Team

Since 2019, Béatrice Joyeux-Prunel has been a Full Professor at the University of Geneva, on a new chair of Digital Humanities. She founded the IMAGO Jean Monnet Excellence Center and leads the Center from Geneva in Switzerland. She works on artistic and visual globalization in the 19th-20th centuries from a consistently historical, transnational, social, commercial and artistic point of view. In 2009, she founded the international research group Artl@s (www.artlas.huma-num.fr): a transnational, social and visual study group that works on artistic globalization from the 19th century to the present with digital sources and methodologies. She funded and co-curated the Postdigital project with Alexandre Cadain and Grégory Chatonsky from 2016 to 2019 (www.postdigital.ens.fr). At the University of Geneva, she leads VISUAL CONTAGIONS, a research project on the visual part of globalization. The IMAGO Jean Monnet Excellence Center and the project VISUAL CONTAGIONS are part of a same endeavor to better understand images’ circulation with the help of new digital methodologies and cartographies, in order to write a new kind of visual history of globalization within and out of Europe. Their objectives are to broadcast these new narratives towards broad publics with teaching and online broadcasts. The results will also be discussed with artists, as far as contemporary artists are invited to question our methodologies, our historical results, our narratives, as well as our pedagogy. Léa Saint-Raymond, codirector - https://www.unige.ch/lettres/dh/digital-humanities/beatrice-joyeux-prunel/

Since the mid-1990s, Gregory Chatonsky has been working on the Web and mainly on his affectivity, leading him to question the identity and new narratives that emerge from the network. From 2001, he began a long series on dislocation, aesthetics of the ruins and extinction as an artificial and natural phenomenon. Over the years, he has turned to the ability of machines to produce results that resemble a human creation in an almost autonomous way. These issues have become convergent thanks to the “artificial imagination” that uses the data accumulated on the Web as learning material to produce a similarity. In the context of a probable extinction of the human species, the network appears as a desperate attempt to create a monument in anticipation that would continue after our disappearance.
Grégory Chatonsky has participated in numerous solo and group exhibitions in France, Canada and abroad, including Terre Seconde (2019) at Palais de Tokyo, Je ressemblerai à ce que vous avez été (2019) at Tanneries, France Electronique (2018) in Toulouse, Terre/mer/signal (2018) at Rua Red Dublin, Imprimer le monde (2017) at Centre Pompidou, Capture: Submersion (2016) at Arts Santa Mònica, La condition post-photographique (2016) at Montréal, Walkers: Hollywood afterlives in art (2015) at Museum of the Moving Image in New York, Telofossils (2013) at MOCA Taipei, Erreur d’impression (2012) at Jeu de Paume.
He has been in residence in Cité Internationale des Arts (2019-2020), Icade (2018-2019), Abu Dhabi (2017), Taluen in Amazonian forest (2017), Colab in Auckland (2016), Hangar in Barcelona (2016), IMAL (2015), Villa Kujoyama in Kyoto (2014), CdA Enghein-les-Bains (2013), MOCA Taipei (2012), 3331 Arts Chiyoda in Tokyo (2012), Xiyitang, Shanghai, (2011), Les Inclassables in Montréal (2003), Abbaye royale de Fontevraud (2002). He received the Audi Talents Award in 2018 and is a resident at the Cité Internationale des Arts in Paris in 2019-2020.
In 1994 he founded Incident.net, one of the first netart collectives. He has taught at Le Fresnoy (2004-2005), at UQAM (2007-2014) and was an artist-researcher at the École Normale Supérieure de Paris (2017-2019). In 2019-2020, he is artistic director of a research-creation program at Artec.

http://chatonsky.net

Léa Saint-Raymond is a postdoctoral fellow at the École normale supérieure, on the Noria ERC project led by Gabriel Peyré. She is also the pedagogical coordinator of the ENS Digital Humanities course and a lecturer in art history at PSL, the École du Louvre and the Université Paris I Panthéon-Sorbonne. Alumna of the École normale supérieure, agrégée in economics and social sciences, she followed a double training in art history at Sorbonne University and in economics at the Paris School of Economics. Her Ph. D., supervised in art history by Ségolène Le Men at the Université Paris Nanterre, which she defended in October 2018, received the “prix du musée d’Orsay” 2019, and it is currently being published by Classiques Garnier, under the title Le pari des enchères. Le lancement de nouveaux marchés artistiques à Paris (1830-1939).

Marie José Burki was born in Biel, Switzerland. She enrolled at the University of Geneva in 1981, where she studied French literature and history. Starting in 1983 she simultaneously attended classes at Ecole supérieure d’art visuel. She completed her university education in 1988 with a dissertation about Raymond Roussel. She spent a year in New York City within the framework of the PS1 Studio Program in 1998, and lived in Paris and Geneva after her return to Europe. Marie José Burki has lived and worked in Brussels since 1993. She has been a visiting artist at the Rijksakademie in Amsterdam several times since 1994. Burki directed the postgraduate program at the Ecole nationale des beaux arts de Lyon from 2000 to 2002. She has held a professorship at the Hochschule für Bildende Künste in Hamburg from 2003 to 2008. Since 2009 she held a professorship at the Ecole nationale supérieure des beaux arts in Paris.
Major solo exhibitions : Kunsthalle Basel, De Appel, Amsterdam, 1995, Kunstverein Salzburg, 1997, Kunsthalle Bern, Kunstverein Bonn, Camden Arts Center London, 1998, Kunstverein Stuttgart, 1999, Musée des arts contemporains, Grand Hornu, 2003, Helmhaus, Zürich, CRAC, Sète, 2007, Centre pour l’image contemporaine, Genève, 2008, Kunsthaus Pasquart, Bienne, Fondation Calouste Gulbenkia, Lisbon, 2017.

Major group exhibitions : Documenta IX, 1992, Kunsthallen Brandts Klaedefabrik, Odense, 1994, The Irish Museum of Modern Art, Dublin, 1996, MACBA, Barcelone, 1998, The Contemporary Museum, Baltimor, 1999, Villa Arson, Nice, 2000, Kunstverein Hannover, 2001, Kunstmuseum, Bonn, 2009, Museum Folkwang Essen, 2005, Muhka Antwerp, 2006, la maison rouge, Paris, 2012, Kunsthaus, Aarau, 2014, Institut d’art contemporain, Lyon, 2015, Museum on the seam, Jérusalem, 2018

Marie José Burki lives in Brussels and Paris.