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École Supérieure d’Art de l’Agglomération d’Annecy, France

EXHIBITIONS, from March 17th to the 1st of April

Galerie Dolet / Crous, 25 rue Etienne Dolet, Clermont-Ferrand

Monday to Friday – 8am to 4pm


L’école supérieure d’art de l’agglomération d’Annecy provides teaching that leads to the DNAP degrees (Bachelor) and DNSEP (Master) in Art and in Design, as well as an institutional degree DSRA (Doctorate).
The school is part of the national network of national academies of art under the supervision of the Ministry of Culture, a network in which it stands apart through its pioneering position concerning research, by its work on space, landscape, and territorial development, but also by its radical position on the experimental dimension of art and design. Experimentation is at the forefront of ESAAA and the school places it in all of its activities.
ESAAA occupies a building deemed part of the “Heritage of the 20th century”, designed with concrete, wood and glass, built by André Wogenscky in 1967 in front of the Annecy Lake and its amphitheater of mountains. The students, staff, technical and administrative team all develop activities including project production, residences, but also publishing.
A school with personality, ESAAA can be described as being extremely close to the place around it: in front of the sublime of nature, it seems like a call for contemplation, but at the same time, located at the intersection between France, Italy, and Switzerland, at the center of many very dynamic scenes, it develops a hyper-connected activity that takes advantage each week of its proximity with the Geneva international airport.


The studies that ESAAA proposes revisit this necessary dialectic of distance and proximity, and if they have something of immersion within the workshops, they also propose multiple projects outside the school, tackling the issues of our time, its urbanity, its high and low-definition technologies, its worldwide flows… and commits to participation through multiple overlaps. ESAAA thinks of itself at all levels of its activity as a work platform from which propositions are deployed, provided to all and shared.
Furthermore, and this is part of its identity, ESAAA has a very solid pedagogical positioning: its affiliation with higher education is not thought of as coming from a simple logic of learning that would distribute the roles according to the simplistic pattern educated / uneducated, but in an adventurous logic of emancipation, such as that described by Jacques Rancière, for example.
It is a question of structuring teaching and research, and thus proposing to all the members of ESAAA to “venture into the forest of things and signs,” starting from where each is situated. In other words, because ESAAA is affiliated with higher education, it is viewed as an artistic and intellectual community in which the teachers are artists and researchers, that is to say practitioners who never cease to reassess their practice, to literally look for it. And in the same way as the students, they are on the move like mobiles that have their own trajectories which pass other trajectories.
This conception of research, knowledge, intelligence, but also art, design, and higher education irrigates ESAAA and gives it a singular identity that goes beyond the content of its teachings and its geographical location.

The design and space department

Today design knows how to manage heterogeneity, the diverse, and the multiple by playing with elasticity in order to invent the tensions and propulsions that are still on hold.
The cinema, in what it has in common with reality that orders the recording, is part of this acceptation of the term Design. Yet the way is not a documentary. Every situation is the object of questions concerning the status of the image itself, and the possibility of all continuity to create, if not experience, a certain lift-off that we will gladly call fiction. Hence, fiction of use, fiction of place, fiction of roles.
Three ESAAA teachers are filmmakers in the Design & Space department: Jean-Marc Chapoulie, Naïm Aït-Sidhoum, Demis Herenger.

Figures sur paysages #2, 2015, Léo Baudy, 12’09

Taking a stand
sound recording
an actress,
one who gives orders,
landscapes and black
gestures, a language,
another language,
a fire extinguisher,
a pair of scissors, a damaged
setting, cinema,
a scenario/ user’s manual,
going green.

Mémoire d’Afrique, 2015, Emma Tholot, 5’32

During my trip to Tanzania and Zanzibar, I looked at what they let me see and interested myself in what they were trying to hide.

Lucy scene 1, 2015, Fred Vivet, 7’29

A 20-year-old girl gets ready in the bathroom.

ARdECHE, 2015, Claudia Struve, 3’24

A landscape, two men, chestnuts, and the sound of a bell… Time seems to have stopped.