2019/09/02 · 2 1. Letnik / Yr 1 Struktura programa Predmetnik / Programme structure Vizualne umetnosti / Visual arts /smer / path/ LIKOVNA UMETNOST / FINE ART Koda /Code Učna

AVA Akademija za vizualne umetnosti / Academy of Visual Arts

Predmetnik in učni načrt za dodiplomski program : Vizualne umetnosti / Likovna umetnost in konceptualizacija prostora Programme structure, Unit specifications For undergraduate programme in Visual Arts / Fine Art and Conceptualisation of Space

2

1. Letnik / Yr 1 Struktura programa Predmetnik / Programme structure Vizualne umetnosti / Visual arts /smer / path/ LIKOVNA UMETNOST / FINE ART Koda /Code

Učna enota/ Unit - Module Vrsta predmeta / Course type

Predvidene ure/ Notional hours

Credits ECTS

T11 Zgodovina umetnosti 1 /History of art 1 Obvezni Mandatory

120 4

T12 Zgodovina gledališča 1/ History of theatres 1 Obvezni Mandatory

120 4

T13 Filozofija 1 / Philosophy 1 Obvezni Mandatory

120 4

T14 Likovna Teorija 1/ Art theory 1 Obvezni

Mandatory 120 4

T15 Teorija fotografije/ Theory of photography Obvezni Mandatory

120 4

P 10 Objektivno risanje 1/ Objective drawing 1 Obvezni Mandatory

120 4

P11/FA Slikarstvo 1 / painting 1 Obvezni Mandatory

120

4

P12 Fotomedia / Photomedia Obvezni Mandatory

120 4

P13/CS Koncipiranje prostora 2 Gledališče / Set design 2 Theatre

Izbirni

Elective 220

8

P13/FA Skulptura / Sculpture Izbirni

Elective

P14/FA Mešani mediji / Mix media Obvezni Mandatory

120 4

P15 Video/Film Obvezni Mandatory

300 12

P16 Strokovna praksa (razstava ali produkcija) / Professional practice (exhibition or production)

Obvezni Mandatory

120 4

Total 1720 60

3




Credits ECTS


120 4

T22/CS Zgodovina gledališča 2/ History of theatres 2 Izbirni Elective

120 4

T24/FA Likovna Teorija 2/ Art theory 2 Izbirni Elective

T23 Filozofija 2/ Philosophy 2 Obvezni

Mandatory 120 4

T26 Teorija gibljive slike / Theory of motion picture Obvezni Mandatory

120 4

T27 Kritična analiza 1 / Crytical analysis 1 Obvezni Mandatory

120 4


120 4

P21/CS Prenos zgodbe v vizualni medij / Transposing story into visual media

Izbirni

Elective 280

10

P21/FA Individualni (prosti) projekt / Individual project Izbirni

Elective

P22/FA Instalacija / Installation Obvezni Mandatory

340 12

P23 Individualni (prosti) projekt / Individual project Obvezni Mandatory

280 10

P26 Strokovna praksa (razstava ali produkcija) / Professional practice (Exhibition – production)

Obvezni Mandatory

120 4

Total 1740 60

4




Credits ECTS

T31 Zgodovina in teorije sodobne umetnosti / Contemporary Art History and Theory

Obvezni Mandatory

120 4


120 4

T38 Kreativno pisanje / Creative writing

Obvezni Mandatory

120 4

T39 Vizualne kulture - Teorija medijev / Visual cultures – Media theory

Obvezni Mandatory

120 4

P31 Kreativne prakse – raziskava in diplomska naloga Creative practice - Research

Obvezni Mandatory

560 20

P 32 Kreativne prakse – resolucija (končni projekt) Creative practice – Resolution (Final project)

Obvezni Mandatory

450 16

P36 Strokovna praksa: Diplomska razstava ali produkcija / Professional practice: Degree show or production

Obvezni

Mandatory225 8

Total 1715 60

5

1. Letnik / Yr 1 Struktura programa Predmetnik / Programme structure Vizualne umetnosti / Visual arts /smer / path/ KONCEPTUALIZACIJA PROSTORA / CONCEPTUALISATION OF SPACE Koda /Code



Credits ECTS


120 4

T12 Zgodovina gledališča 1/ History of theatres 1 Obvezni Mandatory

120 4

T13 Filozofija 1 / Philosophy 1 Obvezni Mandatory

120 4

T14 Likovna Teorija 1/ Art theory 1 Obvezni

Mandatory 120 4

T15 Teorija fotografije/ Theory of photography Obvezni Mandatory

120 4


120 4

P11/CS Koncipiranje prostora 1 Film / set design 1 film Obvezni Mandatory

120

4

P12 Fotomedia / Photomedia Obvezni Mandatory

120 4

P13/CS Koncipiranje prostora 2 Gledališče / Set Design 2 Theatre

Izbirni

Elective 220

8

P13/FA Skulptura / Sculpture Izbirni

Elective

P14/CS Koncipiranje prostora 3 TV / Set design 3 TV Obvezni Mandatory

120

4

P15 Video/Film Obvezni Mandatory

300 12

P16 Strokovna praksa (razstava/produkcija) / Professional practice (Exhibition/production)

Obvezni Mandatory

120 4

Total 1720 60

6




Credits ECTS


120 4

T22/CS Zgodovina gledališča 2/ History of theatres 2 Izbirni Elective

120 4

T24/FA Likovna Teorija 2/ Art theory 2 Izbirni Elective

T23 Filozofija 2 / Philosophy 2 Obvezni

Mandatory 120 4

T26 Teorija gibljive slike / Theory of motion picture Obvezni Mandatory

120 4


120 4


120 4

P21/CS Prenos zgodbe v vizualni medij / Transposing story into visual media

Izbirni

Elective 280

10

P21/FA Individualni (prosti) projekt / Individual project Izbirni

Elective

P22/CS Koncipiranje prostora po scenariju – Film / Film production design

Obvezni Mandatory

340

12

P23 Individualni (prosti) projekt / Individual project Obvezni Mandatory

280 10

P26 Strokovna praksa (razstava ali produk.)/Professiona practice (Exhibition – production)

Obvezni Mandatory

120 4

Total 1740 60

7




Credits ECTS

T31 Zgodovina in teorije sodobne umetnosti / Contemporary Art History and Theory

Obvezni Mandatory

120 4


120 4

T38 Kreativno pisanje / Creative writing

Obvezni Mandatory

120 4

T39 Vizualne kulture - Teorija medijev / Visual cultures – Media theory

Obvezni Mandatory

120 4

P31 Kreativne prakse – raziskava in diplomska naloga Creative practice - Research

Obvezni Mandatory

560 20

P 32 Kreativne prakse – resolucija (končni projekt) Creative practice – Resolution (Final project)

Obvezni Mandatory

450 16

P36 Strokovna praksa: Diplomska razstava ali produkcija / Professional practice: Degree show or production

Obvezni

Mandatory225 8

Total 1715 60

8

UČNI NAČRT : VIZUALNE UMETNOSTI 1. Stopnja /1. LETNIK UNIT DESCRIPTORS : VISUAL ARTS L4 /Yr 1.

UČNI NAČRT PREDMETA / COURSE SYLLABUS

Predmet: Zgodovina umetnosti 1 Course title: History of Art 1

Študijski program in

stopnja Study programme and level

Študijska smer Study field

Letnik Academic

year

Semester Semester

Vizualne umetnosti 1.stopnja

Konceptualizacija prostora / Likovna umetnost

1 1,2;

Visual arts level 1 ( L4) FA / CS 1 1,2; Vrsta predmeta / Course type Obvezni/Mandatory Univerzitetna koda predmeta / University course code:

T 11

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work

Druge oblike študija

Samost. delo

Individ. work

ECTS

50 10 10 50 4 Nosilec predmeta / Lecturer:

Doc. dr. Sebastjan Leban

Jeziki / Slo Languages: Slovenski

Predavanja / Lectures:

Slo

Vaje / Tutorial: Slo/Eng Pogoji za vključitev v delo oz. za opravljanje študijskih obveznosti:

Prerequisits:

• pogoj za vključitev v delo je vpis v letnik študija,

• pogoj za pristop k izpitu je minimalno 80 % prisotnost na predavanjih.

• Enrollment in the study year, • A prerequisite for the exam is minimum

80% attendance at lectures.

Vsebina:

Content (Syllabus outline):

9

Učna enota uvaja študente v razumevanje zgodovine umetnosti, kot temeljnega elementa v formaciji umetniškega mišljenja. Ključno je namreč poznavanje zgodovine umetnosti in posameznih slogov, ki so se v njej odvijali, da lahko študent razume genealogijo zgodovine umetnosti v vsej njeni celovitiosti. Analiza Zgodovine umetnosti 1 vključuje obdobje od romantične umetnosti, baroka, in renesanse do začetka moderne. Namen učne enote je zgraditi trden temelj znanja zgodovine umetnosti, na podlagi katerega lahko študentje nadgradijo svoje znanje in razumevanje umetnosti.

This unit introduces the students to an understanding of history of art as a constitutive element in the formation of the artistic thought. Of key importance is the knowing of the history of art in its different periods for the student to understand the genealogy of the history of art in its totality. The analysis of Histroy of Art 1 covers the period from the Romanesque art, through Gotic and Reinesance up to the beginning of the Modern Art. The purpose of the unit is to provide a solid base of knowledge of the history of art on which students can upgrade their knowing and understanding of art.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura / Required Readings:

• H. W. Janson, 1991. History of Art, Thames & Hudson, London. • Ernst Gombrich, 1997. Story of Art, Phaidon, London. • H. Honour & J. Fleming, 2005. A World History of Art, Laurence King, London. • Arnold Hauser, 1999. The social history of art, Routledge, London-New York. • Whitney Chadwick, 2002. Women, Art, and Society, Thames & Hudson, London. • Rudolf Arnheim, Art and Visual Perception, 2002: A Psychology of the Creative Eye,

University of California Press, Los Angeles • Mayer Shapiro, 1994, Theory and Philosophy of Art: Style, Artist, and Society, George

Braziller Inc., New York • Linda Nochlin, Why Have There Been No Great Women Artists?,

http://davidrifkind.org/fiu/library_files/Linda%20Nochlin%20%20Why%20have%20there%20been%20no%20Great%20Women%20Artists.pdf

Priporočena literatura / Recommended Readings:

• Luc Menaše, 1971. Evropski umetnostnozgodovinski leksikon, Mladinska knjiga, Ljubljana. Spletne strani / Web Pages:

• Artlex Art Dictionary: http://www.artlex.com/ • Web Gallery of Art: http://www.wga.hu/index1.html

Cilji in kompetence:

Objectives and competences:

10

• Študentje so poučeni o osnovnih konceptih in razumevanju zgodovine umetnosti.

• Opremiti študente z potrebnim znanjem za raziskovanja in analizo obranavanih tematik.

• Opremiti študente z trdno osnovo znanja zgodovine umetnosti od romantične umetnosti do začetka moderne.

• Analiza vpliva zgodovine umetnosti v umetniški produkciji.

• Spodbuja študenta v izgradnjo razvoja instrumentarija za branje in razumevanje zgodovine umetnosti.

• Students are aknowledge with the basic concepts and understanding of the history of art.

• Equip students with the research and study skills of the analysed topics.

• Equip students with a solid base of knowledge of the history of art from Romanesque art to the beginning of the Modern Art.

• Analysis of the influence of the history of art in the artistic production.

• Encourage students in the development of the instrumentation for reading and understanding the history of art.

Predvideni študijski rezultati:

Intended learning outcomes:

• Znanje in razumevanje:

• Po uspešnem zaključku učne enote bo študent sposoben :

• Poznavanja in razumevanja različnih obdobji v zgodovine umetnosti.

• Obrazložiti funkcijo zgodovine umetnosti v relaciji do zgodovinskih in kritičnih študij v vizualni umetnosti.

• Identificirati in uporabiti zgodovino umetnosti pri analizi vizualne umetnosti.

• Individualno razumevanje zgodovine umetnoste in idej.

• Knowledge and understanding:

• On successful completion of this unit, students will be able to demonstrate:

• Knowing and understanding of the various periods in the history of art.

• Explain the functions of the history of art in realtion to historical and critical studies in visual arts.

• Identify and use the history of art in the analysis of visual arts.

• An individual understanding of the history of art and ideas.

•

Metode poučevanja in učenja:

Learning and teaching methods:

• Predavanja • Seminar • Pisni in ustni izpit • Predstavitve

• Lectures

• Seminar

• Written and oral exam

• Presentation

Načini ocenjevanja:

Delež (v %) / Weight (in %)

Assessment:

11

Seminar, pisni in ustni izpit.

• Seminar 20% • Pisni izpit 20% • Ustni izpit 60%

Seminar, written and oral exam.

• Seminar 20%

• Written exam 20%

• Oral exam 60%

Reference nosilca / Lecturer's references: Doc. dr. Sebastjan Leban je teoretik in raziskovalec. Deluje na področju teorije in umetnosti. Med leti 2007 in 2011 je bil glavnih urednik in soustanovitelj časopisa in platforme Reartikulacija. Raziskovalna polja: politična ekonomija, dekolonialne in postkolonialne študije, kulturne in vizualne študije. * * * Assoc. prof. dr. Sebastjan Leban is a theoretician and researcher. He works in the field of theory and art. During the years 2007-2011 was the editor in chief of the platform and journal Reartikulacija. Research fields: political economy, decolonial and postcolonial studies, cultural and visual studies.

1.01 Izvirni znanstveni članek

1. LEBAN, Sebastjan. The construction of the other : (re)producing bare life. AM, ISSN 2406-1654, Oct. 2017, iss. 14, str. 69-79. https://fmkjournals.fmk.edu.rs/index.php/AM/article/view/200, doi: 10.25038/am.vOi14.200. [COBISS.SI-ID 513733250]

2. LEBAN, Sebastjan. De-Linking from Capital and the Colonial Matrix of Power : class racialization and the (de)regulation of life. V: GRŽINIĆ, Marina (ur.), ČENGIĆ, Nejra-Nuna. Biopolitics, necropolitics and de-coloniality, (Pavilion, ISSN 1841-7337, 14). Bucharest: Artphoto Asc. cop. 2010, str. 156-161. [COBISS.SI-ID 3712628]

3. LEBAN, Sebastjan. Conditioned contemporaneity (Reartikulacija, part 1 of 3). E-flux journal, ISSN 2164-1625, issue 0, 11/2008. http://www.e-flux.com/journal/view/25. [COBISS.SI-ID 30309421]

4. GRŽINIĆ, Marina, KLEINDIENST, Staš, LEBAN, Sebastjan. Prezemanje na opštestvenite, istoriskite i političkite prostori : Slovenija i EU = The appropriation of social, historical and political spaces : Slovenia and the EU. Identiteti : spisanie za politika, rod i kultura, ISSN 1409-9268, Summer 2007/Winter 2008, vol. 6, no. 2/3, str. 237-267. [COBISS.SI-ID 30339885]

1.04 Strokovni članek

5. LEBAN, Sebastjan. Art in residency : precarity or opportunity?. Seismopolite : Journal of Art and Politics, ISSN 1894-5449, 2018, iss. 18/19. https://www.seismopolite.com/art-in-residency-

12

precarity-or-opportunity. [COBISS.SI-ID 513733762]

6. LEBAN, Sebastjan. Rethinking the future: politics of extermination. Reartikulacija : umetniško-politična-teoretična-diskurzivna platforma, ISSN 1855-1335, 2009, [Št.] 6, str. 13-14. [COBISS.SI-ID 30098477]

1.12 Objavljeni povzetek znanstvenega prispevka na konferenci

12. LEBAN, Sebastjan. Izgradnja drugega : (re)produkcija golega življenja = The construction of the Other : (re)production bare life. V: Drugi mednarodni kolokvij Suverenost, migranti in kultura = 2nd International colloquium Sovereignty, migrants and culture. Ljubljana: [Znanstvenoraziskovalni center Slovenske akademije znanosti in umetnosti]. 2016, str. [11]-[12], [35]. [COBISS.SI-ID 41016621]

13. LEBAN, Sebastjan. Radical Critical Politics/Aesthetics. Glasnik AMEU ISH, ISSN 2464-0557, 2016, letn. 1, št. 1, str. 20. [COBISS.SI-ID 3659124]

14. LEBAN, Sebastjan. Paradigma svobode : reprodukcija kapitala in demokracije = The paradigm of freedom : reproduction of capital and democracy. V: GRŽINIĆ, Marina (ur.). Mednarodni kolokvij Politika, estetika in demokracija = International colloquium Politics, Aesthetics and Democracy. [Ljubljana: Znanstvenoraziskovalni center Slovenske akademije znanosti in umetnosti: Akademija za vizualne umetnosti. 2015], str. [8]. [COBISS.SI-ID 39191597]

1.16 Samostojni znanstveni sestavek ali poglavje v monografski publikaciji

15. LEBAN, Sebastjan. Paradigma svobode : reprodukcija kapitala in demokracije. V: GRŽINIĆ, Marina (ur.), et al. Politika, estetika in demokracija. 1. natis. Ljubljana: Založba ZRC, ZRC SAZU. 2015, str. 7-20. [COBISS.SI-ID 39217965]

3.15 Prispevek na konferenci brez natisa

32. LEBAN, Sebastjan. Izgradnja drugega : (re)produkcija golega življenja : [predavanje na drugem mednarodnem kolokviju: Suverenost migranta in kultura, ki so ga organizirali Filozofski inštitut ZRC SAZU, Podiplomska šola ZRC SAZU, Inštitut AVA in Fakulteta za medije in komunikacije Singidunum univerze v Beogradu, v Ljubljani, 25. nov. 2016]. [COBISS.SI-ID 3658612]

33. LEBAN, Sebastjan. Radical Critial Politics/Aesthetics : [predavanje na mednarodnem simpoziju: 44th International Colloquium Art and Aesthetics under Post-Transition, ki sta ga v Ljubljani prganizirala Slovenian Society of Aesthetics in Alma Mater Europea - Institutum Studiorum Humanitatis ter The Global Center of Advance Studies, 20 in 21. okt. 2016]. [COBISS.SI-ID 3658868]

34. LEBAN, Sebastjan. Rethinking the future: politics of exterminations : [predavanje na Transmediale.09, Deep North - festival for art and digital culture, na temo "The Digital Greenhouse", Berlin (Nemčija), 28.jan.2009]. Berlin, 2009. [COBISS.SI-ID 30096941]

35. LEBAN, Sebastjan. Silent weapon of extermination : [predavanje na International Symposium "Sustainability and Contemporary Art", Central European University, Budimpešta (Madžarska),

13

26.mar.2009]. Budapest, 2009. [COBISS.SI-ID 30097453]

Urednik

42. LEBAN, Sebastjan (urednik), MOHAR, Miran (urednik). Razstava diplomantov = Degree show : Galerija Equrna, 20. 6. - 14. 7. 2017. Ljubljana: AVA, 2017. 89 str., ilustr. [COBISS.SI-ID 41973037]

43. Drugi mednarodni kolokvij Suverenost, migranti in kultura = 2nd International colloquium Sovereignty, migrants and culture. Ljubljana: [Znanstvenoraziskovalni center Slovenske akademije znanosti in umetnosti], 2016. [44] str. [COBISS.SI-ID 40619565]

44. MOHAR, Miran (urednik), LEBAN, Sebastjan (urednik). Razstava diplomatov = Degree show. Ljubljana: AVA, 2016. 105 str., ilustr. [COBISS.SI-ID 3657844]


Mentor pri diplomskih delih

46. UŽIČANIN, Paula. Desensibilization of life : from mechancial to digital mode of production : degree dissertation : diplomsko delo. Ljubljana: [P. Užičanin], 2018. 28 f., ilustr. [COBISS.SI-ID 513736322]

47. ERJAVEC, Vanja. From king to empire : degree dissertation = Od kralja do imperija : diplomsko delo. Ljubljana: [V. Erjavec], 2017. 22 f., ilustr. [COBISS.SI-ID 513735554]

48. VUČKO, Nika. The aestheticisation of the image within the capitalist mode of production : degree dissertation = Estetizacija podobe znotraj kapitalističnega načina produkcije : diplomsko delo. Ljubljana: [N. Vučko], 2016. 26 f., ilustr. [COBISS.SI-ID 513736834]

49. BERTONCELJ, Matjaž. Computer games as the form of art : degree dissertation = Računalniške igre kot oblika umetnosti : diplomsko delo. Ljubljana: [M. Bertoncelj], 2015. 41 f., ilustr. [COBISS.SI-ID 513737858]

50. GALE, Špela. Questioning the role of the Art Museum : degree dissertation : diplomsko delo. Ljubljana: [Š. Gale], 2014. 31 f., ilustr. [COBISS.SI-ID 513737346]

51. ALIČ, Maja. Various interprentations of artists' bodies in artistic practices of body art performance : degree dissertation = Različne interpretacije teles umetnikov v umetniških praksah body art performansa : diplomsko delo. Ljubljana: [M. Alič], 2014. 50 f., ilustr. [COBISS.SI-ID 513736578]

52. MARINČEK, Matej. Commodification of art : impact of digital mode of production on commodification of art : degree dissertation = Komodifikacija umetnosti : vplivi digitalnega načina produkcije na komodifikacijo umetnosti : diplomsko delo. Ljubljana: [M. Marinček], 2013. 33 f.,

14

ilustr. [COBISS.SI-ID 513735810]

53. PILIĆ, Oliver. The black square as a condition of contemporaneity : degree dissertation : diplomsko delo. Ljubljana: [O. Pilić], 2012. 32 f., ilustr. [COBISS.SI-ID 513736066]

54. GOLOBIČ, Adrian. Information as terrorism : degree dissertation = Informacija kot terorizem : diplomsko delo. Ljubljana: [A. Golobič], 2012. 34 f., ilustr. [COBISS.SI-ID 513737090]

55. FALK, Neca. Intervening space : documentary video on several Slovene abstract photographers : degree dissertation : diplomsko delo. Ljubljana: [N. Falk], 2012. 27 f., ilustr. [COBISS.SI-ID 513737602]

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Zgodovina gledališča 1 Course title: History of Theatre 1




Letnik Academic

year

Semester Semester

Vizualne umetnosti 1. stopnja


1 1,2;

Visual arts level 1 ( L4) FA/CS 1 1,2; Vrsta predmeta / Course type Obvezni/Mandatory Univerzitetna koda predmeta / University course code:

T 12

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


Doc. Željko Hrs

Jeziki / Languages:


Slo

Vaje / Tutorial: Slo/Eng Pogoji za vključitev v delo oz. za

Prerequisits:

15

opravljanje študijskih obveznosti:

• Pogoj za vključitev v delo je vpis v letnik študija.

