In Montpellier

Editors:
Christian Gaussen
Dominique Gutherz
Coordination:
Educational coordination:
Patrick Perry
Augustin Pineau
General coordination:
Marion Brisson
Graphic design:
Pablo Garcia & Reno Leplat-Torti
École Supérieure des Beaux-Arts
Montpellier-Nîmes
[EmiksEn]
Student handbook
MONTPELLIER
130, rue Yehudi Menuhin
34000 Montpellier
04 99 58 32 85
[email protected]
NÎMES
Hôtel-Rivet 10 Grand’Rue
30000 Nîmes
04 66 76 70 22
[email protected]
An Encounter
This open conversation between
Christian Gaussen and Dominique
Gutherz – who have, up until now, run
the “Ecoles Superieures d’Art” of both
Nimes and Montpellier – conveys views
that, in their mutual clarification, draw/
outline the face of a new art school, an
autonomous entity regrouping both
sites from the start of 2010-2011.
In l i g h t o f t h e c u r re n t c h a n g e s
apparent in the academic teaching of
art in Europe, these fresh allies are
demonstrating both determination and
ambition in order to maintain more
than ever the singularity and symbiotic
p re s e n c e o f a r t i s t s , re s e a r c h e r s ,
professionals and theoreticians, amid a
common pedagogic project.
learn to appropriate knowledge and
information; they do research, they are
open to the world, this demands a lot
of methodical work. It’s the choice of
being ambitious and courageous.
D.G.
It’s a search for freedom in society and,
at the same time, it’s about investing a
huge responsibility. We encourage art
students to work more than others.
C.G.
It’s important that the outside world
should be in touch with what the artists
of today truly stand for, be it in terms
of work, of the understanding of their
production or the legibility of the
conditions in which their work has
emerged.
The artists benefit from technologies
and a context that allow them to
perform this demonstration in real
time.
We must defend the autonomy of the
teaching of artists in its abilities of
expression, of uniqueness, of freedom,
of adventure, of methodology and of
research but we must also open up its
areas of implementation.
These different styles of knowledge that
the work conveys, when shared with an
audience, demonstrate how the artists
excel in open domains: from businesses
to private and public collections
through to urban spaces, hospitals…
More and more of these types of offers
are made to artists.
D.G.
The artist is a researcher: his or her
relationship with the world is difficult
to describe. What fascinates me with
young artists, is their ability to adapt.
Dominique Gutherz
Marx said: “Change the world!”,
Rimbaud beckoned us to “Change life!”,
and to “Change the world, change life”,
is nothing less than our broad ambition.
Teaching artists has become ver y
important because the parameters
offered by contemporary art have been
considerably enlarged; and nowadays
it is the art schools that essentially
undertake this function…
Christian Gaussen
...This results in an open and complex
professionalisation, spread out over
multiple fields according to the diversity
of the artistic commitments.
If we choose to form artists, it is
par ticularly with this notion of
commitment in mind.
In art schools, we train individuals to
become a “driving-force”.
The students will transform themselves,
5
The teaching at art schools helps them
in daily jobs, it prepares them for
complex situations…
conveys specific temporalities linked to
the different phases of the student’s
personnel project, from conception to
dissemination.
The length of the studies must hold into
account these moments of “infusion”
that are essential in order to allow the
moments of intuition and regret to
come…
Heuristics is at the heart of teaching
in art schools, to the same level as the
analytical and critical schemes. They are
two complementary domains.
After his studies, the student has a
driving role in society, a strength of
proposition and adaptation, and even
of exemplariness.
The work of art, within the framework
of a state commission, is in itself
exemplary, cut off from speed, the
general discourse… a steady object,
an exclamation mark, that becomes an
interrogation. As these structures are
frequented, the public constructs its
own models to (re)discover what is a
work of art and understand what is the
profound nature of this object.
C.G.
... and for decision-making scenarios,
because artists are well and truly
decision-makers. By nature, artists
undertake research, doubtless we
must assert this more in our teaching
processes, render it more methodological
and prospective.
But we must be careful not to reduce
artists to the sole function of teacher;
in our school it is foremost artists and
theoreticians – those who reflect on our
relationship to the world – who teach,
and we hold dear to this.
D.G.
In the 1970s, a revolution occurred in
France when artists came to “power”.
Before then, artists refused to teach on
principle: they didn’t have the time.
Teaching was indeed in the hands of
people who had, to a certain extent,
relinquished art.
C.G.
More generally, we are undoubtedly in a
society that is driven towards a position
of management rather than a position
of creation or of research…
We do not wish to be managers of
teaching but rather the catalysts of
a dynamic that involves research,
openness, the creation of new resources
and of new ontological, social and
semantic relationships.
The art school is not only a place of
teaching, but also a place of creation
and of production that, by consequence,
D.G.
In addition, a true networking of the
territory remains to be created in France
and in Europe. In this gap, Nimes and
Montpellier have a real role to play with
regards to creation.
C.G.
The labour of art is always paradoxical.
The art school will be sure to include
work on singularity; a rapport is
established between the singularity
of the student and the apartness that
a project in relation to the outside
6
world requires. In this regard, one
could declare that the art school is the
historical and comprehensive aspect of
humanities…
historic, of the university.
D.G.
Reunited, both our schools will become
stronger to acquire a European legibility.
D.G.
…There is also the solo artist who
interrogates himself…
His unwarranted gesture is important.
It constitutes the fundamental part of
the research…
C.G.
And our best ambassadors turn out to
be the artists, our alumni, who, beyond
the walls, testify to our school.
In this new structure we could imagine
the burgeoning abroad of platforms,
sorts of mini-embassies of our structure,
under the responsibility of the students;
and therefore entrust them with the
enlargement of our networks.
C.G.
...Yes, I believe that the commission,
and applying the work to it, won’t exist
if there is not, beforehand, this job of
research.
D.G. & C.G.
We are ready…
D.G.
How can we justify this work of
introspection in art schools?
We cannot say that it is an exact science.
When the artist lost the prince and the
church, he found himself alone, and his
condition as a modern artist brought
him to discover the interest in himself.
Nowadays, collaborative work is back
once again, even though a share of
singularity and introspection subsists…
C.G.
…The art school offers this possibility.
It’s a form of democracy, a little
Republic!
Conflicts are born, they exist but
they are shared, which is what makes
this place interesting and productive.
Similarly, the misunderstandings
must be eradicated for the benefit of
education, of artistic life and of a strong
debate.
We would be a residual form, proto7
Contents
One school, two sites
• presentation XX
• a school by the Mediterranean
• the sites • in numbers
• the school at a glance
Admission
• criteria for first years
• entrance examination for first years
• criteria for mid-programme admission • registration, re-registration
The Curriculum
• the teaching curriculum
• the ECTS system XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
Glossary
XX
The teaching team
• the teachers • biographical notes
XX
XX
The teaching contents
• the programme phase
Introduction to the programme phase
— the project phase
XX
XX
XX
• the project phase
Introduction to the project phase
— - The research and creativity workshops (ARC)
– the exhibition – urban set design and state commission
– dedicated communication — ACTULAB and the research units
— The internships XX
XX
XX
XX
XX
XX
XX
XX
• The international exchange programmes
XX
9
— the policy of international initiatives
XX
— Erasmus
XX
— International exchange programme agreements and networks XX
In situ… and elsewhere
• The libraries/document centres
• Le Pre Carre and Hotel Rivet galleries
• The publications
• The conferences, workshops and artists’ residencies • The study trips and exhibition visits
Organisation of the school
• organisation chart
• school facilities
• rules and regulations
XX
XX
XX
XX
XX
XX
XX
XX
Living and working in Nimes and Montpellier
• Social security, mutual insurance companies, compulsory insurance
XX
• Bursaries/grants
XX
• CROUS social assistance
XX
• Housing and housing assistance
XX
• Catering
XX
• Foreign students
XX
• Student card
XX
• Transport
XX
• Cultural activities
XX
10
11
One school,
two sites
Presentation
original programme within a « multisite » art school merging both the Nimes
and Montpellier schools.
The implementation of this voluntary
strategy – wanted by both groups –
endeavours to significantly increase
the schools’ influence, legibility and
attractiveness in the domains of the
academic and artistic abilities that
complement them.
This fusion is the first phase of the
mutualisation and the concentration
of academic teaching of art methods in
Europe.
This “pilot-project” must allow the
i d e n t i f i c a t i o n a n d c o h e re n c y o f
specificities and singularities on a
regional scale. It must act as a catalyser
in order to amplify its creative impact
in Europe.
These two major cities of LanguedocRoussillon have initiated this mutation,
certain of the cultural, artistic and
creative potential they have at their
disposal. Montpellier and Nimes
are thus revitalising the patrimonial
heritage of their rich past. They are
consequently giving way to new
perspectives of economic development
linked to the domains of tourism and to
the tough commitments taken to ensure
a remarkable standard of living.
The harmonisation of European
academic teaching resulting from
the Bologna agreements of 1999
deeply transformed the procedures
for authorising and issuing French
academic art school diplomas.
The key word in this reform is the
autonomy that involves setting up
structures that are compatible with this
qualitative evolution: the Etablissements
Publics de Cooperation Culturelle
(EPCC) - or public institutions of
cultural cooperation – guarantee these
structures a financial, judicial and
pedagogic autonomy.
As centres of excellence under a new
formula, they are destined to spread the
influence of these university courses on
an international level.
The circulation of practices, of artistteachers, of students, but also of
researchers supports the now essential
constituent of the mobility of students
and teachers on a European level.
New pedagogic models are born from
these reciprocal collaborations that
bring together the art schools, the
universities, the Grandes Ecoles, the
cultural institutions, the museums and
the art centres.
New partners emerge (engineering
schools, Centre Hospitalier
Universitaire (CHU) – University
Hospitals – nurseries, territorial
entities, artistic and cultural structures
and institutions) and commissioned
projects, state commissions, creative
programmes, interventions in urban
spaces.
The Languedoc-Roussillon region is
thus witnessing the creation of an
MxN has been appointed to become an
EPCC devoted to academic teaching of
art in a European dimension and with a
vocational nature. Its primary missions
are:
initial and continued education
scientific and artistic research
13
One school,two sites
careers advice and professional
integration
the contribution in the construction of
the European Platform for academic
teaching and research.
International cooperation
the circulation of culture and of
scientific and artistic information
the reinforcement and development
of partnerships (institutional and
corporate)
governance models have federated a
unique teaching team.
The “focuses” define the new central
lines of specialisation that allow the
cultural and technical identification
and legibility of each site:
- video/cinema, space/sculpture at
Montpellier
- painting and drawing / printing and
book making at Nimes.
Both sites welcome students according
to their personal vocations in the Project
phase (4 semesters, Masters level).
The flow of students and teachers on
both sites is the imperative; it initiates
the autonomy of the students and
favours academic exchanges in Europe.
Three Research and Creativity
Workshops establish the academic
relationships between students and
teachers and allows the questioning of
new spheres of knowledge:
- urban set design / state commission
- the exhibition
- dedicated communication
This booklet, which is aimed at students,
presents crucial practical and academic
information on the functioning of the
school and its teachers.
Enjoy reading it – and welcome, to
Montpellier, to Nimes!
Affiliated to the European system of
Degree, Master, Doctorate, the five
years of study in art school cover two
stages:
The first 6 semesters, the Programme
phase, are recognised by the Diplome
National d’Arts Plastiques (DNAP), the
national diploma of plastic arts.
The following 4 semesters, the Project
phase, enlist the student to the Diplome
National Superieur d’Expression
Plastique (DNSEP) – the national
diploma of higher education in plastic
art expressivity – with an elective in Art,
at Masters level.
These diplomas are registered and
recognised by the Ministry for Culture
and Communications (DirectorateGeneral of Creativity).
Due to the European harmonisation
of higher education, art schools apply
from now on the European Credit
Transfer and Accumulation System
(ECTS).
This is an innovative higher education
programme determined by the sharing
of problematic issues: as the teaching
is common to Nimes and Montpellier
– for the programme phase at least –
the new administrative and pedagogic
14
A school by the Mediterranean
A school by the
Mediterranean
life style. Amidst the region’s extended
coastal plains, from the Rhone to the
Pyrenees, coexist towns with a rich
cultural and historical heritage.
From the Pont du Gard to Narbonne,
through to Saint-Guillem-le-Desert or
the fortified town of Aigues Mortes,
a great number of these architectural
spots are classed as UNESCO world
heritage sites.
The region boasts no less than 47
museums, of which the main ones - by
their size and influence - are the Musee
Fabre (in Montpellier), completely
renovated in 2007, and the Carre d’Art
(in Nimes) that hosts contemporary
art exhibitions and collections.
There is an abundance of festivals and
exhibitions, particularly during the
summer months, that constitute one of
the main assets of the region.
At the crossroads of the main
communication lines going from
North to South and from Europe and
Italy to the Iberian peninsula, the
Languedoc-Roussillon is traversed by
some great historical routes.
It s u m m o n s n ow a d a y s a d o u b l e
dynamic of European integration and
of cooperation with the Mediterranean
area: a passageway on a European level,
and open and attractive space thanks
to:
Both sites of the school are situated in
the heart of a region with an exceptional
geographical location, combined with
a large cultural diversity.
Montpellier (the capital of the Region)
and Nimes are the most important cities
of the Languedoc-Roussillon region,
which comprises five departements:
the Aude, the Gard, the Herault, the
Lozere and the Western Pyrenees. Its
population, from the 1999 census,
was of 2,295,648 inhabitants, and
since then is still experiencing a strong
demographic growth.
Situated on the Mediterranean (220 km
of rocky and arid coastline extending
180 km of a coast made of thin sand
and a multitude of salty lakes), the
region is bordered by mountains; the
Pyrenees to the South and the Massif
Central to the North.
The climate, typically Mediterranean,
is characterised by an exceptional
amount of sunshine, with occasional
violent winds (the Mistral and the
Tramontane) prompting swift weather
changes. Summers are hot and dry,
and the rains – brief and heavy – occur
mainly in Autumn and Spring . It is
the warmest region in France.
The region’s economy actually relies
on the “sunshine” factor with two vital
sectors: tourism and agriculture (the
Languedoc-Roussillon is home to the
largest vineyard in France).
Vast and protected natural expanses, a
rural safeguarded area and a network of
human-size cities guarantee a pleasant
- its role as a multimodal
communications platform (by sea, by
air, by rail, by river, by road),
- its network of small and mediumsized industrial and service sector
companies of a technologically
advanced level, are decisively turned
towards external markets.
15
One school,two sites
- its important network of foreign
firms, implanted in the LanguedocRoussillon, reinforces the international
opportunities of the region.
- its academic and research pole is
open to international cooperation.
The research and higher education
pole “Universite Montpellier Sud de
France” (PRES-RESC) represents
an exceptional congregation of
students and researchers and national
and international research bodies.
Its ambition is, amongst others,
to create cooperation conditions
between universities/research bodies
and grandes écoles, and reinforce
the competitiveness of the area that
boasts five universities (Université
Montpellier 1, Université Montpellier
2, Université Paul Valery Montpellier
3 , Un i v e r s i t é d e Pe r p i g n a n V i a
Domitia, Université de Nimes).
The ambition of MxN is engraved in
this dynamic of openness that is both
local and global; simply by choosing
first of all to put mobility at the heart
of its system, enlisting its programme
on a dual site, and leading students
and teachers to a de facto mobility.
16
The Sites
The Sites
Montpellier
Nîmes
17
École Supérieure des Beaux-Arts de Nîmes
One school,two sites
Some History
experience – and 25 government bodies
were represented.
Crafts, industry and teaching became
the school’s main openings; whilst
painting and architecture remained a
minor branch.
After multiple moves, a new
establishment in 1995 allowed the
setting up of workshops for technical
subjects: photography, silkscreen
printing, lithography, engraving; and
classrooms.
In 2001, the city acquired a brand new
building, designed by the architect
Jacques Riboulet.
The school could therefore celebrate
its official admission to the Beaux-arts
quarter – at 130, rue Yehudi Menuhin
– renovated in the mid-1980s and to
which it gave its name.
The antecedent to Nimes’ art school
was the school of drawing established
in 1820, and which was free of charge.
Destined primarily for children of
merchants or manufacturers who
wished to go into silk production and
to the children of master –masons or of
other skilled workers distinguished by
their capacities in “mechanical arts”, it
was intended for roughly 150 pupils.
Planned from 1811 by the industrial
tribunal, this school was thus born from
the needs of its industrial environment.
The director of the drawing school
was also the director of the museum
established in 1823 in the Maison
Carre; which was originally a storage
area for paintings, antiques and casts,
used directly for teaching purposes: it
was in fact there that the end of year
exhibition took place of the students’
work and the prize giving.
Some History
From the 12th Century onwards,
the teaching of art was integrated in
University courses.
In 1679, Jean de Troy established the
Academy de Peinture de Montpellier –
the Painting Academy of Montpellier;
and it is to this great painter that we
owe the introduction of high-quality art
teaching to the city.
Renowned sculptors and architects
have left us beautiful productions:
Enjalbert, Abric, Giral and Donnat,
Journet, Aleaxandre Cabanel, Antoine
de Marseille.
One hundred years later, in 1779, a
group of forward-thinking amateurs
created the drawing academy and
brought together various collections.
The school was then situated in the
museum premises, on the Boulevard de
l’Esplanade.
It was with Francois-Xavier Fabre (who
gave his name to the museum), during
the first half of the 19th century, that
drawing, painting and sculpting lessons
were introduced, based around his own
art collection and his library.
He offered both the latter as a gift to the
city that set up in 1872, the municipal
school of Beaux-Arts.
By a ministerial decree of 1882, the
school became regional and subsidised
by the state as were three other existing
schools in France: Lyon, Toulouse and
Marseille.
The school then started to record an
important number of registrations:
434 students in 1890 – they were often
coming to enrich their own professional
22
some history
Within the drawing school, the “factory
drawing” course gained more and more
popularity and gave birth to a separate
manufacturing school, the Ecole de
fabrication de tissues d’art et de dessins
industriels et decoratifs (the school for
the conception of artistic fabrics and
industrial and decorative drawings); the
fate of which was more directly linked
to the chaliere and textile industry: it
disappeared in 1906.
The swift coexistence of two
complementary schools conformed to
the distinction between “fine art” and
“arts and trade”.
The Drawing School then pursued its
activity without great change: teaching
remained free of charge, there was no
entrance examination and the list of
subjects taught remained fairly close to
the original school (drawing, directly
originating from the decisive revival
that occurred in the 1980s following
the art school reform of 1973, and the
consecutive arrival of a large number of
artists (Alain Clément, Claude Viallat,
Vincent Bioulès, Dominique Gutherz,
Tony Grand…).
school.
In 1988, the facades, the hallway and
the grand staircase were registered in
the auxiliary Inventory of Historical
Monuments. The floor of the hallway
was created by the artist Bernard Pages.
The Hotel Rivet was classified as a
historical monument in 2005.
Since its restoration in 1987, it houses
the Ecole Superieure des Beaux-arts.
The school’s activities are spread out
over three locations in Nimes:
- the Hotel Rivet’s main building
houses the administrative offices, the
library, the computer graphics and
video studios, the classrooms and the
student workshops.
- a construction and sculpture studio
located on the Mont Duplan
- t h e M a i s o n d u Po e t e , t h a t
accommodates the drawing workshops
and the editorial practice studio.
Both sites house the MxN school since
2010.
In numbers
311 students registered (2009/2010)
88 first year students, 30 fifth years
(2009/2010)
100% success at the DNAP and 100%
success at the DNSEP (2008/2009)
48 DNAP graduates and 29 DNSEP
graduates for the year 2008/2009
45 teachers
24 administrative and technical staff
8500 m2 of which 580 m2 consists of
exhibition galleries.
A budget of 3,7 million Euros.
The Hotel Rivet
Established in the heritage building
of the Hotel Rivet, the school takes
advantage of a privileged location, in
the heart of the historical city centre. It
naturally fits in to the artistic, cultural
and architectural heritage of the city.
Built in 1786 for David Rivet, a rich silk
merchant, the hotel is not set up around
a court but instead, and contrary to the
local tradition, embraces a U-shape.
It has been used in turn as a hospital,
a prefecture, and a young girls primary
23
Admission
Criteria for first
year entry
The results will be displayed in the lobby
of both sites and on the internet and
will be sent by post to the candidates
during the week following the exam.
The students will be spread out over
the different sites according to their
personal wish, the number of available
places on each site, and their ranking.
For non French-speaking students, a
French language test will be required
(TCF level B2).
• must hold a Baccalaureate (or else be a
candidate for the current year)
• must hold a diploma equivalent to the
Baccalaureate, French or foreign
• must pass the entrance examination
Dispensations to present the entrance
examination can be available from the
warden for candidates who have both a
secondary education level and who can
display enough maturity and artistic
engagement to ensure they integrate
well.
