A graduate of ENSAD Dijon in 1992, video artist Luc Adami creates video-musical installations that combine video with sculptural objects, sound poetry, and original music. His simultaneous practice as an artist, technician, and educator allows him to provide students with insights into the specifics of moving images and to guide them in presenting their work.
Diane Blondeau is a sound artist whose practice focuses on field recording and installation. Her work centers on orality, craftsmanship, and acoustic environments. She seeks out unknown territories to explore and listen to, capturing the unique vibrations of these spaces through microphone membranes in an attempt to reveal their acoustic character. She aims to redefine modes of perception through various factors related to listening. Navigating between the visible and invisible, the audible and inaudible, her installations, investigations, and testimonials create narratives where images and landscapes are shaped by our acoustic memory.
Her work has been showcased in various solo and group exhibitions (FRAC Bourgogne, Villa Arson Art Center, La Station, Kunst Merano, etc.). She is an associate artist at Ici l’Onde, a center for musical creation in Dijon, and is participating in the research-creation residency program in sound arts at ENSAD Dijon for the 2023-2024 academic year. She is also a member of the collective Jeux Sonores, alongside Clément Canonne, Clément Lebrun, Aymeric Stamm, and Sébastien Roux, and collaborates on sound creation, scenography, and lighting design with various choreographers and stage directors.
Alain Bourgeois is a painter who lives and works in Dijon. He has been teaching painting and color at ENSAD Dijon since 1990 and is the co-director of ECO (European Colour Observatory) alongside Lionel Thenadey. He also co-manages the “Ways of Painting” workshop and studio with Anne Bregeaud and Bruno Rousselot. Additionally, Alain Bourgeois serves as a color designer for architectural projects. Since 1997, he has coordinated and taught painting, design, and digital technologies for the Fine Arts preparatory program at the conservatory of the city of Dijon.
Anne Brégeaut is an artist born in 1971, currently living in Paris. Her paintings create an intimate, dreamlike, and fantastical universe inspired by everyday life. The elements that inhabit her works (objects, plants, architecture, figures, etc.) are seemingly drawn from different times and places. It is this fragility of collage, where the macrocosm and microcosm coexist, that questions our place in the world and our vulnerability.
Her work is included in public collections such as the MAC/VAL (Museum of Contemporary Art of Val de Marne) and various FRACs (including FRAC Pays de la Loire, FRAC Haute-Normandie, FRAC Île-de-France, and FRAC – Artothèque de Limoges), as well as in private collections.
A historian (PhD) and art critic and member of AICA, she collaborates with various publications (such as artpress, Mouvement, Critique d’art, Switch (on paper), etc.) and conducts research on multidisciplinary forms. This is reflected in her works such as Ménagerie de Verre, Nouvelles pratiques du corps scénique, Du dire au faire, and certain texts dedicated to “Scenic Objects” (Ne pas jouer avec des choses mortes) or Esther Ferrer (exhibition catalogs for MAC/VAL and the Reina Sofia Museum in Madrid). She served as a guest curator for the Sigma exhibition at the CAPC Museum of Contemporary Art in Bordeaux and is also a member of the Dance College of DRAC Île-de-France.
An artist and research member of art&science at Panthéon Sorbonne/University Paris 1, Institut Acte UMR 8218, he has organized two conferences and a study day for ENSAD Dijon: Artists & Designers, focusing on art in urban spaces in relation to the 21000 exhibition commissioned by the city of Dijon and the Consortium in 2010, and Contemporary Drawing in 2016, featuring numerous prominent figures from the art world. He exhibits both in France and internationally, including at Art Basel Miami in the USA, the Biennale de Porto Rico, and in Cuba, Japan, and Germany.
