UPCOMING ::::::
* 25.10.2025 - 7.12.2025
Solo exhibition
Fondation Louis Moret
Martigny, Switzerland
www.fondationlouismoret
Fondation Louis Moret
Martigny, Switzerland
www.fondationlouismoret
Opening reception on Saturday, October 25th from 5:00 PM
Exhibition from October 25th to December 7th
Wednesday to Sunday, 3:00 PM - 6:00 PM
Closing reception on Sunday, December 7th at 3:00 PM
The artist will be also present on November 9th (11:00 - 18:00) and 29th
&
Di 9 nov_11h
Ilse Wöllhaf (piano) & Valentin Roze (violoncelle), admission free
Exhibition from October 25th to December 7th
Wednesday to Sunday, 3:00 PM - 6:00 PM
Closing reception on Sunday, December 7th at 3:00 PM
The artist will be also present on November 9th (11:00 - 18:00) and 29th
Curator: Marta Spagnolello, art historian
Di 9 nov_11h
Ilse Wöllhaf (piano) & Valentin Roze (violoncelle), admission free
Concert followed by a presentation of the artworks
This autumn, the abstract and evocative art of Ariane Monod is presented for the first time at the Fondation Louis Moret, through a selection of recent works and a large-scale wall drawing. Her lyrical force invites us into an exhibition that is both immersive and introspective.
“Mountains and Water”—Shan Shui in Chinese—is a synecdoche for landscape: the part standing for the whole.
To paint the Mountain and the Water is to portray the human being, not so much in physical likeness, but rather through the portrait of the spirit—its rhythm, its movement, its turmoil and contradictions, its fears, its serene or exuberant joy, its secret desires, its dream of infinity. (François Cheng, Empty and Full)
In certain traditional paintings, water, in its most mysterious form—vapor—shapes nature. The clouds envelop the mountains, temporarily taking on their form, and the mountains merge into the mist. This can also be found in the Romantic movement in the West, particularly in the work of William Turner, a sensitive interpreter of the poetics of the sublime. His paintings capture those suspended instants in which all natural elements interpenetrate and release their forces. The paintings and drawings of Ariane Monod are traversed by that same synergic impulse, made manifest through precise technical choices.
The artist works mainly on very thin aluminium panels, or directly on the wall. The aluminium surface is primed with an adhesive ground capable of capturing charcoal and earth pigments bound with oil or gum arabic. At times, a hint of colour enhances the restrained palette; its rare use becomes a source of wonder. One then perceives iridescent blues, gleaming, illuminating the blacks. Occasionally, a red appears—an incandescent note among the mists. The application of pigment is modulated to create areas of intense concentration or, conversely, of rarefaction. When the matter coagulates on the surface and the details multiply, we forget the art and feel in direct contact with nature itself. One discovers the fascinating weave of sea foam, the concretion of a rock, the imagined texture of a cloud. In certain transitional zones, the matter thins without vanishing entirely. The artist seems rather to mark a pause—like a silence in music, or a clearing after rain. Our gaze drifts over the pictorial surface, extending panoramically. This unusual elongated format, now something of her signature, is sometimes emphasized by the use of a polyptych, favouring a gradual discovery of the work. We are invited to wander with our eyes, to linger, to glide and slip within the surface.
Directly on the wall, Ariane Monod creates large-scale charcoal drawings—soft or dry. They have become an almost indispensable condition of her exhibitions, evoking the ineffable quality of nature, the ephemeral of a dream, the transitory of an impression. The artist magnifies these fleeting instants, unfolding them into space—even if only for a season. The monumental scale of the work, the mastery of its execution, and the evoked subject lead us into the realm of the sublime—a beauty so heightened it both captivates and distances the viewer, through an excess of emotion. The presence of wide untouched white areas on the wall offers an inevitable pause. The mural drawing conceived by Ariane Monod for the walls facing the garden of the Fondation Louis Moret will, with the coming of winter, be covered by a coat of matte white paint. This ritual of erasure is an integral part of her creative process. It stands between the memory of the work and its reminiscence. One will remember a rhythm or cadence, a sensation, a detail; the initial emotion will remain, yet appeased—a calm after the storm.