Registration terms and
conditions
There are three ways to collect a
registration pack:
1. from the educational secretariats
(Montpellier and Nimes)
2. by requesting it by post from the
latter
3. by printing out the documents from
www.nimes.fr/index.php?id=330 and
www.esbama.fr
Documents required: information sheet
to fill in, a copy of the candidate’s civil
status, a copy of the baccalaureate
or school certificate, registration fee
that is fixed at 20 Euros for students
from Nimes and the agglomeration of
Montpellier and 40 euros for all other
candidates.
Entrance
examination for
first years
There is one admission session per year.
Which includes:
- a written general knowledge test
- a plastic art test
- a foreign language test (either English,
Italian, Spanish or German)
- an interview with a jury who will
be drawing on a presentation of a
portfolio of personal work (the full
details concerning the portfolio will be
available at the time of registration for
the entrance examination).
The admissions examination will take
place from the 4th to the 7th of May
2010 at the Montpellier site.
27
admission
Criteria for
mid-programme
admission
Registration, reregistration
Students will receive their notification
to register or re-register.
They must indicate to the school
secretariats their decision to withdraw
temporarily (for a year) or definitely
(change of university or change of
course).
All students must settle their registration
fees and social security contribution at
the time they hand in their registration
pack.
(access committee and
committee for equivalence)
Students must attend an interview
with a panel of teachers and present a
portfolio of personal work. This task is
mandatory.
Do c u m e n t s re q u i re d : f o r m d u l y
filled in, registration fee, a diploma
certificate mentioning the number of
credits acquired. For students coming
from an art school from abroad, these
documents must be translated and
certified.
For non-francophone foreign students,
a TCF level B2 certificate is required
(their level in French will also be
assessed during the panel interview).
Registration
fees and other
charges
Rates for 2010-2011::
Registration fees for the entrance
examination and the committee for
equivalence:
20 Euro (residents of Nimes and the
Montpellier agglomeration)
40 Euro (all other students)
Annual registration fee:
260 Euro (residents of Nimes and the
Montpellier agglomeration)
530 Euro (all other students)
Charges for the registration forms:
40 Euro (residents of Nimes and the
agglomeration of Montpellier)
70 Euro (all other students)
Library lending deposit (payable at the
time of the first library registration):
92 Euro.
Access committee
Must hold a certificate or a diploma
in plastic arts or in applied arts (BTS,
DEUG, degree, masters), validating the
previous year of the study programme.
Must hold a sufficient number of credits
to enter the chosen year.
Local equivalence
committee
This will take place the 9th, 10th and
11th of June 2010 at the Nimes site.
The forms will be sent to the national
equivalence committee in order to
examine the documentary evidence.
28
29
The curriculum
ATELIERS DE
RECHERCHE
ET DE CRÉATION
semestre 1 à 6
année 1 à 3
DNAP
exposition
scénographie urbaine
communication dédiée
ACTULAB
UNITÉ DE RECHERCHE
semestre 7 à 10
année 4 et 5
DNSEP
dessin / éditions
FOCUS
espace / sculpture
vidéo / cinéma
peinture
MxN en un coup d’oeil
33
Phase PROGRAMME (3 ans)
DNAP
Enseignement dispensé sur chaque site (similaire en contenu et volume)
semestre 1 semestre 2 semestre 3 semestre 4 semestre 5 semestre 6
Mobilité
des étudiants
12 sessions
de travail dont
4 sur l’autre
site
Mobilité
des enseignants
sur les deux
sites
(Pôles)
Épreuve de
présentation
des recherches
et création
artistique
Pratique et initiation
Problématique et méthodologie de la recherche
Techniques et mises en œuvre
Histoire, théorie des arts et langue étrangère
St
- Assistan
- Lieux de
de l’art
- Lieux de
des art vi
spectacle
- Édition
- Pédagog
- Médiatio
- Entrepri
34
DNSEP
Phase PROJET
Phase
(2 ans)
PROJET (2 ans)
DNAP
art
DNSEP
art
Projet personnel deProjet
l’étudiant
personnel
(sites référents)
de l’étudiant (sites référents)
semestre 7 semestre
semestre
8 semestre
7 semestre
9 semestre
8 semestre
10
9 semestre 10
Soutenance
du Mémoire
Épreuve de
présentation
des recherches
et création
artistique
e de
ation
erches
tion
que
tages
nt d’artistes
e diffusion
e diffusion
ivants et du
e
gie
on culturelle
ises
Soutenance
du Mémoire
Épreuve de
présentation
des recherches
et création
artistique
Méthodologie de la recherche
Méthodologie de la recherche
et mises en œuvre desetrecherches
mises en œuvre
personnelles
des recherches personnelles
Philosophie, histoire et
Philosophie,
théorie deshistoire
arts
et théorie des arts
langue étrangère
langue étrangère
FOCUS
Stages
sites référents
- Assistant d’artistes
Lieux de diffusion
-- Montpellier
:
de l’art - sculpture
espace
- Lieux- de
diffusion
vidéo
cinéma
des art vivants et du
-spectacle
Nîmes :
- Édition
dessin
- édition
- Pédagogie
peinture
- Médiation culturelle
- Entreprises
FOCUS
ARC
sites référents
ACTULAB
ARC
unités de recherche
- Exposition
- Exposition
et commande publique
- Scénographie urbaine
et commande
publique
Pra/thex
diée
- Communication dédiée
- Montpellier :
espace - sculpture
vidéo
- cinémaurbaine
- Scénographie
Actu
- Nîmes :
dessin - édition
- Communication dépeinture
O2DA
35
ACTULAB
unités de recherche
Actu
Pra/thex
O2DA
The curriculum
The teaching
curriculum:
schedule.
Teaching during the 4th semester is
spread out over 12 week-long work
sessions, of which 4 must be completed
by the student outside of the of origin.
The student will carry out a portfolio
o f “m e t h o d o l o g y a n d s y n t h e s i s”
accompanying the research and personal
works.
The works will be displayed under the
responsibility of the coordinator during
the assessments at the end of semesters
3 and 4.
30 credits will be awarded per semester.
Each teacher grants the credits by way
of a continuous assessment except for
the personal engagement credits that are
awarded collectively by all the teachers
that are concerned.
A minimum of 108 credits must be
obtained in order to get through to the
5th semester (see credit retake terms in
the study charter).
The art school curriculum lasts three
and/or five years.
The programme phase corresponds to
the semesters 1 to 6, validated by the
DNAP
(the National diploma of plastic arts).
The project phase corresponds to the
following 4 semesters, validated by the
DNSEP (the national diploma of higher
education in plastic art expressivity).
Semesters 1 and 2:
Programme phase
Teaching during the first two semesters
is organised as lessons based on a weekly
schedule.
There are two assessments, at the end of
both semesters.
The year is concluded by a “methodology
and synthesis” portfolio displaying the
student’s experiences and works along
with an oral test at the time of the 2nd
semester assessment.
30 credits are granted each semester.
Each teacher grants the credits by way
of a continuous assessment except for
the personal engagement credits that are
awarded collectively by all the teachers
that are concerned.
60 credits are necessary in order to get
through to the 3rd semester.
Semesters 5 and 6: DNAP
programme phase
Personal work assertion.
A choice of 2 modules of methodology,
techniques and execution from the start
of the 5th semester.
The student will carry out a portfolio
o f “m e t h o d o l o g y a n d s y n t h e s i s”
accompanying the research and personal
works.
30 teaching credits will be awarded for
the 5th semester and 15 for semester 6.
Students will undertake the DNAP
exams provided they acquire 165 credits
and they obtain a favourable decision
from the school director, on advice from
the teaching staff after the presentation
of the works and research projects during
Semester 3 and 4: Programme
phase
Teaching during the first two semesters
is organised as lessons based on a weekly
36
The teaching curriculum:
the assessment at the end of semester 6.
Unless for exceptional circumstances,
which must be validated by the study
committee and the board of directors,
the DNAP must be undertaken at the
site of origin.
This exam will award 15 credits.
At the end of this exam, students should
have obtained 180 credits, they thus
hold the DNAP diploma.
the end of the 10th semester.
Access to the oral test involving the
presentation of the research and artistic
creation work is subordinate to:
- the acquisition of 267 teaching credits
including the 22 credits from the end of
semester 9 assessment and the 5 credits
from the semester 10 assessment, the
acquisition of the 8 credits awarded for
the memoire’s viva at the end of the 9th
semester, an approval from the school’s
director based on advice from the teaching
staff.
This test will award 25 credits.
At the outcome of this, students should
have obtained 300 credits, they therefore
hold the national diploma of higher
education in plastic art expressivity
(DNSEP).
Semesters 7 and 8: Project
Phase
Students must choose 4 teachers as
referents (research methodology and
implementation of personal research)
A year of research and seminars
A year in a work placement that is mobile
(time spent abroad)
Whilst continuing the production of the
“methodology and synthesis” portfolio
in addition to the student’s research and
personal work, students must begin the
writing of their memoire, the viva of which
will take place at the end of semester 9.
30 credits per semester will be awarded.
A minimum of 228 credits must be
obtained in order to progress to semester
9 (see credit retake terms in the study
charter).
Semesters 9 and 10: DNSEP
Project Phase
These two semesters are developed around
the student’s personal project.
Students must choose 3 referent teachers
(research methodology).
The memoire’s viva will take place at the
end of semester 9 and will allocate 8 credits.
The finalisation of the “methodology and
synthesis” portfolio is mandatory before
37
The curriculum
The ECTS system
the knowledge students have acquired
at the end of the course and in terms of
the skills that must be achieved.
The willingness of the European Union
to create an open space in terms of
education and teaching has driven
it to favour the cooperation and the
exchanges between the European
institutions for higher education and
to work towards a transparency and a
legibility of the courses within these
institutions.
Its with this perspective in mind that
the ECTS system or European credit
transfer and accumulation system was
established. The ECTS system is a
methodology that has been adopted by
higher education institutions in order
to bring an international intelligibility
to the study curriculum and to the
student’s development thanks to several
common tools, in particular the course
programme, the credits and the study
contract.
How has the ECTS
evolved?
The ECTS was implemented in 1989
in the context of the ERASMUS
programme. It is from now on part
of the SOCRATES programme. The
ECTS is the only credit system that
has been tried out and utilised with
success in Europe. Originally put in
place to ensure the transfer of credits,
the ECTS has allowed the ease of
the academic recognition of the
study periods spent abroad and the
qualitative development of students’
mobility in Europe. Recently, the
ECTS has evolved towards a credit
accumulation system implemented
on an institutional, regional, and
European level. Such is one of the
key objectives of the Declaration of
Bologna of June 1999.
What is a credit system?
A credit system is a method that allows
the allocation of credits to all the
components of a course. The definition
of credits in terms of higher education
can be based upon certain parameters
such as the student’s workload, the
number of hours of lessons and the
teaching objectives.
Why institute the
ECTS?
The ECTS facilitates the reading and the
comparison of courses for all students,
be they local or foreign. It also eases
mobility and academic recognition. The
ECTS helps schools and universities
organise and improve their courses.
The system can be used in a context of
diversified programmes and teaching
modes. It reinforces the attractiveness of
European higher education for students
hailing from other continents.
What is the ECTS?
The European credit transfer and
accumulation system is a system that
is centred towards students, based on
the workload students must carry out
in order to reach the objectives of the
programme that are defined in terms of
38
The ECTS system
What are the essential
characteristics of the
ECTS?
time spent on the personal work that
students must submit (for example,
10 hours of teaching and 20 hours of
student’s personal work). This data
remains indicative and gives way to
a small margin of interpretation to
take into account the range of different
teaching situations.
The ECTS credits can be regrouped
amongst Teaching Units. The system
comprises of mandatory and optional
credits. The student’s results are
awarded by a local or a national grade.
An example of good practice consists of
adding an ECTS grade, in particular in
the case of a credit transfer. The ECTS
grading scale ranks the performance
of the students received on a statistical
basis. This is why the statistical data
concerning the students’ results are a
preliminary condition to the application
of an ECTS grading system.
The grades are allocated to students who
have succeeded, based on the following
scale:
A – the top 10 %
B – the following 25%
C – the following 30%
D – the following 25%
E – the following 10 %
The ECTS is based on the convention
that the work a full time student must
submit during a year at university
corresponds to 60 credits. For a student
enrolled in a course that lasts 32 weeks
per year, the value of a credit represents
25 to 30 hours of work. The student’s
workload comprises the time needed
to participate in all the educational
activities; such as assisting lessons,
participating in seminars, personal
and autonomous studying, preparing
and undertaking exams, planning
projects, etc… The ECTS credits are
only awarded once all the work to be
submitted has been completed and
once the results of the course have been
appropriately evaluated. These results
correspond to a group of competencies
that define what the student will have
the knowledge of, will understand
or will be able to undertake once the
course has been completed, whatever
its length.
C re d i t s a re a l l o c a t e d t o a l l t h e
components of a course (modules,
lessons, tutored and non-tutored
practical work, internships, projects,
personal work, etc..) depending on
the quality of work that each activity
requires in order to achieve one’s own
objectives, compared with the total
work necessary to achieve a full year of
study with success.
One will distinguish – following the
credit system – the proportion of
teaching time spent in the presence
of the students and the estimated
A distinction is made between the
grades FX and F, used for students who
are failing. FX indicates: “failure – a
certain amount of additional work is
necessary to succeed” and F: “failure
– a considerable amount of work is
necessary”. The mention of the level of
failure in the report is optional.
39
The curriculum
The ECTS documents
recognition of the qualifications
(diplomas, university achievements,
certificates, etc…). It has been designed
to allow European students to give
value to their diploma and to their
competencies to an employer or a
university. It is handed out automatically
and free of charge – and in France, in
French – to each student and constitutes
therefore a sort of identity card for the
diploma.
• the student’s report book from
the attended institution, published in
two languages on the internet and/or
on paper. This information booklet/
catalogue of lessons must provide
information destined for foreign students
that will be attending the school.
• the study contract includes the list of
classes to attend. It is the subject of an
agreement between the student and the
academic head of the school concerned. In the case of a transfer of
credits, the study contract must be the
subject of an agreement between the
student and both schools affected before
the departure of the student. It must
be immediately put up-to-date in the
case of class changes after arrival at the
school.
• the grade report presents the student’s
results along with the list of classes
attended, the credits obtained, the local
grades and the corresponding ECTS
rankings. In the case of a transfer of
credits, the report of the leaving student
must be produced by the school of origin
before departure, and the incoming
student’s report by the receiving school
at the end of the study period.
• the diploma supplement i s a
document attached to the diploma of
higher education that gives standardised
description of the nature, of the level
of the context, of the contents and of
the status of the studies followed and
succeeded by the graduate. The diploma
supplement ensures the transparency and
facilitates the academic and professional
40
Glossary
glossary
[mxn] MxN, Ecole Supérieure des
Beaux-Arts Montpellier-Nîmes.
[mxn] MxN, Ecole Supérieure des
Beaux-Arts Montpellier-Nîmes, site de
Montpellier.
[mxn] MxN, Ecole Supérieure des
Beaux-Arts Montpellier-Nîmes, site de
Nîmes.
studio space where they can work on the
suggested exercises and then develop a
personal project.
Actu
Dnap
Teaching credits
At the end of each semester, 30
teaching credits are awarded during the
assessments.
Art Contemporain et Territoires Urbains –
contemporary art and urban territories:
a research unit of the Actulab laboratory.
National diploma of plastic arts,
obtained at the end of semester 6.
Dnsep
Actulab
A research laboratory, it comprises of
three units: Actu, Pra/Thex and O2DA
National diploma of higher education
in plastic expressivity, obtained at the
end of semester 10.
Arc/research and creativity
workshop
Methodology and synthesis
portfolio
It unites a group of teachers and
students to work around three issues:
the exhibition, the urban set design/
state commission, the dedicated
communication. A transversal
educational system including theory
and practice is implemented in relation
to the developed projects. Within this,
students must conduct a productive
experimentation defined by some
research contents and a calendar.
The ARC allows the introduction of
a singularity in comparison with the
core curriculum of the teachings and
anticipates the issues developed by the
three research units of the ACTULAB
laboratory.
Every year, students must produce
a portfolio showing the methods,
the documentation (photos,
bibliography…) and the implementation
of their research (between semester 7
and 9, the portfolio accompanies the
research in plastic art and distinguishes
itself from the memoire).
Focus/referent sites
During the project phase, video/
cinema, space/sculpture, painting/
colour, printing/drawing modules are
developed more precisely on one of the
sites; students, in consultation with the
teaching team, will choose a module
that corresponds to their personal
project.
Photography, sound, performance and
other types of artistic practices that
aren’t included in the focus are taught
Studio
From the first semester, students have at
their disposal an individual or collective
45
glossary
Memoire
Seminar
The memoire has a viva that takes place
in front of a jury at the end of semester
9,
its writing will commence in semester
7.
Every semester, a research seminar is
organised by the laboratory’s research
units.
Work session
O2DA
During the 4th semester, the teaching
is organised in a dozen work sessions
lasting a week, based around a issue or
a technique, with one or more teachers
or contributors.
On t o l o g i e e t Dé o n t o l o g i e d e l a
Diffusion de l’Art : unité de recherche
du laboratoire Actulab.
Programme phase
Internship
Corresponds to the semesters 7 to 10, it
is concluded by the DNAP exam.
In semesters 7 and 8, students must
undertake a work placement.
Project Phase
Workshops
Corresponds to the semesters 7 to 10, it
is concluded by the DNSEP exam.
These are educational timeslots reserved
for a specific course based around a
issue suggested by an artist-contributor.
They are in place mainly for students in
semesters 5 to 10.
Pra/thex
Practice and Theory of the Exhibition: a
research unit of the Actulab laboratory.
Pole
During semester 5 and 6, students must
choose two poles of methodology of
research technique and implementation:
colour/painting, drawing/printing,
volume/space, video/photo.
Research unit/laboratory
Three research units constitute the
Actulab laboratory:
Actu (contemporary art and urban
territories), Pra/thex (Practice and
Theory of the Exhibition) and O2DA
(Ontology and Deontology of the
Diffusion or Art).
46
The teaching
team
The teaching team
Drawing/printing
Michel MARTIN
Yann MAZEAS
Federico VITALI
Daniel BOISSIERE
Gérard DEPRALON
Pierre JOSEPH
Christian LAUNE
Nadia LICHTIG
Clémentine MÉLOIS
Caroline MUHEIM
Augustin PINEAU
Jean-Marc SCANREIGH
Isabelle SIMONOU-VIALLAT
General knowledge
Hubert DUPRAT
Corine GIRIEUD
Nadia LICHTIG
Didier MALGOR
Patrick PERRY
Natacha PUGNET
Albert RANIERI
Yves REYNIER
Corinne RONDEAU
Claude SARTHOU
Adam THORPE
Caroline ZIOLKO
Painting/colour
Jean-Louis BEAUDONNET Jean-Marc Cérino
Pascal FANCONY
Serge PLAGNOL
Yves REYNIER
Anne-Marie SOULCIE
Carmelo ZAGARI
Coordinators 2010/2011
Christian Laune / Michel Martin,
1ère année
Caroline Boucher / Sylvain Grout,
2ème année
Nadia Lichtig / Patrick Perry, 3ème année
Joëlle Gay, 4ème année
Didier Malgor, 5ème année
Space/volume/sculpture
Caroline BOUCHER
Laetitia DELAFONTAINE
Jean-Claude GAGNIEUX
Dror ENDEWELD
Nadia LICHTIG
Joëlle GAY
Caroline MARGARITIS
Grégory NIEL
Annie TOLLETER
Arnaud VASSEUX
Michaël VIALA Site de Nîmes
Augustin Pineau, coordination générale
Isabelle Simonou-Viallat, 1ère année
Jean-Marc Scanreigh, 2ème année
Jean-Marc Cérino, 3ème année
Hubert Duprat, 4ème année
Maïder Fortuné, 5ème année
Video/Photo
The coordinators will be elected every
year and for every site.
Brigitte BAUER
Charles CAMBEROQUE
Maïder FORTUNÉ
Frédéric GLEYZE
Nicolas Grosmaire
Sylvain GROUT
51
The teaching team
movements. He is the author of a book,
“Le Pastel, art de la couleur” (Pastels, art
of colour) published by in 1992 Fleurus.
Doctor in aesthetics in 2000 (thesis on
l’epaisseur de la peinture depuis 1945 –
the thickness of paint since 1945 – with
special mention from the jury). He has
participated in hundreds of collective
exhibitions and displayed his work at
fifty or so personal exhibitions at private
or institutional locations in France or
elsewhere (Canada, Spain, Mexico,
Norway, Peru, Poland, Portugal, RFA,
USA,…).
Brigitte Bauer
Born in Germany, Brigitte Bauer has
lived and worked in France since 1987.
