Art
Design

DSRD – Advanced degree in Design Research

Research in the Higher School of Art and Design of Marseille is in a period of development and is structured around diverse partnerships (institutional and university), as much for the art option: SONART as for the design option: SPACES WITHOUT QUALITIES. An administrative research unit gathers and structures the projects. The projects containing the ensemble of the conditions that define a level of research can ultimately, propose 3 years of study (bac+8) to postgraduate students and award a 3rd cycle qualification, the DRSD (Advanced National Degree in Design Research ) geared towards student-researchers coming from initially diverse training backgrounds and recruited through a call for applications.

Sonart – for a digitized and indexed corpus of sound art experiments and productions

A new “exhibition catalogue”: proposition of a digital platform for the indexing and distribution of works of visual sound art.
Despite the fact that the domain of sound art is in a period of expansion, we have only seen the very beginning of its inventory, historical approach and its theorization. Sonart wishes to make an important contribution, constituting an important documentary base dealing with artistic and experimental practices from the beginning of the 20th century to the most current works. This base will be created from specific systems and tools for indexation.
The role of the ESADMM in this partnership is to produce a number of exhibitions, starting with works connected to the domain of research and consider their scope, drawing on French public collections. (FRAC, FNAC and others). By orientating the exhibition in relation to a theme, a genre or a specific question each time, the aim is to, by way of the exhibition, complete the research by being based on the reality of the retained works. This research project is the fruit of a collaboration between universities and art schools where different areas of expertize and fields of knowledge intersect.
Partnerships with: LESA : Laboratory for the study of art and science. University of Aix-Marseille, LSIS: Laboratory for science and information systems. University of Aix-Marseille, BAUHAUS UNIVERSITÄT : Experimental Radio Bauhaus Universität Weimar Fakultät.

Spaces without qualities – Design, urban spaces and digital technologies

Digital technologies, the development of which has amplified and accelerated urban change begun at the end of the 19th century, have today infiltrated urban space itself, modifying the landscape as much as their use and modes of management. The data which transits through the GSM network, wifi networks, user information and transport infrastructures, systems of surveillance and RFID devices accumulates in the urban space, then constantly produces and distributes spaces whose nature is modified under the regime of hybridization of physical space (material spaces, built space) and “digital space”, where permanent connectivity, systems of geo-localization, ubiquitous and mobile computing profoundly alter urban ways of being on an individual and collective scale.
The question that preoccupies design in the context of these issues is to know how to qualify the permanent tension that characterizes this contemporary city (global/ local, private/ publication, anonymity/surveillance, individual/collective, interior/exterior, built up spaces/ spaces of transit/flow,…), how to orientate oneself in an environment with porous borders, in complex places, multiple and fragmented, how to materialize the effectivity of a relationship between bodies, places and digital communications networks, in a word, how to give shape and meaning to that we wish to call, echoing Robert Musil’s figure of the Man without qualities, “spaces without qualities”.

Since January 2013, the ESDAMM has hosted its first researcher, Adelin Schweitzer, within its walls in the context of the Spaces without qualities/Design, urban spaces and digital technologies, research programme.