The painted and mural works of Ariane Monod are structured by emptiness, as conceived in Chinese aesthetics. In her art, emptiness is not an absence but a dynamic element—a place of transformation and transition. It is a suspended moment, like when one savours the awe of lightning and thunder while awaiting the clearing, or when one watches the hypnotic arrival of clouds, anticipating the storm. During these intervals of visual and emotional suspension, the body quivers and the spirit soars—liberated.
Is this not, perhaps, the very foundation of abstraction? Top suspend reality for a moment—and reach a form of deliverance?
Curated and written by Marta Spagnolello, October 2025
Visual: charcoal and gum arabic on primed aluminium, 2025, 80 x 170 cm © Maria Moscho, graphic design Lucas Maret
Born in 1975, Ariane Monod studied at the ESAV (actual HEAD) in Geneva where she lives and works in her studio at the Usine Kugler. She regularly exhibits her paintings and creates mural drawings in Switzerland and in Asia, mainly in Japan.
The elusive ephemerality of the dream literally materializes in her murals. The charcoal leaves a fleeting trace of movement that briefly takes shape and is transformed into a kind of landscape destined to disappea.
In 2019, during her performance on the walls of the Andata Ritorno gallery (Geneva), the art critic Jean-Paul Gavard-Perret pointed out: " Soon nothing will remain of her titanic mural sketch with all its beauty and extravagance... Only a few photographs will remain as a reminder of what is more than just a background, a setting. The visitor will have immersed himself in it to become the moving and full-face subject of these two works that are as disturbing as they are beautiful. Sacrifice follows their extravagance". These marks destined to disappear do not scare her. The artist enjoys this experience that takes place in a defined time and place, where improvisation is filled with introspection.
^... The waves appear thus, the surf, the turmoil, the wind, the aquatic aftermath that seem to be calls to the open sea of the unknown, of the unspeakable and of both the marine and celestial imaginary... If poetry may have a certain power to transmit and inspire painting, there are works where words are relegated to the inadequacy of language and leave you in the exquisite awe of the sole delectation of your open eyes ". Joseph Farine, artistic director, Andata Ritorno, Gene
Détail /untiled, charcoal and gum arabic on primed aluminium, 2025, 80 x 170 cm © Maria Moscho
Pigments and gum arabic on primed aluminium, 2025, 40 x 100 cm
- - -
RECENTLY::::::
* 15.04.2025 - 20.04.2025
Solo exhibition
Dohjidai Gallery bis
Dohjidai Gallery bis
〒604-8082
1928 Building 2F, 56 Benkeiishi-cho, Higashi iru
Sanjo Dori Gokomachi, Nakagyo-ku, Kyoto-shi
Kyoto, Japon
www.dohjidai.com
1928 Building 2F, 56 Benkeiishi-cho, Higashi iru
Sanjo Dori Gokomachi, Nakagyo-ku, Kyoto-shi
Kyoto, Japon
www.dohjidai.com
charcoal and gum arabic on primed aluminium, 30 x 60cm, 2025
Charcoal, Terre d'umbria and oil on aluminium, 30 cm x 100 cm, 2022
* 05.07.2024 - 31.08.2024
L'ART DANS LES CHAPELLES
33e édition
L'ART DANS LES CHAPELLES
33e édition
13 artistes contemporains
16 sites patrimoniaux
Chapelles du Morbihan
Pays de Pontivy, France (Bretagne)
16 sites patrimoniaux
Chapelles du Morbihan
Pays de Pontivy, France (Bretagne)
www.artchapelles.com
with
Amandine Arcelli, Kees Barten, Bernard Calet, Fréderic Houvert, Karen Irmer, Konrad Loder, Laurent Mareschal, Ariane Michel, Ariane Monod, Josée Pitteloud, Sylvain Roche, Annie-Paule Thorel, Anthony Vérot
