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Class Artistic Project II

  • Presentation

    Presentation

    In this CU, the artistic project initiated in the UC Artistic Project I will be continued in this way: following the processes, strategies and research methodologies inherent to the arts; reinforcing the understanding of the freedom inherent in creative processes; applying the artistic and plastic, theoretical and conceptual skills appropriate and intrinsic to the artistic project under development; participating in a (self-)reflexive way in collective critical dialogues; learning to exhibit/install the body of work and document it (promotional materials: portfolio, press release, invitation, short bio, etc.).  
  • Code

    Code

    ULHT7008-26048
  • Syllabus

    Syllabus

    Theoretical classes: based on examples that support the definition, presentation and rationale of the artistic project, with emphasis on: 1) how to proceed with the visual and plastic development of the theme and the formulation of a central question in a project in the area of Painting, and 2) apply the theoretical and practical approaches chosen for their suitability to the development of a project, taking into account the specificity of the individual artistic process and the different media in which it can be configured considering Painting in the expanded field. Practical classes: carried out in a studio and tutoring format, they are dedicated to the development and implementation of the project, under the supervision of teachers and in dialogue/debate with colleagues. At the end of the semester, students present their artistic project with exhibition criteria, a portfolio and other communication materials (press release, invitation, biography, etc.).
  • Objectives

    Objectives

    Continue the artistic project started at CU 'Artistic Project I', following the processes, strategies and research methodologies inherent to the arts, particularly in their plastic, theoretical and conceptual dimensions in deep interdisciplinary connection with the CU of the study plan. Strengthen understanding of the freedom inherent in creative processes. Apply the appropriate artistic and plastic, theoretical and conceptual skills intrinsic to the artistic project in development, namely in the construction of a well-referenced corpus of work and its own discourse. Participate in a (self-)reflective way in collective critical dialogues. Exhibit/install with criteria appropriate to the artistic project and know how to document by creating a portfolio and other communication materials (press release, invitation, biography, among others).
  • Teaching methodologies

    Teaching methodologies

    Teaching methodologies are based on two models: idea and portfolio presentation classes, led by students, concluded with collective critical discussions. Presentation classes are held at the beginning of the semester. Students share their portfolios and intentions for developing their artistic projects. The collective critical discussions at the end of these presentations develop discursive skills and curiosity about their peers' work in a spirit of reflection and dialogue, guided by respect. The SWAT analysis model should structure the discussion, allowing students to develop the ability to receive and provide feedback openly, opening up to cooperative learning and establishing the class as a learning community. These actions reinforce expected learning outcomes and pave the way for student autonomy. ( See more detailed information in: Funcionamento da unidade curricular )
  • References

    References

    BOURGEOIS, L. (2015). Louise Bourgeois: The Spiders and the Tapestries. Ostfildern-Ruit: Hatje Cantz. DUNINGAM, E. C. (2013). A Celebration Of Light: The Art Of James Turrel. Ostfildern-Ruit: Hatje Cantz. ELGER, D. (2000). Donald Judd Colorist. Ostfildern-Ruit: Hatje Cantz. ELGER, D. (2000). Gerhard Richter: Catalogue Raisonné. Ostfildern-Ruit: Hatje Cantz. FICACCI, L. (2003). PIRANESI: Acqueforti/ Grabados/Águas-fortes. Cologne: Taschen. GOETZ, I., LENCSÉS, L., SCHOR, G., VINKEN, B. 82015). Cindy Sherman. Ostfildern-Ruit: Hatje Cantz. JOICE, P. (1999). Hockney on Art: conversations with Paul Joice. London: Little brown. KABAKOV, I., KABAKOV, E. (2005). An Alternative History of Art: Rosenthal, Kabakoc, Spivak. Bielfeld: Kerber KABAKOV, I., KABAKOV, E. (2003). Where is our place? Milano: charta. KUSTER, U. , SHFF, R. (2015), Peter Doig. Ostfildern-Ruit: Hatje Cantz. SLAGER, H. (2015). The Pleasure Of Research. Ostfildern-Ruit: Hatje Cantz.
  • Assessment

    Assessment

    A avaliação é contínua e presencial e tem dois momentos de avaliação periódica e um momento de avaliação final. O estudante pode requerer exame de recurso e exame de época especial. A avaliação contínua afere-se com a presença e a participação do estudante nos debates propostos em sala de aula, na capacidade de partilhar referências e de fomentar o pensamento crítico nas discussões de turma. Esta componente tem uma ponderação de 30% na nota final.

