ARTE - Arts
This workshop is based on the importance of drawing to perceive, understand and create images. Due to its immediate, direct nature, drawing is closely linked to thought and representation processes. The line is assumed as a constructive element and drawing is reinforced as an autonomous means of communication and support for the processes of plastic arts.
Credits
3
Instructor
Gomez Soto Consuelo
The purpose of this workshop is to introduce students to the basic concepts of 2D and 3D plastic language. Based on specific exercises, students will learn and carry out exercises involving elements such as the dot, line, shape, volume, space, gesture and color, among others.
Credits
3
Instructor
Herran Carre?O Juan
During the course, students will explore the different basic elements that make up an image in order to be able to understand and create images. Drawing is used as the course’s core technique because it sharpens observation and turns ideas into graphic, concrete forms. Dry and liquid mediums are used for this purpose.
Credits
3
This course attempts to introduce to participants the techniques and skills of the Pottery Wheel such as kneading, centering, putting up walls, constructing cylinders, cones, amphorae and open shapes, corners and connections, outdoor decorations, handles and covers, at the same time, the program covers design tools and tools of a conceptual nature for the creation of unique pieces in which the utilitarian aspect is overcome by artistic and sculptural interests.
Credits
3
Instructor
Garcia Olga
This course aims at raising awareness in students as regards pottery as a means of artistic expression, providing the basic technical processes to enable the development of creative processes for the conception of individual projects. Knowing how to handle the material properly, goes hand in hand with planning, design and conceptual development. The essential topic of the course is "The power to transform the four elements: earth, water, wind and fire" which serves as a point of reflection and conceptual research for the realization of plastic designs.
Credits
3
This course explores the production and reading of photographic images in a theoretic and practical formseeking the command and knowledge of the principles of photographic equipment developing techniques and enlargement in black and white. Similarly it analyzes the effect of the invention of photography on different areas of knowledge.
Credits
3
This course aims to take on the phenomenon of contemporaneous visual culture from the photographic standpoint. It is about visiting the "common places" that photography has managed to establish in our perception of images and those that are now being conceived, the new ways to see the world that the sensitive surface has created, that now seem to be as ordinary as our own sight. Each of these "common places" is displayed throughout history and the present of photography, bringing together examples, authors and images. This opens a panorama for reflection that covers family photography, press photography, experiments of contemporaneous art, scientific uses, visual events in the media and the creation of digital images.
Credits
3
Instructor
Santos Guillermo
The purpose of this course is for students to recognize and develop their expressive sensitivity and capacity by means of black and white photography.
Credits
3
Instructor
Villalba Stewart Maria
In the course Photography 3, students develop a critical, self-reflecting attitude regarding the photographic medium. Through the analysis of readings and the production of images, the course aims at understanding "the photographic aspect" as an agglomerate of meanings that familiarize students with the contemporaneous practice of image.
Credits
3
Capture life in the act of living is a workshop on digital photography. Students will learn to administrate and handle the resources of digital image management, administrate the color of their photographs and correct any mistakes they have made when taking the images or those involving material damage. They will also learn to delimit and develop documentary and press photography projects, find the decisive moment in their photographs, select material, edit it and present it as a final result.
Credits
3
This course seeks to take a chronological trip through different ages and contexts of the history of art in which man has especially taken on the representation of animals. From the very birth of Paleolithic rock art to recent biogenetic experiences and manipulations on the part of certain artists, more than running through infinite examples, this is about reflecting on the various vies and motivations which make up animal imagery in art. Ritual, myth, symbol, science, contemplation, exploitation, identity and otherness cross paths throughout this story which sets forth the close and tortuous human relationship with animals.
Credits
3
The main axis is the representation of the human body and its importance throughout the history of art and in different cultures. Based on this historical review, students develop their creative project supported by selected readings. At the technical level, first-level knowledge is consolidated and emphasis is made on finishes and surfaces.
Credits
3
Instructor
Acosta Paula
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3
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3
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3
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3
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3
Credits
3
Instructor
Jimenez Villalta Maria
This course attempts to establish a tour to explore, identify and question the multiple problems and solutions of a visual nature relating to bodies, their behaviors, movements, rhythms and representations through film over the last forty years. The optic dilemma par excellence is: What to show, what to hide, at what pace, and above all else… to whom? Who sees, who sees us?
