ccc

Writing Research Practice

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Writing Research Practice
M1/M2
French/English

Çağla Aykaç

The Writing Research Practice Seminar is a space where you refine your individual research project and design, build your personal archive, and work your voice. It is also a space for self-reflexivity and for understanding where and how you stand in relation to your own research, and more generally in relation to research ethics and art research practice.

The Writing Research Practice Seminar works together with the Situated Art Practices Seminar.  While you will have opportunities to discuss your individual research punctually in tutorials and with your thesis advisors (2nd year), the Writing Research Practice seminar is a space for sharing your research with other students and getting feed-back on your writing throughout your two years at the CCC.

Each session of the Seminar is constructed around a chosen theme (archive, critique, method, voice, standpoint, kinship, power, time & space,..) with common assigned readings.  For each meeting, you are asked to bring additional readings related to your own research and a piece of your own writing. The Acte de Recherche you write during this seminar will be published at the end of the year and will be used as a presentation of your research.

Theory Fiction

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Theory Fiction
M1/M2
English

Kodwo Eshun

The Theory Fiction Seminar for 2021-2022 will focus upon a close reading of Octavia E. Butler’s 1980 novel Wild Seed which can be understood as a thought experiment on the intertemporal dynamics of extrapolation, exploitation, evolution and enslavement. The collective reading of Wild Seed by the Seminar will function as a kind of libretto for an engagement with one scene from Wild Seed. This collectively selected scene will be notated, recited, voiced, performed, projected, videoed, recorded and amplified for a recital that situates itself at the ambiguous intersection between the formats of performance-lecture, sound-work, audio-essay, opera and podcast.

Critical Studies

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Critical Studies
M1/M2
English

Gene Ray

Images of Civil War or the Civil Wars in the Image?
Debating Visuality, Monumentality, Coloniality

Alongside and around the “real” violence and terror that saturates late modernist everyday life, are the all-pervasive images of violence and terror. The image is “the basic unit of memory” (Sontag). There is no remembering and so no thinking, without the image and imagination (Aristotle). And yet some images are a “strike against understanding” (Kracauer). Flooded by images and the networked screens that produce and circulate them in new orders of magnitude, can we even be sure today that we know what an image is? The making and reproduction of images have become key technics of social control, as well as focal points of critique, resistance and uprising. The ethics and politics of the image, long debated, remain open problems: where does witnessing end and the violence of images begin? There is no image “that is not haunted by history” (Cadava). As the “tenacious function of making visible,” the image is “the eye of history” that sometimes “looks back” (Didi-Huberman), or speaks in the low-frequencies of “felt sound” (Campt). “The image of man,” Bataille wrote in 1947, “is inseparable, henceforth, to a gas chamber.” “There is no image of the gas chamber” (Lanzmann). “The idea of a universal right to see is a fraud” (Azoulay). This year, the critical studies seminar dwells in the debates that span the distance in time, poetics and memory politics between the film Shoa, Claude Lanzmann’s 1985 “fiction of the real,” and Raoul Peck’s 2021 documentary television series Exterminate All the Brutes: the first insists on the singularity of the Nazi Judeocide, underlined by a refusal of archival images; the second constructs new images of the contemporary from the archival fragments and absences of early modern genocide and continuing settler colonialism and racial capitalism. To open up the ethical and political problems, the main reading will be Susan Sontag’s Regarding the Pain of Others (2003), supplemented by excerpts from Ariella Aïsha Azoulay, Eduardo Cadava, Tina M. Campt and Paul Gilroy.

Janis Schroeder

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Janis Schroeder is an artist and researcher working with video, photography, artist books and essays. His research and artistic practice is about the influence and language of image montage. He uses the video essay as a niche form of knowledge production and representation to take a critical view on the power relations within these images. In an ecosophical approach, he works on media archaeology and anthropogenic impact through manmade urban environments. After earning his BA in Visual Arts (Writing) from the Geneva University of Art and Design/HEAD, he completed an MA in Critical, Curatorial, Cross-Cultural and Cybermedia Studies (CCC) in 2013. He is currently a tutor in electronic media with the research-based master programme CCC at HEAD, presenting seminars on Situated Art Practices and co-coordinating the programme’s reading group in collaboration with his colleague Cécile Boss. He contributes to the research project The Anthropocene Atlas of Geneva (TAAG), directed by Professor Gene Ray.

