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Presentation
Presentation
This theoretical and practical CU will be based on class discussions and analysis, tutorials and practical exercises, visits to artists' studios, cultural institutions, and other resources. Students will receive constant feedback and feedforward to contextualize their practice.The writing of micro-essays, artist statements, and curatorial proposals for personal projects will be encouraged.
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Class from course
Class from course
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Degree | Semesters | ECTS
Degree | Semesters | ECTS
Master Degree | Semestral | 5
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Year | Nature | Language
Year | Nature | Language
1 | Mandatory | Português
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Code
Code
ULHT7008-10171
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Prerequisites and corequisites
Prerequisites and corequisites
Not applicable
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Professional Internship
Professional Internship
Não
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Syllabus
Syllabus
0. Legacies of aesthetics and artistic thought from the 17th to 19th centuries. 1. The 20th century: postmodernism; concerns and trends: sublime, abjection, horror, performance, body art, site-specific, digital art, autofiction; disciplines, borders, and contemporary art systems. 2. The 21st century: remediation and liveness; ecology and the Anthropocene; decolonization; intervention and politics; mimetic studies and hypermimesis; AI; professionalization and labor organization of artists and artistic structures. 3. The gesture of self-theorization.
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Objectives
Objectives
To know the relationships between critical theory, art systems, cultural techniques, symbolic production. To understand the genealogy of critical thinking, framing it historically in the light of theoretical paradigms, with a view to artistic production. To recognise and questioning the intersections of art theory with culture, politics, identity, society as experience - its role as a cultural technique (practical, symbolic and aesthetic). To understand the contingency of the contemporary as a phenomenon of mediation. To research with method and critical judgment the arts system and its impact on the progress of the artistic project. Strengthen proposals that are articulated with the artistic project to contribute to the creation of an micro-community that promotes democracy, equity and universality. To develop interdisciplinary projects with impact on the academic, artistic, historical and critical context of art theory. To promote research with impact in the society, and other geographies.
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Teaching methodologies
Teaching methodologies
This theoretical and practical CU will be based on class discussions and analysis, tutorials and practical exercises, visits to artists' studios, cultural institutions, and other resources. Students will receive constant feedback and feedforward to contextualize their practice.The writing of micro-essays, artist statements, and curatorial proposals for personal projects will be encouraged. Questioning, circumscribing, and clarifying problems will be the main forms of exploration, alongside the text heuristics, to outline a framework for reflection on issues, fields of analysis in art theory, critical theory, and artistic production. This methodology will be complemented by practical exercises, such as inverted classroom, in the creation of personal project dossiers that extend and demonstrate the applicability of the concepts explored in the UC. Verification and follow-up of acquired skills will be conducted in an open studio (in which students will present their reflections and work).
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References
References
Bourriaud, N. (2002) Relational Aesthetics. Presses du Reel, Paris. Danto, A. (1992) Beyond the Brillo Box: The Visual Arts in Post-Historical Perspective. Farrar, Strauss and Giroux, New York. De Duve, T., (1998) Kant After Duchamp. MIT Press, Cambridge, Massachusetts, London, England. Elkins, J. (2003) What Happened to Art Criticism? Prickly Paradigm Press, Chicago, USA. Foster, H., Krauss, R., Bois, Y-A. (2004) Art Since 1900. Thames and Hudson, New York, USA. Harrison, C., Wood, P. (2000) Art In Theory 1900-2000: An Anthology Of Changing Ideas. Blackwell Publishing, New Jersey, USA. Kittler, Friedrich [1986]. Gramophone, Film, Typewriter. Stanford University Press, Stanford, California. Luhmann, N. (2000) Art as a Social System. Stanford University Press, Stanford, California. Reeves-Evison, T., Shaw, J. K. (2017) Fiction as Method. Sternberg Press, London. Siegert, B. [2015] Cultural Techniques – Grids, Filters, Doors, and Other Articulations of the Real. Fordham University Press
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Assessment
Assessment
A avaliação é constituída por dois elementos.
O primeiro elemento corresponde a um exercício de apresentação de uma problemática a partir do programa, à qual deverá ser adicionada uma problematização/investigação desenvolvida pelo estudante. Esta investigação pode ser realizada a partir de desdobramentos teóricos, casos de estudo empíricos (de trabalho próprio ou de artistas escolhidos para explorar e correlacionar). O segundo elemento corresponde à elaboração de um trabalho final prático, que envolva a contextualização de obra própria e de um dossier de projeto com um ensaio (4000 a 5000 palavras) que reflita os seus conceitos principais.
Ponderação da avaliação: primeiro elemento - 40%; segundo elemento - 60%.
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The assessment consists of two elements.
The first element corresponds to an exercise of presentation of a problem from the program, to which a problematization/investigation developed by the student must be added. This investigation can be carried out based on theoretical developments, empirical case studies (of own work or of artists chosen to explore and correlate).
The second element corresponds to the preparation of a practical final work, which involves the contextualization of one's own work and a project dossier with an essay (4000 to 5000 words) that reflects its main concepts.
Assessment weighting: first element - 40%; second element - 60%.
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Mobility
Mobility
No
