétin Benjamin Bichsel Maëwenn Bourcelot Malou Briand Benoit Brun Gal Bulka Bérengère Bussioz Clémence Buytaert …
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? 9.30am Welcome, Stéphanie Moisdon Introduction, Philippe Azoury and Vincent Normand 10am Ludivine Bantigny : Representing Youth / Experiencing It. A Historical Perspective 11.30am Agnès Gayraud : "Will You Love Me When I m Sixty Four?" Pop Music as an Art of Ages 12.30pm Ludivine Bantigny and Agnès Gayraud in conversation 1pm Lunch break 2pm The Rave Continuum. Researching Plot and Politics of "Europe s Last Youth Culture" Persis Bekkering 3pm Break 3.30pm About Bébé Colère Caroline Poggi and Jonathan Vinel 4.30pm Conclusion Apéro — Ludivine Bantigny Representing Youth / Experiencing It. A Historical Perspective The representations, discourses and other obsessions about "youth" often say less about young people than about the authorities that forge them: politicians, institutions, media, artists... In themselves, these representations are interesting: they express anxieties, doubts and hopes, but also strong opinions, sometimes peremptory visions that often translate fantasies. In such a landscape, cinema in particular is an excellent medium when it projects its lights and cameras on youth. It is these ways of telling the story of youth that this presentation addresses. But it does not stop there. For beyond the representations, what remains the most fascinating are the modalities of socialization that young people know and come across, in all their diversity. In this sense, this presentation will also question the relationship to time, historicity as an awareness of taking part in history and situating oneself in it, age identities, and generational belonging. Agnès Gayraud "Will You Love Me When I m Sixty Four?" Pop Music as an Art of Ages Folklore has long been interpreted as the "childhood of art", a form of expression invented by popular classes and considered as the living vestige of humanity s childhood. From its outset, recorded folk music has been appreciated as a form of "primaverism", the conviction that things in their prime are the most valuable, that authenticity stems not only from the origin but from the beginning. A recording fixes individual voices and their organic idiosyncrasies at the moment of their expression, and in so doing, it captures the aura of a primitive past. The fixed expressivity of recorded voices represents countless individual incarnations, and this has made pop music the most powerful musical art form to bear witness to all ages of life, not just childhood or youth. Rather than associating pop music with a particular stage of life, with a phase of inexperience (innocence, naivety, regression or youth), it is tempting to question its rooting in the expression of ages in general. Contemporary musicians such as Angèle, Oklou, and Arca accurately represent post-adolescence, sexual maturity, and the pleasure of finally flirting with the pornographic category of "adult" content, all while reflecting on youthism, contemporary ageism, and sexist domination. Here, individual embodiment takes as its theme its own situated expression. In contrast to these younger artists, Bob Dylan sang later in his life,"It s not dark yet but it s getting there". This priority given to the expression of individuality at various ages (one s body, one s sexuality, one s race, which make sense only by situating a generation in terms of someone s legal and physiological age), is what binds deeply popular recorded music to what the history of western musical art has at some point thought to have overcome during the 20th century: the romantic confidence in situated individualities, in particular incarnations, in singularities. In the contemporary artistic field, reflexive forms of art only recognize their historical age. Individual age is not a key to understanding the content of their gesture, one deciphers it rather in light of their epoch. Popular music, to the contrary, presents itself as a musical art powerfully carried by the expressiveness of the ages, even if it means sometimes to render eternal a youth whose legal status as such proceeds from the whole liberal system. Persis Bekkering The Rave Continuum. Researching Plot and Politics of "Europe s Last Youth Culture" As much as any experience fails to be adequately grasped by language, the experience of the rave presents the storyteller with a specific, intriguing challenge. As the narrator in Rainald Goetz experimental novel Rave (1998) remembers: "It was the wordless time, when we were always looking around with our big eyes so strangely in every possible situation, shaking our heads, and could almost never say anything but: speechless – pf –" The rave, at its best, is a wordless suspension of time; a limit experience; an event blurring linear understandings of time and space, proposing its own logic. As music theorist Simon Reynolds once quoted the (unbelievably perfect) shouts of an MC at a hardcore party: We ve lost the plot . What does this mean if one tries to translate the rave into narrative? How to grasp its thwarted, warped, halted