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Problematics of Contemporary Art

Code 13217
Year 1
Semester S1
ECTS Credits 15
Workload OT(15H)/TP(45H)
Scientific area Artes
Entry requirements No entry requirements.
Learning outcomes This CU aims to be a space of interdisciplinary discussion that may permit a broader perspective on contemporary art after its confrontation with an ample set of topics, questions and problematics.
It is our goal that it allows to:
- Frame practices and processes on art in contemporary’s wider contexts;
- Formulate questions of study and predict problems connected with the explored topics;
- Interpret research results, finding and exposing conclusions in a critical manner;
- Communicate ideas and results using (and integrating) a variety of formats.
Syllabus 1. Presentation. Organization and planification of the semester
2. (Im)Materialities. Object – Concept – Experience / From dematerialization to the return of matter within Media Arts
3. Creation vs. Production – hacking, swapping, remixing,… as creative processes / The continuous problematization of the artist as author
4. Site specific. From space and place as creation
5. Body specific. From the body as place of creation
6. Hybridism and contagion – The re-signified body / the stigmatized body / the invented body / the experience-body / the work-in-progress body
7. Gender issues. (in)Visibility and manifest
8. Critical landscapes. Graphic landscapes. Sound landscapes
9. Contemporary art’s inheritance of a commitment with reality and with its transformation
10. Curation, archive and ideology – challenges within contemporary art
11. Guests . 01 / 02 / 03
12. Magic Mountain Symposium – Art and Landscape
13. Cinema and Other Arts
14. Evaluation
Main Bibliography ATKINS, R.(2013). Artspeak: A Guide To Contemporary Ideas, Movements, and Buzzwords, 1945 To the Present. New York: Abbeville Press
BELTING, H., Likeness and presence (Chicago 1994)
BOURRIAUD, N. (2008) Heterocronías. Tiempo, Arte y arqueologías del Presente. Murcia: Cendeac
DUPAIGNE, Bernard Dupaigne, Le scandale des arts premiers. (Paris 2006)
GIELEN, P., The Murmuring of the Artistic Multitude: Global Art, Memory and Post-Fordism. Valiz: Amsterdam (2009).
DANTO, A., After the end of art.Contemporary Art and the Pale of History (Princeton 1997)
ELDERFIELD, J. (ed.), Imagining the Future of the Museum of Modern Art (New York 1998)
MEYER, R. (2013). What Was Contemporary Art?. Cambridge: MIT Press
PAÏNI, D., Le temps exposé. Le cinéma de la salle au musée. Cahiers du Cinema/Essais, 2002
PARENTE, A. 2012. Cinema em trânsito. Cinema, arte contemporânea e novas mídias. Rio de Janeiro: Azougue.
KRAUSS, R. The originality of Avant Garde and other Modernist myths, MIT Press, Cambridge 1986
Teaching Methodologies and Assessment Criteria Classes will assume the form of seminars, focusing on the presentation and discussion, by the teacher and the students, of the topics listed on the syllabus (considering the recommended reading materials). Some sessions will bring guests, whose contribution aims to highlight and enhance the goals of the course.
Language Portuguese. Tutorial support is available in English.
Last updated on: 2022-02-20

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