• Pogoj za pristop k izpitu je minimalno 80% prisotnost na predavanjih.

• Enrollment in the study year. • A prerequisite for the exam is minimum


Vsebina:


Učna enota predstavlja in raziskuje zgodovino gledališča iz medkulturnega vidika, ki preučuje ključna obdobja,in gibanja skozi teorijo in prakso skozi prostor in čas. Koncept učne enote Zgodovina gledališča 1 je skozi sodoben okvir razmišljanja predstaviti vlogo in pomen gledališča, s posebnim povdarkom na dvajsetem in enaindvajsetem stoletju. Razumevanje današnjega post-modernega, interkulturalnega in globaliziranega gledališča, kot izraza številnih, kompleksnih vplivov je ključ na podlagi katerega lahko študetn razvija kritičen diskurz.

This Unit introduces and explores the histories of theatre from an intercultural perspective, examining key periods, movements, theorists and practitioners over time and space. The concept of the unit History of Theater 1 is to introduced trough a contemporary thinking perspetcive the role and meaning of theater with special focuse on the 20th and 21st century. The understanding of today’s theatre, post modern, intercultural and globalised is therefore understood as an expression of many complex influences and represents a key in the student's capabilities in the developing of critical discourse.


• Brook, P. 1971. Prazen prostor. Ljubljana: Knjižnica MGL. • Brook, P. 1968. Empty Space. London: Penguin. • Artaud, A. 1994. Gledališče in njegov dvojnik. Ljubljana: Knjižnica MGL. • Artaud, A. 1970. Theatre and its Double. London: Calder. • Grotowski, J. 1973. Revno gledališče. Ljubljana: Knjižnica MGL. • Grotowski, J. 1976. Towards a Poor Theatre. London: Methuen. • Zarrilli, P.B., McConachie B., Williams G.J. and Sorgenfrei C.F. 2006/2007. Theatre

histories, An Introduction. New York/ London: Routledge. • Pronco, L.C. 1967. Theater East & West. Los Angeles: University of California Press. • Brockett, O.G.1991. History of the Theatre 6th.ed. Austin: University of Texas.


• Greenblatt, S. 2005. Will in the World. London: Pimlico. • Miočinović, M. 1976. Surovo pozorište. Beograd: Prosveta. • Otto, W.F. 1965. Dionysus – Myth and Cult. Bloomington: Indiana University Press, • Barba, E., Savarese, N. 1991. Dictionary of Theatre Anthropology. London/New York:

Routlege.

16



• Študentje so poučeni o osnovnih konceptih in razumevanju zgodovine gledališča.


• Zmožnost analize in informirane razprave o odnosu med pisnimi in izvajanimi besedili.

• Razumevanje povezave med scenografijo, obredi, žanri, besedil in gledalci.

• Students are aknowledge with the basic concepts and understanding of the history of theater.


• The ability to analyse and discuss the relationship between written and performed texts.

• Understanding the relation between scenography, ritual, genres, texts and spectators.



Znanje in razumevanje: Po uspešnem zaključku učne enote bo študent sposoben : • Poznavanja in razumevanja različnih

obdobji v zgodovini gledališča. • Razumevanje odnosa med gledališčem in

drugimi oblikami umetnosti. • Odkrivanje in uporaba zgodovinskih in

teoretičnih virov za razlago gledališča. • Individualno razumevanje zgodovine

gledališča.

Knowledge and understanding: On successful completion of this unit, students will be able to demonstrate:

• Knowing and understanding of the various periods in the history of theater.

• Understand the relationship between theatre and other art forms.

• Identify and use historical and theoretical sources to explain theatre.

• An individual understanding of the history of theatre.



• Predavanja • Seminar • Pisni in ustni izpiti • Predstavitve • Obiski gledaliških predstav

• Lectures • Seminar • Written and Oral Exam • Presentation • Theatre visits



Assessment:




• Seminar 20%


• Oral exam 60%

Reference nosilca / Lecturer's references:

17

Željko Hrs: igralec, dramaturg, stalni član ansambla SMG, gostujoči predavatelj na Goldsmiths, University of London, predavatelj na AVA, Akademiji vizualnih umetnosti, Ljubljana.

- rojen leta 1957 - leta 1981 absolviral AGRFT v Ljubljani in se zaposlil v SMG, Ljubljana - diplomiral leta 1992 iz dramske igre na AGRFT Ljubljana - bil dramaturg v več predstavah SMG in Betontanca - od leta 2008 gostujoči profesor na MA Performance making na Goldsmiths, University of London - od leta 2008 predavatelj zgodovine gledališča na AVA (Akademija vizualnih umetnosti) Ljubljana Leta 1993 sem sodeloval pri mednarodnem projektu Sarajevo, ki ga je po besedilu Gorana Stefanovskega zrežiral Slobodan Unkovski in ki je bil predstavljen v Antwerpnu, kulturni prestolnici Evrope 1993, na mednarodnem festivalu LIFT v Londonu, festivalih v Hamburgu, Kobenhavnu, Stockholmu in več švedskih mestih. Leta 2013 sem sodeloval pri projektu Osvajanje sreče v režiji Harisa Pašovića v koprodukciji Prime Cut Productions iz Belfasta, East West iz Sarajeva in SMG Ljubljana. Kot dramaturg sem delal v predstavah Hiša Bernarde Alba (SMG, 2000), Peter Pan SMG in Lutkovno gledališče Ljubljana, 2001), Soba srečanj Zavod Bunker in SMG in Centre Choreographique National de Rennes et de Bretagne, 2002), Wresting Dostoievsky Zavod Bunker, Betontanc, 2004, Lulubaj (SMG, 2004), Kitov trebuh SMG in Teatro Petra Bogota in Iberoameriški gledališki festival Bogota, 2006), vse v režiji Matjaža Pograjca ter Don Juan.kdo? (SMG in The Athletes of the Heart, London, 2007) v režiji Anne Furse). Hiša Bernarde Alba je bila v dnevniku Nuevo Herald proglašena za "najbolj vznemirljivo predstavo leta 2003, popoln spektakel in najbolj inovativno predstavo" Mednarodnega festivala hispanskega gledališča v Miamiju, ZDA. Predstava Kdo se boji Tennesseeja Williamsa je dobila nagrado Villanueva za najboljšo tujo predstavo leta 2004 na Kubi. Gostovala je v Čilu, Argentini, Urugvaju, Paragvaju, Dominikanski republiki in Kubi v Latinski Ameriki in Italiji, Hrvaški in Makedoniji. Sem soavtor gledaliških tekstov Kdo se boji Tennesseeja Williamsa (SMG 1999) in Don Juan.kdo? (SMG in Athletes of the Heart 2007); Tekst Don Juan.kdo? je bil objavljen (tudi v slovenščini) v antologiji Theatre in Pieces pri založbi Methuen v Londonu 2011 (ISBN: 978 1 408 13996 7). Predstava Don Juan.kdo? je gostovala v Londonu leta 2007 (Shunt Vaults) in 2008 na festivalu FeEast, Riverside Studios.

Zeljko Hrs: actor, dramaturg, permanent member of SMG ensemble, visiting lecturer at Goldsmiths, University of London, lecturer at AVA, Academy of Visual Arts, Ljubljana.

- born 1957 - l981 finished Academy AGRFT in Ljubljana and got employed in SMG theatre, Ljubljana - graduated in1992 on acting at AGRFT Ljubljana - was dramaturg at several performances SMG Theatre and Betontanc Theatre - from 2008 visiting Lecturer on MA Performance making at Goldsmiths, University of London - from 2008 lecturer of Histories of Theatre at AVA Academy of Visual Arts, Ljubljana

* * * In 1993 participated as actor in international project Sarajevo, written by Goran Stefanovski and directed by Slobodan Unkovski; Sarajevo opened Antwerpen as a European Cultural Capital 1993

18

and attended international theatre festival LIFT in London, festivals in Hamburg, Kobenhavn, Stockholm and several Swedish cities. In 2013 participted as actor in international project The Conquest of Happiness directed by Haris Pašović; coproduction of Prime Cut Productions from Belfast, East West from Sarajevo and SMG Ljubljana. As dramaturg worked on performances Hiša Bernarde Alba (The House of Bernarda Alba) (SMG, 2000), Peter Pan (SMG and Lutkovno gledališče Ljubljana, 2001), Soba srečanj (Maison des rendez-vous) (Zavod Bunker and SMG and Centre Choreographique National de Rennes et de Bretagne, 2002), Wresting Dostoievsky (Zavod Bunker, Betontanc, 2004), Lulubaj (SMG, 2004), Kitov trebuh (El vientre de la ballena) (SMG and Teatro Petra Bogota and Iberoamerican Theatre Festival Bogota, 2006), all directed by Matjaž Pograjc and Don Juan.kdo? (Don Juan.Who?)(SMG and The Athletes of the Heart, London, 2007) directed by Anne Furse). Hiša Bernarde Alba (The House of Bernarda Alba) was proclamed by Nuevo Herald as "the most thrilling performance of the year 2003, absolute spectacle and the most innovative performance" of International Festival of Hispanic Theatre in Miami, USA. Performance Kdo se boji Tennesseeja Williamsa (Who is Afraid of Tennessee Williams) got award Villanueva for best foreign show of the year 2004 in Cuba. It toured in Chile, Argentina, Uruguay, Paraguay, Dominican Republic in Latin America and Italy, Croatia and Macedonia. I am co-author of theatre plays Kdo se boji Tennesseeja Williamsa (Who is Afraid of Tennessee Williams) (SMG 1999) and Don Juan.kdo? (Don Juan.Who?) (SMG and Athletes of the Heart 2007); Theatre play Don Juan.kdo? was published (also in Slovenian) in anthology Theatre in Pieces by editing house Methuen, London, 2011 (ISBN: 978 1 408 13996 7). Performance Don Juan.kdo? toured in Londonu 2007 (Shunt Vaults) and 2008 on festival FeEast, Riverside Studios. From 2008 I am Visiting Lecturer on MA Performance Making at Goldsmiths, University of London.

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Filozofija 1 Course title: Philosophy 1




Letnik Academic

year

Semester Semester



1 1,2;


T 13

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS

50 10 10 50 4

19

Nosilec predmeta / Lecturer:

Doc. dr. Gregor Kroupa

Jeziki / Languages:


Slo


Prerequisits:

• Pogoj za vključitev v delo je vpis v letnik

študija. • Pogoj za pristop k izpitu je minimalno

80 % prisotnost na predavanjih.



Vsebina:


Učna enota predstavlja osrednje filozofske koncepte skozi zgodovinski kontekst. Predavanja in seminarji niso postavljeni kronološko, temveč vključujejo študente v sistematično raziskavo in razumevanje problemov skozi analize in kritično refleksijo.

In this course students are introduced to some of the central philosophical concepts through their historical contexts. Lectures and seminar readings are intended not to cover the history of philosophy chronologically, but rather to engage students in systematic understanding of a problem, its analysis and critical evaluation.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literature / Required Readings:

• Platon, 2004. Država (7. poglavje). In: Zbrana dela, Celje: Mohorjeva družba. • Descartes, R., 1988. Meditacije o prvi filozofiji. Ljubljana: Slovenska matica. • Kant, I., 1998. Critique of Pure Reason (Poglavje I.II.ii.2.2: “Antinomija čistega uma”).

Cambridge: Cambridge University Press

Priporočena literatura / Recommeneded Readings :

• Berkeley, G., 1910. A New Theory of Vision and Other Select Philosophical Writings (izbrana poglavja). A. D. Lindsay, ed., London, New York: Dent, Dutton.

• Hofstadter, D.R. & Dennett, D.C. eds., 1990. Oko duha: fantazije in refleksije o jazu in duši, Ljubljana: Mladinska knjiga.

• Locke, J., 1975. An essay concerning human understanding (poglavje “On Personal Identity”). P. H. Nidditch, ed., Oxford: Clarendon Press.

20



• Študentje so poučeni o osnovnih

konceptih in razumevanju filozofske misli.


• Po zaključku Učne enote morajo biti študentje sposobni razumevanja in razprave izbranih filozofskih tem.

• Razširjanje znanja ključnih konceptov filozofije v relaciji do umetnosti.

• Students are aknowledge with the basic

concepts and understanding of the philosophical thought.


• After completion students should be able to understand and discuss selected philosophical topics.

• Extended notion of key concepts of philosophy in relation to art.



Znanje in razumevanje: • Po uspešnem zaključku učne enote

bo študent sposoben :

• Razumevanje osnovne filozofske terminologije.

• Standardnih postopkov filozofske utemeljitve .

• Razlikovanje med različnimi načini razmišljanja o isti stvari: filozofsko, znanstveno, umetniško, zdrav razum, ipd.

Knowledge and understanding:


• Understand basic philosophical

terminology.

• Standard procedures of philosophical

argument.

• A differentiation between different ways of reasoning about the same thing:

philosophical, scientific, artistic, common sense, etc.



• Predavanja • Branja • Seminar • Pisni in ustni izpit • Predstavitve

• Lectures • Readings • Seminar • Written and oral exam • Presentation



Assessment:




• Seminar 20% • Written exam 20% • Oral exam 60%

21

Reference nosilca / Lecturer's references: Rojen 1. 9. 1977 v Ljubljani. V letih 1986-2004 živel v Pragi, kjer je končal študij filozofije. Od leta 2004 živi v Ljubljani. Ukvarja se z zgodovino filozofije, še zlasti novoveške in filozofije razsvetljenstva (1600-1800). Na tem področju je aktiven kot predavatelj, avtor znanstvenih besedil, urednik in prevajalec. Objavil je več znanstvenih člankov s področja novoveške in razsvetljenske filozofije v recenziranih revijah, se s prispevki udeležil konferenc v Izoli, Dubrovniku, Berlinu, Nikoziji in Beogradu. Kot urednik, prevajalec ali pisec spremnih študij je sodeloval pri pomembnih slovenskih prevodih klasičnih del Renéja Descartesa, Adama Smitha, Denisa Diderota, Jeana d'Alemberta, barona d'Holbacha in Jeremyja Benthama. Leta 2009 je uspešno zagovarjal doktorat pod mentorstvom red. prof. Mirana Božoviča na Oddelku za filozofijo na Filozofski fakulteti Univerze v Ljubljani. Razširjeno različico doktorskega dela je leta 2011 izdal pri ugledni založbi Studia Humanitatis pod naslovom Podobno v nepodobnem: o metafori v novoveški filozofiji. V letih 2008-14 je bil na Filozofski fakulteti UL zaposlen najprej kot mladi raziskovalec, nato pa še na dveh temeljnih raziskovalnih projektih. Najpomembnejše publikacije v zadnjih treh letih: Kroupa, Gregor. Podobno v nepodobnem: o metafori v novoveški filozofiji. Ljubljana: Studia humanitatis, 2011. —. “Jezik in javno : reorganizacija trivija v Lockovem Eseju in v Portroyalski logiki”. Filozofski vestnik, 2013, letn. 34, št. 3, str. 57-74. —. “Domnevna zgodovina : dejstva in fikcija”. Filozofski vestnik, 2011, letn. 32, št. 1, str. 37-49. —. “History gone wrong : Rousseau on corruption”. V: Ana Birešev in Rada Brezgić (ur.). Corruption and social development. Beograd: Institute for Philosophy and Social Theory, 2013, str. 16-34. —. “Bentham: javna korist proti fikciji”. V: Jeremy Bentham, Fragment o vladavini. Ljubljana: Krtina, 2013.

* * * Born September 1st, 1977 in Ljubljana, Slovenia. From 1986 until 2004 he had lived in Prague, Czech Republic, where he had obtained hi M.A. in Philosophy. Since 2004 he has lived in Ljubljana. His area of expertise is history of philosophy, especially Early Modern and philosophy of Enlightenment (ca. 1600-1800). Hi is active as a lecturer, author of articles, editor and translator. He has published several articles in the field of early modern and enlightenment philosophy in peer-reviewed journals. He has presented conference papers in Izola, Dubrovnik, Berlin, Nicosia and Belgrade. As an editor, translator or author of introductory studies he has participated in publishing important Slovenian translations of classical texts by René Descartes, Adam Smith, Denis Diderot, Jean d'Alembert, baron d'Holbach and Jeremy Bentham. In 2009, he successfully defended his doctoral thesis under the supervision of professor Miran Božovič, PhD. at the Department of Philosophy, Faculty of Arts (University of Ljubljana). A revised and expanded version of this thesis was published in 2011 with a prestigious press Studia Humanitatis (under the title: The Similar in the Dissimilar: on Metaphor in Early modern Philosophy). Since 2008 he has been employed at the Faculty of Arts, University of Ljubljana, first as junior research fellow, and as a researcher on two basic research projects. Key publications in the last three years: Kroupa, Gregor. Podobno v nepodobnem: o metafori v novoveški filozofiji. Ljubljana: Studia humanitatis, 2011.

22

—. “Jezik in javno : reorganizacija trivija v Lockovem Eseju in v Portroyalski logiki”. Filozofski vestnik, 2013, vol. 34, no. 3, pp. 57-74. —. “Domnevna zgodovina : dejstva in fikcija”. Filozofski vestnik, 2011, vol. 32, no. 1, pp. 37-49. —. “History gone wrong : Rousseau on corruption”. In: Ana Birešev in Rada Brezgić (eds.). Corruption and social development. Belgrade: Institute for Philosophy and Social Theory, 2013, pp. 16-34. —. “Bentham: javna korist proti fikciji”. In: Jeremy Bentham, Fragment o vladavini. Ljubljana: Krtina, 2013.

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Likovna teorija 1 Course title: Art theory 1




Letnik Academic

year

Semester Semester



1 1,2;


T 14

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


izred. prof. dr. Jaka Bonča

Jeziki / Languages:


Slo


Prerequisits:


• Pogoj za pristop k izpitu je minimalno 80 % prisotnost na predavanjih.



23

Vsebina:


Namen učne enote Likovne teorije 1 je spoznanje in razumevanje likovne teorije kot temeljnega elementa gradnika likovne umetnosti s povdarkom na aplikativnih elementih: Obris in oblika (pravilno opazovanje). Razumevanje oblike (impulz oblike, nujna, poglobljjena analiza objekta). Teža in modeliranje (oblika in teža). Risanje po spominu in druge hitre študije (ponazoritev celote). Modeliranje s črtami - dnevna sestava (predsodki omejitve). Modeliranje s svetlo-temno predmetov pod pravim kotom (masa medija). Poudarek na obrisu - slika (razvoj podaljšanim študij). Študija posebnih oblik (podrobnosti). Tehnologija. Enostavno odnosi. Študija tekstur - subjektivni impulz. Svetlo-temno (predstavitev svetlobe- kocka, sence). Metodologija raziskovanja zgradbe (strukture) (osnove gibanja, pomeni do koncne točke). Metode za komponiranje študija oblike. Vaje z belimi in črnimi črtami. Študija stavb (struktura). Analize z risbo (oblikovanjem) (gibanje in kontrast). Študije ohranjenih sestav. Napetosti (kako deluje?). Vaje s širokimi vodov v črno-belo. Analize z risbo (oblikovanjem) - nadaljevanje. Subjektivni elementi (odnosi z izkušnjami). Načini uporabi barv (linija in ploskev).

The purpose of the unit Art Theory 1 is the knowing and understanding of the art theory as the basic element in fine art, with special consideration to its applicative elements: Contour and form (correct observation). Understanding form (impulse of form, necessary in-depth dealing with the object is necessary). Weight and modelling (form and weight). Drawing from memory and other quick studies (visualising the whole). Modelling with lines – daily composition (prejudice limits). Modelling with light-dark objects at a right angle (mass of media). Emphasis on contour – image (development of prolonged studies). Study of special forms (details). Approaching technology. Simple relations. Study of texture – subjective impulse. Some comprehensive study (welding knowledge). Light-dark (introduction to light, light on a cube, cast shadows). Methodology of building research (structure) (fundamentals of motion, means to an end). Methods of compositional studies. Exercises with white and black lines. Study of buildings (structure). Analyses by drawing (design) (motion and contrast). Studies of extant compositions. Tension (how does it work?). Exercises with broad lines in black–white. Analyses by drawing (design) – follow up. Subjective elements (relations to experience). Methods of using colour (line and plane).


• Bonča, Jaka., 2003. Gospodar sistema / Lord of the System, Ljubljana, Fakulteta za arhitekturo. (allso available at www.rototype.org)

• Bonča, Jaka. 2007. Osnove likovne teorije, Ljubljana, Fakulteta za arhitekturo. • Butina, Milan. 2000. Mala likovna teorija, Ljubljana, Debora. • Lakof, George; Johnson, Mark., 1999. Philosophy in the flesh, New York, Basic Books.

