Marie-Laure Allain Bonilla

Formée en études curatoriales et spécialisée en histoire des expositions, Marie-Laure Allain Bonilla est docteure en histoire de l’art contemporain de l’Université de Rennes 2. Pour sa thèse elle a travaillé sur les usages des théories postcoloniales dans les pratiques curatoriales de l’art contemporain des années 1980 à 2015. Ses recherches actuelles portent sur les politiques d’acquisition muséales à l’ère de la globalisation et les stratégies mises en place pour décoloniser les pratiques institutionnelles. Elle a publié sur ces questions notamment dans Muséologies, On Curating et Critique d’art, ainsi que coédité le dossier 24 de TSANTSA, la revue de la Société suisse d’Ethnologie, sur les processus décoloniaux en Suisse dans le système éducatif et les institutions culturelles. 

Son dernier projet éditorial, Constellations subjectives : pour une histoire féministe de l’art, ouvrage coédité avec Émilie Blanc, Johanna Renard et Elvan Zabunyan (Éditions iXe, octobre 2020) est un recueil de travaux inédits d’approches théoriques et artistiques féministes, queer et décoloniales en art contemporain. Il regroupe notamment des traductions d’autrices peu accessibles en français telles Griselda Pollock, Katy Deepwell, María Galindo du collectif Mujeres Creando, ou encore María Dalida Benfield et le groupe Diásporas Críticas.

Après avoir enseigné à l’Université Rennes 2, notamment au sein du Master métiers et art de l’exposition, et à l’Université de Bâle, où elle a également effectué son post-doctorat, elle a rejoint le département des Arts visuels de la HEAD-Genève en septembre 2020 en tant que chargée de cours.


Trained in curatorial studies, Marie-laure Allain Bonilla holds a PhD in contemporary art history from the University of Rennes 2 (France). She specializes in the history of exhibitions—her PhD dissertation highlights a history of the uses of postcolonial theories by curatorial practices in contemporary art since the 1980s until 2015. Her current research concerns museum acquisition policies in the global era and the strategies to decolonize institutional practices, particularly through collaborations, both in the West and in former colonized areas. She published on these topics in Muséologies, On Curating and Critique d’art, and coedited the dossier 24 of TSANTSA, Journal of the Swiss Anthropological Association, on decolonial processes in Swiss academia and cultural institutions.

Her last editorial project, Constellations subjectives : pour une histoire féministe de l’art, coedited with Émilie Blanc, Johanna Renard and Elvan Zabunyan (Éditions iXe, October 2020), is a book of collected papers on feminist, queer, and decolonial approaches, both theoretical and artistic, in contemporary art. It especially includes translations into French of authors such as Griselda Pollock, Katy Deepwell, María Galindo from Mujeres Creando, María Dalida Benfield and the Diásporas Críticas.

In September 2020 she joins the Visual Arts Department at the HEAD - Geneva. Previously she taught at University of Rennes 2, where she was involved in the Curatorial Studies Master program, and did her post-doctoral research at the University of Basel where she taught at the Urban Studies Department and at the Seminar of Social Anthropology.

Vaginal Davis

A performer, painter, curator, composer, writer, cultural antagonist, film scholar, and erotic provocateur, gender-queer art-music icon Vaginal Davis first gained notoriety in the late 1970s, primarily as front woman for various art-punk bands, including the Afro Sisters, inspired by Angela Davis, and as the publisher of two zines: Fertile LaToyah Jackson and its supplement, Shrimp. At the time, Davis worked out of HAG gallery, a DIY exhibition space she founded in her apartment on the Sunset Strip and ran from 1982 to 1989—a “botoxed” version of which was staged at Participant, Inc. in New York in 2012. Throughout the 1990s, she began a series of performances as art-historical critique, including Dot, a sort of tribute to Dorothy Parker; The Dona of Dance, a twisted celebration of modern dance; and Designy Living, which pays homage to both Noel Coward’s Design for Living and Jean-Luc Godard’s Masculine et Feminine.

Davis’ spirit of gnarly studio glamour also pervades the non-performance work, which has come to define her practice more and more over the last decade.

In the WorkMaster Vaginal Davis teaches a Labzone for a period of 2 years.

Anselm Franke

Anselm Franke is a curator and writer. He is Head of the Department of Visual Arts and Film at HKW Berlin, where he co-curated the multi-year program "The Anthropocene Project" (2013-2014) and "Kanon-Fragen (2016-2019), and conceived numerous exhibitions such as recently “Love and Ethnology” (together with Diedrich Diederichsen and others); "Neolithic Childhood. Art in a False Present ca. 1930” (together with Tom Holert) and "Parapolitics. Cultural Freedom and the Cold War" (with Paz Guevara, Nida Ghouse and Antonia Majaca). Publications include "2 or 3 Tigers" (2017, with Hyunjin Kim), "Forensis" (2015, with Eyal Weizman et. al.), and “Ape Culture” (with Hila Peleg). His project Animism was shown in various collaborations between 2010 and 2014 in Antwerp, Bern, Vienna, Berlin, New York, Seoul, Shenzhen and Beirut. Franke received his doctorate from Goldsmiths College, London. In 2015, he was Chief Curator of the Shanghai Biennale, and in 2012 of the Taipei Biennale. In 2008, he co-curated Manifesta 7. He was Director of Extra City Kunsthal Antwerpen from 2006-2010 and curator of KW Institute for Contemporary Art in Berlin from 2001-2006. He also co-founded and co-curated the Forum Expanded of the International Filmfestival Berlin since 2005. 

In the WorkMaster Anselm Franke holds seminars, does tutorials, and supervises diploma theses for a period of 3 years.


Anselm Franke est commissaire et écrivain. Il dirige le département Arts visuels et cinéma de HKW Berlin, où il est co-commissaire du programme pluriannuel "The Anthropocene Project" (2013-2014) et "Kanon-Fragen" (2016-2019), et a conçu de nombreuses expositions telles que récemment "Love and Ethnology" (avec Diedrich Diederichsen et autres) ; "Neolithic Childhood. Art in a False Present ca. 1930" (avec Tom Holert) et "Parapolitique. Cultural Freedom and the Cold War" (avec Paz Guevara, Nida Ghouse et Antonia Majaca). Ses publications comprennent "2 ou 3 Tigres" (2017, avec Hyunjin Kim), "Forensis" (2015, avec Eyal Weizman et al.), et "Ape Culture" (avec Hila Peleg). Son projet Animism a été présenté dans diverses collaborations entre 2010 et 2014 à Anvers, Berne, Vienne, Berlin, New York, Séoul, Shenzhen et Beyrouth. Franke a obtenu son doctorat au Goldsmiths College de Londres. En 2015, il a été commissaire en chef de la Biennale de Shanghai et en 2012 de la Biennale de Taipei. En 2008, il a co-commissaire de Manifesta 7. Il a été directeur de Extra City Kunsthal Antwerpen de 2006 à 2010 et commissaire du KW Institute for Contemporary Art à Berlin de 2001 à 2006. Depuis 2005, il est également co-fondateur et co-commissaire du Forum Expanded de l'International Filmfestival Berlin. 

Jeanne Graff

Jeanne Graff is a writer and curator born in Lausanne, Switzerland and lives in New York. Her first novel Vzszhhzz was published in 2018 by Semiotext(e) MIT Press. She is a columnist for May Revue (Paris), works in a vineyard, and has been teaching at HEAD art school in Geneva, Harvard, and Hong Kong University. In 2014, Graff founded 186f Kepler, an art space without walls, she has organized numerous international exhibitions, and recently completed a writing residency at Villa Noailles in Hyeres, France, documenta 14 Athens, and Yi:projectspace Beijing.

Fabrice Gygi

Parallel to his artistic practice, Gygi is also an active figure in other areas of the Swiss arts’ scene. In 1994, he became a founding member of Forde, the contemporary art space housed by the Usine in Geneva.

Fabrice Gygi himself was at first his own source of investigation: his body, its functions, its movements. He has tattooed his drawings on his skin, produced etchings entitled La fuite des organes, sewn tents for solitary expeditions. With his tarp tents, which he considers to be the equivalent of a village town hall, he expresses more community-oriented concerns. He has developed this interest in sculpture-installations, envisioned as adaptations of functional structures. 
The smooth materials and minimalist shapes give these pieces an unusual lavish aspect. These works refer to an intimate sphere and evoke activities that verge on torture and sadomasochism. Gygi, though he radicalizes the lines and volumes of his works, remains critical of the theatre of society.

