Overall objectives:

1 - The subject prepares the student to produce an artistic project contextualized in local space reality, bringing it to the community with contributions that question the current days by a thorough investigation.
2 - The work program shall convene and articulate knowledge of conceptual, technological and methodological acquired throughout the course organizing the phases of a project, from conception, feasibility and reception, rethinking the creative process, from concept to technical resources and constraints to implementation and materialization, selecting the appropriate and exploring relationships between art, sociology, philosophy, science and technology resources, guiding the practice of management, planning and feasibility, fostering dialogue, interpretation and individual and collective expression in the process, gradually reaching an artistic personal and independent discourse, considering options and testing into the complexity of the artistic object.

Syllabus:

1 - Individual or collective Art Project: portfolio, theoretical framework, exhibition, intervention, demonstration.
2 - Methodology of an art project: links between personal experiences and knowledge of the surrounding reality, creativity and creation processes.
3 - visualisation of ideas: Preparatory studies, argumentation, debating, presentation.
4 - Use of technology: adapting specific solutions to individual projects, operating different devices in the materialization of artistic ideas.
5 - Art, resources and spaces of production (art and context).
6 - Artistic languages and mediums: confluence and hybridizations. Installation art as an hybrid.
7 - Art fruition and society.
8 - Individual/collective authorship: dilution, anonymity, the author as a producer.

Literature/Sources:

Badiou, Alain , 2004 , ?Fifteen Theses on Contemporary Art? in Lacanian ink Vol. 23, Spring, 2004 ,
Badiou, Alain , 2005 , The Handbook of Inaesthetics , Standford University Press
Benjamin, Walter , 1992 , Sobre Arte, Técnica, linguagem e política , Relógio d?água
Birnbaum Daniel. WALLENSTEIN, Sven-Olov , 2019 , Spacing Philosophy: Lyotard and the Idea of the Exhibition , Sternberg Press
Bourriaud, Nicolas , 2002 , Postproduction. Culture as Screenplay: How art reprograms the world , Lukas&Sternberg
Bourriaud, Nicolas , 1998 , Relational Aesthetics , Les Presse Du Reel
Cook, Sarah; Graham, Beryl; Dietz, Steve , 2010 , Rethinking Curating Art after New Media , MIT Press
Costa, Tiago , 2016 , O Cego que Atravessou Montanhas - Conversas com Luis Miguel Cintra , Orfeu Negro
Danchev, Alex [ed] , 2011 , 100 Artits? Manifestos From the Futurists to the Stuckists , Penguin
Debord, Guy , 2012 , A Sociedade do Espectáculo , Antígona
Foster, Hal , 2017 , Bad New Days: Art, Criticism, Emergency , Verso
Foster, Hal , 2020 , What comes after farce ? , Verso
Heidegger, Martin , 2005 , A Origem da Obra de Arte , Edições 70
Krauss, Rosalind , 2002 , ?Sculpture in the Expanded Field? in The Anti-Aesthetic: Essays on Post-Modern Culture. , Bay Press
Krauss, Rosalind. Foster, Hal. Bois, Yve-Alain. Buchloh, Benjamin. Joslelit, David , 2011 , ?The predicamente of contemporary art? in Krauss, Rosalind. Foster, Hal. Bois, Yve-Alain. Buchloh, Benjamin. Joslelit, David. (ed) Art since 1900. Modernism. Antimodernism. Postmodernism , Thames & Hudson
Leavy, Patricia , 2009 , Method meets Art: Arts-based Research Practice , The Guilfodf Press
López Pérez, Ricardo , 1995 , Desarrollos conceptuales y operacionales acerca de la creatividad , Santiago, Universidad Central, Escuela de Ciencias de la Educación.
Nollert, Angelika; Rogoff, Irit Rogoff, et Al. , 2006 , A.C.A.D.E.M.Y: Visual essays , Revolver Verlag
Orwell, George , 2008 , Por que escrevo e outros ensaios , Antígona
Rancière, Jacques , 2006 , The Politics of Aesthetics , Continuum
Sardo, Delfim , 2017 , O Exercício Experimental da Liberdade: Dispositivos da arte no século XX , Orfeu Negro
Satori, Giovanni , 2002 , Homo Videns, La Sociedad Teledirigida , Santillana Ediciones Generales
Steiner, George , 2002 , Gramáticas da Criação , Relógio d?Água
Taylor, Fig , 2013 , Cómo crear un portfolio y adentrarse en el mundo profesional, Guía de orientación para creativos , Gustavo Gili

Assesssment methods and criteria:

Classification Type: Quantitativa (0-20)

Evaluation Methodology:
An expository method (deductive and inductive) will be used, combined with interrogation, dialogue, and fostering research in art. The tutorial follow-up will be based on argumentation and debate methods for the consolidation of contents, stimulating critical thinking and logical reasoning. Demonstrative method will be used, adapting to specific practices (personal project). The assessment will be periodic and continuous. Pre-assessment session (qualitative nature). The continuous acessement (10%) assumes attendance, work and student participation in class and extracurricular activities relevant to the discipline. Research 30%: Plastic, conceptual and theoretical research; Plastic essays 30%: Production and adaptation of work proposals to the space and the public; Final proposal 30%: Physical work, theoretical reflection and communication of proposals.