Direction artistique : Éric Suchère
with
Amandine Arcelli, Kees Barten, Bernard Calet, Fréderic Houvert, Karen Irmer, Konrad Loder, Laurent Mareschal, Ariane Michel, Ariane Monod, Josée Pitteloud, Sylvain Roche, Annie-Paule Thorel, Anthony Vérot
Direction artistique : Éric Suchère
© Aurélien Môle, Ariane Monod, Drawing wall, 3,10m x 17,50m, 2024, L'art dans les chapelles, Chapelle de la Trinité, Bieuzy
Solo exhibition
Galerie Oblique
Saint-Maurice, Switzerland
* 30.11.23 - 17.12.23
7EME BIENNALE DES ARTISTES DE KUGLER
et de leurs invité.e.s
Vernissage le jeudi 30 nov. à 18h
Finissage le di 17 déc. de 14h à 18h
* 04.11.23 - 05.11.23
ATELIERS PORTES OUVERTES DES ARTISTES DE GENEVE ET ENVIRONS / organisé par HALLE NORD
Usine Kugler, Genève
* 19.08.2023 - 27.08.2023
ESQUISSE MURALE
Espace 27
Usine Kugler, Genève
©J-M.Etchemaïté
©J-M.Etchemaïté
©J-M.Etchemaïté
©J-M.Etchemaïté
©J-M.Etchemaïté
* 05.10.2022 - 10.10.2022
ART FAIR / Dohjidai Gallery
Kobe, Japan
Charcoal on aluminium, 30 x 100 cm, 2022 / Series
* 15.10.2021 - 27.02.2022
XXL LE DESSIN EN GRAND
Musée Jenisch, Vevey
Vertigo, 2021 / Wall drawing, charcoal, water and gum arabic, 4580 x 4700 mm / Ariane Monod, Musée Jenisch Vevey © Nicole Bernard
Musée Jenisch, Vevey
The exhibition devoted to large-format contemporary drawing brings together some thirty artists who give a privileged place to this medium. What does it mean for the artist to draw on a large scale - in situ, on paper, even on other media - and to explore the limits of his creation? What does it mean for the visitor to be immersed in the monumentality of the drawing, formerly a sketch, discreet, intimate? The exhibition questions the status of drawing today and its potential when it unfolds in new dimensions.
Pierre Alechinsky
Marc Bauer
Pascal Berthoud
Céline Burnand
Frédéric Clot
Claude Cortinovis
Jean Crotti
Nicolas Fournier
Andrea Gabutti
Marcel Gähler
Delphine Gigoux-Martin
Hipkiss
Markus et Reto Huber, dit huber.huber
Alain Huck
Martial Leiter
Anaïs Lelièvre
Mingjun Luo
Jean-François Luthy
Line Marquis
Ariane Monod
Guy Oberson
Sandrine Pelletier
Joël Person
Françoise Pétrovitch
Anne Peverelli
François Réau
Didier Rittener
Isabelle Schiper
Ante Timmermans
Rinus Van de Velde
Emmanuel Wüthrich
Jérôme Zonde
Exhibition curators:
Nathalie Chaix et Pamella Guerdat
DRAWING WALLS
" If poetry perhaps has the power to transmit and breathe painting, it is works in which words are relegated to the insufficiency of language and leave you with the exquisite stupor of the only delight of the open eyes ".
For Ariane Monod, the happiness of this exhibition of September 2019.
For Ariane Monod, the happiness of this exhibition of September 2019.
Joseph, Farine, Andata Ritorno, Genève
Following a line…
Attracted by panoramic views offering infinite reading and implying a trajectory, my pictorial research is about layouts, expanses in which a flow of elements venture through an imaginary world. I pursue this research on horizontal, panoramic formats, so that stories of rhythms, atmospheres are fold and can be read. My inspiration is a parchment that rolls out its story infinitely. I am particularly interested and concerned by lateral visions. Mostly in large dimensions, the formats are chosen according to a vision on a human scale. Horizontality allows a lateral view that carries on and extends further and further, beyond its limits... I try to establish interactions with the spectator who observe the images through successive plans by moving from one point to another.