After the development of a culture of
landscape (culture du paysage) in her
first series (Montagne Sainte-Victoire,
Ronds-Points) and a questioning of the
notion of identity (d’Allemagne, “Of
Germany”), her research is nowadays
turned more towards the territory - as
much real as psychological – of the
human attitudes and postures; may it be
in urban space (Alexandria, Marseille),
or in a space of leisure (Big Game, Jeu
de Foret – “Forest Game”).
Brigitte Bauer is professor of
photography since 2005. Her teaching
encourages a thinking around the
medium as artistic material (as well
as keeping an eye on its other forms)
and draws upon the largest scope of
its usages and practices, its modes of
production, of presentation and of
distribution.
She teaches from the first to the final
year.
w w w. b r i g i t t e b a u e r. f r a n d w w w.
documentsdartistes.org/bauer
Daniel Boissière
A trained graphic artist from the Ecole
d’Arts Visuels of Lausanne, Daniel
Boissiere has been teaching graphic arts
since 1971.
After having completed internships at
prestigious printing companies such
as Imprimerie Dreger in Paris, the
government publications office, the
Imprimerie Reunies or the Imprimerie
Jenoux in Lausanne, he established
in 1975 a graphic design studio
devoted to institutional and private
communication.
He creates the posters for various
festivals in Montpellier, coordinated
the creation of the official poster
for the 1998 football World Cup,
produces a large number of catalogues,
publications, panels for regional
institutions, and as much destined
for a cultural environment as for
associations devoted to development or
the environment.
This ecological strand holds a
predominant place in his aesthetic and
Jean-Louis Beaudonnet
Born in 1952 Jean-Louis Beaudonnet
– a painter - has taught painting since
January 1976 at Paul Valery University
of Montpellier, along with history of art
since January 1985. He has successively
been a member of the “Phases” surrealist
movement from 1972 to 1984, elected to
the regional office of culture from 1982
to 1986 and was charged by the Ministry
of Culture in 1982 with the mission to
establish a report on popular education
52
The teaching team
relational engagement. He perceives
Graphic arts as a place of study, of
discovery, of transmission and of
development. If the conception of a
personal piece of work in direct relation
with the student’s research is usually the
major way to the technical declensions of
drawing by engraving, of photography
and painting by screen printing and
lithography, the contemporaneousness
of digital technologies has completely
transformed – under the generic term
of mediatisation – the relationship
to communication but also to the
procedures of graphic creation.
The courses aren’t therefore restricted
to the walls of a school nor even to
the length of a curriculum. Students
request nowadays an open tuition as
much for the creation of a piece as for
its circulation, (publication and micropublication of catalogues, books, CDs,
DVD, object or online) and request
support in entering working life.
blister packs or the TV-formatting
of retail items generates itself in
accordance with the stockage space
we have available…” (extract from a
text by Ingrid Luche written for the
presentation of the exhibition project
Voisines – “Neighbours”).
Even though my practice is that of a
sculptor’s, it has been nurtured by an
eye for other artistic practices; as well
as for human activities in general, the
conditions in which they operate and
the forms they generate.
Far from an exclusive teaching of
sculpting, I wish to bring students to
conceive of a medium not only in its
technical and historical specificities,
but also by the relationships and links
that the medium has yielded with the
other artistic practices in the history of
modernity and from which it nurtures
itself.
Charles Camberoque
Charles Camberoque places his
vision of photographer on Man and
his identities. He creates images that
are in search of the universal in the
peculiar. His photographs experience a
warm welcome from Chinese cities to
European galleries: Chateau d’Eau in
Toulouse, Rencontres Photgraphiques
in Arles, the Georges Pompidou Centre
in Paris, the Juan Miro Foundation or
Primavera Fotografica in Barcelona.
Author of several books and video films,
he has also been sharing his passion for
photography for a number of years with
the school’s students. Camberoque is
one of the rare French photographers
praised by the prestigious publication
Caroline Boucher
Caroline Boucher has been developing a
sculpture piece since 1996: “…her works
(…) base themselves on the dimensional
and situational organisation of the
object. Her autonomous constructions
draw their economy of life in the
perspective of their presentation, they
depict the location that exposes them
through their angles of field. In her
recent exhibitions, Caroline distances
herself from everyday or ready-made
objects and refines her sculptures. Does
a packaging diverted from its initial
functions induce the form of the object
it protects? The return of the living
53
The teaching team
Cahiers de la Photographie that
published, a few years ago, an issue
based around his work.
develop a work of experimentation on
space, location and its representation within
their articulation and their relationship with
new medias. They produce suggestions,
devices and installations where they question
the location as a space of representation
in its projective, fictional and critical
dimensions. Their research has notably
driven them to benefit from a research grant
from the architectural department (2004)
followed by a PUCA publication, to be
received on residency at Frac Centre – that
accompanied a personal exhibition (2008)
–; as well as the publication by Actes Sud
of a theoretical book by the philosopher
Patrice Maniglier (2010) based on the
exhibition “Rosemary’s place” produced
at the Montpellier Beaux-art school’s
gallery (2007). They have also exposed
at the Avicenne/Glassbox foundation in
Paris (2009), at the Iselp art centre and
the Garage in Brussels (2007-2008), at
the Volksystem gallery in Toulouse (2005),
at the Beaux Arts of Aix-en-Provence and
at the Art Museum of Estonia in Tallinn
(2004).
They have been visiting tutors at the school
since 2005, teaching there since 2009, and
are participating in the research project “the
shape of ideas” at the Ecole Nationale des
Beaux Arts of Lyon and the Ecole Nationale
des Beaux Arts of Nice, Villa Arson since
2008.
They are developing a way of teaching that
suggests the interrogation of representation
and space implementation systems in a
transversal approach to writing and practice.
They favour research, experimentation
and questioning in order to develop a
methodology and an autonomy to the
student’s approach. www.a-dn.net
Jean-Marc Cérino
He has been developing a work that
takes into account the representation
of people met in various situations of
life, or even in desocialisation. If his
paintings – portraits sharing on a same
white background – decontextualise
their model, its in order to send each one
back to a common source, to a common
community. A work where formal
research is never lost from the themes
that are dealt with, and where the latter
are never orphans of a form.
Jean-Marc Cerino teaches painting from
the first to the final year. His work, as
is the case for a great number of artists
nowadays, has recourse to photographic
sources; for the first to the second year,
his teaching consists in making the
body, the language and the distance
proper to every pictorial representation,
in order to evaluate the specificity of
this medium but also its harmony with
photography. From the third to the final
year: monitoring of individual steps and
opening to the outside world by way of
internship suggestions within professional
and/or institutional structures; but also
exhibition experiences as it is well known
that many works of art only find their
final form once they are confronted with
their display space.
Laetitia Delafontaine
Laetitia Delafontaine has been working as
a duo with Gregory Niel since 2001. They
54
The teaching team
artificial formations. Interrogating
the history of techniques, by using
materials against type, his executions
derive from reciprocal contaminations,
the major by the minor or the aesthetic
by the decorative. His teaching offers
in particular a reflexion on the usage of
mediums and on the anthropological
and artisanal dimension of the making,
dealing with postmodern questions
of survival, of actualisation and of
reemployment.
In addition, he organises the exhibition
of student work in various places and
coordinates the regular collaborations
with the Frac Languedoc-Roussillon.
He prepares the students for the
DNSEP as much by workshop support.
Gérard Depralon
Gerard Depralon fits into a practice
that is essentially turned towards the
image. Captioned images, commented
images, uncanny images. Drawing is
his principal aim, but he also engages
in photography when the latter can
fit into his research in a relevant way.
The current series Ainsi Est-Il (So Be
It) bears witness to these choices, to
a coherent approach that could see
itself perhaps edited as a book, as is
testified by regular publications. Gerard
Depralon gives a particular dimension
to some of his work by the usage of
digigraphy, a method of expression by
which he experiments the notion of
line, the notion of scale and chromatic
value.
Naturally, his pedagogy draws upon
professional experiences and his
knowledge of the drawing and
publishing sector, with the aim of
entering a field of possibilities that
would hold take account of the
aspirations and abilities of each student.
Dror Endeweld
After obtaining the DNSEP at the
Beaux Arts of Lyon, Dror Endeweld
developed personal research combining
plastic ar t language and written
language by referring himself mainly
to minimal art and conceptual art. He
then participated in the second session
of the Institut des Hautes Etudes en
Arts Plastiques (the institute of higher
education in plastic arts) conducted by
Pontus Hulten (Quand les artistes font
ecole, “when artists gain a following”).
This session concluded the year after
with an exhibition, Le territoire de l’art
(art’s territory). The exhibition brought
together the works of historical artists
and young artists: it was an important
step in its evolution. Three years later,
he was invited to another memorable
exhibition of Pontus Hulten: Devant
le Futur (facing the future) in Taejon,
Hubert Duprat
Hubert Duprat is an artist and a
sculptor. His main personal exhibitions
since 1985 were held in places such
as the Villa Arson (Nice), the Mamco
(Geneva), the Criee (Rennes), the
Picasso Museum (Antibes), the Cairn
(Digne-les-Bains), the Frac PoitouCharentes and Limousin… In 2008, his
recent works were shown at the CIAP
of Vassiviere in the Limousin and in
2009 at the Frac Languedoc-Roussillon.
Duprat explores the frontiers between
art and science, between natural and
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The teaching team
South Korea. This experience allowed
him to create his first exterior piece,
a paradoxical floor work of hexagons
in granite. Following this, he created
a number of other perennial public
pieces, particularly in the direct lineage
of the work undertaken for LPA at
Frankfurt-on-Main, for the Ministry
of Foreign Affairs and at Lyon (Musee
des Beaux Arts de Lyon), playing on the
similarities and the divergences between
languages; at Roanne, on the occasion
of the renovation of the law courts,
with an interactive and polymorphic
piece. Previously at the Verney-Caron
gallery and at the IAC of Villeurbanne,
he created modular devices that, once
assembled, reveal short texts intended
to be read, with the aim of complicating
the relationship between form and
background.
In 2009, he attended the international
competition of Castelon in Spain
(EACC), invited by Daniel Buren. In
the whole of his approach, the spectator
is placed in the centre: he interprets an
ambivalent work based on his physical
apprehension and his comprehension
(what is perceived and what is read).
Dror Endeweld has been teaching since
1996. The relationship between “the
making” and “the thinking” is at the
centre of his teaching. The conflicting
debate is a method of privileged
pedagogic work that allows the students
to enlighten themselves and to take
position. He attempts to transmit the
values of a work from the history of art
by placing its references in front of our
world, informed but perplexed.
Pascal Fancony
Born in 1949, Pascal Fancony started
his artistic studies at the national school
of decorative arts in Nice to then “go
up” to Paris, Reims and then SaintEtienne, before heading to Canada
where he discovered “American Art”.
In 1972, after obtaining his painting
diploma, his work testified to the
influences of American abstraction: Sam
Francis, Rothko, Barnett Newman…
Between 1973 and 1977, his
preoccupations and his encounters
(artistic and theoretical) brought
him to join the Support-Surface
m ov e m e n t a n d t o g e t c l o s e r t o
Tel Quel magazine. His practice is
placed within the deconstruction of
painting. He participates actively in the
“critical” movements of the provinces,
exhibiting between 1973 and 1977
in a great number of cities in France,
preferring the Maisons de la Culture
and alternative locations to museums,
supported by art critics such as Jacques
Lepage, Jacques Soullilou or Jean Clair.
After 1976, he embarked on a critical
process vis-à-vis the return of mercantile
values withdrawing into theoretical and
analytical work. He studied at the Paris
VIII University and becomes a diligent
listener of the seminars of Barthes,
Deleuze, Lacan and Lyotard.
From 1981, he opted for a work
of synthesis between plastic arts,
architecture and the city, and a “more
social and concrete practice”. He joined
architect and urbanite groups (including
Henri Lefebvre and Paul Virilio),
created his colour and landscape agency
– the Topos atelier – and then ran the
urban Engineering Agency AUP in Aix56
The teaching team
en-Provence.
Its was within this setting that he began
an “Art and Territory” scheme at the art
school of Aix-en-Provence, developing
contextualised artistic projects, placing
in synergy several art schools of the
South financed by the Age d’Or
(Golden Age) network.
Since 2000, he has been devoting
himself exclusively to the teaching of
art and to his painting work, tackling
the question of colour as a real and
concrete experience that brought him
to befriend Aurelie Nemours and
Gottfried Honneger. He has written
a number of essays on colour where
his thoughts meet psychoanalysis and
phenomenology.
At the same time, his teaching has
tightened around the project on colour,
with a theoretical and pragmatic
programme resting on methodological,
analytical and constructive principals,
inscribing the chromatic creation
within its relationships to architecture,
true space and light. A project as
much aesthetical as ethical, where he
develops a pedagogical line that finds
its justification in a desire to transmit
historical concepts of the constructed
arts, resulting from the modern artistic
and architectural movements in order
to guide the students towards the new
trends of abstraction or of installation.
of contemporary arts) and directs her
interest towards the visual arts.
Her works (videos, photos, films,
installations) are so many portrayals
outlining fictions of virtual presences
strangely incarnated by the ver y
exhibition space and as if leaping from
the matter that constructed them.
Often, the whole piece aims towards a
mental image that liberates itself from
the narrative to become the support of
an active projection of the gaze, ready to
open the path to an anamnesis.
She is represented by the Martine
Aboucaya Gallery in Paris.
In 2009, her work was presented in
the following exhibitions: Elles@
c e n t r e p o m p i d o u ( Pa r i s ) , D a n s
la nuit, des images (“at night, some
images”)(Grand Palais, Paris), Myth of
childhood (CCA Majorca), Loop art
fair (Barcelona), Actual fears (CAN,
Switzerland), Remote Viewing: New
Video Art from Europe (Los Angeles),
Centre d’arte Santa Monica, at the
Paris-Berlin-Madrid festival, Haus der
Kulturen der Welt (Berlin), l’Edificio de
tabacalera (Madrid)…
Many works have been acquired by the
National Fund for Contemporary Art,
the FMAC, the FRAC Alsace and HauteNormandie, the Georges Pompidou
centre and by private collections.
Sh e h a s o b t a i n e d s e ve r a l g r a n t s
and residencies, the CANP research
allocation, the Villa Kujoyama, Japanese
Foundation, Hors les Murs residency…
In 2009-2010, she was a resident
member of the Villa Medicis in Rome.
www.maider-fortune.fr
“The image in movement
/relinquishes the illusion in order to watch
Maïder Fortuné
Born in 1973, Maider Fortune lives
and works in Paris. After undertaking
literar y studies and a theatrical
formation at Jacques Lecoq’s school, she
integrates the Fresnoy (national studio
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The teaching team
out for the possibility to bring about a
language, to produce sensations susceptible
to moult into thoughts. Brief, light,
furtive thoughts. Or else profound, heavy,
concealed thoughts, that recall a vague
memory.
/Aims towards a mental image, an
astonishing vision, a whiff of anxiousness.
C a re f re e o f n ov e l t y, d e s i r i n g t h e
extraordinary.
/Engraved in order to maintain an open
space, non authoritative, fit to generate
the active experience of an anamnesis, of a
certain return to oneself that is worthy of
a belonging, an echo of a silent interiority
/Relieved of the subjection to a narrative
monitoring, imposes the task of a traverse
into the very matter of the duration.
/Works the vertical line of its thickness,
devotes itself to the power of this duration
that moves the aspects and reveals the
immanent stratums, invisible to the naked
eye.”
objects, mechanisms…
He his akin to these rootless plants
that grow in all directions, in humour
and derision, he never tires of applying
Jeantaud’s L’epure*:
- that says that all vehicles finds their
line of movement (straight on), if one
does not perturb it.
- no quest, nor subject, if not to
do what must be done to generate
neurogamy.
Because music is the first liberty of
silence, and he loves both silence and
liberty, he composes a “music” of
imploration and inflexion.
- as he has no quest nor subject and
most often he finds what he isn’t
looking for, he nevertheless searches
for what he cannot find.
- the affiliations he maintains with
rites, myths and beliefs build up some
of his actions, “perforoclastic” actions,
he plays about with hymnography
and liturgical languages and he enjoys
indentifying himself as only slightly
coprophagous.
* Jeantaud’s l’Epure consists in giving
different angles to the two front wheels,
so that the four wheels of the vehicle
have the same instantaneous rotation
centre and that the latter is in line with
the back wheels, that are both parallel.
His work in various disciplines:
martial arts, traditional and ethnic
music, making traditional and
contemporary musical instruments
and teaching them - often in an
unorthodox manner; allows him to
undertake a research of definitionmeaning-objective-raison d’etre.
He glimpses in the art of teaching
a stake that is close to his vision of
Jean-Claude Gagnieux
It is his prosthodontist formation, his
practice of sports – and his teaching of
them – that has conveyed his artistic
choices, the pleasures of the workshop
and a necessity to implement action.
He developed two types of
performance:
- those under a hysteresis performance
form;
- those which are agglutinative,
stretched by this research on the
musical, linguistic and “moving”
properties of sound.
I n J e a n - C l a u d e G a g n i e u x ’s
performances there is something like
a joy and a despair…, sound, singing,
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The teaching team
performance, a play of transmission
or a transmission because there is
a play, adventurous, in accord with
the general objectives of the school
and which permits a battle against
tocophobia, which can occasionally
creep in.
tramway state commissions (first line,
1999), and member of the running
committee for the future contemporary
art centre of Montpellier under the
presidency of Jacques Imbert, and then
Francois Barre (2000).
In 1999, he put together the extension
project of the new higher education
school of the Agglomeration and
participates in the definition of the
programme, and then followed the
whole operation from its conception to
its completion.
Since 2000, he has been reinforcing the
international relations of the Beaux-arts
school of Montpellier Agglomeration; he
has been participating in numerous trips
and missions to China, Brazil, Germany,
Algeria, Greece…
He carried out the co-commission of
the ESBAMA exhibitions with Yann
Mazeas.
In 2009, he initiated with Professor
Jean-Francois Rossi, head of the
haematology/oncology department, the
state commission of the new St-Eloi
hospital in Montpellier.
Since 1981, he has been writing for
artist’s catalogues: Jean-Claude Galland,
Fillip Francis, Daniel Buren, Kate Blaker,
Nasser Bouzid, Francois Perraudin, Paul
Armand Gette, Jacques Fournel, Jean
Michel Petit, Arni Sigurdur Sigursson,
Grout et Mazeas.
Christian Gaussen
From 1977 to 1984, he taught painting
at the Beaux-arts of Macon.
In 1983, he was appointed director of
the latter.
In 1984, he founded the Contemporary
Art Centre of Macon, and developed
politics of demonstration, of publication
and of production of works of art.
From 1989 to 1991, he was an art
advisor for the Georges Verney-Carron
gallery in Villeurbane, and worked
for Art Entreprise on public and state
commissioned projects.
In 1991, he was commissioner for the
ARCS Studios in the Lot, and invited
Paul-Armand Gette, Niele Toroni,
Gerard Collin-Thiebault, Gilles Grand,
Eric Poitevin, Orla Barry, Jean-Noel
Buatois and Joel Renard.
In 1991, he was appointed director of
the Beaux-Arts of Montpellier District.
Since then, he has developed his teaching
politics in relation with the main schools
of contemporary creation (Montpellier
Danse, Mathilde Monnier National
Coreography Centre, Radio-France &
Montpellier Festival), state commissions
linked with the tramway but also the
football World Cup or the International
Festival of Mediterranean Cinema, etc..
He is alternately member of the artistic
running committee for the Montpellier
Joëlle Gay
With a diploma from the Beaux-arts
school of Montpellier and from Paul
Valery University, she teaches the
essential practice of sculpture and
volume.
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The teaching team
From the appellation sculpture to
volume and installation, the meanings
stretch themselves. The aesthetical
history of sculpture brings us nowadays
to take into account the architecture,
the landscape, the location, the setting
and the pseudo insignificance of the
things despised as the new orders of the
sculptural field.
To these possibilities, one must affix
a decision, and choose the split where
the gaze can walk through. Its within
this “amid” space, of the encountered
otherness, and of its resonance that
Joelle Gay bases her work as an artist
and as a teacher. This approach grants
an importance to the nuances of our
relationships to others, to the vitality of
the relationship to objects, to materials,
to spaces and to their extraordinary
layout capacities.
In order to give birth to an unstable
and troubling reality effect where
the work escapes the technique, the
image projection and the reality of
the object, the physical implication
in the relationship to art is for her a
necessary passage from the voluntary
state of movement and of the project,
to the unexpected voluntary state of the
novelty of one self. To let one self go,
there is a specific time, totally new, non
quantifiable according to the weight
of the norm, but measured, evaluated
with the other by the yardstick of the
relationship that we must defend.
Thus, in teaching, it is about
accompanying each other to live out
our desire, as the expression of “a
logic of sensation” (G.Deleuze). It is a
moment where “the world is in distress”
that is chosen as a means of execution of
the creative space.
