1000

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.

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.

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.

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.

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.  

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.

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.

The purpose of this course is for students to recognize and develop their expressive sensitivity and capacity by means of black and white photography.

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.

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.

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.

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.

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?

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.