Courses offered to exchange students
Winter / First Semester 2026/2027
| code | name of the course | teacher | completion (non-letter grade – credit only / exam) | number of ECTS credits | short description |
|---|---|---|---|---|---|
| 1-SESW | Studio – Exchange Students – winter (students can select only one studio) | tutors of a specific studio | exam (A–F) | 15 | See the faculty's website for short characteristics of the studios here https://www.favu.vut.cz/en/studios. |
| 4AA2000-1 | Art After 2000 1 | Jan Zálešák | exam (A-F) | 4 | The aim of the course is to introduce students to the topics, tendencies and approaches that have had a significant place in contemporary art over the last quarter of a century. Knowledge of current art practice and themes that have resonated in major exhibition institutions should help students to critically articulate their own position and creative direction. Students will gain an overview of the changes in the institutional structure of the art world over the last 25 years. They will become familiar with the major figures and institutions associated with the social and educational turn in the arts. They will be aware of the importance of the interest in archives and memory in contemporary art over the last 20 years and will be aware of the specific position of art from the former Eastern Bloc countries in the context of the “historiographical turn”. |
| TAIF | The Art of Interpreting Film 1 | Barbora Lungová | exam (A-F) | 4 | Students will be encouraged to improve their analytical and critical skills on the material of mostly european film classics from the 1950s - 1070s. Students should understand better the visual aspects of film - camera work, editing, the narrative subject vs the spectator, the open or hidden ideology behind the film, etc. Students will improve their language and communication skills. By studying theoretical articles about films they will be aware of the variety of interpretaion tools and strategies. Students will widen their horizons in a discipline which is not customarily taught at a fine art faculty. The course will cultivate students' critical and analytical abilities. Students will be trained to understand the essential points of academic texts, but will at the same time learn to coherently voice their opinions and interpretations of a particular film/text in written form. During the semester, students will write several short tests checking their reading progress. |
| SCR-W | Screenprinting for Exchange Students – winter | Beáta Kateřina Spáčilová | exam (A–F) | 4 | Patterns and stencils. Methods of print, possibilities of making patterns. Possibilities of use. Mastering of theory and its application in practice during the realisation of designs. Independent realisation of designs by techniques of graphic print. |
| 2ILCR | Image and Language: A Collective Reader | Denisa Kollarová | non-letter grade (PASS/FAIL) | 3 | The course approaches reading visuals and texts as a collective and situated practice. We will gather and share visuals and texts, read texts out loud, and analyse collections of our visual archives. Rather than treating texts (be it prose, poetry, essays or academic texts) and visuals (be it photos, drawings, sketches, scans, screenshots) as stable references, we will work with them as materials in motion, circulating and shifting meaning through composition on the page. This process-based approach will allow to articulate common concerns and questions as points of departure for composing a collective reader. The reader will function as a shared platform, an archive of everyday through which current themes and changing visual landscapes that occupy our minds will be assembled and made public. |
| 2AUDITE | Introduction to Sound | Jiří Suchánek | non-letter grade (PASS/FAIL) | 3 | Introduction to Sound is an introductory course for working with sound that provides master's level students with an introduction to both studio work and music production. The course focuses on orientation to audio studio equipment (microphones, preamps, compressors, virtual synthesizers, samplers, effects processors, DAW software). The course teaches participants professional procedures for recording, editing, and mixing recordings; as well as working with microphones, recording chain, and DAW audio editing programs. The course will offer an introduction to the basics of music production and mixing. |
| 4CALC | Contemporary Art in Local Contexts | Barbora Šedivá | non-letter grade (PASS/FAIL) | 3 | The course takes form of sessions with invited speakers, visits to art events, and field trips to museums and galleries. Students learn about how art institutions operate and examine structures that sustain them. Students familiarize themselves with life at the faculty and get acquainted with the art scene in Brno and beyond. The aim of the course is to introduce students to the local art networks and encourage their participation in them. |
