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Mélodie Mousset (b. 1981, UAE) is a French artist who lives and works in Zurich, Switzerland. She studied at l’École des Beaux Arts de Rennes, ECAL (Switzerland), Royal College of Arts (England), and obtained a Masters of Fine Arts at CalArts (USA) in 2011. Her work features among international public and private collections, and has been exhibited at institutions and galleries worldwide, including MOCA Los Angeles, Kunsthaus Aargau (Germany), MAC Lyon (France), The Metropolitan Art Society Beirut (Lebanon), Zabludowicz Collection London (England), Susanne Vielmetter Los Angeles Projects (USA, SALTS Basel, and Last Tango Zurich (Switzerland). Mousset received the Swiss Art Award for her first VR installation We were looking for ourselves in each other in 2015. Her latest piece, HanaHana, was presented at Zabludowicz Collection (London) in 2018 and Centre Culturel Suisse de Paris in 2019.

HanaHana is a virtual and augmented reality experience that has been in constant evolution since 2016. Centered on corporal construction, this piece, by way of an interactive and collaborative game, constitutes a fantasy-like immersive environment. Everyone can generate shapes and leave a trace of their journey in this desert inhabited by archaic sculptures, in which human hands bloom in all sizes and colors. In this surreal world, arms are not only extensions of the player’s bodies, players who can teleport within this world and multiply their own bodies outside of themselves, they also are building units that let them leave a trace in this collective sandbox. The exhibition space thus becomes a shared space, on the border between the intimate and the public.



(Flowers for Suzanne Clair)
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Lauren Moffatt is an Australian artist working with video, performance and immersive technologies. She completed her studies at the College of Fine Arts (Australia), Université Paris VIII (France), and at Le Fresnoy Studio National des Arts Contemporains (France). She lives and works between Valencia (Spain) and Berlin (Germany). Her works, often presented in multiple forms, explore speculative futures, the paradoxical subjectivity of connected bodies and the friction at the frontiers between virtual and physical worlds. Lauren's works have been screened and exhibited most recently at La Gaîté Lyrique (France), HMKV (Germany), Palais de Tokyo (France), Villa Medici (Italye), UNSW Galleries (Australia), Daegu Art Museum (South Korea), Museum Dr. Guislain (Belgium), SAVVY Contemporary (Germany), FACT Liverpool (England), The Sundance Film Festival (USA) and at the ZKM (Germany).

With Contre-Plongée, the artist transforms the Grand Palais éphémère into a greenhouse inhabited by fantastic flowers, with the observer reduced to the size of an insect. This piece invites visitors to explore displaced imaginaries, where humans are rendered insignifiant by their non-human counterparts and can therefore appreciate multispecies interconnection. Plants and flowers in this AR piece were created by hand painting and digital techniques (photogrammetry scanning). The macroscopic scale of brushstrokes, usually seen from afar, gives the impression that we are microscopic, revealing details easy to miss from our human point of view. Flowers for Suzanne Clair is a body of work on the relationship between human and non-human, rooted in contemporary issues such as speculative fabulation, JG Ballard or Ursula Le Guin.



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Theo Triantafyllidis (b. 1988, Athens, Greece) is an artist who builds virtual spaces and interfaces for the human body to inhabit. He creates expansive worlds and complex systems where the virtual and the physical merge in uncanny, absurd and poetic ways. These are often manifested as performances, virtual and augmented reality experiences, games and interactive installations. He uses awkward interactions and precarious physics, to invite the audience to embody, engage with and challenge these other realities. Through the lens of monster theory, he investigates the themes of isolation, sexuality and violence in their visceral extremities. He offers computational humor and AI improvisation as a response to the tech industry’s agenda. He tries to give back to the online and gaming communities that he considers both the inspiration and context for his work by remaining an active participant and contributor. He holds an MFA from UCLA, Design Media Arts (USA) and a Diploma of Architecture from the National Technical University of Athens (Greece). He has shown work in museums, including the Hammer Museum in LA (USA) and NRW Forum in Dusseldorf (Germany), and galleries such as Meredith Rosen Gallery (USA), the Breeder (Greece), Eduardo Secci (Italy), and Transfer (USA). He was part of Sundance New Frontier 2020, Hyper Pavilion in the 2017 Venice Biennale and the 2018 Athens Biennale: ANTI-. Theo Triantafyllidis is based in Los Angeles.