1999 • Lakof, George; Nuñez., 2000. Where Mathematics Comes From, New York, Basic Books.


• Albers, Josef., 1971. Interaction of Color, New Haven, Yale.

24

• Allen, Stan., 2000. Practice: Architecture, Technique and Representation, Amsterdam, G+B Arts.

• Balmond, Cecil., 2002. Informal, London, Prestel. • Fletcher, Alan., 2006. Picturing and Poeting, New York, Phaidon. • Hamilton, Richard., 1982. Collected Words, London, Thames and Hudson. • Hess, Martin., 2005. Formvollendet, Zürich, Niggli. • Wolfram, Stephen., 2001. A New Kind of Science, Champaign, Wolfram Media. • Wollheim, Richard., 1987. Painting as an Art, London, Thames and Hudson.

Časopisi in revije / Journals and Periodicals:

• Likovne besede / Art Words, Ljubljana Zveza društev likovnikov Slovenije Spletne strani / Web sites:

• Bonča, Jaka., Osnove likovne teorije; http://predmet.fa.uni-lj.si/olt/ • Bonča, Jaka., Rototype; http://www.rototype.org/ • Donald & Lisa., Typeradio; http://www.typeradio.org/



• Študentje so poučeni o osnovnih konceptih in razumevanju likovne teorije.


• Kritično, refleksivno in domišljeno uporabo naučenih aplikativnih elementov likovne teorije v praksi.

• Prenašanje naučenih konceptov v ideje in v vizualno umetnost.

• Students are aknowledge with the basic concepts and understanding of art theory.


• A critical, reflective and imaginative usage of the learned applicative elements of the art theory in practice.

• Transference of learned concepts into ideas and visual art.



Znanje in razumevanje:


• Poznavanja in razumevanja likovne teorije. • Analize vizualne produkcije izhajajoč iz

likovne teorije. • Vizualno komuniciranje z uporabo različnih

tehnik - risanje, modeliranje, teksture, črte, barve in sestave.

• Razumevanja okolja in branja "informacij" v materialih.


• On successful completion of this unit, students will be able to (demonstrate) :

• Knowing and understanding of art theory.

• Analyse of visual production in relation to art theory.

• An ability to communicate visually through the use of various techniques – drawing, modelling, texture, line, colour and composition.

• An understanding of the environment and the ability of “reading” information in materials.

25



• Predavanja • Seminar • Predstavitve • Individualne in skupinske vaje • Pisni in ustni izpit • Predstavitev

• Lectures • Seminar • Demonstrations • Individual and group tutorials • Written and oral exam • Presentation



Assessment:

Seminar, pisni in ustni izpit, praktično delo.

• Seminar in praktično delo 20% • Ustni izpit 20% • Pisni izpit 60%

Seminar, written and oral exam, practical work.

• Seminar and practical work 20%

• Oral Exam 20% • Written Exam 60%

Reference nosilca / Lecturer's references: Jaka Bonča, rojen 1962 in Ljubljana, Slovenija Diploma: Fakulteta za arhitekturo, Univerza v Ljubljani, Slovenija, 1987 Mag: Fakulteta za arhitekturo, Univerza v Ljubljani, Slovenija, 1990 PhD: Fakulteta za arhitekturo, Univerza v Ljubljani, Slovenija, 1993 Poučuje na Fakulteti za arhitekturo, Univerza v Ljubljani, Slovenija Zaposlen: Fakulteta za arhitekturo, Univerza v Ljubljani Predava: Predstavitvene tehnike 1, Osnove likovne teorije, Projektiranje 4 in 5, Oblikovne zasnove (izbirni predmet), Arhitekturna delavnica Nagrade Prva nagrada na mednarodnem evropskem Natečaju DHV Special Avards National Identiteta centrov evropskih mest po letu 1992; Maastricht, Nizozemska 1992. Nagrada za inovativne grafične tehnike 4th Egyptian International Print Triennale, Cairo, Egipt, 2003. Nagrada Majskega salona Slovenija. Knjige Jaka Bonča: Gospodar sistema - Lord of the System, Fakulteta za arhitekturo in Šola za risanje in slikanje - visoka strokovna šola, Ljubljana 2003, 184 strani, ISBN 961-6160-45-1.Jaka Bonča. Osnove likovne teorije, učbenik za arhitekte. Ljubljana: Fakulteta za arhitekturo, 2008. ISBN 978-961-6160-85-8.

* * *

26

Jaka Bonča, born 1962 in Ljubljana, Slovenia Diploma: Faculty of Architecture, University of Ljubljana, Slovenia, 1987 Mag: Faculty of Architecture, University of Ljubljana, Slovenia, 1990 PhD: Faculty of Architecture, University of Ljubljana, Slovenia, 1993 Teaching at Faculty of Architecture, University of Ljubljana, Slovenia Working at Faculty of Architecture, University of Ljubljana Lecturing: Presentation techniques 1, Introduction to art theory, Design Studio 4 and 5, Design Concepts (ellective subject), Architectural workshop Awards First prize at International European Competition DHV Special Avards National Identity of Ceters of European Cityes after 1992; Maastricht, Holand 1992 Award for innovative graphic techniques 4th Egyptian International Print Triennale, Cairo, Egipt, 2003 Award of Majski salon Slovenia. 2005 Books Jaka Bonča: Gospodar sistema - Lord of the System, Fakulteta za arhitekturo in Šola za risanje in slikanje - visoka strokovna šola, Ljubljana 2003, 184 pages, ISBN 961-6160-45-1. Jaka Bonča. Osnove likovne teorije, učbenik za arhitekte. Ljubljana: Fakulteta za arhitekturo, 2008. ISBN 978-961-6160-85-8

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Teorija fotografije Course title: Theory of Photography




Letnik Academic

year

Semester Semester



1 1,2;


T 15

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS

20 20 20 10 50 4 Nosilec predmeta / Lecturer:

Doc. Aleksandra Vajd

27

Jeziki / Languages:


Slo


Prerequisits:



• Enrollment in the study year. • A prerequisite for the exam/crit is

minimum 80% attendance at lectures.

Vsebina:


Učna enota je zasnovana kot povezava med teorijo in prakso fotografije. Fotografija igra pomembno vlogo v sodobni umetniški praksi. Povdarjeno je razumevanje fotografije kot medija, ki nima točno določene identitete, kar daje strukturo in širino mediju; ne na estetski čistosti pač pa mnogoterosti retoričnih oblik uporabljenih za kreacijo dejstev, fikcije in domišlije. Učna enota obravnava fotografijo kot medij zapisovanja in spreminjanja prostora, časa in diskurza.

This Unit is designed to interrelate the theory and practice of Photography. Photography plays a crucial role in contemporary art practice. Special consideration is given to the understanding of photography as a medium with no fixed identity. This gives photography a unique strucutre and range as a medium not based on aesthetical purity but on a multiplicity of rhetorical forms used for the creation of facts, fiction and fantasy. The unit presents photography as a medium of recording and transforming of time, space and discourse.


• Bartes Roland., 1981. Camera Lucida: Reflection on Photography, Hill and Wang. • Benjamin Walter, A short History of Photography

http://screen.oxfordjournals.org/cgi/reprint/13/1/5.pdf • Sontag Susan., 1977. On Photography, New York: Farrar, Straus and Giroux. • Sontag Susan., 2003. Regarding the Pain of Others, Penguin. • Flusser William., 2000. Towards a Philosophy of Photography, Reaction Books.



28

• Študentje so poučeni o osnovnih konceptih in razumevanju teorije fotografije.


• Kritičen, refleksiven in domiselen angažma v mediju fotografije v odnosu do številnih kulturnih praks.

• Razumevanje individualne prakse fotografije v korelaciji z drugimi relevantnimi medijskimi oblikami in konteksti produkcije in uporabe .

• Students are aknowledge with the basic concepts and understanding of the theory of photography.


• Critical, reflective and imaginative engagement within the photographic medium in relation to its many cultural practices.

• Indicate an understanding of the individual practice of photography in relation to other relevant media forms and contexts of production and consumption.





• Konceptualnega in kritičnega razmišlja

o fotografiji. • Identifikacije načinov za ustvarjanje

kreativnih impulzov, pri opredelitvi fotografskega medija.

• Različnih pristopov pri obravnavi fotografije v relaciji do umetniške produkcije in družbe.



• Conceptual and critical thinking of photography.

• Identify ways of generating creative impulses in defining the photographic medium.

• Different approaches in addressing photography in relation to art production and society.



• Predavanja • Seminar • Predstavitve • Projekcije • Individualne in skupinske vaje • Pisni in ustni izpit • Neodvisna ateljejska praksa in

raziskave • Samoevalvacija

• Lectures • Seminar • Demonstrations • Screenings • Individual and group tutorials • Written and oral exam • Independent studio practice and

research • Self evaluation



Assessment:


• Seminar in praktično delo 20% • Ustni izpit 20%



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• Pisni izpit 60%


Reference nosilca / Lecturer's references: Aleksandra Vajd je študirala fotografijo na FAMU v Pragi, kjer je tudi magistrirala. Obenem je diplomantka Fakultete za veterinarsko medicino v Ljubljani, Slovenija. Od leta 2004 do 2006 je prejela Fulbrightovo štipendijo za študij fotografije na SUNY, New Paltz, NY. Njena dela so bila razstavljena po Evropi (Futura in Josef Sudek Atelier v Pragi, Moderna galerija, Mestni muzej in Mestna galerija v Ljubljani) in ZDA (Bard College, Samuel Dorsky Museum v New Paltz, Češka Center v New Yorku, Muzej sodobne fotografije v Chicagu). Prejela je številne štipendije in nagrade, med njimi: Leta 2000 Zlata ptica, leta 2002 Vordemberge-Gildewart, Švicarske fundacije – Štipendija za mlade talente; 2005 Delovne štipendije Ministrstva za kulturo Republike Slovenije, leta 2005 prvo nagrado Frame005 Award, Brno, Češka Republika, 2006 Nominacija za Deutsche Börse Award, London, Velika Britanija, leta 2006 je bila finalistka nagrade skupine OHO, Ljubljana, Slovenija.Vajdova je ena od ustanoviteljic društva Format1 in sourednica revije Fotograf v Pragi. Poučevala je na Akademiji za likovno umetnost in oblikovanje v Ljubljani in na Akademiji za umetnost, arhitekturo in oblikovanje v Pragi, kjer poučuje še danes.

* * * Aleksandra Vajd holds a BA and an MA in photography from FAMU in Prague as well as a degree from the Faculty of Veterinary Medicine in Ljubljana, Slovenia. From 2004 to 2006, she received a Fulbright Scholarship to study photography at SUNY, New Paltz, NY. Her work has appeared in numerous exhibitions in Europe (Futura and Josef Sudek Atelier in Prague; Modern Gallery, City Museum and City Gallery in Ljubljana) and the United States (Bard College, Samuel Dorsky Museum in New Paltz; Czech Center in NYC; and Museum of Contemporary Photography in Chicago). She received numerous grants and awards, among them: the 2000 Golden Bird; the 2002 Vordemberge-Gildewart Swiss Foundation – Grant for the young talents; the 2005 Working Scholarship of the Ministry of Culture of Republic of Slovenia; the 2005 First Prize of the Frame005 Award, Brno, Czech Repubic; the 2006 Nomination for Deutsche Borse Photographic Award, London, Great Britain; and the 2006 Finalist of the OHO Group Award, Ljubljana, Slovenia. She is one of the founders of the association Format1 and a co-editor of the magazine Fotograf in Prague. She has taught at the Academy of Arts in Ljubljana and at the Academy of Arts, Architecture and Design in Prague where she teaches today.

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Objektivno risanje 1 Course title: Objective Drawing 1




Letnik Academic

year

Semester Semester



1 1,2;

Visual arts level 1 ( L4) FA/CS 1 1,2;

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Vrsta predmeta / Course type Obvezni/mandatory Univerzitetna koda predmeta / University course code:

P10

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


Doc. Andrej Savski

Jeziki / Languages:


Slo


Prerequisits:


• Pogoj za pristop k izpitu/kritiki je minimalno 80 % prisotnost na predavanjih.



Vsebina:


Učna enota se osredinja na razvoj veščin opazovanja in prenosa vidnega prostora v vizualni. Študentje tekom enote razvijejo tako veščino risbe kot kreativne odzive na zastavljene naloge in probleme. Enota vzporedno s praktičnimi nalogami seznani študente z vrsto pristopov, ki se nanašajo na risbo in njeno rabo. Študentje se tako seznanijo z anatomijo človeka, linearno perspektivo (eno, dvo in trobežiščno), s prostorskimi/globinskimi ključi, proporci, možnostmi kompozicije, senčenjem, s tonsko risbo, izraznostjo črte itd. Kritika, korekture in diskusije o umetnostno-zgodovinskih in sodobnejših pristopih v risbi so integrirane v sam procesa dela.

This unit focuses on the development of the skills of observing and transmitting the visible space into a visual. During the course students develop both, the skills of drawing and creative responses to the tasks and problems that have been set to them. In a parallel with practical tasks, the unit introduces students to a number of approaches that relate to the drawing and its use. Students get acquainted with the human anatomy, linear perspective (one, two, and three-point), with spatial/depth keys, proportions, composition options, shading, tone drawing, with the possibilities of the line expression, etc. Criticism, corrections and discussions on historical and contemporary artistic approaches in drawing are integrated into the process itself.

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Ker je namen učne enote razviti razumevanje risbe kot primarnega raziskovalnega elementa za kasnejšo večpomensko rabo, delež praktičnih nalog postopno uvaja povezavo tudi z ostalimi sočasno izvajanimi praktičnimi učnimi enotami, kot so Slikarstvo, Fotomedia, Koncipiranje prostora, Skulptura, Mešani mediji, Video/Film. Predhodno znanje ni potrebno.

Since the purpose of the learning unit is to develop an understanding of the drawing as a primary research element for subsequent multipurpose use, this unit gradually introduces the linking of specific practical assignments with other learning units such as Painting, Photomedia, Set design, Sculpture, Mix media, Video/Film. No prior knowledge is needed.


• Gottfried, B., 2002. Die Gestalt des Menschen: Lehr- und Handbuch der Künstleranatomie. Stuttgart: Urania Verlag.

• D'Amelio, J., 2004. Perspective Drawing Handbook. Mineola, NY: Dover Publications, Inc.


• Hockney, D., 2001. Secret Knowledge: rediscovering the lost techniques of the old masters. London: Thames&Hudson.

• Kaupelis, R., 1992. Experimental Drawing Techniques. New York: Watson-Guptill Publications

• Dexter, E. et al., 2005. Vitamin D: new perspectives in drawing. London, NY: Phaidon. Cilji in kompetence:


• Študentje so poučeni o osnovah risanja in slikanja.


• Razumevanje risbe kot osnovne raziskovalne dejavnosti, ki podpira druge aspekte vizualnega izražanja.

• Pridobiti samozupanje pri transpoziciji motivov skozi skozi temeljne raziskovalne aktivnosti, ki podpirajo vizualne prakse.

• Students are aknowledge with the basics of drawing and painting.


• Develop an understanding of drawing as a core research activity which underpins art and design practice.

• Gain a confidence in making visual observations through notation and the development of other practical methods.


I Intended learning outcomes:

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• Profesionalnega razumevanje praktične in teoretične uporabe risbe in slike.

• Uporabe konstruktivne kritike skozi samoevalvacije.

• Neodvisnega razvoja celovitih obzervativnih, interpretativnih in tehničnih znanj in veščin v povezavi z risbo in sliko.

• Koherentne verbalne in vizualne prezentacije (verbalne, pisne, vizualne) del predavateljem/tutorjem in kolegom.



• Professional understanding of the practical and theoretical usage of drawing and painting.

• Make use of constructive criticism through self-evaluation.

• Independent development of comprehensive observational, interpretative and technical skills in relation with drawing and painting.

• Give a verbal and visual coherent

presentation (verbal, written or visual) of your work to your tutors and peer group.



• Predstavitve • Individualne in skupinske vaje • Neodvisni ateljejska praksa in

raziskave • Skupinska kritika • Samoevalvacija

• Demonstrations

• Individual and group tutorials

• Independent studio practice and research

• Group Critiques

• Self evaluation



Assessment:

Kritika in prezentacija.

• Izkaz dela in napredka preko leta 80%

• Prezentacija 20%

Critic and presentation.

• Record of work and development during the year 80%

• Presentation 20%

Reference nosilca / Lecturer's references: Andrej Savski rojen 1961 v Ljubljani. Član skupine Irwin.

* * * Andrej Savski was born 1961 in Ljubljana. Member of the IRWIN group. Razstave od leta 2015 dalje/Exhibition since 2015: Samostojne/Individual: • Osnabrück, IRWIN. WO DENKST DU HIN?! Kunsthalle Osnabrück, 26 September 2015

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- 10 January 2016 • Ljubljana, NSK from Kapital to Capital (Neue Slowenische Kunst – an Event of the Final Decade of Yugoslavia), Museum of Modern Art, Ljubljana, 11 May 2015 — 16 August 2015 Skupinske/Collective: • Ljubljana, Crises and New Beginnings – Art in Slovenia 2005 – 2015, Muzej sodobne umetnosti Metelkova, MSUM, 22.12.2015 – 3.4.2016 • Ljubljana, Equrna Pop, Equrna, 22.12.2015 – 12.2.2016 • Ljubljana, Bogoslav Kalaš, The Painting Machine, Moderna galerija, 17.12.2015 – 20.3.2016 • Nürnberg, Passion, Fan Behaviour and Art, Kunsthaus Nürnberg, 17.12. – 14.2.2016 • Istanbul, Ariel, White Screen Black Hole, 15.12.2015 – 23.1.2016 • Ljubljana, Black-White/Dark-Light, Visconti Fine Art, 12.12.2015 – 12.3.2016 • Ljubljana, Inside Out - Not so White Cube, Mestna galerija (City Art Gallery), September 24 – November 22 • Berlin, Passion - Fan Behavior and Art - Künstlerhaus Bethanien, 10.07. – 09.08. • Võru, Kilometre of Sculpture 2015 Võru - KoS, July 4 – 26 • Ljubljana, Hommage à Malevich - Black Square Continued, Mestna galerija (City Art Gallery), July 2 –September 6 • Ljubljana, Yu - Art, Galerija Visconti, 11.6. – 30.9. • Kiev, Some Say You Can Find Happiness There, Visual Culture Research Center (Kyiv, Ukraine), May 20 – June 15 • Rijeka, Signals Above The City, Museum of Modern and Contemporary Art Rijeka, May 5 – Jun 5 • Zagreb, The magic of art, protagonists of Slovenian contemporary art 1968-2013, Gliptoteka, April 9 – May 3 • Portorož, Istria Contemporanea, Monfort, 2.4. – 27.5. • Tirana, Workers leaving the studio, looking away from socialist realism, National Gallery of Arts, 27.2. – 5.4. • Moscow, Grammar Of Freedom / Five Lessons: Works From Arteast 2000+ Collection - Garage Museum of Contemporary Art, Moscow, February 6 – April 19 • Vienna, The Magic of Art / The protagonists of contemporary Slovenian art 1968–2013, Künstlerhaus Vienna, 6 February –29 March 2015 • Bratislava, Art Has No Alternative, tranzit.sk, January 9 – February 1 leto 2016 samostojne: • Berlin, Paintings 1984 - 2016, Galerija Gregor Podnar, 11.11.2016 – 14.1.2017 • Moscow, NSK: From Kapital to Capital, Garage Museum of Contemporary Art, 30.9. – 9.12.2016 • Eindhoven, NSK: From Kapital to Capital. An Event in the Final Decade of Yugoslavia, Van Abbemuseum, April 16 - June 26, 2016 • Gdańsk, IRWIN. Planting Seeds, Łaźnia Centre For Contemporary Art, May 13th – July 17th, 2016 skupinske: • Venice, Palazzo Mora, FRAGILE BODY – MATERIAL BODY, III Venice International Performance Week, 10.12. – 17.12. • Venice, A plus A Gallery, The Material Body of Art, 13.12 – 28.2 17 • Istanbul, Pera Museum, Cold Winds from the Balkans, 8.11. – 7.5.2017 • Tirana, A Retrospective of Art about Public Space in Tirana 1996 – 2016, FAB Gallery, 22.10. – 1.11.

