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Lecturer(s)
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Pitrmuc Jiří, MgA.
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Kovanda Jiří, doc.
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Course content
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These information are in the annotation of the course.
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Learning activities and teaching methods
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unspecified, unspecified, unspecified, unspecified
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Learning outcomes
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Performance - we can also say "the art of action" - is a way of artistic expression, in which the artist's body and their behaviour 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. Activities of the Studio thus primarily concern performance and everything related to this form of artistic expression. First of all, this involves work with media that are used for recording and documenting these activities, i.e. photography and video. Further, we will deal with means that are closest to the action art, i.e. installation and object. However, I am convinced that an artist's creation cannot be reduced to only one possible means of expression today. Therefore, students will be given a chance to use any suitable means to express what they want to express, regardless of the Studio specialization. As a matter of course, we will also accentuate students' insight and familiarity with their colleagues' creation, both in our immediate surroundings and on the international art scene. 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 for instance includes 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 Faculty, 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 somehow related to it, as this is the only way students can utilize everything provided by studies at the Faculty in the most effective way. It is not possible to exactly define themes (syllabus) of teaching per weeks (blocks) of courses, as this is a type of teaching specific for art colleges. This subject has a form of studio teaching, which is very flexible and tries to address individual needs of students, both in the field of theory and of practical realization of the resulting product-artifact. This means that during the entire semester unique current topics (theoretical, technological) are solved according to how the gradual realization of individual projects develops depending on specific assignments. Therefore, the topics being solved cannot be strictly defined in advance, as they gradually crystallize during the semester.
The gained capabilities constitute an encompassment and an aquirement of knowledge and experience in the given field of study, they result from a concrete annotation of the subject and are aimed at a profile´s fulfilment of the graduate of the given field of study.
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Prerequisites
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Successful completion of the previous study
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Assessment methods and criteria
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unspecified
1. Fulfilling partial tasks and assignments throughout the semester 2. Active participation in the Studio tutoring
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Recommended literature
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Adler, Phoebe; McCorquodale, Duncan (eds.). Contemporary Art in Eastern Europe. London Black Dog Publishing, 2010.
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Adrian Henri. Environments and Happenings. Thames and Hudson, 1974.
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Bishop, C. Artifical Hells, Participatory Art and the Politics of Spectatorship. Verso, New York, 2012.
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Bryzgel, Amy. Performance Art in Eastern Europe since 1960. Manchester University, 2017.
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GOLDBERG, Rose Lee. Performance Art. Thames & Hudson, London, 1990.
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J. Kastner (ed.). Land and Environmental Art. Phaidon, 1998.
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J. Mayer (ed.). Minimalism. Phaidon, 2000.
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Kemp-Welch, Klara. Antipolitics in Central European Art. I. B. Tauris, London/New York, 2014.
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Morganová, Pavlína. Akční umění. Votobia, 1999.
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T. Warr (ed.). The Artist's Body. Phaidon, 2000.
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U. Grossenick (ed.), B. Riemschneider (ed.). Art at the Turn of the Millenium. Taschen, 1999.
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