The inter-crossing of diverse locations,
heterotopias (of crisis?), non-places
(split-up social spaces), are locations
of “the mixed and adjoined experience,
that ser ve as a mirror (utopia)”
(M.Foucault). To treat this stock of
forms, of information and of objects
has the power to render visible what is
atypical and unregimented.
These undefined spaces, improbable
plastic and practical supports, give a
meaning – by this work – to the role
of art and therefore to the role of art
schools.
They are the latter’s frame of emergence,
the crucial and distanced counterpoint
of a consumerist society; a place is given
to a non-domesticated opportunity of
choice.
Being a member of the collective of
artists DHS (for Dehors series) since
2002 and of A Tempo since 2009, gives
body to this utopia.
Frederic Gleyze
He commenced his audiovisual career
in 1990, as an assistant to an image
reporter journalist. Twenty years spent
in various private sector production
structures allowed him to acquire a
whole range of practices: machinist,
film shooting operating assistant,
cameraman, editor, director, project
manager…
As a professional deep-sea diver
specialised in underwater filming, he
directed the curriculum training videos
for the French Federation of Underwater
Studies and Sports (FFESSM).
Since April 2000, he has been
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The teaching team
undertaking the students’ audiovisual
training, whilst pursuing a significant
activity within the film industry (private
sector). He is the author of audiovisual
work since 2006.
de l’édition sur l’Internet ; elle travaille
alors pour les Editions Réticulaires (dont
Chronic’art) à la fin des années 90. Elle
est aujourd’hui rédactrice du magazine
en ligne d’Annick Rivoire, Poptronics
et a créé son site corine-girieud.fr, qui
permet de présenter tant des projets
d’artistes que d’étudiants. Elle a
également collaboré à la vie de la revue
Cimaise et s’investit maintenant dans
le magazine franco-allemand Artline.
Son enseignement en histoire de l’art
bénéficie de cette diversité d’approches
qui fait se mêler les différents arts (arts
plastiques, vidéo, cinéma, littérature,
théâtre) ainsi que l’histoire à l’actualité
dans le but de privilégier une réception
singulière à chaque étudiant.
Corine Girieud
Née en 1974, Corine Girieud termine
son doctorat en histoire de l’art
contemporain à Paris IV-Sorbonne : La
Revue Art d’aujourd’hui (1949-1954) :
une vision sociale de l’art. Elle enseigne
à l’Université de Nîmes-Vauban dans
la licence Arts et Médiation culturelle
en suivi de projets culturels, ainsi qu’à
l’IUT de Corte (Haute-Corse), dans
la licence Techniques et Activités de
l’Image et du Son où elle dispense des
cours d’histoire de l’art et d’harmonies
chromatiques. Elle a également assuré
des charges de cours à l’Université PaulValéry de Montpellier pour la licence
Média, Communication, Culture.
Elle a rédigé une centaine de notices
pour le dictionnaire du Béné zit
(éditions Gründ), a publié différents
articles dans la revue scientifique La
Revue des revues et a participé à des
colloques, séminaires et tables rondes
sur des questions touchant aux revues
d’art des années 50, leurs réseaux, leurs
réceptions, leurs rapports aux artistes,
etc.
Parallèlement à ses activités en histoire
de l’art, elle exerce la critique depuis
plus de dix ans qui a provoqué la
rencontre avec des artistes, engendrant,
naturellement, des projets communs
d’expositions et d’éditions. Son désir
de rendre son travail accessible à tous
lui fait rapidement comprendre l’intérêt
Nicolas Grosmaire
After completing an art degree (DNSAP),
Nicolas Grosmaire has worked for 5 years
as a set designer for a number of theatre
companies (Les naufrages volontaires,
Sous le regard d’Ulysse, Kaleidoscope…)
and as a guest speaker specialised in
plastic arts. He has, during this period,
continued with his plastic art work,
participating in collective exhibitions and
creating graphic designs (Solis Society,
Le Vintage restaurant, Sous le regard
d’Ulysse et Kaleidoscope association,
Rugby-style society, UNAID website…).
As a graphic artist he has subsequently
worked for the Agency for Urbanism and
Development in Nimes, with the task of
creating logos and models along with the
study and the setting up of the graphic
chart.
As a specialised art teaching assistant, he
handles the multimedia and the school’s
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The teaching team
publications.
He has also been working since 2003 at
the University Centre for education and
research Nimes-Vauban as temporary
lecturer in IT and Multimedia for the
whole of the art and the IT department.
His teaching approach remains essentially
based upon the practice and awareness of
computer science within artistic and
professional reflexions.
writing and conception, under the
name Grout/Grout, of a 13 track pop
album (Warm/Worms). www.groutmazeas.com
Dominique Gutherz
Born in Montpellier in 1946. He learnt
the craft of glass-blower from several
different masters and had, at the age of
17, a momentous encounter with Jean
Bazaine. He was resident member of the
French Academy in Rome from 1975
to 1977, where he met Balthus, then
director of the Villa Medicis.
He has been running the Nimes school
since 2002 where he taught drawing and
painting from 1983 to 2002.
He lives and works in Meynes in the
Gard.
“Dominique Gutherz has chosen to explore
this dimension of epiphany, of presence,
to study its laws, to gather moments of
intensity; in short to draw, but in the way
one ties a bond or performs an exchange”
Yves Bonnefoy.
Sylvain Grout
Born in 1971 in Bordeaux, Sylvain
Grout leads with Yann Mazeas an
artistic career as a duo (Grout/Mazeas)
in which borrowings from Cinema
are pretexts to maintain a fantasised
relationship with the spectator.
“Their work develops itself according
to a strategy that strips down the
mechanisms of the reality of the image.
So much so that the dimension they
work in puts into question the abstract
– and after all reassuring – hyphenation
that is still too often established between
reality and fiction.
Their project consists in recognising
this space no longer as a frontier but
as a territory worth reinvesting in by
undermining the antagonisms between
true and false, between the imaginary
and the real. It is in the overtaking of
this symmetry that they can disturb the
established order of certain cultural and
moral conventions; when they pervert
the traditional opposition between the
rational and the impulsive through the
recurrent face of fantasy”
For several years, he has also been
sustaining a penchant for music that
has materialised itself notably in the
Pierre Joseph
Born in 1965, he has a degree from the
Beaux-arts of Grenoble.
As an artist he first of all worked
together with Dominique GonzalezFoerster, Bernard Joisten, Philippe
Pareno or Philippe Perrin on singular
projects such as Siberia in Grenoble,
Ozone in Nevers and Cologne or even
Les Ateliers du Paradise in Nice that
Nicolas Bourriaud used as the original
for his work Esthetique relationelle.
He subsequently explored in the 1990s
the virtual field, role playing games and
the possibility of reactivating works
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The teaching team
of art and situations. These different
devices thus often bring into play the
idea of audience participation.
He introduces figures of popular
culture, characters from tales, films
or comic books, into the universe
of contemporary art. They are the
characters “to be reactivated”.
In 1997, he participated in a three
month residency in Japan during which
he radically redirected his practice.
He focussed on the transmission of
knowledge by taking on different
postures: a student or an apprentice in
video works, or a building site manager
in workshops. It is thus for him about
“abandoning the discourse of power
linked to the mastery of knowledge
(…) and to refuse the violence of all
hierarchies.”
He is less concerned by imposed or
official knowledge than by the effective
daily management of culture, and he
analyses how knowledge is received,
adapted, worked on or forgotten about.
For this he puts in place certain protocols
with groups of students (Beaux-arts,
IUFM…) in which they restore from
memory the representations acquired
during the course of the experiment
(plan, map, body representations…).
These different fragile and fallible
materials (sketches, drawings) will then
be reprocessed by the artists in order to
gain from it complete legitimacy and
the authority (Atlas, restored images,
2004).
His teaching turns towards what could
build the singularity of a generation and
to the culture it empirically produces.
The act of creation therefore allies itself
to the writing or the erasing of what
is lacking or failing in the order of a
transmission that is never complete.
The students are brought to spot these
singularities, to think about them and
to express their issues.
Christian Laune
He holds a diploma form the Beauxarts of Montpellier. From the end
of his studies in 1979, he was part
of the “young pioneers” wave who
were committed to the circulation of
contemporary art in the region. In
turn director of the following galleries:
Helioparc/Theatre des reflets in Font
Romeu, Carreton-Laune in Nimes and
Errata, Christian Laune in Montpellier,
he now manages since 2000 the Galerie
Boite Noire again in Montpellier. This
structure brings together nine private
and associative Montpellier galleries.
Since 2009 the Galerie Boite Noire
organises and realises the Salon du
Dessin Contemporain de Montpellier
(the contemporary drawing fair of
Montpellier).
Boasting a passion for drawing, he
considers the latter as a medium of
exceptional perception, a tool for
freedom and reflexion, a laboratory
with infinite formal registers, like a
dynamic needing permanent trials in
a refinement of adjustments… From
this position, drawing is suggested to
students as an efficient instrument of
knowledge and research. It places them
in an acute relationship with the news
and with their own culture. It gives
them the means to question the latter
directly with the efficiency of a medium
of proximity.
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The teaching team
Thanks to his strong professional
experience as a gallery owner, Laune
runs a workshop destined to build
awareness towards the environment
and the contemporary art market based
upon the students’ work and exhibition
and publishing projects.
www.leschantiersboitenoire.com
since January 2009.
Lichtig’s teaching conceives itself
simultaneously as a transmission and
as a place of experience. Her aim is to
formulate a questioning. For example,
how can we enhance our comprehension
of contemporaneousness, and elaborate
a thought on the medium, the history
and the feature of the artists, their
place and their role in a work of art.
Her teaching responds to the possible
questions that are raised by video as
an art. Trilingual (English, German
, French), Lichtig is also passionate
about languages. Through her video,
performative writing and foreign
language lessons she hopes to convey
her knowledge and passion.
Nadia Lichtig
Born in Germany in 1973, Nadia
Lichtig studied in Berlin, Lyon, Los
Angeles and finally at the Beaux-arts
school of Paris where she obtained her
DNSEP with unanimous distinctions
from the jury in 2001. She develops
a protean artistic work that includes
installation, video, photography
and sound. Her projects explore the
relationships between subjectivity
and representation, investigating the
blurred region between the authentic
and the scripted.
She regularly invites colleagues, actors
and foreign artists to collaborate together
in order to produce examinations that
are based upon meticulously composed
forms. Her work is presented by
means of exhibitions, of concerts and
publications (vinyl, booklet) under her
proper name, or under a pseudonym
or group name (EchoparK, Ghosttrap,
Nanana, Skrietch, Falseparklocation…).
Nadia Lichtig was invited as an artist
to the Silpakorn University in Bangkok
(Thailand) in 2006, and then to
Rachna Art School in Bombay and the
Srishti School of Art, Design and new
Technology in Bangalore (India) in
2008. She has taught at the Beaux-arts
of Valence in 2007 and Montpellier
Didier Malgor
Doctor in literature and French
civilisation from Paris-Sorbonne, he
teaches the history of ideas in the
establishment of semiology at the
University of the Pays de l’Adour
(UPPA). He is the head of the research
unit Art Contemporain et Territoires
Urbains (ACTU) (contemporar y
art and urban territories) within the
ACTULAB laborator y. The work
coming from this unit regrouping
artists and research-teachers from
art schools, CNRS and French and
foreign universities is assessed by the
scientific committee of the DAP and of
the research innovation bureau of the
Ministry of Culture that has financed
three research projects since 2002.
http ://actulab.free.fr
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The teaching team
until 2004.
He re a re s o m e o f t h e c re a t i o n s
he has participated in: electronic
communication and information
terminal for Saint Guillem le Desert in
liaison with the Historical Monuments
Fund (1995); reconstitution in digital
imagery of a 4th century Greek quarter
for the French School of Athens (1996);
CD-Rom for the Medard fund in
collaboration with the CNRS (1999);
CD-Rom Terre des Troubadours (the
land of the Troubadours) recognised as
of educational interest by the ministry
of Education (1997).
In parallel he has been coordinating the
development of tools such as: the NotaBene long-distance education platform
(2001), the BPAO software designed
for business start-ups, validated by the
Anvar (2000) and Melusine, a software
designed for the multimedia creation
of objects.
He is associated with the conception of
a great number of websites, in particular
in the domain of high technology
companies (Montpellier Agglomeration
Technopole, Apex, Qualiflow, Ventura,
etc…) or of plastic arts (DanielDezeuze.
com, Varistas.org, C5.org, etc…).
His teaching is pragmatic and open on
contemporary artistic practices. Digital
technologies simulate and hybridise
practices that preceded their appearance,
whilst still using their own language.
Their omnipresence allows them to
be seen concurrently as instrument,
media or environment. Considered as
tools, software and other systems are
used in the conception of projects.
More than learning how to use the
programmes, it is about undertaking
Caroline Margaritis
Born in Marseille in 1947, Caroline
Margaritis lives and works in Assas
(in the Herault). For several years,
she has been basing her research on
an art of attitude and of anonymous
performances and in parallel she
questions the relationship of sound to
image and to space. She is currently
finalising an audio piece started in
2007.
Her teaching brings up memor y,
perceptions and physical tasks.
She questions the perception/
interpretation coupling, the
misunderstood, the opinion and the
economy. Her teaching has become
supportive of a choice, often critical
of a situation drawn from experiences
that override the apparent paradox of
an absence of trace with the expression
or the development of a student project.
The link with her teaching is to enhance
the perception and the emotion/
reflexion/interpretation process, to
highlight a detail or a snapshot and
to render it into audible/visible object
matter on par with the fundamental
examples. She places herself as an
intermediary in the students’ capacity
to be aware of one another’s work, to
one another’s thinking modes, in order
to discover what is already there, in
themselves, and to position and invent
themselves enriched from each other.
Michel Martin
After an artistic training, he
created Piximedia in 1994, a
company specialising in multimedia
communication and he co-manages it
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The teaching team
a reflection, experimentations, and a
plastic production based around the
questions relative to the possibilities
and the limits of these “high tech” or
“low tech” appliances. It is a question
of learning to look at what is there in
order to acquire a critical distance, to
confront the creations, to cultivate the
interrogations, to become autonomous.
Clémentine Mélois
Born in 1980, she graduated with a
diploma from the Beaux-arts of Paris
in 2004 and then taught printing and
book making in Nimes since 2008.
She has chosen the artist’s book and
the “Printed thing” as medium of
predilection.
The workshop develops printing and
book making in its larger context,
by bringing in traditional mediums
(etching, lithography, screen printing,
embossing, monotype, potato
stamp…) as well as digital printing and
photocopying. The technical support
is accompanied by a critical and
transversal reflection on the relation to
other medias or even on the status of
the printed work, in order to finalise
an accomplished printing work, in the
path of each other’s artistic project.
“A soft and bitter irony, sometimes a touch
of impertinence, still waters that are best
not disturbed, some tenderness and some
sarcasm, a whole that must be approached
gently and left impregnated” Michel
Salsmann.
www.vachezebree.fr
Yann Mazéas
Decors, actions, breakages, installations,
videos, texts (sticky, dribbling, pierced
or explosive) are the different methods
used by Yann Mazeas and Sylvain
Grout in order to think and create a
fantasy and a common reality. Violence,
grandiloquence, and destruction, are the
forms that are borrowed to get to this
fantasised relation; cinema is the main
battleground.
Yann Mazeas and Sylvain Grout maintain
a position of “rascal”, because it is an
operating means of communication that
allows formal and tense transfers, with
no other presupposed strategy than an
heroic and symbolic position.
“Although it is by nature a space for
simulation, the art school is a stimulating
platform where theoretical, practical and
technical experiences bring the students
closer to the specific reality of contemporary
creation. In collaboration with other
teachers, I put in place work hypotheses that
bring the students – through the medium
of video and its circulation – to envisage
their responsibilities within the school and
within their future involvements.”
www.grout-mazeas.com
Caroline Muheim
The teaching of drawing is conceived
as an act of thought construction,
intimately linked to the experience of
the living being and clairvoyance – to
see clearly. It is approached as a task,
that engages students in their relation to
space and time. It specifies the attention.
The motionless observation becomes
progressively an awareness of the
mobility of the world. Choosing a point
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The teaching team
of view and grasping the movement in
order to create the gap.
After an art and a History of Art and
Archaeology course, she undertook
installation work. Searching for dialogues
and placing in doubt artistic singularity,
she exhibited under borrowed names
and then collaborated within artist
groups and collective projects, including
Panoplie, a magazine for artists on the
internet, and ON (gallery in Marseille,
in parks in Aldebaran, Castries,
Carre Sainte-Anne in Montpellier.
Publications: paper, audio and video
editions).
Since 1995, she has been following
the teachings of a Chinese martial
arts master with whom she travelled
to Sichuan on the Tibetan border and
to the larger cities. Starting with the
experience of movement and immobility,
she has undertaken a work that questions
observation times and qualities.
“What I see” becomes the motor of
the work, more precisely in the gap
between photography and painting and
in the descriptive and often litanious
texts restoring the movements. We must
observe and name until we “mind our
own business”.
Sete CRAC, Mire Gallery in Geneva,
Ku t n e Ho r a Mu s e u m i n Cz e c h
Republic, art schools of Toulon and
Tianjin in China, Zervos Foundation in
Vezelay, gallery-studio in Berlin and the
Montmajour Abbey. Audio CD releases.
Esca publications. Frac LanguedocRoussillon collections.
Grégory Niel
He has been working as a duo with
Laetitia Delafontaine since 2001. They
have been developing an experimental
work on space, location and its
representation in their connection and
their relationship to new medias. They
conceive propositions, devices and
installations that question the location as
a space of representation in its projective,
fictional and critical dimensions. Their
research brought them to benefit from
a research grant from the department
of architecture (2004) followed by a
PUCA publication, brought them to
become residents at the Frac Centre –
resulting in a personal exhibition – and
conveyed the publication by Actes Sud
of a theoretical book by the philosopher
Patrice Maniglier (2010) based upon
the installation Rosemary’s Place –
created at the gallery of the Beaux-arts
of Montpellier (2007). They have also
exhibited at the Avicenne/Glassbox
Foundation in Paris (2009), at the Iselp
art centre and at the Garage in Brussels
(2007-2008), at the Volksystem gallery
in Toulouse (2005), at the Beaux Arts
of Aix-en-Provence and at the Art
Museum of Estonia in Tallinn (2004).
They have been developing a way of
teaching that suggests the interrogation
of representation and space
implementation systems in a transversal
approach to writing and practice.
Favouring research, experimentation
and questioning in order to develop a
methodology and an autonomy to the
student’s approach.
www.a-dn.net
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The teaching team
Patrick Perry
Patrick Perry
Born in 1963, Patrick Perry has been
teaching history of art in schools since
1999. His teaching and research work are
influenced by two principal positions.
First of all, they draw on questions
of modernity and postmodernism in
the 20th century. He has published
a number of articles and reports on
contemporary art and has carried out
the associated commissioning of many
exhibitions, from Marc Chagall et le
vitrail, 1992 (“Marc Chagall and the
stained-glass windows”)
to Bloody Mary, une idée du cabinet
to curiosites, 2004 (“Bloody Mary, an
idea from the cabinet of curios”). He
is also in charge of the contemporary
history of art classes at the Paul Valery
university of Montpellier and he is
co-founder of contemporary creation
website panoplie.org and of panoplie.
prod.
Part of his research is based on medieval
art, and particularly on architecture
and monumental sculpting during
the Roman era. After organising all
the Europe and the Bible events at
Clermont-Ferrand (international
conferences, exhibitions…, 1992) ,
he has participated in a number of
conferences and research teams on
art of the middle-ages, and published
articles in, amongst others, Congres
archeologique de France, Les Cahiers
de Saint-Michel de Cuxa and Hortus
Artium Medievalium (Zagreb). He
produced the catalogue of the late
medieval and Roman sculptures of
Saint-Guilhem-le-Desert.
Augustin Pineau
Born in Bordeaux in 1968, Augustine
Pineau graduated with a DNSEP
diploma from the ESBAN in 1991.
As an artist he has developed since
the beginning of the 1990s a work
of collage, of assemblage and of
installations from printed images, from
games and from objects.
His work explores the idea of images in
relation to language and memory.
He regularly collaborates for
t h e m a g a z i n e Ve n u s d ’ a i l l e u r s
(venusdailleurs.fr).
He has recently published Avoir la
toupie dans l’oursin (“to have the top
in the urchin”) in collaboration with
Richard Khaitzine and Pierre Manuel
(Meridianes eds); Fake in collaboration
with Yoan Gil (Venus d’Ailleurs eds);
and Attraction passionnee, Methode
forestiere in collaboration with Remi
Leboissetier (Art-Image eds).
He has also worked on numerous
a r t i s t ’s r e s i d e n c y p r o j e c t s a n d
exhibitions, notably with Diem Perdidi
(galeriedutableau.free.fr) and TriangleFrance (trianglearts.org).
He teaches drawing to first years and
supports the realisation of printing and
exhibition projects of student work in
the second year.
