2018
M2 THESIS
Director:
Alexandra Midal
Tutor Team:
Sébastien Quéquet, Damien Delille, Vera Sacchetti, Savoye de Puineuf Sonia
Jury President:
Jérémie Cerman,
M2 PRACTICE PROJECT
Directors:
Rosario Hurtado and Arno Mathies
Project Team:
Felipe Ribon, Nick Williamson, Enrique Corrales, Malak Mebkhout, Marguerite Humeau
Internal Jury:
External Jury:
Vinca Kruk
Jury President:
Photography Credits:
Michel Giesbrecht, Raphaelle Mueller, Baptiste Coulon
Team:
Rosario Hurtado, Arno Mathies, Alexandra Midal, Ruedi Baur, Dominic Robson, Oliver Graney, Mathias Zieba
Collaborators:
Joanna Agerman, Guy-Claude Agboton, James Auger, Yair Barelli, Arthur Blanc, Alexandre Burdin, Jeremie Cerman, Enrique Corrales, Matali Crasset, Camille Dedieu, Sebastien Delot, El Ultimo Grito, Marie Godfrin, Conny Freyer, Maarten Gielen, Renaud Haerlingen, Marguerite Humeau, Alexandre Humbert Tristan Kobler, Oscar Lhermitte, Malak Mebkhout, Pascal Millet-Rivero, Metahaven, Pia Pandelakis, Fidel Peugot, Joseph Popper, Sébastien Quequet, Thierry Reverdin, Ricupero, Felipe Ribon, David Roux Fouillet, Vera Sacchetti, Sonia Savoye de Pineuf, Tamar Shafrir, Nicolas Sordet, Jon Stam, Maki Suzuki, Noam Toran, Yarza Twins, Pierre Vonet, Nick Williamson, Mathias Zieba, Julien Zorzin
M2 Student Team:
Jean-Marc Cnockaert, Marianne Noren, Aydin Gursel Bakir, Clément Diaz, Rita Hajj, Blanche Lafarge, Naoyuki Kiyota, Alicja Milesi, Shih-Hua Tseng, Eleonora Pizzini, Melina Johnsen, Nina Hemmerijckx, Capucine Bily, Maïa Vaillant, Aline Nava, Laure Manhes, Moseku Mihailo
M1 Student Team:
Lucile Brunier, Jessica Nassif, Marie Ganguillet, Stéphanie Peck, Jeanne Pasquet, Sofie Deckers, Beatriz Granado, Chun Hua Chien, Nettilo Rojas, Arnaud Chappuis, Lilia Ptrov, Helena Bosch Vidal, Fatemeh Bagheri, Léa Debernardi Burnand
THREE WEEKS OF MASSACRE
Workshop with Alexandra Midal et Vera Sacchetti
Brief:
Alexandra Midal et Vera Sacchetti
Tutor Team:
Arno Mathies
Assistants:
Mathias Zieba
M1 Student Team:
Lucile Brunier, Jessica Nassif, Marie Ganguillet, Stéphanie Peck, Jeanne Pasquet, Sofie Deckers, Beatriz Granado, Chun Hua Chien, Nettilo Rojas, Arnaud Chappuis, Lilia Ptrov, Helena Bosch Vidal, Fatemeh Bagheri, Léa Debernardi Burnand
This workshop will assist 2nd year MA Space and Communication students as they complete the writing of their theses/memoirs. Through an accompanied process, the three weeks will seek to showcase the importance of writing in a designer’s practice, workshop problematic sections of the papers with students, and use a variety of strategies to help students produce a successful paper.
The schedule includes a daily walk, a first week with international lecturers, and various student readings/presentations, including a final presentation and crit with guests.
THE “ED WOOD” SYNDROME
Workshop with Cristina Ricupero
Brief:
Cristina Ricupero
Assistant:
Oliver Graney
M1 Student Team:
Arnaud Chappuis, Chun-hua Chien, Lea Burnand-Debenardi, Sofie Lutgart-Deckers, Beatriz Granado, Jessica Nassif, Jeanne Pasquet, Lilia Petrov, Netillo Rojas, Helena Bosch-Vidal.
What exactly could be called the ‘Ed Wood Syndrome’? How can we define it? Ed Wood, the eccentric American film director, considered as the ‘Worst Director of All Times’, will function here as a working tool to raise questions of good and bad taste, irony, slapstick, the ‘camp’ approach, trash culture, the ‘do it yourself’ attitude and outsider art. This workshop and project puts forth the idea that one of the most important attitudes or sentiments underlying modern and contemporary art is one of enthusiastic awkwardness. Throughout these four days Ricupero, together with the students will try to shape and clarify this general trend. Students will also be asked to produce a project in the Ed Wood spirit!
Look into the contemporary art scene with very special glasses and inhale the Ed Wood identity parameters.
