Class Contemporary Art

The Contemporary Arts curricular unit is central to the study and framework of the transition from the 19th to the 20th century, already reflected in the 21st century. Modernity presented countless artistic, aesthetic, political and social upheavals, which greatly influenced the work of the Designer. The constitution of a critical position on these different moments of rupture, allows in the Communication Design course that this UC enables students to have a global and transdisciplinary vision of these different changes. The theoretical-practical experimentation nature of different methodologies, as well as the structuring of a critical building essential for work in Design, are the basis of the study on a transitional definition of contemporary, as well as the streamlining of research processes in Design and Art.

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A journey through the history of art in the 20th and 21st centuries, based on disciplinary crossings: - Considerations on the Contemporary in the Arts - Ready-made and Appropriationism - Painting and Drawing in an expanded field - Photography, Film and Video - Public art, Relational Aesthetics and Social Practice - Archives, Atlas

The creative methodologies used invest in the use of disruptive strategies, introducing new ways of looking at the contents. Thus, the pedagogical design follows a line of thought with the aim of creating an articulated relationship between thinking, feeling and doing, reorganizing the order of these three elements into new geometries whenever possible. From a specific context (story, challenge, brief, etc.) students are compelled to develop attitudes and behaviors in a project or laboratory mode, aiming to work on skills and curricular content in a dynamic and interactive way, mobilizing the student's different abilities and their different types of knowledge. Methodologies: Promotion of interpersonal relationships, demultiplication of teaching spaces, motivational dynamics, creative challenges, construction of artifacts, use of body expression, special events (inaugurations, concerts, performances, etc.)

Bishop, C. (2006). The social turn: Collaboration and its discontents. Artforum International. Bishop, C. (2012). Artificial hells. Participatory art and the politics of spectatorship. London: Verso. Crary, J. (1990). Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. London: The MIT Press. Debray, R. (1992). Vie et mort de l'image. Paris: Gallimard. Didi-huberman, G. (2011). O que nós vemos, o que nos olha. Porto: Dafne Editora