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Institut des hautes études en arts plastiques (Iheap)
Session VIII, 2012-2014, Opening, January 8, 2013 - Institut des hautes études en arts plastiques (Iheap) - Moins Un
InformationsMissions p. 5
History p. 7
Organization Chart p. 10
Our partners p. 16
ProgrammeMain Categories p. 19
Programme-Session VIII p. 20
Curriculum p. 21
LDRE p. 22
ParticipantsFor Whom? p. 24
Évaluation p. 25
Stakes and ends p. 25
AdmissionPre-admission p. 27
Admission p. 27
Submission tips p. 27
School Office p. 27
Summary
Missions
The Institute des hautes études en
arts plastiques (IHEAP) is a post-
graduate institute for research and
experimentation in art. It offers par-
ticipants a course of study to libe-
rate them from the inherited ideas of
20th century art history, and propo-
ses an inquiry into the crucial issues
of 21st century art, whose history
is now unfolding and in which they
might eventually participate.
The curriculum contributes to a cer-
tain state of mind which it is prefera-
ble, but not indispensable, to share.
The Institute is open to everyone
with an interest in those singular and
extreme practices currently and spo-
radically appearing in the art world
and elsewhere. IHEAP is for those
who want to change their artistic
practice or professional activity, who
after several years of art school want
to break free of alienated learning,
who expect more from a school than
a framework for artistic production,
who reject art as it is commonly
practiced, and who wish to work on
essential issues within intimate and
experimental conditions.
The program will be completed in
two years (one session). The first year
consists of two cycles, each of ten
weeks with three half-days per week.
This first cycle mixes the theoreti-
cal with practical implementations,
while in the second year an investiga-
tive text of thirty pages will be crea-
ted, tracing the development of the
participant’s research. The work ses-
sions are guided by professors who
will alternate with several guest lec-
turers from a wide range of discipli-
nes, all specialists in their fields.
The IHEAP curriculum allows the
participant to adopt an unusual
perspective on art and to experi-
ment with a non-conformist art
practice that requires negligible or
no financial resources, and to use
these acquired skills in all aspects
of professional and private life, and
finally to discover the keys to build
an economy adapted to the specifi-
city of his or her production.
Page 5
Institut des hautes études en arts plastiques (Iheap) - The first course of the Session VIII, 2012-2014. Topic: « Art or Wind? » Lecturer: Denys Riout. January 9, 2013, Moins Un
The Initial IheapIn 1985, the Mayor of Paris, Jacques
Chirac, commissioned Pontus Hul-
ten to design a graduate school for
research in contemporary art, simi-
lar in spirit to the Weimer Bauhaus
School and Black Mountain College
in the U.S., to function as an alter-
native to the Paris École Nationale
Supérieure des Beaux-Arts. Director
of the Centre Pompidou from 1973
to 1981 and whose vision crea-
ted much of its uniqueness, Hulten
conceived of the Institut des hautes
études en arts plastiques (IHEAP) as
a center for contemporary research
in artistic creation. From 1988 to
1995, welcomed 165 internatio-
nal artists sponsored from Russia,
Japan, North and South America,
Korea, Africa, Iceland, Turkey, Israel,
and China. Along with the per-
manent professors – Daniel Buren,
Serge Fauchereau, Pontus Hulten,
et Sarkis – IHEAP welcomed dis-
tinguished visitors including Pierre
Bourdieu, Renzo Piano, Jean-Fran-
çois Lyotard, Ida Biard, Niki de Saint
Phalle, Jean Nouvel, Jannis Kounel-
lis, Hans Haacke, Michael Asher, Dan
Graham, Lawrence Wiener, Daniel
Templon, Harald Szeeman, and Giu-
seppe Panza di Biumo. From 1991,
certain sponsored artists became
instructors, thus reversing traditio-
nal roles, including Eric Duyckaerts,
Ulrike Kessl, Didier Kiner, Krijn de
Konig, Martine Neddam, Veit Strat-
mann, and Chen Zhen. IHEAP occu-
pied many locations, from the base-
ment of the Musée d’Art Moderne
de la Ville de Paris, to the Laurens
Room in the Palais de Tokyo, to the
Hôtel de Saint-Aignan. During these
years, IHEAP received funding from
the city of Paris, the Getty Grant
Program of Los Angeles, the Fon-
dation Cartier and the Ministère de
la Culture et de la Communication.
In general, the practices developed
within IHEAP were not different from
those produced in other art schools.
