1. Introductory semester meeting and determination of the semester plan. 2. Recapitulation of the theme and presentation of the selection of artists; joint discussion of the selection, preparation of the grant application. 3. Contacting artists, analysis of communication with artists, selection of artworks / projects, selection of architect and graphic artist. 4. Detailed production plan. 5. Beginning of project implementation and communication with the gallery institution. 6. Data collection (biographies of authors, overview of their works, thematic research and analysis). 7. Discussion of the database, detailed division of team competencies and determination of the timetable for the final phase. 8-11 "Hot phase" of the realization of the group exhibition - coordination of communication with the authors and the gallery institution, insurance and transportation of works of art, architecture and exhibition installation, printing of invitations and accompanying printed materials, online presentation project, PR activities, communication with the media, implementation of the opening and accompanying program, uninstallation.
|
The four-semester Curator's Workshop I-IV course is the backbone of the study program and an essential part of its compulsory foundation. It introduces students to the complex issues of curatorial activities both theoretically and practically. On the basis of acquired knowledge, the student becomes familiar with the gallery operation in a moderated process - together with others, he sets the year's theme, manages teamwork with the distribution of competences, defines and prepares the curatorial plan, selection of artists, financial balance sheet, realization of the exhibition and PR strategy, etc. In the second semester, students apply a jointly chosen topic to a specific selection of female authors and authors and adapt it to a specific gallery space. At the end of the semester, they implement the project, communicate with the media and the public, compile an accompanying program and process feedback.
The gained capabilities constitute an encompassment and an aquirement of knowledge and experience in the subject and are aimed at a profile´s fulfilment of the graduate of the given field of study.
|
-
APPADURAI, A. The Future as Cultural Fact: Essays on the Global Condition. Verso, London, New York, 2013.
-
BAL, M. Exhibition-ism: Temporal Togerness. Sternberg Press, Berlin, 2021.
-
Bishop, Claire. Installation art: a critical history. 2005. ISBN 978-1854375186.
-
CIPORANOV, D.; KULKA, T. (eds.). Co je umění? Texty angloamerické estetiky 20. století.. Pavel Mervart, Praha, 2011.
-
CÍSAŘ, K. (ed.). Co je fotografie?. Hermann, Praha, 2004.
-
DROSCHL, S.; STARK, F.; EGGER, CH., MOLLER, O.; BELLENBAUM, R. The only performances that make it all the way: Yes, but is it performable?. Sternberg Press, Berlin, 2020.
-
ELKINS, J. Vizuální teorie: současné angloamerické myšlení o výtvarných dílech. H & H, Jinočany, 2005.
-
FOSTER, H.; KRAUSSOVÁ, R.; BOIS Y. A.; BUCHLOH, B. H. D. Umění po roce 1900: Modernismus, antimodernismus, postmodernismus.. První. Slovart, Praha, 2007.
-
Greenberg, B.; Ferguson, B. W.; Nairne, S. Thinking about Exhibitions. Routledge, 1996.
-
Marincola, P. (ed.). Curating now: Imaginative Practice / Public Responsibility. Philadelphia Exhibitions Initiative, 2001.
-
MEYER-KRAHMER, B. Hospitality - Hosting Relations in Exhibitions. Cultures of the Curatorial 3. Sternberg Press, Berlin, 2016.
-
O´KANE, P. History in Contemporary Art and Culture.. Routledge, London, 2022.
-
Sturken, M.; Cartwright, L. Studia vizuální kultury. Praha, 2009.
-
VIRILIO, P. Estetika mizení. Pavel Mervart, Červený Kostelec, 2010.
-
WADE, G. (ed.). Curating in the 21st Century. The New Art Gallery, Walsall - Wolverhampton, 2000.
|