Objective of the course – aims of the course unit:|
Students will have a good orientation in current art issues.
Objective of the course – learning outcomes and competences:|
Students will have a better knowlege of the development f art after 2000 (personalities, institution).
Students must have a god knowledge of art after 1945.
Course contents (annotation):|
This course will consist of an equal proportion of lectures and seminars. The lectures will focus on current topics in contemporary art, important personalities and events (international exhibitions, fairs, biennals, etc), and the current developmnets in the institutional management of art. The seminars will consist of student paper presentation connected to the issues dealt with at the lectures. During the semester, students will choose the topic of their term paper which they will write during the follow-up summer course.
Teaching methods and criteria:|
Teaching methods depend on the type of course unit as specified in the article 7 of BUT Rules for Studies and Examinations.
Assesment methods and criteria linked to learning outcomes:|
1. Czech art after 2000 (institutional stagnation - regional museums are no longer managed by the ministry of culture, but by the regional governments; ten years of National Gallery under the rule of Milan Knizak, the double Prague biennale; new art competitions; galleries run by artists; development in art education and art criticism)
2. Art of the last decade: important personalities
3. local specificity
4. new institutionalization: the biennale boom, its consequences
5. the paedagogical turn in art (from artifacts to discourse - the supplementary programs, discussions, lecture blocs, etc). curators and artists getting closer
6. specific art or general creativity? Old questions about the borders of art in a new cloak. DIY aesthetics, street art and its socializing vatiants (guerilla gardening, guerilla knitting], the erosion of the notion of "original authorship" in the field of digital media, the transfer fo art strategies (such as remake, apropriace, remix, re-editace…] onto the level of user tactics
7. is everything an installation? Installation as a genre, installation aesthetics (various trends and regimes after 2000)
Specification of controlled education, way of implementation and compensation for absences:|
Attendance at lectures is not mandatory.
Barbara VANDERLINDEN – Elena FILIPOVIC (eds.), The Manifesta Decade: Debates on Contemporary Art Exhibitions and Biennials in Post-Wall Europe. Cambridge MA: MIT Press, 2005
Paul O’NEILL & Mick WILSON (Eds.), Curating and the Educational Turn. London: Open Editions a De Appel Arts Centre, 2010.
Miwon KWON, One Place After Another. Site-Specific Art and Locational Identity, Cambridge, MA – Londýn: MIT Press 2002
Ondřej HORÁK (ed.), Místa počinu. Praha: Komunikační prostor Školská 28, 2010.
Boris GROYS, Going Public. New York – Berlin: Sternberg Press, 2010.
Nicolas BOURRIAUD, Postprodukce, Praha: Tranzit, 2004.
Elena FILIPOVIC – Marieke VAN HAL – Solveig ØVSTEBO (eds.), The Biennial Reader, Hatje Cantz, 2010.
Claire BISHOP, Installation Art, London: Tate Publishing, 2011.