But the proposed experience, hardly
known at this time, was remarkable
in that it encouraged interdisciplinary
and the spoken word. Thus each
session allowed all the participants
to exchange perspectives and ideas
from diverse backgrounds in a fami-
lial atmosphere. However, owing to Page 7
History
a lack of sustained financial support,
the Institut des hautes études en arts
plastiques closed down in 1995 after
seven years of activity.
The New IheapIn 2012, the Biennale de Paris, encou-
raged by its own history, experien-
ces and approach, decided to open
a new Institut des hautes études en
arts plastiques (IHEAP), according to
its own viewpoints while also reac-
tivating those of earlier institutions.
Drawing on the original model, the
new IHEAP kept its name, intentions,
idea of a simple structure, necessity
of transversality and discussion, and
its international dimension. Howe-
ver, with a new team, a new peda-
gogical project, and a new pro-
gram, today’s IHEAP marks a clear
break not only with the first project
but also with the conventions and
ground rules governing contempo-
rary art. Working with permanent
professors Alexandre Gurita, Jean-
Baptiste Farkas et Guillaume du
Boisbaudry, IHEAP welcomes visiting
teachers including Robert Storr, Yves
Michaud, Ghislain Mollet-Viéville,
Rose Marie Barrientos, Philippe
Mairesse, Loïc Depecker, Gilles Clé-
ment, Franck Lebovici, Sylvain Sous-
san & Liliane Viala, Francesco Masci,
Laurence Bertrand Dorléac, Chris-
tian Ruby, Jérôme de Noiremont
and Denys Riout. IHEAP’s partners
include Musée d’Art Moderne de la
Ville de Paris, Musée de la Chasse
et de la Nature, Hôtel National des
Invalides, Maison de Victor Hugo,
Musée Cernuschi (Musée des arts de
l’Asie de la Ville de Paris), Le Plateau
(Frac Île-de-France), Fondation EDF,
Hôtel Drouot (Drouot Formation),
Institut Européen Supérieur des
Arts (IESA), École Nationale Supé-
rieure du Paysage de Versailles, Ins-
titut National de l’Audiovisuel (INA).
Based on experimentation and the
development of not aligned practi-
ces, IHEAP embraces those art forms
that are both the most advanced
and the most accessible today.
Page 8
March 2, 2013, Acri-Liberté. Lecturers: courants faibles, Liliane Viala and Sylvain Soussan
Alexandre GuritaDirector and Professor, he describes
himself as a strategist in the field of
art, as an artist operating without
art works and creating strategies to
valorize a non-conformist position to
modify the idea of art. His neolo-
gism “invisual” denotes what is visi-
ble, but not in terms of art.
Jean-Baptiste FarkasProfessor. For Farkas, his practice of
art must question and problema-
tize the concept of the artist, the
artwork or the place it is shown.
His job is to suggest alternatives to
what is usually expected from an
artist, namely a finished and exhi-
bited work.
Robert StorrProfessor, writer, artist, art critic.
Dean of Yale University School of
Art, member of the Art Advisory
Council of the International Foun-
dation for Art Research, first Ameri-
can director of the Venice Biennale,
2007. He writes for Art in America,
Artforum, Art Press, The New York
Times, and Washington Post.
Ghislain Mollet-ViévilleAgent of art, art critic, expert hono-
raire for the Court of Appeal, Paris.
He has initiated the profession of Art
Agent in order to defend art prac-
tices beyond the confines of typical
art spaces, given his keen interest in
presenting art in its social contexts.
Yves MichaudPhilosopher, art critic, university
professor. He taught philosophy at
Université de Paris I (Sorbonne), pro-
gram director at the Collège Inter-
national de Philosophie. In 2000,
he created the University of All
Knowledge, l’Université de tous les
savoirs (UTLS). In 1989, the Minister
of Culture, Jack Lang, commissioned
him to restructure the École Natio-
nale Supérieure des Beaux Arts de
Paris (Ensba).
Christian RubyPhilosopher, member Association pour
le Développement de l’Histoire cultu-
relle, de l’association Entre-Deux et de
l’Association Tunisienne d’Esthétique
et de Poïétique (ATEP), member of
the scientific committee of the Institut Page 10
Organization Chart
pour l’Art et la Ville, collaborator l’Ob-
servatoire des politiques culturelles.
