iheap handbook 2014 - english version

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. 11

Our partners p. 17

ProgrammeMain Categories p. 19

Programme-Session VIII p. 20

Curriculum p. 22

LDRE p. 23

ParticipantsFor Whom? p. 25

Évaluation p. 25

Stakes and ends p. 26

AdmissionPre-admission p. 28

Admission p. 28

Submission tips p. 28

School Office p. 28

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.

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

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.

March 2, 2013, Acri-Liberté. Lecturers: courants faibles, Liliane Viala and Sylvain Soussan

February 28, 2013, Hotel des Invalides. Lecturer: Ghislain Mollet-Vieville

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

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.

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.

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.

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.

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


anglais : Rose Marie Barrientos,

Caroline Keppi, James Graham

Traduction et interprétation en espa-

gnol : Juan Mendizabal


russe: Alexei Kapichev


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

Our partners

March 1st and 2, 2013, Acri-Liberté, Nanterre. Lecturers : courants faibles (Liliane Viala and Sylvain Sousan)

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”

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.

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.

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.

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.

Participants

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

E : [email protected]

Admissions

June 6 and 7, 2013, La Ferme du Bonheur, Nanterre. Lecturer: Paul Robert

iheap handbook 2014 - english version

Documents

contemporary art

years of art school

art world

century art history

iheap curriculum

graduate school

nonconformist art practice

school office