Jill Gasparina

Jill Gasparina (born 1981) is a curator, writer, teacher and researcher, based nearby Geneva, in France. She is assistant professor at HEAD, in bachelor and master program. She studied French literature at the École Normale Supérieure and Art theory/history at University Paris 8 and Paris 4. She works as a freelance writer since 2004, and freelance curator since 2017. 
She also worked as a curator at Le Confort Moderne (2015-2017, Poitiers, France), and co-directed La Salle de bains (2009-2013, Lyon, France). She collaborated with Allan McCollum, David Robbins, Anthea Hamilton, Magali Reus, Nathaniel Mellors, Denis Savary, Stephen Felton, Shana Moulton, Mathis Gasser, Wesley Meuris, Eric Tabuchi, Arnaud and Bertrand Dezoteux, Justin Lieberman…
In her writing and curatorial practice, she approaches the process of art massification, the merging of cultural hierarchies, and cultural appropriation. Her research topics include media archaeology, futurology, science-fiction, and the relations between culture and technological imagination.
She’s been part of the IRAD research programme « Inhabiting the extra-terrestrial space » since 2018 (HEAD-Genève / CNES-Paris)

Work.Master programme: Lab.Zone and tutorships (studio practice and thesis).

Ayesha Hameed

Ayesha Hameed lives in London, UK. Since 2014 Hameed’s multi-chapter project 'Black Atlantis' has looked at the Black Atlantic and its afterlives in contemporary illegalized migration at sea, in oceanic environments, through Afrofuturistic dancefloors and soundsystems and in outer space. Through videos, audio essays and performance lectures, she examines how to think through sound, image, water, violence and history as elements of an active archive; and time travel as an historical method. Recent exhibitions include Liverpool Biennale (2021), Gothenburg Biennale (2019), Lubumbashi Biennale (2019) and Dakar Biennale (2018). She is co-editor of Futures and Fictions (Repeater 2017) and co-author of Visual Cultures as Time Travel (Sternberg/MIT forthcoming 2021). She is currently Co-Programme Leader of the PhD in Visual Cultures at Goldsmiths University of London and former Research Fellow with Forensic Architecture.

Sonia Kacem


Ma pratique s'intéresse à la matière, à la gravité, à la surface, au geste spatial, au mouvement et à la temporalité, avec la couleur et la composition clés de chaque sculpture et installation in situ éphémère et / ou modulaire.Les œuvres revisitent et redéfinissent le champ formel et narratif de l'abstraction, prendre le physique comme source de potentiel à différentes étapes du processus, que ce soit en ligne, dans les magasins d'occasion ou en ateliers. La poussière, le tissu, les modèles, les jouets, les ordures, les images, les histoires, etc. sont manipulés et déployés comme des formes motivées par mes observations et ma sensibilité à l'expérience. L'échange opaque qui en résulte entre l'objet et le spectateur dans l'environnement expérientiel produit par l'œuvre cherche à encourager une interaction intuitive avec la forme et la matière. Entre surface et volume, œuvre d'art et architecture, mon travail est une scénographie dans laquelle le corps erre dans la fiction tout en restant abstrait. En explorant certaines représentations populaires exotiques ou orientalisantes, je demande comment nous pourrions gérer la différence, l'inconnu, la mixité, autrement. Mes titres assignent aux pièces des personnages qui se produisent dans l'exposition - une personnification qui introduit progressivement des éléments qui ont conduit à mon enquête sur les normes sociales contraignant les corps publics et privés.

Sonia Kacem (* 1985 à Genève, Suisse) est une artiste suisse-tunisienne basée à Amsterdam. Elle a terminé ses études d’art à la HEAD (Haute Ecole d’Art et de Design, Genève). La pratique artistique de Kacem peut être caractérisée comme des sculptures / installations à grande échelle in situ, éphémères ou permanentes, redéfinissant l’abstraction, formellement et narrativement. Le travail de Kacem a été récompensé par les Swiss Art Awards (2013) et Premio Artsiti per Frescobaldi (2018). Elle a participé à des programmes de résidence, à la Rijksakademie van beeldende Kunsten, Amsterdam (2016-2017) et dernièrement à la Townhouse Gallery du Caire (2019). Exposée à l'international depuis 2011, ses dernières expositions en 2019 étaient à Tilburg «Delirious» pour Lustwarande, «Between the Scenes», au Westfälischer Kunstverein, Münster et «Figures on the ground», à la fondation CAB Bruxelles.


My practice is concerned with material, gravity, surface, spatial gesture, motion, and temporality, with colour and composition key to each in situ ephemeral and/or modular sculpture and installation.The works revisit and redefine the formal and narrative scope of abstraction, taking the physical as a source of potential at different stages of the process, be it online, in secondhand stores or in workshops. Dust, fabric, models, toys, junk, images, stories, and more are manipulated and deployed as shapes motivated by my observations and sensiti- vity to experience.These reflections inform expansive installations that confront the disorder of the sculptural arrangement within the built environment.The resulting opaque exchange between object and viewer in the experiential environment produced by the work seeks to encourage an intuitive interaction with form and material. Between surface and volume, artwork and architecture, my work is a scenography in which the body wanders through fiction while remaining abstract. In toying with popular exotic or orientalist representation, I ask how else we might handle difference, the unknown, the mixity.The titles give the pieces characters that perform in the exhibition – a personification that gradually introduces elements that have led to my investigation of the social norms that constrain public and private bodies. 

Sonia Kacem (*1985 in Geneva, Switzerland) is a Swiss-Tunisian artist based in Amsterdam. She completed her art studies at HEAD (Haute Ecole d’Art et de Design, Genève). Kacem’s artistic practice can be characterized as large scale sculptures/installations in situ, ephemeral or permanent, redefining abstraction, formally and narratively. Kacem’s work has been awarded by the Swiss Art Awards (2013) and Premio Artsiti per Frescobaldi (2018). She took part to residency programs, at Rijksakademie van beeldende Kunsten, Amsterdam (2016-2017) and lately The Townhouse Gallery in Cairo (2019). Exhibited internationally since 2011, her latest exhibitions were in Tilburg “Delirious” for Lustwarande, ”Between the Scenes”, at Westfälischer Kunstverein, Münster and ‘Figures on the ground’ at Fondation CAB, Brussels.

Morag Keil

Morag Keil is a Scottish artist living and working in London, exhibiting internationally, both collaboratively and as a solo artist.
A unifying current in her lo-fi aesthetic is the concern to reflect life as lived: her recent show at the ICA in London offered an insightful consideration of how a world increasingly mediated by technology and digital communication is impacting our day-to-day existence. Within many of the works in the exhibition, Keil appropriates and re-presents branding strategies to investigate and expose pervasive techniques for influencing consumerist desire. She also foregrounds and subverts the visual and aural strategies of computer gaming or commercial environments used to manipulate behaviour in ways premised on cliched notions of gender performance.

It’s all a bit dwarfed by the space, shy and racked with doubt, and maybe it’s not immediately striking, but it’s almost painfully familiar. Keil’s work is a battle between our public and private selves, between looking at gossip sites and literary journals, between succeeding and failing, between capitalism and independence. It’s not necessarily hugely impressive, but it’s very, very real, and sometimes that’s enough. (Time Out on Moarg Keil, 2019)

Morag Keil’s recent solo exhibitions include Moarg Keil (ICA London 2019) Here We Go Again (Project Native Informant, London 2018), Controllers (Jenny's Los Angeles 2018). She is part of recent group exhibitions in Dusseldorf (Masculinities, 2019), Delme (Digital Gothic, 2019) and Fribourg (Discoteca Analitica, 2019), and has collaborated with Georgie Nettell on shows in Raven Row London, Reena Spaulings New York and Jupiter Woods, Vienna.

Christophe Kihm

Christophe Kihm est professeur à la HEAD-Genève / Christophe Kihm is professor at the HEAD-Geneva.

Charlotte Laubard

Art historian and curator, Charlotte Laubard has been teaching at HEAD-Geneva since 2013 and has been head of the Visual Arts Department for the past three years. Previously, she has worked in various institutions dedicated to contemporary art, including the CAPC musée d'art contemporain in Bordeaux, of which she was director from 2006 to 2013. Recently, she was the artistic director of the 2017 edition of Nuit Blanche in Paris entitled "Faire œuvre commune", as well as the curator of the Swiss Pavilion at the 2019 Venice Biennale with the exhibition "Moving Backwards: Pauline Boudry / Renate Lorenz".

Her teaching and research activities at HEAD allow her to deepen her reflections on the role of art in our society in the midst of a cultural shift. They focus in particular on the use value of art based on the notion of agency; on self-taught learning practices; and on the digital condition and its effects on art paradigms.

Parallel to her teaching activity in Geneva, she is the co-founder and mediator of the Société Suisse des Nouveaux commanditaires, which enables people from all cultural and professional backgrounds to take responsibility for commissioning a work from a artist for a purpose of general interest.

