Research and creation workshops
• New Patrons
• Representations of the Foreign, Documentary Arts
• Fuck Patriarcat
• Way(s) of Painting
• Urban Mutations (MUUR)
• Duality Art-Science
• De nature indicielle
• The Arts of Sound
• A Forest
This ARC is based on the New Patrons program, established in 1991 by the Fondation de France. Its protocol starts by assuming that any group of people from civil society who wishes can call upon a mediator and an artist to help them take responsibility for the commissioning of an artwork. This commission should address a problem of general interest formulated by the group who commissioned it thanks to the help of the mediator. The New Patrons thus place the citizen at the centre of artistic production and give a new role to the work: that of “contributing to the invention of satisfactory forms to build a democracy which ideal is that no one should be just an observer or left behind in a story which passes him by, but become, as a citizen, a fully involved participant” (François Hers, founder of New Patrons).
For the first time since the birth of the protocol, an art school uses the New Patrons to turn it into a field of experimentation and research supporting an innovative pedagogy of art. The Communauté de Communes des Terres de l’Auxois has approached ENSA Dijon to redevelop the Hamlet farm in Bierre-lès-Semur within the framework of New Patrons. ENSA Dijon is thus at the intersection of all actors of the project: patrons, mediator and artist.
During the next academic year, students will consider the Hamlet farm redevelopement project in conjunction with environmental issues as well as with their own plastic sensitivity. The development of the project will be carried out in cooperation with the users of this territory in order to create a space intended for creation, an experimental and reinvention place. The presence of a place for ENSA Dijon in this rural environment is a great opportunity to create a collective space which will become an instrument for mediation, dialogue and collaborative work. A large part of students focus on living organisms. The ARC reflects these economical, political, societal, and ecological awareness. It is a place for questioning and exploring research methodologies based on the plastic practice and the production of artworks. If art is perceived as a lever for the development of rural territories, the rural environment is also seen as a space of innovation where it is possible to enrich our relations with nature, to experiment with new forms and to confront the artist with different realities and methods of production, far from the “white cube” model.
- Nathalie Vidal
- Pierre Tillet
- Martine Clouzot
- Mari Linnmann
- Pierre Marsaa
- Tuesdays 14:00-19:00
- Associated with the Art & Society Research Unit
Representations of the Foreign, Documentary Arts
The goal of this workshop is to make the student aware of the question of documentary arts, arts which are understood to carry constructive criticism on the mechanisms of work and on the world in which we live.
The broad framework of the suggested workload has a double research purpose, asking two questions that seem to be linked:
• What are our topical issues, in the sense that, beyond the media circus, we would like students to ask what is fundamental for them in today’s world and what motivates them to produce research on creation;
• In which perspective might these topical issues be examined? We propose as a somewhat theoretical background the idea of “ecosophy of art” understood as “the concern of recreating an earth that is humanly habitable” (Félix Guattari).
These objectives will thus incorporate different work projects proposed to students, projects that can be followed for 1-2 years, even more if necessary. It is with an exploratory and heuristic attitude that we engage with them, it being understood that this workshop is not an additional class but summons knowledge and experience which can be situated somewhere beyond that of teachers and students. Art forms are not determined in advance–all those taught at the art school are available and more. It is a group experience of learning together, collectively and congenially, which should ultimately represent for the student a commitment to be initiated into research.
After 2 years of work on rural life as a marginal and alternative space to the urban and rurban life, the workshop will progress around the question of relations between rural life and emigration. Under the title Representations of the Foreign, Documentary Arts, it will build on the research project started by the artist Claire Angelini (The Outsider in the Morvan).
- Philippe Bazin
- Claire Angelini (artist, affiliated researcher)
- Tuesdays 14:00-18:00 (even numbered weeks)
- Associated with the
- Art & Society Research Unit
What an individual incarnates and becomes has always been directly linked with questions of domination, training and forms of normalisation, sometimes legitimized in the name of security. Today these regimes instruct, form and reinforce patriarchal societies as much from viewpoints that are economic, social, political and sexual, as with those dealing with family and identification. The patriarcat defines itself in a profound and hegemonic way around the beliefs and mechanisms having as their foundation religions, morals, capitalism and forms of government – at once liberal and authoritative – along with the effects of colonialism (and post-colonialism); or drawing on dialectics of opposition (bourgeois / people, man / woman, rich / poor, heterosexual / homosexual, active / passive, subject / object). All of this is articulated around social reproduction (sociology / Bourdieu), the compulsion towards repetition (psychoanalysis / Freud), the limit of usage (of objects, language) and subjugation (biopolitical / Foucault).
This workshop aims to introduce a multi-disciplinary approach to the intersection of artistic, research and militant practices. In 2017-2018 students will work collectively to give shape to a review enabling them to make visible contributions in different artistic and theoretical forms, individually or collectively.
