|
Lecturer(s)
|
|
|
|
Course content
|
These informations are in the annotation of the course.
|
|
Learning activities and teaching methods
|
|
unspecified, unspecified, unspecified, unspecified
|
|
Learning outcomes
|
Performance - we can also say "the art of action" - is a way of artistic expression, in which the artist's body and their behavior in certain situations become the main means. These activities are always carried out in real time and real space. Unlike in theatre, the artist is always himself/herself and does not play any part or pretend anything. The activities of this Studio are first of all about performance and anything related to this form of artistic expression. Primarily, it is operating media used for recording and documenting these activities, i.e. the photography and video. Further, we will deal with means that are closest to the action art, i.e. installation and object. However, I am sure that it is not possible today to reduce an artist's creation to only one possible means of expression. Therefore, the students will be given a possibility to use any suitable means to express what they want to, regardless of the specialization of the Studio. The students' horizon and knowledge of their colleagues' creation both around them and on the international art scene will be naturally accentuated too. Not only the process of creating an artefact itself will be important for us, but also its presentation, whether at exhibitions or in media. It is for instance the appropriate selection of works to be presented, their adjustment and installation, interviews and communication your own work to the public, and critics, etc. I find it important that students - if possible -work in the grounds of the school, so that they have the opportunity to confront their work with others, to encounter and communicate with each other. This will enable us to talk regularly, not only about the work itself, but about anything that is connected with it in any way, as this is the only way a student can utilize everything provided by studies at this school in the most effective way.
The student can work independently on their projects without additional tasks and assignments. The student is clear on which issues they are interested in, what they want to deal with, and have determined the direction of their thinking. The student has an ability of critical thinking and consulting their artistic work. They have mastered their own way their work proceeds from the first idea, through preparatory sketches and studies up to the resulting final outcome.
|
|
Prerequisites
|
Successful completion of the previous study
|
|
Assessment methods and criteria
|
unspecified
1. Fulfilling partial tasks and assignments all over the semester 2. Active participation in the Studio tuitions
|
|
Recommended literature
|
-
Adler, Phoebe; McCorquodale, Duncan (eds.). Contemporary Art in Eastern Europe. London Black Dog Publishing, 2010.
-
Adrian Henri. Environments and Happenings. Thames and Hudson, 1974.
-
Bishop, C. Artifical Hells, Participatory Art and the Politics of Spectatorship. Verso, New York, 2012.
-
Bryzgel, Amy. Performance Art in Eastern Europe since 1960. Manchester University, 2017.
-
J. Kastner (ed.). Land and Environmental Art. Phaidon, 1998.
-
J. Mayer (ed.). Minimalism. Phaidon, 2000.
-
Kemp-Welch, Klara. Antipolitics in Central European Art. I. B. Tauris, London/New York, 2014.
-
Pavlína Morganová. Akční umění. Votobia, 1999.
-
R. L. Goldberg. Performance Art. Thames and Hudson, 1990.
-
Roemer, Stefan. Report from the Conceptual Paradise. Silke Schreiber Verlag, Munchen, 2013.
-
T. Warr (ed.). The Artist's Body. Phaidon, 2000.
-
U. Grossenick (ed.), B. Riemschneider (ed.). Art at the Turn of the Millenium. Taschen, 1999.
|