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
Distribution
-
Instructor
Ospina Lucas
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
Distribution
-
Instructor
Herran Carre?O Juan
Credits
3
Distribution
-
Instructor
Franco Garcia Carolina
Credits
3
Distribution
-
Credits
3
Distribution
-
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
Distribution
-
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
Distribution
-
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
Distribution
-
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
Distribution
-
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 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
Distribution
-
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
Distribution
-
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
Distribution
-
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
Distribution
-
Instructor
Ramon Rodriguez Nelson
Credits
3
Distribution
-
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
Distribution
-
Credits
3
Distribution
-
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
Credits
3
Credits
3
Distribution
-
Credits
3
Distribution
-
Credits
3
Distribution
-
Credits
3
Distribution
-
Credits
3
Distribution
-
Credits
3
Distribution
-
Credits
6
Distribution
-
Credits
0
Distribution
-
Credits
3
Distribution
-
The students carry out research practices directly at a museum or educative institution.
Credits
3
Distribution
-
Instructor
Iregui Jaime
Credits
6
Distribution
-
Credits
3
Distribution
-