« This 21 m x 4 meter ephemeral drawing, in charcoal and water, covers one of the white walls of the Halle Nord and invites the viewer to enter it. The path leading to the heart of an imaginary organ opens on the right of the sketch, double black lines that support its ellipse guide the traveller through imaginary forms, leads the eye to the turn to the strange forest amalgam that emerges on the white wall’s hori- zon. And biased, look at distance interferes with the relief and entering unknown, the volumes that bypasses the usual leads to interpret seeks exit this maze of effects of light and shadow that does not close, which do not fear. The game is as prospects carved in the same material, opti- cal game of more or less faded black, white and shades of gray. Volumes rise and fall rhythmically when on approach and then not duplicate this tempo to keep the prospect of seeing, reading like a scroll infinite landscape that unfolds, that seems to resonate beyond its limitations, such as pulse beating on the wall space left blank. Research by Ariane Monod in this work of great technical mastery explores in a dreamlike way the boundaries between abstraction and figuration. Indeed, her use of charcoal, so- metimes scraped or smoothed, drops of water and sponges for dimming effects aim to create a continuum of abstract elements; the effect of rate and depth, an atmosphere and the appearance of a path. However, the reaction of the viewer is often to decompose this relief to interpret the elements as clouds, mountain mist or vapor ".
Sophie Gander, 2012
Drawing wall_Andata ritorno
Andata Ritorno, 2019
Andata Ritorno, 2019
Andata Ritorno, 2019
Andata Ritorno, Genève, 2019
Andata Ritorno, 2019
Drawing wall_Art Projects Gallery, Hong Kong, 2015
Drawing wall_Art Projects Gallery, Hong Kong, 2015
Drawing wall_Halle Nord
Drawing wall_Halle Nord
Drawing wall_Halle Nord
Drawing wall_Halle Nord
Drawing wall_Halle Nord
Drawing wall_Halle Nord
Drawing wall_Espace 27, Usine Kugler
Drawing wall_Grande Fontaine, Sion, 2020
Drawing wall_Grande Fontaine, Sion
Drawing wall_Grande Fontaine, Sion
Drawing wall_Grande Fontaine, Sion
Drawing wall_Grande Fontaine, Sion
© Suzy Mazzanisi / © Hugo Sabogal / © Anouk Tank
Continuation of charcoal on aluminium
& bottom adhering / 2010-2023
For some time, I made a series of works inspired by many drawings made in Asia (2005 to 2013). On primed aluminium plates joined to a background, I charcoal elements which are fictionally processed in my memory. This panoramically designed and installed sequence of images, tells a series of memories that intermingle. Certain areas are blurred or fuzzy and gradually lead to a transition image. These images are punctuated by phases of these absences which can drag gradually, and without noticing it merge intoanother, travelling through different perspectives ... like a travelling image.
Panoramic narrative
“Akin to fine strips of parchment or film, Ariane Monod’s charcoal panoramics read like graphic narratives without words or boxes, colliding with memories of distant places in time and space. Much as in the memory process, these memories were decanted by time or repetition, transfigured by emotion, then fiction, which in turn have dressed their mistakes, impressions and inaccuracies. Despite their appearance of black and white clichés, these panoramics were inspired by drawings and travel sketches exploring a fantasy world, where changes in perspective, diversions and reversals of perspective, ellipses and transitions such as those between two dreams, evoke an imaginary narration». Sophie Gander, 2011
Paintings
/ Oil on aluminum & bottom adhering
I paint with natural pigments associated with various mediums in successive layers on aluminium plates. Aluminium plates, in various formats, allow me to assemble and create large polyptics. In selected locations, I install the paintings with small invisible nails. These allow me to integrate the image into the wall, so that it appears like a mural.
