The Premiers Films festival was born from an observation: the desire to show one's own work and to see the work of others and then to discuss it. But then arose the difficulty of finding a projection space where it is possible to take the time necessary for sharing and discussion. One question remained unanswered: where to find this space, which is not only reserved for experienced filmmakers or artists? The Premiers Films festival was therefore born out of a great curiosity to discover the work of others and the difficulty of finding a space to do so.
Götz
Arndt
Studio professor
Born in 1962 in Germany, Götz Arndt lives and works in Paris. A stonecutter in Bavaria, he graduated from the Beaux-Arts de Paris in 1992 and runs the materials / space lab with Fabrice Vannier and Philippe Renault.
His artistic concerns are primarily with contextualized sculptural interventions, namely those situated in public space and that probe the history, use and attributes of their sites. The means used are economical, the aim being to integrate his sculpture ensembles in such a way as to bring out slight discrepancies between them and the existing architecture, discrepancies understood to hone our perception of space. His studio explores materials, their challenges and shaping, while taking space, lines, density and forms’ multiple variations into account. Götz Arndt has done public commissions in Germany, Luxembourg and France and he exhibits in Europe and Asia. His works are represented in public and private collections.
Julien
Prévieux
Studio professor
Julien Prévieux is a French artist whose multidisciplinary work is regularly exhibited in art centers, galleries and museums, in France and abroad. The economy, politics, cutting-edge technologies, the cultural industry are all “worlds” in which his artistic practice is involved. Like these Letters of non-motivation that he sent to companies for 7 years in response to advertisements seen in the press, detailing the motivations which led him not to apply. A keen observer of individual and collective behavior, the artist takes a critical and humorous look at society. In various forms – videos, sculptures, installations, performances, drawings – his works appropriate the mechanisms of the sectors of activity they invest in to better update their dogmas and excesses.
He has recently produced a number of performances, including Of Balls, Books and Hats presented at the Actoral festival in Marseille, at Usine C in Montreal, at the Ménagerie de verre in Paris and at T2G in Gennevilliers. He has presented his work in a number of solo exhibitions at the Art Sonje art center in Seoul, the MAC in Marseille, the RISD Museum of Art in Providence, the Center Pompidou in Paris or the Blackwood Gallery in Toronto. He has participated in multiple group exhibitions at the ZKM in Karlsruhe, at the Red Brick Art Museum in Beijing, at the Haus der Kulturen der Welt in Berlin, at the Lyon Biennale in 2015 and at the 10th Istanbul Biennale.
He received the Marcel Duchamp Prize in 2014.
Photo credit: © Adrien Thibault
Estelle
Zhong Mengual
Inhabiting the landscape: artistic practices of hospitality for living things
Estelle Zhong Mengual is an art historian. A graduate of the Ecole Normale Supérieure and holder of a doctorate from Sciences Po Paris, she teaches in the Master d'Expérimentation en Art et Politique (SPEAP), created by Bruno Latour at Sciences Po Paris.
Her research focuses on the relationship between art, past and present, and the living world. In particular, she is working on the development of an environmental history of art, proposing a new way of looking at the representation of the living world in art, using the tools of environmental humanities and the most contemporary natural sciences. She is the author of numerous books, including Apprendre à voir. Le point de vue du vivant (Actes Sud, 2021), which won the EcoloObs prize for the best essay on environmental thought in 2021, and Peindre au corps à corps. Flowers and Georgia O'Keeffe (Actes Sud, 2022).
Fabrice
Bourlez
Troubles, alliances and aesthetics
A Belgian national, Fabrice Bourlez studied in Italy, where he obtained a doctorate in philosophy (Università degli studi di Pisa).
His research focused on the cinematographic work of Pier Paolo Pasolini. Since then, he has taught in art schools and at Sciences Po Paris. With a degree in clinical psychology (Paris 7), he has long worked in the field of mental health as a clinician. He is now a psychoanalyst. He writes for a number of scientific journals on gender, psychoanalysis and cinema. His writing is inextricably linked to his activism on behalf of sexual minorities. His publications include Pulsions pasoliniennes (Les presses du Réel/ Franciscopolis, 2015) and Queer psychoanalysis (Hermann, 2018).
Elie
During
Science
Elie During is a former student of the ENS, agrégé in philosophy, and lecturer in philosophy at the University of Paris Nanterre. His research focuses on contemporary figures of simultaneity at the intersection of science, art and metaphysics.