- Sammy Engramer
- Marlène Gossmann
- Isabelle Lebastard
- Vanessa Desclaux
- Tuesdays 14:00-18:00
- Associated with the Art & Society Research Unit
WAY(S) OF PAINTING
This workshop unites all the painters of the school, plus a video maker, who advocates, across very diverse practices, his / her own “way of painting”. The idea is to invite students involved in a painting project in its broadest sense to discover, experiment, develop their own uniqueness.
This space for painting practice at the very heart of the school is above all a place of production, exchange and meeting around current pictorial approaches. This workshop is run by various members of the teaching staff throughout the week.
Way(s) of Painting Workshop
This workshop offers itself as place of resource that is open to all pictorial challenges: painting materials and their history, media, surfaces, light, colour, gesture etc. The teachers will put in place theory courses addressing, on the one hand the issues of colour and perception, and on the other, an approach to historical and contemporary works. This teaching will be organised around invited artists in the form of public talks, invited guests, study days, workshops and trips.
Each teacher will put forward his / her own field of experimentation:
• Alain Bourgeois:
The question of heritage,
relation of the painting
as object to architecture
• Anne Brégeaut:
The question of narration
• Gerald Petit: To be defined
• Bruno Rousselot:
The question of a painting
• Lionel Thenadey:
From low tech to digital
One-off activities will be arranged:
• The analysis of works (School Library);
• Invited artists regarding one of their works;
• Presentation of movements in painting (history of painting sometimes with an invited historian);
• Afternoon sessions on painting techniques and their history;
• Artistic project and professionalism.
- Alain Bourgeois
- Anne Brégeaut
- Gerald Petit
- Bruno Rousselot
- Lionel Thenadey
- tuesdays 14:00-18:00 (weekly) + Thursdays 14:00-18:00 (even numbered weeks)
Urban Mutations (MUUR)
We evolve in a world that moves and changes very rapidly. The tri-annual magazine We Demain uncovers initiatives – regarding technology, the economy, energy, medicine, the environment, food, art–which are changing the world, putting each day a little of the individual back into the heart of the system with a new sharing economy.
In view of the many initiatives presented by We Demain, the MUUR workshop focussing on Urban Mutations, suggests that students imagine new practices, new suggestions, new projects, and new utopias dedicated to public space.
The city evolves towards sustainability and sociability. These changes question in a lively and active way both thinking and action regarding public space, habitation, exchanges and movement. From a body of theory and experimentations that we will compile, we are committed to understanding, intuiting, experimenting with new forms, attitudes, and typologies. There will be potential experimentations, installations, projections and provocations. Work in situ with partners (Greater Dijon, Neighbourhood associations, companies).
In keeping with our relations to China, we will continue our research on the temporary installation of furniture in public spaces, while questioning new uses, new cross-fertilisations, of culture and materials. We will work in partnership with the University of Hubei in Wuhan, China and with the Department of Urban Planning in Dijon. This work will be presented at the biennale of Design at Saint-Etienne.
- Laurent Matras
- Jean-Pierre Tixier
- wednesdays 14:00-18:00
- Associated with the Research programme: Urban Mutations
DUALITY ART-SCIENCE: On Different Natures
Modern society pursues new challenges and the separation between art and science has never been greater. Today innovation necessitates an interdisciplinary approach in which art and science mutually reinforce each other, in which they are inspired by each other’s practices and research. We witness new approaches where researchers, artists, designers and architects collaborate, exchange their knowledge and practices, create new contexts of understanding and experimenting, present notably through contemporary art installations that combine issues linked to science in terms of the schemes of space that are produced.
This ARC is founded on the construction of a common territory between art and science. It is an approach, artistic, emotional, poetic, functioning in synergy, initiating a new dialogue around relativity with respect to a vision, of the observable, according to the metrics that we place on our actions, our beings, our imaginations.
Duality Art-Science offers art and design students an exchange of thoughts and research to introduce, to comment on, and produce laboratory works, the apparatus of experimentation that questions the fields of art and science.
At the heart of this ARC students will make trials and basic manipulations around the question of water, fog, movement, flow, light with a multimedia approach. The proposals deriving from these thoughts and manipulations are to be developed as objects, installations, fountains or even urban schemes.
The projects can be realised full-scale within the workshop at ENSA but also at the Ecole Polytechnique with the support of researchers and doctoral students in science in the form of workshops, seminars and residences.
Together they make up different artistic proposals in the area of an art-science movement that endorses the principle of duality, of symmetry and using a process in which artists and scientists in changing roles leave space for letting go.
For this new edition, with the help of artists Gerald Petit and Didier Marcel, the ARC will continue its research around the make-believe exo-planets in preparation for a retrospective in 2019. It will develop in parallel thinking and creative work with scientists at the University of Burgundy around the work of physicist Antoine Lissajoux (1822-1880) who linked optical principles of the movement of light and visual translation of sonic vibrations.