temporality? For her last novel Exces, part of which is published in English as the novella Last Utopia, writer Persis Bekkering has attempted to find an answer to these problems. The questions of narrative structure and temporality of the rave may look like purely formal ones, but they are closely tied to bigger, historical or even philosophical questions: how to understand the rave and the emergence of rave culture, at the end of the 1980s, in its time? Why did it emerge at that peculiar historical moment, when the end of history and telos of progress was famously declared, utopian ideologies lost their claim, and capitalism entered a new phase? And what did the rave propose to it: resistance or acceleration? Maybe both? In her presentation, Bekkering takes us through a meandering journey along her ongoing artistic and literary research, sharing images, texts, fragments and shouts in the dark, from her archive. Throughout the various parts and fragments, one can hear the constant drone of the search for the aesthetic expression of the permanent presence of crisis in our time. Caroline Poggi and Jonathan Vinel About Bébé Colère Screening of the film followed by a round table discussion. For more than ten years now, Caroline Poggi and Jonathan Vinel have been weaving together a body of work that has no equivalent within French cinema. Whether through their first feature film Jessica forever (2018), or through their numerous short and medium-length films, (Martin pleure, 2017; Notre héritage, 2015; or Tant qu il nous restera des fusils à pompe, 2014, which won the Golden Bear at the 2014 Berlin International Film Festival), they follow the destiny of their own generation (they are both less than 35 years old). This is a generation which feeds on heroism through the virtual, a generation that met porn before love and online violence before friendship, a generation for which the video game is its lost paradise. Yet they draw from it, and this is their strength, a form of romanticism, which never wants to believe in the end of emotions. Their lyricism is unprecedented because it comes after: after the images, after the clichés, after the disillusionment, after they have been told that “no, really, sorry, there is nothing left to expect from anything, everything has been played out”. In the spring of 2020, when the earth had just come to a halt due to the Covid pandemic, Jonathan and Caroline retreated to Corsica where they dreamed of an unseen body that escaped from a video game: Bébé Colère [Baby Anger]. Bébé Colère denies his parents, Bébé Colère has no friends, Bébé Colère vomits the world and feeds on emptiness. In 13 minutes, Bébé Colère is an irreducible work that paints a portrait of a 2.0 youth caught in disarray. A post-human body, which has denied its origins and only sees the future through the features of an avatar. Caroline Poggi and Jonathan Vinel will discuss the possibility of romanticism today, and the conditions that allow them to invent new characters, generating their own disordered chronology. They will also talk about their aesthetic relationship with video games: the baby in Bébé Colère is a pre-programmed asset purchased online to be animated and then integrated into the film. In close collaboration with Lucien Krampf, they are also currently developing a project conceived inside a game engine. In their work, they consider the game as a new narrative track while also using pre-existing elements. The conversation will take place in French. — Ludivine Bantigny is a historian, teacher and researcher attached to the Laboratory of History of the University of Rouen-Normandy. She works on the history of commitments, social movements, insurrections and revolutions, but has also devoted numerous books and articles to the history of youth and generations. She has published Le Plus Bel Âge ? Jeunes et jeunesse en France de l aube des « Trente Glorieuses » à la guerre d Algérie (Fayard, 2007), La France à l heure du monde (Seuil, 2017, rééd. 2019), 1968. De grands soirs en petits matins (Seuil, 2018, rééd. 2020), Révolution (Anamosa, 2019), « La plus belle avenue du monde ». Une histoire sociale et politique des Champs-Élysées (La Découverte, 2020) and La Commune au présent. Une correspondance par-delà le temps (La Découverte, 2021). Persis Bekkering is a metamorphic writer, engaging with a wide spectrum of artistic disciplines. She is interested in the emotional landscape of the contemporary, searching for new narrative forms that reflect a present permanently marked by crisis. Her recent publications include (fictocritical) essays, art criticism and fiction. Her debut novel Een heldenleven (The Life of a Hero), published in 2018, was shortlisted for the ANV Debut Prize. Her second novel Exces, shortlisted for the BNG Bank Prize for Literature, was published in 2021, part of which has been translated in English as Last Utopia by the Jan Van Eyck Academy in Maastricht. Recent and forthcoming publications include texts for M HKA Antwerp, Girls Like Us, Extra Extra and NRC Handelsblad. With choreographer Ula Sickle she worked as dramaturg on the