Credits
3
By taking a trip through the end of modernity and its repercussions, the artistic vanguards of the late 19th Century and the early 20th Century, the post-structuralist theories, the appearance and expansion of mass media, the triumph of technology in the 1980s and the kingdom of the digital media that came about in the 1990s, this course attempts to understand these models of thought and expression that enclose contemporaneous culture.
Credits
3
This course is an introduction to digital images, providing the basic tools for students to understand what the handling and transformation of an image consists of, using digital mechanisms, the course also discusses conceptual elements to reveal the implications of these transformations in a narrative project. The course takes students down the path of handling static images, projecting them toward the construction of an interactive, more complex space, in which they experiment with new narrative possibilities, with the dialog between different expressive elements such as: sound, image in movement or the written word.
Credits
3
Instructor
Benavides Diego
The general objective of the Time Workshop is the practical introduction to the aesthetics of time in the arts. It explores creation processes in mediums based on length of time, whose specific objective is the intermedial experimentation between them. The course consists of two modules. The first starts with an introduction to the fundamentals of sound art and its forms of time-based structuring. The second introduces students to aesthetic experiences based on transports of poetic meaning in time, stressing the notion of montage applicable to the creation of audiovisual as well as performative sequences.
Credits
3
Instructor
Pradilla Hernandez Eduardo
Credits
3
Credits
3
Instructor
Smith Rovira Carlos
This course is devoted to generating knowledge and an opportunity to reflect on the history of Colombian film, understood as a tradition that, over time, has created an account of the country. During the course, Colombian film is assumed as a cross between practices that involves artistic, economic and social components relating to the country´s history that, at the same time, is equipped with its own particular, specific development.
Credits
3
Instructor
Zuluaga Duque Pedro
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3
Instructor
Echeverry Andrea
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3
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3
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3
This course studies the artistic production of the avant-garde and their precursors from post-modernism to abstract expressionism. It makes relationships between art, fashion, decoration, primitivism, abstraction, modernity and modernism, among others, a problem. It analyzes the incorporation of new mediums such as photography, film, the collage and its variables, as well as the ready-made.
Credits
3
Credits
3
Instructor
Bernal Maria
The course Sound Art is an opportunity to explore sound as an object-medium of art that is closer to the fields of plastics and the arts of time than music. It is based on experiments and research conducted by the students to carry out projects based on the topics of the course. IT mediums are used to help understand sound as a medium and as the support of some works.
Credits
3
This course aims to travel the timetable of the history of western art through specific works of art, artists and topics. It focuses on historic and geographic contexts of artistic production and researches the development of major genres such as portraits, landscapes and still life. It considers the different functions of art and its patronage systems, the transformation of exhibition spaces with the creation of the museum, the development of criticism and the points of contact with non-western art. Similarly, it introduces the major problems of the discipline and puts forward concept maps to cover art history starting with general notions such as mimesis, representation, style, narrative, originality, aesthetics, genres and temporality, among others. In turn, it makes the notion of art itself - a relatively new, essentially western concept - a problem and reflects on the historic conditions and the models of thought that have played a role in the development of art history as a discipline.
Credits
3
Instructor
Zalamea Fajardo Patricia
Credits
3
Instructor
Zalamea Fajardo Patricia
During the course, students analyze the different ways to narrate art history from temporary, geographical, thematic, and stylistic criteria. The course reflects upon art history as an academic area based on methodologies such as formalism, iconography, social history of art and the ldquo,new" art history. It also interprets art history through its main thinkers, from Plinio and Vasari, the German school of Kulturwissenschaft, to more recent figures such as Danto, Belting and Didi-Huberman.
Credits
3
Instructor
Sarmiento Jaramillo Camilo
This course introduces art history based on direct contact to works of art. The course is developed chronologically around collections of different museums in Paris. The goal is "a thorough look " on art and expressions throughout time, with an emphasis on the "materiality" of works, perception and visibility. Although students have taken an introductory course in the university, this course is considered to provide foundations and information significantly different from those analyzed in the classroom.