Pierre Leguillon

Pierre Leguillon, né en 1969, est artiste; il vit à Paris. Il a commencé par éditer une revue d’une seule page, Sommaire, en 1991 (35 numéros jusqu’en 1996), et à organiser des expositions. Il a collaboré aux revues Le Journal des Arts, Art Press, Beaux-Arts Magazine, Purple (chronique «Calme plat» consacrée à son rapport aux objets imprimés), et a dirigé plusieurs ouvrages monographiques ou collectifs comme le numéro Hors-série d’Art Press, «Oublier l’exposition» en 2000, ou le livre de Raymond Hains, «J’ai la mémoire qui planche», aux éditions du Centre Pompidou, en 2001. Colporteur d’images, il projette depuis 1993 des diaporamas dont la forme et le contenu évoluent au fil des projections, et que Claude Closky a défini comme «Une histoire de l’art contemporain qui se passe de commentaire» (Centre d’art et du paysage de Vassivière en Limousin, Aéroport de Metz-Nancy, Secession à Vienne, Ménagerie de Verre et Maison Rouge à Paris, etc.). Il a été a été lauréat de la Villa Médicis en 2003. Il mêle généralement ses propres photographies aux images qu’ils collectionne comme pour l’exposition «Cneai = Pierre Leguillon, Cherchez l’auteur», au Centre national de l’estampe de l’art imprimé à Chatou en 2006, ou la vente aux enchères sur Ebay organisée par la Galerie Air de Paris d’une partie de sa collection en 2008. Depuis 2007, il a créé un espace de projection mobile, «La promesse de l’écran», dont une Franchise a ouvert au Capc musée d’Art contemporain de Bordeaux en 2008. Une séance a été présentée au Centre Pompidou, au mois d’avril dernier, à partir d’un choix dans la Collection Nouveaux Médias. En 2009, ses projets comptent une exposition personnelle à la galerie Song Song à Vienne (Autriche), une «Rétrospective imprimée» de l’œuvre de Diane Arbus à la Fondation Kadist à Paris, puis au Centre régional de la Photographie Nord Pas-de-Calais à Douchy-les-Mines et à la Biennale de Tirana (Albanie); la projection du «Slideshow/Cloackroom» à Artists Space à New York et celle du «Diaporama/Vestiaire» à l’Auditorium du Louvre à Paris,avec Donatienne Michel-Dansac.Il présentera «Teatrino/Palermo» à partir du 21 octobre, au Centre Pompidou, dans le cadre du Nouveau festival. 

Marlie Mul

Marlie Mul is an artist who also works as an educator. Her art work manifests somewhere in between sculpture, painting, fashion, distribution, writing, experiments in branding, the social, the flimsy, and the virtual. Her sculptural works have often simulated everyday outdoor objects that refer to human interaction and the materialisation of these interactions, such as gritty rain puddles littered with generic bits of trash, or ashtrays covered in heaps of snow arranged with stubbed out cigarette butts. With cigarette butts and litter depicting traces of human behaviours, the situations presented in these works suggest to the viewer an invisible presence of a virtual population or crowd. They serve as tools to examine the seemingly obvious, asking exactly how such situations have become familiar and which societal decisions preceded this.

With Harry Burke, Marlie Mul co-edits ground, a counter-institutional fanzine that sets out to look beyond institutions in their current form as dominant frameworks for artistic production, and embraces grassroots political and aesthetic perspectives. In 2018 she published the book CANCELLED, that revolves around her public cancellation of a solo exhibition at a large institution in 2018. She has a t-shirt label called PMS that employs the accessible format of the tshirt as a form of image dissemination, and runs a small nomadic project called Hermany that sets out to blur the specificity of exhibition audiences and communities by continuously changing its content, medium, and location. Marlie Mul does the graphic design for Cherish, an independent exhibition space in Geneva in a house initiated by former and current students of the WorkMaster.

Since 2019 Marlie Mul is coordinator of the WorkMaster programme, she is a tutor and runs one of the current Lab.zones.

Ileana Parvu

Ileana Parvu est professeure associée d’histoire et de théorie de l’art dans le département des Arts visuels de la HEAD. Après des études d’histoire de l’art aux Universités de Bâle, Paris IV, Paris I et à l’École des Hautes Études en Sciences Sociales (EHESS) Paris, elle a obtenu le titre de docteur de l’Université de Bâle et de l’EHESS Paris en 2002. De 2003 à 2005, elle a été chargée de cours à l’Université de Bâle et de 2005 à 2012, elle a été maître-assistante dans la section d’histoire de l’art de l’Université de Genève. En 2018, elle a soutenu une thèse d’Habilitation à l’Université de Bâle où, suite à l’obtention de la venia legendi, elle est Privatdozentin.

Elle a publié de nombreux articles dans des revues internationales à comité de lecture notamment sur les avant-gardes des années 1910, des artistes des années 1970 (Ion Grigorescu) et des années 1980 et 1990 (Peter Fischli et David Weiss, Gabriel Orozco, Rachel Whiteread). Elle est l’auteur du livre La peinture en visite. Les constructions cubistes de Picasso (P. Lang 2007) et elle a dirigé l’ouvrage collectif Objets en procès. Après la dématérialisation de l’art (MetisPresses 2012). Son livre intitulé La consistance des choses. Peter Fischli, David Weiss et le temps retourné paraîtra à l’automne 2020 aux Presses universitaires de Provence. Ses recherches ont bénéficié de divers financements dont ceux du Fonds national suisse (FNS). Elle est régulièrement invitée à tenir des conférences dans des universités européennes et aux États-Unis.

Ses domaines de recherche sont la transgression des frontières entre les arts et le dépassement des genres artistiques au XXe siècle, la notion d’objet au XXe et XXIe siècles, la théorie de la culture matérielle, l’histoire de l’art roumain des années 1970 et le faire artistique après l’art dit « conceptuel ». Elle mène actuellement un projet de recherche financé par le FNS et intitulé "Le faire comme cheminement. La technique artistique à l’épreuve du refus du métier dans la pratique contemporaine".

Mai-Thu Perret

Artiste, vit à Genève Mai-Thu Perret a étudié à l'université de Cambridge et au Whitney Independent Study Program à New York. Son premier ensemble de travaux, mêle des éléments textuels et des objets pour décrire une communauté de femmes parties vivre dans le désert. Certaines œuvres ultérieures, sculptures et installations, s'en inspireront, comme autant de produits possibles de cette communauté utopique. Constitués de narrations impossibles et de mélange de symboles marquants, les travaux de l'artiste rassemblent des éléments dispersés dans le temps et forment la matrice de nouvelles histoires, en interrogeant la manière dont les utopies peuvent être réintégrées dans le capitalisme dominant. Plusieurs expositions : 2008/2009, New Work, SFMOMA, San Francisco Museum Of Modern Art; 2008 Land of Crystal, Kunst Halle Sankt Gallen, St Gall; 2006 And every woman will be a walking synthesis of the universe, The Renaissance Society, Chicago; 2006 Main Space. In the poem about love you don't write the word love, Artists Space, New York; 2006 Valentin Carron vs Mai-Thu Perret: Solid Objects, Chisenhale Gallery, Londres; 2006 Apocalypse Ballet, Galerie Barbara Weiss, Berlin; 2005 Valentin Carron vs Mai-Thu Perret, Centre d'Art Contemporain, Genève; 2004 Statments, Galerie Francesca Pia, Art 35, Bâle. A obtenu les prix : 2006 Prix fédéral d'art ; 2006 Prix Kiefer Hablitzel ; 2004 Prix fédéral d'art.

Aurélie Petrel

Aurélie Pétrel’s photographic practice questions the status of the image, its use and the mechanisms of its production. Rooted in duration, her research aims to bring the act of taking a shot back to the centre of multisensory thinking by means of spatial devices. Eight cities chosen for what they embody on the world stage form the starting point of her photographic research and works. These begin with the artist scouting for future “latent shots” that are waiting to be triggered, revealed, activated, displaced, made into a hybrid and/or transferred, becoming a support, ranging from sculpture to architecture to the scenic installations she creates in her joint work with director Vincent Roumagnac (Pétrel I Roumagnac (duo)). Aurélie Pétrel raises the question of the “mutation-mutability” of an image, its potential for fracturing, not only in itself but also in its ability to disturb the experience of multi-perception. For the artist, a single shot generates a multitude of different points of view. Time and space continuously overlap, and remain out of joint. The image, a moving vector of this spatio-temporal elasticity, redistributes itself and in its consecutive metamorphoses hinders its consensual absorption, a single and definitive perception, a decisive moment and position. Recently, the latency of the image has been rethought by its translation into data (Tracks 3, Toronto 2019) or, paradoxically, by its quasi disappearance by dint of the “process” (Alterations-Reactivation), transport, and redistribution (AxIonométrie 2 inactinique, Fiac Projects, Paris 2018). Using formal tools and the intellectual processes of both artists and researchers, Pétrel combines a visual and conceptual approach in a programmatic series of scenarios, where the exhibition format varies each time, as does the interpretative dimension of each partition, latent image, and/or of any form awaiting metamorphosis. Her work is exhibited in France and overseas. Solo projects are represented by the Galerie Ceysson & Bénétière and collective works (Pétrel I Roumagnac) by the Galerie Valéria Cétraro.