concert performances The Sadness (2020) and Echoic Choir (2021). She also teaches at the Creative Writing department of ArtEZ University of the Arts in Arnhem. Agnès Gayraud was born in Tarbes in 1979. Under the name La Féline, she is the author and composer of several pop records released since 2014 by Kwaidan Records, including the albums Adieu l enfance, Triomphe, and Vie Future, as well as other contributions under the moniker GRIVE. She published a book of aesthetic philosophy, Dialectic of Pop (Urbanomic, 2019), dealing with the expressive changes induced by the advent of recorded popular music since the beginning of the twentieth century. She is currently professor of art and theory at the Ecole Nationale des Beaux-Arts de Lyon. Jonathan Vinel, born in Toulouse in 1988, studied editing at the Fémis. Caroline Poggi, born in 1990 in Ajaccio, studied at the University of Paris-Sorbonne (Paris-IV) and at the University of Corsica (CREATACC degree). They have directed several films, separately (Chiens for Caroline, Notre amour est assez puissant for Jonathan) and together. Their short film Tant qu il nous reste des fusils à pompe received the Golden Bear at the 2014 Berlin International Film Festival. They then directed Notre héritage, also selected at the Berlin International Film Festival in 2015, followed by their first feature film Jessica Forever in 2018. They are currently working on their second feature film entitled Eat the Night. — Concept and organization: Philippe Azoury, Vincent Normand, Shirin Yousefi For registration or further information please contact: shirin.yousefi@ecal.ch — How Soon Is Now? Histories and Figures of Youth is a research project supported by ECAL/University of Art and Design Lausanne and HES-SO/University of Applied Sciences and Arts Western Switzerland.
Extraits de mémoires en Master Design de Produit AUTHOR: Adam Huxley-KhngTITLE: ON in the absence of OFFOn and off – at the flick of a switch, or the touch of a button. We are able to switch between the states of being of an object without thought, rarely questioning what makes an object ‘on . Is it the presence of electric power? A sense of agency, or animism? What if on-ness is a state of being reflected by the cultural, rather than technological, capacity of an object – the embodiment of a moment of possibility?----- AUTHOR: Alessandro Simone TITLE: What is next?SUBTITLE: The evolution of mountaineering and human limits This research examines the mountain landscape in the context of the evolution of mountaineering. Starting from the activity s origin, the research investigates the shifts in technology, mindset, and limits that enabled the transformation of a destination for challenging expeditions into a place for second homes and weekend enthusiasts. How were humans able to overcome their limits, and what were the motivations for this drive? Products and objects played an essential role in guiding the story of mountaineering from the old ages to nowadays, making the user and his/her experience safer, but subsequently opening this terrain to mass tourism. This research retraces historical events and technical innovations to better understand mountaineering s evolution, imagining a possible approach to this form of high-altitude tourism for the future.----- AUTHOR: Alexander SchulTITLE: Visual language of sustainable design Different “sustainable” design proposals have been made in the past decades: from (literally) green looking objects, to normal looking ones, to objects whose visual language speaks to sustainability in their own individual way. In this research, I analyse a few examples in regards to the way the visual language of sustainable products has been approached in the past, what sustainable design looks like today, as well as what it will look like in the near future. The essay is led by the question “How does a sustainable approach to an object influence its visual language?” ----- AUTHOR: Charlotta ÅmanTITLE: Waste mattersSUBTITLE: Valorising secondary products for a resourceful future Throughout history, humans have been expert in utilising every element of a given resource. The heritage of husbandry has been carried from generation to generation – until today. Now, we are more disconnected than ever from original assets. In present manufacturing processes, secondary matter from production is often considered as waste rather than as a resource – an unfortunate conclusion as we are running out of raw materials and landfills grow. What does it entail to fully utilise a resource by valorising its secondary products, and how does it relate to the practice of a designer? The loose connections in manufacturing chains provide an opportunity to re-think: by considering the source, the scale and the system, design can be used as a tool for transition.