Credits
3
Instructor
Zalamea Fajardo Patricia
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3
Instructor
Uribe Hanabergh Veronica
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3
Instructor
Pinni De Lapidus Ivone
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3
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3
Instructor
George Jimeno Camilo
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3
Instructor
Frassani Alessia
There is something in the artist figure that refuse to remain anonymous, between the personality of the individual and the desires of society, a body with peculiar characteristics is created. This profile makes the artist a symbol in the making. This is how film uses the artist figure as a means to go through different states of the individual, and the artist as fiction and maker of fictions is seen through the fiction of film. This course analyzes different interpretations of the artist figure. The projection of movies will be accompanied by related reading to establish crossroads for an analysis that goes beyond cinematographic content.
Credits
3
This course proposes a reflection based on different topics arising from the relationship between the artist and the city. It takes into account the interdisciplinary nature of these relationships, in which artistic proposals imply a direct link to other disciplines such as architecture, literature, philosophy, anthropology and sociology. These relationships are articulated in different socio-cultural contexts of modern and contemporary times. Special emphasis is made on presenting these experiences at the beginning as reflections that lead to teamwork based on art, with a clear concern for the surrounding context, which in this case is the city.
Credits
3
Instructor
Iregui Jaime
The course is focused on understanding exhibitions as a cultural product which builds representations through a system of inclusion and exclusion. We review how this format has determined our perception of art and the world throughout time. The course also allows extending the concepts students have regarding the implications and responsibilities of exhibitions as public acts, as esthetic experience and as a form of knowledge, with the additional purpose of building an attentive and critical audience.
Credits
3
Traditional education in art teaches you how to think by doing, but when the work is made public, there are conditions that influence what has been created, producing acts of language that go along with the language of the work of art. The space of art is not only that occupied by material objects, on the contrary, it is about the construction of a transactional nature occupied by ephemeral processes of interaction, a relationship of strength between two situations and the distance between them. The reading material and contents of this course boil down to identifying the distance, tension and confrontation between physical as well as mental spaces to think of art.
Credits
3
Credits
2
This course approaches drawing in function of the human body, in its inner and outer dimensions. It provides tools to represent the human figure and explore the body as an instrument and a drawing agent.
Credits
3
Instructor
Vargas Giovanni
This is a workshop where students learn how to handle painting materials, processes and concepts. It researches the principles and relationships of color through the oil technique. This course is a prerequisite for all other painting courses.
Credits
3
Instructor
Uhia Fernando
You can say that the sculptural occupies a paradigmatic place in most contemporaneous artistic practices. In view of the dissolution of a definition or fixed and reductive "field of action", sculptures move about in an unstable territory that seems to be expanding continuously. The PROCESSES that constitute the internal structure of 3D are explored and redefined from that "undetermined" state: Interaction with the place, use of different materials and techniques, the relationship with the body and the concepts that govern its semiotic code. This course enables students to study the role of certain movements and the work of certain artists from the last few decades, which is fundamental when looking for answers, connections and new meanings regarding particular interests and practices.
Credits
3
Drawing - Spatial Construction is a course focused on the development of drawing as an essential tool to the artist. The course will be focused on the analysis of 3D space and its structure on a 2D plane. Perspective is the way a 3D space is translated into a 2D image. In fact, the 2D image is what is formed in our retinas. We see flat images in our surroundings (depth is given by stereoscopic vision). But drawing enables us to interpret what we see, it also allows us to create and imagine spaces, worlds… .
Credits
3
Instructor
Rickenmann Ivan
How do we go about the problems of the human body through painting? This workshop not only represents the dressed and nude body, but also researches its body language, everyday activities and meanings. Students will be observers and observed, collectors of images of the human body while they think and materialize it.
Credits
3
This workshop analyzes the structure and articulation of postures and fragments of the body, as well as the different formal possibilities of materials as part of the 3D process. It studies methods such as the production of molds, modeling, casting and the use of materials to duplicate and reconstruct images of the body.
Credits
3
FOR ARCHITECTS. Each line is the experience of its history, it is the sensation of its own realization. The objective of this course is for students to learn to analyze and have a more direct relationship with the body and its surroundings, through the power of their creativity, intuition, intellect and concept, as tools to discover drawing.
