English

10

Not applicable.

Completion of Studio Practice 1.

Credits are awarded on the basis of a successful implementation of an individual study plan. The grade is based on the assessment of the end of semester final project carried out by a panel of internal and external experts.
Work is done by appointment/need either directly in the chosen studio or in a shared studio of the Fine Art and Design program. Classes include individual project work, studio activities and individual consultations as defined by the studio curriculum.

The objective is to provide students with material conditions and a welcoming and engaging working environment so that they can develop into independent individuals with the ability and confidence to articulate their imaginative and critical positions.
Upon completion of the course, students have theoretical knowledge and practical skills concerning material processes and technological procedures in the field designated by their studio and an understanding of creative and critical concerns of contemporary art/design at the level appropriate for the stage of the study. Students are able to carry out and defend an original and innovative art/design project.

Not applicable.

Not applicable.

Adams, Ernest. 2009. Fundamentals of Game Design, Second Edition. New Riders. (EN)
Auslander, Philip. 2011. Liveness: Performance in a Mediatized Culture. London: Routledge. (EN)
Baladrán, Zbyněk, Vít Havránek, and Věra Krejčová, eds. 2009. Atlas of Transformation. Praha: Tranzit. http://monumenttotransformation.org/atlas-of-transformation/ (EN)
Benjamin, Walter. 2019. Illuminations: Essays and Reflections. Boston and New York: Mariner Books and Houghton Mifflin Harcourt. (EN)
Beuys, Joseph, Allison Holland, Walter Kugler, and Rudolf Steiner. 2007. Joseph Beuys & Rudolf Steiner: Imagination, Inspiration, Intuition. Melbourne: NGV, National Gallery of Victoria. (EN)
Bishop, Claire. 2012. Artificial Hells: Participatory Art and the Politics of Spectatorship. London and New York: Verso Books. (EN)
Bishop, Claire, ed. 2006. Participation. London and Cambridge, Massachusetts: Whitechapel and MIT Press. (EN)
Bourdieu, Pierre. 1996. Photography: A Middle-Brow Art. Cambridge: Polity Press. (EN)
Bourriaud, Nicolas, Jeanine Herman, and Caroline Schneider. 2005. Postproduction. Culture as Screenplay: How Art Reprograms the World. New York: Lukas & Sternberg. (EN)
Bradley, Will, and Charles Esche. 2007. Art and Social Change: A Critical Reader. London: Tate Publishing. (EN)
Camnitzer, Luis, Jane Farver, Rachel Weiss, and László Beke. 1999. Global Conceptualism: Points of Origin, 1950s-1980s. New York: Queens Museum of Art. (EN)
Cotton, Charlotte. 2004. The Photograph as Contemporary Art. New York: Thames & Hudson. (EN)
Danto, Arthur Coleman, and Lydia Goehr. 2014. After the End of Art: Contemporary Art and the Pale of History. Princeton: Princeton University Press. (EN)
Dempsey, Amy. 2010. Styles, Schools and Movements: The Essential Encyclopaedic Guide to Modern Art. London: Thames & Hudson. (EN)
Deutsche, Rosalyn. 1998. Evictions: Art and Spatial Politics. Chicago and Cambridge, Massachusetts: Graham Foundation for Advanced Studies in the Fine Arts and The MIT Press. (EN)
Eeckhout, Bart, Steven Jacobs, and Bart Keunen. 2002. Post Ex Sub Dis: Urban Fragmentations and Constructions. Rotterdam: 010 Publishers. (EN)
Flusser, Vilém. 2017. The Shape of Things: A Philosophy of Design. London: Reaktion Books. (EN)
Fontcuberta, Joan, ed. 2002. Photography: Crisis of History. Barcelona: Actar. (EN)
Gardiner, Hazel, and Charlie Gere, eds. 2017. Art Practice in a Digital Culture. London: Routledge. (EN)
Graham, Gordon. 2005. Philosophy of the Arts. London: Routledge. (EN)
Groys, Boris. 2008. Art Power. Cambridge, Massachusetts: The MIT Press. (EN)
Hanhardt, John G. 2000. The Worlds of Nam June Paik. New York: Abrams. (EN)
Hudek, Antony, ed. 2014. The Object: Documents of Contemporary Art. Cambridge, Massachusetts: The MIT Press. (EN)
Juul, Jesper. 2016. The Art of Failure: An Essay on the Pain of Playing Video Games. Cambridge, Massachusetts: The MIT Press. (EN)
Klanten, Robert. 2010. Data Flow: Visualising Information in Graphic Design. Berlin and London: Gestalten and Springer. (EN)
Klimpel, Oliver, James Hellings, William Haggard, Alexander García Düttmann, Friedrich Tietjen, Eva Weinmayr, Carolin Lerch, and Franciska Zólyom. 2014. The Visual Event: An Education in Appearances. Leipzig: Spector Books. (EN)
Krauss, Rosalind. 1979. “Sculpture in the Expanded Field.” October 8: 31–44. https://doi.org/10.2307/778224 (EN)
Lippard, Lucy. 1997. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkeley: University of California Press. (EN)
Marcus, Greil. 1990. Lipstick Traces: A Secret History of the Twentieth Century. Cambridge, Massachusetts: Harvard University Press. (EN)
McLuhan, Marshall. 1964. Understanding Media: The Extensions of Man. New York: McGraw-Hill. (EN)
Metahaven. 2014. Black Transparency: The Right to Know in the Age of Mass Surveillance. Berlin: Sternberg Press. (EN)
Mitchell, W. J. T. 1994. Picture Theory: Essays on Verbal and Visual Representation. Chicago: University of Chicago Press. (EN)
Nelson, Robert S., and Richard Shiff. 1996. Critical Terms for Art History. Chicago: University of Chicago Press. (EN)
Ono, Yōko, and John Lennon. 2007. Grapefruit: A Book of Instructions + Drawings. New York: Simon & Schuster. (EN)
Philips, Lisa. 2000. The American Century: Art & Culture 1950–2000. New York: Whitney Museum of American Art. (EN)
Shevory, Thomas C. 2000. Body Politics: Studies in Reproduction, Production, and (Re)Construction. Westport: Praeger. (EN)
Thompson, Don. 2010. 12 Million Dollar Stuffed Shark: The Curious Economics of Contemporary Art. London: Aurum Press. (EN)
Vidler, Anthony. 1992. The Architectural Uncanny: Essays in the Modern Unhomely. Cambridge, Massachusetts: The MIT Press. (EN)
Zylinska, Joanna. 2002. The Cyborg Experiments: The Extensions of the Body in the Media Age. London: Continuum. (EN)

91 hours, compulsory