----- AUTHOR: Grace, Ka Yin CheungTITLE: Japanese miniature culture: netsuke and gachaponSUBTITLE: Why are we so fascinated with small things? Miniatures are smaller than a normal objects, and include small replicas or models. Miniatures are present in different cultures all over the world and throughout time. The miniaturisation of mundane objects is recurrent, and has been an integral part of the memory of a culture. Among the different international miniature cultures, Japan has one of the most distinctive and apparent spirits of miniaturisation. To understand why people are so fascinated with miniatures, this research looks for the answers by delving into the miniature culture of netsuke and gachapon in Japan.----- AUTHOR: Hsin Hung ChouTITLE: Unpack flat-packSUBTITLE: The value of ready-to-assemble furniture This research studies flat-packing from its origins in the mid-19th century to its contemporary form as one of the prevailing typologies of the global furniture industry. Guiding questions have been: If the objective is to design and produce products from a logistical and sustainable point of view, is there any other solution to knock-down furniture? Does furniture lose its aesthetic and value in the process of being flat-packed? If the future is flat, could we make it better?----- AUTHOR: Jimin JeonTITLE: Soft, small and far, far awaySUBTITLE: Our understanding of software Fire is the first profound tool in human history that cannot be grasped with the naked hand. Fire was considered a mysterious or religious thing – a gift from God, or punishment. But it was also an essential tool for human evolution. Today, we have found another tool surrounded by mystery and misunderstandings: software. It doesn t smell, make noise, or come in any fixed form. It just occasionally flickers through a screen. This new tool takes us to another world, beyond physical limitations, that no caveman could have imagined. But, first, we need to understand the nature of software in relation to hardware – that is, the tools we are already familiar with.----- AUTHOR: Jisan Chung TITLE: Assemblage in design Assemblage is mainly considered an artistic technique. However, by reviewing works of various designers, we can see that the same technique has been used in the field of design, too. This study aims to examine the characteristics and the meaning of “assemblage design” and its potential. Assemblage can trigger innovate manufacturing processes and create its very own aesthetic.----- AUTHOR: Jonas VilligerTITLE: About repairabilitySUBTITLE: Rules, incentives and approaches to keeping things in circulation We want our products to be durable. And, if they break or become outdated, they should be repairable and upgradeable, too. It can be a very satisfying feeling to make something work again, or to make it work even better than it did before. Unfortunately, the industry does not make this easy for consumers. Not being able to intervene when something goes wrong with an object, consumers end up simply buying new things. However, giving a device an extended lifespan keeps us from wasting valuable resources. Starting from recent legislation and public movements that call for the right to repair, this research questions the role of designers within these changing circumstances.----- AUTHOR: Julian RiblerTITLE: The FactorySUBTITLE: An investigation into modern design principles The Modernist movement promoted the appreciation of the advancements of industry. Modernism went on to integrate industrial advancement as part of the fundamentals of the movement as a whole. The principle of applying an engineer s perspective was thought to inform the practice of designers and architects. Exploring modern factory environments and investigating the advancements in manufacturing technology today can help us revise these principles and examine the changing factory context.----- AUTHOR: Kwan Ming SumTITLE: Stagnation and innovation in the wheelchair industry A wheelchair is an essential tool for people with mobility issues to perform everyday tasks and achieve social participation. Unfortunately, modern manual wheelchairs hardly satisfy the emerging need of a well-resolved wheelchair design. A fundamental shift in understanding of today s needs and innovation in this field are urgently required. Given the growth of the aging population, a rethink of wheelchair design is critical. Through conducting several interviews with different stakeholders, including wheelchair users, producers, and designers, this research aims to investigate the underlying reasons behind the stagnation in the wheelchair industry, and looks at how that might change. ----- AUTHOR: Maxwell AshfordTITLE: FractionsSUBTITLE: Cost-effective recycling A fraction is the result of any recycling process. It refers to the amount of materials from an object that can be recycled cost effectively, and is used broadly across the recycling industry. Objects are by standard practises designed independently from any end-of-life system and inevitably, the result is that objects cannot be effectively recycled. Historically, there has been little incentive for producers, and thus designers, to deal with the death or disposal of objects. But this is due to change, as incoming legislation from the EU will force producers to use recycled materials and create more recyclable objects. In turn, this demand will affect designers. So how can we work to create more sustainable goods? ----- AUTHOR: Nadav GoldenbergTITLE: Empire State of PlaySUBTITLE: Playground design in the urban environment How did the design of playgrounds evolve throughout history? And how does the urban environment play a part in their evolution? To answer these questions, I look at New York City. Here, we see a dense urban space for play development, with a long history of constant shifts in play ideals, safety regulations and the pioneering of playground design.