FILM BY DESIGNERS
Workshop with Alexandra Midal and Felipe Ribon
Tutor Team:
Alexandra Midal
Tutor Team:
Felipe Ribon
Assistant:
Mathias Zieba
M1 Student Team:
Lucile Brunier, Jessica Nassif, Marie Ganguillet, Stéphanie Peck, Jeanne Pasquet, Sofie Deckers, Beatriz Granado, Chun Hua Chien, Nettilo Rojas, Arnaud Chappuis, Lilia Ptrov, Helena Bosch Vidal, Fatemeh Bagheri, Léa Debernardi Burnand
Le film de designer occupe de plus en plus de designers, et démontre qu’à côté du design industriel, un design des marges libéré des lois du marché, peut exister. Grâce au médium film, le design n’est plus corseté à la seule production d’objets et de services, à un débat entre artisanat, savoir-faire et industrialisation entre unicité et standardisation, entre luxe et commodities, il a opéré un glissement de la fonction et de la norme industrielle, vers la fiction.
Essentiellement dirigés par des femmes jusqu’en 1929, jusqu’à la transformation du « cinéma du diable » en industrie, les films sont réalisés dès l’origine en Californie où le temps est clément et la lumière abondante. Le paysage américain, et l’horizon, constituent les premiers studios en plein air du « cinéma premier », et le western, un genre typiquement américain utilise les vastes étendues des déserts et parcs naturels made in USA.
De plus, ce n’est pas un hasard si les plus prolixes designers-cinéastes, Charles et Ray Eames, ont engagé depuis leur studio de Santa Monica, un dialogue fécond entre le design et le cinéma.
ENTRE INTERACTIONS ET INTERDÉPENDANCES, TENTATIVES DE MISE EN SCÈNE
Workshop with Ruedi Baur
Brief:
Ruedi Baur
Tutor Team:
Mireille Delmas-Marty and L’atelier temporarie de Design Civic
Assistant:
Mathias Zieba
M1 Student Team:
Bagheri Fatemeh Narges, Bosch Vidal Helena, Burnier Lucile, Chappuis Arnaud, Chien Chun-Hua, Debernardi Burnand Léa, Deckers Sofie, Ganguillet Marie, Granado Beatriz, Nassif Jessica-Maria, Pasquet Jeanne, Peck Stéphanie, Petrov Lilia, Rojas Netillo
"Entre interactions et interdépendances" is a group show executed in the St-Gervais theatre by Ruedi Baur and the Space and Communication students. Each project was a proposition of a certain type of interdependence. The different results were connected to one another via ropes and pulleys, reminiscing the theatre atmosphere.
" Today, the inhabitants of the Earth, if they want to unite in their desire for the future, must recognize their interdependencies in order to transform them into a common destiny. "
«As if the global emergency prevailed - for the first time perhaps - on the national emergency » Mireille Delmas-Marty, Aux quatre vents du monde, Editions du Seuil, Paris, 2016, p. 136 and p. 56.
LE PREMIER MAI DU FAMILISTÈRE DE GUISE
Workshop with Matali Crasset
Après une conférence sur les Bancs d’utopie de Francis Cape en 2015, Matali Crasset, designer connue dans le monde entier, est revenue au Familistère en octobre dernier avec ses étudiants de la Haute École d’Art et de Design de Genève. Durant trois jours, ils se sont installés pour un workshop: étape ultime et résultat de deux semaines de recherches menées par ces étudiants en Master Espace et Communication autour de l’œuvre de Godin. Suivez deux des étudiants ayant participé à l’aventure, et visitez cet appartement réaménagé dans un esprit de vie en communauté, dans l’aile droite du Familistère.
Brief:
Matali Crasset
Assistant:
Mathias Zieba
M1 Student Team:
Bagheri Fatemeh Narges, Bosch Vidal Helena, Burnier Lucile, Chappuis Arnaud, Chien Chun-Hua, Debernardi Burnand Léa, Deckers Sofie, Ganguillet Marie, Granado Beatriz, Nassif Jessica-Maria, Pasquet Jeanne, Peck Stéphanie, Petrov Lilia, Rojas Netillo
THE POST-APOCALYPTIC SOCIETY OF GENEVA
Workshop with Noam Toran
When encountering a museum, we are first encountering the constellation of circumstances and beliefs which curate its contents and influence its affects. The determination of value (culturally, historically, monetarily), of preservation (what is to be saved, what is to be discarded), and of categorisation (which things and peoples are connected, which are separated) permeate the MUSEUM, ‘infecting’ the collected materials and informing our reading of them.
What opportunities arise then –politically, philosophically, stylistically– if we choose to purposefully misinterpret, or misread source material? If we strip the MUSEUM of its ‘hard’ cultural, historical, geographical and political frameworks, and instead veil our encounter with it in a fiction –or science-fiction–, what might we glean from the material that a ‘straightforward’ reading might miss? What might such an approach reveal about the problematics of the MUSEUM and about the society the media archive serves to depict?
Employing narrative forms as a way to disrupt conventional interpretations of the MUSEUM, we will work together to produce our own constructive misreadings.
The post-apocalyptic society of Geneva is an image making workshop which propose new interpretations to existant museums in order to question the modern society that we live in today.
Each day, the post-apocalyptic society of Geneva had to misread different museums : CERN, MAMCO, Natural history museum and the ethnographic museum, by exploring a new way of filming and editing, from abstract to narrative. Instead of being regular visitors, the post-apocalyptic society of Geneva becomes a story teller through fictional films.