What Goes on at the Beaux-arts

Art Press - - ÉCOLE DES BEAUX-ARTS DE NANTES -

The new École Su­pé­rieure des Beaux-arts de Nantes ope­ned its doors in Sep­tem­ber 2017 with an in­no­va­tive ap­proach to tea­ching that va­lo­rizes the conver­gence of dis­ci­plines and cultures.

On Sep­tem­ber 26, 2017, 403 stu­dents, in­clu­ding 105 in­ter­na­tio­nal stu­dents of 20 dif­ferent na­tio­na­li­ties, be­gan the new school year at the new Nantes art school neigh­bo­ring other art edu­ca­tio­nal ins­ti­tu­tions on the Is­land of Nantes (art, ar­chi­tec­ture, de­si­gn, com­mu­ni­ca­tions, film, me­dia, mu­sic and dance). The new buil­ding is sha­ped like an ocean li­ner, with three sto­ries, each 129 me­ters long, and a to­tal area of 8,500 square me­ters. Of that, 4,500 square me­ters are de­di­ca­ted to tech­ni­cal work­shops (wood, me­tal, cas­ting, mo­de­ling, se­ri­gra­phy, li­tho­gra­phy, vi­deo, sil­ver ha­lide pho­to­gra­phy, di­gi­tal pho­to­gra­phy, etc.) These stu­dios and the as­so­cia­ted pro­duc­tion fa­cul­ties for stu­dents will fa­ci­li­tate a real po­ro­si­ty bet­ween ge­ne­ral art edu­ca­tion and its tech­ni­cal as­pects. The re­search li­bra­ry, sto­cked with more than 22,000 titles about art and re­la­ted crea­tive en­dea­vors, is avai­lable to stu­dents and pro­fes­sio­nals. The free­ly ac­ces­sible do­cu­men­ta­ry re­source cen­ter com­prises col­lec­tions of books for children and young people, gra­ph­zines, co­mic books and gra­phic no­vels, ar­tists’ books and di­gi­tal edi­tions. It will al­so hold mee­tings and lec­tures. The school’s 250 square me­ter art gal­le­ry will pro­vide dy­na­mic sti­mu­lus for young ar­tists with pro­gram­ming lin­ked to both tea­ching ac­ti­vi­ties and lo­cal cultu­ral ac­tors like the pu­blic re­gio­nal art cen­ter (FRAC des Pays de la Loire) and the Nantes art mu­seum. The tea­ching pro­gram is com­ple­men­ted by a student life sti­mu­la­ted by col­lec­tive pro­jects such as the ope­ning of an or­ga­nic food kit­chen, a store sel­ling art ob­jects and mul­tiples, par­ti­ci­pa­tive ar­tis­tic prac­tices work­shops, on­line of­fers and convi­vial ur­ban fur­ni­shings in the front cour­tyard (de­si­gned by the Fichtre col­lec­tive). CUR­RI­CU­LUM Du­ring their first two years stu­dents be­gin the phase of ex­pe­ri­men­ting with their pro­ject through five ar­tis­tic ap­proaches: Construc­tion—DAM (Dif­fu­sion, Art, Mul­tiples)— Images—Thea­ter sets—Pain­ting. Du­ring their third year stu­dents re­ceive pro­fes­sio­nal trai­ning through in­ter­n­ships or stu­dies abroad, and pre­pare their gra­dua­tion pro­ject for a three-year di­plo­ma (DNA). A se­cond cycle of stu­dies fo­cuses on ex­plo­ring and de­ve­lo­ping ar­tis­tic prac­tices. It is or­ga­ni­zed in­to four seg­ments: “Ma­king art­works” means ta­king up connec­ted or trans­ver­sal prac­tices (dra­wing, pain­ting, sculp­ture and ins­tal­la­tion), ta­king in­to ac­count the in­ter­play of chance and de­ter­mi­na­tion in the crea­tive pro­cess. “Ac­tions” in­volves in­ter­ro­ga­ting, trying out, and re­sear­ching the no­tion of ac­tion or in­ter­ven­tion consi­de­red as a cor­po­ral pro­to­col, per­for­mance, sta­ging, events, writ­ten acts, bo­dy lan­guage, the ope­ra­to­ry cha­rac­ter of lan­guage, and the links bet­ween mul­ti­me­dia and hap­pe­ning. The aim of “Forms of the real” is to consi­der the conse­quences of what goes on and what is construc­ted in ex­ten­ded ar­tis­tic prac­tices in film and the mo­vie-ma­king eco­no­my—how to construct with sound and vi­sual ele­ments, tur­ning mat­ter in­to images, the ma­te­rial construc­tion of nar­ra­tives. “Buil­ding worlds” deals with contem­po­ra­ry ar­tis­tic pro­duc­tions in­vol­ving trans­ver­sal prac­tices, wor­king with emer­ging forms and know­ledges and in­ter­ro­ga­ting the conse­quences of glo­ba­li­za­tion, or­ga­ni­zed around concrete, col­lec­tive in­ves­ti­ga­tions in connec­tion with the stu­dents’ ar­tis­tic work. Each of these seg­ments of­fers stu­dents spe­ci­fic work contexts at the school’s three in­ter­na­tio­nal cam­puses: the U.S. (Mar­fa-Hous­ton), South Ko­rea (SeoulSun­cheon) and Se­ne­gal (Da­kar-Ru­fisque). These in­no­va­tive ar­ran­ge­ments com­bine im­mer­sion, re­search and pro­duc­tion. CO­OPE­RA­TION The school’s move to the Nantes is­land site pro­vides a dy­na­mic im­pe­tus to the crea­tion of joint pro­grams with other hi­gher edu­ca­tion es­ta­blish­ments: the ope­ning of a prep school with the Saint Na­zaire art school; an in­ter­na­tio­nal pro­gram open to fo­rei­gn stu­dents in­vol­ving a net­work of part­ner­ships in French-spea­king Eu­rope; a mas­ters de­gree in cultu­ral ad­mi­nis­tra­tion, pro­mo­tion and me­dia­tion with the uni­ver­si­ty of Nantes; di­plo­ma pro­grams in ex­hi­bi­tion layout and de­si­gn; and a re­search pro­gram cal­led “Thin­king from Bor­ders” with the Nantes ar­chi­tec­ture school. Fi­nal­ly, other co­ope­ra­tive mas­ters de­gree pro­grams are being en­vi­sa­ged: in crea­tive wri­ting and di­gi­tal pu­bli­shing, art re­search, land­scape and pu­blic spaces with the HEAD in Ge­ne­va and the K’Arts in Seoul; fu­ture-for­ward de­si­gn; sha­red events, spaces, know­ledge, skills and tech­niques—to invent the new pro­fes­sions of the fu­ture.

Trans­la­tion, L-S Tor­goff

Paul Gar­cin. DNAP 2017. (Ph. Marc Dieu­lan­gard). Mai Tran is in charge of pu­bli­shing and in­for­ma­tion at the Nantes art school.

Inès Eli­chon­do­borde. Par­cours « Ex­pé­riences et pra­tiques de l'art élar­gies au ci­né­ma ». DNSEP 2017.

(Ph. Marc Dieu­lan­gard). Ex­ten­ded cinema se­quence

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