----- AUTHOR: Oscar Kwong TITLE: Comfort and the curve The curve exists in all ranges of expression, from the flamboyant to the modest. In the past decade there have been multiple studies that have set out to confirm our instinctual desires for the curvaceous shape, proving in every measurable scenario that humans prefer the round compared to the rectilinear. This intuitive response to the curve has been hard-wired as part of our evolutionary bias. The relationship that connects comfort and the curve will be the premise of this essay: from the buildings of Sanaa that employs the familiar curve, as a reminder of our connection with nature; to trace the postures supported by the comfy lounge and its intimate bond with the human body; to the conforming contours of everyday objects. ----- AUTHOR: Silvio Rebholz TITLE: TV studio sets SUBTITLE: A space for reality and fiction TV studio sets are spatial constructions in which TV formats such as news, talk shows or game shows are produced. On these sets, hosts interact with guests, newsreaders broadcast information and hosts entertain – always with the intention of reproducing the scene on screens. Focusing on the designs of TV studio sets, it is striking how unusually shaped they are. Elaborately sweeping curves of sofas; LEDs highlighting the edges of a desk. Remarkably, these and other exceptional elements aren t isolated cases, but repeat across shows, broadcast genres and national borders. Their similarities suggest that it s about more than free formal expression. What are the parameters for consideration in a “good” TV studio set? How did this unique style develop? ----- AUTHOR: Thomas ManilTITLE: The typology of coins This research project explores the history, production and formal language of coins. They are part of our lives and accompany our daily gestures. We give them, we receive them, we pocket them, or we place them carefully in a wallet. We have the impression that we know them very well, and yet, we have a hard time describing them with precision. It is an integral part of the country s identity and embodies the link between art, design and technology. In a society that is gradually seeking to dematerialise money, the coin deserves special attention.----- AUTHOR: Till RonacherTITLE: The robotic arm Industrial robots have been involved in the manufacturing of products since the 1960s. But over the last decades, industrial robots have been moving out of the factories into new contexts such as architecture and design. Now, in some experimental contexts, digital fabrication is explored with the help of industrial robots. In such laboratories, the cooperation between humans and industrial robots is being investigated and applied in a design context, within which new forms and transformative design processes emerge. In this thesis, I examine some of these developments with regards to the possibilities of their integration into the design process.----- AUTHOR: Trolle RudebeckTITLE: A writing and drawing instrument In the age of typing, scrolling and audio-recording, cursive writing might seem endangered, particularly among younger generations. As handwriting has become more and more obsolete, it has come to be considered as a poetic or romantic act rather than a fundamental tool. Looking back to ancient civilizations and their instruments for drawing and writing, the pen s stick-like shape has remained surprisingly constant. By looking to the past, could we predict the future of the pen?
Robert Swierczynski – Restless «Restless» aims to expose the discomfort of ordinary life, directing at-tention towards anxiety - a feeling that dominates modern humanism and plagues people regardless of their status. Both as a book and an installation, the project resembles a voyeuristic catalog of weird moments that we wouldn t be eager to flaunt, even though they instantly bring us back to life through a sincere and straightforward observation. Formed by a non-linear combination of events, the photos remain thematically and aesthetically independent, acting only as elements of a much larger narrative. «Restless» aims to expose the discomfort of ordinary life, directing at-tention towards anxiety - a feeling that dominates modern humanism and plagues people regardless of their status. Both as a book and an installation, the project resembles a voyeuristic catalog of weird moments that we wouldn t be eager to flaunt, even though they instantly bring us back to life through a sincere and straightforward observation. Formed by a non-linear combination of events, the photos remain thematically and aesthetically independent, acting only as elements of a much larger narrative.