The Positions Bureau

With: Vanessa Brito (Lecturer in Philosophy), Anna Dezeuze (Lecturer in Art History), Charlie Jeffery (Artist), Frédéric Pradeau (Artist), and the students of the Ecole Supérieure d’Art et de Design Marseille-Méditerranée. Description Where do I stand? How can I hold my ground? For how long? These are some of the questions that the Bureau des positions sets out to investigate by focusing on the relation between physical actions – such as taking a stance, occupying a space, holding a position or carrying out a project over time – and their artistic and political implications. Of particular interest is the articulation between the two meanings of the word ‘resistance’: it describes both a physical qualities of materials and bodies, involving phenomena of inertia and resilience, and human efforts and actions ranging from opposition to insurrection and disobedience. At what points do these two meanings intersect? When does a ‘stance’ turn into ‘resistance’? Are some physical postures, such as the ‘standing position’ described by Roland Barthes, ’eminently critical‘? Could there be a connection, as he suggests, between an uncomfortable position and the feeling of ‘un-ease’ that gives rise to ‘political consciousness’? As we set up various intersections between different practices – in art, literature, philosophy and science – we will also pay attention to the position effects that result from changing locations and different relations of proximity. We will study the ways in which words, bodies and objects are placed and arranged – whether in the space of the picture or the exhibition, on a stage or the page – according to tensions, the balance between different forces, be they dynamic or static. What does adopting a position involve? In what ways can one navigate a given institutional, cultural or political context? It may be less a matter of finding a place than of inventing shifting spaces of dis-placement, in which everything and everyone is, in fact, always out of place. Programme, 2015-2016 Our starting point for this academic year will be Thomas Hirschhorn’s workshop in which the artist asks: ‘Where do I stand? What do I want?’ We will then follow our second guest artist, Julien Prévieux, in his tactical positions in given institutional, cultural and political contexts, as he rolls around his everyday space (in Roulades), sends out Letters of Non-interest (Lettres de non-motivation) or explores the world of patented gestures in What shall we do next. We will also look at stances such as Bartleby’s (in Melville’s famous short story), which combined different ways of occupying space through immobility with variations on the sentence ‘I would prefer not to’. Such positions can be read as prefiguring ‘Occupy’ movements as much as artistic practices that reject production.

The ESADMM edits publications in relation to certain pedagogical and artistic projects, to activities of research and expression carried out in the school. The degrees awarded (DNSEP art and design) are the subject of a catalogue each year. The school also publishes the ensemble of its pedagogical leaflets. A publishing section exists within the school (technical basics in Publishing/ prepress/ archives, screen printing, lithography/ offset/ engraving, infography) allowing students to shape, experiment and make multiple works of very diverse natures, from the creation of artist books to school dissertations (mémoires).

Each year the ESADMM elaborates a complete programme of cultural activities within the school in addition to projects that happen outside the walls in relation with its partners: exhibitions, lectures and encounters, concerts, open days, workshops and guests, artist residences, etc.

With classes geared towards amateurs, both children and adults, more than 600 students practice the visual arts each week in workshops situated on 6 sites from the north to the south of the city. Driven by visual artists, teachers from the school, the originality of the workshops resides in the double approach proposed by teachers: practice the visual arts, but also develop an aesthetic sensitivity, allowing each student to inscribe their creative process in the modernity of the arts. As a complement, developing a general sensitivity to the History of art is proposed.

The school is committed to displaying a true international policy. Of course this is supported by the establishment’s first class student exchange network with almost 50 art and design schools around the world.
Each year, around forty fourth year students from the art and design option benefit from the numerous partnerships that have been developed throughout the years with other schools from around the world, whether in the context of the ERASMUS programme: Germany (Berlin, Bremen, Krefeld, Hamburg, Munich), England (Bristol, London, Leeds), Austria (Linz, Vienna), Belgium (Anvers, Brussels, Hasselt), Denmark (Copenhagen), Spain (Madrid, Barcelona, Bilbao, Valence), Finland (Helsinki, Vaasa), Greece (Athens), Hungary (Budapest), Iceland (Reykjavik), Italy (Bologna, Milan, Ravenna, Venice), Holland (Rotterdam), Poland (Gdansk), Portugal (Tomar), the Czech Republic (Prague), Switzerland (Geneva, Lucerne, Sierre, Zurich), Turkey (Eskisehir); and non-ERASMUS: Armenia (Erevan), Brazil (Rio de Janeiro), Canada (Montréal, Québec), Chili (Santiago), China (Peking, Shanghaï, Dalian), The Ivory Coast (Abidjan), Israel (Jerusalem), Tunisia (sousse)

The MAD, the gallery of the École supérieure d’art et de design Marseille-Méditerranée.
The MAD gallery in the center of town has the primary goal of bringing visibility to the school’s art options, revealed by guest artists, the choice of participants made by teachers, the event-related pedagogical forms, workshops, studios and the school’s research axes.

THE LUMINY GALLERIES
Located on the site of the establishments, two experimental exhibition spaces are available to invited artists, student and teacher projects and public renderings of work at the end of workshops.

