English

5

Not applicable.

The home faculty only

The experience, information, and confrontation with the works of previous generations of artists. Students should be able to compare the documents with common narrative "industrial" film.

User IT skills. Basic orientation in the history of 20th century culture.

Not applicable.

The presentations are divided into semester-long blocks which deal with individual themes related to perfomativity as a phenomenon. Key concepts such as experience, contemporaneity, avant garde, ritual, play, indeterminacy, social engagement, participation, and improvisation are explored, relying heavily on artistic texts and theoretical works. Lectures are accompanied by audiovisual material. The classes are based on presentation and class discussions. Students will asked to participate actively in discussions based on reading assignments.

Final evaluation will be based on attendence (75%), active participation in class, the presentation of a project or theme of the student's choice accompanied by a theoretical text (comparative study, curatorial project, personal manifesto (approx. 2 n/s)) based on the given theme of the semester. Semester projects will be assesed based on relevance of theme and quality of research and delivery (presentation, text).

Key Themes: Oral Tradition – Myth, Steps to be Taken – Ritual, The Nature of the Game – Play, Performing Culture, Conceptual Approaches, Language Texts and Signs.

Myth and ritual are an integral aspect of culture and society, and as such an integral aspect of artistic practice. Throughout the course of the semester we will look at ritual and native cultures, reenactment, and its use within performative practice in terms of samanism, the guru, and the creation of a tribe whether as a unique social entity or a digital community. We will also look at work that is inspired by a return to paganism or inspired by a close relationship to nature and phenomena that are to be found through its observation and animation. Particular attention will be paid to the concept of experience and its transference into an open artistic work which assumes participation and/or interpretation.

Not applicable.

Documents of Presence and Experience is a series of lectures accompanied by audiovisual projections. art films, videos, and documentaries and excerpts from lectures by international artists and collectives from the early 20th century to the present are shown throughout the course, illustrating theoretical deliberations on the theme of Process and Structure within artistic practice. Art and artist databases, institutional resources, alternative communities, and artist residencies are also showcased within the sessions. Conceptual texts and deliberations are included as part of the curriculum. The course's primary objective is to familarize students with a social history of performative artistic practice through the lens of experiential interpretation. Through ritual and mythmaking as points of departure, the course aims to move through underlying principles that have been adapted and incorporated into contemporary art production.

Projections are optional, but students who are absent must produce a paper corresponding with the presented document on the given session.

Not applicable.

Not applicable.

Art of participation, Rudlof Friehling,  Thames and Hudson - NY (EN)
Art-Action and Participation, Frank Popper, New York University Press – NY (EN)
Artist’s body, Ameila Jones, Phaidon - London (EN)
Knowing Body: The Artist as Storyteller, Luise Steinman, North Atlantic Books – California (EN)

Not applicable.

26 hours, compulsory