3000
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
Credits
3
Credits
3
Instructor
Franco Garcia Carolina
Credits
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
Credits
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