Quelques réalisations vidéo des étudiant.e.s de l’ENSAD

Atelier Vidéo à l’ENSAD. Photo du site de l’ENSAD au 28 janvier 2021. © EnsAD / Béryl Libault de la Chevasnerie

Clarisse Hahn enseigne dans le cursus master du secteur Photo-Vidéo de l’ENSAD, elle est référente pour les 4e et 5e années. Elle interviendra lors de la table ronde du 29 janvier 2021. Afin d’illustrer la diversité des travaux réalisés dans le cadre de ses cours et plus largement à l’ENSAD, elle montrera des extraits des créations suivantes.

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Intervention de Natalia Sassu Suarez Ferri

The experimental nature of Gego’s Teaching and Art practice

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Intervention d’Anja Degner

“I expressed my concerns, that my knowledge […] was so limited that I would hardly be able take on any teaching.” – Käthe Kollwitz and the conflict with teaching

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“Transmission and Gender: Women artists as teachers in the XXth century” Conference/ Call for contributions

Throughout the twentieth century, European schools of art and design have been subject to successive waves of criticism, reform and reinvention. The traditional system based on patterns of validation and career networks, as well as on a strict value scale, was rendered more or less obsolete by the artistic and social revolutions of the first avant-gardes. Having lost one of its key raisons d’être, traditional art education has since been constantly re-evaluated. Ongoing attempts have been made to make teaching more relevant, in particular through an increasing openness to the contemporary. The methods, techniques and even attitudes passed on in the schools have been constantly adapted and updated, far from the putative ‘objectivity’ that had been long been promoted in the Academies. Numerous models have been constructed and tested in Europe and around the world, such as those of the Bauhaus, Black Mountain College, CalArts, the Ulm School, the Freie Internationale Universität, the Banff Centre for Arts and Creativity, and La Cambre, or more recently Le Fresnoy, along with those of various independent and ephemeral summer schools. With this turn towards the contemporary, art education has become more complex across the board. The circulation of students, artists and more generally of forms and ideas has contributed, above and beyond different national contexts, to a global transformation of artistic education.

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