Panoramics
« Since her resins with strange depths between transparency and opacity, Ariane Monod has always been interested in working with materials and textures to create her interior landscapes that are not. Deprived of the thickness resin offers, she transferred this depth ontos thin aluminium plates, where the mere juxtaposition of pigments worked into ttextures creates the depth of the field. In these large-format elongated works,most often horizontal and sometimes combined in diptych or triptych, it is Ariane Monod’s sense of color pairings which transform into all the splendor and vivacity of the spigments. The audience, brought to interpret the vastrhythmics of colour, sees kinds of inner landscapes, although the artist’s work focuses solely on indefinite abstract shapes, never geometric ones, on the rendering of atmospheres and matter. Reading rhythms are induced by the horizontal format, which on the one hand, implies a shift - reading - across the painting and. on the other hand, allows the movement to decenter one’s vision, thus prohibiting a frontal gaze in favour of a side view which forces changes in viewing angles ». Sophie Gander, October 2011
« In panoramic format, the paintings and charcoal works of Ariane Monod use the wall as a parade of memories the artist has accumulated throughout her travels. The images fluctuate continuously; their form and informal horizontal sequence of tones have the evanescent quality of memory and dreams, like a film that fully develops before our eyes. Perfectly controlled, superimposed and juxtaposed visual pigments on metal plates create a horizon of several meters long with endless variations of blue and ochre techniques. There is something enjoyable in these tonal harmonies that intertwine like shimmering silks and create water and air atmospheres more than scenery does. These harmonies appear more specifically in the «narrative panorama», drawn in charcoal on metal plates, where realistically represented plants and urban elements are interspersed with more abstract beaches. This constant back and forth between informal and almost cinematic realism creates a dynamic. The elusive and ephemeral dream literally materializes within the wall sketch the artist has created on one of the gallery walls. The charcoal will leave the temporary trace of movement that evolves into landscape only to be doomed to disappear at the end of the exhibition ». Nicole Kunz, 2013
Charcoal and oil on aluminium, 40 cm x 100 cm, 2020
Charcoal and oil on aluminium, 80 cm x 340 cm, 2020
Detail, charcoal and oil on aluminium, 80 cm x 340 cm, 2020
Charcoal and oil on aluminium, 80 cm x 340 cm, 2020
Charcoal and oil on aluminium, 30 cm x 100 cm, 2020
Charcoal and oil on aluminium, 30 cm x 170 cm, 2020
Charcoal and oil on aluminium, 30 cm x 170 cm, 2020
Charcoal and oil on aluminium, 80 cm x 340 cm, 2020
Detail, Charcoal and oil on aluminium, 80 cm x 340 cm, 2020
Oil on aluminium, 50 cm x 200 cm, 2015
Oil on aluminium, 40 cm x 150 cm, 2016
Oil on aluminium, 30 cm x 170 cm, 2017
Oil on aluminium, 50 cm x 300 cm, 2017
COLLECTING TIME
2013-2018
Collecting Time is an exchange project between two art spaces, two cultures, two dynamics initiated by Dohjidai Gallery of Art (cultural hub for the art scene in Kyoto since 1996) and the Association of artists Cheminée Nordthrough its art space "Espace Cheminée Nord" located in the heart of the Kugler factory, a cultural center in Geneva. Through exhibitions and residences, this exchange intends to create a stable partnership as well as to develop a dialogue between artists from different cultural backgrounds, promoting the creation of art projects that reflect topics specific to each country’s social and political contexts. For the Kyoto public, this event will be an opportunity to discover many facets of contemporary Swiss culture and interact with the artists.
Small summary of the past events:
>The exchange started in 2013 with a first exhibition at the Dohjidai gallery in Kyoto showing Ariane Monod’s work.
>In 2014, for the 150 years of diplomatic relations between Switzerland and Japan, the project "Collecting time_14 Geneva-Kyoto" opened the second part of the exchange and partnership. It was supported by the Embassy of Japan and others partners.The artists coming from Japan were: Yuka Yamato and Takayuki Okamoto, artists in residence in Geneva.