He is also head of general coordination
within the Nimes site.
http://augustin.pineau.free.fr
Serge Plagnol
After studying history of art and plastic
arts at the University of Provence68
The teaching team
Aix-Marseille, he obtains a University
Diploma in History of Art and a CAPES
(teaching qualification) in plastic arts.
From 1975 to 1984, he taught in several
secondary state schools.
From 1984 to 1991, he taught painting
at the Beaux-arts of Toulon.
From 1991 to 2002, he was part-time
teacher at the school of architecture
of Marseille Luminy and at the plastic
arts department of the University of
Provence.
From 2002, he has been teaching
painting at the Nimes site.
These different teachings have always
privileged both a practical and theoretical
approach to painting, connected to
history of art and to the questions
relative to contemporary painting.
Serge Plagnol’s approach to painting
has always been based on the historical
heritage of the 20th century, particularly
the issues on colour and its relation to
drawing and the brush stroke.
At the junction between European
painting and American abstract
expressionism, his painting links a rich
colour range with a sketch of a drawing.
It maintains a relationship of evocation
with the figurative by reinstating an
“entre deux” of pictorial space.
His painting is nurtured on literary and
poetic texts. It sparks off a dialogue with
other artistic cultures, notably with the
history of Chinese wisdom and painting.
Recent publications and catalogues:
Mediterrannee, Hotel des Arts, Toulon;
Diotima, with a text by Jacques Serena
(AREA eds, Paris); Celebrations, with
a preface written by Christian Garcin
(AREA); Les Veilleurs de la nuit, with a
text by Alain Restrat (Centre d’art Villa
Tamaris, la Seyne-sur-Mer).
Natacha Pugnet
She is a member of the AICA (the
International association of art critics),
is a holder of the aggregation (a high
level teaching qualification) and has
a PhD in science of art. Until 2009,
she was a teacher at the University of
Provence-Aix-Marseille in the plastic
art and science of art department where
she taught practical classes as well as
the history and theory of contemporary
art. She joined the Beaux-arts in 2009.
Using practice and theory, her lessons
bring methodology to the analysis of
different approaches – also applied to the
students’ practice – and to the writing
of the memoire. The analysis of various
forms of writing constitute a different
articulation of practice and theory. She
is particularly interested in approaches
that put into question the role, the
status and the figure of the artist, in the
attitudes and the strategies of erasure
(abandoning subjectivity, delegation and
appropriation) and in playing around
with the word “I” and the interrogations
of identity – a subject on which she has
published a number of articles.
The erasure of the artists, paradoxical to
creation – an essay on art from the 1970s
– is to be published by La Lettre Volee in
2010. Her teaching favours a reflection
amongst students on the process of
“creation” and on the place held by
“the producer”. She has also devoted a
number of texts on contemporary artists
such as Mark Dion, Hubert Duprat,
Oscar Molina and Trevor Gould. The
importance that she gives to the writings
and the discussions of artists – in 2008,
she published Figures d’Artistes, a book
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The teaching team
of discussions with 13 artists – manifests
itself in her teaching.
From the first to the final year, her
lessons touch on the main questions
raised by contemporary practices since
the last avant-garde; revision of the
history of art, self-representations and
mise-en-scene of oneself, relationship
with the Museum and cross-disciplines.
The seminars and the lessons alternate
with workshop support and memoire
preparation.
abroad (CAPC of Bordeaux, Centre
Pompidou, Museum of Saint Etienne,
Museum of Ceret, Carre d’Art in
Nimes, Ludwig Museum and Villa
Medicis in Rome).
“Yves Reynier’s work seems to belong to a
world before Babel. A multidimensional
world, where languages, far from
dissolving into one, complement each
other and are communally enriched by the
variety of their nuances and the difference
of their sonorities. Here, everything is
just echoes, reflections, images repeated
to infinity. The meaning works on shades
and light, the enigma impregnates the
form and the gaze. We believe we see an
allegory, we decipher a fable, we remember
an aphorism. The cutting boards take on
appearances of Cycladic divinities, dressed
and made-up for strange rites.
To the fragments of his painted canvas,
little by little the artist associates other
fragments, from extracts from the world
of images or from the world of natural
materials. And without leaving the
format that he loves – the paper format
– he elaborates strange visual poems
in which he describes his appetite for
cultural hybridity and the sensuality of
things. Thus, hybrid works are born,
combining painting with Mikado sticks,
reproductions of Giulio Romano with
fur, sacerdotal tissue with dead birds. In
doing this, the artist goes from the flatness
of the early three-dimensional high-relief
work to the direct usage of objects as
support, such as cutting boards or more
recently skateboards. Moreover, by the
suave interlocking that characterise them,
these works look more like concretions
of heterogeneous materials rather than
classic assemblages. Nevertheless, there is a
Albert Raniéri
As an art historian and academic, Albert
Ranieri originally works on Tuscan
mannerism and Baroque set design.
After numerous study and research
visits to the German institute of history
of art in Florence, and a year spent
in the USA, he directed his teaching
towards applied arts and environment
design. He is also interested in the
relations between art and architecture
and in the questions relative to the idea
of nature in art as well as in exhibition
practices.
As a lecturer, he gives lessons at the
Paul Valery university in Montpellier
(foreign students institution) and is
responsible for the organisation of
collective study trips (in France and
abroad).
Yves Reynier
Born in 1946, his work is associated with
assemblage, collage and installation and
their relationship with space and time.
He has set up numerous personal and
collective exhibitions in France and
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The teaching team
singular beauty that emanates from them,
the result of unexpected encounters –
formerly hymned by Isidore Ducasse – that
could easily be enjoyed by the spectator if
it wasn’t for the insidiously tormented
enigmas of these paper sphinxes.”
Extract from Relinquaire du reve by
Guy Tosatto, October 1999, Actes Sud/
Carre d’Art.
the fixed and the mobile image”, at the ParisMolitor IUFM.
From 1999-2001, acting producer at FranceCulture (radio station) for Surpris par la Nuit
(produced by Alain Veinstein) (“surprised by the
night”), and collaborator for Multipistes, also on
France-Culture (produced by Arnaud Laporte).
Member of the Beaux arts jury for the final year
diploma, DNSEP, at Metz (2001), Le Havre
(2002) and Montpellier (2008).
Intervening teacher in workshops for 3rd, 4th
and 5th years at the Beaux arts of Toulouse
(2001 & 2002).
Corinne Rondeau
She is a head lecturer (nominated 2002),
qualified in the 18th section at the University
of Nimes.
PhD in Aesthetics and the science of art.
Thesis with viva on the 28th of May 1998,
entitled Titien, le devenir-peintre, Iconographie
et singularite. University Paris III SorbonneNouvelle. With unanimous distinctions. Jury:
Daniel Arasse, Maurice Brock, Jean-Louis
Leutrat, Jacques Ranciere, Mme Murielle
Gagnebin,
Other Diplomas:
DEA (Lacanian field) under the supervision
of Gerard Wajcman at Paris VIII, entitled Le
Desastre du Sujet (the disaster of the subject)
(1992), an analysis of the literary and graphical
work of Pierre Klossowski.
An MA in psychology at Toulouse-le-Mirail
with a thesis entitled Secrete Image, an analysis
of the secret in literature and the process of
creation based upon the short story L’image
dans le tapis by Henry James, 1990.
Before 2002:
Freelancer in 1991 for La Marseillaise, working
for the cultural section in Claudine Galea’s
team.
Part-time teacher from 1992-1998 in history of
art and history of cinema at Sorbonne-Nouvelle
Paris III.
In 1997, head of the module “Initiation to
Claude Sarthou
In his creation of pertinent and
appropriate forms, teaching is envisaged
as a pragmatic moment of exploration,
of research, and of verification of
the critical relations to the image, to
language (knowledge) and to reality.
This openness to the world can give
consciousness to the essential role of
art in order to attempt to place artistic
creation outside of what is authorised.
“Teaching is pulling right to the end…”
F.Pluchard.
Moreover, the “Maieutic” method of
direct confrontation with the work
that is in the process of being created,
is privileged; it is different from the
systematic method or the directive
outline of analysis necessary in the
observation of existing methods; it gives
an open-mindness and a concentration in
immediacy; it is a receptive and a-critical
state, a possible hyphen between the
past and a present aware of movement
and action. From this procedure, new
methodological solutions can come
about by remaining very close to the
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The teaching team
creative act. Because “knowing is
not understanding…” (A.Borer) and
learning is unlearning (formatting,
stereotyping). Listening to a discourse of
knowledge for one’s methods, postulates
and propositions is one thing and
spotting the inkling of doubt and the
fragility of real-life experience is another.
It is more interesting to stand further
away, where everything is question.
Personal practice, thought as a form
of artistic engagement (civic and
philosophical) is embodied as a collective
formula with unexpected twists and
turns.
The accent is placed on the place and
the meaning of the collective of artists
(DHS) as a model of exchanges with the
potential to be a “creative guarantor”.
By the “vacancy of the person”, it
allows the use of the dynamiting of
the parade and of the authoritarian
figures of intimidation (R.Barthes). The
urban context (significant locations,
cultural institutions, galleries) and
cinematographic (form/culture) is used
as a material to provoke discreet unities
of disruption.
It is another way to rethink painting
(inaugural referent) and its practice
within the solitude of a studio without
restricting it to its cultural reflections;
thus new “arrangements” are created (new
forms of expression of the multiplicity
of languages). The image, in certain
contexts (social, urban, media, etc…),
recaptures vitality; its force as a medium
can be instrumented, it is necessary
that it is a question in its interactive
relationship with the spectator.
Jean-Marc Scanreigh
Born in Marrakech in 1950, he has
lived in Nimes since 2007.
Scanreigh started off in Strasbourg
where he exhibited at the Museum of
Modern Art in 1976. His exhibition
at the “Ateliers d’Aujourd’hui” at
the Pompidou Centre in 1980 and
his participation the same year in the
exhibition “Apres le Clacissisme” in
Saint-Etienne concluded his period of
abstract minimalism. Sculpting and
engraving have made his art evolve
towards a figurative style that resonates
with the revival of European pictorial
art of the early 1980s. He exhibited his
engravings with Gafgen, Kaminski and
Lupertz in 1984 in Saint-Etienne.
The 1990s were characterised by the
collage and mixing of techniques on
canvas or on wood, which was conveyed
through three personal exhibitions
in Paris. In 1998, a retrospective of
fifteen years of Scanreigh’s paintings,
sculptures, prints and artist books was
held at Saint-Quentin-en-Yvelines.
Ver y involved in the creation of
magazines and artist’s books, Scanreigh
has collaborated with a great number
of authors on books and galleys. This
publishing activity led tp him exhibiting
in 2000 at the Columbia University of
New York and at the Libraire Parisienne
Nicaise in 2004 and 2005. Scanreigh
has written and co-written prefaces and
articles, some of which for Art Press
(on Willem, Henry Darger, Olivier
O.Olivier and on graphzines). He has
held conferences within schools and
for the general public. After having
taught at Saint-Etienne and Besancon,
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The teaching team
he joined the Nimes site in 2003 to teach
drawing where he is now the head of
publications.
www.scanreigh.com
Anne-Marie Soulcié
Anne-Marie Soulcie was born in Beziers
in 1948.
Each one of us has one day asked
ourselves which essential burden must
we carry on our shoulders, whether
we must hit the road definitively.
Everyday we witness on our screens the
peregrinations of human beings that
have to leave everything behind and
head towards an uncertain elsewhere.
Overloaded or symbolic bundles weigh
down the anguish of their emaciated
bodies. My turn now to question myself,
in this world where wars and cataclysms
leave only dust and desolation.
This interrogation is conveyed, I believe,
through my painting that invites these
travellers to cross, on their own or in
groups, silent and mysterious medinas.
They sometimes stop there to fashion
objects out of the poor materials found
on the paths of their restless wandering.
These are the crucibles of their pain, of
their suffering.
After having thought about saving their
body from destruction, the desire to
create still being present, artists will
always find the wreckage, the waste, that
will motivate their life.
In his Notebooks, Leonardo Da Vinci
wrote: “seeing that I cannot choose a
matter of great utility or pleasantness,
because the men born before me have
taken for themselves all the useful and
necessary themes, I will choose - in the
way a poor man arrives last at a fair and
cannot help himself to his liking - all the
things that have been refused because of
their lack of value. Of this despised and
neglected merchandise… I will load my
humble baggage…”.
Isabelle Simonou-Viallat
Isabelle Simonou-Viallat teaches from
the first to the final year.
She studied at the Beaux-arts of Valence
(from 1983 to 1985) and then at the
beaux-arts of Nimes (from 1985 to
1988). In 1989, she participated in the
first session of the IHEAP: Institute of
Higher Studies in plastic arts by Pontus
Hulten, in Paris.
Since 1988, she has been concentrating
on painting, and in parallel, work based
around drawing. In 1992, she created with
the artist Alun Williams, the Association
“La Vigie-Art Contemporain”, now
an exhibition gallery that she has been
running ever since. She organises three
exhibitions per year, centred around
the rapport of the work of art and the
location, and, from time to time off-thewall experiences (more than 160 artists
shown to this day).
She teaches in first and second year
the practice of observational drawing
and from the 3rd year, she approaches
drawing in a more experimental way
aiming to adapt to everyone’s work and to
accompany them in their preoccupations
towards the emergence of a personal
research.
Drawing is crucial and transversal to all
practices, it will nurture students in all
their elaboration procedures during the
whole of the curriculum.
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The teaching team
Adam Thorpe
Born in Paris in 1956, of British parents,
he is a poet, a novelist, a journalist and
a dramatist. He has published nine
novels, two collections of short stories
and five books of poetry, radio plays,
documentaries and other broadcast
work for the BBC, as well as numerous
articles for the British press (in particular
The Guardian). His novels have been
translated into nine languages.
His written work, highly visual and
mingling comedy and tragedy, frequently
ironic and even at times dark, revolves
around the ghosts of the past, around
time, around what is forgotten and
around moments when big history and
people’s little stories are joined together.
He has been living in the Gard since
1990.
1997 with the national choreographic
centre and its “Exerce” course for
young dancers wanting to become
professionals. She is a member of the
DHS collective for “Dehors series”,
an urban experimentation studio. This
collective stems from meetings made
at the school and at the choreographic
centre.
Her teaching is supported by the
u n a v o i d a b l e v a l u e s o f e xc h a n g e
(working with other sectors, other
partners) and the sense of collectiveness.
If there is a signature to claim, it is the
invisible one of the link against the
“fragile thought”. To be a members of
DHS (Sarthou, Saytour, Sayet, Gay
and Torne) and of Mathilde Monnier’s
company, activates this thought in its
artistic practice.
Anne Tolleter
She has been creating set designs for
theatre and dance since 1985 and has
been collaborating since 1988 with
Mathilde Monnier, choreographer and
director of the choreographic centre
of Montpellier. Her latest set designs
are: Pavlova 3’23 at the Montpellier
choregraphic centre with Mathilde
Monnier; Surrogate-Cities, an opera
with the Berlin philharmonic orchestra
directed by Sir Simon Rattle at the
Arena Berlin; Gustavia, with Maria
Laribot at Georges Pompidou Centre;
Tempo 76, at the theatre of the Ville
de Paris; 2008 Vallee, with Philippe
Katerine at the cour d’honneur of the
Avignon festival…
She has been inter vening on the
Montpellier site since 1999, she has
been keeping tight connections since
Arnaud Vasseux
An artist and a sculptor, Arnaud Vasseux
was born in Lyon in 1969 and now lives
in Marseille.
He teaches in first and second cycle.
He has been developing since 1990, a
practice essentially through the medium
of sculpture. The latter is envisaged as a
temporal and material medium where
the process of formation determines
the meaning of what there is to see.
Something creates itself and builds
itself in the duration and to the scale
1; yet above the intentions that govern
the acts.
His studio wishes to encourage students
to experience volume and to experience
the numerous possibilities of creation
in three dimensions. It’s the meaning
of experimentation, by means of
manipulation of the chosen materials
74
The teaching team
and the observation through research,
that is favoured here. Sculpting
envisages itself as a practice open to
other disciplines. Transversal workshops
are offered from the 3rd semester
onwards.
The students are accompanied towards
the surfacing of an individual work,
towards the concrete manifestation of
their reflexions and the elaboration of
their research.
They are confronted with the choice
that they operate through the diversity
of what is available and the tools (even
when reduced to a minimum) that
sculpting entails. They are brought to
consider the questions conveyed by the
creation of works on the scale of the
context in which they wish to act.
www.documentsdartistes.org/vasseux
with accidents caused by constructions
(walls, pavements…) and must at every
moment evaluate the difficulties. The
notions of course, of circulation and
of speed are the themes of his pieces.
The sculptures created induce possible
itineraries and thus place the imaginary
in movement.
He has been exhibiting his work
regularly since 1998 ( Jean Brody
gallery, Paris; Museum of contemporary
art of Serignan; Matisse Museum, Le
Cateaux-Cambresis; Vasistas Gallery,
Montpellier; La Vigie, Nimes; La
Vitrine, ENSAPC gallery, Paris; Carre
Saint-Anne, Montpellier…). Since
2006, he has been a set designer for the
theatre company Interstices, based in
Montpellier.
Isabelle Simonou-Viallat
Isabelle Simonou-Viallat teaches from
the first to the final year.
She studied at the Beaux-arts of Valence
(from 1983 to 1985) and then at the
beaux-arts of Nimes (from 1985 to
1988). In 1989, she participated in the
first session of the IHEAP: Institute of
Higher Studies in plastic arts by Pontus
Hulten, in Paris.
Since 1988, she has been concentrating
on painting, and in parallel, work
based around drawing. In 1992, she
created with the artist Alun Williams,
the Association “La Vigie-Art
Contemporain”, now an exhibition
gallery that she has been running ever
since. She organises three exhibitions
per year, centred around the rapport
of the work of art and the location,
and, from time to time off-the-wall
experiences (more than 160 artists
Michael Viala
Michael Viala was born in Nimes in
1975. He is an artist and set designer
with a DNSEP from the Beaux arts of
Nimes and holder of a civil engineer
certificate.
He teaches volume and space by basing
himself on reality, in order to deduce
rules and systems that allow the capture
and the implementation of the evidence
of matters.
It would be possible to say that the
works of Viala are the sublimation of
his personal passions, for architecture
in general and more precisely for the
different techniques of construction.
But also for skateboarding – this
sport is presumably one of the rare
ones to be practiced in an urban
environment without a specific lay out.
The skateboarder is in direct contact
75
The teaching team
shown to this day).
She teaches in first and second year
the practice of observational drawing
and from the 3rd year, she approaches
drawing in a more experimental way
aiming to adapt to everyone’s work
and to accompany them in their
preoccupations towards the emergence
of a personal research.
Drawing is crucial and transversal to all
practices, it will nurture students in all
their elaboration procedures during the
whole of the curriculum.
TV channel ARTE (Animag and Court
Circuit) and then programmes for the
Mensomadaire on Canal +. He creates
animated packaging for TV shows and
teaches storyboarding at the animation
film school of La Poudriere in Valence.
Carmelo Zagari
Born in Firminy (in the Loire),
Carmelo Zagari lives and works at
Crespian in the Gard.
Formation: copperplate engraving and
lithography, Claude Weisbuch studio.
Beaux-arts of Saint-Etienne.
Professor of sculpting and new materials
at the art department of the BeauxArts of Valence from 1990 to 2002.
He has been teaching painting on the
Montpellier site since 2002.
Carmelo Zagari is a multi-practice artist,
a copperplate engraver, a lithographer,
a sculptor, a stained-glass window
artist, a draughtsman and a painter.
His personal journey has been made by
significant encounters such as Bernard
Lamarche-Vadel, Thierry Raspail, Jan
Hoet, Dora and Mario Pieroni and
Zerynthia Rome… He has exhibited
his work in Europe and all over the
world. Contemporary Art Museum,
Lyon / Modern Art Museum of the
Ville de Paris / Marta Herford Museum,
Germany / Guangzhou Museum,
China / Stedelijk Museum Voor Actuele
Kunst of Gent, Belgium / Lawndale
Art & Performance Centre, Houston,
Texas / Havana, Cuba / Nijmengen,
Holland… He has produced numerous
state commissions: all the stained-glass
windows of the chapelle des mineurs in
Faymoreau / the “Jardin metaphysique”
made of bronze and glass at the CHU of
Federico Vitali
After studying at the Beaux-arts and
gaining a DNSEP with an elective in
Art where he presented his first short
films in 1983, Federico Vitali marked
his debut in producing professional
animation films along with Paul
Grimoult and then Jean-Francois
Laguionie and Rene Laloux with whom
he directed short films and TV cartoons.
He has been writing and directing series
of cartoons for Canal + since 1990 and
he received his first grand prize from
the Festival du Cinema d’Animation
of Annecy in 1995 for the series LAVA
LAVA! During the course of five years
he lived in London and worked for
several studios directing short animated
publicity films.
In the early 1990s, he developed a shot
by shot cinema studio in the Beaux
arts of Montpellier. Renowned for his
silly and crazy cartoons, he left for Los
Angeles and worked for Disney US
developing a new series of thirteen films
for ABC. Back in Europe, he directed
and overlooked the artistic production
of different cinema magazines for the
76
The teaching team
Saint-Eloi Haematology in Montpellier
/ the triptych of the church of Vassieux in
Vercors / “Enfant et Goliath” sculpture
in bronze at Le Corbusier in Firminy…
He created the illustrations for Louis
Calaferte’s “Ouroboros”, for Didier
Arnaudet’s “Obliques et Raccourcis”
and for “Madame Deshoulieres” a book
echoing the CD by Isabelle Hupert and
Jean-Louis Murat.
“Carmelo Zagari allows himself the
possibility to create a world at the measure
of his expectations and his audacity, to
transpose the everyday to a different level
– both less instable and more rigorous,
to enter the imaginary dimension of
existence and to go through the other side
of the mirror and then come back. He
channels encounters, speeches, emotions
and atmospheres in order to create images,
propositions and cascading and troubling
situations. His work advocates itself first
of all as a work of attitude, in other
words an act of inscription that implies
movement, conducts and ideas. Hence the
urgency to create, to execute and to take
part, the urgency to paint, to sculpt, to
organise in order to escape illustration,
ruse and seduction; the urgency to respond
to the command of a location, a desire or
a story. Hence therefore the imperative
monumentality of these works that push
a more stunning and more unpredicted
form of relationship to the world.“
Extract from a text by Didier Arnaudet,
November 2009.
formation spécialisée en création
et recherche en art et design urbain.
L’obtention du diplôme de l’Institut de
l’Environnement, à Paris, et une maîtrise
de l’université de Montréal, au Canada,
et d’un
DEA au Laboratoire de Graphique de
l’EHESS à Paris, ont orienté ses activités
vers la sémiologie de l’image et l’étude de
l’interaction des systèmes de signes en art
et communication. Elle est aujourd’hui
professeur titulaire en art et sciences
sociales à l’école supérieure des beauxarts de Montpellier, et intervient dans des
colloques internationaux principalement
sur le thème de l’image et de l’imaginaire
médiatique.
Sa production photographique, d’une
part, documentaire de type Street
Photography et, d’autre part, plasticienne
est représentée en dépôt au Département
des Estampes et de la photographie à la
BNF, à Paris.
Caroline C. Ziolko
Caroline C. Ziolko a été chargée de
cours en licence et maîtrise dans des
universités canadiennes après une
77
The teaching
contents
The programme phase
80
MxN : phase programme
81
The teaching contents
The programme
phase
form of a pedagogic meeting and a
display of all the students’ works.
The credits are granted by each teacher
by way of a continuous assessment,
except the credits of personal
engagement attributed collectively by
all the teachers concerned.
60 credits are necessary for the entry
into the third semester (2nd year).
Failing to obtain 60 credits will lead to
an offer of retaking the year or changing
course.
In case of a retake, the credits obtained
are kept and re-used for the following
year. However, an assiduous and proactive attendance to all the classes is
imperative.
It is only possible to retake a year once.
Semesters 1 to 6
Introduction to the
programme phase
For the programme phase – which
corresponds to the first six study
semesters, a common pedagogic
programme is suggested by the teaching
team: the teaching given across both
sites is generalist and similar in terms
of progressivity, volume, content and
distribution. It includes the entirety
of the practices usually taught in art
school.
Semesters 3 and 4
Generalities
Semesters 1 and 2
An assiduous and pro-active
participation to all classes is mandatory.
Teaching during the third semester is
organised on a weekly schedule.
The teaching given across both sites
is generalist and similar in terms of
volume and distribution
The fourth semester is spread out over
12 weekly work sessions organised
by one or several teachers, eventually
joined by a tutor from outside the
school.
During these sessions, history, art
theory and foreign language lessons are
maintained.
Amongst these 12 sessions, students
must choose 4 that will be conducted
outside of their site of origin, by
concerting with the 2nd year teachers
and coordinators.
Generalities
An assiduous and pro-active
participation to all classes is mandatory.
Teaching during the first two semesters
is organised on weekly schedule.
Students must pay particular attention
to the theoretical and iconographical
accompaniment to their research
and personal work (documentation,
research diary, theoretical references,
critical apparatus…).
Entrance into the following year
The realisation of a “methodology and
synthesis” portfolio presenting the
experiences and works of the student
– assessed at the end of semester 2 – is
mandatory in first year.
These assessments take place in the
82
The programme phase
83
The teaching contents
These four weeks of mobility will be
used to discover the specificities of each
site and will be evaluated during the
end of semester 4 assessment by the
teachers concerned.
After obtaining 120 credits, students
become holders of the CEAP, the
certificate of plastic art studies,
delivered by the school and certified by
the Ministry of Culture.
concernés et les coordinateurs de 2 ème
année.
Entrance into the following year
The writing of a “methodology and
synthesis” portfolio accompanying
research and personal work is mandatory
in the 2nd year.
The credits are attributed by each teacher
by way of continuous assessment before
the oral test at the end of semester 3
and 4, except the credits of personal
engagement attributed collectively by
all the teachers concerned, by holding
into account the portfolio and the
student’s participation in conferences,
seminars, workshops and work sessions
during the 4th semester.
2nd year students must imperatively
obtain between 48 and 60 credits and,
when entering the 3rd year, should have
acquired a total of between 108 and
120 credits.
Below 120 credits, the passage to
semester 5 (3rd year) is achieved
conditional on a retake of the missing
credits before 20th September of the
current calendar year, according to
the terms defined by each teacher
concerned and in accordance with the
coordinators of the 2nd and 3rd years.
The failure to obtain a minimum of 108
credits leads to a retake that can only be
done once.
In case of a retake, the credits obtained
are kept and re-used for the following
year. However, an assiduous and proactive attendance to all the classes is
imperative.
84
The programme phase
85
The teaching contents
Semesters 5 And 6
developed on the individual marking
paper attached in the appendix.
This oral exam will last no more than 30
minutes maximum.
The jury is composed of three members:
the president, a general knowledge
teacher and a teacher from the school
nominated by the ministry on the
suggestion of the school director.
Generalities
Students must choose two methodology,
technique and implementation poles as
soon as they start the 5th semester. A proactive and assiduous participation in the
theoretical classes is imperative (history,
art theory and foreign language).
In semesters 5 and 6, teachers will
become more mobile between both sites
for the project and/or for the poles.
Apart from exceptional circumstances,
validated by the study council and the
administrative council, the DNAP
examination (national diploma of plastic
arts) is undertaken on the site of origin.
The writing of a “methodology and
synthesis” portfolio accompanying
research and personal works is mandatory
in the 3rd year.
This portfolio will notably include
an outline of the works and research
undertaken since the 2nd year as well as
rough draft of the personal research issue
that students are expected to develop
from the beginning of the 4th year.
The DNAP examination
A favourable decision from the school
director is needed for students to present
themselves to the DNAP exam, after
consulting with the teachers concerned
following the presentation by the
students of their works and research
projects during the end of semester 6
assessment.
This exam can only be taken twice.
Validation and results
15 credits are allocated to the candidate
after obtaining the DNAP.
No other credit can be substituted for
the 15 credits attached to the attainment
of the DNAP.
After obtaining the latter, students will
have acquired 180 credits.
Students failing to present themselves
to the oral exam will be given the
opportunity to retake the year, but this
can only be done once.
In case of a retake, the credits obtained
are kept and re-used for the following
year. However, an assiduous and proactive attendance to all the classes is
imperative (provided the same choice of
poles are made by the student).
Terms of access to the Master’s
cycle
The admission to semester 7 (4th year)
is subject to:
- obtaining the DNAP
- a favourable decision from the school’s
director, suggested by the teaching
staff following the end of semester 6
assessment.
- the admission to a “referent site”
according to the specificity of the
latter and to the student’s project,
after consultation with the teachers
Modalities for the DNAP exam
Students are evaluated by the presentation
of their plastic research works and their
methodology and synthesis portfolio,
according to the elements of assessment
86
PROBLÉMATIQUE ET MÉTHODOLOGIE DE LA
RECHERCHE / TECHNIQUES ET MISES EN
ŒUVRES
HISTOIRE,
THÉORIE DES
ARTS ET
LANGUE
ÉTRANGÈRE
MÉTHODOLOGIE
TECHNIQUES ET MISES EN ŒUVRE
3°Année
E.C.T.S
(European Credit Transfer System)
Semestre 10
février / Juin
Semestre 9
octobre / Janvier
Crédits
élève
Barême
crédits
Crédits
élève
Barême
crédits
Appréciations
Crédits rattrappés
The programme phase
PÔLE DESSIN / ÉDITION
PÔLE COULEUR / PEINTURE
PÔLE ESPACE / VOLUME / SCULPTURE
8
16
PÔLE VIDÉO / PHOTO
1° semestre = 2 modules de 8 crédits chacun
2° semestre = 2 modules de 4 crédits chacun
PÔLE CULTURE GÉNÉRALE
HISTOIRE DES ARTS
7
9
THÉORIE DES ARTS
ANGLAIS
RECHERCHE
PERSONNELLE
ENGAGEMENT PERSONNEL. Dossier
méthodologie et synthèse, projets,
workshops, conférences, séminaires,
expositions, préparation du diplôme.
5
OBTENTION DU
DIPLÔME
15
TOTAL ÉLÈVE
0
TOTAL CRÉDITS / 60
0
0
30
87
30
60
The
teaching d’enseignement
contents
les contenus
concerned.
For the project phase, the teaching is
structured around the development
of the student’s personal issue and the
writing of the end of studies memoire.
The two sites of the school are
distinguished in three ways:
- they have the function of “referent site”
for the Focus (see graph)
- they are bearers of the projects developed
within the research and creation studios
based around the questions relative to
the exhibition, the urban set design /
state commission and the dedicated
communication that concern the totality
of the students involved in the project
phase.
- they develop complementary research
unities within the research laboratory
Actulab.
88
89
The teaching contents
The project phase
of between 228 and 240 credits.
The failure to obtain a minimum of 228
credits will lead to the retake of the year
that can only be done once.
Below 240 credits, the entrance into
semester 9 (5th year) is subjected to
a retake of the lacking credits before
the 20th September of the current
calendar year within the terms set-up
by each teacher in accordance with the
coordinators of years 4 and 5.
After having obtained 240 credits,
students become holders of the CESAP,
certificate of higher studies of plastic
arts, delivered by the school and
certified by the Ministry of culture.
In case of a retake, the credits obtained
are kept and re-used for the following
year. However, an assiduous and proactive attendance to all the classes is
imperative.
Semesters 7 to 10
Introduction to the
project phase
SEMESTERS 7 AND 8
Generalities
Students must choose 4 teachers as
referents (research methodology and
personal research implementation).
A pro-active and assiduous participation
in the theoretical classes is imperative
(philosophy, history and theory of art and
foreign language).
Students must undertake an internship in
a professional environment (art centres,
Frac, museums, galleries, with artists,
publishers, companies…) under the
responsibility of a coordinator.
Students must produce a “methodology
and synthesis” portfolio accompanying
their research and personal work.
Concurrently to the development of
their research and personal work and the
portfolio, students must start writing the
memoire, the viva taking place during the
9th Semester (5th year).
SEMESTERS 9 AND 10
Generalities
The semesters 9 and 10 are developed
around the students’ personal project,
and around the preparation for two
examinations: the memoire’s viva and
the presentation of the plastic research
and works.
Students must choose 3 referent teachers
(who can be different from those chosen
in 4th year) among all the teachers
concerned over both sites (research
methodology and personal research
implementation).A pro-active and
assiduous participation to the theoretical
classes is imperative (philosophy, history
and theory of art and foreign language).
22 teaching credits are granted during
semester 9 and 5 during semester 10.
Entrance into the following year
During the assessment at the end of
semester 8, students must present,
as well as their plastic research, a
summing up of their research for their
memoire: issue, plan, bibliography and
iconography.
4th year students must obtain between
48 and 60 credits. At the end of semester
8, student should have acquired a total
92
The project phase
Students must carry on working on the
“methodology and synthesis” portfolio
that accompanies their research and
personal work.
minutes maximum.
The jury consists of 5 members, the
president, the vice-president, a general
knowledge teacher and two members
nominated by the ministry on a proposal
by the school’s director.
Students are evaluated by the presentation
of their plastic research works and their
methodology and synthesis portfolio,
according to the elements of assessment
developed on the individual marking
paper attached in the appendix.
This exam grants 25 credits.
The DNSEP exams can only be taken
twice.
The non-presentation or the failure
to obtain the diploma will lead to the
possibility of retaking the year, which
can only be done once.
In case of a retake, the credits obtained
are kept and re-used for the following
year. However, an assiduous and proactive attendance to all the classes is
imperative.
At the end of these exams, students
will have obtained 300 credits, they are
therefore holders of the DNSEP, the
Higher National Diploma of Plastic Art
Expressivity.
The presentation to the DNSEP
exam
Memoire’s Viva
This takes place at the end of semester 9.
The presentation is subjected to
students having obtained 22 teaching
credits during the end of semester 9
assessment and to a favourable decision
by the students’ research director and the
teaching team.
The exam lasts a maximum of 30
minutes.
The memoire must be made into 7
copies, including one in a digital format,
and addressed to the members of the
jury a month before the viva.
The jury consists of at least two members
holding a doctorate (from the school or
chosen from outside).
The viva awards 8 credits.
Presentation of the research and
artistic creation
Students’ presentation to this exam is
subjected to:
- the acquisition of 267 credits including:
- 22 credits from the end of
semester 9 assessment
- the 5 credits from the end of
semester 10 assessment.
- the acquisition of 8 credits awarded
after the memoire’s viva at the end of
semester 9.
- a favourable decision from the school’s
director, on a proposal by the teaching
team.
The exam will last no more than 45
93
The teaching contents
The research and
creation workshops
actions linked to the exhibition has
been developed within the school for a
number of years
Specified over the past three years, this
offer has lead to the implementation of
an ARC and a unit within the research
laboratory ACTULAB.
Ev e r y y e a r, s t u d e n t e x h i b i t i o n s
supervised by different teaching teams
have been taking place in the region,
but also elsewhere in France and abroad.
These exhibitions allow students to
be confronted with the presentation
of their personal research work under
conditions of professional demands;
they also favour encounters with a
larger public than at the school.
Over the last three years, exhibitions
have occurred in the following locations:
Mu s é e Fa b r e , Fr a c L a n g u e d o c
Roussillon in Montpellier, Carré
d’Art, Nemausus, La Salamandre in
Nimes, Espace Louis Feuillade - Abric
in Lunel, Calvisson Mediatheque,
Espace d’art contemporain of SaintRestitut, Chapelle des Pénitents in
Aniane, Citadelle of Montdauphin,
Galerie des Grands Bains Douches
in Marseille, Modern art museum of
Saint-Étienne, Château d’Avignon at
the Saintes-maries de la Mer, Espace de
l’Art Concret in Mouans-Sartoux, La
Biennale Photographie et Architecture
of Brussels, Académie bk in Belgrade.
Most students also par take in
internships in institutional locations:
Museums, art centres, FRAC…. They
thus gain a knowledge of the issues
thrown up by the mounting of an
exhibition, as much on a technical level
as an administrative and conceptual
one. These internships offer the double
These unite a group of teachers and
students to work together around three
issues:
The exhibition, the urban set design/
state commission and the dedicated
communication. A transversal
educational device including theory
and practice is put in place in relation
to the projects developed. Students
must conduct a productive experiment
defined by research contents and
a calendar. The ARC (research and
creation workshops) allow the
introduction of a singularity in relation
to the core teachings and prefigure the
issues developed by the 3 research units
of the ACTULAB laboratory.
The exhibition
Registered in an open cultural landscape,
the school presents exhibitions over both
sites, in the Hotel Rivet and Pre Carre
galleries. Its programming alternates,
on the one hand, artist exhibitions
often in relation with a workshop or
a conference, and on the other hand,
exhibitions of works by students and
recently graduated artists.
For students, the frequentation of the
works and the encounters with artists
complete the work undertaken in the
ARC and the practice research unit
and the aesthetic and political issues of
exhibitions.
In order to offer professional experiences
and boost research, a wide variety of
94
The project phase
advantage to confront students on the
one hand to the professional work of
the manipulation and hanging of art
works, and on the other hand allows
them to experience the contemporary
art scene by collaborating directly with
artists, exhibition commissioners and
museum curators.
university professors and exhibitions
commissioners. A second session will
take place during spring 2010. These
different actions go together with the
implementation and the development
of the research unit: practice and theory
of the exhibition.
Main locations of recent internships:
Beaux-arts Museum of Nimes, Carre
d’art – contemporary art museum in
Nimes, Modern art museum of SaintEtienne, International art and landscape
centre of Vassiviere, le LAIT art centre,
Chateau d’Avignon, Musee Reattu in
Arles as well as several private galleries.
A partnership with the Languedoc
Roussillon FRAC also allows each
year a group of students to experience
commissioning and exhibition
accompaniment. Most recent
exhibitions: “Objectif Lunel” in Lunel,
“Air de Mende”, in Mende, and “temps
reels” in Montpellier.
In the shape of courses but also of
conferences, teachers and guest speakers
tackle the different questions relative to
the exhibition of contemporary art.
Thanks to what has been pledged for
several years within the school, and
which already constitutes one of its
specificities, the research and creation
workshop and its extension within the
ACTULAB laboratory is developing
its activities: indeed, as well as the
conferences, research seminars are
offered to students. During the first
semester of 2009, a seminar took place
entitled Je[ux] d’exposition, (exh[I]
bition games), bringing together artists,
95
The teaching contents
Urban set design and state
commission
Zhen, Toni Cragg, Éric Dietman,
Ludger Gerdes, Alain Jacquet, Allan
Mc Collum, François Morellet, Sarkis,
Jacques Vieille, Pierre Joseph, Carmelo
Zagari in Montpellier ; the two latter
are teachers in our school.
Art works in public spaces
Leaving exhibition places and
instituted practices leads to new artistic
experiences in the city. Going out to
stride along, understand and read the
public space constitutes the prime issue
where each encounter questions the
nature of spaces, of temporalities and of
the activities attached to the location.
In all cases, it is about reactivating the
critical and sensitive dimension and
to open new fields, propitious to the
invention and to other forms of artistic
creation.
Wi t h i n t h i s f a vo u r a b l e c o n t e x t ,
educational experiences piloted by the
school have already led to the creation
and follow-up of state commissions,
notably:
- the art work created for the Hotel de
Ville Montpellier line 1 tram station by
4th and 5th year students in 2000.
- during the same year, the school
carried out the follow-up for the state
commission of Allan Mc Collum,
Allegories, and created miniatures of
the piece implemented by the artist,
multiples reproducing the moulds
of the four sculptures of the chateau
Bonnier de la Mosson de Montpellier.
Thanks to the ARC Set Design and
State Commission, the contemporary
art research unit and its teachers and
students, MxN is a pole of resource and
of reflexion for artists engaged in urban
interventions or state commissions.
- the competition for the Corum
tramway station as part of the Grand
Coeur mission of Montpellier, in the
process of being created by Betka
Siruckova, a 4th year student in 20092010.
The urban context, with the numerous
contemporary works in the public
space of the two towns of Nimes and
Montpellier, is surely a determining
factor of the implementation of the
ARC.
- on the occasion of Carmelo Zagari
and Pierre Joseph’s state commission
at the Saint Eloi CHU Hospital in
Montpellier, four students were brought
to follow and assist in the development
of the art works in 2009-2010.
Among the numerous in situ
interventions carried out over the past
few years, we can note down those by
Martial Raysse, Peter Downsbrough,
Philippe Favier, Bernard Pagès, Philippe
Starck, Vassilakis Takis in Nimes, celles
de Daniel Buren, Philippe Cazal, Chen
96
The project phase
The school has developed numerous
projects based around the practices
linked to urban set design and state
commission.
from this relationship in the expression
of their artistic research and are today
professionals who work in the set design
environment.
Since 1998, a privileged partnership
with the National Choreographic Centre
Mathilde Monnier of LanguedocRoussillon (CCN-LR) in Montpellier
has been generating a fluid and natural
relationship, made up of exchanges
of experiences in the public space; a
research perimeter where the practices
question simultaneously movements,
the body states, perception, posture,
point of view, locations and space
implementation as well as the urban set
design and the creation of works and art
projects in situ.
Finally, the ARC has allowed the
creation of the artists collective DHS
for Dehors Serie, made up of artists,
of teachers, of choreographers and of
alumni (Joelle Gay, Claude Sarthou,
Annie Tolleter, Patrick Saytour, Rachid
Sayet, Cedric Torne…).