Among his publications: False connections: the coexistence of images (Actes Sud, 2010), The Future does not exist (B42, 2014), several volumes of the critical edition of Bergson's works at the Presses Universitaires de France (Duration and Simultaneity : about Einstein's theory, 2009; The Memory of the present and false recognition, 2012), as well as co-edited books or journal issues, devoted to cinema, contemporary art or current research in metaphysics: Cinéphilosophie (Revue Critique, 2005), In actu: experimental art (Presses du réel, 2009), What is contemporary art thinking? (Revue Critique, 2010), Things in themselves: metaphysics of realism (PUF, 2018).
Photo credit: © Moritz Wehrmann
Jean-Yves
Jouannais
Contemporary Art
Editor-in-chief of the magazine Art Press (1991-1999), member of the editorial committee of the Revue Perpendicule (1995-1998), Jean-Yves Jouannais taught contemporary art at the University of Paris 8. Among other exhibitions: Topographies of war, Le Bal, Paris, 2011; La Force de l’art, Grand Palais (with J.-L. Froment and D. Ottinger), 2009; L’Idiotie, Pommery Experience #2, Reims, 2005; History of Infamy, Venice Biennale, 1995; A contemporary art from South Africa, La Défense, 1994. Among other publications: Artists without works (1997); Idiocy (2004); The Use of Ruins (2012); MOAB, Epic in 22 songs (2018).
Since 2008, he has devoted himself to the “Encyclopedia of Wars” conference cycle, a monthly event at the Center Pompidou.
Photo credit: © Adrien Thibault
Véronique
Teyssandier
French FLE
Véronique Teyssandier holds a DEA (post-graduate diploma) in French literature and a maîtrise (master's degree) in French as a foreign language.
She has been teaching French language and culture to a variety of audiences for over twenty years. She has worked for IES Abroad (an American university programme), the Beaux-Arts de Paris, the École Nationale Supérieure des Arts Décoratifs, the Université Paris-Dauphine and Fresnes prison. She is particularly interested in the teaching of culture and civilisation, which she considers to be inseparable from the teaching of the language itself. With her passion for theatre and cinema, she aims to give her students the linguistic and cultural tools they need to make the most of their stay and deepen their knowledge of French society.
Olivier
Blanckart
Studio professor
Olivier Blanckart's work focuses on three areas: activism, sculpture and photography. A self-taught, committed citizen, the artist first came to prominence through his provocative actions: "Jean-Michel", a homeless artist who begs and stinks; virulent leaflets in galleries and museums; a slogan banner on the Centre Pompidou: "Art against AIDS is useless: wear condoms!
A SCULPTOR, he has developed a unique technique using poor packaging materials (scotch tape, kraft paper, cardboard) and reinterprets iconic scenes from pop culture and the media: sculptural ensembles 66 67 in scotch tape, often monumental in scale, in the legacy of Pop Art and Arte Povera - the political side of "academic" historical sculpture and of satirical caricature and sculpture, at their most "impure".
PHOTOGRAPHE enfin, il mène un travail d’autoportraits comiques où il se représente « en » Coluche, Merkel, Poussin, Courbet, Mélenchon... Des grands écarts esthétiques qu’Olivier Blanckart, qui se définit comme « artiste total », assume : « l’œuvre d'un·e artiste est tout ce qu'un·e artiste fait ». C’est autour de cet esprit de CURIOSITÉ universel, accueillant, alerte, « allumé », expérimentateur et têtu, qu’Olivier Blanckart entend accueillir dans son atelier.
Présent dans les collections publiques françaises et étrangères, il a été nominé au Prix Marcel Duchamp. Il a bénéficié de plusieurs expositions personnelles : Blois, MAMCO Genève, Dole ; et collectives : Carambolages au Grand-Palais (2016) ; Rencontres Internationales de la photo d’Arles, Images Vevey, musée des Beaux-Arts de Rennes (2018), Le rêve d’être artiste, musée des Beaux-Arts de Lille (2019).
Non-degree students - theoretical courses
The General History of Art courses at the Beaux-arts de Paris in the 2nd and 3rd years are accessible to a limited group of free listeners from outside the School. These courses allow you to acquire a certain number of fundamentals to navigate art history with confidence.
