IESA Prospectus London. International Studies in History and Business of Art and Culture

Transcription

1 IESA Prospectus London International Studies in History and Business of Art and Culture 1

2 L Esprit IESA Contents As the Founder and President of IESA (the Institut d Études Superieures des Arts), I am delighted to introduce you to our range of international undergraduate and graduate programmes. I am very proud of these exciting opportunities which offer an unparalleled European experience coupled with a rigorous academic and professional training. - Françoise Schmitt Founder of IESA IESA was established in 1985 for students to develop their academic and vocational skills. The IESA spirit may be summed up in one motto: Experience is the best teacher. We believe that students learn best working in front of the object and from direct involvement in the art market. Every student who participates in one of our programmes should develop their specific interests by joining in the many activities offered by IESA during their studies. This brochure deals with our courses taught in English. We are very proud of the reputation that has been gained by our courses for academic excellence and for the breadth of experience they offer students. Validation by the University of Warwick in the UK for the MAs means that they can be taken for credit by students from any country as part of their overall educational programme. We are delighted that more and more students from abroad, both on the undergraduate and postgraduate programmes. We hope that you will take advantage of our open days in Paris or events in London to discover our courses for yourself. We are very much looking forward to welcoming you at IESA. - Boris Grebille and Adriana Turpin Directors, IESA UK 1. What does IESA mean? 3. MA in the History and Business of Art and Collecting 7. MA in the History & Business of the Contemporary Art Market 11. Encounters with Islamic Art 13. Summer Courses in London & Paris 15. Online Courses 17. Faculty 19. Internships 21. Alumni

3 What does IESA mean? We are an independent school; we are not biased towards any particular private or public institution but can build up an impartial, critical understanding of the art world and its interconnections. We keep the works of art at the heart of our teaching: through weekly visits to the major museums, galleries and collections in Paris and London, extended study trips introducing you to the art and players in the art capitals of the world. We provide the only programmes that combine art history with the business and practice of the art world so that you never lose sight of the reason for your studies - your love of art. We operate in a boutique environment with small groups of students and a hands-on personal approach from your teachers, giving you not just access to information but opening up discussions with experts in the field. Our MAs are validated by one of UK s best universities (UK top 10), which is a considerable asset when it comes to looking for jobs in a competitive market. The Warwick/IESA MAs have established themselves in the field as a leading rival to other more established courses for their quality and for the success of our alumni. Through our networks in Paris, London and even other major centers, we can introduce you to a wide range of experts, starting to create a network of contacts that can be pivotal for developing a career in the Art world. Our students have been highly successful in finding jobs and work all over the world, as our map (see page 21) of where they are now shows. The IESA brand is now recognized and sought after by major art world employers, particularly in London and Paris. Image copyright IESA 4 1

4 Graduate Programme 2 MA in the History and Business of Art and Collecting. In Partnership with the Sir John Soane s Museum and the Wallace Collection Programme at a glance: Graduate Programmes: Our two Master s Degrees are validated by the University of Warwick (UK), internationally recognised as one of Britain s most wellrespected universities. In particular, its Department of History of Art has a long-standing reputation for the excellence of the teaching programmes, having received the award of a 5A in the most recent Research Assessment Exercise. Students enrolled onto our 2 International MA programmes will be taught and assessed following the standards set by the Art History Department, and they will receive their diploma from the University of Warwick. Accreditation: MA from the University of Warwick Duration: 2 years FT or 4 semesters + internship Location: Paris, London, Florence, Brussels Pre-requisites: BA hons.: 2.1 UK or 3.5GPA ; English at 7.0 IELTS Places: limited to 25 Aims and objectives: This two-year MA, taught in English, offers students a unique opportunity to study the historic and present art markets, combining rigorous academic study with practical professional skills. Set in four European art centres, the course gives students a thorough understanding of the history of art through the study of collecting and the historic development of the art market. At the same time, students are introduced to the structures and business of the art markets in Paris and London, framed within international and global practices. In the second year of the MA students develop the rich survey background they have been given in the first year to research into a deeper and more focussed study on the history of the art market. By the end of the two years, students are wellplaced to enter the art market. Course description and structure: The first semester takes place in the heart of Paris. Lectures cover the history of collecting from the Renaissance to the mid-eighteenth century while visits to the Louvre, the Palace of Versailles, the Musée Carnavalet and the Chateau of Ecouen enable students to study the works of art at first hand. The intensive twoweek study in Florence concentrates on collections from the Medici to the nineteenth century (Berenson, Stibbert, Bardini), restoration practices with privileged visits. The second semester, in London, develops the study of the art market from the eighteenth century to the First World War. Visits to collections within and outside London cover the fine and decorative arts. There is also a two-week study trip to Belgium with visits to Brussels, Ghent, Bruges and Antwerp. Students also spend two full days with their tutors at the European Art Fair at Maastricht studying works of art and talking to top Old Masters dealers. Following the intensive teaching of the first year, students in the second year develop their own research and presentational skills through seminars, workshops, discussions and visits. They choose to study one specific time period and use primary sources to analyse the motives of collectors, the development of the art market and other related issues. In parallel, there are workshops on the theory and practice of the art market today, culminating in the writing of a professional business plan. During the second semester, students research and write their MA dissertation under the guidance of a specialist tutor. Image copyright IESA 6 3