Anna Chevance is a graphic designer. A graduate of the École supérieure d’arts appliqués de Bourgogne and the École européenne supérieure d’art de Bretagne (Rennes campus), she co-founded, in 2011, the duo Atelier Tout va bien with Mathias Reynoird, an independent structure focused on printed objects, publishing, and typography. Anna Chevance views her practice as an intrinsically contextual voice, striving to develop multiple forms of writing while avoiding any stylistic systematization. The act of graphic creation should explore the possible resonances between plastic experimentation, structural functionality, typographic accuracy, and visual narration: seeing, looking, reading, understanding.
Previously a lecturer at the University of Paris 8 and concurrently teaching at the École des beaux-arts de Beaune, she currently teaches at ENSAD Dijon, where she supports students in the Art and Design options, across all levels, in the development of projects that intersect with graphic design questions. This includes editorial formats for dissertations, digital or printed portfolios, and typographic issues as varied as the students’ individual research. Technical courses in typographic composition (Adobe InDesign) are also offered to all students at the school.
Website: Atelier tout va bien
Teaching at the École nationale d’art de Dijon since 2011, Vanessa Desclaux is a curator and art critic. She holds a PhD in Curating from Goldsmiths, University of London, and integrates research and pedagogy with a transdisciplinary curatorial practice. In 2023, she was awarded a research and creation grant from the Institut pour la photographie des Hauts de France alongside artist Agnès Geoffray, with whom she is developing a project titled elles obliquent elles obstinent elles tempêtent, which includes an exhibition, an edition, and a performed conference.
Vanessa Desclaux has worked in various art institutions (Tate Modern, Frac Nouvelle-Aquitaine MECA) and has collaborated as an independent curator on projects at several venues in France and Europe, including de Appel Arts Centre in Amsterdam, If I Can’t Dance in Amsterdam, Bloomberg Space in London, La Galerie, the art center of Noisy-le-Sec, Frac Franche-Comté, CRAC Alsace, and RMN-Grand Palais.
Lambert Dousson is an agrégé and PhD in philosophy. He teaches Humanities at ENSAD Dijon, focusing on the history and critical theory of design, as well as the history of sound arts. He also coordinates the research unit “Art and Society” at the school. His research explores the relationships between music and violence, and the status of subjectivity in the theories of musical writing and listening in the 20th and 21st centuries.
A member of the editorial board of the journal Transposition. Musique et sciences sociales (Transposition), he is the author of two books: Une manière de penser et de sentir: essai sur Pierre Boulez (Presses universitaires de Rennes, 2017) and « La plus grande œuvre d’art pour le cosmos tout entier ». Stockhausen et le 11 septembre: essai sur la musique et la violence (MF, 2020). He has published numerous articles, translations, and edited several collective publications, and he regularly participates in conferences, seminars, and radio programs (Lambert Dousson’s Profile). His interests also include feminist theory, political ecology, video games, and zombies.
Jeremy Edwards was born in Liverpool, England, and studied three-dimensional design at the University of Brighton. He now resides in Paris, where he continues his workshop practice as a designer. Through his work, he seeks to challenge assumptions, concepts, and meanings regarding the role objects play in daily life.
His influences stem from the ordinary, basic yet essential solutions people find using simple means and everyday materials/objects to make life easier. He believes that these solutions can broaden our perspective on what the creative process is and that this creative process, depending on individuals’ personal viewpoints, can be organized differently.
He has held solo exhibitions in various museums and galleries across Europe, including Galeria H2O in Barcelona, the Danish Museum of Art & Design in Copenhagen, Galerie VIA in Paris, Museum Boijmans Van Beuningen in Rotterdam, and the National Museum of Architecture and Design in Stockholm.
Recent exhibitions include: Galerie Éphémère/Centre Tignous d’Art Contemporain, Fluide, Paris, 2022; Displacement Now!, AIR 3331, Tokyo, 2019; 111 Minna Gallery, San Francisco, 2019; CounterPulse, San Francisco, 2019.
Recent lectures include: ENSA (École nationale supérieure d’architecture), Paris – Val-de-Seine, 2020; San Francisco State University, California, USA, 2019; Rhode Island School of Design, Providence, USA, 2018; Cranbrook Academy of Art, Michigan, USA, 2018.