Liliane VialaShe investigates issues addressing
ideas of creativity and productivity up
and beyond art by focusing on inte-
ractions between various spheres of
activity. Creating movements star-
ting with artisitic tools, these actions
are developed according to the com-
pany’s context, and they reveal the
dominant modes of social interac-
tions in unexpected situations.
Francesco MasciPhilosopher. His publications
include “Entertainment! Apologie
de la domination, éd. Allia, 2011 et
“Superstitions”, éd. Allia, 2005. His
conferences include “On va conti-
nuer”, La Maison des Écrivains et de
la Littérature fête ses 25 ans, Petit
Palais, Paris, 2011.
Rose Marie BarrientosResearcher Université de Paris 1 Pan-
théon-Sorbonne, critic and art histo-
rian, founding member ART & FLUX,
which, through scientific and critical
perspectives, evaluates the effects
of various actions and ideas linking
art and economies.
Guillaume du BoisbaudryResearch Director, architect and
philosopher, director of the review
Nécessaire. “The evolution of ethno-
logical research informs us about the
relative nature of collective identifica-
tion processes. Ethology reveals the
technical culture of animals. Research
in biotechnology transgresses the
boundaries which separate human,
animal and plant species.”
Hubert RenardHe continues to question the materia-
lity of the art object and shake up its
surrounding elements – its “paratext”.
He constructs his own (and possible)
career as an artist by accumulating
documentation (published and not)
in the form of catalogues, posters,
invitation cards, exposition photogra-
phs of openings, installations, press
releases, conferences, letters, etc.
Briana BrayInformation available only in french.Page 11
Gilles ClémentLandscape architect, professor at
the Collège de France and at l’Ecole
du paysage of Versailles. He is the
author of several seminal ideas and
texts for late 20th century lands-
cape creators, including “gardens in
movement”, “the cosmic garden”,
and “tiers paysage” involving a mul-
titude of spaces, neglected or not
yet exploited, which present untap-
ped natural richness in biodiversity.
Loïc DepeckerFounder of the Société française de
terminologie, professor and Director
of Research (language sciences) Uni-
versité of Paris Sorbonne (Paris III),
adviser to the European Commission
(DG XIII) (1996-2006), head of the
terminology section at the Déléga-
tion générale à la langue française et
aux Langues de France (Ministry of
Culture and Communication).
Auguste LegrandFounder of the Academie Legrand
and the Guide Legrand des buffets
de vernissage, which inventories,
analyzes, and ranks art openings.
After years of research, he conclu-
des that five elements must be
considered: the place, the dis-
course, the service, the table, and
the conversation.
André Eric LétourneauManoeuvring and artist of immate-
rial cultural heritage, member of the
evaluation committee for new artistic
practices at the Canada Council for
the Arts of Montreal between 2009
and 2012, professor at the Univer-
sity of Quebec in Montreal (Canada).
His work involves real-life situations
which aim to promote the evolution
of social practices through experien-
ces based on methods that are tra-
ditionally associated with art.
Sylvain SoussanFounder of the Musées des Nuages,
he is concerned with technologies to
reduce carbon or radioactive emis-
sions – windmills, watermills, solar
panels. The mobilization of human
energy is a vital resource which his
museum proposes to champion
by transforming the perception of
works into works of perception.Page 12
Philippe MairesseFounder of the program Access
Local, he develops art-based
concepts and intervention approa-
ches for companies and organiza-
tions, concerning issues for sharing
strategic vision, innovation, develop-
ment of potentials, activity manage-
ment, and living better at work.
Simon TeroyInformation available only in french.
Aurélie BousquetPh.D. in aesthetics Université Paris
1 Panthéon-Sorbonne, with a the-
sis on artist entrepreneurs. Her
research questions creativity, artists
and the public, mixing aesthetics
with sociology. She collaborates
also with emerging or recognized
artists. Her research themes also
focus on art criticism, judgment,
values, tastes and aesthetics, ethics,
and economies.
Denys RioutArt historian, Professor Emeritus of
Modern and Contemporary Art, Uni-
versité Paris 1 – Panthéon-Sorbonne,
and researcher at the CNRS (Natio-
nal Centre of Scientific Research) in
1990. His publications include : Yves
Klein. L’aventure monochrome, Paris,
Gallimard, Coll. Découvertes, 2006.
Tom BücherCommunication Skills Director for
the Paris Biennale and IHEAP, gra-
phic designer, participant in “New
‘Form’”, International Graphic
Design Exhibition, collective exhi-
bition, China, 2011; WaWaWorks-
hop, organized by Bernard Baissait
and Vincent de Hoÿm, 2011.