5 Internships form an essential part of the student experience and take place primarily in the summer between the two years. Students often relate their experience to their dissertation topics or to exploring possible new avenues of the job market. Why study Collecting? The study of collections and collectors enables the student to understand and contextualise the work of art: why it was created, bought, displayed, faked and sold. Provenance research has become a primary tool in the evaluation of a work of art by galleries, auction houses and professionals. It draws from a wide range of subjects: history, cultural history, art history, social sciences and economics. Career Paths: On completion of the course, students have found a variety of positions in auction houses, galleries, foundations, museums, insurance and art investment companies also developing their own consultancies or carrying on research at PhD level. For more details on the programme, or teaching staff, please visit To apply, please contact admissions@iesa.edu Image copyright IESA Why study the Art Market? The history of collecting is intrinsically tied into that of the art market, one feeding into the other and each city visited offers an example of local practices and market structures. Studying the art market today offers approaches and methodologies to understand the past as well as current practices. Lectures on the art market concentrate on such fundamental issues as market theory, law and restitution, conservation, art investment and marketing as they currently develop in Europe. These studies give students concrete tools to use in their early professional careers. PARTNERS 8 5 The Sir John Soane s museum: Created as the home of the architect and collector Sir John Soane ( ), the museum was established after his death keeping the interiors as they were during his lifetime and contains a remarkable collection of antiquities, Old Masters and British paintings. In London, parts of the classes are based at the museum and our partnership offers students privileged access to the collection and curatorial expertise of the museum staff. The Wallace Collection: The finest private art collection ever assembled by one family, this nineteenth century museum has outstanding examples of French paintings and decorative arts as well as Old Masters, arms and armour and sculpture. Our students are invited to attend monthly research seminars on the history of collecting, and their curators contribute to the teaching of the programme. 1. Soane Museum image 2. By kind permission of the Trustees of the Wallace Collection, London 3. By kind permission of the Trustees of the Wallace Collection, London

6 Graduate Programme 2 MA in the History and Business of the Contemporary Art Market Programme at a glance Accreditation: MA from the University of Warwick, Duration: 2 years FT or 4 semesters + internship Location: Paris, London, Berlin, Basel, Venice Pre-requisites: BA Hons.: 2.1 UK or 3.5GPA; English at 7.0 IELTS Places: limited to 25 Image copyright IESA Aims and objectives This challenging two-year MA programme breaks down traditional barriers in order to provide an international and interdisciplinary approach to the practice and the theory of today s complex contemporary art market. It aims to form students develop innovative and creative approaches to a constantly evolving art scene. Set in different locations and taking the students to the main contemporary art events (FIAC, Frieze, Venice Biennale, Art Basel), the course gives students a strong knowledge of twentiethcentury and contemporary art, at the same time exploring the history and business of the contemporary art market. Theoretical analysis underpins the understanding of the practice and structures of the art market to develop critical awareness and knowledge of the realities of the art market today Course description and structure: The first semester takes place in the heart of Paris and covers the history of twentieth century art through museum visits and lectures; the history of twentieth century art market and the structures and practices of the contemporary art market in Paris. The intensive week-long study trip to Berlin concentrates on early twentieth century German art and explores the current exciting contemporary art scene through visits to galleries and dealers. The second semester begins in London where classes take place at Senate House in the heart of the University of London, next to the British Museum. Students are introduced to essential theoretical approaches to markets and collecting; they learn about the roles and relationships of the players in the market artists, dealers, critics, collectors, investors, public and commercial insti- tutions. Students are further taught essential business skills of marketing, business studies, investment and law, which they then apply to write a practical business project. Study visits to Liverpool add to the awareness of regional developments in comparison to the capital. Following the intensive teaching of the first year, students in the second year develop their own research and presentational skills through seminars, workshops, discussions and visits. Two specialist options are offered: Strategic Opportunities in a Globalised Art Market, or Contemporary Art, Cultural Policy and the City. As part of their professional development, students present indepth studies of either Frieze art fair or public policy and the arts in association with Tate Liverpool; they also write a business plan. During the second semester, students research and write