Regarding grants, awards, and residencies, he has received a Research Leave from the Ministry of Culture, a Research Grant from the Ministry of Culture, grants from the Danish King Frederik/Queen Ingrid’s Fund and the Danish Design Fund, the Design Report Award in Milan, and has been invited for residencies at: 3331 Arts, Chiyoda-Tokyo; CounterPulse, San Francisco; DE-CONSTRUKT [projekts], New York; IASPIS, Stockholm.
He has also published two books about his work.
Nathalie Elemento studied painting in 1982 at the Yankel and Antonio Segui workshops at the École Nationale Supérieure des Beaux-Arts in Paris. Her interest in drawing and sculpture quickly became evident. In 1992, she attended the Institut des Hautes Études en Arts Plastiques, where she worked with Pontus Hulten, Daniel Buren, Sarkis, and Serge Fauchereau. In 1993, she became a “sculptor” resident at the Académie de France in Rome, Villa Medici. A Knight of Arts and Letters, her teaching career began at the University of Cape Town in South Africa. She has taught in the art, design, and visual communication departments of various art schools in France, as well as at ENSCI, leading workshops in design with a focus on drawing, and participated in tutoring at ENSA Cachan. Nathalie Elemento is represented by Galerie Maubert in Paris and is part of numerous public and private collections.
Website: nathalielemento.com
Born in 1968, Sammy Engramer graduated from the École Nationale Supérieure de Bourges in 1992 and continued his artistic training in Nantes with a post-graduate diploma in 1994. In 2001, he founded the Groupe Laura association and actively participated in organizing cultural events such as the Bandits-Mages Festival in Bourges (1995–1997) and the Rayons Frais Festival in Tours (2005–2008).
Sammy Engramer served as co-director of the Revue Laura from 2005 to 2021 and co-initiated the website aaar.fr. He also co-edited for Devenir Art and has occasionally acted as a curator for exhibitions. As an independent researcher, he exhibits his work as a transdisciplinary artist.
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Marlène Gossmann is an art historian and holds a Ph.D. in contemporary art history.
Since 1996, her research has focused on women’s art in the 20th and 21st centuries. She has published scholarly articles on artists such as L. Model and G. Amer. In 2006, she defended her doctoral thesis at the University of Burgundy on “Women Artists in Paris during the 1920s and 1930s.” This thesis highlights the activities of female artists who flourished in the Parisian modernist circles. Through this study, she reassesses the contributions of female creators within historical avant-gardes. Today, her primary research interests include gender issues, ideology, and contemporary cultural production. Since 2005, she has been involved in extracurricular visual arts workshops at the Regional Conservatory of Dijon. Since 2013, she has been teaching at ENSAD Dijon.
His work focuses on images generated by industry and individuals, exploring what they reveal about our behaviors and the political, economic, religious, aesthetic, and moral conditioning that drives us. He collects and reinterprets popular motifs from television, the internet, cinema, radio, and both public and private spaces. By articulating images and sounds, he aims to better reveal the often latent strategies of manipulation and formatting they contain. He also questions the medium itself, which plays a fundamental role in the processes of communication and representation. His videos, photographs, and installations invite the viewer to engage in reflexivity, often employing humorous and offbeat forms. His work has been showcased in several solo and group exhibitions in France and abroad, as well as in various festivals and on television (Arte and Canal+).
Lydie Jean-Dit-Pannel has been questioning the image for 30 years through long-term projects.
As a solitary adventurer, a wounded lover, and a surviving warrior, Psyche has emerged as the artistic alter ego of Lydie Jean-Dit-Pannel. Through this contemplative ancient heroine, inspired by the Monarch butterfly—symbolized by a tattoo that the artist adorns herself with during each of her travels—Lydie expresses her disappointment with a humanity racing toward its demise through her works: photographs, videos, performances, installations, and texts. During her wanderings through the planet’s toxic landscapes, Lydie Jean-Dit-Pannel dedicates her work and body to alert and denounce the absurdity of the contemporary world. She lives and works in Malakoff.