| 2FQI | Feminist (and) Queer Issues in Art, Film, and Beyond (1970–1990s) | Barbora Lungová | non-letter grade (PASS/FAIL) | 3 | The material that has been chosen for the course focuses on the older period of feminism and queer visuality – 1980s and 1990s – and looks at two different sections. Within feminist (and queer feminist) art discourse, it focuses on issues of representation or the lack thereof in the curatorial strategies of dominant art institutions and curatorial narratives, on the issue of the erotic sovereignty of representation in the polemic against the critique of the objectification and sexualization of women's and queer bodies, or on the issue of activist approaches in art (and the risk of their historicization and inclusion in major art institutions and narratives). In the second section of the course, students will be introduced to some of the seminal film works made by queer artists, whether in the 1990s or at the turn of the millennium as part of the so-called New Queer Cinema movement, or older works made in the 1970s by, for example, John Waters or Ulrike Ottinger. |
| FEMS1 | Feminist Seminar 1 | Lenka Veselá | non-letter grade (PASS/FAIL) | 3 | The lecture and seminar series will introduce feminism as a plurality of views and topics related to the issues of emancipation of women and social justice. |
| FOE | Future of Everything | Dragana Zarevska | non-letter grade (PASS/FAIL) | 3 | The course is designed as a general playful exercise in speculative ("what if") thinking combining concepts from speculative design, ecological thought and radical landscapes of the future – on the border of fiction and social reality. Speculative thinking is all about the future, so we are especially going to focus on the human and post-human in the future, the future of work, as well as the possible relations between the human and the non-human labor forces in an approaching post-anthropocene landscape. It is expected that the participation in this course will strengthen students' ability to work with selected theoretical texts and visual materials. The course will also include a lecture by an invited guest from the field of speculative design. The students should be able to reflect on the topic in the form of discussions, essays, or their own creative projects. |
| 1PMA-Z | Media Archive Presentation | Jennifer Helia De Felice | non-letter grade (PASS/FAIL) | 3 | Media Archive Presentation is a series of lectures focused on the archving of ephemeral art. Art and artist databases, institutional resources, community run archival projects and inicitatives are also showcased within the sessions. Conceptual texts and deliberations are included as part of the curriculum. The aim of the course is to examine contemporary approaches to documenting and archiving within artistic practice and as a means of preserving conceptual, audiovisual and digital born content. |
| PR1-Z | Videogram / Projections 1 | Filip Cenek / Ján Solčáni | non-letter grade (PASS/FAIL) | 2 | The reason for these cinema projections is a common experience of perceiving the selected films by the creators who (in the right time) occupied the bordering zones of nobody, thus causing interesting collisions in the field of established modes of perception. These two-hour projections will not be limited by any genre or techniques (they can be absolute films, videographic essays, trans films, etc.) which will help to understand the connections between the film with moving pictures in general and other kinds of art. We will show films reflecting areas of fine arts, experimental films, cult films, as well as “misty pictures”. |
Summer / Second Semester 2026/2027
| code | name of the course | teacher | completion (non-letter grade – credit only / exam) | number of ECTS credits | short description |
|---|---|---|---|---|---|
| Studio (students can select only one studio) | exam (A–F) | 15 | See the faculty's website for short characteristics of the studios here https://www.favu.vut.cz/en/studios. | ||
| 4AA2000-2 | Art After 2000 2 | Jan Zálešák | exam (A-F) | 4 | The content of the course, which is a follow-up of the eponymic course from the winter semester, is contemporary art practice. Since it is not yet possible to take a sufficient distance from contemporary art practice to talk about "art history", the course does not aim to create a timeless canon. What matters in the selection of themes is their current relevance. The content of the summer semester focuses specifically on tendencies in contemporary art and themes that emerged during the second decade of our century. |
| FQCCA | Race, Modern Art and Design | Ladislav Jackson | exam (A–F) | 4 | The aim of the course is to present and discuss the methodological perspectives of ethnic and cultural minority art and the creation of the canon of modern / contemporary art / architecture, while introducing key figures, movements, places, exhibitions and texts that represented the emancipation of ethnic and cultural minorities in visual art / design. |
| SCR-S | Screenprinting for Exchange Students – summer | Beáta Kateřina Spáčilová | exam (A–F) | 4 | Patterns and stencils. Methods of print, possibilities of making patterns. Possibilities of use. |