Credits
3
FOR ARCHITECTS. This course is focused on the development of drawing as an essential tool for artists, architects and designers. The course will be focused on the analysis of 3D space and its structure on a 2D plane. The objective of this course is to help students understand the space they inhabit and the position of the objects therein, to recreate this space in a 2D plane without losing spatial credibility, using drawing as a tool of expression. By the end of the course, students will have a clear understanding of perspective and human scale are, and they will be aware of their surroundings, capable of representing their ideas and 3D perceptions in an effective manner.
Credits
3
Instructor
Rickenmann Ivan
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3
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3
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3
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3
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3
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3
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3
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3
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3
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3
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3
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3
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3
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3
This course explores the different categories of the experimental approach in audiovisuals. Expressive, narrative and poetic practices and strategies are put into historic context, with examples from different genres. At the same time, students work on their own creative video projects while they learn digital editing techniques and digital processing of audiovisual images.
Credits
3
Instructor
Rodriguez Catalina
The course allows experimenting with the 3D animation technique. Through modeling scenarios, lights, cameras, characters, movement creation, rendering and editing, students develop their own experimental animation proposal.
Credits
3
This course promotes the search for new forms of digital expression based on basic experimentation and learning through the creation of algorithms. This course stresses the script production process through the construction of codes in different languages in the digital medium. It analyzes the digital medium. It strengthens creative processes involving the experimentation of computers in visual, sound, narrative, interactive and programming aspects.
Credits
3
Instructor
Diaz Moyano Myriam
This course familiarizes students with concepts of sound art as well as digital and analog sound editing and production. It provides a historic context of sound practices that are closely linked to artistic processes. The course encourages sound creation as an expressive medium that is autonomous or in conjunction with other visual and performance mediums.
Credits
3
Instructor
Arias Vega Luis
Credits
3
Instructor
Rodriguez Catalina
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3
Instructor
Andrade Oscar
Credits
3
This course analyzes artistic manifestations from the 1970s, and the diversification of the media, which include performance, installation, video, electronic mediums and sound art. It examines the notion of contemporaneous art and its different strategies as a problem, along with the definition of post-modernity and visual culture. It studies the different theories on contemporaneous art.
Credits
3
Instructor
Lozano Rocha Ana
Credits
3
This course studies the art produced in Colombia, with emphasis on the 20th Century and contemporaneous art, while it provides historic bases of pre-Hispanic art, the Colonies and 19th Century processes. It analyzes the historiographic and critical tradition of art history in Colombia, placing emphasis on the study of the primary sources available. It tackles the evolution of the main institutional factors that have defined the structure of artistic discourses, on the level of works of art as well as that of criticism and art history. From this perspective, the political and social context will be a central point of the discussions. Special attention will be given to the processes of acceptance on the national level of foreign artistic movements, as well as the works of particular artists.
Credits
3
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3
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3
Instructor
Uribe Hanabergh Veronica
Credits
3
Instructor
Frassani Alessia
Credits
3
This course aims to familiarize students with the problems involved in teaching art, through exercises. This course is a workshop that provides the opportunity for reflection on the act of teaching, understanding this word as an act of showing or indicating, not instructing or training. Therefore, it attempts to show (teach) the act of teaching (showing).
Credits
3
Instructor
Ortiz Campo Bernardo
Credits
3
Credits
3
Through reading and analysis of a series of authors, and writing of texts, this course seeks to make that strangeness of critique something to which students relate, both those who decide to make art, history or management, and those who wish to engage in art critique.
Credits
3
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3
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3
Instructor
Iregui Jaime
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3
Instructor
Angel Documet Juliana
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3
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3
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3
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3
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3
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3
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3
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3
This workshop leads students to reflect on the elements that make Drawing a discipline, explore non-conventional mediums and ways to draw and expand on the notion of Drawing itself, relating it not only to Structure, but to Idea. Drawing is, in the end, an act of conscience. Exercises will evolve progressively from the most material and conventional drawing (dots and lines) to the most conceptual (drawing as an idea and as a process).