Laurent Karst is an architect and designer, graduated from the École d’Architecture de Strasbourg and the Domus Academy in Milan with a degree in industrial design. Awarded the Villa Medici prize in 1995 for research on the use of industrial waste, he subsequently worked in various international architecture firms, including Jean Nouvel’s agency. In 2006, he founded Atelier 16 – architectures, where he develops small-scale architecture and design projects with a particular focus on raw materials and their implementation, emphasizing plasticity, artistry, and environmental impact. Notable projects include the interior design and furniture and lighting design for the Cité du vin in Bordeaux, as well as a prototype wooden frame house design in the Paris region.
In 2005, he co-founded the LABOFACTORY collective with artist/physicist Jean-Marc Chomaz and composer François-Eudes Chanfrault, focusing on building a common territory between the arts and sciences through a multidisciplinary approach, resulting in around thirty works and exhibitions internationally.
As a teacher at the École Nationale Supérieure d’Art de Dijon in design and architecture, he created a research workshop on Art and Science in 2014 that connects art and design students with researchers from the Faculty of Sciences in Dijon.
From 2017 to 2019, he was also tasked with developing teaching modules in Art and Science at École Polytechnique, while advising various startups supported by the “X Novation” center of Polytechnique.
Since 2019, Laurent Karst has initiated a new collaboration with researcher and composer Filippo Fabbri, working on several artistic projects inspired by the works of Fizeau, Chladni, Lissajous, and Galileo.
In 2021, Laurent Karst defended a doctoral thesis at Sorbonne titled “Art/Science Interfaces and Spatial Devices,” linking the theoretical approach to this synergy between art and science with his artistic practice.
Martine Le Gac holds a DEA in Art History from the University of Paris I Panthéon-Sorbonne and a Special Diploma in Museology from the École du Louvre. She served as assistant to the advisor for visual arts at the DRAC Centre from 1987 to 1989, after which she was appointed mission officer and later director of the FRAC Centre from 1988 to 1995. Since 1997, she has been teaching Art History at ENSAD Dijon and, until 2007, she also served as a lecturer at the Maison Européenne de la Photographie in Paris, assistant to the artist Jean Le Gac, and trainer for instructors in the history of photography.
Martine Le Gac has been a member of the Interregional Scientific Commission for Museum Acquisitions of Upper and Lower Normandy since 2006, and a member of the editorial board of the journal Hors d’Œuvre (Appartement/galerie Interface, Dijon) since 2008. She writes texts related to the Granville Gallery, as well as for monographic exhibitions, film releases, and thematic publications.
At the core of Philippe Mailhes’ practice lies the exploration of the “gestures” that structure and identify his activity as a painter. While in recent years he has focused more on traditional studio work centered around the painting as an object, he does not limit himself to this sole use of painting. His interests extend to other mediums and concepts such as projects, archiving, memory, and the memories of forms, as well as their potential developments through implementation and spatial arrangement. He likens his practice to an activity akin to “reading” or “rereading” the corpus he creates. His work has been presented in various venues, including the Espace de l’Art Concret in Mouans-Sartoux, the Abbaye St André in Meymac, the Wiesbaden Museum, and the FRAC Poitou-Charentes, as well as by the galleries Frank Elbaz and Evelyne Canus.
Didier Marcel, born in 1961 in Besançon, currently lives and works in Dijon. A graduate of the École des Beaux-Arts in Besançon, the University of Paris I Panthéon-Sorbonne, and the Institut des Hautes Études en Arts Plastiques in Paris, he has been teaching at ENSAD Dijon since 2006. His work explores the complex and ambivalent relationship that contemporary humans have with nature, reflecting both nostalgia and impossibility.