>In 2015, "Collecting time_15, Geneva-Kyoto" was the third part of the exchange. The exhibition took place during the "Kyoto International Festival of Contemporary Culture Parasophia" and was supported by the Swiss Embassy in Japan. The artists coming from Switzerland were: Adrien Rumeau, Naomi Del Vecchio, Léonard Félix, Charlotte Fontaine, Anja Seiler, Kristina Irobalieva.
>In 2016, "Collecting time_16, Geneva-Kyoto" is the fourth part of the exchange. The event was under the patronage of the Embassy of Japan in Switzerland and was connection with the ‘50JPG’ Festival (Triennale dedicated to photographyCenter of photography of Geneva). The artists coming from Japan were: Yuriko Sasaoka and Eri Takehisa, artists in residence in Geneva.
>In July 2017, the exhibition "Collecting time_17, Genève-Kyoto" is the fifth venue with two artists from Switzerland: Sophie Arrandel and Maria Bill.
>In July 2018, supported by the Embassy of Japan, Suzuki Sayaka & Matsuda Masanori are in residence In Kugler Factory. The exhibition of their work are «realized in situ».
Project coordination: Ikko Oyama & Ariane Monod
https://www.usinekugler.ch/les-associations/cheminee-nord/espace-cheminee-nord
http://www.dohjidai.com/gallery/artist-in-residence/
Atelier, Usine Kugler, Genève
1975 Born in Montreux, Switzerland
SOLO EXHIBITIONS
2025 °Dohjidai Gallery
Kyoto, Japan
2023 °Galerie Oblique
Saint-Maurice, Switzerland
2020 °Galerie Grande Fontaine
Sion, Switzerland
2019 °Andata ritorno
Laboratoire d'art contemporain
Genève, Switzerland
2018 °ELSEWHERE
Taipei, Taiwan
2017 °Temple Honen-in, Ariane Monod
with Virginie Jaquier
Kyoto, Japan
2015 °Art Projects Gallery
Central Hong Kong
2013 °Dohjidai Gallery
Kyoto, Japan
2012 °Drawing Wall, Halle nord
Geneva, Switzerland
2010 °Espace 27 & Espace cheminée nord
Usine Kugler, Geneva, Switzerland
2008 ° Espace cheminée nord
Usine Kugler
Geneva, Switzerland
2006 °Act-Art, Centre d'art en l'ile
Geneva, Switzerland
2004 °Gallery Post Scriptum, Belfaux
Fribourg, Switzerland
2003 °La Grange à Vanay
& Alain Favrod
Monthey, Switzerland
2001 °Gallery Pane & Formaggio
Geneva, Switzerland
ART FAIRS
2022 °Affortable Art fair Kobe
/ Dohjidai Gallery
Kobe, Japan
2016 °Affortable Art Fair Singapore
/ Art Projects Gallery
Singapore
°Affortable Art Fair Hong Kong
/ Art Projects Gallery
Hong Kong
2015 °Affortable Art fair Singapore
/ Art Project Gallery
Singapore
°Affortable Art Fair, Hong Kong
/ Art Project Gallery
Hong Kong
2013 °Art fair Sapporo, Sapporo
/ Dohjidai Gallery
Sapporo, Japan
GROUP EXHIBITIONS
2024 °L'art dans les chapelles / 33e édition
Esquisse murale, chapelle de la Trinité
Castennec, Bieuzy
13 artistes internationaux, 16 sites patrimoniaux
Chapelles du Morbihan (Bretagne)
Pays de Pontivy, France
2023 °Biennale des artistres de Kugler
Genève, Switzerland
2022 °Surprises parties
Les artistes de l'association
cheminée nord & leurs invités
Usine Kugler, Espace cheminée nord
Genève, Switzerland
°XXL LE DESSIN EN GRAND
/ Commissaires de l’exposition
Nathalie Chaix et Pamella Guerdat
Musée Jenisch
Vevey, Switzerland
2021 °Biennale des artistes de Kugler
et de leurs invité.es
Usine Kugler, Genève, Switzerland
In Memoriam_Anni Horribilis
Espace Création
Sion, Switzerland
°Revue ARTISTIDE N°6
Galerie les Dilettantes
Sion, Switzerland
°I LOVE #ArtisteDici 2021
Interventions éphémères dans la ville
de Genève
88 artistes investissent les panneaux
d'affichages
Sur invitation
de la Galerie Andata Ritorno
/ Rond-point de Plainpalais
2020 °WILDLIFE
Exposition collective, Fonderie Kugler
Usine Kugler
Genève, Switzerland
2019 °NANO - Raum für Kunst
SPEKTRUM n°!