| 3DMDG | 3D Modeling for Digital Games | Vojtěch Vaněk | non-letter grade (PASS/FAIL) | 3 | The course focuses on selected elements of advanced 3D modelling in the context of digital games. Part of the course is a basic introduction to the making and optimization of textures, application of materials and retopology (high poly vs. low poly) of 3D models. Students will learn to work with software 3D Studio Max, Z-Brush, TopoGun, Substance painter, and Adobe Photoshop. |
| ATP3 | Applied Technology of Painting | Břetislav Malý | non-letter grade (PASS/FAIL) | 3 | In this course, students will acquire knowledge and skills in painting techniques, with a strong emphasis on their applicability to individual creative practice. The course is designed with the understanding that students come with varying levels of prior knowledge and experience. The teaching combines lectures—introducing selected materials and techniques—with practical exercises focused on applying these materials and technologies in painting projects grounded in each student’s creative practice. During the lectures, students will explore the theoretical background of selected painting techniques and gain insight into the basic technological trends in contemporary art, as well as materials currently available on the market. The practical sessions emphasize hands-on application, aiming to identify optimal technological approaches for the professional and high-quality technical execution of painting work. Course topics include: Painting tools, Selection and preparation of painting surfaces, Pigments, Binders, Solvents, Choice of painting technique, Final treatment of surfaces, Archiving the artwork |
| 2AIA | Art Inspires Art: Visual Art in Fiction, Film, and Sound | Sylva Ficová | non-letter grade (PASS/FAIL) | 3 | Introduction to the history of the representation of fine arts in literature, music, and film. Reflection on the “artistry” of literary, musical, and film narration. Development of interest in broader cultural contexts. Inspiration for students’ own artistic work (including poetry). Each session will include an introduction to the topic, a discussion of literary texts, or a presentation of individual readings. Selected excerpts from music and film will accompany the discussion. |
| BDV | Basics of Digital Video for Exchange Students | Tomáš Hrůza | non-letter grade (PASS/FAIL) | 3 | Practically oriented course, dealing with the computer processing of video recordings and emphasizing the development of compositional and creative abilities of students. In the course, the individual approach is prefered, as well as the the teacher´s help with the solution of students´ particular problems in the area of digital video. |
| CNC | CNC Machining – Robots in Artistic Practice | Dušan Váňa | non-letter grade (PASS/FAIL) | 3 | The course is focused on introducing the possibilities of using industrial robots (not only) in spatial art creation. It introduces students to 3D machining and its possibilities, safety of work in a robotic workplace, programming the robot, preparing a 3D model for machining, importing the model into Autodesk PowerMill, generating NC paths, simulating and modifying robot movement, preparing the robot for work, selecting and preparing material for machining. The course includes hands-on exercises in 3D machining. |
| 4CALC2 | Contemporary Art in Local Contexts 2 | Barbora Šedivá | non-letter grade (PASS/FAIL) | 3 | The course takes form of sessions with invited speakers, visits to art events, and field trips to museums and galleries. Students learn about how art institutions operate and examine structures that sustain them. Students familiarize themselves with life at the faculty and get acquainted with the art scene in Brno and beyond. The aim of the course is to introduce students to the local art networks and encourage their participation in them. |
| 2DP | Design Practice | Denisa Kollarová | non-letter grade (PASS/FAIL) | 3 | The course is based on sharing how ways of making and knowing are performed through diverse design practices. Together with invited practitioners and academics we will discuss how we practice making and knowing in design, and how our process of working is performed. The discussion will be complemented by lecture and study inputs, such as curated readings, reviewing design projects in relation to selected topics and invited guest. The thematic focus of the course will change throughout semester. The focus on design as a mode of self‑reflective and process‑oriented practice, one that continually adopts a position in relation to the changing conditions of the project remains at the centre of each meeting. |
| 1PMA-L | Documents of Presence and Experience | Jennifer Helia De Felice | non-letter grade (PASS/FAIL) | 3 | 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 given themes and artistic movements. 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 aquaint the student with the manifesto as a transdisciplinary device. |