Alain FarfallEditorial Advisor, journalist, art cri-
tic, professor of general knowledge
at the Institut des Arts Appliqués
of Montpellier. His research revol-
ves around the art work, its frame,
effects, uses, commentaries, rather
than on the object itself. His practice
leads him to question if, now, there is
still a need for art as such in order to
continue having an artistic practice.
Cédric Mong-HyInformation available only in french.Page 13
Anne SteinerInformation available only in french
CollaborationsDocumentation: Lauraine Dufour-
Videloup
Internal IHEAP network conception
and realization, Indespot: Anne-So-
phie Pharès
Chinese translator and interpreter:
Hsaing-Pin Wu
English translators and interpreters:
Judith Gintz-Aminoff, Rose Marie
Barrientos, Caroline Keppi
Spanish translator and interpreter:
Juan Mendizabal
Russian translator and interpreter.:
Alexei Kapichev
Arabic translator and interpreter:
Ricardo Mbarkho
The Scientific CommitteeThe Scientific Committee includes
the Program Director, professors, and
certain visiting collaborators from
outside IHEAP. It is consulted on all
issues relating to the Institute’s acti-
vities. It makes decisions concerning
pedagogical options, internal organi-
zation, and external relationships.Page 14
CollaborateursDocumentation : Lauraine Dufour-
Videloup
Conception et réalisation du réseau
social interne à l’Iheap, Indespot :
Anne-Sophie Pharès
Traduction et interprétation en
chinois : Hsaing-Pin Wu
Traduction et interprétation en
anglais : Rose Marie Barrientos,
Caroline Keppi, James Graham
Traduction et interprétation en espa-
gnol : Juan Mendizabal
Traduction et interprétation en
russe: Alexei Kapichev
Traduction et interprétation en
arabe : Ricardo Mbarkho
Comité scientifique
Il est constitué du personnel de l’Ins-
titut des hautes études en arts plasti-
ques (Iheap), des intervenants asso-
ciés, des intervenants ponctuels et
des personnalités extérieures. Il est
consulté sur les questions relatives
aux activités de l’institut et émet des
avis en ce qui concerne les options
pédagogiques, l’organisation interne
et les relations extérieures.
June 10, 2013, Fondation Paul Ricard. Leturer: Robert Storr
MuseumsMusée d’Art Moderne de la Ville de
Paris
Musée de la Vie Romantique
Musée Cognacq-Jay
Musée de la Chasse et de la Nature
Musée de l’Armée – Hôtel national
des Invalides
Maison de Victor Hugo
Musée Cernuschi / Musée des arts
de l’Asie de la Ville de Paris
Cultural InstitutesMona Bismarck American Center for
art & culture
Institut Culturel Roumain
Centre Culturel de Serbie
Centre Culturel Irlandais
Maison de l’Amérique Latine
Institut Néerlandais
Maison du Danemark
Maison d’Europe et d’Orient
Centre Culturel Algérien
Instituto Cultural de México
Instituto Italiano di Cultura
Instituto Cervantès
Institut Culturel Bulgare
FoundationsFondation EDF
Fondation d’entreprise Ricard
GalleriesYgrec – ENSAPC
Galerie Jérôme de Noirmont
Russian Tearoom
Galerie Magda Danysz
Galerie Italienne
OrganizationsInstitut National de l’Audiovisuel,
Inathèque (INA)
Centre Pompidou / BK
Le Plateau / Frac Île-de-France
Mains d’Œuvres
La Bellevilloise
La Maison des Métallos
Non profitAcri Liberté
La Ferme du Bonheur
SchoolsInstitut Supérieur des Arts (IESA)
École Nationale Supérieure du Pay-
sage de Versailles
Hôtel Drouot / Drouot Formation
Page 16
Our partners
March 1st and 2, 2013, Acri-Liberté, Nanterre. Lecturers : courants faibles (Liliane Viala and Sylvain Sousan)
Page 18
What we should forget
about 20th century art
The art object
The visual, the image
The art institution
The artist alone: Isolation, To act alone
The Exhibition: To present, To make Known
An obsolete terminology
Novelty, progress, growth
The art market
The artistic education
The spectator
What might liberate 21st century art
from 20th century art
The invisual
Disobedience towards the art authorities
Strategy
Acting as a group, increased criticism
To operate in everyday life
An update the art terminology
Adopting “Less” as the state of mind
Parallel to the art market
Refusing or unlearning
The public of indifference
Institut des hautes études en arts plastiques (Iheap)
Subjects covered through broad overviewsMain Categories
The Basis Programme for the Session VIII
Programme Summary (Selection)
“What Is The Art Object?”
