ARTE - Arts
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3
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0
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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.
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3
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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.
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3
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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.
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3
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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.
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3
Instructor
Santos Guillermo
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.
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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.
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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
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3
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3
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3
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2
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2
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2
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2
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4
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4
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2
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2
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2
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3
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Instructor
Jimenez Villalta Maria
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.
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3
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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.
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3
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3
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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.
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3
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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
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3
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3
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3
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3
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2
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2
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2
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2
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3
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Instructor
George Jimeno Camilo
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.
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3
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Instructor
Iregui Jaime
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.
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3
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3
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3
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3
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4
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3
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3
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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.
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3
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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.
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3
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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.
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3
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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.
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3
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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
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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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4
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4
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4
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4
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4
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4
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4
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4
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4
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4
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4
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4
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4
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4
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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.
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3
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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.
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3
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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.
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3
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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.
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3
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3
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4
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4
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4
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4
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4
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4
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4
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4
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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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Iregui Jaime
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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
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3
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3
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3
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4
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4
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4
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4
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4
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4
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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).
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3
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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.
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3
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Instructor
Herran Carre?O Juan
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3
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Franco Garcia Carolina
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3
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3
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3
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3
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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.
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3
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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.
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3
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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.
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3
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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.
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3
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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.
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3
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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.
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3
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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.
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3
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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.
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3
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3
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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.
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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.
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3
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3
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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.
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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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6
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8
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0
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3
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The students carry out research practices directly at a museum or educative institution.
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3
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6
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3
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