| 4IMCP | Installation as a Medium of Creative Practice | Barbora Ilič | non-letter grade (PASS/FAIL) | 3 | The topic of installation is viewed from various angles during the semester course. Teaching is aimed at developing students' independent artistic work. Through teaching and field trips, students will become familiar with the technical aspects, possibilities, and limitations of exhibiting. Significant time will be dedicated to discussions on related topics, such as working with space, working with light, handling existing artifacts in an installation, site-specific installations, the use of technology in installations, and other specific possibilities for exhibiting installation art in a gallery space. Attention will also be paid to artistic installations of an immersive, multisensory, and interactive nature, using various media and techniques. We will also focus on the issue of exhibiting moving images and the transformation of installation strategies in the context of online platforms. The course will include at least two field trips to relevant exhibitions and site visits to selected institutions. |
| 4PAM | Plant, animal, mineral: plants and other natural entities in contemporary art | Barbora Lungová | non-letter grade (PASS/FAIL) | 3 | Students will reflect working with biological material in visual art in theoretical texts and their own artistic practice. The course will provide lectures on aesthetic, etic, and philosophical perception of nature, ecosystems, and landscape and its formation by human activities; we will look at different concepts of wildness and wilderness, at different approaches understanding urban wilderness, community allotment gardening, and to appreciating plants and other non-human entities through the prism of contemporary posthumanist philosophy as it is reflected in contemporary art. Students will be able to consult their work with specialists from The Silva Tarouca Research Institute for Landscape and Ornamental Gardening (vegetation ecology, landscape infrastructure), or with practicing professionals (ornamental gardening). Students’ practical outcome of this course - a materialized or carefully planned artwork – will be the result of these theoretical and practical intersections. Short thematic walks around Brno are also part of the curriculum (they will take place within the scheduled classes) + one day-long field trip (on a weekend day) will be organized. |
| SODM | Sound Design and Mastering | Jiří Suchánek | non-letter grade (PASS/FAIL) | 3 | Teaching of advanced sound work is focused on two areas of studio production: sound design and mastering. In sound design, the student will learn in detail the general principles and practical possibilities of creating and editing sound using digital and analogue processes. Sound design will be implemented in the Cecilia5, Kyma X, Max/msp environments as well as using VST instruments and analogue synthesizer. Mastering instruction will focus on precise mastery of critical listening and understanding of signal finalization and technical standards. Practical exercises will be conducted in Ozone digital software, combined with a fully professional analog mastering chain. |
| 2ZPM | Sound, Space and Power | Filip Cenek | non-letter grade (PASS/FAIL) | 3 | The course looks at sound from two different but connected viewpoints: as a physical force and as a political instrument of power, control, and resistance. Students will trace the history of the weaponisation of listening and sound-making, from Cold War espionage technologies and acoustic crowd-control weapons to the sound of drones over civilian areas. The course also examines how sound shapes public spaces and everyday experiences, affects health, and whose agenda the creation of these spaces serves. It takes a critical look at established concepts in sound studies, contrasting the Eurocentric tradition of listening with decolonial perspectives. The course includes two guest lectures and a week dedicated to group reading and reflection on key texts. |
| PR1-L | Videogram 2 | Ján Solčáni / Filip Cenek | non-letter grade (PASS/FAIL) | 2 | Videogram is a series of lectures on contemporary forms of art, artistic and curatorial practices, and theory. Through online lectures and discussions, it introduces significant figures in contemporary art who often shape narratives and content outside the traditional canon of Western modernism. The series features interviews and lectures with artists, art collectives, theorists, and curators (such as ruangrupa, Slavs and Tatars, Nyege Nyege, Rossella Biscotti, the Institute of Postnatural Studies, etc.). By presenting these voices, the course aims to offer new perspectives on everyday social realities and to cultivate sensitivity and awareness towards knowledge and practices that are typically found on the periphery of mainstream discourse. The course includes an extensive online archive that provides free access to recordings of lectures and discussions, as well as secondary resources, available at https://videogram.favu.vut.cz. |
More about courses for foreign students course detail
Responsibility: Mgr. Michal Mako, Ph.D.