“The Exhibition: A Compromise”
“A History of Art Through the Demate-
rialisation of the Art Object”
“Art Out of Art”
“The Splendor and Misery of The Art
Object”
“How can The Art Object be a
Problem?”
“From The Contemplator/Consumer to
the Liberated Audience: A Typology of
Audiences of Art”
“The Audience of Indifference”
“What is The Public of Indifference?”
“Imagine the Cultural Action of the
Decades 2020-2050
“What is the Institution of Art? A Deco-
ding Without Concessions”
“What Does an Approach Mean? Value,
Duration, Coherence, Necessity, Mea-
ning. The Construction Process Of An
Approach.”
“Domination Apology”
“What is The Invisual?”
“A Panorama of Invisual Practices
Around the World”
“The Exhibition: A Blessing In Disguise”
“The Step After Exhibition”
“The Biennale of Paris: A Parallel, Under-
ground and Outlaw World of Art”
“What is The Art Market? Functioning
and Issues.”
“To Think About Art Is To Think About
Economy”
“Parallel Economies of Art”
“Basic Notions of Disobediance”
“Poaching For All”
“Horizontal Institution”
“The Norm of Art”
“What is The Terminology?”
“What is The Terminology of Art? New
Words for Existing Realities”
“Introduction of The Notion of Strategy
in Art”
“Regarding Success and Reputation”
“Art as A Hypothesis; As the Persistance
Of One’s Own Hypothesis”
“The More You Give, The More You
Have”
“The Art of Persisting In Becoming
Other”
“A History of The Art Collection Between
Storage and Decollection”
“Art as A Shaping of Hypothesis”
“What Is Legitimate? And Illegitimate?”
“To Be Thought By Art”
“To Think Art”Page 19
Page 20
June 26, 2013, Ygrec. Lecturer: Loïc Depecker
The full course of study takes two
years (one session). The first year is
composed of two ten-week cycles,
during three half-days per week (wor-
king sessions) dedicated to one sub-
ject. Each subject is discussed during
three working sessions. Three profes-
sors, alternating with regular panelists
representing a wide range of discipli-
nes, oversee the working sessions.
The first cycle of meetings is theore-
tical, with practical implementations,
while the second places the empha-
sis on the improvement of practical
implementations, accompanied by
intense moments of theoretical dis-
cussions. The second year is dedicated
to the creation of an investigative text
of thirty pages, without illustrations.
Its purpose is to present the project
and demonstrate the development of
the participant’s research. The develo-
pment of this document will be care-
fully followed by IHEAP’s staff.
The document is subject to five
requirements:
1. A transcription of the participant’s
recording sent in the application fol-
der, as a preamble.
2. The document contains extracts
from three interviews the participant
conducted with three thinkers from
various disciplines whom he or she
regards as non-conformist. The com-
plete interviews are contained in an
appendix.
3. The document expresses the parti-
cipant’s point of view. It is supported
by the description of experiments car-
ried out during Session 2013-2015.
4. The participant will defend the
document in front of a jury of five
persons. The date of the presenta-
tion will be set during the course of
the second year.
5. The participant will provide a
copy of the complete research text
to IHEAP’s archives. He or she can
choose the format in which the docu-
ment is saved and disseminated based
on his or her practice during Session
2013-2015.
Page 21
Curriculum
Lines of Research and Experimentation
(LDRE)
LDRE « The Invisual »The invisible arises from a visibility
that does not obey the visual charac-
teristics of art. The invisual practice
operates differently from the form of
art objects, material or immaterial.
They are inscribed in reality to such
an extent that it is often difficult to
distinguish them from their surroun-
dings. They do not have to be seen
and/or shared to exist. They are in
perfect harmony with the world of
knowledge because they are a reflec-
tion of it. They make it possible not
to pass life by because the distinc-
tion between the artist and his or
her life is dissolved. These practices
form an historic continuity and allow
an exploration of new dimensions in
art. In this line of research, the parti-
cipant constructs and/or develops a
project or an invisual practice.
LDRE « Subtraction »This line of research starts from the
idea that production of the art object
is more than ever excessive. While
previous artists made their mark
by giving the world a more or less
adequate art object, those who fol-
low them attempt to lighten up the
world’s load, making their mark by
removing something. Detachment
will follow attention.