La pratique photographique d’Aurélie Pétrel interroge le statut de l’image, son utilisation ainsi que les mécanismes de sa production. Ancrées dans la durée, ses recherches visent à ramener la prise de vue au centre de la réflexion multisensorielle à l’aide de dispositifs spatiaux. Huit villes choisies pour ce qu’elles incarnent sur l’échiquier mondial, sont à la base de ses recherches photographiques et de ses pièces. Elles initialisent en les géolocalisant ces futures «prise de vue latentes», en attente de déclenchement, de révélation, d’activation, de déplacement, d’hybridation, de transfert, de devenir-support allant de la sculpture àl’architecture jusqu’aux installations scéniques dans son travail en duo avec le metteur en scène Vincent Roumagnac (Pétrel I Roumagnac (duo)). Aurélie Pétrel pose ainsi la question de la mutation-mutabilité d’une image, son potentiel de fractalisation, non seulement en soi mais aussi dans ce qu’elle peut provoquer comme trouble en son expérience de pluriperception. Pour elle, une prise de vue génère une multitude de prises de point de vue. Les temps et les espaces ne cessent de se superposer, tout en ne cessant pas de se disjointer. L’image, vecteur mouvant de cette élasticité spatio-temporelle, se redistribue et en ses métamorphoses consécutives vient ainsi déjouer son absorption consensuelle, sa perception une et définitive, son moment et sa position décisifs. La latence de l’image se repense, récemment, par sa traduction en données (Tracks 3Toronto 2019) ou paradoxalement par sa quasi disparition àforce de «process» (Altérations-Réactivations), de transports, de redistribution (AxIonométrie 2 inactinique, Fiac-projectsParis 2018). Mettant en oeuvre les outils formels et les processus intellectuels tant des artistes que des chercheurs, Pétrel associe une démarche plasticienne et conceptuelle dans une suite programmatique de mises en situation, où le format exposition rejoue à chaque fois différemment, la dimension interprétative de toute partition, de toute photographie en latence, de toute forme en attente de métamorphose. Son travail est exposé en France et à l’étranger. Il est représenté par la galerie Ceysson & Bénétière (en solo) et par la galerie Valéria Cétraro (en duo).

Lili Reynaud-Dewar

Artist and writer, lives and works in Grenoble. Born in 1975, La Rochelle, France. Lili Reynaud-Dewar’s work draws oblique connections between her own position as an artist (together with her quasi-troupe of performers, composed of her friends and family) and mythical figures, secret star stories, historical figures of identity struggle, weaving with them relationships between the formal, fictional, and symbolic threads. Pushing off from the links between media perception and personal biography, or between the artist’s work and the artist herself, she blurs these established polar forces. She likes to speak of some of her performances as a form « fidgeting institutionnal critique ». Recent shows include Berlin Biennial (2008), Kunsthalle Basel (2010), Witte de With, Rotterdam (2010 & 2011), Mary Maru, Glasgow (2011) Magasin Grenoble (2012) Karma International, Zurich (2012), Generali Foundation, Vienna (2012), Consortium, Dijon (2013).

Olga Rozenblum

Olga Rozenblum est programmatrice, commissaire d'exposition, productrice. Elle est fondatrice de Treize, espace indépendant d'art à Paris depuis 2009, et de la structure red shoes, à travers laquelle elle accompagne des artistes dans leurs projets cherchant avec elle et eux des systèmes de production et de diffusion aux croisements du cinéma, de l’exposition, de la scène. Elle enseigne aussi comme intervenante à l’ENSAPC Paris-Cergy et à la HEAD Genève. 

Elle a travaillé avec de nombreux artistes contemporains comme Neil Beloufa, Gaëlle Boucand, Clément Cogitore, Arnaud Dezoteux, Lili Reynaud Dewar, Mathieu Kleyebe Abonnenc, Valérie Mréjen, Eléonore Saintagnan... Elle s’intéresse également à la manière dont certaines œuvres peu ou non visibles peuvent (re)trouver des voix de diffusion. Elle a ainsi collaboré à la création de UNdocumenta (festival de films perdus fondé par Antoine Thirion et Raya Martin, 2016), de la rétrospective Danièle Huillet et Jean-Marie Straub (2016/2018), et du premier cycle des films de Guillaume Dustan (2019). 


Laurent Schmid

Artist and publisher, lives in Bern and Geneva. Laurent Schmid develops narrative types of laboratory trials in the field of the grey aera of scientific and pseudo-scientific physics, an inquiry into this system as a model of social realities. His work is oscillating between digital and analogue media, he is doing performative-lectures, interactive works, radio, videos but also installations, drawings and photos. He runs «activeRat», a small art-CD-ROM and DVD label (since 1998, now publishes mainly print and analogue media), he is organizing and (co-)curating collaborative events, media-projects and exhibitions and (co-)founded and ran different small off-spaces (here&there, often for a short time). From 1999 to 2007, he worked as editorial board member of «Art Suisse/Schweizer Kunst»-magazine, he did web-projects and websites for Kunsthalle Bern, Kunsthaus Zürich, Kunstmuseum Thun and Kunstmuseum Luzern. For a while he tried, without much success, to improve the situation of artists in cultural and political activities: from 1997 to 1999 he was member of the directory board of «Visarte», the professional association of Switzerland’s visual artists and from 1995 to 1999 he presided over the art commission of the city of Bern.

Mårten Spångberg

Mårten Spångberg is a multidisciplinary choreographer and writer living and working in Berlin and Stockholm. His interest concerns dance and choreography in an expanded field, something he has approached through experimental practice in a multiplicity of formats and expressions.
He has been active on stage as a performer and creator since 1994, and since 1999 has created his own choreographies, from solos to larger scale works, which have toured internationally. Under the label International Festival, Spångberg collaborated with the architect Tor Lindstrand and engaged in social and expanded choreography.
Spångberg has thorough experience in curating as well as teaching, both practice and theory. From 2008 - 2012 he directed the MA programme My Choreography at the University of Dance in Stockholm, and he has been guest professor in the university Giessen as well as the National Academy of The Arts, Oslo. His writing has been published extensively and his first book Spangbergianism was published in 2011.
His more recent performances La Substance, but in English, The Internet, Natten and Gerhard Richter, une pièce pour le théâtre have gained international recognition. His current work concerns ecology and post-anthropocene aesthetics.

Niels Trannois

Niels Trannois est né en 1976 en France. Il a suivit une formation à l’ESAA Duperré (Paris), puis à la Villa Arson (Nice) avant de s’installer à Berlin où il a vécu douze ans, participant à l’effervescence de la scène locale nourrit par la présence et les échanges d’artistes internationaux . 

Sa pratique artistique est imprégnée des questions de représentation en peinture, medium qu’il envisage de façon extensive, qu’il s’agisse de son propre travail pictural visible dans des expositions tel que ”Nubia F1” RHCA, (New York 2014), ”K.J. (Lethal psy ritual)”, Supportico Lopez (Berlin 2017), ”Ich, ich Sehe Dich” Istituto Svizzero, (Rome 2018), des textes qui sous-tendent ses peintures, lisibles dans le catalogue ”Drawings” (ed. MER Paperkunsthalle, 2013), ou dans ses projets curatoriaux tels que ”Be nice to me” Galerie Nordenhake (Berlin, 2011), ”le bleu de la nuit” CCA Andratx (Majorque, 2016), ou enfin ”Fridges are not frigid” Archivio Conz (Berlin, 2019) et ”Wie zu Hause, Wo ich nicht Bin” Centre d’Art Contemporain (Genève, 2020) deux expositions réalisées dans le cadre du Lab.Zone qu’il a conduit au sein du Work.Master de la HEAD.

David Zerbib

Philosophe et critique d'art, vit à Paris et à Rome.
 Il enseigne à la HEAD ainsi qu’à l’Université de Paris 1 Panthéon-Sorbonne où il est chargé de cours et membre du Centre d’Esthétique et de Philosophie de l'Art. Ses recherches portent sur l’Esthétique contemporaine et la théorie de la performance. Elles ont donné lieu à de nombreuses communications et publications en France et à l'étranger, au sein de multiples contextes académiques, artistiques et culturels. Soucieux de penser à même les pratiques, il a développé par ailleurs une réflexion sur la spécificité de la recherche en art, à partir d’un projet qu’il conduit au sein de l’Ecole Supérieure d’Art d’Annecy. Il collabore notamment à Artpress et a récemment co-dirigé la publication de In Octavo. Des formats de l'art, col. Fabula, Editions Presses du Réel / Esaaa, 2012.

Programme work.master : tutorats, séminaires.



Danai Anesiadou

Greco-Belgian artist Danai Anesiadou has long been active in the adjoining fields of performance, social sculpture and video art. Rumors, mystery, evocations, and the intimacy of secrets are the centrifugal forces out from which Anesiadou’s whole oeuvre radiates. Tapping into a wide variety of sources in the adjoining realms of leftfield popular (‘low’) culture and the canonical forms of ‘high’ culture, the art of Anesiadou is perhaps best appreciated against the referential backdrop of avant-garde cinema. Her body of work is an expansive allegory in action. It keeps growing and acquiring new features, animated by an engine of relational thinking, that keeps connecting a film to an object to a performance, just as it connects stories to signs to people to experiences. Time and again, something is hidden; time and again, something is revealed.

Danai Anesiadou was born in Germany, raised in Greece and Belgium and is currently based in Brussels, Belgium. Her work and performances have been featured at Muhka, Antwerp, Beligium; 5th Berlin Biennial, Germany; Wiels Contemporary Centre, Brussels; Etablissement d'Enface Projects, Brussels; De Kiosk, Ghent, Belgium; Curated By, Vienna, Austria; Witte de With, Rotterdam, The Netherlands and Neue Aachner Kunstverein, Germany. In 2010, Anesiadou was a guest lecturer at the Banff Centre, Banff, Canada.