Marcel creates autonomous forms through molds of natural elements (such as tilled earth, trees, and rocks), which achieve a different reality through various processes, including framing, surface flocking, wall mounting, and elevation. Over the past decade, Didier Marcel has exhibited in major international cultural institutions, including the Museum of Modern Art of the City of Paris, Hyde Park Art Center in Chicago, Mudam Luxembourg, the Grand Palais in Paris, the Museum of Contemporary Art in Lyon, and Mamco in Geneva. His works are part of collections in esteemed institutions, such as the Centre Georges Pompidou in Paris, the Museum of Modern Art of the City of Paris, the National Fund for Contemporary Art, and the Frac Bourgogne.
Laurent Matras was born in 1961. After training at the École des Arts Décoratifs in Paris, he co-founded the DeloLindo workshop with Fabien Cagani. Their practice encompasses various domains, including spatial design, objects, furniture, industrial design, and research projects, which intersect and enrich each other.
In his teaching at ENSAD Dijon, Laurent Matras focuses on exploring the connections, proximities, and scales that underpin the relationships between objects and spaces.
Linda McGuire was born in Scotland and raised in Canada. She earned a double degree in French Language and Literature and Classics at McGill University (Montreal, PQ, Canada). Following this, she obtained a Master’s degree in Literature focused on ancient history from the University of Edinburgh in Scotland.
She teaches introductory courses in English, such as “Writing on the Wall” and “The Biography of an Object.” Her research focuses on writing, specifically the correspondence of women in ancient Rome. Linda regularly participates in conferences in France and abroad.
Il supervise l’activité de l’atelier, en assure sa gestion matérielle, et accompagne les étudiant·e·s dans la réalisation de leur projet personnel. Enfin, il est garant de la sécurité de cet espace de travail.
He is an industrial designer by training and has been practicing in Saint-Étienne since 2010. His creations, which embody poetic strength through their economy of means, question their role as markers of territory. They represent convergence points of environmental flows, situations, and meanings, reflecting a perspective on the metabolizing functions of objects within space at various scales.
Today, his work can be found in domestic spaces through contemporary editions (ESE edition under label, Galerie Georges Vernay-Caron) and collaborative creations with artisans, as well as in public spaces (Public Development Establishment of the City of Saint-Étienne, Greater Lyon, Loire General Council) through projects ranging from support and project management to the creation of specific equipment and furniture.
In recent years, he has focused more precisely on social design, where usability, community involvement, and human architecture become the constructive components of a practice that draws spaces and situations.
Hélène Robert is a scenographer and interior architect, graduated from the Camondo School and certified by CFAI. She has directed her career toward significant architecture and urbanism projects, leading to the establishment of Arc-en-Scène in Paris in 2000, her studio dedicated to scenography and interior architecture, alongside architect and scenographer Anne Carles and later partner Annabelle Jeanne.
Their areas of expression encompass exhibition scenography, urban scenography, and spatial design, emphasizing a plurality of scales and thematic diversity. At the intersection of artistic practices, their scenographic realizations invoke multiple plastic and audiovisual expressions through a contemporary approach.
Engaged in various projects and competitions across Europe and overseas, Hélène integrates ecological transition and urban transformation into the core of the projects she designs and develops in collaboration with her team. She ensures the oversight of project implementations at Arc-en-Scène, focusing on a sensitive and cross-disciplinary approach, particularly within the realms of architecture and landscape. Since 2012, she has been teaching scenography and spatial design at the ENSAD in Dijon.
Pascale Séquer is a visual artist and photographer whose work is deeply rooted in human experiences anchored in specific territories. Based in the cross-border region between France and Belgium, she explores this area through the lens of popular cultures.
Since 2019, Pascale has been involved in the artistic research project titled “From Factory to Cinema,” which focuses on the memory of the Medvedkine groups in Besançon. This project is described as a “social audiovisual experience led by filmmakers and technicians in collaboration with workers from the Besançon and Sochaux regions between 1967 and 1974,” under the direction of Marta Alvarez, a lecturer at the University of Franche-Comté.
In addition to her artistic practice, Pascale engages with various cultural and educational organizations. She regularly collaborates with the Nicéphore Cité image and sound center in Chalon-sur-Saône and the APARR (Association of Cinema and Audiovisual Professionals of Burgundy-Franche-Comté).