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• Ljubljana, Working Drawings and Other Visible Things on Paper Not Necessarily Meant To Be Viewed as Art (After Mel Bochner), Galerija SKUC, 21.10. – 20.11. • Ljubljana, Novi prostori, nove podobe, Moderna galerija,14.10. – 1.1.2017 • Nowy Sacz, Intermarium, BWA SOKÓŁ Gallery of Contemporary Art, 30.9. – 4.12. • Graz, 100 Years of World Transition, Chaumbad, 9.9. – 9.10. • Bad Munstereifel, Aus 45. Jahren, Galerie Inge Baecker, 4.9. – 6.10. • Kiel, Passion. Fan-Verhalten und Kunst - Stadtgalerie Kiel, 17.8 – 16.10. • Sarajevo, Creators, Galerija suvremene umjetnosti Charlama, 11.8. – 11.9. • Beograd, Upside Down: Hosting the Critique, Belgrade City Museum, 24.6. – 25.6. • Ballyvaughan,The 2nd NSK State Folk Art Biennale: Folk Art Rising 1916-2016, County Clare, Burren College of Art, 30.6. – 5.8. • Ljubljana, Decentralisation of Contemporary Arts, Art Center Rog, 9.6. – 25.7. • Ljubljana, Beyond the Globe, 8. Trienial of Contemporary Art, Moderna galerija, 2. 6. • Ljubljana, Low-Budget Utopias, Museum of Contemporary Art Metelkova, +MSUM, 26 April — 11 September • Budapest, Passion. Fan Behaviour and Art, Ludwig Museum - Museum of Contemporary Art, 15.3. – 26.6 • Maribor, The Hunting One!, UGM, Umetnostna galerija Maribor, 11.3. – 16.4. • Ljubljana, Apprentice/Master: In Dialogue with Conceptual Art, Galerija Vžigalica, 4.2. – 6.3. • Prague, Intermarium, FUTURA Gallery, 26.1. – 27.3. leto 2017 samostojne oz. projekti: • Venice, NSK State Pavilion - 57th Venice Biennial, Palazzo Ca’ Tron, 11 May – 15 July 2017 • Madrid, NSK: From Kapital to Capital, Neue Slowenische Kunst. An Event of the Final Decade of Yugoslavia, Museo Nacional Centro de Arte Reina Sofía, June 28, 2017 - January 8, 2018 • New York, James Gallery, Centre for the Humanities, NSK State Art: New York - The Impossible Return, 7.2. - 25.3.2017 • Vienna, NSK State Venice Pavilion in Vienna – Thinking Europe, ARCC.art Space, 17. 5. - 11. 6. 2017 • Labin, Lamparna, A Documentary of the First NSK Citizen’ Congres in Berlin, 20. 5. - 20. 6. 2017 • Biel, Art Center Pasquart, Dreams and Conflicts, 22.9. - 19.11. 2017 skupinske: - Landskrona, Working Drawings and Other Visible Things on Paper Not Necessarily Meant to Be Viewed as Art (after Bochner), CAC Landskrona, 21.1. - 5.2.1917 - Beirut, Contemporary Artistic “Revolutions”: An Institutional Perspective, AUB Art Galleries Beirut Lebanon, 28.2. - 28.6.2017 - Ljubljana, Osemdeseta - Večmediske prekse in produkciska prizorišča, Muzej sodobne umetnosti Metelkova, 22.3. - 11.6. 2017 - New York, Cabinet de regard: Twenty Names Circled in Red or Green, ArtHelix Gallery (Brooklyn), 1. - 16.4.2017 - Modena, 10 years old - Fondazione Fotografia Modena, 2.2. - 30.4.2017 - Ljubljana, Dediščina leta 1989. Študijski primer: druga razstava Jugoslovanski dokumenti Osemdeseta skozi prizmo dogodkov, razstav in diskurzov, 3.del, Moderna Galerija, 26.4. - 17.9.2017 - Dresden, Ostrale 17 - Internationale Ausstellung zeitgenössischer Künste,

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28.7. – 1.10.2017 - Guangdong, Symptoms of Society, Museum of Art, 30.5. – - Ptuj, Art Stays - Velika krajina, Dominikanski samostan, 7. - 5.9.2017

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Koncipiranje prostora 1 - Film Course title: Set Design 1 - Film




Letnik Academic

year

Semester Semester


Konceptualizacija prostora 1 1

Visual arts level 1 (L4) Conceptualization of Space 1 1 Vrsta predmeta / Course type Obvezni / Mandatory Univerzitetna koda predmeta / University course code:

P11/CS

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


Doc. Pepi Peter Sekulich

Jeziki / Languages:


Slo


Prerequisits:





36

Vsebina: Content (Syllabus outline): Cilj učne enote je uvajanje široke palete tehničnih postopkov in ključnih idej znotraj polja filmske scenografije. Povdarek bazira na razvijanju strategij izvedbe, razvoja idej in sprejemanju odločitev; raumevanje medsebojnih povezav le-teh ter vzpostavljanje pomena konteksta in raziskave v polju individualnih interesov. Cilj je opremiti študente s tehničnim in kontekstualnim besednjakom. Ta jim omogoča ustrezno razvijanje strategij artikuliranih skozi izvedbo, refleksije in skupinske debate. Ključni aspekt učne enote je izbor, sestavljanje in organiziranje individualne 'konstelacije' raziskav.

This unit aims to introduce a broad range of technical processes and key ideas within the field of set design for the screen. There is an emphasis on developing strategies for making, thinking and decision-making; to understand their interconnections and to establish the importance of context as your research interests emerge. The aim is to equip students with technical and conceptual vocabularies. This provides them with the proper development of strategies articulated through making, reflection and group discussion. Key to this unit is the collation and organisation of individual 'constellation' of research.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literature / Required Readings:

• Neat, David., 2008. Model-Making: Materials and Methods, The Crowood press Ltd.

• Woodbridge, Patricia., 2000. Designer Drafting for the Entertainment World, Focal Press. Priporočena literature / Recommended Readings:

• Tiner, Ron., 1997. Figure Drawing without a Model David & Charles.

• Montague, John., 1998. Basic Perspective Drawing 3rd Edition, Wiley.

• Ching, Francis D. K., 2007. Architecture: Form, Space, and Order 3rd Edition, Wiley.

• Page, Neville., 2006. Concept Design 2, Titan Books Ltd




• Poznavanja osnovnih konceptov in

razprav, povezanih s spreminjajočo kulturo narativnih časovnih medijev in zmožnost vrednotenja in interpretacije le-teh v praksi konceptualizacije prostora.

• Razvojnega pristopa v skladu s teorijami in koncepti predmeta.

• Oceniti primernosti procesov in znanj pri realizaciji, izboru in prezentaciji kreativnih namenov.

• Uporabe refleksije in samoevalvacije

• On successful completion of this unit,

students will be able to demonstrate:

• Knowledge of underlying concepts and debates associated with the changing culture of narrative based temporal media and an ability to evaluate and interpret these within the practice of the conceptualisation of space.

• A developing approach to research in accordance with theories and concepts of the subject.

• An ability to evaluate the appropriateness of processes and skills in the realisation, selection and

37

kot del učnega procesa. • Razvoj prenosljivih sposobnosti in

zaupanje v svojo (edinstveno) ustvarjalnost ter razvoja načinov participacije v sodelovanju z drugimi.

• Znanje in uporaba praktičnih in teoretičnih prvin koncipiranja prostora.

presentation of creative intentions.

• The use of reflection and self-evaluation as part of the learning process.

• Developing transferable skills and confidence in your unique creativity and the ways in which you can communicate your contribution in collaboration with others.

• Knowledge and use of practical and theoretical elements of the conceptualization of space.




• Poznavanja in razumevanja konceptualizacije prostora.

• Uporaba konstruktivne kritike in zmožnost samoevelvacije

• Zmožnost usklajene verbalno-vizualne predstavitve (ustno, pisno, in vizualno)

• Razumevanje pomembnosti timskega dela

• Samostojno oblikovanje tehničnih veščin računalniškega upodabljanja ki ustreza disciplini in osebnim interesom pri raziskavah.


• Knowing and understanding of the conceptualisation of space.

• Make use of constructive criticism through written self-evaluation.

• Give a verbal and visual coherent presentation (verbal, written and visual) of your work to your tutors and peer group.

• Appreciate the value of teamwork. • Independent development of a

comprehensive set of IT and technical skills appropriate to the discipline and personal research interests.



• Predavanja • Predstavitve • Individualne in skupinske vaje • Samostojno ateljejsko delo in raziskave • Samoevalvacija

• Lectures • Presentations • Individual and group tutorials • Independent studio practice and




Assessment:







38

Reference nosilca / Lecturer's references: Pepi Sekulich je ustanovitelj in iniciator AVA- Akademije za vizualne umetnosti in njenih programov. Diplomiral v Londonu /1992/ – Wimbledon Colege of Art (University of the arts London). Kot gledališki scenograf je sodeloval pri več kot 30-tih gledaliških in plesnih predstavah s številnimi gledališči in skupinami: SNG Drama Ljubljana, Slovensko Mladinsko gledališče, PDG Nova Gorica, Mestno gledališče Ljubljana, Gledališče Ptuj, Koprsko gledališče, Fundacao Serralves Porto, Le Ballet Gent, En Knap… Sekulich je avtor filmskih scenografij za 13 celovečernih filmov in številnih srednje in kratkometražnih filmov kot so : Outsider 1995, Stereotip 1996, Ita Rina 1997, Spleti 1998, Ljubljana 1999, Zvenenje v glavi 2000, Varuh meje 2000, Desperado tonic 2001, Novi svet 2002, Jasnovidka 2003, Reality 2006, Stanje šoka 2011…Je dobitnik številnih nagrad za filmsko scenografijo (2x ‘Vesna’ za najboljšo scenografijo). Režija celovečernega dokumentarno-igranega filma: Vaja za smrt 2007 in številnih video spotov. Je avtor številnih razstav in umetniških akcij. Poučeval je likovno umetnost in konceptualizacijo prostora na različnih Visokošolskih in umetniških inštitucijah.

* * * Pepi Sekulich is a founder and the initiator of the Institute A.V.A. – Academy for Visual Arts and it’s programme. He graduated in London / 1992 / – Wimbledon College of Art (University of the Arts London) As a Theatre designer- scenographer participated in more than 30 theatre and dance performances in several theaters and companies such as: SNG Drama Ljubljana, Theatre Mladinsko, PDG, Nova Gorica, Ljubljana City Theatre, Theatre Ptuj, Koper Theatre, Fundacao Serralves Porto, Le ballet Gent, En Knap …Production designer of 12 feature length films and numerous mid metrage and short films as: Outsider 1995, Stereotype 1996, Ita Rina, 1997, Web 1998, Ljubljana 1999, Head noise 2000, Guardian of the Frontier 2000, Desperado Tonic 2001, New World 2002, The Clairvoyant 2003, Reality 2006, State of Shock 2010 …He recieved Three Awards for best Production design. Directed the feature length documentary-drama: A Rehearsal for Death 2007 (National TV) Author of numerous Exhibitions and Artistic Actions. Tought Fine Art and Design for stage and screen at several HE and Art Institutions.

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Slikarstvo 1 Course title: Painting 1




Letnik Academic

year

Semester Semester


Likovna umetnost 1 1

Visual arts level 1 ( L4) Fine Art 1 1 Vrsta predmeta / Course type Obvezno / Mandatory Univerzitetna koda predmeta / University course code:

P11/FA

39

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


Doc. Miran Mohar

Jeziki / Languages:


Slo


Prerequisits:





Vsebina:


Učna enota zahteva od študentov, da se poglobijo v umetniški potencial slikartva. Študentje so seznanjeni z osnovnimi metodami in koncepti slikarstva, kakor tudi njegovimi posodobitvami (uporaba fotografije kot kreativnega, raziskovalnega orodja). Predstavljen bo vsebinski način dela v primerjavi z metodami različnih sodobnih umetnikov, skozi razprave o njihovih namenih. Pomemben je razvoj vizualne zavesti in percepcije, ter sposobnosti interpretacije lastnih idej in stališč skozi delo z barvami in odtenki.

This unit demands from students to engage in the artistic potential of painting. Students are inroduced to basic mehotds and concepts of painting along with its upgrading (the use of photography as a creative and research tool). You will be introduced to working thematically, using examples from a range of contemporary artists, with illustrations and interviews discussing their methods and intentions. What is important is the awareness and the ability to analyse and translate observations and ideas into paint. This unit also encourages you to explore different ways in which acrylic colours can be used.


• Myers,Terry., 2001. Painting, MIT Press. • Mayer, Ralph., 1991. The artist’s handbook of Materials and Techniques, Faber and Faber. • Schwabsky, Barry., 2004, Vitamin P / New Perspectives in Painting, An global survey of

painting today, featuring 114 contemporary painters, Phaidon Press. • Badovinac, Zdenka., 2002. Ungemalt, Sammlung Essl - Kunst Der Gegenwart. • Kemp, Martin., 2004. The Oxford History of Western Art, Oxford University Press.

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• Poznavanja osnovnih konceptov in

razprav, povezanih s spreminjajočo kulturo likovne umetnosti in sposobnost vrednotenja in razlage skozi slikarske prakse.


• Uporabe in razumevanja osnovnih metod in konceptov znotraj slikarskega polja vse od raziskave klasičnih tehnik do poznavanja in uporabe nasodobnejših tehnologij pri izvedbi slikarskega dela.


• Uporabe refleksije in samoevalvacije kot del učnega procesa.

• Razvoja prenosljivih sposobnosti in zaupanje v svojo (edinstveno) ustvarjalnost ter razvoja načinov komunikacije

• On successful completion of this unit,


• Knowledge of underlying concepts and debates associated with the changing culture of fine art and an ability to evaluate and interpret these within the practice of painting.

• An ability to evaluate the appropriateness of processes and skills in order to realise, select and present your intentions.

• Use and understanding of the basic methods and concepts developed within the classical techniques of painting, along with the latest technologies in use when working in the field of painting.



• Developing transferable skills and confidence in your unique creativity and the ways in which you can communicate your contribution.




• Razumevanje in poznavanje tehnik in konceptov v uporabi znotraj sikarskega polja.

• Prikaza pridobljenega znanja. • Zmožnost vsklajene verbalno-vizualne

predstavitve (ustno, pisno, in-ali vizualno).

• Uporaba konstruktivne kritike in zmožnost samoevalvacije.

• Samostojno oblikovanje tehničnih veščin slikarstva ki ustreza disciplini in osebnim interesom pri raziskavah.


• Razvoja prenosljivih sposobnosti in


• Understanding and knowledge of concepts and techniques in use in the field of painting.

• Demonstration of the acquired knowledge.

• Give a verbal and visual coherent presentation (verbal, written or visual) of your work to your tutors and peer group.

• Make use of constructive criticism through written and or verbal self-evaluation.

• Independent development of a comprehensive set of technical painting skills appropriate to the discipline and

41

zaupanje v svojo (edinstveno) ustvarjalnost ter razvoja načinov komunikacije in sodelovanja z drugimi.

personal research interests.





• Predavanja • Predstavitve • Individualne in skupinske vaje • Samostojno ateljejsko delo in raziskave • Samoevalvacija

• Lectures • Presentations • Individual and group tutorials • Independent studio practice and




Assessment:







Reference nosilca / Lecturer's references: Miran Mohar, Likovni umetnik, grafični oblikovalec, scenograf. Je član skupine Irwin (1983) ter soustanovitelj Neue Slowenische Kunst (1984), soustanovitelj Gledališča sester Scipinon Nasice (1983–86 ), soavtor in scenograf predstave Krst pod Triglavom (1986) in soustanovitelj oblikovalske skupine Novi kolektvizem (1984). Kot član skupine Irwin, katere osnovni načeli sta kolektivno delo in retroavantgarda, je soavtor serije slik ‘Was ist Kunst’ (1985–2007), ‘Retroavantgarda’ (1994), ‘Ikone’ (1995–2006), ‘Retroprincip’(2003). Že v 80. letih je bila za projekte Irwin značilna obravnava razmerja med umetnostjo, politiko in ideologijo; od začetka 90. let so razvili vrsto projektov, ki se osredotočajo na dialog med Vzhodom in Zahodom ter na vprašanje vzhodnoevropske identitete in zgodovine umetnosti (Kapital, 1990; NSK ambasada Moskva, 1992; Transnacionala, 1996; East Art Map, 2000–06). Nagrajenec Prešernovega sklada 1992, Jakopičeva nagrada 2004. Kot predstavnik skupine Irwin je član nevladnega Evropskega kulturnega parlamenta (ECP). Izbrane razstave: Former West, HKW, Berlin, Art Turning Left, Tate Liverpool, Liverpool, 2013; A Bigger Splash, Tate Modern, London; NSK Passport Office, Museum of Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Center for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold War, 2009 / Krems, Kunsthalle Krems, State in

42

Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003 / Berlin, Kunstlerhaus Bethanien, Retroprincip, 2003 / Berlin, Gropius Bau, Berlin-Moscow /Moscow-Berlin, 2003 / Hagen, Karl Ernst Osthaus Museum, Museotopia, 2002 / Rome, Galeria Moderna e Contemporanea, Le Tribu' del'arte, 2002 / Vienna, Museum of 20th Century, Aspects and positions, 1999 / Istanbul, Istanbul Biennial, 1997 / Rotterdam, Boyman Museum, Manifesta, 1996 / Ljubljana, Moscow, Apt Art and Ridzina Gallery, NSK Embassy – Moscow, 1992, Moderna galerija, Slovenske Atene, 1991 / Düsseldorf, Städtische Kunsthalle Düsseldorf, 1988, London, Riverside Gallery, 1987

* * * Miran Mohar, Artist, graphic designer, scene-painter. He is a member of the Group Irwin (1983) and co-founder of the Neue Slowenische Kunst (1984), co-founder of the theater Gledališče sester Scipinon Nasice (1983–86 ), co-author and scene-painter of Krst pod Triglavom (1986) and co-founder of the design group Novi kolektivizem (1984). As member of Irwin, who bases on the principle collective work and retro avant-garde he is co-author of a series of paintings (installations) ‘Was ist Kunst’, ‘Retroavantgarda’ …– He was awarded with the national awards of ‘Prešernov sklad’ 1992 and the ‘Jakopičeva nagrada’ 2004. As representative of the Group Irwin he is a member of the non-governmental European Cultural Parliament (ECP). Selected shows: Former West, HKW, Berlin, Art Turning Left, Tate Liverpool, Liverpool, 2013; A Bigger Splash, Tate Modern, London; NSK Passport Office, Museum of Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Center for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold War, 2009 / Krems, Kunsthalle Krems, State in Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003 / Berlin, Kunstlerhaus Bethanien, Retroprincip, 2003 / Berlin, Gropius Bau, Berlin-Moscow /Moscow-Berlin, 2003 / Hagen, Karl Ernst Osthaus Museum, Museotopia, 2002 / Rome, Galeria Moderna e Contemporanea, Le Tribu' del'arte, 2002 / Vienna, Museum of 20th Century, Aspects and positions, 1999 / Istanbul, Istanbul Biennial, 1997 / Rotterdam, Boyman Museum, Manifesta, 1996 / Ljubljana, Moscow, Apt Art and Ridzina Gallery, NSK Embassy – Moscow, 1992, Moderna galerija, Slovenske Atene, 1991 / Düsseldorf, Städtische Kunsthalle Düsseldorf, 1988, London, Riverside Gallery, 1987

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Fotomedia Course title: Photomedia




Letnik Academic

year

Semester Semester



1 1

43

Visual arts level 1 ( L4) FA/CS 1 1 Vrsta predmeta / Course type Obvezni/Mandatory Univerzitetna koda predmeta / University course code:

P12

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


Doc. Jasna Klančišar

Jeziki / Languages:


Slo


Prerequisits:





Vsebina:


Učna enota raziskuje izpopolnitev obvladovanja procesov v produkcijskih območjih barve, črno-bele (analogni procesi) in digitalne fotografije, ter na pridobivanju in uvajanju ustreznega tehničnega razumevanja in spretnosti. Poudarek učne enote temelj na celotnem pomenu produkcijskih vrednot in medsebojnih vplivov med idejo, procesom, podobo in gledalcem. Vsebina vključuje, barvno tiskanje, barvno preglednost, črno-bela tehnika razvijanja (mokra obdelava) in sodobne digitalne tehnike.

This Unit explores the refinement of process control in the production areas of colour, black and white, and digital photography, and on the acquisition and deployment of appropriate technical understanding and skill. The emphasis of the unit lies on the importance of production values and the inter-relationship between the idea, the process, the image and the viewer. Content includes colour printing, colour transparency, black and white printing techniques (wet processing) and advanced digital techniques.

44


• Schaefer, J. P.,1992. The Ansel Adams Guide: Basic Techniques of Photography – Book 1, New York City: Little, Brown and Co.

• Schaefer, J. P., 1992. The Ansel Adams Guide: Basic Techniques of Photography – Book2, New York: Little, Brown and Co.


• Berger, J., Mohr, J., 1982. Another way of telling. New York: Pantheon books. • Hunter, F., Biver, S., Fuqua, P., 2011. Light Science and Magic: An Introduction to

Photographic Lighting. Oxford: Focal press. • Hedgecoe, J., 1980. Vse o fotografiji. Ljubljana: Državna založba Slovenije



• Zmožnost odčitave barvne temperature, transparence in svetlobe.

• Kalibracija polja, nastavitve in kontrola svetlobe.

• Poznavanje tipov povečevalnikov. • Poznavanje tipov foto aparatov. • Poznavanje filtrov, povečav in bliskavic. • Skeniranje, Photoshop, procesiranje. • Metode, strategije, materijali in načini

prezentacije.

• Capable of reading the colour temperature, transparency, and light reading.

• Calibration, brightness range and development adjustment.

• Enlarger types. • Camera types. • Filter types, printing and flashing

techniques. • Scanning, Photoshop, outputting. • Methods, strategies, materials and types

of presentation.





• Razumevanje in poznavanje tehnik in konceptov v uporabi znotraj medija fotografije.

• Prikaza pridobljenega znanja. • Obvladovanja ustrezne opreme, tehnik,

metod in procesov ki podpirajo individualne strategije pri razvoju del pri kreativnih praksah fotografije.

• Izvedbe koherentnih, kritično informiranih in urejenih, kompetentno izpeljanih in primerno predstavljenih fotografskih del.

• Uporabe refleksije in samoevalvacije


• On successful completion of this unit, students will be able to (demonstrate) :

• Understanding and knowledge of concepts and techniques in use in medium of photography.


• Control of appropriate equipment, techniques, methods and processes to support individual picture-making strategies in the development of a body of work through sustained practice.