Credits
3
Instructor
Ospina Lucas
This course attempts to think and do painting "outside" the format, as opposed to illusionist painting, confined to existing "inside" the rectangular format. Illusionist painting is based on a fundamental misunderstanding: exceeding the physical conditions of the elements that create the illusion: support, tool, procedure, pigment, scale and context. This misunderstanding sinks its roots deeply in the western tradition up to around 1850, and justifies it. Only by breaking away from this illusionist tradition will we understand the pictorial as a high speed exchange of signs, like pictorial semiotics that do not necessarily depend on the plane to manifest themselves. To manage an investment of values that will take material and semiological pictorial elements into account, we will go through four moments or circumstances that reveal the passage from inside the format to the invasion of pictorial elements in the vital space in which living beings move about: Window Painting, New/Bought Painting, Used/Found Painting and Automatic Painting.
Credits
3
Workshop that researches popular aesthetic manifestations considering the different historic as well as social expressions to identify and understand their characteristics in the Colombian context. Visits to museums and specific places in the city.
Credits
3
Instructor
Lopez Parra Ma
Engraving in the development of fine arts is one of the languages with many creative and expressive possibilities, it is a calculated medium in which time is part of the work itself. When an image is transported to the mold, it takes on new characteristics and the possibilities are infinite, this initial boost that leads to the production of an image is set on the presses and shows up during the printing process. This course studies topics of contemporaneous graphics, researching and analyzing concepts such as seriality, repetition, screen, trace, which provide students with different creative possibilities in order for them to be able to put together and materialize their own ideas.
Credits
3
Instructor
Rodriguez Rojas Carmen
A Still Life is a work of art which uses inanimate objects from nature (food, plants, flowers, etc.) or man-made (glasses, dishes, hot dogs, blenders, etc.) as a theme and which are placed in an artificial environment to be painted. Still lifes, in general, are a sampling of the daily life of people. To conclude, a still life is the pictorial representation of objects. Each person is surrounded by a set of objects, coexists with the objects of others and perceives more distant realities from the appreciation of surroundings of which a series of objects are also a part. In the bi-dimensional plane of a painting these realities can be captured through the use of a still life: A painting or series of painting whose subject matter is an object and which allows us to appropriate that reality.
Credits
3
Instructor
Mosseri Hoyos Ana
Starting from the study of specific architectural and urban aspects of cities sculpture projects are suggested which involve and reflect on public spaces
Credits
3
Contemporary graphics topics are studied in this course, researching and analyzing concepts such as seriality, repetition, fragmentation, hatching, grids, photography, bruise, which provide students with new creative possibilities, so they put together and materialize their ideas. The course provides guidelines and provides its participants with a foundation in the management of the intricate process of engraving through experimentation and by individual appropriation of the process.
Credits
3
Installation is one of the most popular genres in contemporaneous art. Its conception steers away from the modernist perspectives of the art object by favoring an aesthetic experience that incorporates an expressive use of space and a perception and meaning based on the fragment as two of the most relevant characteristics. The course also teaches students the history of the emergence of this genre, as well as the principal concerns that gave rise to its appearance in accordance with a historic perspective that is fundamental to understand it. Similarly, it attempts to reveal works of contemporaneous artists that have created their pieces based on the Installation.
Credits
3
Instructor
Herran Carre?O Juan
This course aims to provide students with the technical-conceptual resources necessary to solve problems inherent to their professional activity, particularly in the field of graphics, either to represent, express or produce images or give an atmosphere to objects or spaces relating to their daily nature.
Credits
3
Painting, as far as its creation process as well as its appreciation, has a dialectic structure in which a series of formal elements are involved (form, surface, color, texture, matter), that appeal directly to sensory perception (what you can see) and a series of symbolic elements that have to do with interpretation and meanings (what you cannot see). Although this is also true of all other arts and mediums, it seems to be that painting is where the condition is most evident. At the present time, when art has become so tremendously discursive, fundamentally to be understood, and even a film can be told verbally, the context of visuality, nature and contemplative demand of painting are imperturbable. The power and validity of painting today are in that resistance, along with its critical possibilities.
Credits
3
Theoretic-practical Course The plastic solutions of the specific work of the guest artist are analyzed and projects are carried out under his/her guidance. Elective reading and techniques.
Credits
3
Instructor
Gleiser Blufstein Rosemarie
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3
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3
Instructor
Franco Garcia Carolina
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3
Credits
3
This course explores the potential relationships between artistic processes and scientific systems and processes. It is an interdisciplinary course in which different areas of knowledge come together, centered on problem fields that make it possible to explore new spaces as regards are and science.
