Current faculty members and regular lecturers

Marie Angeletti

Marie Angeletti, (b.1984) lives in Berlin. Her work has been exhibited at Edouard Montassut in Paris. Her previous exhibitions include Le Consortium, Dijon, Kunstlherhaus, Bremen, Castillo/corrales, Paris, Kunsthalle Wien, Carlos/Ishikawa, London. Angeletti has currently been working on commisission with the Nouveaux Commanditaires.

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.

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, archaeology, He researched psychedelia, the occult, technologies, taught curating, history, cultural theory, founded a publishing house in Paris and serves as Dean of 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 were published in Artforum, Frieze, Art Press, Criticism, Art in America, Kaleidoscope, Mousse and Frog, as well as in different thematic and monographic publications.

Marie-Antoinette Chiarenza

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

Born in 1957 in Tunis/T, she studied among others at the Art Department Pasadena City College/CA, usa; Massachussetts College of Art Boston/ME, usa. After experimenting selforganised projects in a squated factory in Paris, she co-founded in 1983 the artistgroup 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. Projects in exhibitions and public spaces (commissioned works) are strongly contextual, such as 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: ''offside effect'', 1st Tbilisi Triennial, CCA Tbilisi/ge (2012).

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).

Work.master program: tutorship, studio praxis, projects.

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.

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, editor, teacher and researcher, based in Geneva. She is a lecturer 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.
She also worked as a curator at Le Confort Moderne (2015-2017, Poitiers, France), and as a director at La Salle de bains (2009-2013, Lyon, France), where 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 also include media archaeology, futurology, science-fiction, and the relations between culture and technological imagination.
Work.Master program: Lab.Zone and thesis tutorship.

Christophe Kihm

Critique d’art, historien de l’art, théoricien, commissaire d’exposition, vit à Paris
DEA recherche en communication audiovisuelle, Sorbonne Paris 2, 1991. Maîtrise en Lettres modernes, Université de Poitiers, France, 1990. Membre de la rédaction d’art press (Revue de l’art contemporain) et co-directeur de la revue Fresh Théorie, Christophe Kihm a consacré l’essentiel de ses recherches à l’étude et à l’analyse des pratiques culturelles artistiques contemporaines, majoritairement dans les domaines de la musique, des arts plastiques et de la performance. L’objet de ce travail sur les « manières de faire » de l’art étant de préciser, à travers la définition de certains concepts tels que le bricolage, l’excentricité, l’incompétence, l’amplification, la reprise…, une « praxéologie  ».Ce travail, toujours en cours, se propose de revoir les partages entre pratiques culturelles amateurs et pratiques professionnelles de l’art, arts populaires et arts savants, tels qu’ils se déterminent dans l’espace contemporain, dans leurs dimensions esthétiques et politiques. Ces deux dernières années, Christophe Kihm s’est particulièrement intéressé aux relations de l’archive et de l’expérimentation en art, notamment à travers le développement, en 2006-2007, d’un groupe de recherche, le LAC (Laboratoire Archive Concept, dont le travail va être prochainement l’objet d’une publication), et du programme de recherche en cours « Archive, histoire, projet. Recherches sur les pratiques artistiques de l’archive » qui a reçu le soutien de la fondation Doré.

Programme work.master : tutorats, séminaires.

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.

Charlotte Laubard

Charlotte Laubard est chargée d'enseignement en histoire et théorie de l'art dans le département des arts visuels de la HEAD de Genève, et commissaire d'expositions. Son parcours dans différentes institutions dédiées à la création artistique contemporaine (P.S.1 Contemporary Art Center à New York en 1999-2000, Castello di Rivoli museo d'arte contemporanea à Turin en 2002-05, Pinchuk Art Centre à Kiev en 2005-06) et son expérience de direction du CAPC musée d'art contemporain à Bordeaux de 2006 à 2013 lui ont permis de développer de nombreux projets d'expositions et de publications autour d'oeuvres qui excèdent les classifications, dans un souci de remettre en question les modèles d'interprétation dominants et d'écrire d'autres histoires de l'art. Parallèlement à son activité d'enseignement à Genève, elle vient de fonder la Société suisse des Nouveaux commanditaires afin de développer ce protocole participatif de commande publique artistique sur le territoire helvétique.

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. 

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.

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:

More could be found at

A PDF mixtape to download:

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). Work.master program: Responsible professor, tutorships, Enseigner comme une adolescente

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).

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. Programme work.master : tutorats and Science Fiction et Utopie

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.

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 art-CD-ROM and DVD label (since 1998), he is organizing and (co-)curating collaborative events, media-projects and exhibitions. 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. He studied at HGK/SFG Basel, Schule für Gestaltung Bern (1981-1986) and at University of Bern (HLA diploma, 1995), focus: media and education; 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 town of Berne. Work.master program: Responsible professor, tutorships, and research project LapTopRadio  

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.

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.


former faculty members and regular lecturers

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.

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.

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

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.

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,

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

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

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

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

Catherine Chevalier

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

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.

Urs Lehni et 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

Aurélie Pétrel

Née en 1980, Aurélie Pétrel est diplômée de l’ENSBA de Lyon en 2006. Elle envisage la photographie comme un champ de possibles, à la fois par la théorie, l’expérimentation et la commande privée. Elle développe et renouvelle une pratique qui donne à voir tout en interrogeant les processus de perception et de représentation du réel pour mieux approcher les phénomènes d’abstraction. Perméable au dispositif technique, ce travail se rapporte à la fois au sujet, au support, au contexte, troublant une lecture immédiate et définissant un espace hybride suspendu entre l’image, sa fonction et sa production. La fabrication des images d’Aurélie Pétrel relève à la fois du quotidien, de réalités socio-économiques, politiques, géographiques et/ou historiques et puise à travers l’expérience des nombreux projets, résidences, commandes et voyages qui constituent son parcours. Aurélie Pétrel participe activement avec 5 autres membres fondateurs au laboratoire de recherche artistique A broken arm. Expositions (sélection): Bloo Gallery (Rome), Palais de Tokyo (Paris), Tokyo Wonder Site (Tokyo), Super Window Project / Muzz Program Space (Kyoto), Creative Union (Hiroshima), Round The Corner (Lisbonne), le Creux de l’Enfer (Thiers), Galeria Virgilio (São Paulo), Pilotenkuche (Leipzig), MAC Lyon (Lyon).

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

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. She teaches in various institutions such as Scholss Solitude Akademia (2007-2009) or at the Center of investigation of the Reina Sofia Museum in Madrid with the Master of Alcala University.  She akso worked as a curator for the past four years in Chilean and Swiss institutions. 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. Programme work.master : tutorats and Cultural Clash

cc  07.2019 Work.Master :: info(at)