Atelier sonore d’esthétique 2005-2015 (création)
Students of the Art School of Bourges present pieces that describe, comment on semiology or analyse with sounds or voice, a work of art, under the old, modern, contemporary or current heritage.
These micro-rooms are a small experimental, artistic and sound encyclopedia of the history of art. These parts exceed the issue of registers and genres: they participate in a very open sound writing.
Emergences numériques et sonores
Sound pieces : Gaëlle Cintré, Thomas Giguelay, Aymeric Larvido, Yann Legay, Nina Marchand, Léonore Mercier, Jonathan Nicolas, Marco Pillitteri, Ludovic Renaud, Yan St-Onge, Jocelyn Villemont, Hernan Zambrano, Arthur Zerktouni.
Group achievement : Luc Escaffre, Nina Marchand, Jonathan Nicolas, Ludovic Renaud, Jon Haure-Placé, Pablo Paz-Bardet, Stéphane Joly and Alexandre Castant.
ENSA Bourges
France’s National Schools of Art are currently engaged in a process of reorganisation that makes them an integral part of the European Community’s higher education system. As of 2012 they will be offering a Master’s in Visual Expression: the teaching programme is based on realisation and critical analysis of students’ personal work, with special emphasis on research and creativity during the “Project” phase in the 4th and 5th years. The student’s aspirations will be guided and fuelled by new tools, including a thesis.
To enter a National Art School is to opt for learning in terms of specific choices, experiences and methods, to take full advantage of the skills of its teachers, to seek one’s identity through dialogue, and to draw on the school’s range of possibilities and ideas for shaping one’s own critical independence. Once basic knowledge and skills have been acquired, the student gradually achieves the autonomy needed to shape a distinctive personal objective. All this calls for a sustained sense of purpose, endless curiosity and real commitment.
The school provides a gamut of critical approaches, wide-ranging access to theory, and individual help with personal practice, together with a comprehensive knowledge of the art of the past and today, facilities for experimentation, and practical criticism of one’s own work and that of others. This is an establishment not just for passing on knowledge, but for generating it too, in a host of different forms.
Students are also called on to make the most of the school’s exchange schemes, visits by outside personalities, and the enormous diversity of ideas and intellectual approaches on offer. Given the setting and the teaching programme, students will hone their ability to come up with new ways of thinking, new attitudes and new stances.
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