Marie Angeletti

Marie Angeletti, (b.1984) lives in New York. Her work has been exhibited at Édouard Montassut in Paris. Her previous exhibitions include Le Consortium, Dijon, Künstlerhaus Bremen, Castillo/Corrales, Paris, Kunsthalle Wien, Carlos/Ishikawa, London.

Alexandra Bachzetsis

A choreographer and visual artist, Alexandra Bachzetsis creates spaces –at the intersection of dance, performance, visual art, and theater– in which the body can manifest as an artistic and critical apparatus. Her work investigates the choreographies of the body and how culture provides source material for our gestures, expressions and, fantasies; through an interdisciplinary approach, she examines the influence of ‘popular’ or ‘commercial’ genres (online media, video-clips, and television) and the ‘arts’ (ballet, modern dance, and performance). The way we inhabit and perform our body, both in everyday life and on stage, –through stereotypes and archetypes, choice and cliché– is a question that continues to shape her practice. In her performances, Bachzetsis addresses stereotyped modes of representation of the female body in popular culture, show business, and the sex industry, using them to build a new self-reflexive and empowering formal language.

Stuart Bailey

Stuart Bailey is a graphic designer, writer and editor. In 2000 he co-founded the biannual left-field arts journal Dot Dot Dot with Peter Bilak. In 2006 he began working with David Reinfurt under the pseudonym Dexter Sinister, also the name of their 'just-in-time workshop and occasional bookstore' on New York's Lower East Side. Reinfurt supplanted Bilak as co-editor of Dot Dot Dot the same year, which continued under Bailey and Reinfurt's direction until the final, 20th issue in 2010 before morphing into Bulletins of the Serving Library, now co-edited by Bailey and Reinfurt together with Angie Keefer, and available online as well as in print. He has lived and worked in London, Amsterdam, New York and Los Angeles, and is now based in Liverpool, UK.

Sarina Basta

Sarina Basta is a cultural producer based in New York and Paris. She has worked as curator at the SculptureCenter in New York, and previously, at the Centre d’Art Contemporain in Geneva. Her exhibitions combine the work of artists, filmmakers, musicians, performers, and theorists with an emphasis in performance and improvisation as a mode of research and interaction. Her research currently brings her to study the Ocean as the Forgotten Space of Modernism based on the writings and films of artist Allan Sekula. In 2005, she edited the chronologie raisonée of Vito Acconci, and has contributed to publications including Texte Zur Kunst, and Flashart International. She recently completed a solo and group exhibition titled Oceanomania with artist Mark Dion at the Oceanographic Museum, and the National Museum of Monaco (NMNM). Sarina Basta has lectured and been a visiting critic at Brooklyn College, NY; Center for Advanced Visual Studies (CAVS), MIT, MA; Cornell University, NY; Georgia State University, GA; International Symposium on Contemporary Art Theory (SITAC), Mexico D.F.; New York University, NY; MoMA’s Education department, NY, Milan Polytechnic Institute, Milan; SOMA, Mexico D.F.; and the Tyler School of Art, PA. She's also been working with the creative and pedagogical format of the workshop since 2009 as a way to reexamine the legacy of artistic groups of the 20th century and to examine new types of collaborative and creative exchanges. Programme work.master : tutorats, séminaires.

Tiphanie Blanc

Tipahnie Blanc est critique d’art. Elle a enseigné la théorie de l’art à la HEAD–Genève entre 2012 à 2018. Depuis 2017, elle organise et intervient régulièrement dans des séminaires et tables-rondes sur le sujet de la précarité du travail artistique à travers l’Europe (CCS, Paris ; Sandberg Instituut Amsterdam ; Post-Diplôme de l’ENSBA de Lyon, etc). Depuis 2007, elle a curaté plusieurs expositions dans des institutions comme Hotel Abisso (CAC, Genève, 2013), Fun Palace, (Centre Pompidou, Paris, 2010) ou IAO: Exploration du Psychédélisme en France (CAPC, Bordeaux, 2008). Entre 2010 et 2012 elle s’est chargée de la programmation de Forde, espace d’art contemporain à Genève. Elle s’intéresse à l’édition à différents niveaux, depuis l’écriture jusqu’à la diffusion, et a fondé en 2013 le projet curatorial Oraibi Books, aujourd’hui La Dispersion, librairie d’art et de pensée critique à Genève. 


Tiphanie Blanc is an art critic. She taught art theory at HEAD between 2012 and 2018. Since 2017, she is part of the collective Wages For Wages Against and she regularly takes part in seminars about precarity and cultural labor conditions across Europe (CCS, Paris, Sandberg Instituut Amsterdam, Post-Diploma ENSBA Lyon, Erg Brussel, etc). Since 2007, she has curated several exhibitions in institutions such as Hotel Abisso (CAC, Geneva, 2013), Fun Palace, (Centre Pompidou, Paris, 2010) or IAO: Exploration of Psychedelia in France (CAPC, Bordeaux, 2008). Between 2010 and 2012 she was in charge of the programming of Forde, a contemporary art space in Geneva. She is working in publishing at different levels, from writing to distribution, and in 2013 founded the curatorial project Oraibi Books, now La Dispersion, a book shop in Geneva with a focus on critical thinking.

Vittorio Brodmann

Vittorio Brodmann (*1987, Ettingen, CH) vit et travaille à Vienne. Il a fait ces études à la ZHDK à Zurich et à la HEAD à Genève. Ces travaux et performances on entre autres été exposés/eu lieu à Leslie Fritz Gallery, New York (2013), CEO Gallery, Malmö (2013), Marbriers 4, Genève (2013), Galerie Gregor Staiger, Zurich (2012), Graff Mourge d'Algue, Genève (2012), Halle für Kunst Lüneburg (2012), Kunsthalle Bern (2012), Kunsthal Charlottenburg, Copenhague (2011), Prague Biennale 5 (2011), Kunsthaus Glarus (2010), Galerie 1m3, Lausanne (2010) et New Jerseyy, Bâle (2009).

Marie de Brugerolle

Historienne de l'art et commissaire d'expositions. Elle est également professeur à l'Ecole nationale des beaux-arts de Lyon. "Hors Limites : l'art et la vie", dont elle fut commissaire-adjonte au Centre Pompidou/MNAM, est une étape importante de la redécouverte de l'histoire du Happening, de l'event et de la performance. A New York, en 1995, elle travaille au MoMA où elle conçoit une programmation spéciale de films dans le cadre de la rétrospective de Bruce Nauman et collabore avec Louise Bourgeois. Commissaire d'expositions au Magasin de Grenoble, en 1996, ell conçoit avec Paul McCarthy "And Gravity", un hommage à Bas Jan Ader, Wolfgang Stoerchele et Guy de Cointet, ainsi que la première rétrospective d'Allen Ruppersberg, et fait découvrir Mariko Mori et Alex Bag en Europe. Elle a organisé la première exposition rétropective de Guy de Cointet (1934-1983) au MAMCO à Genève en 2004, puis la mise en perspective de son oeuvre avec celles de Paul McCarthy, Mike Kelley et Catherine Sullivan au CRAC de Sète en 2006. Auteur de nombreux artickes sur Guy de Cointet ( dans "Art press", "Semaines", "20 x 27" et "Artforum"), elle écrit la première monographie parue en 2011, ainsi qu'un film documentaire "Who's That Guy?". Parallèlement, elle a réalisé la rétrospective de John Baldessari au Carré d'art de Nîmes (2005) et avec Eric Mangion, l'exposition "Ne pas jouer avec les choses mortes" (2008) sur la thématique de la fétichisation de la performance. En 2010, elle organise la rétrospective de Larry Bell, et en 2011-12 l'exposition collective "I Was a Male Yvonne de Carlo" au Musac de Léon avec Dora Garcia. A la suite d'une recherche pour If I Can't Dance I Won't Be Part of Your Revolution à Amsterdam, elle fait remettre en scène "Five Sisters" de Guy de Cointet (1982), qui tourne en Europe et en Amérique du Nord.
Programme work.master : Ethiopia

Fulvia Carnevale

Fulvia Carnevale is a researcher, writer and artist.

Claire Fontaine is a Paris-based collective artist founded in 2004. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a “readymade artist” and began to elaborate a version of neo-conceptual art that often looks like other people’s work. Working in neon, video, sculpture, painting and text, her practice can be described as an ongoing interrogation of the political impotence and the crisis of singularity that seem to define contemporary art and life today. But if the artist herself is the subjective equivalent of a urinal or a Brillo box – as displaced, deprived of its use value, and exchangeable as the products she makes – there is always the possibility of what she calls the “human strike.” Claire Fontaine uses her freshness and youth to make herself a whatever-singularity and an existential terrorist in search of subjective emancipation. She grows up among the ruins of the notion of authorship, experimenting with collective protocols of production, détournements, and the production of various devices for the sharing of intellectual and private property.

