Class Painting IV

This Course Unit comprises two areas of activity: one focused on the development of a Personal Project and the other on Public Art, promoting the relationship between art and the community. Each area is supervised by its respective lecturer through weekly two-hour teaching sessions. The Course Unit develops students' skills in the conception and realisation of both projects, exploring Painting as a means of critical thinking and as a field for investigating its multiple forms of expression within contemporary artistic practice. Throughout the semester, students are encouraged to conceive and develop robust projects that are critically informed and responsive to the current artistic context. Particular emphasis is placed on the documentation of the creative process and, at the conclusion of the projects, on the production of high-quality records for purposes of promotion, dissemination, and portfolio development.

Not applicable

Projects should follow a structured artistic research methodology, beginning with the definition of an initial idea, theme, concept, or reference. This is followed by theoretical, conceptual, and practical research compiled into a research dossier. Students then develop two distinct proposals through sketches, photographic records, drawings, and/or pictorial studies, before selecting the most suitable option for further development. The chosen project is realised with consideration for scale, materials, techniques, and the formal and conceptual relationships between its elements, including its interaction with the exhibition space and potential site-specific dimensions. The project culminates in a public presentation, addressing installation, display, audience engagement, and deinstallation. Finally, students produce a portfolio containing photographic documentation of the completed works, both individually and within the exhibition context.

The pedagogical approach of this Course Unit is based on individual tutorial supervision, aimed at fostering students' conceptual, technical, and critical development. Tutorials focus on the Personal Project, promoting artistic research through the discussion of concepts, references, bibliography, and working methodologies appropriate to each proposal. The aim is to broaden visual culture, encourage experimentation, and diversify creative languages and processes, complemented by group discussions that foster critical and self-critical reflection. In the Public Art component, students develop projects in collaboration with a specific community and context, progressing through site analysis, proposal development, the possible production of maquettes, institutional approval, and project implementation. Supervision includes tutorials, site visits, and support during execution. The Course Unit also emphasises portfolio presentation and the documentation of completed projects.

KWON, M. (2002). One place after another. Site-specific art and locational identity. Cambridge Massachussets. The MIT Press. RICHTER, G. (1995). The Daily Practice of Painting: Writings and Interviews, 1962 - 1993. Londres. Thames & Hudson. ELKINS, J. (1999). What Panting is. London/New York: Routledge. SCHWABSKY, B. (2019). The Observer Effect. On Contemporary Painting. Berlin: Sternberg Press PONTÈVIA, J.-M. (1993, 2ª ed.) La Peinture, Masque e Miroir. Écrits sur l¿art et pensées détachées. Périgueux: William Blake & Co. RICHTER, G. (2009). Fotografías pintadas. AV Proyectos BISHOP, Claire (2012). Artificial Hells ¿ Participatory art and the politics of spectatorship, Verso: London, New York KWON, Miwon (2002). One place after another. Site-specific art and locational identity. Cambridge Massachussets: The MIT Press LACY, S. (1995). Mapping the terrain: new genre public art. Seattle, Washington: Baypress