7 12 Frosilos, 2008, Julian Faulhaber/ VG Bildkunst Bonn their MA dissertation under the guidance of a specialist tutor. Internships form an essential part of the student experience and take place primarily in the summer between the two years. Students often relate their experience to their dissertation topics or to exploring possible new features of the job market. Why study the history of the art market? The development of the art market was part of the dramatic changes taking place in European society, government policies and commercial, economic practices. Studying the context in which art was created, sold and collected provides a richer and more nuanced understanding of the art itself. Learning about the dealers and the art market of the recent past also gives the art, cultural or economic historian tools with which to understand the present market as it has evolved. Why study both theory and practice? It is paramount to understand the theories and concepts underpinning the creation and evolution of the art market today in order to work in a constantly evolving environment. By combining critical analysis with sound professional skills, students can partici- pate in and anticipate tomorrow s needs and trends. By gaining a knowledge of art history, through studying theories of marketing and communications, economics and value and curatorial and commercial practices, students are placed at the cutting edge of the Art World, knowing what questions to ask and how to test practice against theory. Career paths: On completion of the course, students have found a variety of positions in auction houses, contemporary galleries, foundations, museums, marketing and PR and financial investment. They developed their own consultancies or carried on research at PhD level. Educational Partners: In partnership with White Cube, IESA has developed a highly successful series of talks exploring the realities of today s contemporary art market. The first series, Today&Tomorrow, looked at how London became a pivotal cultural and commercial centre for contemporary art and its future role and influence. The second year the programme concentrated on Beginnings: An Insider s Guide to the Art World whereby majors actors of the art scene talked about their early careers. The third series Contemporary art and its markets focuses instead on the various 9 forms of markets and investment that are active in the Contemporary Art arena. Speakers have included Hans Ulrich Obrist, Michael Craig Martin, Anita Zabludowicz, Matthew Slotover, Gilbert and George, Lord Gowrie, Michael Bracewell, Tim Marlow and the major players in the contemporary art scene. For more details on the programme, teaching staff, application, please visit: To apply, please contact admissions@iesa.edu Frosilos, 2008, Julian Faulhaber/ VG Bildkunst Bonn

8 Image by kind permission of Leighton house museum Short Course Encounters With Islamic Art In partnership with Leighton House, London Programme at a glance Accreditation: for pleasure/ IESA postgraduate diploma (60 ECTS) Location: London (UK) -Optional study trip to Dubai and Doha in March Duration: September to June; individual sessions and semesters offered Pre-requisites: BA degree for the postgraduate certificate Places: limited to 25 students per class Introduction Intended for anyone with an interest in Islamic arts, this programme explores the inter-relationships between East and West from different perspectives, in a series of lectures which can be taken independently or for credit. Our aim is to offer a new approach to the understanding, appreciation and communication of Islamic art and culture. Going beyond traditional historic surveys, we concentrate on its underlying appeal and significance, firstly to European collectors, then through the presentation in museums and collections both historically and today and finally by looking at contemporary Islamic art and its markets. Course description and structure The programme will be presented in three semesters over a course of one year. Each course consists of nine sessions, including one day excursion. It is possible to take the course for credit (IESA Postgraduate certificate) in a programme that consists of the one day of lecture series plus an additional weekly session of either a visit or a workshop, tutorials and written assignments. There is also the option of attending individual days. Semester 1 Aesthetics and Display of Islamic Art in the West The first strand explores the aesthetics of Islamic art, which are combined with studies on the communication and display of Islamic art in museums and cultural centres from the 19th century to the present day. Semester 2 The Collecting of Islamic Art in the West The second strand focuses on European encounters with the Middle East and the history of collecting of Islamic art in the West, starting with the Middle Ages and continuing through to the end of the nineteenth century. Semester 3 Contemporary Art and its Markets This module focuses on the mod- ern history of intricate cultural interconnections between the East and the West and the development of the contemporary art scene in the Middle East. Optional Study Trip In addition to the main programme, students will have an opportunity to take part in a week-long study trip to Dubai and Doha in March to coincide with Art Dubai, a leading art fair in the Middle East. PARTNER Leighton House. Now a museum in Kensington, the house was built to Leighton s precise requirements, who turned it into a private palace of art. It features the extraordinary Arab Hall with its golden dome, intricate mosaics and walls lined with beautiful Islamic tiles, as well as a fascinating collection of paintings and sculpture by Leighton and his contemporaries. For more information, please visit or contact islamic@iesa.edu 14 11