Genius Loci, an augmented, large scale and site-specific installation, is a playful and off-the-wall interpretation of the concept of Genius Loci (spirit of a place). A giant creature will inhabit the Grand Palais éphémère, floating, relaxing, or talking to itself and visitors, commenting on the current situation, the year 2020, and musing on the building's culture, architecture, location, and future. The creature will be arrogant, sexy, sly, sometimes obnoxious and sometimes cute and adorable. The encounter between humour and the sublime will be a visual experience that aims to bring visitors together. The creature will be visible through augmented reality on mobile phones and tablets, visitors will be able to play with it using touch screens. The voice-over will be recorded based on a script, and the creature will be animated during 7 minutes, moving through the space and posing. The piece’s soundscape will come from different mobile phones.



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Manuel Rossner (* 1989) lives and works in Berlin. He studied art at the University of Art and Design Offenbach, the École des Arts-Décoratifs Paris and the Tongji College for Design and Innovation Shanghai. Since 2012, Rossner has been designing digital spaces and virtual worlds in which he investigates the effects of technological developments on society and art. He builds interactive architecture with digital materials that are spatial interventions and virtual extensions. Rossner also deals with the future of exhibitions in the digital world. For his 2020 exhibition, “Surprisingly This Rather Works” he transformed KÖNIG GALERIE’s brutalist Church of St. Agnes into a gaming environment inspired by the 1990s game show “American Gladiators” and gyms that companies like OpenAI in San Francisco use for cutting-edge research in the field of artificial intelligence.
In 2017, he designed a digital extension for the NRW-Forum Düsseldorf and curated the VR exhibition “Unreal”, together with Alain Bieber,Tabita Rezaire and Banz & Bowinkel, among others. In 2019, he designed the virtual gallery building “CUBE” for the Roehrs & Boetsch gallery in Zurich.

Where to go from here? by Manuel Rossner is a circuit of digital sculptures that leads through the Grand Palais éphémère. The visitors experience the installation through the screen of their smartphone by following an avatar in augmented reality. Rossner leads visitors to the limits of the physical and virtual world.
Where are new technologies leading society? The Champs de Mars welcomed the 1878 World Exhibition. An event where people came to learn about the state of technological developments. Rossner reacts to the once innovative techniques from the time of industrialisation with his dynamic algorithms. Its sleek aesthetic, the “signature of the present” (Byung Chul-Han), represents the digital age in which speed, flexibility and gamification are idealised.
Rossner's AR installation “Where to go from here?” shows how technology influences the world through gamification and how the ease of play becomes an expectation in everyday life.

Text: Anika Meier



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Mélanie Courtinat (1993) is a French artist and interaction designer based in Paris. In her practice, she creates speculative worlds and environments using digital mediums such as virtual and augmented reality, 3D and video games. She tends to think above all about the position of the viewer in front of and at the heart of an immersive work, with an approach based on sensations and emotions. Her work thus focuses on issues revolving around gameplay or interaction mechanisms, what they imply, what they mean, and their consequences. Her work has been exhibited in very different contexts, from film festivals to contemporary art galleries, from Tokyo to San Francisco.

Des empreintes sur la grève (Footprints on the shore) is a multi-user interactive installation in augmented reality. Visitors are invited to stroll between reality and virtuality, and to experience a space in constant evolution. They leave behind them a trace of their passage, a silhouette with which following visitors can "connect". The piece is in line with the author's work around video game mechanisms, and questions here the notion of "ghost" in racing games, and more generally questions the notion of presence within a virtual space.



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Created by :
Constance VALERO, Pierre MOULIN, Héléna DELAMARRE, Thomas MALABRE, Anthony GOURIOU, Auriane FISHER DE GUILLEBON, Philomène MERCURI, Cassandre GABARD, Lucie MARION, Olaf WISSER, Emma MARTEGOUTTE, Charlotte AUDAY, Esther MANGEL, Florentin SERVOT, Louison BOUCLY under the supervision of Fabrice LAROCHE, Lola B.DESWARTE and Léonard ALLAIN - LAUNAY.

