Voir la source de Orientations at erg

*'''Videography'''


'''Vidéography Art'''

'''Bachelor 1, 2 & 3'''

Professor(s): [[Chloé Malcotti]]

Workshop related to the AP Art

In this workshop, we will focus on collective practices specific to motion images production and we will question the challenges of these means of production. We will develop a discursive as well as practical research corpus that questions the existing relationships between image, aesthetic and production means. In the workshop, students will be invited to take part in the creation of the corpus as well as in the organisation of theoretical and practical research sessions by bringing and managing the material as well as being in charge of organising and supervising these collective work sessions. We will consider the work of an artist both from an individual and a collective point of view, in relation to one another in a specific environment.

'''Bachelor 1, 2 & 3'''

'''Vidéography Narration'''

Professor(s): [[Yvan Flasse]]

Workshop related to AP Narration

The course develops two important directions: a theoretical reading of pieces (analysis) and the creation of video practice (practical).
The goal is to introduce students to basic notions of videography and to the artistic process of famous video artists and film directors, providing fundamental notions of critical and structural analysis related to filmed narratives.
The course enables students to approach the video medium through different exercises and proposals. The focus point is not technical skills but a reflection related to the students’ personal answers and works.
Through four compulsory exercises, the aim is to lead students to set each and every time a problematic related to the practice of video.


*'''Typography'''

'''Bachelor 1'''

Professor(s): collective

Learning Modules :

MODULES :
''
- Signe, Image, Icône, Glyphes, Emojis, Pictos, No-Logo

- Parler à la machine, terminal

- Signe, Dessin, Dessin graphique

- Formats, Matrice, Grille, Gabarit, Lectures écran, Responsive Design''


'''Bachelor 2 & 3'''

Professor(s): [[Manuela Dechamps Otamendi]], [[Marie-Christophe Lambert]], [[Ludivine Loiseau]]

The exercises suggested to students provide them with ideas for exploration and research and often confront them to tangible suggestions touching on the drawing or the space of letters – the layout.
Students are lead to think about criteria of quality, readability and contemporaneity as well as the balance between substance and form.

*'''Sculpture'''

'''Bachelor 1, 2 & 3'''

Professor(s): [[Frédéric Gaillard]]

During the first year, we focus on discovering and using materials as well as learning technical and production skills related to sculpture production, but also inherent to the art of sculpture. By realizing the endless variety of materials they can use, students appropriate and surpass them by giving them an enriched status, a metaphorical transformation, another reference point.
By exploring this diversity and through many experiments and practices, one can start a personal work in the context of contemporary art history.
By using the experience acquired by the students during the first year, the course further questions materials, media and techniques that can be used in sculpture in the broader sense, as well as different notions that stem from it. We focus especially on sculpture and its relation to space as well as on links with other artistic disciplines.
The workshop aims at developing an established, personal,autonomous and conscious approach and to radicalize the plastic language. There are no exercises during year 3.
However, notions of laboratory-workshop and explorations remain important; students will have to maintain a proactive practice.
The autonomy acquired by the students is of great importance in the process of evaluation to get access to the Master’s degree. The main concern of this third year is the highly personalised and individualized approach of the student’s practice, while establishing connections with the outside world.

*'''Photography'''

'''Bachelor 1'''

Professor(s): [[Antoine Meyer]]

This course aims at stimulating the exploration of photography as well as working on a reflexive approach. The contemporary practice of this medium implies different aesthetic tensions between chemical and digital processes. In a theoretical and technical questioning of these mechanical recordings of the world, the exercises proposed will be shown as visual hypotheses in order to develop each student’s artistic practice.

'''Bachelor 2'''

Professor(s): [[Marie-Noëlle Boutin]]

The course is a space dedicated to work, research, and experiments. It functions as a laboratory where students share their experiences and their reflections on the photographic medium.
Exploring themes related to photography and to contemporary art, students develop their critical sense, their creativity and create a personal photographic language.

'''Bachelor 3'''

Professor(s): [[Gilbert Fastenaekens]]

Using photography means creating a complex process where concept, subject technique and end result blend. The course encourages interventions by students and their being able to communicate their intentions and their references (photographs, artists, social or cultural context, and so on).
The aim is to take a step back and identify what comes out of the work and to be able to implement the post-processing, to establish a link between the images and to approach their spacialization.

*'''Painting'''

'''Bachelor 1, 2 & 3'''

Professor(s): [[Eric Angenot]], [[Marcel Berlanger]]

This painting course is considered as a laboratory for discovering and testing the practices and challenges of contemporary painting. It explores the many forms that painting can take today. The workshop enables students to explore the diversity of painting production means and to experiment current techniques and materials. 
Students acquire practical and conceptual tools that contribute to the development of a personal artistic approach.
At the end of the year, the students’ development and work are analysed together with them in order to look at the possible improvement points of their practice.