Yann Chateigne

Yann Chateigné Tytelman studied literature, history of art and archaeology. He researched psychedelia, the occult, technologies, taught curating, history, cultural theory, founded a publishing house in Paris and served as Dean of the Visual Arts Department at HEAD – Genève.
He was curator at Centre Pompidou / Musée national d'art moderne, de la Délégation aux Arts Plastiques à Paris and at CAPC musée d'art contemporain de Bordeaux. His recent projects include: la Biennale de l’Image en Mouvement, Genève, 2014 (with Andrea Bellini and Hans Ulrich Obrist), La vie matérielle (Fondation d’entreprise Ricard, Paris, 2013), Panegyric (Forde, Genève, 2012), The Curtain of Dreams. Hypnagogic Visions (IAC / Laboratoire Espace Cerveau, Villeurbanne, 2011, avec Joachim Koester) The Mirage of History (Pacific Cinémathèque, Vancouver; Kaleidoscope Project Space, Milan; LiveInYourHead, Genève ; Whitechapel Art Gallery, Londres, 2010-13), Fun Palace (Centre Pompidou, 2010, with Tiphanie Blanc and  Vincent Normand). His texts have been published in Artforum, Frieze, Art Press, Criticism, Art in America, Kaleidoscope, Mousse and Frog, as well as in different thematic and monographic publications.

Catherine Chevalier

Art critic, co-founder and director of revue May, based in Paris ( Programme work.master : tutorats, séminaires.

Marie-Antoinette Chiarenza

Artist, based in Zürich. Member of RELAX (chiarenza & hauser & co).

Born in 1957 in Tunis/T, Marie-Antoinette Chiarenza studied amongst others at the Art Department Pasadena City College/CA, USA and Massachussetts College of Art Boston/ME, USA. After experimenting with self-organised projects in a squatted factory in Paris, in 1983 she co-founded the artist group RELAX with Daniel Hauser ( Their statements such as 'thinking alone is criminal'; 'I am a woman, why are you not?' and 'you pay but you don't agree with the price' are reflected in most of their works. Their projects include exhibitions and public spaces (commissioned works) and are strongly contextual. Selected projects are: YOYO, Caprices des dieux, Stadion Letzigrund Zürich/CH (2007); What is Wealth? at Cornerhouse Manchester/UK with Gavin Wade (2010); Hit the Ground, in ''Passengers-Festival'' and reservoir news, at the Muzeum, Museum of Modern Art, Warsaw/PL (2009); Invest & Drawwipe, in ''Dislocación'' by Ingrid Wildi at the Museum of Fine Arts Bern/CH (2011); USE (unexpected side effects) in the 1st Tbilisi Triennial, CCA Tbilisi/GE (2012).

Marie-Antoinette Chiarenza is a teaching-artist (since 1991) and lecturer in a wide variety of conferences and symposia. Member of the Swiss federal art commission (2008-2011). Engaged at the F+F School of Art and Media Design Zürich (since 2001) and at the University of Art and Design Geneva (since 2009). Faculty resident artist at Skowhegan/ME, USA (2013).

In the Work.master programme: Tutorship and studio practice

Mathieu Copeland

Mathieu Copeland (1977, lives in London) has been developing a practice seeking to subvert the traditional role of exhibitions and to renew our perception of these. Amongst many others, he cocurated the exhibition "Voids, a Retrospective" at the Centre Pompidou-Paris, and the Kunsthalle-Bern, and edited the anthology "VOIDS". He curated "A Choreographed Exhibition" at the Kunsthalle-St Gallen & La Ferme du Buisson "Soundtrack for an Exhibition, "Alan Vega" and "Gustav Metzger" at the Musée d'Art Contemporain-Lyon or again "A Mental Mandala" at MUAC-Mexico City. He initiated and curated the series "A Spoken Words Exhibitions", "Reprise" and "The Exhibition to Hear Read" presented in 2013 at MoMA-New York.

In 2012-2013 he was the invited curator at the Jeu de Paume, Paris, and together with Philippe Decrauzat he is the guest-curator at Le Plateau, FRAC Ile-de-France, Paris, 2014-2015.

He recently the critically acclaimed anthology and manifest publication "Choregraphed Exhibitions" (Les Presses du Réel, 2013) and realized "The Exhibition of a Film" - an exhibition as a feature film for cinemas.

Verena Dengler

Verena Dengler transforms visual techniques by exploring the divisive comparison of craft and fine art using needlepoint, collage, and painting to consider how stereotypes in these chosen mediums are altered by her identity as a woman, artist, and writer. The artist connects the fragmentary nature of textiles that build a larger piece of fabric and pixels that generate a digital image. Her interest in divisions and simplification can be applied to her process as well as her consideration of the political and socio-economic associations the two mediums muster. She often adds text to her work to remind her audience of its self-referential bias, and of the biases that divide practice and theory when one talks about art.
Dengler has exhibited at institutions including Belvedere, Vienna, mumok, Vienna, Kunsthalle Vienna, Austria, Austrian Cultural Forum, New York, Kunstraum St. Virgil, Salzburg, 21er Haus, Vienna, Kunsthalle Düsseldorf, Germany, Autocenter, Berlin, and Kunsthalle Zürich, Zürich, to name a few. Her performances have also been featured at Le Magasin, Grenoble, France, Manifesta 8, and mumok, Vienna, among others. She participated in Surround Audience: New Museum Triennial and the Vienna Biennale in 2015

Anthea Hamilton

Anthea Hamilton is a UK-based artist who creates multi-media installations that resemble theatrical stages or film sets and incorporate arrangements of prop-like objects, references to modernist paintings, and appropriated images of pop culture icons such as blow-ups of John Travolta in John Travolta, Bust-like, 2012. Often playing with images and materials associated with beauty and desire, Hamilton repeatedly uses sculptural cut-outs of film stills or women’s legs made from transparent plastic and wooden shapes based on Modernist depictions of female nudes such as the curvy abstracted figure found in her 2007 piece The Piano Lesson, based on Fernand Léger’s 1921 painting Le Grand Déjeuner. Through a range of image sources and her stage-like environments, such as gallery walls painted with Chroma Key blue paint used in film or TV studios, Hamilton explores our associations to surreal and seductive cultural imagery while examining the histories of art, film, and performance.

Tobias Kaspar

After studying at the Hochschule für Bildende Künste (HFBK) of Hamburg, Tobias Kaspar (1984, Basel. Lives and works in Berlin) attended the Städelschule in Frankfurt from 2009 to 2011. He has taken part in solo and group shows in international private galleries and public spaces, including: Artists Space, New York; Tramway, Glasgow; Künstlerhaus Bethanien, Berlin (2013); Palais de Tokyo, Paris (2012); Kunsthaus Bregenz; Hamburger Bahnhof, Berlin; Kunsthalle Basel, Basel; Kunsthalle Zürich, Zurich; Artspace, Auckland (2011).  In his work Kaspar conducts research on the interaction between image, text, form and content. His works (sculptures, installations, photographs) represent an analysis of the semantic connotations unleashed in the object-image relationship.  In Rome, Kaspar works together with Egijia Inzule on a project that involves the feminist activist Silvia Federici and the photographer and political activist Fred Lonidier, the Archivio Audiovisivo del Movimento Operaio e Democratico (AAMOD) and the Cinema Azzurro Scipioni.

Lars Bang Larsen

Curator and critic, based in Copenhagen and Kassel
Born in 1972 in Silkeborg,Denmark, Lars Bang Larsen is an art historian at the University of Copenhagen. He has co-curated group exhibitions such as “A History of Irritated Material,” Raven Row, London (2010), “Populism,” Stedelijk Museum, Amsterdam (2005), “La insurrección invisible de un millón de mentes,” Sala Rekalde, Bilbao (2005), and “The Echo Show,” Tramway, Glasgow (2003), a. o. His books include The Model: A Model for a Qualitative Society, 1968 (2010) and Sture Johannesson (2002). Work.master program: tutorships, seminar.

Quinn Latimer

Quinn Latimer is an American poet and critic based in Basel, Switzerland. She is the author of Rumored Animals (2012), which was awarded the 2010 American Poetry Journal Book Prize, and Describe This Distance (2013), which explores the work of Sarah Lucas, as well as shame, palindromes, passivity, fertility statuary, Mexico, Napoleon, Antonin Artaud, Samuel Beckett, Susan Sontag, and Mary Wollstonecraft. A regular contributor to Artforum and frieze, she has also written for Art in America, Bookforum, East of Borneo, and Mousse. Her essays frequently appear in museum catalogues, artist books, and critical anthologies, including publications for Michel Auder, Ida Ekblad, Jessica Jackson Hutchins, Charlotte Moth, Kelley Walker, and in Time, for MIT Press. Her Pushcart Prize–nominated poetry has been featured in Boston Review and The Paris Review, and her work has been included in the exhibitions including “Give Me Shelter,” GGG Atelierhaus, Basel (2013);“Gestures in Time,” Qalandia International, Ramallah and Jerusalem (2012); “Monochrome,” SALTS, Birsfelden, Switzerland (2012); “But the walls are cool,” Galerie J, Geneva (2011); and “The Last Exhibition,” Art Basel Miami Beach (2010). She is the editor of Paul Sietsema: Interviews on Films and Works (2012), and co-editor of No Core: Pamela Rosenkranz (2012) and Olinka, or Where Movement Is Created (2013). Educated at Sarah Lawrence College and Columbia University’s School of the Arts in New York, Latimer was awarded a 2012 Arts Writing Grant from the Creative Capitol/Warhol Foundation.