These projects have allowed students
to participate in experimental
workshops offered by the CCN-LR
with choreographers, performers and
international dancers: Lluis Ayet, Trisha
Brown, Louise Burns, Emmanuelle
Huyn, Germana Sivéra, Rita Cioffi,
David Moos, Thierry Baë, La Ribot,
Laurent Pichaud, Muriel Piqué, Xavier
L e roy, Ma rc To m k i n s , Ma t h i l d e
Monnier.
Municipal park of the city of
Garons
A great number of experiences have lead
to in situ student projects, in contact
with an urban context or a specific
landscape.
An ambitious project that included the
creation of twenty in situ sculptures
during the summer of 2004 in the park
in Garons, near Nimes. Students were
required to conceive and create projects
covering the whole of the park in close
relation with the spatial organisation
of the latter and with the habits of its
users. Another apparent constraint was
the fact that the interventions had to
adapt themselves to the bad weather
and to wear and tear. This experience
gave rise to a remarkable diversity of
projects that took into account the
park and nature within an urban
environment. A publication created by
the students involved has kept a trace
of this experience (Hotel Rivet journal
no5).
Involving various collaborations –
for example with Guy Jourdan who
teaches at the higher national school
of architecture of Montpellier – a great
number of conceptions of set design
devices and performative interventions
have emerged, from showcases used
until the development of consistent
spaces.
Numerous students have gained profit
97
The teaching contents
Greoux-les-Bains
Her sculpture was created on location
with the help of an assistant and in
contact with local residents. At the
end of the symposium, the work was
selected to be permanently integrated
in the town.
Students participated in two summer
exhibitions in the gardens of GreouxLes-Bains: in 2005 with “Sculptures
en Herbe” and in 2006 in “Histoires
d’eaux, histories d’art”.
Thanks to the professional artistic
demand, the commitment, the solidity
of the preliminary concept and the
support of the organisation, the actual
difficulty of the implementation of the
material was largely resolved.
Amidst these projects is the relation
between the interventions and the
landscape and urban space as well as
the taking into account of the history
of the gardens and the diversity of their
conception. Both these experiences
have given way to publications.
Domaine du Mas Dieu,
Montarnaud
International sculpture symposium,
Rishon Lezion, Israël
In 2008, in the context of the “Des
promenades” festival organised by
Mitia Fedotenko on the site of the
Domaine du Mas Dieu in Montarnaud,
the students’ work was to explore, to
question, to put into shape the different
non-illustrative but really problematic
aspects of the question of landscape. We
know that the latter is only fabrication,
that it only exists because we conceive
and transform it. Four installations
have been conceived and created on par
with these questions.
The first step was to offer students the
opportunity to create specific projects
in anticipation of the creation of a piece
during the international sculpture on
stone symposium of Rishon LeZion, in
Israel in May 2006.
The students were informed of the very
particular historical, geographical and
cultural situation of the country, of the
artistic links with the West (particularly
the historical links with the Bauhaus
school) and of the history of a complex
settlement in the Middle-East.
Since 2007, the Chateau D’avignon
in The Saintes-Maries-De-La-Mer
has been welcoming a specific project
of in situ creations in its gardens.
This project has been developed
every year in relation to the summer
exhibition organised by the council.
The configuration of the site and the
By carrying out a reflexion on the
practice of modern-day sculpture on
stone and its relations with a pertinent
contemporary language, Sarah Dorp’s
project was selected to participate in the
symposium alongside other artists.
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The project phase
capacity to respond to a commission
are constraints that bring the students
to dive into professional conditions.
From the conception to the set design,
they take care of all the stages of the
project by being confronted on the one
hand with works by experienced artists
and on the other hand with demands
specific to the creation of pieces in the
public space.
99
The teaching contents
The dedicated
communication
worlds (artistic creation and industrial
research). Questions of temporality, of
the relevancy of the propositions and of
the targeting of protocols are involved.
The dedicated communication is part
of the new problematic space linked
to the ontological and deontological
questions subjacent to the extension of
the contemporary art territories.
This workshop is renewed for
2010/2011.
It suggests a critical reading and a
dynamic of the practices that link or
push out the artists from their function
of commitment within social, political
and economical domains.
Another project has been developed
in 2010 in conjunction with the
oncology/haematology department of
the professor Jean-Francois Rossi at the
CHU of Saint-Eloi in Montpellier.
It summons a very large panel of
decision-makers to a reading of the
conditions in place for the emergence
of a creation, in order to grab hold in a
pertinent way of the intrinsic quality of
an artist and an artwork when it is made
available in an urban, social, relational,
educational and economical field.
On his demand, the art school suggests
the creation of a state commission,
backed by the ministry of culture and
the city of Montpellier. Two artistteachers from MxN (Carmelo Zagari
and Pierre Joseph) have created three
works of art for the patios of the new
hospital.
It opens a new field of speculative
mediation with high added value, since
it can provide targeted information
i n rea l ti m e ( th a nk s t o t r a ns f er
technologies).
Tw o d e c i s i o n s h a v e b e e n m a d e
synchronous to the elaboration of
the state commissioned project, to
accompany the birth and the life of art
works within the CHU:
The idea of workshops adapted to
different questions is already being used
within MxN.
- the first, to completely inform the
public and the staff of the decision’s terms
that led to this relational and artistic
bias: creation of a paper, photographic
and video edition devoted to offering
a better knowledge of the intellectual
and emotional circumstances that have
presided over the creation of works of
art as well an awareness of the technical
conditions of the objects produced with
companies for bronze, glass, neon or
Students and teachers are collaborating
at the moment with the Cap Omega
and Cap Alpha start-ups in Montpellier
in order to develop new ways of
producing objects, software or services
by adopting the crossing of points of
view and methodologies from both
100
The project phase
digital prints.
- the second, in light of creating a
dedicated platform for the production
of images created specifically for patients
confined, due to their treatments, in
sterile rooms.
This entity is under the control of
the piloting committee created by
the CHU and that has for mission to
validate the students’ suggestions with
a jury comprising of doctors, nurses,
patient associations, artists, students
and professionals from the institutions
that collaborate on this project.
The intervention of academic teams on
issues of deontology and art therapy will
encourage the opening of numerous
and well connected research fields. It
will allow the students from the two
spheres to meet each other over doctoral
research (project under development).
The progress of this new device is
developed thanks to the involvement
of the students from the 2nd year of
the programme phase in the context
of the lessons on video but also on
methodology and semiology.
101
The teaching contents
A CTUL A B
and
order – favour the appearance of novel
forms and concepts? How does the
notion of exhibition see itself displaced
by artists as soon as the traditional
vehicles of demonstration (supports
and institutions) are put into question?
How does the history of viewing allow
the rethinking of the history of art?
the
research units
The research units
The research issues extend the different
research and creation workshops that
the school has to offer:
- the urban set design and state
commission
- the exhibition
- the dedicated communication
By questioning itself on the
determinations exterior to the
production, be they situated upstream
(the horizon in waiting, the constraint)
at the time of its creation (the reaction
to a given space), or downstream (the
terms of distribution as an integral part
to the process of creation), ACTULAB
aims to structure the artistic and
cultural fields with the institutional
and social fields. The questions of
practices, of aesthetical, political and
deontological issues of the commission
in urban territory, of the exhibition and
of the artistic distribution presents the
advantage and the significance of the
collaboration with diverse institutions
(museum, art centre, Frac…) as well as
with different players from the world
of art (artists, commissioners, curators,
critics…).
Actulab, the school’s laborator y
is composed of the three following
research units:
Contemporary art and urban
territories (actu): a study interface
between the political and economical
decision-makers and the artists solicited
for urban state commissions.
Practice and theory of the exhibition
(pra/thex)
Ontology and Deontology of art
distribution (od2a)
Other than the fact that they are centred
on current practices, these courses allow
the issues linked to the reception and
the distribution of the work of art to be
tackled in diverse and complimentary
ways. How, at the junction between
public space and artistic projects,
does a location convey a particular
imagery, and how does a common
memory constitute itself? How do
the exhibition circumstances and
destination imperatives – of a political,
economical, social and geographical
Researchers from the universities of
Montpellier III (CERIC: Study and
Research Centre for Communication
and Information), Provence, Lyon,
Tel-Aviv, Bristol and Essex, from the
ethnology laboratory (CNRS, Ivry),
and from the art schools of Caen and
Toulon have been working since 2002
within the ACTU research unit.
Researchers from the University
of Provence and teachers from the
102
The project phase
Mulhouse and Tours art schools have
contributed to a seminar organised in
2009 by the future research unit PRA/
THEX.
The project developed within the ARC
dedicated communication in relation
with the University of Montpellier I
(CHU Saint Eloi) should eventually
extend within the research unit O2DA.
Cédric Polère.
Montpellier, Esbama, 2004, 37 pages,
22 x 12 cm.
L’Art et la ville maritime : Montpellier
/ Marseille / Haïfa / Beyrouth / Tanger
/ Barcelone
Art and marine life
Under the direction of Didier Malgor.
Textes de Didier Malgor, Ilana Salama
Ortar, Joëlle Zask, Cédric Polère,
Mathias Poisson, Luc Pecquet, Alice
Laguarda.
Montpellier, Esbama, 2005, 163 pages,
21 x 24 cm.
A number of publications have been
printed since 1998, respectively following
a symposium, a conference, a seminar
and an exhibition. In 2009/2010, the
seminars organised by the research units
that have worked, on the one hand, on
contemporary art in urban territories
and, on the other hand, around the
notion of exhibition, will also lead
to a publication.
I l a n a S a l a m a O r t a r, L a p l a g e
tranquille : voyages sur les côtes
méditerranéennes
Ilana Salama Ortar, the peaceful beach:
a journey across the Mediterranean
coast
Text by Nissim Gal.
Montpellier, Esbama, 2007, 56 pages,
21 x 15 cm.
L’Art et la critique de l’art après
Bouvard et Pécuchet : de la bêtise
(Art and the critique of art after Bouvard
and Pecuchet: nonsense)
Conference proceedings
Under the direction of Didier Malgor.
Textes de Christian Gaussen, Jacques
Imbert, Didier Malgor, Pascal Convert,
Luciano Fabro, Jean-Pierre Criqui,
Pierre Citti, Jean-Yves Jouannais, Alain
Vaillant, Michel Frizot, Milad Doueihi.
Montpellier, Esbama, association
AODN, 1998, 225 pages, 20 x 14 cm.
http://actulab.free.fr/
http://labetise.free.fr/
To be published
Je(ux) d’exposition
(Exhib(I)tion games)
Under the direction of Natacha Pugnet.
Edouard Boyer, Fabien Faure, Simone
Menegoi, Caroline Renard, Nathalie
Talec.
Des utopies psychédéliques aux cyberutopies : les univers virtuels, nouveaux
« mondes de la vie quotidienne » ?
(From psychedelic utopias to cyberutopias: virtual worlds, new “every day”
worlds?)
In the process of being created:
Website on the following themes: the
mundane city, the common place and
commemoration.
103
The teaching contents
The internships
“with”: with the reception structure
team, with artists, with professional
objectives that are therefore combined
with the expectations of the students.
They are put into service of an artistic
or cultural project that doesn’t belong
to them anymore.
Programmed to take place during the
7th and 8th semesters, ranging from a
few weeks to a few months in France
or abroad, these internships allow
students to broaden their experience
by coming into contact with artists,
cultural institutions (museums, art
centres, Frac, galleries, associations…)
or businesses.
Discussed between the students and
the teachers, the choice of internship
is largely determined by the student’s
personal project. They have a number
of objectives:
As much as is possible, it is recommended
that each student can take part in an
internship during the 4th year in each
of these categories.
An internship agreement is established
between the school and the organisms
concerned. Specific grants put in
place by the school can be attributed
depending on the length and the
location of the internship.
to allow students to pursue and sharpen
or confront questions posed by their
personal research project.
to participate in the life of the structure
(places of creation and distribution, of
art, of spectacle or of publication…)
and to be familiar with its artistic and
technical as well as its administrative
function. This immersion in the
professional environment gives the
opportunity to students to get out of
their studio and confront their work
methods through other approaches.
to place the students’ formation in
conjunction with the expectations of
the business. It is thus about running a
creative experience within the company;
about casting a fresh eye on the latter by
producing an artistic project at the end
of a few weeks of attendance whilst
respecting the constraints defined by
the context.
The trainees will receive regular support
from the teachers, who are also in
contact with the designated head(s) of
the receiving structure.
At their return, a rapport produced by
the students allows the validation of the
internship; the latter can take various
different forms: written, performed,
filmed or oral...
Organised by the 4th year coordinator
after consulting with the trainee
student’s receiving structure, the
handing in of the report takes place in
the presence of the teachers concerned.
These different types of internships thus
give rise to the opportunity to work
104
The international exchange programmes
The international
e x c h a n g e
programmes
conforming to the recommendations
of the relevant ministry, and which
are spread out over several domains
(courses, communication, research...).
Thus, in order to encourage mobility,
the school participates in several
exchange programmes brought in by
the European Community and other
international organisms. Produced
in the form of internships and study
trips, these mobilities are also driven
by inter-administrative conventions
tied with the schools in Europe and
Asia.
In o rd e r t o d e ve l o p i t s c o u r s e s ,
the art school works towards
the implementation of reinforced
par tnerships with the associated
schools and joins networks of
national and international cultural
d e ve l o p m e n t ( E L I A , A r t Ac c o rd
France, L’Age d’Or), contributing, by
these actions, to the construction of
the European academic teaching of
tomorrow.
The policy of
international initiatives
Located in the heart of the
Me d i t e r r a n e a n , M x N e n j o y s a n
exceptional geographical situation
and heritage which federates an
openness that is both natural and
not only in tight liaison with the
other Mediterranean countries but
also with the whole of Europe and
further afield.
Thanks to these assets, the school
leads volunteer politics in favour of
the development of international
relations, with, in particular, the
acquirement of the Erasmus charter
2007-2013 and, in 2009, the
creation of an assistant position for
international relations.
Brought conjointly by the
management and the teachers, the
school’s international strategy favours
three central themes:
- the development of the students’
and teachers’ mobility
- the participation in the construction
of a European space for higher art
education.
- the recognition and the registration
of the school in a Mediterranean,
European and global dynamic.
This strategy is made up of diverse
actions (partnerships, mandator y
teaching of English, study trips...)
Erasmus With the Erasmus charter 20072013, both founding schools of MxN
are authorised, by the European
community, to supervise exchanges
originating from or bound for European
academic schools that have, like MxN,
received this agreement.
Thanks to this programme, fourth year
students are offered the possibility to
spend time in one of the great number
of schools that are in partnership with
MxN. Chosen for the quality and
the harmony of the teaching, these
105
The teaching contents
schools are associated with MxN by
a bilateral agreement that defines the
duration of the partnership and the
number of participants. Before leaving,
students must choose a certain number
of pedagogic units. During their time
away, they must submit themselves
to the assessment procedures in place
in the receiving school. The period of
study spent abroad will be subsequently
recognised thanks to the ECTS system
adopted by all the European academic
school.
In parallel, students hailing from the
associated schools will receive a warm
welcome. As soon as they arrive, they
will benefit from personalised support
and accompaniment that will allow
them to undertake their activities in the
best possible conditions.
Primarily destined for students, these
exchanges are also offered to teachers
and to the school’s administrative staff
with the aim to better the reciprocal
knowledge of the schools and to
intensify the cooperations.
In a near future, the school wishes to
register its action within larger exchange
programmes such as Erasmus Mundus
and Erasmus Tempus.
Dresde, Allemagne (2009-2013)
Academy of Fine Arts, Warsaw, Poland
(2008-2013)
Accademia di Belle Arti di Urbino,
Urbino, Italie (2010-2011)
Accademia di Belle Arti di Venezia,
Venise, Italie (2010-2011)
Ecole Nationale Supérieure des Arts
Visuels La Cambre, Bruxelles, Belgique
(2009-2010)
Ecole Supérieure des Arts Plastiques et
Visuels, Mons, Belgique (2010-2011)
Escuela de Arte Numero Diez, Madrid,
Espagne (2010-2013)
Facultad de Bellas Artes, Universidad
Complutense de Madrid, Madrid,
Espagne (2010-2013)
Facultad de Bellas Artes, Universidad
de Salamanca, Salamanque, Espagne
(2010-2013)
Kunstakademie Munster, Munster,
Germany (2008-2013)
Moholy Nagy University of Art and
design, Budapest, Hongrie (2010-2013)
University College of Art and Design,
Brussels, Beligium (2008-2013)
Agreements signed with school
partnerships outside of the
Erasmus programme:
Faculty of Fine Arts, Belgrade, Serbia
Gerrit Rietveld Academie, Amsterdam,
the Netherlands
Institut National des Beaux-Arts de
Tétouan, Tetouan, Morocco
Luxun Academy of Fine Arts, Shenyang,
China
International exchange
p r o g r a m m e a g re e m e n t s a n d
networks
Bilateral agreements signed as
part of the Erasmus charter 20072013
Académie des Beaux-Arts de la Ville
de Tournai, Tournai, Belgique (20082013)
Academy of Fine Arts of Dresden,
Networks currently adhered to by
the institution:
ELIA Network (European League of
106
The international exchange programmes
Institutes of the Arts)
Art Accord France network
L’Age d’Or network /Art Schools of
the South of France Reseau l’Age d’Or,
reseau des Ecoles d’Art du Sud de la
France
107
les contenus d’enseignement
In situ… and
elsewhere
110
The libraries/document centres
The libraries/
document centres
and 350 videos. Contemporary art is
predominant but a large place is also
granted for general culture and other
periods of art history.
Places of resources and true pedagogic
tools, the libraries, through their
collections and services, contribute to
the students’ course objectives.
Covering all teaching domains, and
specialising in contemporary art, they
must allow students to acquire a good
knowledge of art, of its history and of
the issues attached to it.
The libraries have a mission to account
for the evolution of artistic practices,
of theory and criticism, of the history
of ideas; they are attentive to the
new issues that appear in the artistic
domains, in philosophy, in human and
social sciences, as well as to the scientific
and technological discoveries.
They are resource centres in the heart
of the schools. The frequency and the
quality of the exchanges between the
librarians, the teachers and the students
during the end of semester assessments
or at the time of individual discussions,
allows the construction of work tools
that respond in the best way possible to
students’ expectations.
The libraries also have the aim to train
students on document research, to help
them in finding their bearings and in
developing this research.
Services available:
On site consultation for the general
public and document lending for
authorised readers only. Photocopying,
printing, scanning, video and DVD
viewing, Internet access and office
automation tools
A convention allows students from the
art school to register with the Nimes
University library and the University
students to register with the art school’s
library.
Educational collaborations:
Thematic selections according to the
lessons, the ARC and the school’s
current affairs.
Exhibition of the students’ printing/
editorial work.
Suggestion box for new reading.
Book exchange table.
Networks:
In Nimes:
The library participates in the collective
catalogue and in the shared conservation
of Nimes’ periodicals., in the plastic arts
Bulletin and in the art school librarians
discussion platform.
Online catalogues:
Collections:
Nimes’ library offers around 6600
books and catalogues, 25 subscriptions
The digital catalogue is accessible by the
following link:Catalogue en ligne :
Le catalogue informatisé est accessible
111
in situ... and elsewhere
In Montpellier:
à l’adresse :
http://extranet.Nîmes.fr/pmbeba/opac_
css/
Il permet de localiser les documents,
de les réserver, de faire des suggestions
d’achat, d’avoir accès à un compte
lecteur, de consulter des sélections
thématiques.
Collection:
More than 10000 books and catalogues:
history of art and civilisation, artists,
movements and trends of the Axis and
21st century, catalogues of collections
and collective exhibitions, urbanism,
environment, architecture, design,
visual and audiovisual communication,
n e w t e c h n o l o g i e s , p h o t o g r a p h y,
cinema, video, music, sound, dance,
performance arts, art criticism,
aesthetics, philosophy, human and
social sciences, literature. Close to 1000
audio-visual materials: production
videos and CD-roms, artist’s films
documentary, fiction and experimental
cinema, films on art and artists, dance,
photography, etc... Sound, audio
poetry, experimental music
Contact :
Isabelle Quaglia, bibliothécaire
Tél : 04 66 76 71 74
Fax : 04 66 76 74 06
isabelle.quaglia@ville-Nîmes.fr
Horaires :
Lu n d i , m a rd i , j e u d i , ve n d re d i :
9h-13h/14h-17h.
In 2009, the library acquired the
“Pointligneplan” collection: 68 films by
34 artists. 40 subscriptions to French
and foreign magazines and journals, as
well as the daily and monthly press.The
complete collection of the journal Les
Chroniques de l’art vivant (1968-1974).
The library’s catalogue is digitalised,
with 2 consultation posts.
Services:
5 computers devoted to word processing
and to internet research, and giving
access to databases, including the
ENSBA database of Paris that hosts the
plastic arts Bulletin (collective scrutiny
of contemporary art periodicals), to
the Encyclopaedia Universalis, and
112
The libraries/document centres
allowing the viewing and listening of
digital material.A TV monitor with a
VHS and DVD player.