Zürich, Switzerland
°We are small, Ferme Asile
Sion, Switzerland
°Biennale des artistes de Kugler
Feu sacré
Usine Kugler, Genève, Switzerland
°Murmures" Exposition collective
A proposal from N.Schipoff
Chapelle Saint-Maurice
Alby-sur-Chéran, France
2018 °Carnets, collective, Halle nord
Geneva, Switzerland
2017 °Utopik Park, Biennale
des artistes de Kugler
& de leurs invités
Usine Kugler, Geneva, Switzerland
°Carnets, collective, Halle nord
Geneva, Switzerland
2016 °Carnets, collective, Halle nord
Geneva, Switzerland
2015 °Outre-mer, Usine Kugler
Geneva, Switzerland, Switzerland
°Real Dream, Fonderie Kugler
Geneva, Switzerland
°Aujourd’hui était hier était aujourd’hui
Geneva, Switzerland
2014 °Duo with Nina Schipoff, Espace K
Geneva, Switzerland
2013 °Pantone K 2013, Usine Kugler
Geneva, Switzerland
°A. Monod – L.Felix – M.Bill
Espace cheminée nord
Usine Kugler
Geneva, Switzerland
°La ferme de la chapelle, Duo
& Chantal Carrel
Lancy, Geneva, Switzerland
°Kugler Remix
Geneva, Switzerland
2011 °Wall painting, Halle nord
Geneva, Switzerland
°Mini (art) ure, Collective
Geneva, Switzerland
2010 °Extravaganza, Collective
Geneva, Switzerland
2009 °Panoramic, Collective
Espace cheminée nord
Geneva, Switzerland
2007 °50 X 50, Collective
Espace cheminée nord
Geneva, Switzerland
2002 °3 X 3, Visarte VD
Espace Arlaud
Lausanne, Switzerland
°3 X 3, Visarte GE
Centre d'art en l'Ile
Geneva, Switzerland
°3 X 3, Visarte VS
Manoir de Martigny
Martigny, Switzerland
1998 °Artists’ Books : Exhibition of Prints
Comestible Library
Geneva, Switzerland
1993 °The Gallery of the Galleries
Mines et Salines, Bex
Switzerland
AWARDS
2000 Foundation Theodore Strawinsky
Geneva, Switzerland
Winner of the painting competition
for graduates, HEAD
(School of Fine Arts)
Geneva, Switzerland
ACADEMIC BACKGROUND
2007 °Diploma in Visual Arts
Pedagogical Visual Section
HEA, Geneva, Switzerland
2002 °Proficiency Certificate
in Secondary Education
HEP, Lausanne, Switzerland
2000 °Graduate School in Fine Arts
Painting & Printmaking,
Graduation ESAV (current HEAD)
Geneva, Switzerland
1993 °Certification Preparatory Course
Applied Arts school
Vevey, Switzerland
PROFESSIONAL EXPERIENCES
2000 - 2023 °Visual art teacher
Secondary school
Bex, Lutry, Switzerland
2014 - 2018 °Management
of the evenement
« Collecting time »
with Ikko Oyama
Program Echange
Kyoto_Geneva
2007 - 2018 °Management of the exhibitions
in the group
«Espace cheminée nord»
Association cheminée nord
Usine Kugler, Geneva
Switzerland
2013 °Management in the group
«Espace cheminée nord»
«Pantone K 2013»
A hundred artists
in the Usine Kugler
Geneva, Switzerland
© Jean-Michel Etchemaité, 2011