• The ability to bring to resolution a body of work, which is coherent, critically

45

kot del učnega procesa. • Razvoja prenosljivih sposobnosti in

zaupanje v svojo (edinstveno) ustvarjalnost ter razvoja načinov komunikacije in sodelovanja z drugimi.

informed and edited, competently executed and appropriately presented.





• Predavanja • Demonstracije • Individualne in skupinske vaje • Samostojno ateljejsko delo in raziskave • Predstavitve • Samoevalvacija

• Lectures • Demonstrations • Individual and group tutorials • Independent studio practice and research • Presentation • Self evaluation



Assessment:







Reference nosilca / Lecturer's references: Jasna Klančišar rojena 8. 1.1973 v Ljubljani.Obiskovala Srednjo šolo za oblikovanje in fotografijo v Ljubljani (1987-1991), smer fotografija. Leta 2002 sem diplomirala na FAMU Filmova a Televizni Fakulta Akademie Muzickych Umeni v Praze (Film and TV School of the Academy of Performing Arts in Prague), smer fotografija. Leta 2004 pa zaključila Magistrski študij na FAMU, smer fotografija z nazivom Magistra umetnosti. Že v času študija sem opravljala različna dela fotografa, snemanja za organizacije in podjetja v propagandne namene in kot scenska fotografinja pri snemanju filma Od groba do groba Jana Cvitkoviča. Od 1994 do 1997 in od 2004 do 2008 sem bila redno zaposlena v podjetju ENS d.o.o. kjer sem opravljala poleg nalog s področja geodezije tudi dokumentirala dogodke, fotografirala in oblikovala reklame (fotografiranje artiklov) in se ukvarjala s portretno fotografijo. V letih med 2005 in 2012 sem vodila ustvarjalne mladinske delavnice v MGLC v Ljubljani, sodelovala z Mladinskim centrom Trbovlje in društvom ŠKUC, imela fotografske delavnice. Sodelovala sem pri ustvarjanju promocijske vizualne podobe Žive knjižnice – Ne sodi knjige po platnicah in slikovnem opremljanju knjig založbe Lambda in Vizibilija. Udeleževala sem se ustvarjalnih kolonij in delavnic ter imela številne razstave v Sloveniji kot tudi v tujini. Od leta 2009 do 2013sem delovala kot kuratorka v mali galeriji Open Space /Open Closet ter festivalih kot je Dnevi raznolikosti. Od leta 2009 naprej poučujem fotografijo na na Akademiji za

46

vizualno umetnost A.V.A. ter od leta 2010 na Višji strokovni šoli Sežana. Profesionalno se posvečam dokumentarnim projektom, v zadnjem času pa eksperimentiram z novimi možnostmi vpogledov digitalne tehnike.

* * * Jasna Klančišar born 8. 1.1973 in Ljubljana. High School of Design and Photography in Ljubljana (1987-1991), course Photography. 2002, graduated at FAMU Filmova a Televizni Fakulta Akademie Muzickych Umeni v Praze (Film and TV School of the Academy of Performing Arts in Prague), program Photography. 2004, completed postgraduate studies at FAMU, program photography with the title Master of Arts. Already as a student, I performed various jobs as photographer, shooting for NGO organizations , businesses for commercial purposes and as a set photographer, movie From grave to grave, directed by Jan Cvitkovič. From year 1994 to 1997 and from 2004 to 2008 I was employed in a company ENS Ltd., where I performed tasks in the field of geodesy, but also documented various events, photographed and designed advertisements (photographing items) and portraits. From year 2005 to 2012, I led creative and photographic youth workshops in MGLC in Ljubljana, worked with Youth Centre Trbovlje and association ŠKUC. I have participated in the creation of promotional visual images Live Library (Živa knjižnica)- Do not judge a book by its cover, and the image equipping books for publishing houses Lambda and Vizibilija. I participated in creative workshops and colonies and had numerous exhibitions in Slovenia and abroad. From 2009 to 2013 I worked as a curator in a small gallery Open Space / Open Closet and festivals such as the Days of diversity. Since 2009 I lecture photography at the Academy of Visual Arts AVA and from 2010 at Vocational College Sežana. Professionally my works are documentary projects and recently tend to experiment with new possibilities insight digital techniques.

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Koncipiranje prostora 2 - Gledališče Course title: Set Design 2 - Theatre




Letnik Academic

year

Semester Semester



1 1,2

Visual arts level 1 ( L4) FA/CS 1 1,2 Vrsta predmeta / Course type Izbirni/Elective Univerzitetna koda predmeta / University course code:

P13/CS

47

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


David Burrows

Jeziki / Languages:


Slo/Eng


Prerequisits:





Vsebina:


Učna enota je namenjena seznanjanju študentov s poglavitnimi veščinami ki se uporabljajo v scenografiji. Projektno delo v ateljeju vključuje raziskovanje in uporabo prostora in nosilnih likov v različnih performativnih kontekstih. Osnovne raziskave razmerij, 3D modeliranja in učenje tehničnega risanja, pripomorejo k analizi prostorskih oblik, upodabljanja ter določanja barve, tonov in svetlobe. Osnovni cilj učne enote je uporaba metodologij raziskave, ki se nanaša na kontekst danega teksta, karakterizacije likov skozi kostum, analizo karakterjev in oblikovanje prostora, kakor tudi demonstrirati osrednjo in vplivno vlogo človeške prisotnosti na odru/performativnem prostoru.

This unit equips students with some of the principal design skills needed for scenography. The speculative work undertaken in the studio involves the exploration of space and character in various performance contexts. Basic research surveying, 3D modelling techniques and technical drawing are taught to aid analysis and representation of spatial forms, rendering and colour. The basic goal of the unit is to develop a research in relation to a given text, character analysis and speculative design as to demonstrate the centrality and impact of human presence on stage / performance space.

48


• Brook, Peter., 1996. The Empty Space . Simon & Schuster

• Grotowski, Jerzy., 1969. Towards a Poor Theatre. Methuen

• Vsako leto se določi nov delovni tekst (gledališka igra/libretto) s katerim se razišče izpostavljene osnovne cilje učne enote.

• Each year a new working texts is determined (e.g. play text/libretto) to be the object of the research of the study unit.

• Študentom so omogočene individualne konzultacije ali vaje v slovenskem jeziku. • Students are provided with individual consultations or tutorials in Slovenian language.



• Zmožnost opredelitve raziskovalnega materijala in razumevanje možnosti uporabe le-tega.

• Prepoznavanje možnosti aplikacije različnih specijalističnih veščin in znanj za izvedbo umetniškega dela.

• Izdelava modela prostora v razmerju, opremljenega s figurami (1:25).

• Zmožnost analize in predstavitve likov.

• Identify sources of research material and understand their worth and application.

• To be able to apply special skills and knowledges in the realization of the artistic work.

• Creation of a scale representation of performance space; populating it with characters (1:25).

• Capable of the analysis and presentations of the characters.





• Razumevanje in poznavanje tehnik in konceptov.

• Prikaza pridobljenega znanja. • Poznavanja osnovnih konceptov in

razprav, povezanih s spreminjajočo kulturo gledališča, filma in televizije in zmožnost vrednotenja in interpretacije le-teh v praksi koncipiranja prostora (in časa).





• Understanding and knowledge of concepts and techniques.


• Knowledge of underlying concepts and debates associated with the changing culture of theatre, film and television and an ability to evaluate and interpret these within the practice of conceptualisation of space (and time).

• A developing approach to research in accordance with theories and concepts of the unit.

• An ability to evaluate the

49


• Razvoja prenosljivih sposobnosti in zaupanje v svojo edinstveno ustvarjalnost ter razvoja načinov komunikacije in sodelovanja z drugimi.

appropriateness of processes and skills in order to realise, select and present your intentions.





• Predavanja • Individualne in skupinske vaje • Pisne in ustne povratne informacije • Samostojno ateljejsko delo in raziskave • Predstavitve • Samoevalvacija

• Lectures • Individual and group tutorials • Written and oral feedback • Independent studio practice and research • Presentation • Self-evaluation



Assessment:

Ustni izpit, izpraševanje, naloge, projekt.

• Izvedba projekta 60% • Evidenca razvoja skozi

raziskave 20% • Samoevalvacija 20%

Oral exam, examination, coursework, project.

• Realization of a project 60% • Evidence of the research through

the development 20% • Self evaluation 20%

Reference nosilca / Lecturer's references: David Burrows je bil sedem let predstojnik Katedre za Gledališče in Film (Theatre School) na Wimbledon College of Art,University of the Arts, London do leta 2009. Njegova kariera v visokošolskem izobraževanju vključuje delo, tako uradnega zunanjega ocenjevalca akademskih programov (External Exsaminer) znotraj britanskega visokošolskega sistema (), kot predmetnega specialista v imenu Britanske agencije za nadzor kvalitete visokošolskih programov (QAA). Vzporedno z akademskim delom, je deloval na področju gledališča kot svobodni umetnik in scenograf, predvsem v Združenem kraljestvu (v regionalnih gledališčih vključno z West Endom), na Cipru, v Nemčiji in v Avstriji. V več kot 30 letni karieri, je sodeloval predvsem z režiseriji kot so Phil Young, Alkis Kritikos in David Graham-Young. V zadnjih petih letih je raziskoval življenje in delo vplivnega gledališčnega oblikovaleca in režiserja Richard Negri-ja ter o nejem izdal knjigo, dostopno na richardnegri.co.uk. Celoten spisek Davidova dela je dosegljiv na

50

www.davidburrows.com * * * David Burrows was Head of the Theatre School at Wimbledon College of Art,University of the Arts, London for seven years until 2009. His career in higher education included work as an external examiner and as a subject specialist for subject reviews on behalf of the UK’s Quality Assurance Agency (QAA). In parallel with his work as an academic he has worked as a freelance theatre designer, principally in the UK (including the West End and regional theatres), Cyprus, Germany and Austria, for more than 30 years, mainly in collaboration with directors Phil Young, Alkis Kritikos and David Graham-Young. For the last five years he has also conducted research into the life and work of the influential theatre designer Richard Negri, the outcome of which can be seen at richardnegri.co.uk. A full account of David’s work can be seen at www.davidburrows.com

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Skulptura Course title: Sculpture




Letnik Academic

year

Semester Semester



1 1,2

Visual arts level 1 ( L4) FA/CS 1 1,2 Vrsta predmeta / Course type Izbirni/Elective Univerzitetna koda predmeta / University course code:

P13/FA

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


Doc. Miran Mohar

Jeziki / Languages:


Slo

Vaje / Tutorial: Slo/Eng Pogoji za vključitev v delo oz. za

Prerequisits:

51

opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik

študija. • Pogoj za pristop k izpitu/kritiki je minimalno

80 % prisotnost na predavanjih.



Vsebina:


Namen učne enote je predstavitev tridimenzionalne umetnosti ter vplivati na nadaljnji razvoj študentove ustvarjalne neodvisnosti skozi razvoj razumevanja tehnik in veščin kiparstva; uvedba in uporaba konstrukcijskih tehnik, ki vključujejo različne medije in orodja, razvoj osnovnih veščin kiparstva in uporabe skice za priprave in razvoj idej, razvoj sposobnost mišljenja v krogu; analiziranje del drugih kiparjev.

This unit introduces the students to three-dimensional art and aims to assist the further development of students creative independence. It aims to develop your understanding of the techniques and skills of sculpture; introduce use of construction techniques involving a variety of media and tools; develop basic skills in sculptur and the use of skecth to develop ideas; develop the ability to think in the round; and look at and learn from the work of other sculptors.

Temeljna in priporočena literatura / Required and Recommended Readings:

Temeljna literature / Required Readings: • Collins, J., 2007. Sculpture Today, London: Phaidon. • Miles, M., 1997. Art, Space and the City: Public art and Urban Futures, London: Routledge • Anne Ellegood., 2009. Vitamin 3-D: New Perspectives in Sculpture and Installation, Phaidon. Priporočena literature / Recommended Readings:

• Stace, Alison., 2008. Sculpture Parks and Trails of England/ A & C Black Publishers Ltd. • Duby, G., Daval, Jean-Luc., 2006. Sculpture - From Antiquity to the Present Day/ Taschen. Cilji in kompetence:


• Zmožnost opredelitve raziskovalnega materijala in razumevanje možnosti uporabe le-tega.

• Prepoznavanje možnosti aplikacije različnih specijalističnih veščin in znanj za izvedbo umetniškega dela.

• Zmožnost analize in izbora ustreznih materialov in tehnik pri izvedbi projekta katerega končni produkt je skulptura.

• Identify sources of research material and understand their worth and application.

• To be able to apply special skills and knowledges in the realization of the artistic work.

• The ability of the analysis and the selection of proper materials and techniques in the realization of the project whose form will result in the sculpture.

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Predvideni študijski rezultati: Intended learning outcomes: Znanje in razumevanje:


• Razumevanje in poznavanje tehnik in

konceptov v uporabi znotraj kiparstva. • Prikaza pridobljenega znanja. • Poznavanja osnovnih konceptov in

razprav, povezanih s spreminjajočo kulturo likovne umetnosti in zmožnost vrednotenja in interpretacije le-teh v kiparski praksi.

• Ustreznega raziskovalnega pristopa v skladu s konceptom in diskurzom v učni enoti.



• Razvoja prenosljivih sposobnosti in zaupanje v svojo (edinstveno) ustvarjalnost ter razvoja načinov komunikacije in sodelovanja z drugimi.

Knowledge and understanding: • On successful completion of this unit,


• Understanding and knowledge of concepts and techniques in use in the field of sculpture.


• Knowledge of underlying concepts and debates associated with the changing culture of fine art and an ability to evaluate and interpret these within the practice of sculpture.

• A proper research approach in realtion with the concept and discourses of the unit.



• Developing transferable skills and confidence in your unique creativity and the ways in which you can communicate your contribution.



• Predavanja • Predstavitvene vaje • Individualne in skupinske vaje • Samostojno ateljejsko delo in raziskave • Predstavitve • Samoevalvacija

• Lectures • Demonstrations • Individual and group tutorials • Independent studio practice and research • Presentation • Self evaluation



Assessment:







53

Reference nosilca / Lecturer's references: Miran Mohar, Likovni umetnik, grafični oblikovalec, scenograf. Je član skupine Irwin (1983) ter soustanovitelj Neue Slowenische Kunst (1984), soustanovitelj Gledališča sester Scipinon Nasice (1983–86 ), soavtor in scenograf predstave Krst pod Triglavom (1986) in soustanovitelj oblikovalske skupine Novi kolektvizem (1984). Kot član skupine Irwin, katere osnovni načeli sta kolektivno delo in retroavantgarda, je soavtor serije slik ‘Was ist Kunst’ (1985–2007), ‘Retroavantgarda’ (1994), ‘Ikone’ (1995–2006), ‘Retroprincip’(2003). Že v 80. letih je bila za projekte Irwin značilna obravnava razmerja med umetnostjo, politiko in ideologijo; od začetka 90. let so razvili vrsto projektov, ki se osredotočajo na dialog med Vzhodom in Zahodom ter na vprašanje vzhodnoevropske identitete in zgodovine umetnosti (Kapital, 1990; NSK ambasada Moskva, 1992; Transnacionala, 1996; East Art Map, 2000–06). Nagrajenec Prešernovega sklada 1992, Jakopičeva nagrada 2004. Kot predstavnik skupine Irwin je član nevladnega Evropskega kulturnega parlamenta (ECP). Izbrane razstave: Former West, HKW, Berlin, Art Turning Left, Tate Liverpool, Liverpool, 2013; A Bigger Splash, Tate Modern, London; NSK Passport Office, Museum of Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Center for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold War, 2009 / Krems, Kunsthalle Krems, State in Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003 / Berlin, Kunstlerhaus Bethanien, Retroprincip, 2003 / Berlin, Gropius Bau, Berlin-Moscow /Moscow-Berlin, 2003 / Hagen, Karl Ernst Osthaus Museum, Museotopia, 2002 / Rome, Galeria Moderna e Contemporanea, Le Tribu' del'arte, 2002 / Vienna, Museum of 20th Century, Aspects and positions, 1999 / Istanbul, Istanbul Biennial, 1997 / Rotterdam, Boyman Museum, Manifesta, 1996 / Ljubljana, Moscow, Apt Art and Ridzina Gallery, NSK Embassy – Moscow, 1992, Moderna galerija, Slovenske Atene, 1991 / Düsseldorf, Städtische Kunsthalle Düsseldorf, 1988, London, Riverside Gallery, 1987

* * * Miran Mohar, Artist, graphic designer, scene-painter. He is a member of the Group Irwin (1983) and co-founder of the Neue Slowenische Kunst (1984), co-founder of the theater Gledališče sester Scipinon Nasice (1983–86 ), co-author and scene-painter of Krst pod Triglavom (1986) and co-founder of the design group Novi kolektivizem (1984). As member of Irwin, who bases on the principle collective work and retro avant-garde he is co-author of a series of paintings (installations) ‘Was ist Kunst’, ‘Retroavantgarda’ …– He was awarded with the national awards of ‘Prešernov sklad’ 1992 and the ‘Jakopičeva nagrada’ 2004. As representative of the Group Irwin he is a member of the non-governmental European Cultural Parliament (ECP). Selected shows: Former West, HKW, Berlin, Art Turning Left, Tate Liverpool, Liverpool, 2013; A Bigger Splash, Tate Modern, London; NSK Passport Office, Museum of Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Center for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold War, 2009 / Krems, Kunsthalle Krems, State in Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003 / Berlin, Kunstlerhaus Bethanien, Retroprincip, 2003 / Berlin, Gropius Bau, Berlin-Moscow /Moscow-Berlin, 2003 / Hagen, Karl Ernst Osthaus Museum,

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Museotopia, 2002 / Rome, Galeria Moderna e Contemporanea, Le Tribu' del'arte, 2002 / Vienna, Museum of 20th Century, Aspects and positions, 1999 / Istanbul, Istanbul Biennial, 1997 / Rotterdam, Boyman Museum, Manifesta, 1996 / Ljubljana, Moscow, Apt Art and Ridzina Gallery, NSK Embassy – Moscow, 1992, Moderna galerija, Slovenske Atene, 1991 / Düsseldorf, Städtische Kunsthalle Düsseldorf, 1988, London, Riverside Gallery, 1987

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Koncipiranje prostora 3 TV Course title: Set Design 3 TV




Letnik Academic

year

Semester Semester


Konceptualizacija prostora 1 1

Visual arts level 1 ( L4) Conceptualisation of Space 1 1 Vrsta predmeta / Course type Obvezen/Mandatory Univerzitetna koda predmeta / University course code:

P14/CS

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS



Jeziki / Languages:


Slo


Prerequisits:

55





Vsebina:


Učna enota obravnava koncipiranje zabavne ali pogovorne TV oddaje in prostora za TV studio ali areno s publiko. Projekt zahteva bolj grafičen oz. čistejši oblikovni pristop kot pri koncipiranju prostora za film. Povdarek je na kombiniranju različnih dosedanjih področij, izkušenj in praktičnih znanj s kritično in vsebinsko usmeritvijo ter z uporabo in nadgradnjo relevantnih strokovnih veščin in znanj. Predstavitev idej in postopkov, med in na koncu projekta je ključna pri razvoju komunikacijskih veščin študenta, v pisni,verbalnih in vizualni obliki.

This unit explores television studio or arena based design, with an audience, for televised entertainment. This project typically demands a more graphical or ’pure’ design for the screen than film production design. You will be drawing together the different strands of your experience so far including your practical work, critical and contextual focus and relevant professional skills and knowledge. You will be asked to present your ideas to your peers and tutors as a further development of your written, verbal and visual communication skills.


• Woodbridge, Patricia., 2000. Designer Drafting for the Entertainment World, Focal Press. • Mitchell, Mitch., 2004. Visual Effects for Film and Television, Focal Press.



• Zmožnost eksperimentiranja in inventivnost pri uresničevanju danih nalog.

• Upoštevanje pomembnosti sodelovanja z drugimi in zavedanje tehnične kompleksnosti produkcije ter učinkovitega časovnega planiranja.

• Zmožnost preučitve procesov s stališča režiserja in izvajalca.

• Delovanje in učenje v kontekstu samostojnega ustvarjalca in člana ekipe.

• Spoštovanje rokov in razumevanje strokovnih praks ter upoštevanje varnostnih predpisov.

• To be capable to use experimentation and invention to realise a given task.

• Appreciate both the collaborative and technical complexities of the production process including effective time management.

• Examine the work process of the director and performer.

• Work and learn both as an independent designer and a company member.

• Respect deadlines and understand professional practices such as health and safety regulations.

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Predvideni študijski rezultati: Intended learning outcomes: Znanje in razumevanje:



• Prikaza pridobljenega znanja. • Poznavanja osnovnih konceptov in

razprav, povezanih s spreminjajočo kulturo gledališča, filma in televizije in zmožnost vrednotenja in interpretacije le-teh v praksi koncipiranja prostora (in časa).

• Razvojnih raziskovalnih postopkpov in uporabe le teh na relevantni strokovni ravni.

• Sprejemanja odločitev in prevzemanja odgovornosti za lastno učenje s pomočjo refleksije in samoevalvacije.


• Uporabe različnih prenosljivih znanj in veščin v komunikaciji in reševanju promlemov na strokovnem področju.





• Knowledge and critical understanding of the changing culture of theatre, film and television and an ability to evaluate and interpret these within the conceptualisation of space (and time).

• A developing research methodology and the application of this methodology in a relevant professional context.

• An ability to make decisions and take responsibility for your own learning through the use of reflection and self-evaluation.