9 Undergraduate Summer courses in Paris and London Programme at a glance Accreditation: 6-12 ECTS at undergraduate level Duration: 4 weeks (Paris) 3 weeks (London) Location: Paris, London Pre-requisites: 1 year of undergraduate study; intermediate English Places: limited to 25 students per class Introduction Our summer courses are intended for anyone who wants to explore the great works of art available in London and Paris. Our courses can be taken separately or combined to give a more complete picture of the art market today. Language classes are offered in both cities for those who want to learn French or bone up on their English. Learning in the country is a great way to prepare for further studies or just to become familiar with the country. PARIS (June-July) The four-week course offers 3 strands taught from Monday to Thursday each week: French Language (30 hours) is offered in small classes, allowing students to work intensively with a native French speaker and to develop conversational as well as more academic French. Masterpieces of French Art (30 hours): This course takes a chronological path through French art history from the seventeenth century to the twentieth century, focussing on works of art that had an impact in the development of European art. Introductory lectures provide a context, while visits to the important Parisian collections highlight works by major artists, important not just within the context of history of Art. The Art Market in Paris (30 hours): Taking 4 different aspects of the art market, this course relates the historical art market to current practice. Sessions focus on the dealer, the auction house, the collector and the artist while visits to dealers and gallerists, auction houses, foundations and artists studios bring the spaces of the art market to life. LONDON (July- August) This three-week course offers 2 strands taught Monday to Friday. English Language (30 hours): offered as an option for students who want intensive English class- es in order to go on to study in English. Classes focus on academic writing, spoken presentations and advanced conversation. The Tradition of The New: The Dialogue Between the Contemporary and the Past (30 hours). This course takes as its theme the inspiration of history on the work of contemporary artists, taking a broad view from the end of the 18th century to artists working today. The Art Market Today (30 hours): In keeping with our approach to make your studies relevant to the practice of the art market, teaching will also cover the innovations of the historic art market that are most relevant to the art market today: the rise of the gallery and auction house. Visits to auction houses, major contemporary galleries and foundations provide a truly contemporary spirit to your studies. For more information, please visit or contact admissions@iesa.edu All images copyright IESA 16 13

10 Art Online Studies The Geography of the Art Market Programme at a glance: Duration: up to 8 weeks Accreditation: 3 ECTS credits available per course Introduction Our online courses are aimed at professionals or would-be professionals who wish to know more about how the art market works and how they can work in the art market. We have in mind practicing artists; students emerging from art schools or from their academic studies; professionals who work with artists, collectors or dealers; or just those who want a guide to how the art market works. Run in partnership with ArtReview, our courses are delivered by leading practitioners in a wide range of fields. Each subject will be offered at several levels, from introductory to more specialised coverage to deepen the student s knowledge within a particular area. Alternatively different courses can be chosen for a broad coverage. Like a box of chocolates, there are different layers and different types, to be mixed and match just as one likes. A further aspect of our courses make them special. You can join at any time as we open the courses regularly every month and you progress through the sessions at your own pace. You join an on-line discussion monitored by your tutor and become part of the online IESA community. Our visual interface encourages learners to explore the content, commenting and answering discussion questions, whilst contributing their own ideas back to the platform, in a unique social learning environment. Taking the course for credits There is also the option to have more individual tuition and develop research and writing skills. For a small additional fee, individual assignments and tutorials are set, marked and discussed by the course tutor. Students taking this option will gain 3 ECTS credits (European Credit Transfer System) per course, delivered by IESA, Paris. Partner ArtReview is one of the world s leading international contemporary art magazines. Founded in 1949, it is dedicated to expanding contemporary art s audience and reach. Aimed at both a specialist and a general audience, the magazine features a mixture of criticism, reviews, reportage and specially commissioned artworks, and offers the most established, in-depth and intimate portrait of international contemporary art in all its shapes and forms. All images copyright IESA 18 15