*'''Installation/performance'''

'''Bachelor 1, 2 & 3'''

Professor(s): [[Juan d’Oultremont]]

The workshop is organised around three lines of work: the body (performance), everyday life (non-art) and the art space (installation). It provides the basis for performance practices enabling students to know where they stand, to confront themselves to and gradually position themselves in today’s art. Each student proposal is envisioned as a work site that goes from research and drafts to presentation/display subjected to critical evaluation.
The primary goal is to assess the state of affairs in art today and the specific space installation and performance occupy within this “landscape”.

*'''Illustration'''

During the three Bachelor years in comics and illustration at erg, students gradually resolve a series of issues around storytelling and narrative structuring. Starting from their appetence for image and writing, their personal interests and aims, students are encouraged to blend their reflections, practical skills and intuitions to create a personal and unique production. Through a regular practice, they will question the ethical and aesthetical challenges of their tool(s) and their impact on their statement by using an extensive knowledge of what makes graphic literature today.

'''Bachelor 1'''

Professor(s): [[Geneviève Casterman]], [[Christian Staquet]]

The illustration workshop approaches the same issues as the comics course, i.e. text-image relationships.
Through their practice of drawing, image and writing, students develop a point of view and a “personal world”. The main focus is the work presentation and the quality of the display.

'''Bachelor 2 & 3'''

Professor(s): [[Olivier Grenson]], [[Joanna Lorho]]

The practical exercises serving a personal, authorial project support students in their personal research, which becomes particularly intense in the third Bachelor year.
The aim is to lead students to create a unique world by developing representational means and by questioning their practice in the contemporary world in relation to other arts and media.

The course relies on a history of illustration and comic books and to the acquisition of a culture. Short or longer-term exercises support students in their personal research, which becomes particularly intense in the third Bachelor year.
The student must be able to develop a unique world and to offer an authorial work by developing representational means.


*'''Graphic design- Experimental and critical practices''' 

“Graphic design – experimental practices and critiques” looks at graphic design as a tool for analysis, reflection and investigation within a complex world. The aim is to encourage movements, and not to confirm facts.
By encouraging the student to take into consideration the challenges of our society – political, environmental, social or cultural – graphic design can be a food for thought as well as a way of thinking. The graphic designer becomes an actor rather than an author.
Students are invited to take a critical, personal stance through the means particular to graphic design – image, graphic illustration, sign, typography, layout, spacing. Graphic design aims at assimilation. Choices, questioning, tool creation and the medium are developed in line with the project.
Rather than aiming at providing an answer to a definite question, this approach seeks to explore different creative processes. Research and singular approaches are favoured through trial and error in conditions similar to that of a laboratory where process is paramount.
Students are encouraged to open up to other fields, experiments and skills in order to build a corpus of transversal references (art, design, cinema, sound, dance, architecture, sciences, cuisine, etc.) that enable them to enrich their practice of graphic design.

'''Bachelor 1'''

Professor(s): collective

Learning Modules :

MODULES :
''
- Signe, Image, Icône, Glyphes, Emojis, Pictos, No-Logo

- Parler à la machine, terminal

- Signe, Dessin, Dessin graphique

- Formats, Matrice, Grille, Gabarit, Lectures écran, Responsive Design''

'''Bachelor 2'''

Professor(s): [[Caroline Dath]], [[Giovanni Guarini]], [[Isabelle Jossa]]

The workshop focuses especially on creating a proficient articulation between the eye, the hand and the brain to serve a relevant and efficient communication. It explores: 
 Image (in all its aspects) as such and its relation with the text. 
 Letter drawing, typography, layout and its attending vocabulary. 
 Communication through drawing and research of a singular writing. 
 Meaning, concept. 
 Installation, on-site graphic performance. 
 Team work.
Discussions and workshops are organised according to opportunities. Throughout the year, references and open documents outside of the field of graphic design are presented. Students can also read a blog written by professors.

'''Bachelor 3'''

Professor(s): [[Manuela Dechamps Otamendi]], [[Giovanni Guarini]]

Graphic designer are signs, images, words and meanings researchers. They produce drawings, photographs, and typographies. Playing with visual tools, they develop projects. They create books, magazines, posters, wallpapers, sites, animations, signage, situated interventions, etc. These images are intended to be read, looked at, and listened to by the public.
The projects developed in the workshop are intended as a discussion on graphic design, its process and the society in which they are used. Students are invited to create an autonomous graphic object, a personal “proposal”.