Catherine Quéloz

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Catherine Quéloz, professor in the history/theory of art and Cultural Studies, is specialized in the conceptual discursive and interventionist art practices informed by gender and postcolonial issues. She is Honorary Professor of Haute d’école d’art et design (HEAD) Geneva. Initiator of a Curatorial Programme (1987), she is the cofounder in 2000, together with Liliane Schneiter, of CCC Research-Based Master Programme and Pre-Doctorate/PhD Seminar at Geneva University of Art and Design. She is currently co-leading (with Pierre Hazan) a research project supported by the Swiss National Science Foundation (SNF) on art practices and politics of memory. She collaborates to two ongoing research projects, one on the Emerging Cultures of Sustainability (ECoS) and the other one on alternative pedagogies in the economic system of education.

Eric Philippoz

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Eric Philippoz is a visual artist working with video, installation, drawing, performance and text. He holds a Bachelor from the Haute école d’art et de design de Genève (art/medias) and a Master-degree from the ArtEZ Dutch Art Institute (Arnhem, The Netherlands). Recently, he initiated the project “Hotel Philippoz”, a residency and art events programme located in his grandmother’s house undergoing full renovations. Within a year, twelve international artists stayed at “Hotel Philippoz” and engaged a dialogue with the place and its memory. As an assistant-coordinator, he is responsible for the one-year colloquium “Thinking under Turbulence” that frames the curriculum during the transition of the CCC Master Programme in 2015/16.

Denis Pernet

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Denis Pernet is a curator and writer educated as an artist at Ecole supérieure des beaux-arts Geneva where is was an assistant for three years. For more than ten years he has worked as a curator of exhibitions and presentations on contemporary art, film, video and sound, with a focus on transdisciplinary formats. Working as an independent curator he began his institutional career at Geneva Contemporary Art Center where he curated numerous exhibitions by emerging artists, as well as exhibitions that linked to contemporary discourses.
Currently, he is director of « La nuit des musées » in Lausanne. He has also edited numerous catalogs in the field of contemporary art, and has collaborated to several art magazines.

Aymon Kreil

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Aymon Kreil is an anthropologist. He is currently a researcher at UFSP Asian und Europa of University of Zurich as well as a visiting lecturer at CCC Research-Based Master Programme. His doctoral research thesis, accomplished at EHESS (Paris) in co-supervision with University of Neuchatel, is entitled Du rapport au dire. Sexe, amour et discours d’expertise au Caire (2012). In addition to gender and sex­uality, his researches are also dealing with religious authority, class distinctions and the Egyptian understandings of the domain of politics.

Cécile Boss

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Cécile Boss, performs research by means of art (video, performance and writing). She holds a BA in Visual Arts and a Master from the CCC Programme at Geneva University of Art and Design (HEAD). For her Master thesis and film Life is not living (2013), her research areas were balanced against the psychiatric treatment and confinement to the world of work and care. In parallel she has undertaken in collaboration with Melanie Borès an intensive study of one thesis from Walter Benjamin’s On the Concept of History, in connection with the research project Politics of Memory and Art Practices: The Role of Art in Peace and Reconstruction Processes [PIMPA/PPR]. Currently she works on the potentials for memorialization offered by the video essay form in the technologized capitalist context. As an assistant in the CCC Programme, she coordinates  the reading group seminar with colleague Janis Schroeder.

Reading Group

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Reading Group
M1/M2
French/English

Julie Marmet
Nayansaku Mufwankolo (they/them)

Début : 21 Octobre 2020, 10h

Le Groupe de Lecture est un moment d’échange consacré à la lecture attentive de documents textuels et audiovisuels. Il vise à (re)penser les systèmes de croyances hégémoniques, afin de démêler collectivement les concepts et les idées, et d’ouvrir un espace de réflexion commun. Cette année, le groupe de lecture commencera par étudier le cadre général et systémique des mécanismes de domination, en allant vers des ramifications plus intersectionnelles et inclusives. De nécropouvoir/biopouvoir aux questions de décolonisation, en passant par la déconstruction du paradigme de l'”humain”, vers un positionnement militant de la recherche par le biais de l’art. Touxtes les participant·e·x·s sont invité·e·x·s à apporter les contributions personnelles qu’iels jugent pertinentes pour la discussion en cours, ainsi qu’à partager des documents qui pourraient être utilisés pour orienter la conversation vers de nouveaux horizons.