1. Introduction to the issue, discussion, refinement and narrowing of content preferences and sub-topics according to interest and default theoretical knowledge of students, also according to the current annual exhibition plans of gallery institutions. 2. Art as a process of being. 3. The search for identity. Trauma as a starting point for artistic creation. 4. State of weightlessness. Contemplation. 5. General history as a starting point for artistic creation, archival turn. 6. Art as a political statement in changing times. 7. To touch. The importance of haptic sensation; materiality in the process of artistic creation. 8. To listen. Sound and color. Examples of artistic practice at the border of genres. 9. Dance and performance. Manifestations of physicality, dimensions of the human body and space, movement and its recording. 10. Emotional commitment, love, relationship - artistic couple. Creation in pairs or in a commune. 11. Final colloquium, discussion of courses, presentation of topics for the next semester.
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A cycle of lectures and subsequent group discussions including model examples of specific creative strategies of selected artists, representing defining trends in visual art. The course is not designed as a classic art study excursion into the recent past. Its concept is guided by an effort to bring students closer to the contemporary climate, human attitudes, personality traits, and above all the motivational starting points of specific creators and the regularity of the communication framework on the artist-curator axis. The topics of individual meetings are framework, not immutable. At the beginning of each semester, discussions with students may result in partial thematic shifts conditioned by student preferences or the dynamics of the development of the art scene. The first semester is focused on the "archeology of contemporary art", i.e. on the development lines of artistic creation that condition them and they model the current character of contemporary fine art.
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.
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Alster, D.; SIKORA, P. (eds.). Dělení těla.. AVU, Praha, 2021.
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ASSMANN, Aleida. Prostory vzpomínání: podoby a proměny kulturní paměti. Praha, 2018. ISBN 978-80-246-3433-3.
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BUCKMINSTER FULLER, R. Návod k obsluze vesmírné lodi Země.. UMPRUM, Praha, 2022.
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ČECH, V. (ed.). Choreografie mysli: Úsilí: Tělesný pohyb jako časová (dis)kontinuita.. AMU, Praha, 2022.
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DESAI, D.; HAMLIN, J.; MATTSON, R. History as Art, Art as History: Contemporary Art and Social Studies Education. Routledge, London, 2009.
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GRONLUND, M. Contemporary Art and Digital Culture. Routledge, London, 2016.
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HLAVÁČKOVÁ, J.; VOJTĚCHOVSKÝ, M. Zvuky Kódy Obrazy / Sounds Codes Images.. ArtMap, Praha, 2021.
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CHOY, B.; ESCHE, CH.; MORRIS, D.; STEEDS, L. (eds.). Art and its Worlds: Exhibitions, Institutions and Art Becoming Public. Afterall, London, 2021.
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O´KANE, P. History in Contemporary Art and Culture.. Routledge, London, 2022.
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RESCH, M. How To Become A Successful Artist. Phaidon, New York, 2021.
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ŠIMOTOVÁ, A. Uvnitř - Vně: Malá sdělení. Trigon, Praha, 1994.
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