Genève (Geneva University of Art and Design) presents Work.master, its master course devoted to contemporary artistic practices. Work.master is organized around scale 1/1 projects, developed by students together with artists, curators, writers, art critics, researchers… In this framework, Work.master conceives its pedagogical role as the one of a producer, in cooperation with a series of major institutions, independent spaces and selected individuals.
Recent projects include An Exhibition To Hear Read by Mathieu Copeland at Museum of Modern Art, New York; Wonderlust, a collaboration between LapTopRadio and Kenneth Goldsmith; Don’t Wait for Things to Happen, a project by LapTopRadio and Laurent Schmid with Eternal Tour at SESC-SP in São Paulo; Electric Fields, a project by Mai-Thu Perret in Marfa, Texas and LiveInYourHEAD, Genève; Codex by Pierre Leguillon at CCA Wattis, San Francisco & LiveInYourHead, Genève, a participation in Sanatorium, a project by Pedro Reyes at dOCUMENTA(13) and a book co-edited with Ridinghouse, London; Enseigner comme des adolescents / Teaching as teenagers, two exhibitions by Lili Reynaud-Dewar at Consortium, Dijon & Forde, Genève.
This year, four artists are invited to project their spirit and influence on Work.master’s pedagogical and artistic program: Uriel Orlow (b. 1973, CH), Quinn Latimer (b. 1978, US), Tobias Kaspar (b. 1984, CH) and Danai Anesiadou (b. 1973, GR). With them, as with faculty members and other invited artists, students will discuss their work, initiate steady relationships that will last during the course of their two-year program and maybe further, organize exhibitions, launch publications, take walks and trips in various spaces, enjoy the charms of self-criticism and experimentation, and so on…
Tutorials and seminars are led by internationally renowned theoreticians and historians such as Lars Bang Larsen, Catherine Chevalier, Christophe Kihm, Maxine Kopsa. Just like the projects and the laboratories distinctive of Work.master’s experimental pedagogy, these seminars are adapted—in terms of their format, duration and rhythm—to their purpose and the discourse they aim to develop. They enrich and complete an educational philosophy that aims to place the students’ practices at the centre of the curriculum and to shape the bilingual program according to these practices, rather than the opposite.
Detailed information on work.master of HEAD – Genève is to be found on: