Le terrain, curating, ÉSA, Paris (France), 2013
Curators : Adrien Durrmeyer & Max Turnheim
Professors : David Apheceix, Damien Aresta, Charles Aubertin, Reza Azard, Gianfranco Bombaci, Gregory Castéra, Sébastien Chabbert, Anne Chaniolleau, Sébastien Cherruet, Matteo Costanzo, Nicolas Couturier, Camille Dupont, Elias Guenoun, Anne Holtrop, Samuel Jaubert De Beaujeu, Benjamin Lafore, Cédric Libert, Eva Maloisel, Sébastien Marot, Sébastien Martinez Barat, Can Onaner, Baron Osuna, Brent Patterson, Jean-Christophe Quinton, Thomas Raynaud, Nicolas Simon, Sandra Terdjman
Scenography : Charles Aubertin, Camille Dupont, Samuel Jaubert de Beaujeu, Éva Maloisel
Students : Daniel Abreo, Benjamin Alezraa, Malk Amloul, Deniz Basman, Eglantine Beau, Robin Bel, Arthur Biasse, Margaux Bordet, Alexandre Boulé, Armelle Breuil, Adèle Breux, Pauline Charles, Théophile Chaudieux, Felix Chicoteau, Nhaila Chin Foo, Salima El Amrani, Gilles Emmanuel Colomb, Christophe Cormy, Quentin Dejonghe, Martin Detoeuf, Paul Devarrieux, Dorothée Domini, Ophélie Dozat, Lucien Dumas, Hugo Enlart, Kenza Faid, Edouard Fosse, Paul Gard-Baholet, Hadrien Gauthier, Lisa Germain, Thomas Giroud, Lola Givdicelli, Gerta Heqimi, Paula Jurack, Fériel Landie, Natacha Langevin, Pauline Laplaige, Joséphine Larere, Fanny Laulaigne, Henri-Pierre Lecluse, Delphine Lewandowski, Paul-Antoine Lucas, Cyrus Marion-Ardelen, Misk Merrari, Miryam Mliki, Sanae Nejjari, Charles Ober, Rebecca Perret, Hortense Prot, Babacar Sadikk Fall, Aurélie Selin, Calin Segal, Myriam Seror, Manon Soultanian, Pauline de Vathaire, Hasti Vigi Goudarzi, Joaquin Villalba, Jordan Zekri, Teng Zeng, Selma Zoubeidi
Photography : Charles Aubertin, Camille Dupont, Samuel Jaubert de Beaujeu, Éva Maloisel
In 2012, we were commissioned to produce an exhibition taking place in Spring 2013 at the École Spéciale d’Architecture. This exhibition was to be part of cycle called Installation In Situ. Past events of this cycle were installations produced by architects or artists. We were not at ease with the idea of producing an installation. Clearly, we position ourselves as architects and tend to feel anxious about flirting with the proximity to artistic production. After a few weeks punctuated by discussions with friends, mainly architects and artists, it became clear that, in the context of a gallery hosted by an architecture school, the involvement of the students in the production of the exhibition was an imperative for our project. We asked ourselves if it would be possible to establish, in place of a static installation that would have stayed there for a month, a series of workshops during the time of the exhibition. In other words:
“a school in the school”.
With this idea in hand, we set out to contact several colleagues and submit the idea. The proposal was arranged around a few key principles: the school would be absolutely free and open to any student of any age and qualification, the professors would not be paid, the students would not get credits from attending the talks or workshops, and it was up to the professors to define what and how they would teach. To our surprise, everyone we contacted was willing to play along, and we soon had a board of 27 international speakers.
These professors were mainly representative of an emerging generation of architects, but also artists and curators. This generation is one interested in fundamental questions surrounding architectural practice, mainly on political, social, historical and theoretical grounds.