Pool CH — ECAL à l Arsenic,31.10–02.11.2017,Arsenic , Lausanne Pool CH — ECAL at Arsenic — Centre d art scénique contemporain Tuesday 31 October Wednesday 1 November Thursday 2 November The Pool CH organised by ECAL offers two distinct workshops, one lead by Cecilia Bengolea, the other by Karl Holmqvist. Each attending student registers for one workshop only. Both Cecilia Bengolea and Karl Holmqvist find themselves in shifting positions, moving alongside the art scene, towards the space of the stage, between writing practices, language, poetry, visual forms, film, and sound. The workshops will take place outside of the art school, in a location suited to host both practices, at the Arsenic – Centre d art scénique contemporain, the theatre located in the city centre of Lausanne. --- Cecilia Bengolea Workshop statement I would like to share a practice of dance and writing. The ancestors of Bolivia, the Argentine cumbia street dances and Jamaican dancehall as well as automatic writing. The work on breathing, on hyperventilation as practiced in these dances interest me particularly in order to then write and think about other rhythms and speeds. Biography Born in Buenos Aires, Cecilia Bengolea was trained in urban dances and studied anthropological dance with Eugenio Barba before graduating in philosophy and art history from the University of Buenos Aires. In 2001, she moved to Paris and attended the Ex.e.r.c.e. course in Montpeller, directed by Mathilde Monnier. In 2011, Cecilia Bengolea co-directed two short films which were in dialogue with Levi-Strauss s work : Tristes Tropiques : La Beauté (tôt) vouée à se défaire with Donatien Veisman and Cri de Pilaga with Juliette Bineau. Cecilia Bengolea performs dance like animated sculpture, with the possibility of becoming object and subject in the same instance. She regularly collaborates with artists such as Dominique Gonzalez-Foerster, Monika Gintersdorfer and Knut Klassen, as well as with dancehall specialists Damion BG Dancerz et Joan Mendy. In collaboration with the British artist Jeremy Deller, Cecilia Bengolea has also co-directed the films RythmAssPoetry and Bombom s Dream. Dates and hours Tuesday 31 October 2pm – 6pm Wednesday 1 November 2pm – 6pm Thursday 2 November 2pm – 6pm Location Arsenic – Centre d art scénique contemporain Rue de Genève 57, 1004 Lausanne --- Karl Holmqvist Workshop statement The term “Deep Listening” was coined by composer Pauline Oliveros in the 1980s and has mostly been used in relation to contemporary experimental music. I wanted to invoke it however with the sense that there s something beneath the surface, behind the noise or what artist James Benning has stated as artists being people “who are able to look at the world around them”, the notion that art making is in fact part of processing this act of looking or “listening”. Part of “deepening” it. Proposing a workshop at ecal about the use of language in art, as spoken word or graphic design. As meaning carrier or a type of flashing picture largely part of today s urban landscape. Also about memory function, “brain washing” techniques and repetition. How things can stay perfectly clear in one s memory and yet also change over time or even right there in the moment. Biography Karl Holmqvist is an artist living and working in Berlin. The main focus of his artistic practice is on language and includes writing in the form of artist s books, in video animations and room size installations as well as in spoken word performances. His writing is mostly made up of quotations from a variety of sources rearranged in the form of a type of written collage that deals with repetition, double meaning and memory function. Recent one-person exhibitions include Centre d Art Contemporain, Geneva, Indipendenza, Rome (with Klara Liden), Kunstverein Braunschweig (with Klara Liden), Power Station, Dallas and Camden Arts Centre, London. He has participated in the Venice Biennial in 2003 and 2011, and Performa, New York in 2005, 2007 and 2013. Dates and hours Tuesday 31 October 10am – 1pm, Wednesday 1 November 10am – 1pm Thursday 2 November 10am – 1pm Location Arsenic – Centre d art scénique contemporain Rue de Genève 57, 1004 Lausanne Registration conditions Students choose one workshop. Each workshop can host up to 20 students. Students cannot attend both workshops. Registration by mentioning the workshop you are interested in at dimitri.depreux@ecal.ch