The ESADMM benefits from a privileged environment at the heart of Luminy’s university domain. It covers 18 hectares, in buildings whose architecture was designed by René Egger offering 10,000m2 of workshops, classrooms and an amphitheater, privileging volume and light to students.
The school has the technological basis that covers the ensemble of the tools necessary for creation today: infography, wood, metal, publishing (screen printing, lithography, engraving…), still and moving digital images, sound, ceramics, 3D, modeling…
It has also implemented a large digital project (LoAD platform and fablabs) designed to create thinking and experimentation, inside and outside of the school, on the wide field of digital practices, linking engineering, research, technology, creation and distribution.

ANdEA

ARTISTIC ACTORS: National Museum of Modern Art, Centre Georges Pompidou : lecture cycles, Ricard Foundation, PACA FRAC, Languedoc-Roussillon FRAC, Astérides (the Friche la Belle de Mai), Artists’ documents (the Friche la Belle de Mai), Triangle France (the Friche la Belle de Mai), Sextant et plus (la Friche la Belle de Mai), Gourvennec-Ogor Gallery, Art-O-Rama ( international Contemporary Art Fair), Vacances Bleues Foundation, Gallery of the grands bains douche, Atelier De visu, AMEO Association and the Town hall for the 9th and 10th districts, Marseille : the « Arts éphémères » festival, photography prize of the Maison Blanche, VIA, [mac] Museum of Contemporary Art of Marseille, International Documentary Festival (FID), Marseille Objectif Danse, Radio Grenouille, Souvenirs From Earth (cable tv channel), the Marseille Expos network…

COMPANIES AND THE ECONOMIC SECTOR: UPE13 (The Bouches-du-Rhône Enterprise Union), CCIMP (The Marseille-Provence Chamber of Commerce and Industry (Innovation and Industry Sector)), CASTORAMA, HMP (Habitat Marseille Provence), PÉBÉO, Marseille-Innovation (Media Department of the Friche de la Belle de Mai), Avenir-Telecom, Vinci…

SCIENTIFIC / UNIVERSITY PARTNERSHIPS: Ecole Nationale Supérieure d’Architecture of Marseille, École supérieure d’art d’Aix-en-Provence, École supérieure d’art de l’agglomération d’Annecy, École nationale supérieure d’art de Bourges, École nationale supérieure d’architecture de Marseille (pedagogy and research), Insartis research team, the École d’ingénieurs d’Aix-Marseille université (Polytech Marseille), LESA (Laboratory for the Study of Science and Arts), Aix-Marseille University, LSIS (Laboratory of Information and System Sciences) – domain of the University of Saint-Jérôme, “Hypermedia of the IAE Savoie” Communication department, Mont Blanc, EHESS (the School for Advanced Studies in Social Sciences) – Marseille, Agora project (Villa Méditerranée, the University of Bezalel, Jerusalem, the Università IUAV of Venice, the Aristotle University of Thessalonica and the Maltepe University of Istanbul)…

Anne-Marie D’Estienne d’Orves Présidente
Jean Mangion Directeur général
Jean-Louis Connan Directeur artistique et pédagogique
Philippe Campos Directeur général adjoint
Sylvie Lafont Directrice administrative et financièr
Fanchon Deflaux Responsable de la Pédagogie et de la Recherche
Sylvie Ori Assistante pédagogique
Kassandra Meyer Secrétariat pédagogique options design, années 2, 3, 4, 5
Laurence Azzopardi Secrétariat pédagogique option art, années 3-4-5
Aurélia Veran Secrétariat pédagogique année 1, année 2 option art
Aurélia Veran Secrétariat pédagogique année 1, année 2 option art
Karen De Coninck Suivi administratif du programme Pisourd et des projets de Recherche
Céline Christolomme Responsable Professionnalisation
Muriel Gallon Bibliothécaire
Valérie Chardon Langlais Responsable Communication
Alain Carré Responsable Partenariats et financements (entreprises, Fonds de dotation)
Claude Puig-Legros Relations internationales : Réseau des écoles, gestion des moblités
Alexandra Horcholle Responsable ateliers publics, expositions et projets artistiques, classe préparatoire

184 avenue de Luminy
13288 | Marseille cedex 9
tél. +33 (0)4 91 82 83 10
fax +33 (0)4 91 82 83 11
contact@esadmm.fr
www.esadmm.fr

450 students