    Existem dois momentos de avaliação intercalar. No primeiro momento é requerido uma apresentação informal do que está a ser realizado pelo estudante no âmbito do seu projeto. Nesta fase esperam-se o desenvolvimento da obra e o reforço gradual do mapa de referências bibliográficas e artísticas. Esta avaliação tem uma ponderação de 10%, uma vez que se dá num momento inicial do semestre.

    O segundo momento de avaliação intercalar tem uma ponderação de 20%. Nesta fase, o estudante apresenta um relatório visual e informativo que deve mostrar em que ponto de desenvolvimento se encontra o projeto artístico face aos seus objetivos de concretização, seja pela quantidade de experimentações e obra enquadradas no programa concreto de trabalho, seja pelo enriquecimento do mapa de referências bibliográficas, seja pelo que está planeado continuar a desenvolver. Aferir a qualidade plástica e conceptual do projeto em desenvolvimento, numa fase plena de concretizações é o objetivo desta avaliação. As avaliações intercalares são expressas qualitativamente (Não Satisfaz - abaixo de 10 valores; Satisfaz - entre 10 e 14 valores; Bom - entre 15 e 18 valores; Muito Bom - entre 19 e 20 valores).

    A avaliação final dá-se no final das aulas com a apresentação de uma exposição dos trabalhos realizados e de um portefólio que se pode assumir como um ensaio de um catálogo dessa exposição e os materiais de comunicação que dela derivam. Esta avaliação tem uma ponderação de 40% na nota final, expressa numa pontuação de zero a vinte valores. O estudante que tenha faltado a uma das avaliações intercalares e aos momentos tutoriais pode não ser admitido à avaliação final.

    Caso o estudante não tenha uma nota positiva ou queira fazer melhoria da nota obtida em avaliação final pode recorrer ao exame de recurso. Este exame replica a avaliação final, mas para o seu sucesso, o estudante deve apresentar uma melhoria do seu trabalho. Para os estudantes trabalhadores e finalistas há ainda o exame de época especial que acontece mais tarde relativamente ao exame de época de recurso.

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    The assessment is continuous and in person and has two periods of periodic assessment and a moment of final assessment. Students can apply for an appeal exam and a special exam. Continuous assessment is measured by the presence and participation of students in debates proposed in the classroom, the ability to share references and encourage critical thinking in class discussions. This component has a weight of 30% in the final grade. There are two moments of mid-term evaluation. At first, an informal presentation of what is being done by the student within the scope of their project is required. At this stage, the development of the work and the gradual reinforcement of the map of bibliographic and artistic references are expected. This assessment has a weight of 10%, as it takes place at the beginning of the semester.

    The second moment of mid-term evaluation has a weighting of 20%. At this stage, the student presents a visual and informative report that must show at what point of development the artistic project is in relation to its achievement objectives, either by the number of experiments and work included in the concrete work program, or by enriching the map of bibliographic references, or what is planned to continue developing. Assessing the plastic and conceptual quality of the project under development, in a phase full of implementations, is the objective of this evaluation. Interim evaluations are expressed qualitatively (Not Satisfied - below 10 values; Satisfy - between 10 and 14 values; Good - between 15 and 18 values; Very Good - between 19 and 20 values).

    The final assessment takes place at the end of classes with the presentation of an exhibition of the work carried out and a portfolio that can be seen as a catalog of that exhibition and the communication materials that derive from it. This assessment has a weight of 40% in the final grade, expressed in a score of zero to twenty values. Students who have missed one of the mid-term assessments and tutorial moments may not be admitted to the final assessment. If the student does not have a positive grade or wants to improve the grade obtained in the final assessment, they can take the appeal exam. This exam replicates the final assessment, but for success, the student must present an improvement in their work. For working and final year students there is also the special season exam which takes place later than the appeal exam.

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