“Subtraction” involves three working
theory-practice principles, all inte-
rwoven, resumed this way:
- Too much of everything, so how
and why to continue producing, des-
pite everything?
- What does production through
subtraction mean?
- Is the destructive character a
horizon?
All who subscribe to the idea of pro-
gress without development are inclu-
ded here possibly.
Page 22
January 16, 2013, Maison de l’Amérique Latine. Lecturer: Christian Ruby
For Whom?The Institut des hautes études en
arts plastiques (IHEAP) is for:
- those want to complete their
training;
- who want to change their artistic
practice or professional activity and
experience of life;
- who wish to play a role in an art-
in-progress;
- who want to break free from alie-
nated learning after several years of
art schools;
- who reject art as it is commonly
practiced;
- who expect more from a school
than a framework for artistic
production;
- who wish to work on essential
issues in experimental conditions;
- who are looking for a stimulating
context and wish to have encounters
leading to potential collaborations;
- who wish to find new resources;
- for eccentric, atypical and curious
people;
- for those who have been excluded
from art schools due to their age or
other reasons.
Iheap welcomes participants with
very different profiles: artists, archi-
tects, managers, historians, lands-
cape architects, photographers, phi-
losophers, politicians, sociologists,
scientists, theoreticians, writers.A
certain number of candidates are
recruited each year, worldwide,
according to established criteria.
EvaluationThe evaluation is not graded. At
the end of the two-year cycle,
concise observations are presented
in an evaluation letter given to each
participant along with a diploma
from Iheap. Continuous monito-
ring allows the team to monitor the
work. Evaluation criteria: diligence,
rigor, curiosity, engagement, perse-
verance, risk-taking, quality of work,
working methodology, ability to
question oneself and to recognize
one’s own issues, evolution from the
time pf admission to that of final eva-
luation, a state of mind freed from
normative art constraints, the ability
to work with the others, the cohe-
rence between the experiences, the
structuring of the approach.
Page 24
Participants
Stakes and endsThe Iheap program allows
participants:
- to develop both a critical and a self-
critical attitude;
- to build a subjective perspective on
art;
- to experiment with non-confor-
mist practices and master new art
approaches;
- to have the opportunity to play a role
in making art history;
- to develop an approach that expres-
ses their own subjectivity;
- to have a high level of education;
- to develop a new project or further
an existing pre-admission one;
- to develop an autonomous approach
independent of the art market;
- to posses the keys to implement an
economy adapted to the specificity of
their work;
- to conceive an art practice requiring
negligible or zero financial resources;
- to apply these acquired skills to all
aspects of their professional and pri-
vate life;
- to develop the basis of a particu-
lar liberated spirit that accomodates
revisions in one’s being and of one’s
activity.Page 25
Participants
Page 26
March 13, 2013, Galerie Jérôme de Noiremont. Lecturer: Yves Michaud
Application submission is an online
process only, using a simplified pro-
cedure with a registration form.
Pre-admissionCandidates must send the comple-
ted application form online to Iheap
before the deadline. This form will
include either a text or a recording
of 10 minutes maximum (MP3, 8Mo
maximum) explaining why he or she
wants to study at Iheap, along with
the application fee. Payment can be
made by check payable to Iheap,
bank transfer, or money order.
Absolutely no reimbursement of this
application fee is possible. A jury will
examine candidates’ applications.
AdmissionPre-admitted candidates will be indi-
vidually interviewed by the selection
panel. Pre-admitted candidates will
be invited to take the oral entrance
exam through an interview with a
selection panel. The candidate will
present his or her proposal to this
jury including work, interests, and
reasons for attending the Institut
des hautes études en arts plastiques
(Iheap). An oral interview in French,
eventually via Skype, will determine
the final results. Certain candidates
may be invited to have a telephone
interview.
Submission tipsWhile the submission deadline for
your application may seem far away,
it is highly recommended to apply as
soon as possible. For foreign appli-
cants, the requisite visa might take
some time. Inquire now about your
situation. Please always use the same
e-mail address you provided when
creating your application for all cor-
respondence with our services. The
registration form may be completed
in either English or French.
School OfficeIf you have any problems with the
registration process or for adminis-
trative questions, please do not hesi-
tate to contact the School Office:
Alice Fournier
School Secretary
T : 0033 (0)1 76 50 07 07
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Admissions