11 Faculty Core Lecturers Adriana TURPIN, Academic Director and Director for IESA-UK, FSA, MA Oxford, MA Courtauld Institute of Art, London, Associate Fellow, University of Warwick Dr. Thomas FLYNN, PhD Sussex University, ARCA Lecturer and Journalist; special interests in risk and communication in the art market Anders PETTERSON, CEMS in Management, London School of Economics and Hochschule St.Gallen, Switzerland, founder and managing director of ArtTactic Ltd It is the supreme art of the teacher to awaken joy in creative expression and knowledge. - Albert Einstein Dr. Emmanuelle AMIOT-SAULNIER, PhD Paris IV, Sorbonne, Specialist in 19th century French Academic painting and Impressionism Dr. Susan BRACKEN, MA Courtauld, Institute of Art, London, PhD University of Sussex, Specialist in 17th century collecting practices in Britain Christophe BROUARD, PhD EPHE Paris, Specialist in Venetian landscape traditons, expert in early modern Italian painting and graphic arts Bob CHILD, Head of Conservation, National Museum of Wales Dr. Silvia DAVOLI, PhD Reims University, Specialist in 19th century collecting practices. Dr. Sébastien DELOT, PhD University of Rennes II and Yale University, Curator contemporary Art Louvre Abu Dhabi Stephanie DIECKVOSS, BA, MA University of Hamburg, MA Courtauld Institute of Art, London, MBA University of Warwick Jeremy ECKSTEIN, International Art Investment Advisor, lecturer and writer; contributor to the TEFAF review of the impact of art fairs. Dr. Valerie GONZALES, PhD in Human Sciences, University of Aixen-Provence, Department of Islamic and Arabic Studies, visiting professor Stanford University Henry LYDIATE, Prof. Emeritus, London University of the Art in Law, specialist in art law and has published on artists copyrights. Liz LYDIATE, Consultant, freelance lecturer and former Course Director, MA in Enterprise and Management for the Creative Arts, University of the Arts London Dr. François MARANDET, PhD, Paris-IV, Specialist in the Art Market in Paris in the First half of the 18th century Andrew MARSH, MA Curating MA at Goldsmiths College, Curator in Practice on BA Culture, Criticism and Curation at Central Saint Martins Nathalie MOUREAU, Assistant Professor of Economics, Université de Montpellier III Paul Valéry, Writer on the contemporary art market Anna MOSZYNSKA, MA, History of Art, Courtauld Institute of Art London, Author and writer on contemporary art. Pierre SAURISSE, PhD Rennes University, France; art historian and critic Marie TAVINOR, MA IESA/ University of Warwick, PhD (forthcoming) the Royal Holloway, University of London, on British art at the Venice Bienalle Massimiliano TEDESCHI, MA Art History, MA Sotheby s, MSc in Psychology, director of marketing consultancy Sarah THELWALL, MBA Imperial College, strategist and consultant in the Creative Industries and founder of MyCake.org Gerrie VAN NOORD, MA Art History, University of Amsterdam, Associate Lecturer MA Arts Policy & Management, Birkbeck, University of London, and freelance editor. Zoe WHITLEY, MA Royal College of Art, PhD (forthcoming) University of Central Lancashire. Curator TATE Modern Image copyright IESA 16 17

