Class Seminar II: Communication and Arts

  • Presentation


    Seminar focused on the analysis of contemporary art and its communicational discourse that replaces the traditional idea of the art object.

  • Code


  • Syllabus


    1. Introduction. Definition of classical and modern paradigma in art.

    2. The end of art history and the Global Art

    3. The Contemporary Art paradigma

    4. The genealogy of Contemporary Art

    5. The Contemporary Art Discourse

    6. Critical aproach to a dogmatic analysis of contemporary art discourse

    7. The provocation of Contemporary Art: the transgression of Art's limits

    8. The provocation of Contemporary Art: the transgression of Etics' limits

    9. The provocation of Contemporary Art: the transgression of Law's limits

    10. Contemporary Art market

  • Objectives


    1. To explore the ways in which contemporary art requalified most of the trends and issues explored in modernism, intensifying the work's relationship with the viewer, with the technical devices and with the space in which it is inserted;

    2. To understand how new discourses emerged from these new connections through installation, video, performance, digital technologies, designating the public as operator and co-author;

    3. To analyse the contemporary art social and economic status;

    4. Deconstruct and discuss the idea of the artist and the work of art;

    5. To stimulate the critical point of view around the contemporary art paradigma.

    6. Understanding the contemporary art mechanisms of functioning and developing a critical capacity in relation to them;

    7. Understanding the contemporary art mechanisms of functioning and developing a critical capacity in relation to them.

  • Teaching methodologies and assessment

    Teaching methodologies and assessment

    Classes are expository using audiovisual media and critical debate. The evaluation is made through an original critical essay of an artist work, or contemporary art topic (7 to 10 pages, delivered until February 13, according to the methodology provided), which is first presented in class in the last sessions before the classes ends. The passing grade is 10. There is an exam for those who have failed similar to the previous assignement.

  • References


    BELTING, Hans (2003). Art History After Modernism. Chicago: The University of Chicago Press

    BELTING, Hans, Andrea Buddensieg and Peter Weibel eds. (2013). The Global Contemporary and the Rise of New Art Worlds. Cambridge/MA: The MIT Press

    CAUQUELIN, Anne (2010). Arte Contemporânea. Lisboa: Publicações Europa-América

    CURNIER, Jean-Paul & Consorts (1997). Le MAC de Marseille. Une affaire de musée d’art. Paris: Sens & Tonka

    DANTO, Arthur C. (1997). After the End of Art. Contemporary Art and the Pale of  History. Princeton: Princeton University Press

    DUMBADZE, Alexander and Suzanne Hudson eds. (2013). Contemporary Art. 1989 to Present. Oxford: Wiley-Blackwell

    ELKINS, James (ed.) (2007). Is Art History Global? London: Routledge

    ESTEROLLE, Nicole (2015). La Bouffonnerie de l’art contemporain. Paris: Jean-Cyrille Godefroy

    GALENSON, David W. (2009). Conceptual Revolutions in Twentieth-Century Art. Chicago: The University of Chicago Press


  • Office Hours

    Office Hours

    Nome do docente  

    Horário de atendimento











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