Geneviève Loup

Geneviève Loup studied art history at the University of Lausanne. She teaches history of experimental film and video art in two artschools: ECAV (Sierre) and HEAD (Geneva). She engaged, since 2014, a research on the contemporaneous stakes of the sublime and sublimation, through the first in-depth analysis of Mike Kelley's series The Sublime (1983-1984). It is supervised by Jean-Philippe Antoine (University Paris 8), and codirected by John C. Welchman (University of California, San Diego).

Geneviève Loup organized film and video programs for the Lausanne Underground Film & Music Festival, and in collaboration with Jean-Michel Baconnier, for the Media Library of the Contemporary Art Collection of the City of Geneva and the "Home Cinema" of Trafic Association in Lausanne. Her texts were published in Décadrages. Cinéma, à travers champ, Home Cinéma, Art press and Kunst-Bulletin.

Tobias Madison

Tobias Madison uses video, software, and new media as tools for continuous recording, distribution, and thinking. Often, Madison’s artworks are produced through collaborative effort with an ever-growing network of people—whether they are artists, friends, musicians, designers, students, or people met by chance—carving out a space for action and interaction that pushes through conventional structures and old ways of thinking. Solo exhibitions of his work have been mounted at Kunsthalle Zürich (2013) and Swiss Institute (New York, 2010), and he has participated in group shows at Arnolfini (Bristol, 2013), Moscow Museum of Modern Art (2012), and New Jerseyy (Basel, 2009).

Raimundas Malašauskas

Raimundas Malašauskas has co-written an opera libretto, co-produced a television show, served as an agent for dOCUMENTA (13), curated oO, Lithuanian and Cyprus national pavilions in the 55th Venice Biennale, published a book of his selected writings:

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Paulina Olowska

The work of Polish artist Paulina Olowska considers the multiple histories of Modernism, with a particular focus on its intersecting manifestations in Eastern Europe and the West. Working in various media, including painting, performance, installation, collage, textiles, and music, she points to the utopian undertones of Modernism, and emphasizes moments of cross-cultural exchange between East and West, disrupting assumptions of the sharp divide between the two. 

Olowska’s work has been the subject of numerous international exhibitions, including solo shows at the Foksal Gallery in Warsaw, the CCA Wattis Institute in San Francisco, Pinakothek der Moderne in Munich. She has also participated in group exhibitions at the Museum of Modern Art, the New Museum, the Stedelijk Museum in Amsterdam, KW Institute for Contemporary Art in Berlin, and the Tate Modern, among many others, and was included in the 5th Berlin Biennial (2008), the 9th Istanbul Biennale (2005), and the 50th Venice Biennale. In 2010 she had a solo show at the Glasgow Tramway and another in 2011 at the New York Museum of Modern Art.[6] In 2013 she collaborated with Mick la Rock to create the backdrop for her exhibit, Au Bonheur des Dames at the Stedelijk. Her latests body of work, Wisteria, Mysteria, Hysteria, will coincide with a performance piece at The Kitchen in January 2016, in which she will paint the set and design costumes for “a form of ballet” in collaboration with composer Sergei Tcherepnin and choreographer Katy Pyle of Ballez.

Olowska also hosts a summer festival called Mycorial Theater. The festival includes art installations and performances, tarot card readings, lectures on fermentation, and outings organized around the traditional Polish pastime of mushroom hunting.

Uriel Orlow

Artist, based in London. Born 1973 in Zurich, Switzerland. He studied Fine Art at Central Saint Martins College of Art & Design and The Slade School of Art, London and philosophy at the University of Geneva, graduating with a PhD in Fine Art in 2002. Orlow’s work is represented in private and public collections internationally. Uriel Orlow is known for his modular, multi-media installations that take specific locations and events as starting points and combine archival research with evocative visuals and sound. Orlow explores the spatial and pictorial conditions of history and memory, focusing on blind spots of representation and forms of haunting. Working across video, photography, drawing and sound Orlow brings different image-regimes and narrative modes into correspondence. Orlow’s work was presented at Manifesta 9 (2012), the 54th Venice Bienniale (2011) and 8th Mercosul Biennial in Brazil (2011). Recent solo exhibitions include Unmade Film at Al-Ma’mal Jerusalem, CCS Paris and Les Complices* Zurich (2013), Back to Back, Spike Island, Bristol (2013), Time is a Place at Kunsthaus/Centre PasquArt, Biel (2012), The Short and the Long of it 9.0 at Prefix Institute of Contemporary Art, Toronto (2012) and There is Nothing Left at ACAF Alexandria, Egypt (2011). Orlow’s work has been included in numerous international group exhibitions, including Ateliers de Rennes (2012), Anarchism without Adjectives at Extra-City, Antwerp (2012), Unseen Blows at Seventeen Gallery, London (2012) and The Gate of the Invisible Must be Visible at Casa del Lago, Mexico City (2012). Orlow received a 2012 Swiss Art Award at Art Basel. He is currently a senior research fellow at University of Westminster and speaks frequently at art colleges and conferences. Work.master program: Tutorships,

Jon Rafman

An explorer and archivist of internet culture, Jon Rafman investigates the changing nature of the self under contemporary conditions as he navigates the boundaries between the virtual and the real, the historical and the personal. His body of digital and physical works traverses the found and the made, the still and the moving, incorporating video, installation, sculpture, photography and painting. By going back and forth from material to virtual, Rafman brings attention on how such a transformation has become intuitive for us, changing the different ways in which we know ourselves, and how we perceive and relate to the world around us. By exploring both the physical and the virtual, his works take up an unfamiliar and singular third space between the two realms.

Carissa Rodriguez

Artist, writer and gallerist based in New York City. Upon receiving a degree in Literature at the New School for Social Research in 1994, her first exhibition was in 1996 at American Fine Arts, NY – 100 Photographs curated by Colin De Land. Her 1998 breakthrough project The Stand with designer Jodi Busby went on to exhibitions at P.S. 1 Museum, NY; The Swiss Institute, NY; and American Fine Arts, NY in 1999, The Royal College of Art, London; Gastatelier Fleetinsel, Hamburg; and TENT Centrum Beeldende Kunst, Rotterdam in 2000, and KW Kunst-Werke, Berlin in 2004. Her first solo exhibition was at Forde, Geneva in 2000 under the curatorship of Mai-Thu Perret and Fabrice Stroun. From 2001-2002, Rodriguez was awarded a grant from the Van Lier Fellowship to attend the Whitney Museum Independent Study Program where she collaborated on a work for the final exhibition with fellow ISP participant Gardar Eide Einarsson. The year 2004 marked her last official art exhibition in New York at Greene Naftali Gallery and her entry into the gallery world as an art dealer at Reena Spaulings Fine Art, NY where she is currently Director in collaboration with Emily Sundblad and John Kelsey. As Reena Spaulings–the artist, Rodriguez collaborated on Reena Spaulings' solo-exhibition at Galerie Chantal Crousel in 2008 – Courbet Your Enthusiasm. Work.master program: Labzone

Michael Stevenson

Michael Stevenson was born in New Zealand, 1964, and has been living and working in Berlin since 2000. Since 2011 he has held a Professorship at the Akademie der Bildenden Künste in Nürnberg. Stevenson was awarded the New Zealand residency programme in 2002 at the Künstlerhaus Bethanien, Berlin and in 2006 was the Capp St. resident artist at the Wattis Institute CCA in San Francisco. In 2003 he was selected as New Zealand’s representative at the fiftieth Venice Biennale.

Michael Stevenson currently lives and works in Berlin, Germany.

Valérie Mavridorakis

Valérie Mavridorakis est historienne de l’art contemporain. Spécialiste de l’art américain des années 1960–70, elle a consacré sa thèse de doctorat à l’art minimal (soutenue en 2000 à l’Université Paris 1– Panthéon Sorbonne). Après avoir enseigné à l’Ecal (1998–2002) et à l’ESBA de Genève (2002–2003), elle a rejoint, en 2003, le master professionnel «Métiers et arts de l’exposition» de l’université Rennes 2–Haute Bretagne où elle a réalisé plusieurs expositions. Elle enseigne à la Head–Genève depuis 2008. Publications (sélection): Art et science-fiction : la Ballard Connection (anthologie), Dijon, Les presses du réel, coll. «Mamco» (2011). Christian Marclay: SNAP!, Dijon, Les presses du réel,coll.«Mamco / Métiers de l’exposition» 2009 (avec David Perreau et Elvan Zabunyan). Victor Burgin, objets temporels, Presses universitaires de Rennes, coll. «Métiers de l’exposition», 2007 (avec Nathalie Boulouch et David Perreau). Martha Rosler. Sur/sous les pavés, Presses universitaires de Rennes, coll. «Métiers de l’exposition», 2006 (avec David Perreau et Elvan Zabunyan). Mel Bochner, Spéculations– Ecrits, 1965–1973, édition critique de la traduction des écrits de Mel Bochner, Genève, Mamco, 2004 (avec Christophe Cherix). 

