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Lecturer(s)
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David Jiří, prof. ak. mal.
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Course content
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unspecified
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Learning activities and teaching methods
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unspecified
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Learning outcomes
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Public space belongs not only to entertainment, pop, politicization, but also to meaningful, visible actions of artists, and it is important that various comments push these actions only to make them visible. The struggle of live art for public space is an essential ethical part of every cultural society. Therefore, in addition to the obvious professional (if we are really talking about art) formal content, its content also includes specific civic attitudes of individual artists. Even when it is known for a long time that art is separable from morality, and thus seemingly independent of the artist's attitudes and opinions. This is true even if his (artwork) period ethical necessity (character) transforms over time into a self-serving decorative aesthetic given! Thus, art must subtly offer people a polemical image of themselves, with the desire that if they understand it as their image, it will change. Art is the ability of a form that breaks a language that has already become its own content, but without losing its meaning. Art is a collection of intuitions in a moment of sustainable intelligibility. Art is a discovery, not a construction, because if something is incomprehensible, it does not mean that it is less real. The art form is then a tool that takes into account, follows up, transforms, reverses and emphasizes. It can be both figurative with the full responsibility it requires, it can also be non-figurative, with the same intensity as it is immaterial when there is a relevant reason. A work of art is defined by an art world and an art world by works of art. Nothing can be invented. What you don't look at doesn't belong to you. Sight is replaced by no reasoning and no theory. Knowledge can only multiply the power of discovery vision, but it does not replace active experience. Our knowledge is sensual. The use of the senses and the search for meaning in the process of artistic expression in the face of the public and the space that this public uses is the goal of working with students in this course. This work can be a conversation, a gesture, a shape - it can be everything, just as art can be everything. With this in mind, students are encouraged to formulate their own artistic attitudes - these attitudes are defined and defended in dialogue. The output of the course are the artistic concepts of students, studies for their implementation and textual statements defending their meaning and purpose.
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Prerequisites
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unspecified
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Assessment methods and criteria
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unspecified
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Recommended literature
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Agostinho, D. Archival Imaginaires. Berlin, 2021.
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Balaskas, B., Rito, C. Institution as Praxis. New Curatorial Directions for Collaborative Researcg. Berlin, 2020.
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Bělohradský, V. Společnost nevolnosti. Praha Sociologické nakladatelství, 2014.
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Havel, V. Moc bezmocných a jiné eseje. Praha, 2016.
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Chandler, A., Neumark, N. At a Distance, Precursors to Art and Activism on the Internet. Cambridge, 2005.
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Latour, B., Weibel, P. Critical Zones. The Science and Politics of Landing on Earth. Cambridge, 2020.
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Nilson, I., Wikberg, E. Artful Objects. Graham Harman on Art and Business of Speculative Realism. Berlin, 2021.
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Přibáň, J. Obrazy české postmoderny. Praha, 2011.
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Přibáň, J. Severeignity in Post-Sovereign Society. London, 2015.
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Weibel, P. Global Activism. Art and Conflict in the 21st Century. Cambridge, 2015.
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