Initiation to document research at the
beginning of the year for small groups
of first year students, and individually
all year round.
Groups of first and second years are
welcomed three half-days a week, in
collaboration with a teacher.
Borrowing is reserved to the students
and teachers of the school.
Contact:
Martine Morel, librarian
Tel: 04 99 58 32 90
[email protected]
Opening hours:
From Monday to Thursday: 9am-1pm
and 2pm-6pm. Closed on Fridays
The general public is welcome Tuesdays
9am-1pm and 2pm-6pm
Closed during school vacation.
113
in situ... and elsewhere
Le Pre Carre
and Hotel Rivet
galleries
the setting-up of the exhibition.
Subsequently, they must therefore
undertake its mediation.
Throughout the initial stages of
the exhibition, the artists, during a
conference or a round table with one or
more theoretician, critic or journalist,
present their work and debate with the
students. These exchanges lead on to
publications; both artistic and theoretical
research tools and tools for graphic
experimentation for the students.
Moreover, l’Espace des Ephemeres
and l’Espace B14 are places devoted
to student exhibition projects. The
commissioning, the display and the
communication are put into the hands
of the students. After having uncovered
a common line of reflection, the
“commissioners” present their work
hypothesis to the other students who
can work on a specific project or suggest
creations already initiated.
A protocol for privileged encounters
with professionals is organised on the
occasion of each exhibition; it allows
“commissioners” and other students
to discuss their intentions and their
presented work.
Finally, the students concerned must
build, with the teaching team, a critical
look at the experience.
The exhibition is one of the strongest
assets of art school teaching.
MxN is particularly sensitive to this fact,
applied within the ARC and the Practice
and theory of the exhibition research
unit of the ACTULAB laboratory.
The exhibition is also at the centre of
the school’s educational preoccupations
by way of a programme, composed
primarily around two main lines: artists’
exhibitions in Le Pre Carre and Hotel
Rivet galleries and the exhibitions of
which the students are commissioners
in l’Espace des Ephemeres and l’Espace
B14.
These events take place on average 4 to
5 times a year on each site; they are a
good opportunity to open up the school
to the public and to group together the
cultural partnerships, the students and
the teachers around new productions.
Le Pre Carre and Hotel Rivet galleries
are places where exhibition practice and
interrogation are at work; the students
are the privileged actors and spectators of
the latter. During each invitation, artists
take into account the particular status of
these spaces and express their proposals
in accordance with the latter.
The works are often produced on
location; the artists are assisted by
students accompanied by technicians
and teachers.
These students also collaborate in
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The publications
The publications
organised within the school’s galleries,
often one-man catalogues for the guest
artists or collective for the students and
the graduates.
A certain number of these publications
are created within the computer
graphics studio by students, in
collaboration with the teachers of the
editorial practice pole, or in the form of
internships and workshops in relation
with editorial practice professionals.
Printing, research pedagogy,
public and social image.
The printing/editing activity has
powerful educational virtues:
- it contributes to intellectual and
artistic exchanges within the school,
between schools, and more…
- the pertinence of the productions
feeds the communication of the school
in a credible manner, especially with
regards to the student world, and
therefore contributes to its visibility
and attractiveness.
The reflection and the practice of
printing/editing in ar t school is
paramount as traditional editorial
practices are nowadays confronted with
written visualisations induced by the
digital revolution.
Our printing/editing is developed
around several lines:
Hôtel Rivet Collection
In i t i a t e d i n 2 0 0 3 by Je a n - Ma rc
Scanreigh, and assisted by Nicolas
Grosmaire, this collection attaches itself
to themes, to authors or to events; it
aims to freely fix – on a theoretical or
concrete plan – different moments of
the life of the school by promoting the
creative approaches of teachers, guest
personalities or students.
Bleu profond Collection
This collection was born in 1994 with
the first publication of an album of
photographs of the Montpellier space
taken by students, under the direction
of Charles Camberoque. Since then,
two further albums have been produced,
in 2000 and 2008.
Photography, a way of living and
interpreting the world, here serves
as a pretext to explore a territory in
which students confront each other. A
departure point for emerging visions,
young artists can therefore capture
their personality, their capacity for
adaptation, whilst pursuing their
singular creative voice.
Actulab
The works undertaken by the research
laboratory ACTULAB generate
encounters, debates and publications.
The latter have been published since
1998, under the direction of Didier
Malgor, respectively following a
symposium, a conference and an
exhibition. In 2009/2010, the seminars
organised by the research units Actu,
contemporary art and urban territories
and Pra/Thex, practic and theory
of the exhibition, will also lead to a
publication.
Catalogues
They account for the exhibitions
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in situ... and elsewhere
The conferences,
workshops
and artists’
residencies
Journal Hôtel Rivet
The journal carries out a double
function. It aims to promote a printing
culture amongst students by engaging
them on a creative and technical level in
the various stages of the graphic chain.
By doing this, the fruit of education
integrates the communication of the
school and contributes to promoting
its image.
Conferences
Corinne Rondeau, academic and critic
A monthly conference on the Nimes
site
“I write differently from the way I
speak, I speak differently from the way I
think, I think differently from the way I
should be thinking...” Kafka
Theme: Politics and current affairs of
the exhibitions
The issue of the exhibition is less
important than the issue of form,
and content is less important
than contextualisation. In these
circumstances, the exhibition renews
itself with its literary definition.
Moreover, the exhibition is more a
product of the involvement of a cultural
organisation (interaction between
spectators, art works, curators, critics,
galleries and museums). In other terms,
the question of contemporary art is one
of exhibition as a way of exhibiting,
less an art than politics of art, in other
words an organisational issue. All
the exhibitions tackled will be set in
tension with the history of art (forms,
discourses, movements).
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The study trips and exhibition
The study trips
and exhibition
visits
Study trips concern all students,
thus favouring cross-communication
between the different levels and sites of
the school.
The destinations have a strong cultural
potential, in the entirety of the artistic
fields; the idea being to increase
students’ awareness as much of the
historical heritage of a city as to its
contemporary creations, its biennials
and its international contemporary art
fairs...
By taking notes, drawing, taking photos
and videos, students reinvest these trips
in their personal experiences. It is then
a question of re-appropriating a real
life experience and of reactivating it in
the form of artistic productions and a
historical and cultural analysis.
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in situ... and elsewhere
Organisation
chart
Géraldine SIEDEL
Management
WOHLFAHRT
[email protected]
International relationsLola
Christian GAUSSEN
[email protected]
Dominique GUTHERZ
[email protected]
Accounts/finance team
Isabelle SUAU
[email protected]
Elisabeth VINCENS
[email protected]
Corinne NUCCIO
[email protected]
Head of Administration
Noëlle DUMONT
[email protected]
Maria DOS SANTOS
[email protected]
General coordination
Libraries/ document centres
Nîmes : Augustin PINEAU
[email protected]
Montpellier: to be determined
Isabelle QUAGLIA
[email protected]
Martine MOREL
[email protected]
Teachers
Brigitte BAUER,
[email protected]
Jean-Louis BEAUDONNET,
[email protected]
Daniel BOISSIÈRE
Caroline BOUCHER,
[email protected]
Charles CAMBEROQUE,
http://www.camberoque.net
Jean-Marc CÉRINO, [email protected]
Laetitia DELAFONTAINE,
Gérard DEPRALON
Hubert DUPRAT,
[email protected]
Dror ENDEWELD
Véronique FABRE, [email protected]
Pascal FANCONY,
Administrative team
Administrative pedagogy
Fanny DUCROS
[email protected]
Elisabeth VERGNETTES
[email protected]
Administrative assistant, reception
Position to be filled
School secretariat for adult and
children classes
Ghania BENDAHMANE
[email protected]
Accueil, assistant de bibliothèque :
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Organisation chart
[email protected]
Maïder FORTUNÉ,
[email protected]
Jean-Claude GAGNIEUX
Joëlle GAY
Corine GIRIEUD
Frédéric GLEYZE, [email protected]
Aglaé GOURDOUZE, [email protected]
Nicolas GROSMAIRE,
[email protected]
Sylvain GROUT,
[email protected]
Pierre JOSEPH,
[email protected]
Christian LAUNE,
[email protected]
Nadia LICHTIG,
http://nadia.lichtig.free.fr
[email protected]
Didier MALGOR
Caroline MARGARITIS
Michel MARTIN
Yann MAZÉAS,
[email protected]
Clémentine MÉLOIS,
[email protected]
Caroline MUHEIM,
[email protected]
Grégory NIEL,
Patrick PERRY, [email protected]
Augustin PINEAU,
[email protected]
Natacha PUGNET
Serge PLAGNOL,
[email protected]
Albert RANIERI
Yves REYNIER
Corinne RONDEAU,
[email protected]
Claude SARTHOU,
[email protected]
Jean-Marc SCANREIGH,
[email protected]
Isabelle SIMONOU-VIALLAT,
[email protected]
Anne-Marie SOULCIÉ
Adam THORPE, [email protected]
Annie TOLLETER
Arnaud VASSEUX, [email protected]
Michaël VIALA
Federico VITALI, [email protected]
Carmelo ZAGARI,
[email protected]
Caroline ZIOLKO,
[email protected]
Technical Staff
André DEVEZEAUD
wood / metal , Montpellier
Thierry GUIGNARD
technical and technological coordination,
Montpellier
Gérard LAUZE
editorial practices, Nimes
Fabrice LALIBERTÉ
editorial practices, Montpellier
Christian MARQUANT
video / sound, Montpellier
Gérard MONTESINOS
wood / metal, Nîmes
Rémi REYMOND
wood / metal, Montpellier
Serge ROUBY
maintenance, transports, Montpellier
José SALES
photography, Montpellier
Michel SERRON
photography,, Nîmes
Fabrice VILLARET
caretaker manager, Nîmes
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in situ... and elsewhere
School facilities
(equipments)
Casting (plaster), modelling (clay),
resin and polyurethane foam treatment.
Treatment of various other materials
(Paper pulp machine).
Montpellier site
Sewing
Professional machine
The Premises
Graphic arts
screen printing – etching
Lightbox, drawing table, insulation
laboratory (lamp, frame), developing
tray, thermo bookbinder; etching press,
hot plates, acid tray, resin tray, rollers,
cutters.
They comprise three collective studios of
200m2 each, and a drawing studio.
The management, the administrative
offices and the teachers’ staffroom are also
located within this space.
An old building has been restored: a
studio of 300m2 is available for first
years made up of 3 IT spaces (PAO, TD,
Video/Sound), a photography and video
studio and graphic art premises.
Photography
Technician: Jose SALES
Professional equipment. Black and
white studio, developing laboratory
The technical workshops
Ateliers espace / volume / sculpture
Techniciens : Rémi REYMOND André DEVEZEAUD Digital units
3 IT spaces (PAO/ Photo, Video/
Sound), a photography and video
studio and graphic art premises.
Iron
PAO/Photo
Welding, brasing, MIG
Drilling: column drills, saws
Folding: press, folder, bender
Cutting: plasma, shear
Piece making: milling, turning
Unit including professional quality
devices; numerous work stations and
software specialised in digital image
editing along with reliable printing
tools, colour laser for editing and ink jet
for large formats.
Unit consisting of a dozen work
stations allowing tutorials, classes and
Wood
Specific tools for sculpting
Cutting: panel saw for large wood
formats, circular saw, band saw, jigsaw
workshops.
Video/Sound
Frame making
Sanding and turning equipment
Various 5-function combined tools
Technician: Christian MARQUANT
Professional IT stations specialised in
video, audio and animation editing.
Graphic pads, lighting, shooting, and
Plaster, clay, resin, foam…
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School facilities
audio capturing material, editing suites.
Broadcasting material (video projectors,
monitors, LCD screens, DVD players,
amp speakers…) used for the setting-up
of exhibitions in the gallery, of student
exhibitions in the school and for the
diploma presentations.
The technical studios
Photography studio
Mi c h e l S E R RO N , t e c h n i c i a n
photographer
An IT equipment comprising of 8
computers allows digital photo editing.
Traditional Black & White studio
equipped with 4 enlargers. Initiation
to small, medium and large format
formats (up to 4x5 inches).
Free access to the internet and desktop
programmes
A space equipped with numerous
computers is devoted to students for
word processing and internet access.
The space is continuously available
during the school’s opening hours.
Editorial practices
Gerard LAUZE, technician
Several rooms are devoted to etching,
lithography, screen printing and offset
printing. The rue de la Poudriere
studio has all the necessary material for
publishing work: large printing press,
screen printing tables, insulation hinge,
cutter, encolleuse and a lithography
press.
It is therefore possible to produce artist
books, fanzines, posters, portfolios,
prints, postcards, etc… by choosing
according to one’s needs between
screen printing, small and large
format engraving (etching, drypoint
and aquatint), embossing, monotype,
woodcut, lithography and typography.
Studio de dessin
Nimes site
The premises
Spread out over several sites, the
premises include collective studios
located in the Hotel Rivet, the rue de
la Poudriere and the volume studios of
Mont Duplan. The school’s premises
are developed over an area of 4300m2:
three collective studios of 200m2 each,
a drawing studio and an exhibition
gallery of 280 m2.
The management, the administrative
offices and the teachers’ staffroom are
also located within this space.
An old building has been restored: a
studio of 300m2 is available for first
years made up of 3 IT spaces (PAO,
TD, Video/Sound), a photography
and video studio and graphic art
premises.
Space/volume/sculpture
Gerard MONTESINOS, technician
400 m2 studio. All the necessary
equipment for iron, wood and
modelling work, allowing the realisation
of all kinds of sculptural projects.
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Drawing studio
PAO / Photo
Two rooms totalling an area of 200m2
are devoted to drawing and projects, one
of which is equipped with a blackboard
wall measuring 12x3m for large format
drawing experimentations in chalk.
Unit including professional quality
devices; numerous work stations and
software specialised in digital image
editing along with reliable printing
tools, colour laser for editing and ink jet
for large formats.
Unit consisting of a dozen work
stations allowing tutorials, classes and
workshops.
Painting/colour room Grand atelier
Large studio devoted to painting,
including all the necessary equipment
for contemporary pictorial practice.
Free access to the internet and desktop
programmes
Studios reserved for studentsA partir
From the 2nd year onwards, students
have studios at their disposal that they
can use alone or with others depending
on the nature of their projects.
A space equipped with numerous
computers is devoted to students for
word processing and internet access.
The space is available continuously
during the school’s opening hours.
Conference hall
110 seats, with video-projection
control-room.
Reserved for lectures and conferences
The video, computer graphics and
digital photography workshops have a
set of three rooms connected to each
other.
Video / Sound
Teaching assistant: Frederic GLAIZE
Professional IT stations specialised in
video, audio and animation editing.
Graphic pads, lighting, shooting, and
audio capturing material, editing suites.
Broadcasting material (video projectors,
monitors, LCD screens, DVD players,
amp speakers…) used for the setting-up
of exhibitions in the gallery, of student
exhibitions in the school and for the
diploma presentations.
122
la phase programme : semestre 2
Living and
working in
Nimes and
Montpellier
123
Living
and working
in Nimes and Montpellier
les contenus
d’enseignement
Rules and
regulations
Mutual insurance
companies
Social security,
National Health
a n d Pe n s i o n s
Organisation
Complément sécurité sociale :
souscription auprès des Mutuelles
habituelles (voire celles des parents) ou
bien auprès de la mep ou lmde.
www.lmde.com
www.mep.fr
These will be revised and validated
during the EPCC (public cooperation
state school) effective constitution.
When registering, students will agree to
the rules and regulations. It contributes
to the smooth functioning of the school.
A supplement to social security would
be to register with the same mutual
insurance companies as the parents’ or
else with the MEP or the LMDE.
www.lmde.com
www.mep.fr
Compulsory
insurance
The secretariat is in charge of looking after
the applications: the files for registration
or renewal are sent each year in the annual
registration pack. They must be returned
to the school along with the fees. A copy of
the registration section is sent back to the
students. It will be used as a social security
card until the receipt of the “carte Vitale”.
A medical certificate proving students
have no contagious or disabling disease is
required every year when registering.
Registration is compulsory, between the
ages of 16 to 28, to a student social security
system (free up to 20 years old): LMDE or
MEP, except if the student is submitted to
derogation from the parents’ social security
system. The new fee is established in July
preceding the start of the academic year.
For students aged 28 or over, they must
register for a social cover with the CPAM
of Nimes or Montpellier.
www.ameli.fr
Civil liability.
Travel (assistance and repatriation).
These are mandatory in order to cover
all risks linked to the school’s activities
and to benefit from the borrowing of
material belonging to the school and
during organised trips abroad.
These can be taken out with the
standard insurance companies. MEP
and LMDE offer a special student cover
for a small fee.
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Study grants
Study grants/
Bursaries
Housing
and housing
assistance
Students can apply for academic grants
with the CROUS-MONTPELLIER
by Internet between the 15th January
and the 30th April on the website:
www.crous-montpellier.fr. Students in
financial difficulty can ask for emergency
grants at the start of the academic year
through the Ministry of Culture which
attributes annual emergency funds
(FNAUA). The demand is made at the
school’s secretariat by filling in a special
form.
The school is not in charge of providing
student housing.
Students can make reservations between
15th January and 30th April on the
website.
www.crous-motpellier.fr
crous (Centre régional des œuvres
universitaires et scolaires)
2, rue Monteil 34033 Montpellier cedex
tél + 33 (0)4 67 41 50 00
Payment of the bursaries:
Likewise, in Nimes, students can
consult the Youth Information Centre
(Bureau d’Information Jeunesse). Place
de l’Horloge, Nimes. Monday to Friday
10am-6pm. + 33 (0)4 66 27 76 96 (info
line: + 33 (0)4 66 27 76 80).
In Montpellier, students can consult
the Regional Youth Information
Centre (Centre régional d’information
jeunesse, 3 avenue Charles Flahault,
34090 Montpellier)
+ 33 (0)4 67 04 36 66
www.crij-montpellier.com
The grants are paid every term by
postal cheque or bank account transfer.
Students who receive bursaries are
exonerated from student social security
fees.
crous
assistance
social
For all information regarding bursaries
and grants:
- In Nimes, contact Mme Oberlé,
Antenne du Service Social crous Centre
Universitaire, rue du Docteur Salan
30000 Nimes, + 33 (0) 4 66 36 45 06.
- In Montpellier, students can contact
the CROUS directly: + 33 (0) 4 67 41
50 27.
Additionally, every year, an information
space is devoted to student housing
at the Corum, the palais des Congres
and the salon du Belvedere from July
to October. Students and their families
can contact estate agencies and house
owners and undertake all the necessary
formalities (tenancy agreement, APL
(housing assistance) application with
the Caisse d’Allocations Familiales
125
Living
and working
in Nimes and Montpellier
les contenus
d’enseignement
Student card
(family allowance fund), insurance…).
Furthermore, during registration,
the secretariat addresses a list to new
students of the different types of
accommodation available in the city:
student accommodation with website
and e-mail address, CROUS, other
accommodation type: host families,
Concordalogis.
The youth centre in Montpellier, rue
Maguelone, offers information to
students: Flat renting, jobs, IT services.
The CAF (family allowance fund)
website:: www.caf.fr
It is handed out to students once the
registration application is up to date.
The student card will offer cultural
incentives in Nimes and Montpellier
as well as discounted or free entry to
national museums.
Transport
In Nimes: urban transport is carried out
by the TANGO network, + 33 (0)820
22 30 30
In Montpellier: the public transport
network of the city serves the school
by tram (lines 1 and 2), and several
bus routes. Reduced fares are granted
to students. They must go to the TAM
offices (Transports de l’Agglomeration
de Montpellier) and the Maisons
d’Agglomeration in order to complete
the formalities and purchase transport
cards.
Catering
Students can go to the various university
eateries in the city, managed by the
Nimes and Montpellier CROUS.
Foreign students
For the “cartes de sejour” (residence
cards): compulsory presentation and
photocopy of the latter at the time of
registration. Carte de sejour renewal can
be done at the Préfecture du Gard, 10
avenue Feuchères 30045 Nimes cedex
9, + 33 (0)4 66 36 40 40 (one month
acquirement delay) or at the préfecture
de l’Hérault, Place des Martyrs de la
Résistance, 34000 Montpellier, www.
languedoc-roussillon.pref.gouv.fr
Fo r e i g n s t u d e n t s w h o a r e n o t
ERASMUS must produce and justify
their own system of social cover
(European health card); failing this they
will be automatically affiliated with the
student social security.
Tél + 33 (0)810 33 42 73 ou Hérault
Transport, www.herault-transport.fr
sncf (trains): www.sncf.com
Student season tickets are available
Local airports:
www.Nîmes-aeroport.fr
www.montpellier.aeroport.fr
126
Plans
Montpellier Site
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129
130
131
132
133
134
135
Plans
Nîmes site
136
137
138
139
140
141
142
143
144
145
146
147
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