• To evaluate the properness of the processes and skills in the realisation, select and presentation of the creative intentions.

• The deployment of a range of transferable skills in communication, initiative and problem solving in an emerging professional context.



• Predavanja • Seminar • Predstavitvene vaje • Individualne in skupinske vaje • Samostojno ateljejsko delo in raziskave • Predstavitve • Samoevalvacija

• Lectures

• Seminars

• Demonstrations



• Presentation

• Self evaluation



Assessment:


• Izvedba projekta 60%


• Realization of a project 60%

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• Evidenca razvoja skozi raziskave 20%

• Samoevalvacija 20%

• Evidence of the research through the development 20%

• Self evaluation 20%



UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Mešani mediji Course title: Mix Media




Letnik Academic

year

Semester Semester


Likovna umetnost 1 1

58

Visual arts level 1 ( L4) Fine Art 1 1 Vrsta predmeta / Course type Obvezni/Mandatory Univerzitetna koda predmeta / University course code:

P14/FA

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


Doc. Miran Mohar

Jeziki / Languages:


Slo


Prerequisits:





Vsebina:


Učna enota uvaja sodobne ustvarjalne procese, ki vključujejo uporabo več kot enega medija, kot so fotografija, montaža, zvok, film, video in s kombinacijami 2D in 3D medijev. Študente spodbuja k raziskovanju domišljanju možnosti dela s kombinacijami različnih medijev, tehnik, tehnologij in oblik.

An introduction to contemporary creative processes that involves the use of more than one media such as photography, installation, sound, film, video and combinations of 2D and 3D media. Students are encouraged to explore the imaginative possibilities of working with combinations of media and form.


59

Temeljna literatura / Required Readings:

• Bishop, Claire., 2006. Participation, MIT Press. • Rush, M., 2007. Video Art, London: Thames & Hudson. • Woods, T., 1999. Beginning Postmodernism, Manchester University Press. • Stallabrass, J., 2003. Contemporary Art: a very short introduction, Oxford University Press.



• Zmožnost eksperimentiranja in inventivnost pri uresničevanju danih nalog

• Spoštovanje rokov in razumevanje strokovnih praks ter upoštevanje varnostnih predpisov.

• Use experimentation and invention to realise a given brief.

• Respect deadlines and understand professional practices such as health and safety regulations.






• Prikaza pridobljenega znanja. • Zavedanja kreativnih možnosti pri delu

z različnimi mediji in postopki skozi raziskave in strokovne prakse.

• Praktičnih pristopov, ki domiselno pooseblja nova znanja in veščine skozi relevantne pristope in tehnike izraznega polja

• Sprejemanja odločitev in prevzemanja odgovornosti za lastno učenje s pomočjo refleksije in samoevalvacije.


• Uporabe različnih prenosljivih znanj in veščin v komunikaciji in reševanju promlemov na strokovnem področju





• An awareness of the creative possibilities of working with a variety of media via a body of research

• Present practical work that imaginatively embodies an emerging knowledge of relevant techniques and approaches in this area


• The application of processes and skills in order to realise, select and present your intentions as a body of work.




60


• Lectures

• Demonstrations



• Presentation

• Self-evaluation



Assessment:








* * *

61

Miran Mohar, Artist, graphic designer, scene-painter. He is a member of the Group Irwin (1983) and co-founder of the Neue Slowenische Kunst (1984), co-founder of the theater Gledališče sester Scipinon Nasice (1983–86 ), co-author and scene-painter of Krst pod Triglavom (1986) and co-founder of the design group Novi kolektivizem (1984). As member of Irwin, who bases on the principle collective work and retro avant-garde he is co-author of a series of paintings (installations) ‘Was ist Kunst’, ‘Retroavantgarda’ …– He was awarded with the national awards of ‘Prešernov sklad’ 1992 and the ‘Jakopičeva nagrada’ 2004. As representative of the Group Irwin he is a member of the non-governmental European Cultural Parliament (ECP). Selected shows: Former West, HKW, Berlin, Art Turning Left, Tate Liverpool, Liverpool, 2013; A Bigger Splash, Tate Modern, London; NSK Passport Office, Museum of Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Center for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold War, 2009 / Krems, Kunsthalle Krems, State in Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003 / Berlin, Kunstlerhaus Bethanien, Retroprincip, 2003 / Berlin, Gropius Bau, Berlin-Moscow /Moscow-Berlin, 2003 / Hagen, Karl Ernst Osthaus Museum, Museotopia, 2002 / Rome, Galeria Moderna e Contemporanea, Le Tribu' del'arte, 2002 / Vienna, Museum of 20th Century, Aspects and positions, 1999 / Istanbul, Istanbul Biennial, 1997 / Rotterdam, Boyman Museum, Manifesta, 1996 / Ljubljana, Moscow, Apt Art and Ridzina Gallery, NSK Embassy – Moscow, 1992, Moderna galerija, Slovenske Atene, 1991 / Düsseldorf, Städtische Kunsthalle Düsseldorf, 1988, London, Riverside Gallery, 1987

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Video/Film Course title: Video/Film




Letnik Academic

year

Semester Semester



1 2

Visual arts level 1 ( L4) FA/CS 1 2 Vrsta predmeta / Course type Obvezni/Mandatory Univerzitetna koda predmeta / University course code:

P15

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS

62



Jeziki / Languages:


Slo


Prerequisits:


• Pogoj za pristop k izpitu/kritiki je minimalno 80 % prisotnost .na predavanjih



Vsebina:


Učna enota je zasnovana kot paleta produkcijskih in izraznih tehnikki uvaja študente v tehnične aspekte gibljive slike, digitalnega videa, zvoka, luči, kamere, skupaj z z osnovami montaže in postprodukcije na najsodobnejših računačniških programih (Final Cut pro, Premiere, Cinema 4D..). Kot pomemben aspekt učne enote je predprodukcija, načrtovanje, ki vključuje story board, sinopsis, osnove snemalne knjige in časovni načrt. Tedenske aktivnosti so razdeljene v predavanja, seminarje, projekcije filmov, vaj in intenzivnih delavnic. Študentje delujejo v skupinah kjer realizirajo 3-5 minutni video. Izdelek je lahko; filmski dnevnik, dokumentarni, narativni, eksperimentalni, animirani . Osnovno vodilo je izraz z gibljivo sliko.

This is an introductory unit designed as a carousel of production techniques, inducting students into the technical aspects of digital video, sound recording, lighting for video, along with digitising and basic editing on Final Cut Pro software, and DVD authoring. The class will also consider storyboarding, listing your shots and production planning. Weekly sessions will be divided into lectures and screenings, student-led seminars, tutorial sessions and intensive practical workshops. Students will work in groups and be required to conceive, plan and complete a video project of 3-5 minutes. This might be a diary film or slice of life documentary, a short narrative, a fictional sequence or scene from a larger project idea, or merely an experiment with the media you have been introduced to.


63

Temeljna literatura / Required Readings: • Ascher., S and Pincus, E., 2007. The Filmmaker's Handbook: A Comprehensive Guide for the

Digital Age (Plume). • Cantine, J., Howard, S., Lewis, B., 2000. Shot by Shot, A Practical Guide to Filmmaking,

Pittsburgh Filmmakers.


• Manovich, L., 2000. The Language of Digital Media, MIT Press. • Ohanian, T. A., 1996. Digital filmmaking: the changing art and craft of making motion pictures,

Focal Press. • Rush, M., 1999. New Media in Late 20th-Century Art, Thames & Hudson.



• Razviti in pokazati znanje pri uporabi digitalnih video in zvočnih zapisov in video postprodukcije programske opreme.

• izkazati sposobnost za učinkovito načrtovanje in organiziranjeprojektnega tima produkcije in postprodukcije.

• Kritično, refleksivno in domiselno zavedanje odnosa videa do njegovih številnih kulturnih praks.

• Izkazati razumevanje svoje kreativne prakse v razmerju do drugih ustreznih medijskih oblik in vidikov proizvodnje in uporabe.

• Develop and demonstrate competence in the use of digital video and sound recording, and video post-production software.

• Demonstrate the ability to effectively plan and organise a group production and post-production project.

• Indicate a critical, reflective and imaginative engagement with the medium of video in relation to its many cultural practices.

• Indicate an understanding of your practice in relation to other relevant media forms and contexts of production and consumption.




bo študent sposoben:


• Prikaza pridobljenega znanja. • Poznavanja in ponazoritve jezikov

gibljive slike. • Kritično oceniti svoje in avdio-vizualna

dela drugih . • Kritične raziskave in načrtovanja

produkcije in post-produkcija video projekta.

• Dokazati tehnično usposobljenost za uporabo tehnologij in programske opreme, ki ustreza obsegu in omejitvam





• Illustrate knowledge of moving image languages.

• Critically assess theirs and others’ audio-visual work.

• Critically research and plan production and post-production of a video project.

• Demonstrate technical competence in use of technologies and software

64

video projekta. • Prikazati osnovne kompetence in

znanja uporabe opreme za snemanje slike in zvoka ter opreme in orodij za postprodukcijo

• Izvedbe video projekta. • Učinkovite uporabe časa, virov in

delovnih razmerij • Učinkovitega delovanja in sodelovanja v

skupinah

appropriate to the scope and limits of the video project.

• Show basic competences in digital video and sound recording, and in post-production equipment.

• Execute a short video project .

• Effectively manage time, working relationships, and resources.

• Work effectively and cooperatively in groups



• Predavanja • Seminar • Predstavitvene vaje • Projekcije • Individualne in skupinske vaje • Pisne in ustne povratne informacije • Samostojno ateljejsko delo in raziskave • Predstavitve • Samoevalvacija

• Lectures

• Seminars

• Demonstrations

• Screenings


• Written and oral feedback


• Presentation

• Self evaluation



Assessment:







Reference nosilca / Lecturer's references: Pepi Sekulich je ustanovitelj in iniciator AVA- Akademije za vizualne umetnosti in njenih programov. Diplomiral v Londonu /1992/ – Wimbledon Colege of Art (University of the arts London). Kot gledališki scenograf je sodeloval pri več kot 30-tih gledaliških in plesnih predstavah s številnimi gledališči in skupinami: SNG Drama Ljubljana, Slovensko Mladinsko gledališče, PDG Nova Gorica, Mestno gledališče Ljubljana, Gledališče Ptuj, Koprsko gledališče, Fundacao Serralves Porto, Le Ballet Gent, En Knap… Sekulich je avtor filmskih scenografij za 13

65

celovečernih filmov in številnih srednje in kratkometražnih filmov kot so : Outsider 1995, Stereotip 1996, Ita Rina 1997, Spleti 1998, Ljubljana 1999, Zvenenje v glavi 2000, Varuh meje 2000, Desperado tonic 2001, Novi svet 2002, Jasnovidka 2003, Reality 2006, Stanje šoka 2011…Je dobitnik številnih nagrad za filmsko scenografijo (2x ‘Vesna’ za najboljšo scenografijo). Režija celovečernega dokumentarno-igranega filma: Vaja za smrt 2007 in številnih video spotov. Je avtor številnih razstav in umetniških akcij. Poučeval je likovno umetnost in konceptualizacijo prostora na različnih Visokošolskih in umetniških inštitucijah.


UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Strokovna praksa (razstava / produkcija) Course title: Professional practice (Exhibition / Production)




Letnik Academic

year

Semester Semester



1 2

Visual arts L 1 FA/CS 1 2 Vrsta predmeta / Course type Obvezni/Mandatory Univerzitetna koda predmeta / University course code:

P16

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS

10 10 20 80 4 Nosilec predmeta / Doc. Miran Mohar

66

Lecturer: Jeziki / Languages:


Slo


Prerequisits:





Vsebina:


Učna enota je namenjena povezavi, soodvisnoti in nadgradnji idej in praktičnega dela raziskanega v predhodnih učnih enotah, CS: Scenografija / Ustvarjanje podob/ performans / video. FA : Slikarstvo/ kiparstvo/ instalacija/ video; Zahteva učne enote je priprava predloga projekta ki ga je mogoče postaviti v določen kontekst v povezavi s pomenom, občinstvom, obliko in prezentacijo. Kar omogoča nadaljnji razvoj idej in omogoča bolj poglobljeno delovanje ter posledično začetek vzpostavitve lastnega ustvarjalnega profila.

This unit is designed to interrelate and extend the ideas and practical work explored in the previous units, Preliminary Studio Practice CS: Set design / Image Making / Installation/performance / Video. FA : : Painting / Image Making / Sculpture / Installation/Video. The unit requires you to produce a work proposal through negotiation that can be established within a particular professional context in relation to meaning, audience, form and presentation. This enables you to further develop your ideas and challenges you to work in greater depth.

Temeljni literatura in viri / Readings:

Skozi debato z učnim osebjem študent razvije seznam literature in virov, ki se nanaša na projekt in polje raziskave.

Through negotiation with staff you will develop your personal learning resources in relation to your ideas and as appropriate to the field of exploration.

Independently sourced information.



67

• Razviti projektni predlog, ki artikulira oris izbrane naloge

• Izkazati sposobnost za učinkovito načrtovanje in izvedbo dela znotraj danega časovnega okvirja

• Kritično, refleksivno in domiselno zavedanje odnosa izbranega medija do njegovih potencijalnih kulturnih praks.

• Izkazati razumevanje svoje kreativne prakse v razmerju do drugih ustreznih medijskih oblik in vidikov proizvodnje in uporabe.

• Develop a proposal that articulates the outline for a practice based assignment

• Demonstrate the ability to effectively plan and produce work within the given time limits

• Indicate a critical, reflective and imaginative engagement with the chosen medium in relation to its potential cultural practices.

• Indicate an understanding of your practice in relation to other relevant media forms and contexts of production and consumption.




bo študent sposoben : • Prikaza pridobljenega znanja. • Koherentnega kritičnega stališča ter

detaljnjega zavedanja in razumevanja ključnih zgodovinskih in sodobnih kontekstov izbrane smeri

• Neodvisnega načrtovanja in organizacije lastnega učenja povezanega z vsemi vidiki svojega kreativnega dela s pomočjo analitičnih postopkov, refleksije in samoevalvacije.

• Integracije konceptov, procesov in znanj za realizacijo, selekcioniranje in prezentacijo lastnih kreativnih namenov, ki se manifestira skozi umetniško delo.

• Uporabe različnih prenosljivih znanj in veščin pri komunikaciji, pobudah in reševanju problemov pri postavitivi razstave ali izvedbi projekta.


students will be able to (demonstrate) :


• A coherent critical position in relation to detailed awareness and understanding of key historical and contemporary debates/contexts within your specialist pathway.

• Independence in planning and organising your own learning, in relation to all aspects of your work, through a process of analysis, reflection and self-evaluation.

• The integration of concepts, processes and skills in order to realise, select and present your intentions as a coherent body of work.

• The deployment of a range of transferable skills in communication, initiative and problem solving in the exhibition setting or in the production of a project.

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Metode poučevanja in učenja: Learning and teaching methods: • Predavanja • Seminar • Predstavitvene vaje • Projekcije • Individualne in skupinske vaje • Pisne in ustne povratne informacije • Samostojno ateljejsko delo in raziskave • Predstavitve • Samoevalvacija

• Lectures

• Seminars

• Demonstrations

• Screenings




• Presentation

• Self evaluation



Assessment:







Reference nosilca / Lecturer's references: Miran Mohar, Likovni umetnik, grafični oblikovalec, scenograf. Je član skupine Irwin (1983) ter soustanovitelj Neue Slowenische Kunst (1984), soustanovitelj Gledališča sester Scipinon Nasice (1983–86 ), soavtor in scenograf predstave Krst pod Triglavom (1986) in soustanovitelj oblikovalske skupine Novi kolektvizem (1984). Kot član skupine Irwin, katere osnovni načeli sta kolektivno delo in retroavantgarda, je soavtor serije slik ‘Was ist Kunst’ (1985–2007), ‘Retroavantgarda’ (1994), ‘Ikone’ (1995–2006), ‘Retroprincip’(2003). Že v 80. letih je bila za projekte Irwin značilna obravnava razmerja med umetnostjo, politiko in ideologijo; od začetka 90. let so razvili vrsto projektov, ki se osredotočajo na dialog med Vzhodom in Zahodom ter na vprašanje vzhodnoevropske identitete in zgodovine umetnosti (Kapital, 1990; NSK ambasada Moskva, 1992; Transnacionala, 1996; East Art Map, 2000–06). Nagrajenec Prešernovega sklada 1992, Jakopičeva nagrada 2004. Kot predstavnik skupine Irwin je član nevladnega Evropskega kulturnega parlamenta (ECP). Izbrane razstave: Former West, HKW, Berlin, Art Turning Left, Tate Liverpool, Liverpool, 2013; A Bigger Splash, Tate Modern, London; NSK Passport Office, Museum of Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Center for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold War, 2009 / Krems, Kunsthalle Krems, State in Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003 / Berlin, Kunstlerhaus Bethanien, Retroprincip, 2003 / Berlin, Gropius Bau, Berlin-Moscow /Moscow-Berlin, 2003 / Hagen, Karl Ernst Osthaus Museum, Museotopia, 2002 / Rome, Galeria Moderna e Contemporanea, Le Tribu' del'arte, 2002 / Vienna, Museum of 20th Century, Aspects and positions, 1999 / Istanbul, Istanbul Biennial, 1997 /

69

Rotterdam, Boyman Museum, Manifesta, 1996 / Ljubljana, Moscow, Apt Art and Ridzina Gallery, NSK Embassy – Moscow, 1992, Moderna galerija, Slovenske Atene, 1991 / Düsseldorf, Städtische Kunsthalle Düsseldorf, 1988, London, Riverside Gallery, 1987


70

UČNI NAČRT : VIZUALNE UMETNOSTI 1. Stopnja/ 2. LETNIK UNIT DESCRIPTORS : VISUAL ARTS L5 /Yr 2.

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Zgodovina umetnosti 2 Course title: History of Art 2




Letnik Academic

year

Semester Semester



2 3,4;


T 21

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS



Jeziki / Languages:


Slo


Prerequisits:

71





Vsebina:


Učna enota uvaja študente v razumevanje zgodovine umetnosti, kot temeljnega elementa v formaciji umetniškega mišljenja. Ključno je namreč poznavanje zgodovine umetnosti in posameznih slogov, ki so se v njej odvijali, da lahko študent razume genealogijo zgodovine umetnosti v vsej njeni celovitiosti. Analiza Zgodovine umetnosti 2 vključuje obdobje od začetka moderne umetnosti do pojava sodobne umetnosti. Namen učne enote je zgraditi trden temelj znanja zgodovine umetnosti, na podlagi katerega lahko študentje nadgradijo svoje znanje in razumevanje umetnosti. Poseben povdarek v učni enoti je posvečen na razvoju raziskovalnih spretnosti in znanja zgodovine umetnosti, ter nadgradnja snovi obravnavane v Zgodovini umetnosti 1, z predstavitvijo konceptov in praks zgodovine in teorije umetnosti skupaj z osrednjimi tezami, razpravami in teorijami, ki jo konstituirajo.

This unit introduces the students to an understanding of history of art as a constitutive element in the formation of the artistic thought. Of key importance is the knowing of the history of art in its different periods for the student to understand the genealogy of the history of art in its totality. The analysis of Histroy of Art 2 covers the period from the beginning of the Modern Art up to the beginning of contemporary art. The purpose of the unit is to provide a solid base of knowledge of the history of art on which students can upgrade their knowing and understanding of art. The aims of this module are to develop and upgrade the research skills and subject knowledge discussed in the History of Art 1. It will do this by introducing the concepts and practices of the histories and theories of art along with the central and principal debates that constitute those histories and theories.


• Lynton, Norbert., 1989. The Story of Modern Art, Phaidon Press, London. • Tamar, Garb, 1998. Bodies of Modernity, Thames & Hudson, London. • Harrison, Charles., Wood, Paul.,2003. Art in theory 1900 – 2000: An Anthology of

Changing Ideas, Blackwell Publishing. • Krauss, Rosalind., 2004. Art since 1900: Modernism, Antimodernism, Post-modernism,.

Thames & Hudson, London. • Janson, H. W., 1991, History of Art, Thames & Hudson, London. • Gombrich, Ernest., 1997. Story of Art, Phaidon, London. • Honour, H., Fleming, J., 2005. A World History of Art, Laurence King, London. • Evans, Jessica., Hall, Stewart., 2004. Visual Culture: the Reader, Sage publications.

Spletne strani / Web Pages:

72

• Artlex Art Dictionary: http://www.artlex.com/ • Web Gallery of Art: http://www.wga.hu/index1.html • Eflux: http://www.e-flux.com/ • Seismopolite art journal: http://www.seismopolite.com/ • Camera Austria: http://camera-austria.at/



• Študentje so poučeni o osnovnih konceptih in razumevanju zgodovine umetnosti.


• Opremiti študente z trdno osnovo znanja zgodovine umetnosti od začetka moderne do začetka sodobne umetnosti.

• Analiza vpliva zgodovine umetnosti v umetniški produkciji.

• Spodbuja študenta v izgradnjo razvoja instrumentarija za branje in razumevanje zgodovine umetnosti.

• Razvoj fokusiranega študija zgodovine in umetnosti

• Zmožnost kritičnega mišljenja in pisanja • Zagotavljanje platforme iz katere je

možna nadaljnja poglobljena raziskava obravnavanih tem

• Students are aknowledge with the basic concepts and understanding of the history of art.


• Equip students with a solid base of knowledge of the history of art from the beginning of the Modern Art up to the beginning of the contemporary art.

• Analysis of the influence of the history of art in the artistic production.