*'''Drawing'''

'''Bachelor 1, 2 & 3'''

Professor: [[Raphaël Van Lerberghe]]

Starting off with technical exercises defined by “subjects” such as constrained drawing, word drawing or “the word inside the drawing”, students develop the blueprints of an artistic proposal and define the contours of a personal project.
The aim is to experiment with drawing techniques and to discover the challenges they represent in contemporary art, among other things. On the whole, the course aims at giving the means to develop an artistic practice in drawing or in other media that may possibly be connected to references and issues pertaining to drawing.
The content of the course is organised around six subjects and a number of technical exercises that students use to develop a combination of practical and theoretical tools. These tools allow them to start developing an artistic approach and to define the contours of a personal project.
As students work with exhibitions as well as editorial and circumstantial topics, the content of the course is not entirely pre-established.
Students respond to subjects in a personal way; therefore, technical precisions are differentiated.
Presentation problems (display, installation, special relationship) are addressed for every proposal.

*'''Visual and graphic communication / Media Design''' 

Becoming aware of the political dimension of any act of communication by developing a personal practice in visual design and formal information treatment.
The first year aims at stimulating invention and experimentation by approaching fundamental notions of meaning construction, image plasticity, design, prioritisation and information ranking.
The second year lays emphasis on learning methods of collecting information (documentation, interview, research and selection), content production, the creation of visual systems and the aspects of professional commissions.
The third year marks the completion of a cycle by raising questions related to the designer’s responsibility as well as the status of communication in our society. This last year opens up to the research of a personal project in an economic, political and technological context.

'''Bachelor 1'''

Professor(s): collective

Learning Modules :

MODULES :
''
- Signe, Image, Icône, Glyphes, Emojis, Pictos, No-Logo

- Parler à la machine, terminal

- Signe, Dessin, Dessin graphique

- Formats, Matrice, Grille, Gabarit, Lectures écran, Responsive Design''

'''Bachelor 2 & 3'''

Professor(s): [[Manu Blondiau]], [[Alexia De Visscher]], [[Lionel Maes]]


During the third year, the media design course evolves into a space of collection creation and research. Students develop working method and reflections on the creation of graphic signs. They learn to develop their knowledge of contemporary graphic design practices in order to further broaden their critical mind.
The essential aim is to link a working method, a particular outlook on the world as a designer, the research of a singular graphic grammar and the production of meaningful signs in a particular communicational context.

*'''Digital arts / Coding'''

'''Bachelor 1'''

Professors: [[Yves Bernard]], [[Marc Wathieu]]

Practices in the current field of digital arts are manifold. Immersive installation, Internet art, 3D printers: practices, questions and technologies are diverse in terms of approach production, circulation strategy and audience.
Many artists use digital art in a critical perspective because of the profound mutations caused by information technologies in our social relationships and in our everyday habits. They question these mutations from their own medium (painting, sculpture, writing, etc.), or direct the attention onto the specificity of digital technologies.
One of the first goals of the course is to identify this large spectrum of artistic practices using digital tools. Another aim is to teach software structures through mainstream or alternative intentions and statements. Finally, students will be immersed in the practice of computer programming.

'''Bachelor 2'''

Professor: [[Marc Wathieu]]

In the second Bachelor year, the course confronts students to the artistic (history, current events), technological (materials, tools, technological watch) and conceptual (processes, methods) challenges of digital arts.
A skills base built around three axes: 
 an introduction to programming with open source software PROCESSING. 
 an introduction to the concept of interactivity with open source software ARDUINO. 
 an introduction to online publishing (HTML, CSS, FTP).
The learning process is based on building general skills. They will be increasingly explored throughout the course, according to the personal project of the students: 
 tools: software, hypermedia, code, bookshops, protocols. 
 processes: algorithms, generative and/or interactive strategies, non-linearity.
 material: objects, data, parameters, flows. 
 interactivity: interfaces, action-feedback, devices, peripheral devices. 
 spaces: networks, servers, on-site installations, immersive installations. 
 knowledge sharing: open source, collaborative platforms, communities. 
 references: art history, digital arts and new media, current events.
In fields such as: coding art, generative processes, geo-localisation, interactive video, network narrative, interactive installations, artistic web projects, interactive visual performances.

'''Bachelor 3'''

Professor: [[Yves Bernard]], [[Marc Wathieu]]

The workshop supports students in the form of tutorial classes in order to subsequently follow up on their personal projects. Each step of the process is tracked and leads to the creation of digital documents published on line.
The principle is to re-contextualize the students’ suggestions within digital and contemporary current practices by providing them references to the most significant, revealing and relevant works in relation to their projects.
The aim for the students is to develop their ability to express an intention, to create a project, to prototype it and to present according to a documented process.