Credits
3
Instructor
Cede?O Monta?A Ricardo
This course explores the relationship between electronic image and space in a conceptual and practical manner, so as to create designs consistent with the artistic creation in different territories that make up the environment of electronic installations, using systems such as video installation, stereoscopic video, electronic sound and light.
Credits
3
In contemporary artistic expressions that involve new media,there are fewer borders between the production of an artistic piece and its narrative potential. Through the analysis of certain pieces of work and schools of thought originating in arts, movies, literature and new media, which explore non-linearity or multi-linearity as a resource, the student will be able to understand and analyze various forms of significance construction. At the same time, the student will obtain practical techniques allowing for the creation of an artistic piece that explores some experimental and alternative narrative forms.
Credits
3
Instructor
Gil Vrolijk Carmen
The course involves the development of the various forms of animation expression. An introduction is made to script writing and the production and post-production of animated works. In like fashion, the potential of animation integrated with other media such as video is studied. Wherever possible, thematic development processes will seek to be based on research or field work which propitiates the exploration of references, spaces, esthetics or stories from the local context.
Credits
3
This workshop combining theory and practice explores the problem of the various manifestations and intersections between Electronic Media and the Arts of Time. It can deal , among other things, with narratives in audiovisual media and performance, experimental exploration of different audiovisual genre from staging and producing scripts, the relationship between action and technology, experimentation with computer programs which allow real-time manipulation of audio and video. The scheme will depend on the artists invited each semester.
Credits
3
Instructor
Rodriguez Catalina
The workshop is an introduction to formal elements for the writing of audiovisual scripts, carried out through theoretical and practical sessions, focused on the basis of movie writing as well as the skill of workshop participants to tell a story in literary and visual terms.
Credits
3
The sound and action course is an intermedial program intended to propitiate finding of preparatory options related to sound. Since the creation by the Fluxus Group of what was called Action Music, this has been an open space for experimenting. Any live presentation of an interpreter has performance implications that can be explored from an expression perspective. Any movement of the body has sound potential when interacting with objects or spaces. Voices also allow for a performance component when so explored. The program explores the artistic potential of this field in two time media that have historically talked to each other.
Credits
3
Instructor
Garcia Galan Adriana
Internet is constantly changing many of our cultural and artistic practices. The problem is how to modify and transform our conceptions of culture and art to bring about dynamically the rest of these transformations and turn them into artistic and experimental processes. The general objective of the course is to provide a conceptual and technical platform sufficient for students to propose experimental web-based projects within the context of specific uses. These contexts can include digital radio, video broadcasting, urban spatial contexts and human interaction, among others.
Credits
3
Instructor
Barraza Owen Plinio
The course proposes an exploration of video as a technology of memory and at the same time a general investigation of the role of the memory processes in artistic creation. The construction of personal or collective memory is complex and does not imply only one retrospective or nostalgic relation with past events. The processes involving the recollection of present events and their translation into memory documents transcend the technical recording to involve actively their transformation into subjectivity. The thought processes reinvent the past and update it constantly in the present. The course aims at exploring the vital and active crossroads of memory creation that juxtapose places, objects, situations and times in the transformational experience of creation.
Credits
3
Instructor
Pradilla Hernandez Eduardo
This course proposes the exploration of processes of interactivity and autonomy in the crossroads between art and technology. It proposes an experimental framework for the use of digital tools in their relation with objects that interact with a participating body or that are programmed to have an automatic behavior that can be seen as a simple spectator. It starts with digital representation and manipulation of information and control elements for the construction of facilities with automatic objects that can serve as moving sculpture objects or artistic proposals that involve art productions where body and objects interact.
Credits
3
Instructor
Ramon Rodriguez Nelson
Credits
3
Credits
3
There are numerous relationship between art and writing and these are more complex than that indicated by the conjunction and. It can be stated that there is writing about art, art writing, writing in art, writing before art, and writing under art. But it can also be stated that there is art about writing, writing art, art in writing, art before writing or art under writing. The outcome of reversing the words --obviously--is different. This course is intended to introduce the student, through exercises, to a practice that addresses art and writing within the multiple options of interrelating them.
Credits
3
Instructor
Osorio Garces Betty
Gaining basic knowledge about new approaches to analyze Latin American contemporary art. Discussing the proposals of different art guardianships, promoting among students an attitude for reflection and criticism towards these proposals.