As an administrator of Plan9, a Dijon-based association promoting independent cinema, she is also a member of the film selection committee for the “Fenêtres sur courts” international short film festival.
Susanna Shannon is the founder of Design Dept and an acclaimed artistic director known for her distinctive typographic work, which defines the identity of her productions. Her graphic design practice spans multiple applications, evident in exhibition catalogues, her publication Irrégulomadaire, and courses aimed at fine arts students on how to produce publications.
Susanna has served as the artistic director for notable publications, including Le Nouvel Economiste, where she implemented significant design changes. She redesigned L’Expansion and Les Inrockuptibles, and she was responsible for the cover designs of Libération during the 2012 presidential election in France. For Design Dept, she has created catalogues for exhibitions such as Beuys, L’informe, Le Temps Vite, Elles@centrepompidou, Bertrand Lavier, Crumb, L’asile des photographies (Prix Nadar 2013), and Attica (TDC 2018).
Having lived in Tokyo, New York, London, and San Francisco, Susanna currently teaches at the Villa Arson in Nice and resides and works in Paris.
Lionel Thenadey was born into the realm of technological digital particle systems and currently lives and works in Dijon. He has collaborated with notable contemporary artists, including Françoise Quardon, Franz Erhard Walther, Kees Wisser, Marc-Camille Chaimowicz, and John Batho, contributing to various video and digital photography projects.
As the head of the video and compositing workshop, he teaches video and digital effects in all their forms. In 2005, he co-initiated ECO (European Colour Observatory) alongside Alain Bourgeois and Bernard Metzger, fostering exploration and experimentation in color theory and application within the visual arts.
Pierre Tillet holds a master’s degree in philosophy and has worked as a journalist and art critic. He is the author of numerous texts dedicated to artists and designers, including Jean-Marc Bustamante, Delphine Coindet, Matali Crasset, François Curlet, Konstantin Grcic, Bertrand Lavier, Gerrit Rietveld, Ettore Sottsass, Veit Stratmann, and Xavier Veilhan. He collaborates with the Cahiers du Musée national d’art moderne.
His practice as a critic has been enriched by teaching art and architecture history at the École nationale supérieure d’architecture de Lyon, followed by research work. In 2018, he completed his Ph.D. in art history at the Université Paris IV Sorbonne, with a thesis titled “The Artist as Producer of Spaces.” His research focuses on the relationships between sculpture and architecture during the modern and contemporary periods.
This theoretical framework also informs his first book, L’Espace vertical: Colonnes et obélisques dans la sculpture du XXe siècle à aujourd’hui, set to be published in 2018 by La Lettre volée in Brussels. Alongside Astrid Handa-Gagnard and Xavier Douroux, he was one of the curators for the exhibition “La Peinture en apnée” at the Frac Bourgogne in Dijon in 2017.
Leila Toussaint is a landscape designer graduated from the École Nationale Supérieure du Paysage in Versailles. After completing her scientific studies (Master’s in Biology) and gaining experience as a project manager, she co-founded her agency, Mayot & Toussaint, with Vincent Mayot in 2008. For the past 20 years, their agency has worked across various scales, from large territories to detailed project elements, engaging in both studies, programming, and realization. They primarily respond to public commissions, managing between 20 and 30 projects annually.
Their work philosophy is grounded in several key principles:
Since 2013, their agency has been associated with the Oppidumsis network, a solidarity network for reflection, exchange, experimentation, and practice established in 2000 by professionals in urban planning. This network comprises 11 study offices and agencies that have chosen to pool their intellectual and material resources to meet the needs of project owners in the fields of development and urban planning.
For more information, visit their website: mayottoussaint.fr.
With over 10 years of experience teaching French as a foreign language, he has taught in various countries before returning to Dijon, where he now teaches in several schools. His approach to teaching French is both playful and communicative, aiming to encourage spontaneous speaking while also focusing on writing skills.