• Encourage students in the development of the instrumentation for reading and understanding the history of art.

• Development of a focused study of the History of Art.

• Engage you in critical thinking and writing.

• Provide a platform from which you can further investigate the analysed topics.


Intended learning outcomes: • Znanje in razumevanje:

• Po uspešnem zaključku učne enote bo

študent sposoben :

• Poznavanja in razumevanja različnih obdobji v zgodovine umetnosti.

• Obrazložiti funkcijo zgodovine umetnosti v relaciji do zgodovinskih in kritičnih študij v vizualni umetnosti.

• Identificirati in uporabiti zgodovino umetnosti pri analizi vizualne umetnosti.

• Individualno razumevanje zgodovine umetnoste in idej.

• Prepoznavanje in razlaga različnih teorij in zgodovinskih pogledov na umetnost dvajsetega stoletja.


• On successful completion of this unit, students will be able to:

• Knowing and understanding of the various periods in the history of art.

• Explain the functions of the history of art in realtion to historical and critical studies in visual arts.

• Identify and use the history of art in the analysis of visual arts.

• An individual understanding of the history of art and ideas.

• Idedentify and explain the various theories and historical perspectives on art of the 20th century.

• Critically analyse the researched artistic

73

• Kritično pojasniti obravnavana umetniška

obdobja.

periods.




• Lectures • Seminar • Written and oral exam • Presentation



Assessment:




• Seminar 20%


• Oral exam 60%




2. LEBAN, Sebastjan. De-Linking from Capital and the Colonial Matrix of Power : class

74

racialization and the (de)regulation of life. V: GRŽINIĆ, Marina (ur.), ČENGIĆ, Nejra-Nuna. Biopolitics, necropolitics and de-coloniality, (Pavilion, ISSN 1841-7337, 14). Bucharest: Artphoto Asc. cop. 2010, str. 156-161. [COBISS.SI-ID 3712628]




5. LEBAN, Sebastjan. Art in residency : precarity or opportunity?. Seismopolite : Journal of Art and Politics, ISSN 1894-5449, 2018, iss. 18/19. https://www.seismopolite.com/art-in-residency-precarity-or-opportunity. [COBISS.SI-ID 513733762]






1.16 Samostojni znanstveni sestavek ali poglavje v monografski publikaciji 15. LEBAN, Sebastjan. Paradigma svobode : reprodukcija kapitala in demokracije. V: GRŽINIĆ, Marina (ur.), et al. Politika, estetika in demokracija. 1. natis. Ljubljana: Založba ZRC, ZRC SAZU. 2015, str. 7-20. [COBISS.SI-ID 39217965]


32. LEBAN, Sebastjan. Izgradnja drugega : (re)produkcija golega življenja : [predavanje na drugem mednarodnem kolokviju: Suverenost migranta in kultura, ki so ga organizirali Filozofski inštitut ZRC SAZU, Podiplomska šola ZRC SAZU, Inštitut AVA in Fakulteta za medije in komunikacije Singidunum univerze v Beogradu, v Ljubljani, 25. nov. 2016]. [COBISS.SI-ID

75

3658612]



35. LEBAN, Sebastjan. Silent weapon of extermination : [predavanje na International Symposium "Sustainability and Contemporary Art", Central European University, Budimpešta (Madžarska), 26.mar.2009]. Budapest, 2009. [COBISS.SI-ID 30097453]

Urednik










50. GALE, Špela. Questioning the role of the Art Museum : degree dissertation : diplomsko delo.

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Ljubljana: [Š. Gale], 2014. 31 f., ilustr. [COBISS.SI-ID 513737346]


52. MARINČEK, Matej. Commodification of art : impact of digital mode of production on commodification of art : degree dissertation = Komodifikacija umetnosti : vplivi digitalnega načina produkcije na komodifikacijo umetnosti : diplomsko delo. Ljubljana: [M. Marinček], 2013. 33 f., ilustr. [COBISS.SI-ID 513735810]




UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Zgodovina gledališča 2 Course title: History of Theatre 2




Letnik Academic

year

Semester Semester



2 3,4;

Visual arts level 1 ( L5) FA / CS 2 3,4; Vrsta predmeta / Course type Izbirni/Elective Univerzitetna koda predmeta / University course code:

T 22CS

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


Doc. Željko Hrs

77



Slo


Prerequisits:





Vsebina:


Učna enota predstavlja in raziskuje zgodovino gledališča iz medkulturnega vidika, ki preučuje ključna obdobja in gibanja skozi teorijo in prakso skozi prostor in čas. Koncept učne enote Zgodovina gledališča 2 je nadgraditi obravnavano snov iz prvega letnika s posebnim povdarkom na študentovem raziskovalnem potencialu. Razumevanje današnjega post-modernega, interkulturalnega in globaliziranega gledališča, kot izraza številnih, kompleksnih vplivov je ključ na podlagi katerega lahko študetn razvija kritičen diskurz. Predmet omogoča konceptualno podlago razumevanja scenografije kot je 'pisanje' v prostoru kot temeljnjne izrazne oblike jezika gledališča, umetniške oblike, ki je živa in deluje v času in prostoru.

This Unit introduces and explores the histories of theatre from an intercultural perspective, examining key periods, movements, theorists and practitioners over time and space. The concept of the unit History of Theater 2 is to upgrade the analysed topics from the first year with special focues on the student's research potential. The understanding of today’s theatre, post-modern, intercultural and globalised is therefore understood as an expression of many complex influences and represents a key in the student's capabilities in the developing of critical discourse. The unit will provide a conceptual basis for understanding scenography in the full sense of the term i.e. writing in space as a fundamental expression of theatrical language, an art form that is both live, and works in time and space.

Temeljna in priporočena literatura / Required Readings: Temeljna literatura / Required Readings:

• Appia, A. 1998., Glasba, igralec, prostor. Ljubljana: Knjižnica MGL. • Goldberg, R., 1999. Performance Art: From Futurism to the Present. London: Thames and

Hudson. • Senker, B., 1977. Redateljsko kazalište. Zagreb: Biblioteka Prolog. • Brecht, B., 1979. Dialektika u Teatru. Beograd: Nolit. • Walton, J.M. ed., 1999. Craig on Theatre. London: Methuen. • Wilson, E.,Goldfarb, A., 2000. Living Theater, A History. New York: McGraw-Hill Higher

Education.

78


• Debord, G. 1999. Družba spektakla. Ljubljana: Študentska založba. • Boal, A. 2000. Theatre of the Oppressed. London: Pluto Press. • Meyerhold, V.E. 1976. O Pozorištu. Beograd: Nolit. • Stanislavski, K. 1977. Sistem I., II. Ljubljana: Knjižnica MGL.



• Zmožnost analize in razprave o družbeno-političnih in zgodovinskih kontekstih številnih gledališčih po vsem svetu.

• Razmerje med scenografijo, ritualom, žanri, besedili in gledalci.

• Razmerje med teksti in izvedbami besedil.

• Poznavanje ključnih teoretikov, besedil, invencij in inovacij.

• Sposobnost, absorbcije in uporabe širokega spektra znanj in informacij, ter zmožnost uporabe le-teh pri raziskavah.

• The ability to analyse and discuss the socio-political and historical context of a broad range of theatres worldwide.

• The relation between scenography, ritual, genres, texts and spectators.

• The relationship between written and performed texts.

• Key theorists, texts, inventions and innovations.

• The ability to absorb a wide range of knowledge and apply this to self motivated research.





• Prepoznave in razlage specifičnih teorij in zgodovinskih pogledov na gledališče dvajsetega in enaindvajsetega toletja.

• Kritično pojasniti obstoj in izkušnje primerov gledališke produkcije.

• Komunicirati ustrezne ideje in argumente v pisni obliki.

• Razumevanja odnosa med gledališčem in drugimi oblikami umetnosti.



• Idedentify and explain the specific

theories and historical perspective on theater of the 20th and 21st century.

• Critically explain the existence and experience of examples of theatre production.

• Communicate appropriate ideas and arguments in written form.

• An understanding of the relationship between theatre and other art forms.



• Predavanja • Seminar • Pisni in ustni izpiti • Predstavitve • Obiski gledaliških predstav • Individualne in skupinske vaje

• Lectures • Seminar • Written and Oral Exam • Presentation • Theatre visits • Individual and group tutorials

79



Assessment:



Seminar, written and oral exam. • Seminar 20%


• Oral exam 60%

Reference nosilca / Lecturer's references:

80

Željko Hrs: igralec, dramaturg, stalni član ansambla SMG, gostujoči predavatelj na Goldsmiths, University of London, predavatelj na AVA, Akademiji vizualnih umetnosti, Ljubljana.

- rojen leta 1957 - leta 1981 absolviral AGRFT v Ljubljani in se zaposlil v SMG, Ljubljana - diplomiral leta 1992 iz dramske igre na AGRFT Ljubljana - bil dramaturg v več predstavah SMG in Betontanca - od leta 2008 gostujoči profesor na MA Performance making na Goldsmiths, University of London - od leta 2008 predavatelj zgodovine gledališča na AVA (Akademija vizualnih umetnosti) Ljubljana Leta 1993 sem sodeloval pri mednarodnem projektu Sarajevo, ki ga je po besedilu Gorana Stefanovskega zrežiral Slobodan Unkovski in ki je bil predstavljen v Antwerpnu, kulturni prestolnici Evrope 1993, na mednarodnem festivalu LIFT v Londonu, festivalih v Hamburgu, Kobenhavnu, Stockholmu in več švedskih mestih. Leta 2013 sem sodeloval pri projektu Osvajanje sreče v režiji Harisa Pašovića v koprodukciji Prime Cut Productions iz Belfasta, East West iz Sarajeva in SMG Ljubljana. Kot dramaturg sem delal v predstavah Hiša Bernarde Alba (SMG, 2000), Peter Pan SMG in Lutkovno gledališče Ljubljana, 2001), Soba srečanj Zavod Bunker in SMG in Centre Choreographique National de Rennes et de Bretagne, 2002), Wresting Dostoievsky Zavod Bunker, Betontanc, 2004, Lulubaj (SMG, 2004), Kitov trebuh SMG in Teatro Petra Bogota in Iberoameriški gledališki festival Bogota, 2006), vse v režiji Matjaža Pograjca ter Don Juan.kdo? (SMG in The Athletes of the Heart, London, 2007) v režiji Anne Furse). Hiša Bernarde Alba je bila v dnevniku Nuevo Herald proglašena za "najbolj vznemirljivo predstavo leta 2003, popoln spektakel in najbolj inovativno predstavo" Mednarodnega festivala hispanskega gledališča v Miamiju, ZDA. Predstava Kdo se boji Tennesseeja Williamsa je dobila nagrado Villanueva za najboljšo tujo predstavo leta 2004 na Kubi. Gostovala je v Čilu, Argentini, Urugvaju, Paragvaju, Dominikanski republiki in Kubi v Latinski Ameriki in Italiji, Hrvaški in Makedoniji. Sem soavtor gledaliških tekstov Kdo se boji Tennesseeja Williamsa (SMG 1999) in Don Juan.kdo? (SMG in Athletes of the Heart 2007); Tekst Don Juan.kdo? je bil objavljen (tudi v slovenščini) v antologiji Theatre in Pieces pri založbi Methuen v Londonu 2011 (ISBN: 978 1 408 13996 7). Predstava Don Juan.kdo? je gostovala v Londonu leta 2007 (Shunt Vaults) in 2008 na festivalu FeEast, Riverside Studios.

Zeljko Hrs: actor, dramaturg, permanent member of SMG ensemble, visiting lecturer at Goldsmiths, University of London, lecturer at AVA, Academy of Visual Arts, Ljubljana.

- born 1957 - l981 finished Academy AGRFT in Ljubljana and got employed in SMG theatre, Ljubljana - graduated in1992 on acting at AGRFT Ljubljana - was dramaturg at several performances SMG Theatre and Betontanc Theatre - from 2008 visiting Lecturer on MA Performance making at Goldsmiths, University of London - from 2008 lecturer of Histories of Theatre at AVA Academy of Visual Arts, Ljubljana

* * * In 1993 participated as actor in international project Sarajevo, written by Goran Stefanovski and directed by Slobodan Unkovski; Sarajevo opened Antwerpen as a European Cultural Capital 1993

81

and attended international theatre festival LIFT in London, festivals in Hamburg, Kobenhavn, Stockholm and several Swedish cities. In 2013 participted as actor in international project The Conquest of Happiness directed by Haris Pašović; coproduction of Prime Cut Productions from Belfast, East West from Sarajevo and SMG Ljubljana. As dramaturg worked on performances Hiša Bernarde Alba (The House of Bernarda Alba) (SMG, 2000), Peter Pan (SMG and Lutkovno gledališče Ljubljana, 2001), Soba srečanj (Maison des rendez-vous) (Zavod Bunker and SMG and Centre Choreographique National de Rennes et de Bretagne, 2002), Wresting Dostoievsky (Zavod Bunker, Betontanc, 2004), Lulubaj (SMG, 2004), Kitov trebuh (El vientre de la ballena) (SMG and Teatro Petra Bogota and Iberoamerican Theatre Festival Bogota, 2006), all directed by Matjaž Pograjc and Don Juan.kdo? (Don Juan.Who?)(SMG and The Athletes of the Heart, London, 2007) directed by Anne Furse). Hiša Bernarde Alba (The House of Bernarda Alba) was proclamed by Nuevo Herald as "the most thrilling performance of the year 2003, absolute spectacle and the most innovative performance" of International Festival of Hispanic Theatre in Miami, USA. Performance Kdo se boji Tennesseeja Williamsa (Who is Afraid of Tennessee Williams) got award Villanueva for best foreign show of the year 2004 in Cuba. It toured in Chile, Argentina, Uruguay, Paraguay, Dominican Republic in Latin America and Italy, Croatia and Macedonia. I am co-author of theatre plays Kdo se boji Tennesseeja Williamsa (Who is Afraid of Tennessee Williams) (SMG 1999) and Don Juan.kdo? (Don Juan.Who?) (SMG and Athletes of the Heart 2007); Theatre play Don Juan.kdo? was published (also in Slovenian) in anthology Theatre in Pieces by editing house Methuen, London, 2011 (ISBN: 978 1 408 13996 7). Performance Don Juan.kdo? toured in Londonu 2007 (Shunt Vaults) and 2008 on festival FeEast, Riverside Studios. From 2008 I am Visiting Lecturer on MA Performance Making at Goldsmiths, University of London.

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Filozofija 2 Course title: Philosophy 2




Letnik Academic

year

Semester Semester



2 3,4;


T 23

82

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


Doc. dr. Gregor Kroupa

Jeziki / Languages:


Slo


Prerequisits:





Vsebina:


Učna enota predstavlja osrednje filozofske koncepte skozi zgodovinski kontekst. Učna enota je nadaljevanje učne enote Filozofija 1 v še bolj poglobljeni analizi, ki je osredotočena na kompleksna filozofska izražanja post moderne filozofije. Predavanja in seminarji niso postavljeni kronološko, temveč vključujejo študente v sistematično raziskavo in razumevanje problemov skozi analize in kritično refleksijo. Učna enota obravnava vključevanje filozofskih problemov v umetniški kontekst, kakor tudi spoznavanje povezav in skupnih vzorcev na področju različnih, zgodovinsko oddaljenih filozofskih tradicij.

In this course students are introduced to some of the central philosophical concepts through their historical contexts. The unit represents the continuation of the analysis developed in the unit Philosophy 1 in a broaden context that is focused on complex expressions in post-modern philosophy. Lectures and seminar readings are intended not to cover the history of philosophy chronologically, but rather to engage students in systematic understanding of a problem, its analysis and critical evaluation. The unit analyse the introduction of philosophical problems in the artistic discourse as to learn to see connections and common patterns in the fields of various historically distant philosophical traditions.

83


• Foucault, M., 2007. To ni pipa, Ljubljana: Društvo za teoretsko psihoanalizo.

• Kant, I., 2006. Odgovor na vprašanje: Kaj je razsvetlejnstvo? In: Zgodovinsko-politični spisi

R. Riha, ed., Ljubljana: Založba ZRC SAZU.

• Lyotard, J.-F., 2002. Postmoderno stanje (Uvod), Ljubljana: Društvo za teoretsko

psihoanalizo.

• Platon, 2004. Kratil. In: Zbrana dela, Celje: Mohorjeva družba. Priporočena literatura / Recommended Readings:

• Foucault, M., 2010. Besede in reči: arheologija humanističnih znanosti (2. poglavje),

Ljubljana: Studia Humanitatis.

• Saussure, F. de, 1997. Predavanja iz splošnega jezikoslovja (1. poglavje), Ljubljana: ISH. Vickers, B., 1984. Analogy versus identity: the rejection of occult symbolism, 1580-1680. In B. Vickers, ed. Occult and Scientific Mentalities in the Renaissance. New York: Cambridge University Press.



• Razumevanje bolj naprednih povezav v zahodni filozofski tradiciji.

• Razumevanje skupnih točk umetnosti in filozofije.

• Sposobnost dojeti osnovno strukturo in argumente sodobnih filozofskih besedil.

• Understanding of some of the more advanced connections in the Western philosophical traditions.

• Reflection on the points of convergence between art and philosophy.

• Ability to grasp the basic structure and arguments of contemporary philosophical texts.





• Razumevanja in razprave izbranih filozofskih tem.

• Razlage osrednjih teoretičnih in zgodovinskih diskurzov filozofije.

• Komunicirati ustrezne ideje in



• Understand and discuss selected philosophical topics.

• Explain the central debates within these Phylosophical histories and theories.

• Communicate appropriate ideas and

84

argumente v pisni obliki. • Razumevanja odnosa med filozofijo in

umetnostjo. • Uporabe bolj kompleksnih filozofskih

vidikov pri svojem izražanju v kreativnih praksah.

arguments in written form. • An understanding of the relationship

between Phylosophy and Art. • Use a more complex philosophical

perspective on the nature of their own artistic expression.



• Predavanja • Branja • Seminar • Pisni in ustni izpit • Predstavitve

• Lectures • Readings • Seminar • Written and oral exam • Presentation



Assessment:




• Seminar 20% • Written exam 20% • Oral exam 60%

Reference nosilca / Lecturer's references: Rojen 1. 9. 1977 v Ljubljani. V letih 1986-2004 živel v Pragi, kjer je končal študij filozofije. Od leta 2004 živi v Ljubljani. Ukvarja se z zgodovino filozofije, še zlasti novoveške in filozofije razsvetljenstva (1600-1800). Na tem področju je aktiven kot predavatelj, avtor znanstvenih besedil, urednik in prevajalec. Objavil je več znanstvenih člankov s področja novoveške in razsvetljenske filozofije v recenziranih revijah, se s prispevki udeležil konferenc v Izoli, Dubrovniku, Berlinu, Nikoziji in Beogradu. Kot urednik, prevajalec ali pisec spremnih študij je sodeloval pri pomembnih slovenskih prevodih klasičnih del Renéja Descartesa, Adama Smitha, Denisa Diderota, Jeana d'Alemberta, barona d'Holbacha in Jeremyja Benthama. Leta 2009 je uspešno zagovarjal doktorat pod mentorstvom red. prof. Mirana Božoviča na Oddelku za filozofijo na Filozofski fakulteti Univerze v Ljubljani. Razširjeno različico doktorskega dela je leta 2011 izdal pri ugledni založbi Studia Humanitatis pod naslovom Podobno v nepodobnem: o metafori v novoveški filozofiji. V letih 2008-14 je bil na Filozofski fakulteti UL zaposlen najprej kot mladi raziskovalec, nato pa še na dveh temeljnih raziskovalnih projektih. Najpomembnejše publikacije v zadnjih treh letih: Kroupa, Gregor. Podobno v nepodobnem: o metafori v novoveški filozofiji. Ljubljana: Studia humanitatis, 2011. —. “Jezik in javno : reorganizacija trivija v Lockovem Eseju in v Portroyalski logiki”. Filozofski vestnik, 2013, letn. 34, št. 3, str. 57-74. —. “Domnevna zgodovina : dejstva in fikcija”. Filozofski vestnik, 2011, letn. 32, št. 1, str. 37-49. —. “History gone wrong : Rousseau on corruption”. V: Ana Birešev in Rada Brezgić (ur.). Corruption and social development. Beograd: Institute for Philosophy and Social Theory, 2013, str. 16-34. —. “Bentham: javna korist proti fikciji”. V: Jeremy Bentham, Fragment o vladavini. Ljubljana: Krtina, 2013.

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* * *

Born September 1st, 1977 in Ljubljana, Slovenia. From 1986 until 2004 he had lived in Prague, Czech Republic, where he had obtained hi M.A. in Philosophy. Since 2004 he has lived in Ljubljana. His area of expertise is history of philosophy, especially Early Modern and philosophy of Enlightenment (ca. 1600-1800). Hi is active as a lecturer, author of articles, editor and translator. He has published several articles in the field of early modern and enlightenment philosophy in peer-reviewed journals. He has presented conference papers in Izola, Dubrovnik, Berlin, Nicosia and Belgrade. As an editor, translator or author of introductory studies he has participated in publishing important Slovenian translations of classical texts by René Descartes, Adam Smith, Denis Diderot, Jean d'Alembert, baron d'Holbach and Jeremy Bentham. In 2009, he successfully defended his doctoral thesis under the supervision of professor Miran Božovič, PhD. at the Department of Philosophy, Faculty of Arts (University of Ljubljana). A revised and expanded version of this thesis was published in 2011 with a prestigious press Studia Humanitatis (under the title: The Similar in the Dissimilar: on Metaphor in Early modern Philosophy). Since 2008 he has been employed at the Faculty of Arts, University of Ljubljana, first as junior research fellow, and as a researcher on two basic research projects. Key publications in the last three years: Kroupa, Gregor. Podobno v nepodobnem: o metafori v novoveški filozofiji. Ljubljana: Studia humanitatis, 2011. —. “Jezik in javno : reorganizacija trivija v Lockovem Eseju in v Portroyalski logiki”. Filozofski vestnik, 2013, vol. 34, no. 3, pp. 57-74. —. “Domnevna zgodovina : dejstva in fikcija”. Filozofski vestnik, 2011, vol. 32, no. 1, pp. 37-49. —. “History gone wrong : Rousseau on corruption”. In: Ana Birešev in Rada Brezgić (eds.). Corruption and social development. Belgrade: Institute for Philosophy and Social Theory, 2013, pp. 16-34. —. “Bentham: javna korist proti fikciji”. In: Jeremy Bentham, Fragment o vladavini. Ljubljana: Krtina, 2013.