Credits
3
Instructor
Pinni De Lapidus Ivone
A critical history of artistic processes in Colombia during the XIX century based on certain specific problems of interpretation and emphasis on direct experience with works of art. Topics include the Botanical Expedition, heroic portraiture, art of manners, caricature, and academic art, among others.
Credits
3
Instructor
Uribe Hanabergh Veronica
Credits
3
Instructor
Zalamea Fajardo Patricia
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3
Instructor
Macchiavello Carla
The course proposes three tasks: reading, writing and publishing. Texts on reading are read, texts on writing are written, and texts on reading and writing are published. The texts are published in class and at times in González, a weekly journal of the Department of Art. A final publication consists in an issue, in book format, which is written, designed and printed by each one of the students.
Credits
3
Instructor
Ospina Lucas
This is an introductory course intended to approach notions defining curatorship as a practice that goes beyond the mere selection of art pieces for an exhibition. By means of exercises and case studies, the program demonstrates that curatorship is a format to think about art and a practice that offers a cultural product: art exhibitions. It provides the necessary tools to visualize those invisible spaces among art pieces, namely, negotiations between curators and artists, selection processes, interpersonal and contextual relations, etc., which contribute to the materialization of an exhibition.
Credits
3
Credits
3
The course approaches artistic experiences where traveling becomes indispensable. The program is focused on the description and discussion of artist projects that use travelling as their working strategy, addressing various contemporary themes related to frontiers, surveillance, territories, differences, multicultural and post-colonial theories.
Credits
3
Instructor
Grau Romera Beatriz
Credits
3
Credits
3
In today’s knowledge society, which sets the pace for a new characterization of our socioeconomic system as cultural capitalism, the production of social meanings and senses that take place through the different social practices and their communication devices –including remarkably artistic practices- are relevant within the complex production apparatus of systems of "truth" which intend to establish not only a conception of external nature or reality, but also a conception of the social system that constitutes that reality and social identities that construct those systems every day. In other words, culture is an ideological apparatus that produces the underlying basis of our structure. This is the market of symbolism, influenced by politics –the struggles for the control of meanings -. This approach is part of the ‘cultural shift’ of the 1990s until its consolidation in the ‘image shift’ proposed in the turn of the millennium.
Credits
3
Credits
3
The access to resources for culture is distributed mainly through official grants (awards and scholarships) or the creation of art projects (employment or internship agencies). Therefore, the course seeks to identify which are these new venues for participation, to which specific sectors they are addressed, what is the necessary information in project presentation and which are some of the most common errors in the participation in art grants. Through this review of opportunities and practical exercises of project preparation, students will increase their level of competence and participation in offers of the -still scarce- resources allocated to promotion and dissemination of art.
Credits
3
The purpose is to introduce students to methods and heuristics for the recognition and interpretation of gestures. It also seeks to reflect on languages and useful systems in the generation of expression in arts. Based on the analysis on interactions with the real world, or the world of machines, the idea is to present an approach to a series of connections, prejudices and representations of multisensory universes.
Credits
3
Credits
3
Instructor
Andrade Forero Jimena
Based on the formulation of a problem and the election of some tools, the student will work throughout the semester on an individual project. The professors will act as guides and spokespersons during said process, accompanying the students along the various stages of progress in their research and final presentation.
Credits
3
Instructor
Combariza Osorio Martha
Provide, by means of specific guided exercises and reviewing paradigmatic processes of artistic practices in recent years, conceptual, theoretical and experience elements for the production, analysis and understanding of what an artistic event means today, in order to question the experience, budgets and basic knowledge that the students have, thus extending their frameworks, trying to make their personal process more complex to then face the initiation of their graduation project.
Credits
3
Instructor
Matute Echeverri Andres
Execution of an artistic and/or cultural project that will materializein the form of a proposal and a text.
Credits
4
Throughout the semester, the course develops a creative project or research work proposed by the student.
Credits
3
Instructor
Gomez Soto Consuelo
Credits
3
Credits
3
Credits
6
Credits
0
Credits
3
The students carry out research practices directly at a museum or educative institution.
Credits
3
Instructor
Iregui Jaime
Credits
6