- Laurent Karst
- Didier Marcel
- Gerald Petit
- tuesdays 14:00-18:00
DE NATURE INDICIELLE
For 6 years, this workshop has continued to develop research in collaboration with the professional worlds of cinema and the audiovisual.
The idea is to construct a narrative:
• By articulating the two temporalities of the image (The photograph and the fixed image / Video and the moving image)
• By researching contaminations and disruptions between the 2 media.
Influenced by genres of cinematography like fantasy and science fiction, the student develops a character for the narrative (persona) emblematic for this universe.
First, films selected collectively will shape the issue for this year (discussions concerning the cinematic production).
Second, students will be asked to make an artistic work by tackling methodological and technical constraints and by using primarily a reflex digital camera for the production of a photograph and a sound video.
This workshop puts the focus on spatial organisation (display in a space) over temporal organisation (editing on a computer). The evaluation will be based on the storyboard and the finished work:
• writing the story and storyboard
• fixed and moving image
• sound capture
• discussion and choices
• printing and laminating
• video editing and sound spatialisation
• finished product
- Luc Adami
- Pierre Guislain
- Pascale Séquer
- Thursdays 14:00-18:00
- (Tuesday by appointment)
THE ART OF SOUND
When we say the art of sound, we use a term that is a bit catch-all, comprising electronic music “that does not dance”, acoustic and electric sound artworks, performances that play with spaces, sound installations. In fact everything that comes out of formats devoted to rock, pop, jazz or electronic music. The arts of sound might also represent, more than a specific genre, but an attitude, a relation to sound, a cluster of practices, as related to contemporary music as to the worlds of performance and plastic arts. For composers like John Cage in the 1950s, and later Alvin Lucier, James Tenney or La Monte Young, it was a case of offering, both the musicians and the audience, a genuine listening experience, playing with the very character of sound: time distortion, the use of sounds in acoustic space, playing with the dynamics of it, from the barely audible to the very, very loud. For the sound creators of today, it is a case of rethinking our relationship to listening, to the codes of concerts and shows, to musical genres.
Jean-Christophe Desnoux and Nicolas Thirion propose a series of meetings, public talks, and workshops for the discovery of aesthetics and practices belonging to the arts of sound, for the students of ENSA Dijon, instrumental and electronic musicians and non-musicians.
In particular they will put at the disposal of students a unique instrumentarium – mini-synthesisers, nail boards, micro switches, mixing consoles, set feedback, K7 cassette players – and invite them to collectively invent their own vision and interpretation of emblematic works of experimental music, textual scores and graphic notation.
In 2018-2019 this ARC will be constructed around 2 or 3 creative projects, which will culminate in the season Ici l’onde proposed by Why Note or in other cultural venues within Dijon. The participation of the Grand Orchestra de la Transition, hosted by Francois Ribac (or how to continue to create after the Apocalypse), a creation around the theme of Game and Sport (work around the notion of effort in performance).
- Jean-Christophe Desnoux
- Nicolas Thirion (affiliated artist, Artistic Director of Why Note)
- Thursdays 14:00-18:00 (even numbered weeks)
Transversality (process & work: painting, drawing, volume)
The workshop Transversality would like to develop along with enrolled students a way of seeing, of feeling, of conceiving and experimenting with art today, all the while taking into account different mediums of creation and possible territories in order to give meaning to art work. This ARC would like to be an experimental laboratory, of research and the production of works without limit on media (or materials), or with limits proposed by each of the participants.
In this ARC students will become initiated in research by using drawing as the medium to make an idea concrete, but also to learn to develop in function of personal choices, by full independent involvement. It is a question of identifying issues individual to each, as an artist or designer does, and to develop, by experimenting with drawing, painting, in all possible forms, or in relation to volume, or with any other form or media desired. Each session wants to be – as Mac Luhan suggested – a space in which there can exist the friction of ideas, discussions, a space of questioning everything. This ARC will allow art and design students to articulate their research in synergy with their personal work, as much from the theoretical point of view as technical or practical, seen in the context of the contemporary art scene.
One-off internal sessions on themes proposed by each teacher co-heading this ARC will provoke discussions and introductions to art at the national but also international level, with the help of presentations, films, actual works or any other existing way, and will allow participants to position themselves in their research as future creators.
This ARC wishes to enrich its pedagogy with workshops, visits to artists’ workshops, trips to art centres, local and national museums, international fairs such as Drawing Now. It seems essential to us, for future projects, to continue on the principle of openness to the outside, with the diversity and richness of exchanges by inviting professionals from different horizons throughout the year. This is so that students can be confronted with artists and theoreticians who will help them to develop the level of research in direct relation the questions and the diversity of art today.
- Carlos Castillo
- Nathalie Elemento
- Pierre Guislain
- Tuesdays 14:00-18:00 (consult the calendar)
- Thursdays 14:00-18:00