*'''Animated film'''

'''Bachelor 1 & 2'''

Professors: [[Nicolas Marcon]], [[Alexander Schellow]]

What is – or better: what productively can be framed as animation? Here the concept of animation is as well a driving force as it is itself very much in question. 
Conceptually and methodologically we aim to reformulate a commonly rather technical understanding of animation (understood exclusively as a sub-genre of film, realised by a canonic, even though expanding body of defined techniques which can be „taught“ to the students) towards an expanded animation. ‚Expanded‘ means that animation is understood primarily as a field of transmedial artistic practices which can encompass means from drawing to writing to performance or video work, as well as cooking or urbanistic research. Therefore our students such as our collaborators in and outside the school have various backgrounds and work within various fields. In the process of sharing works within the department, ‚animation‘ serves as a counterpoint and field of operations/references in relation to which an approach can be (re)framed. The term does not fulfill a pre-existing definition, but formulates every time anew what animation can be. 
This has a huge impact on the teaching/learning methodologies: it is not that the techniques make up a body of knowledge that is passed on to the students. But the work consists – practically from the beginning in BAC01 on, and more and more intensified towards BAC03 and MA – in identifying together the concepts, concerns and related demands of what is slowly shaping as each student’s project. Those are explored in close discussion with the teachers, but also in feedback-constellations with other students, that transgress the borders between Bachelor-, Master- and Phd-students, and namely between student- and teacher-position, towards an open form of collaboration. Such primarily multi-individual path is accompanied by collective propositions: regular workshops and interventions by external visiting artists allow for perspectives and practical experiences within different “worlds” of developed animation or animation-related practices. Other, not obligatory formats further productively blur the borders of a pedagogical framework, of what is considered to happen in school: open screenings and regular collective work-dinners (“colloquia”) hosted in different private apartments, or occasionally works ‚on site’ as factual displacements – such as for example a past workshop in Tirana in collaboration with an Albanian urbanist university-faculty.
So what is animation? We address this question not only as a work-internal and/or technical concern, but eminently as a shifting concept, that has to be shaped through and within the very frame of a shared working space – In the collective decision and realization of its aesthetical, pedagogical and political distinctions. 
[A selection of some traces of student works realized in the department can be discovered here: https://vimeo.com/channels/experimentalanimationerg ]

Presentations, analyses and collective discussions around examples taken from animated film and other subjects related to animation (performance, architecture, visual arts, etc.) that show a singular approach of "image by image” cinema.
Beyond practical features (the breaking down of movement, layout, drawings, animation, rhythm, division, the relationship with soundtrack, etc.), this course aims at exploiting its potential in order to accompany a singular content and to experiment with various animation techniques.


'''Bachelor 3'''

Professor(s): [[Alexander Schellow]]

Presentations, analyses and collective discussions around examples from animated film and other subjects related to animation (such as performance, architecture and visual arts) that show a singular approach of "image by image” cinema.
The workshop aims at learning the practical processes of animation by using diverse approaches and techniques.
The objective is to encourage students to discover the numerous animation techniques and the meaning that they convey.


*'''Comics''' 
During the three Bachelor years in comics and illustration at erg, students gradually resolve a series of issues around storytelling and narrative structuring. Starting from their appetence for image and writing, their personal interests and aims, students are encouraged to blend their reflections, practical skills and intuitions to create a personal and unique production. Through a regular practice, they will question the ethical and aesthetical challenges of their tool(s) and their impact on their statement by using an extensive knowledge of what makes graphic literature today.

'''Bachelor 1'''

Professors: [[Geneviève Casterman]], [[Christian Staquet]]

The course looks at the challenges of common text-image relationships in the field of comics and illustration. It is divided in two workshop sessions: the first looks at the documentary aspect of narrative (relationship with “real world”) while the second is focused on fiction.
The objective is to acquire a practice of drawing, image, writing and information collection according to the project.

'''Bachelor 2 & 3'''

Professors: [[Olivier Grenson]], [[Joanna Lorho]]

Through practical exercises in order to serve a personal, authorial project, highlighting the language of the narrative image and the relationship between text and image. All year through, the course will rely on a history of illustration and comic books through films, books, albums and multimedia narratives, etc. This cultural environment, as well as brief or longer-term exercises, supports students in their personal research, which becomes particularly more intense during the course of the third Bachelor year.



[[Catégorie:English]]