This course combines a theoretical interpretation with a practical attitude to artistic practice emerging from a conceptual basis. The theoretical part focuses on comparison of model examples of creative treatment with conceptual approach and expression, including post-conceptual or nonconceptual reflection, while the practical part verifies the level of understanding the interpretation and the innovative approach in the creative practice of the young adept of art. This means that the doctoral student who assists the student during the exercise, actually fulfills the role of a curator to help them finalize the project and put it in a wider context; i.e. in the form of feedback of the adjusted theoretical frame of the presented lectures. The output of the course has thus a character of the student's separate semestral creative project that arises under supervision of two educators. The final output then is a presentation of the project, an ideally created artwork, and/or its designs developed. 1. Moderated discussion on themes of the course. 2.-3. After Hal Foster: The Return of the Real. 4. -5. After Rosalind Krauss: The Optical Unconscious. 6. -7. After Kasper König: The Object of Performance. 8. -9. After Miwon Kwon: One Place After Another 10. -11. After Hito Steyerl: Duty Free Art. 12. Implementation phase of the projects moderated and coordinated by the instructor 13. Presentation and evaluation of projects.
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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Bishop, Blaire. Artificial Hells. Participatory art and the politics of spectatorship. Verso, London, 2011.
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Bourriaud, N. PostProduction. Tranzit Praha, 2004. ISBN 80-903452-0-4.
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Bourriaud, Nicolas. Relational Aesthetic. Paris: Les Presse Du Reel, 1998. ISBN 2840660601.
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Danto, Artur C. After the end of art: contemporary art and the pale of history. Princeton Universtiy Press, Princeton, New Jersey, 1997.
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Derieux, Florence. Individual Methodology. JRP-Ringier, Zurich, 2007.
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Foster, Hal. Bad New Days. Art, Criticism, Emergency. Verso, 2017.
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Foster, Hal. The return of the real:the avant-garde at the end of the century. MIT Press Cambridge, Mass, 1996.
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Groys, B. Art Power. MIT Press, 2013.
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König, K. The Object of Performance. American Avant-Garde Since 1970. University of Chicago Press, 1991.
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Krauss, R. E. The Optical Unconscious. The MIT Press, Cambridge, 1994.
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Kwon, M. One Place After Another, Site Specific Art and Locational Identity. MIT Press: Cambridge, 2002.
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Möntmann, N. Current Conflicts, Critique and Collaborations. Black Dog Publishing, 2006.
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Scott, T. Play and Participation in Contemporary Art Practices. Routledge, 2015.
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Steyerl, H. Duty Free Art. Art in the Age of Planetary Civil War. Verso, 2017.
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