In a future world, the Grand Palais Ephémère returns back to nature, and life comes to tease the architectural remains, in a process of inevitable reappropriation. Brutalist pyramids rise to the sky, like temples of an upside down world, last witnesses of a dying anthropocene.



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Internationally known as a venue for major exhibitions, fairs and fashion shows, the Grand Palais impresses with its monumental architecture. Closed for renovation, it has been replaced by the Grand Palais Éphémère, built between the École Militaire and the Eiffel Tower, recalling its predecessor in its simplified and contemporary design. A group of interaction designers and photographers from ECAL/University of Art and Design Lausanne will celebrate the inauguration of the venue through a series of augmented reality projects created for the façade facing the Champ de Mars.

Under the supervision of Milo Keller, Head of the Master Photography programme, and Pauline Saglio, Head of the Bachelor Media & Interaction Design programme, students from these two departments have transformed the appearance of the new Grand Palais Éphémère through visualisations accessible to the public via their smartphone screens. Supervised by designers Robin Bervini and Kylan Luginbühl who provided technical and formal support, the students have developed a collection of filters accessible from Instagram, allowing a twofold reading of the building. By enhancing the perception of the venue in real time thanks to the superimposition of visual concepts with eclectic references, the Grand Palais Éphémère is staged in a variety of imaginary worlds: futuristic, surrealist and above all playful. It becomes a photographic subject with multiple expressions and invites the public to engage via Instagram in an experience that questions the relationship between real and virtual images.

For several years, the democratisation of the smartphone and the emergence of development tools accessible to the general public have enabled augmented reality to develop, becoming a field of experimentation and an ideal means of expression for designers and artists. Its use in the public space, independent of the opening hours of exhibition venues, offers easy accessibility and is widely disseminated thanks to social networks and their photographic filters, which constitute an ideal platform for augmented reality.

ECAL has always been forward-looking in its approach to new technologies and sensitive to the educational and playful interest of AR. The recent creation of a Technology Centre facilitating access to various techniques (AR, VR, CGI, Photogrammetry, etc.), offers among other things, more visibility to augmented reality, which has already been a part of the courses and interactive installations for over ten years. Today, the evolution of related techniques allows for multidisciplinary access that can be applied to all branches of design for unprecedented diffusion.



Head of Bachelor Media & Interaction Design: Pauline Saglio
Head of Master Photography: Milo Keller

Students and assistants: Emma Bedos, Robin Bervini, Antoine Contreras, Basil Dénéréaz, Salomé Dotter, Nora Fatehi, Mélanie Fontaine, Nikolai Frerichs, Jamy Herrmann, Pierry Jaquillard, Rayane Jemaa, Augustin Lignier, Kylan Luginbühl, Achille Masson, Michael Pica

Detailed credits per project:
A Thousand Faces by ECAL/Robin Bervini
Fountain Palace de ECAL/Augustin Lignier
La Parade Bleue by ECAL/Antoine Contreras, Salomé Dotter, Nora Fatehi
Overload by ECAL/Pierry Jaquillard, Rayane Jemaa
Palais Gonflable by ECAL/Emma Bedos
Palais Végétal by ECAL/Mélanie Fontaine, Jamy Herrmann, Achille Masson
Playground Palace by ECAL/Michael Pica
Portal by ECAL/Nikolai Frerichs
The Hands by ECAL /Basil Dénéréaz, Kylan Luginbühl

ECAL/University of Art and Design Lausanne
Featuring regularly among the world’s top ten universities of art and design (5th in the Dezeen Hot List 2016), ECAL benefits from numerous press articles and awards, an enviable number of exhibitions in prestigious venues, the expertise of well-known practitioners as well as the success of its graduates. ECAL currently offers a Foundation Course, six Bachelor and seven Master/MAS programs in the fields of Fine Arts, Film, Graphic Design, Media & Interaction Design, Photography, Industrial & Product Design, Type Design, Design for Luxury & Craftsmanship and Design Research for Digital Innovation (with EPFL+ECAL Lab).




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