Markus Miessen

Markus Miessen is a London- and Berlin- based architect, researcher, educator, and writer. In 2002, he set up Studio Miessen, a platform for spatial strategy and critical cultural analysis. As an architect, Miessen is a partner in nOffice. Their site-specific architecture titled The Violence of Participation was on show at the Lyon Biennial 2007. The office is currently working on a series of international projects, amongst others a high-alpine library and cultural centre, which will house the entire private archive and collection of the Swiss curator Hans Ulrich Obrist, a library in Brazil and a large scale architectural installation with an artist based in NY. In the past, Miessen has consulted to London-based General Public Agency, advised the European Kunsthalle on its spatial strategy, and wrote cultural policy proposals for the think tank for everyday democracy Demos. Currently, he is developing a long-term project with the Department for Education and Public Programmes at the Serpentine Gallery, developing alternative spatial typologies for contemporary archives and libraries, and is consulting to the Consul General of Slovenia in New York on a project that investigates the imaginary East Coast Europe. As a writer, Miessen has contributed, edited and advised globally, with published articles in more than 30 different international titles, from academic to scientific to popular culture. He is the editor of The Violence of Participation (Sternberg Press, 2007), co-editor of With/Without – Spatial Products, Practices and Politics in the Middle East (Bidoun, 2007) and Did Someone Say Participate? An Atlas of Spatial Practice (MIT Press, 2006), co-author of Spaces of Uncertainty (Müller+Busmann, 2002), and is most recently developing a publication with Hans Ulrich Obrist titled My Favourite Book. Miessen acts as editorial consultant to Volume (Amsterdam) and Bidoun (New York), and supports Build Magazine as Deputy Editor. His work has been exhibited internationally and has received numerous awards and prizes including from the Flemisch Government (Brussels), Stimuleringsfonds voor Architectuur (Amsterdam), Kulturstiftung des Bundes (Berlin), the Henry Saxon Snell Prize, and was nominated for the RIBA Silver Medal. Miessen studied at Glasgow School of Art (BArch), graduated from the Architectural Association with Honours (AADipl), received a Master in Research degree from the London Consortium (MRes), and is currently a Doctoral candidate at the Centre for Research Architecture at Goldsmiths, London, investigating conflict- and non-consensus-based forms of participation as a form of alternative spatial practice.

Ileana Parvu

Historienne de l'art, vit et travaille à Genève. Elle est professeur d’histoire et de théorie de l’art à la HEAD, après avoir été chargée de cours à l'Université de Bâle et maître de conférences à l'Université de Genève. Elle a préparé sa thèse de doctorat en cotutelle, à l’E.H.E.S.S. Paris et à l’Université de Bâle, où elle l’a défendue en 2002. Ses recherches actuelles portent sur la notion d’objet dans l’art des années 1980 et 1990. Elle est l’auteur de La peinture en visite. Les constructions cubistes de Picasso (Berne, Peter Lang, 2007) et l’éditrice scientifique d’Objets en procès. Après la dématérialisation de l’art (Genève, Métis Presses, 2012). Elle a notamment publié « Pouvoir des choses. Les sculptures de Peter Fischli et David Weiss » (Zeitschrift für Kunstgeschichte n° 2, 2011), « Derrière l’assemblage. William C. Seitz, Allan Kaprow et l’art de la construction » (in: F. Levaillant et S. Jamet-Chavigny (éds.), L’art de l’assemblage. Relectures, Rennes, Presses universitaires de Rennes, 2011), « L’intérieur des choses. Peter Fischli/David Weiss, Rachel Whiteread et Gabriel Orozco » (Retour d'y voir n° 6,7,8, à paraître en 2013) et « The Interior Void of Things. Heidegger and Artworks of the 1980s and 1990s » (in: A. Boetzkes et A. Vinegar (éds.), Heidegger and the Work of Art History, Londres, Ashgate, à paraître en 2013). Programme work.master : tutorats and Ines Schaber/Documenta

Urs Lehni & Stefan Wagner

Stefan Wagner is an art historian and Urs Lehni is a graphic designers, they are based in Zurich, where they founded Rollopress, an editorial and publication platform.  HYPERLINK ""
Programme work.master : Living in the Theme Park

Bruno Serralongue

Né le 25 février 1968 à Châtellerault, Bruno Serralongue vit et travaille à Paris. Après des études à la Villa Arson de Nice (1993–1995), à l’école nationale de la photographie d’Arles (1990–1993) et d’histoire de l’art (1986–1990), Bruno Serralongue construit, depuis le milieu des années 1990, son œuvre autour des diverses problématiques de la photographie, en particulier de son histoire, de son usage et de son statut. Mettant en doute l’objectivité de ce médium, il pose comme fon¬damentale la responsabilité du photographe dans la véracité des images produites. Depuis 1996 ses photographies sont exposées régulièrement en France et à l’étranger et ont été ac¬quises par de nombreuses collections publiques: Musée d’Art Moderne de la ville de Paris, Tate Modern, Londres, Fotomuseum Winterthur, Musée National d’Art Moderne, Centre Pompidou, Paris, Cité Nationale de l’Histoire de l’Immigration, Paris, Fonds Cantonal d’art contemporain, Genève. En 2010, le Jeu de Paume à Paris lui a consacré une importante exposition monographique accompagnée de la publication d’un catalogue. 

Dan Solbach

Born in Denmark, raised in Switzerland and based in Berlin, Dan Solbach’s work marries influences from the all three. Recent projects include: Wandering, magazine, with Tenzing Barshee; A Reader, lecture series, with Fabian Harb and Lorenz Peter, FHNW HGK; New Jerseyy, exhibition space, Basel, with Daniel Baumann, Tobias Madison, and Emanuel Rossetti; Used Future, fanzine, with Tobias Madison and Emanuel Rossetti.

Una Szeemann

Una Szeemann’s installations follow material traces and transferences of invisible phenomena’s. An approach and exploration through the possibilities of parallel thinking and an investigation between the complex relationship of reality and illusion. In addition to her artistic practice, she is involved in curatorial projects and publications. She gives lectures, seminars and is guest professor in various art academies in Switzerland and abroad. Since 2006 she collaborates regularly with Bohdan Stehlik. 

Solo shows include: Dann Immer Erst, Immer Erst Dann. Museo Cantonale Lugano; Assumption over Matter Townhouse Zurich; Montewood Hollyverità Alexandre Pollazzon Gallery, London; Kodama Gallery Tokyo; Haswellediger & Co. Gallery, New York.

Group shows include: What people do for Money Manifesta 11, Zurich; Sviluppo - parallelo Kunstmuseum Luzern; The Day will come when Photography revises Kunstverein Hamburg; Utopie Gesamtkunstwerk 21er Haus, Belvedere Vienna; EXPosition of mythology - ELectronic technology Nam June Paik Art Center Korea; Vilnius is Blurring Fondazione Sandretto Re Rebaudengo, Torino; Contour: Biennial for Video Art, Decoder Mechelen; 00s-The history of a decade that has not yet been named Lyon Biennial; Hamsterwheel Venice Biennale

Armando Andrade Tudela

Artist, based in Saint-Etienne and Berlin. Born 1975 in Lima, Peru. He studied at Pontifícia Universidad Católica, Lima, Perú, The Royal College of Art, London, and at the Jan Van Eyck Akademie, Maastricht. He is a founding member of artist run space and art collective Espacio La Culpable, Lima, Peru. Photography and sculpture are the media Andrade Tudela works with. Primarily through photographs taken in his native country, Peru, he investigates how the vocabularies of Abstract and Modern images are manifested in everyday life. In the realm of sculpture, Andrade Tudela renders surfaces into geometric entities and tectonic forms. Work.master program: Tutorship and labzone The role  of one or more than one object in (a) space and the multiple conversations around them

Ingrid Wildi Merino

Artist, based in Switzerland. Born In Santiago de Chili, she emigrated to Europe for political reasons at the age of 18. Ingrid Wildi Merino studied at Hochschule fur Gestaltung und Kunst (Zurich) and at HEAD Genève where she followed the postgraduate course. In her work she approaches the processes of colonization, post-colonization  and globalization. She aims to show, as a process, the cultural, political and aesthetic complexity of both what is shown to us and what is hidden from us. Illegal migrations are inserted within the context of economic globalization, which gives rise to a set of problems related to language and to issues of social, cultural and sexual identity, as well as nationality and history. She taught in various institutions such as Schloss Solitude (2007-2009) and at the Center of investigation of the Reina Sofia Museum in Madrid with the Master of Alcala University. Besides this she worked as a curator for the past four years in Chilean and Swiss institutions.

Work.master programme: tutorats and Cultural Clash.