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Lecturer(s)
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Course content
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1.-2. Introductory lesson - looking back at historical forms of art presentation 3.-4. Presentation of students' work, formulation of exhibition concept, classification into groups for exhibition projects 5-6. Visit to the exhibition, reflection on exhibition forms 5.-6. Presentation of student exhibition projects I. - feedback, selection of the winning project 6.-7. Final development of the project, components of the exhibition implementation - architecture, graphics 8.-9. PR activities, preparation of the opening, accompanying program 10.-11. Implementation of the winning project 12.-13. Conclusion and second life of the exhibition - documentation, archiving, uninstallation, return, evaluation
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Learning activities and teaching methods
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Internship
- Individual project (40)
- 40 hours per semester
- Presentation preparation (report) (1-10)
- 5 hours per semester
- Contact hours
- 26 hours per semester
- Attendance on a field trip (number of real hours - maximum 8h/day)
- 8 hours per semester
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| prerequisite |
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| Knowledge |
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| recall basic artistic - aesthetic concepts used to evaluate art and design, recall information about wider socio-cultural context of history and the art-historical development of art and design, take a critical stance on the chosen work of art and justify its attitude, apply the rules of interpretation of the cultural experiment to the work of art under consideration and to the dialogue conducted during the seminars |
| Skills |
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| to write a brief essay on author's intent distinguish between the creator and the viewer and identify the possible cause of their socio-cognitive conflict to realize and reflect on the institutional context of the work describe the quality of exposure, to place the work under consideration in a stylish, artistic-historical interpretation framework to formulate judgments about the quality of a work and its effect on the viewer |
| Competences |
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| N/A |
| N/A |
| learning outcomes |
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| Knowledge |
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| Understanding the role of the curator in the process of presenting work, various curatorial approaches, artistic-curator relationships, institutional factors and the role of various professions in the presentation process. A deeper insight into the principles and functioning of existing exhibition projects. |
| Skills |
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| Create a concept for an exhibition presentation, implement an exhibition project in collaboration with other authors and professions, promote and revive the exhibition project. |
| Competences |
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| N/A |
| N/A |
| N/A |
| Active cooperation, presentation of one's creations, cooperation on the creation of an exhibition concept, critical feedback of other projects, cooperation on the implementation and promotion of the selected project |
| teaching methods |
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| Knowledge |
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| Lecture supplemented with a discussion |
| Field trip |
| Skills |
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| Students' portfolio |
| Project-based instruction |
| Individual study |
| Collaborative instruction |
| Competences |
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| Discussion |
| Lecture |
| Project-based instruction |
| Practicum |
| assessment methods |
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| Knowledge |
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| Individual presentation at a seminar |
| Peer evaluation of students |
| Skills |
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| Portfolio |
| Competences |
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| Continuous assessment |
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Recommended literature
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Balzer, David. Curationism: How Curating Took Over the Art World and Everything Else.. Pluto Press: London, 2014.
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Chon, Doris. Harald Szeemann´s Museum of Obsessions: The Legacy of a Mythological Institution. U.S.A. The University of Chicago Press. 2016.
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Obrist, H. U. Ways of Curating. London: Penguin, 2015.
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O´Doberty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Berkeley: University of California Press, 1999.
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O´Neill, Paul. Curating Subjects. London, 2007.
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Paul O? Neill. The Culture of Curating and the Curating of Culture(s). Cambridge, MASS, U.S.A.; London, UK, 2012. ISBN 978-0-262-01772-5.
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Rattemayer, Ch. Exhibiting the new Art. New York, 2010.
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Terry Smith. Thinking Contemporary Curating. New York, U.S.A.: Independent Curators International, 2012. ISBN 978-0-916365-86-8.
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