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Class Contemporary Artistic Perspectives V

  • Presentation

    Presentation

    This subject consists of the demonstration, analysis and debate of a set of relevant themes and contemporary artistic production procedures in order to,  on the one hand, provide students with the extension of cultural knowledge within the scope of contemporary art (also considering its historical, social and technological framework), on the other, to promote and develop the understanding of different perspective discourses and artistic processes that can contribute to the development and deepening of each student artistic identity.

  • Code

    Code

    ULHT722-17316
  • Syllabus

    Syllabus

     

    1. Debating and sharing different artistic perspectives and creative processes addressing some of the following themes depending on students' personal and artistic interests:

      • Color As Material

      • Body, Gesture, Gender and Sexuality

      • Time and Movement

      • Landscape, Space and Place

      • Screens, Mirrors and Frames

      • Archive and Memory

    2. Types of authorship documents:

      • Types of presentation text (Biography, Artist Statement, CV) and their suitability for different contexts; examples demonstration.

      • Portfolio options: digital portfolios (PDF); web portfolios (website); Portfolios for applications depending on different objectives; examples demonstration.

    3. Project Dossiers:

      • Objectives and types of project dossiers: Application projects; Proposals for exhibitions.

      • Organization and structure according to specific aspects (rules and regulations, budgets, sketches, images, technical riders, synopses or descriptive notes).

  • Objectives

    Objectives

    • To develop critical thinking and create an idiosyncratic and original discourse about student’s own artistic practice, placing it in a contemporary perspective

    • To identify, understand and apply conceptual and artistic language in a debate, as well as in an artistic and authorship discourse about their work process;

    • To self-analise, circumscribe and apply his/her artistic identity in the development and production of original projects

    • To interpret and critically analyze different contemporary artistic perspectives and contexts, articulating with the specificity of creative procedures, and substantiating opinions in relation to the themes/artists addressed

    • To prepare fully original documents that express student’s concerns and artistic motivations, using a cohesive and intelligible discourse with a critical sense about his/her own identity and artistic authenticity

    • To develop autonomy and problem-solving skills in creating dossiers for his/her own artistic projects.

  • Teaching methodologies and assessment

    Teaching methodologies and assessment

    The methodology focuses on the student’s active participation in their learning process, encouraging their commitment/investment in achieving the objectives of the subject. All syllabus contents (and pedagogical resources) are previously available through Moddle, allowing students to come prepared for class (Flipped Classroom) debating collectively on the themes/artists/works they consider most relevant to their artistic practice and thus formulating their own questions and concerns. The knowledge acquired through solving real-world problems (Hands-on) is put into practice while promoting the development of soft skills such as autonomy, organization, analytical and critical thinking, and argumentative and critical discourse in the artistic universe. Whenever possible, study visits will be organized or invitations will be sent to artists/curators, enhancing proximity to the artistic and cultural community.

  • References

    References

    AAVV. Marte 4: da criação artística à intervenção espacial. Lisboa: AEFBAUL, 2011.

    Buren, Daniel. “The Function of the Studio.” October 10, 1979, pp. 51–58.

    Deleuze, Gilles. “What Is the Creative Act?.” French Theory in America. Ed. Sylvère Lotringer and Sande Cohen. New York/London: Routledge, 2001, pp. 99–107.

    Duchamp, Marcel. “The Creative Act.” The Essential Writings of Marcel Duchamp. Ed. Michel Sanouillet and Elmer Peterson. New York: Thames & Hudson, 1973, pp. 138–140. 

    Filipovic, Elena, ed. “Introduction & Collaborative Projects.” The Artist as Curator. Köln: Walther König, 2018.

    Jürgens, Sandra Vieira. Instalações provisórias: independência, autonomia, alternativa e informalidade nas práticas artísticas e expositivas em Portugal no século XX. Dissertação de doutoramento, FBAUL, 2014.

    Jürgens, Sandra Vieira. «A Acção do Artista-Comissário». Marte, n. º 2, 2006, pp. 90-92.

    Mata, Ana. O Apelo. Estudo Sobre a Vocação. FBAUL, 2015.

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