12 Internships Internships are considered crucial to the student development for gaining experience and putting into immediate practice what has been learnt in class. In many cases these internships have proved to be pivotal in the development of the careers of our students, being the first encounter with the job market, working in a different international environment or simply changing career towards new interests. For this reasons students are expected to work during their summer break. Places where students have interned recently: Sotheby s, Paris, London, Amsterdam and New York Christie s, Paris, London and New York Phillips London Bonhams London Victoria and Albert Museum Musée de la Ville de Paris Tate Modern Whitecube Gagosian Sprüth Magers Marian Goodman Paddle 8 And many more galleries around the world, consultancies & businesses. Past students have also been adamant that their internships had changed the way they look at the art market; here is what some recent graduates have told us: Alexandra, MA 2010: It was very important for me to experience two kinds of auction houses (Cornette de Saint-Cyr, Paris and Sotheby s). They both offered a great experience in terms of career and also for my dissertation, which I wrote on contemporary art as an investment. Looking back, I am highly satisfied with that choice as it contributed to improve my dissertation and eventually led me to my first job. Marie Theresa, MA 2013: All my experiences, mistakes and successes from last year s internship at Sprüth Magers have been definitely very helpful to prepare me for my first job within the gallery. I always got encouraged and supported by the staff members to build on my experience from the internship to be able to take over more and more tasks as my personal responsibility. Janelle, MA 2014: My internship, which I discovered on our trip to TEFAF, gave me the opportunity to learn things about galleries that I would not have learned in a classroom. I learned the importance and value good research holds for gallery owners when selling pieces. I discovered the use of fairs to promoting the gallery to new clients, and bringing back previous clients.. Image copyright IESA 22 19

13 Alumni Our students come from all over the world, creating a strong network of engaged and active professionals in the art world, with jobs in major auction houses, dealerships, consultancies and many other types of professions. Over 80% of our students are working in the art market in different capacities. The partnerships IESA has developed with highly regarded institutions in the arts are very unique. Being able to interact and study within the White Cube, the Sir John Soane s Museum, and attend various symposium series among top galleries is greatly beneficial at a postgraduate level. It gave me an opportunity to extend my network, discuss topics I was interested in pursuing after graduating, and also gain a very current and accurate perspective on the state of the art world. Marine France and New York North America San Francisco Phoenix Chicago New York Washington Boston Houston New Orleans Montreal Vancouver Central and South America Buenos Aires Sao Paulo Mexico City Caracas Europe London Paris Lyon Lille Amsterdam Rome Florence Brussels Berlin Munich Vienna Milan Lecce Turin Lausanne Basel Geneva Crete Russia Moscow St Petersburg Vladivostok Yekaterinburg Middle East Tehran Beirut Tel Aviv Istanbul Africa Lagos Cape Town Harare Asia Hong Kong Beijing Shanghai Seoul Taipei Singapore Xi an The visits were really helpful as I now go back to all these dealers for my British and American clients Also staying in touch with the professors, professionals and the other students was of tremendous importance in the development of my business Not to forget that I made excellent friends! Brooks - Virginia and London My studies have influenced the choice and direction of my career greatly. The period of my studies was a special experience for me, one that I would recommend to anyone. Combining living abroad and studying in a small group of people, following the guidance of attentive professors while visiting museums and meeting people from all over the art world has expended my horizons in a meaningful way. Shir Tel Aviv 21

14 IESA PARIS IESA, The Institut d Etudes Supérieures des Arts, was created by Jean-Marie and Françoise Schmitt in 1985 in Paris as a vocational, dynamic and student-centred alternative to the more rigid and theoretical system in French universities. IESA offers undergraduate and graduate programmes validated by the French state in three areas: the art market, cultural events management and multimedia. Programmes taught in English MBA (12 months) Professional Master in Art and Luxury management Professional Master in Contemporary Art: Communication, Sales and Display Professional Master in Tourism Semester Programme Third year BA French Art and History For further information, please visit STUDIALIS IESA is part of the Studialis group, together with 23 other higher education institutions. With close to 40 programs taught in English and over 100 taught in French, Studialis is dedicated to providing high-quality education in the fields of business, the arts, cinema, culture, design, theatre and many more. Upon registration in one of their schools, Studialis provides with administrative services to help students prepare their arrival in Paris. Services: 1. Visa information 2. Student accommodation 3. Opening a bank account in France 4. Airport pick up 5. Student guide For further informations, please visit Interested in any of these programmes? More information at: IESA Directors Boris Grebille Pierre-Edouard Schmitt Stéphane Tavard IESA UK c/o the Sir John Soane s Museum 13 Lincoln s Inn Fields, London WC2 A3BP international@iesa.edu IESA Group 5, Avenue de l Opera 75001, Paris France international@iesa.fr 22

15 IESA UK c/o the Sir John Soane s Museum 13 Lincoln s Inn Fields London WC2 A3BP IESA Group 5, Avenue de l Opera 75001, Paris France 28