Lisa Guedel-Dolle – The Blind Corner – Fame and drama The Blind Corner vous immerge au cœur des destins sombres et tragiques de célébrités dont les vies ont pris un mauvais tournant. Jalousie, désir, folie… ont conduit les protagonistes de ces mésaventures dans les abysses de la démence. Trahison, sexe, meurtre… sont monnaie courante dans ce milieu où les frontières entre réalité et fantasme sont inexistantes. The Blind Corner dépoussière le passé en redonnant vie aux histoires marquantes de l actualité people de ces 50 dernières années, il éclaire des documents d archives sous un nouveau jour au travers d enquêtes visuelles denses et y apporte un regard singulier et exclusif. The Blind Corner vous propose cinq histoires à (re)découvrir chaque mois. Mystères, rebondissements, intrigues… vous tiendront en haleine jusqu au dénouement final, qu il soit heureux ou tragique. The Blind Corner vous immerge au cœur des destins sombres et tragiques de célébrités dont les vies ont pris un mauvais tournant. Jalousie, désir, folie… ont conduit les protagonistes de ces mésaventures dans les abyssesde la démence. Trahison, sexe, meurtre… sont monnaie courante dans ce milieu où les frontières entre réalité et fantasme sont inexistantes.The Blind Corner dépoussière le passé en redonnant vie aux histoires marquantes de l actualité people de ces 50 dernières années, il éclaire des documents d archives sous un nouveau jour au travers d enquêtes visuelles denses et y apporte un regard singulier et exclusif.The Blind Corner vous propose cinq histoires à (re)découvrir chaque mois. Mystères, rebondissements, intrigues… vous tiendront en haleine jusqu au dénouement final, qu il soit heureux ou tragique.
String Foundry The students were given a cone with 3 yards of yarn. This sewing machine yarn represents a line. The students were asked to draw with this line and create letters. A session of uncontrolled experimentation followed. Some people got frustrated because the material was not behaving the way they expected, others got lost in labour intensive try outs. The design process was speeded up by demanding quantity over quality. The students produces a rich collection of specimens, failures, surprises and typographic inventions. Quality surfaced by looking at the possibilities of the results, not the results themselves. Students were given more time to concentrate and dig deeper for more options of a single experiment. They were asked to create a systematic sequence to expand their type treatment into a series of results. How can you make a system grow? Students seemed to be relieved when they were asked to translate their experiment in the computer. How do you Adobe Illustrator or Photoshop behave when you are wishing for a type treatment that includes gravity, three-dimensionality, texture or something else you witnessed while working with analogue material? This workshop turned out to be a research on how an analogue reference can make you look for a different way to work digitally. Type was a platform for introducing them to an alternative design process. The students were given a cone with 3 yards of yarn. This sewing machine yarn represents a line. The students were asked to draw with this line and create letters. A session of uncontrolled experimentation followed. Some people got frustrated because the material was not behaving the way they expected, others got lost in labour intensive try outs. The design process was speeded up by demanding quantity over quality. The students produces a rich collection of specimens, failures, surprises and typographic inventions. Quality surfaced by looking at the possibilities of the results, not the results themselves. Students were given more time to concentrate and dig deeper for more options of a single experiment. They were asked to create a systematic sequence to expand their type treatment into a series of results. How can you make a system grow? Students seemed to be relieved when they were asked to translate their experiment in the computer. How do you Adobe Illustrator or Photoshop behave when you are wishing for a type treatment that includes gravity, three-dimensionality, texture or something else you witnessed while working with analogue material? This workshop turned out to be a research on how an analogue reference can make you look for a different way to work digitally. Type was a platform for introducing them to an alternative design process.
Cédric Rossel – Mémoire Être vuDesign graphiqueEtude sur la relation entre les dispositifs graphiques et les conditions de vente de la presse people Requérant principalECAL/Ecole cantonale d art de Lausanne Cédric Rossel (chef de projet) André-Vladimir Heiz (professeur) Durée2010Sostenu parECAL/Ecole cantonale d art de Lausanne