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Likovna teorija 2 Course title: Art Theory 2




Letnik Academic

year

Semester Semester



2 3,4;

Visual arts level 1 ( L5) FA / CS 2 3,4; Vrsta predmeta / Course type Izbirni/Elective

86

Univerzitetna koda predmeta / University course code:

T 24FA

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


izred. prof. dr. Jaka Bonča

Jeziki / Languages:


Slo


Prerequisits:





Vsebina:


Predstavitev likovne teorije, odnos med vizualnim in likovnim, umetnosti kot komunikacijskea oblika; elementi umetniškega izražanja: svetlo - temno, točka, linija, oblika, površina, prostor in morebitne medsebojni odnosi. Likovna morfologija: umetniški spremenljivke - velikost, oddaljenost, umestitev, svetloba, tekstura, optična tesnost, odnos med obliko in vsebino v umetniški produkciji. Umetniška (dimenzionalni) kompozicija: koncept in raven likovne kompozicije, merjenje obsega, modul, razmerje, korelacija, umetniški sestava kot

Introduction to artistic theory, relationship between visual and artistic, art as a communication form; elements of artistic expression: light – dark, point, line, form, surface, space and possible mutual relations. Artistic morphology: artistic variables – size, distance, placement, lighting, texture, optical tightness, relation between form and content in artistic production. Artistic (dimensional) composition: the concept and levels of artistic composition; measurement, scale, module, ratio, correlation; artistic composition as organisation of comprehensive artistic space,

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ureditvi celovitega likovnega prostora, sistem odnosov, intervali in razmerja in odnosi v likovnem prostoru, vloga mrež v likovni kompoziciji, načela soodvisnosti, uporaba korelacij v umetnosti, sistemi korelacij, standardni elementi, standardi produkcije, standard merilnih sistemov.

system of relations, intervals and ratios and relations in artistic space, the role of grids in artistic composition, principles of correlation, use of correlations in art, systems of correlations, standard elements, standard production, standard measurement system.


• Bonča, J., 2003. Gospodar sistema. FA in Šola za risanje in slikanje, Ljubljana. • Butina, M., 2000. Mala likovna teorija. Debora, Ljubljana. • Kappraff, J., 2000. Connections – The Geometric Bridge Between Art and Science. World

Scientific, New Yersey. • Wilson, S., 2000. Information arts. The MIT Press, Cambridge. • Bonča, J. Likovna teorija. URL: http://sola.rototype.org/.



• Razumevanje odnosa med vizualnim in likovnim: umetnosti kot obliko komuniciranja, umetniške morfologije, umetniške (meritve), kompozicije, razmerja v naravi in likovni umetnosti.

• Kritično, refleksivno in domišljeno uporabo naučenih aplikativnih elementov likovne teorije v praksi.

• Prenašanje naučenih konceptov v ideje in v vizualno umetnost.

• Indentify to the relation between visual and artistic: art as a form of communication, artistic morphology, artistic (measurements) composition, proportions in nature and fine arts.

• A critical, reflective and imaginative usage of the learned applicative elements of the art theory in practice.

• Transference of learned concepts into ideas and visual art.


Intended learning outcomes: • Znanje in razumevanje:

• Po uspešnem zaključku učne enote


• Poznavanja in razumevanja likovne teorije.

• Analize vizualne produkcije izhajajoč iz likovne teorije.



• Knowing and understanding of art theory. • Analyse of visual production in relation to art

theory. • An understanding of the environment and

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• Razumevanja okolja in branja "informacij" v materialih.

• Nadgradnje pridobljenega znanja.

the ability of “reading” information in materials.

• Upgrading of the learned knowledge.



• Predavanja • Seminar • Predstavitve • Individualne in skupinske vaje • Pisni in ustni izpit • Predstavitev

• Lectures • Seminar • Demonstrations • Individual and group tutorials • Written and oral exam • Presentation



Assessment:






Reference nosilca / Lecturer's references: Jaka Bonča, rojen 1962 in Ljubljana, Slovenija Diploma: Fakulteta za arhitekturo, Univerza v Ljubljani, Slovenija, 1987 Mag: Fakulteta za arhitekturo, Univerza v Ljubljani, Slovenija, 1990 PhD: Fakulteta za arhitekturo, Univerza v Ljubljani, Slovenija, 1993 Poučuje na Fakulteti za arhitekturo, Univerza v Ljubljani, Slovenija Zaposlen: Fakulteta za arhitekturo, Univerza v Ljubljani Predava: Predstavitvene tehnike 1, Osnove likovne teorije, Projektiranje 4 in 5, Oblikovne zasnove (izbirni predmet), Arhitekturna delavnica Nagrade Prva nagrada na mednarodnem evropskem Natečaju DHV Special Avards National Identiteta centrov evropskih mest po letu 1992; Maastricht, Nizozemska 1992. Nagrada za inovativne grafične tehnike 4th Egyptian International Print Triennale, Cairo, Egipt, 2003. Nagrada Majskega salona Slovenija. Knjige Jaka Bonča: Gospodar sistema - Lord of the System, Fakulteta za arhitekturo in Šola za risanje in slikanje - visoka strokovna šola, Ljubljana 2003, 184 strani, ISBN 961-6160-45-1.Jaka Bonča. Osnove likovne teorije, učbenik za arhitekte. Ljubljana: Fakulteta za arhitekturo, 2008. ISBN 978-

89

961-6160-85-8.

* * * Jaka Bonča, born 1962 in Ljubljana, Slovenia Diploma: Faculty of Architecture, University of Ljubljana, Slovenia, 1987 Mag: Faculty of Architecture, University of Ljubljana, Slovenia, 1990 PhD: Faculty of Architecture, University of Ljubljana, Slovenia, 1993 Teaching at Faculty of Architecture, University of Ljubljana, Slovenia Working at Faculty of Architecture, University of Ljubljana Lecturing: Presentation techniques 1, Introduction to art theory, Design Studio 4 and 5, Design Concepts (ellective subject), Architectural workshop Awards First prize at International European Competition DHV Special Avards National Identity of Ceters of European Cityes after 1992; Maastricht, Holand 1992 Award for innovative graphic techniques 4th Egyptian International Print Triennale, Cairo, Egipt, 2003 Award of Majski salon Slovenia. 2005 Books Jaka Bonča: Gospodar sistema - Lord of the System, Fakulteta za arhitekturo in Šola za risanje in slikanje - visoka strokovna šola, Ljubljana 2003, 184 pages, ISBN 961-6160-45-1. Jaka Bonča. Osnove likovne teorije, učbenik za arhitekte. Ljubljana: Fakulteta za arhitekturo, 2008. ISBN 978-961-6160-85-8

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Teorija gibljive slike Course title: Theory of Motion Picture




Letnik Academic

year

Semester Semester



2 3,4;


T 26

90

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


Doc. dr. Andrej Šprah

Jeziki / Languages:


Slo


Prerequisits:

• pogoj za vključitev v delo je vpis v letnik študija,


• Enrollment in the study year, • A prerequisite for the exam is minimum


Vsebina:


Učna enota je zasnovana z namenom opremiti študente z obsežnim znanjem na področju filmske kritike in teorije. Program sledi nastanku in evoluciji filmske umetnosti in teorije od njenih začetkov do danes. V praktičnem smislu, gre za kompleksen pregled filmske teorije v svojem zgodovinskem razvoju, pomembnih konceptov in osebnosti ter ključnih teoretičnih gibanj. Začenši s 'klasično' filmsko teorijo, ki vključuje 'auterism' in teorije avtorstva, ekspresionizmom in realizmom, teorijo žanrov i politično kritiko. Program se ndaljuje v raziskavi sodobnih filmskih teorij : semiotike in strukturalizma, Marksizma in kritične teorije, ideologije in inter-tekstualizma, spolov in spolnosti v filmu, modernizma in epostmodernizma in kinematografije. Večina programa obravnava in analizira teoretične aspekte in ključne estetske koncepte in kategorije kinematografije, kot so

This unit is designed to equip students with a wide-ranging knowledge of motion picture theory and aesthetic. The course will trace the emergence and evolution of film art and theory from its origins to the present. In a practical sense the course offers a survey of film theory in its historical development, its important concepts and figures and its key theoretical movements. We begin with "classical" film theory, including auteurism and theories of authorship, expressionism and realism, genre theory and political criticism. Then we move on to an investigation of contemporary film theory: semiotics and structuralism, Marxism and critical theory, ideology and inter-textuality, gender and sexuality in cinema, modernism and postmodernism, and word cinema. Much of the course, however, will be given over to analysis of the theoretical aspects of crucial aesthetic concepts and categories of cinema such as

91

slog in pomen, elementi filmske pripovedi, ter filma kot vizualnega medija ipd.

style and meaning, elements of film form and narrative, issues of film as audiovisual representation, etc.

Temeljna in priporočena literatura / Recquired and Recommended Readings: Temeljna literatura / Recquired Readings: Aumont, J., Bergala A., Marie, M., Vernet, M., 1994. Aesthetics of Film. Austin: University

of Texas Press, Bazin, A., 2010. Kaj je film?. Ljubljana: KINO!. Cook, P. ur. 2007. Knjiga o filmu. Ljubljana: Umco, Slovenska kinoteka. Casetti, F., 1999. Theories of Cinema: 1945-1995. Austin: University of Texas Press. Deleuze, G., 1991. Podoba-gibanje. Ljubljana: Studia humanitatis. Gledhill, C. and Williams, L. eds., 2000. Reinventing Film Studies. London: Arnold. Monaco, J., 2000. How to Read a Film: The World of Movies, Media, Multimedia,

Language, History, Theory. New York (etc.): Oxford University Press. Nichols, B. 2001. Introduction to Documentary. Bloomington: Indiana University Press. Šprah, A., 2010. Prizorišče odpora: Sodobni dokumentarni film in zagate postdokumentarne kulture. Ljubljana: Društvo za širjenje filmske kulture KINO!. Šprah, A., 2011. Vračanje realnosti: novi realizem v sodobnem filmu. Ljubljana: Slovenska

kinoteka. Priporočena literatura / Recommended Readings: Aumont, J., 1980. Ejzenštejn - montaža v vprašanju. Ljubljana: Jugoslovanska kinoteka,

dvorana v Ljubljani, Društvo slovenskih filmskih delavcev. Bonitzer, P., 1985. Slepo polje. Ljubljana: ŠKUC, Znanstveni inštitut Filozofske fakultete. Bresson, R., 1997. Zapiski o kinematografu. Ljubljana: Slovenska kinoteka. Daney, S., 2001. Filmski spisi. Ljubljana: Slovenska kinoteka. Deleuze, G., 1989. Cinema: The Time-image. Minneapolis: University of Minnesota Press. Ejzenštejn, S.M., 1981. Montaža, ekstaza: (izbrani spisi). Ljubljana: Cankarjeva založba. Ellis, J.C. and McLane, B. 2006. A New History of Documentary Film. New York and

London: Continuum. MacDonald, S. 1993. Avant-garde Film: Motion Studies. Cambridge and New York:

Cambridge University Press. Nanacy, J.-L., 2009. Evidenca filma: Abbas Kiarostami Ljubljana: Društvo za širjenje filmske

kulture KINO!. Rees, A.L., 1999. A History of Experimental Film and Video. London, BFI Publishing Stojanović, D. ur., 1978. Teorija filma. Beograd: Nolit. Šprah, A., 1998. Dokumentarni film in oblast: vprašanje propagande in neigrane filmske

produkcije v času med oktobrsko revolucijo in drugo svetovno vojno. Ljubljana: Slovenska kinoteka.

Tarkovskij, A., 1997. Ujeti čas: razmišljanja o filmu. Ljubljana, EWO. Vrdlovec, Z. ur., 1987. Lekcija teme: zbornik filmske teorije. Ljubljana: Državna založba

92

Slovenije. Wells, P., 1998. Understanding Animation, London and New York: Routledge,. Žižek, S., 1988. Pogled s strani. Ljubljana: Revija Ekran.



• Obravnava raznolikosti filmskih praks in

s tem podajanje teoretičnih orodji, ki omogočajo analizo povezave med kinematografijami in različnimi kulturnimi, družbenimi in političnimi konteksti v katerih so bili filmi proizvedeni in prezentirani.

• Obravnava estetik in politik raznovrstnih filmov izbranih iz različnih žanrov, gibanj, zgodovinskih obdobij in kulturnih okolij.

• Izboljšanje zmožnosti študentov pri preučevanju različnih pristopov in pogledov na film : kot umetniško obliko, kot kulturno informacijo, kot posebno tehnologijo, kot specifien jezik, kot masovni medij in kot na potrošniški produkt ter industrijo.

• Primerjava različnih analitičnih načinov pri študiju in razumevanju kinematografije opremijo študente s kompetentnim, avtonomnim, kritičnim pogledom na film.

• Introduction to the diversity of film practices and provide you with theoretical tools that will allow you analyse the connections between cinema and the various cultural, social and political contexts in which the films have been produced and consumed.

• To introduce you to the aesthetics and politics of a variety of films selected from different types, genres, movements, historical periods and cultures.

• To enhance your ability to explore various ways of looking at cinema: as an art form, as cultural formation, as technology, as specific language, as mass media, as consumer product and as industry.

• Comparison of a variety of analytical tools in studying and understanding cinema should equip students with competency of autonomous critical view on films.





• Presoje razmerij med različnimi gibanji v zgodovini filma in kako ti vplivajo na trenutne filmske izraze in produkcije.

• Kritičnega razumevanja pomenov filma kot oblike umetnosti, kot kulturnega besedila in kot načina prezentacije.

• Uporabe kritične analize in orodij pri obravnavi filma različnih obdobij in kulturnih



• An appreciation of relationships between various movements in film history and how they affect current film production.

• A more critical understanding of the meanings of film as art form, as cultural text and as a mode of representation.

• The application of critical and analytical tools on films from different historical

93

sredin. • Razumevanja odnosa med filmom in

drugimi oblikami umetnosti.

periods and cultures. • An understanding of the relationship

between Film and other forms of Art.



• Predavanja • Seminar • Projekcije • Pisni in ustni izpit • Predstavitve

• Lectures

• Seminar

• Screenings

• Written and oral exam

• Presentation



Assessment:






Reference nosilca / Lecturer's references: Dr. Andrej Šprah, ki je končal doktorski študij medijskih študijev na Institutu Studiorum Humanitatis – Fakulteti za podiplomski humanistični študij v Ljubljani z disertacijo: Dokumentarna namišljenost in dozdevnost realnosti v sodobnem filmu: aktualni svetovni kino med determinantami novega realizma in postdokumentarne kulture, je vodja raziskovalno-založniškega oddelka Slovenske kinoteke, predavatelj filmske teorije na Akademiji za vizualne umetnosti A.V.A. v Ljubljani in sodelavec na Akademiji za gledališče, radio, film in televizijo v Ljubljani. Je filmski teoretik, pisatelj ter avtor številnih esejev in razprav, v katerih obravnava fenomene filmskega dokumentarizma, svetovnega družbeno-angažiranega filma, slovenskega filma in kinematografij nekdanje Jugoslavije. Njegove pomembnejše objave obsegajo študijo »Utrujen od podobe svojega pogleda« v knjigi Pogib in počas (Studia Humanitatis, 1997), referenčno monografijo Dokumentarni film in oblast (Slovenska kinoteka, 1998), zbirko esejev o poosamosvojitvenem slovenskem filmu Osvobajanje pogleda (Slovenska kinoteka 2004), knjigo o sodobnem dokumentarnem filmu Prizorišče odpora (KINO!, 2010), znanstveno razpravo Vračanje realnosti (Slovenska kinoteka, 2011), ki raziskuje vprašanja novega realizma v svetovnem filmu, in članek »Catastrophe, Documentary and the Limits of Cinematic Representation« v mednarodnem zborniku The Cultural Life of Catastrophes and Crises (De Gruyter 2012). Med leti 1997 in 2005 je bil član uredništva revije Ekran, od leta 2008 pa je član uredništva revije KINO!. Svoje prispevke objavlja predvsem v revijah Ekran, KINO!, Kinotečnik in Časopis za kritiko znanosti; sodeloval pa je tudi v mednarodnih projektih kot MoveEast, Carte di Cinema, Romboid in European Summer

94

School of Cultural Studies.

* * * Andrej Šprah, who completed his Ph.D. in Media Studies at the Institutum Studiorum Humanitis–Ljubljana Graduate School of the Humanities with a dissertation titled Documentary Fictiveness and Seemingness of Reality in Contemporary Cinema: Current World Cinema Between the Determinants of New Realism and Post-Documentary Culture, is the Head of Research and Publishing Department at the Slovenian Cinematheque, lecturer of Film Theory Programme at the Institute A.V.A.–Academy of Visual Arts, Ljubljana and collaborator at the Academy for Theatre, Radio, Film and Television in Ljubljana. His research focuses on the political documentary, as well as on the cultural, political and social implication of the Third Cinema. He has published widely about the relationship between fictional and documentary representation of reality and the cinematography of former Yugoslavia. His works include the book Documentary Film and Power (Slovenian Cinematheque, 1998) on propaganda documentary, a collection of essays on contemporary Slovenian cinema, Liberating the Gaze (Slovenian Cinematheque, 2005), a book about the issues of new documentary cinema in the so-called post-documentary culture, The Site of Resistance (KINO!, 2010), scientific monograph Return of Realty (Slovenian Cinematheque, 2011) about the new realistic and transnational tendencies in recent World Cinema, and an article »Catastrophe, Documentary and the Limits of Cinematic Representation« in the international collection The Cultural Life of Catastrophes and Crises (De Gruyter, 2012). Between 1997 and 2005 he was a member of the editorial board of Ekran, Journal for Film and Television. He is the co–editor of KINO!, a magazine for cinema and cinematic. His essays are frequently published in magazines Ekran, KINO!, Apokalipsa, Časopis za kritiko znanosti; occasionally he also participated in international projects like MoveEast, Balcanis, Carte di Cinema, Romboid and European Summer School of Cultural Studies.

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Kritična analiza 1 Course title: Critical Analysis 1

Študijski program in stopnja Study programme and level


Letnik Academic

year

Semester Semester



2 3,4;

Visual arts level 1 ( L5) FA / CS 2 3,4; Vrsta predmeta / Course type Obvezni/Mandatory Univerzitetna koda predmeta / University course T 27

95

code:

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS

40 10 10 60 4 Nosilec predmeta / Lecturer: Doc. dr. Sebastjan Leban Jeziki / Slo Languages: Slovenski


Slo


Prerequisits:





Vsebina:


Učna enota Kritična analiza 1 temelji na interdisciplinarni raziskavi političnih, teoretičnih, filozofskih, umetniških in drugih diskurzov. Učna enota obravnava problem, kako razumeti in brati znanje, ki nastaja znotraj in zunaj evrocentrične perspektive, kakor tudi razumevanja različnih diskurzov, ki se nanašajo na različna področja v logično strukturirano podatkovno bazo, ki naj analizira vse bolj razvito sodobno družbo, kot tudi stare in nove oblike izkoriščanja, zatiranja in podrejanja. Namen učne enote je, da študente opremi z kritičnim instrumentarijem s katerim lahko analizirajo, razumejo in berejo realnost sodobnega sveta. Posebna pozornost je namenjenja formaciji politične umetnosti, začenši z konceptualizmom, prek gibanj v 80ih s padcom berlinskega zidu in propadom socializma, do formacije radikalnih kritičnih praks. Predmet je zasnovan na osnovi interdiscpilinarne metodologije poučevanja, ki vključuje kritiko politične ekonomije, filozofijo, v povezavi z umetnostjo, teorijo umetnosti, novih medijev, perforamtivnih praks, itd.

The course Critical Analysis 1 is based on interdisciplinary research of political, theoretical, philosophical, artistic, etc. discourses. The course deals with the problem on how to understand and read knowledge that is being produced inside and outside a Eurocentric perspective, as to understand on how to conflate different discourses pertaining to different fields into a logical database structure with which to analyse the ever more developed contemporary society as also new and old forms of exploitation, oppression and subjugation. The course objective is to provide the students with critical tools that assist them to analyse, understand and read the reality of the contemporary world. Special consideration will be given to the formation of the political art, starting from Conceptualism, throughout the movements of the 80’s with the fall of the Berlin Wall and the collapse of Socialism, to the formation of a radical critical discourse. The course is based on interdisciplinary teaching methodology including the critic of political economy and philosophy associated with art, theory of art, new media, performative practices etc.

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Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura / Required Readings: • Balockite, Rasa., “Go West... ” Myths of Femininity and feminist utopias in the East and West,

http://www.eurozine.com/articles/2009-08-14-balockaite-en.html • Banerje, S. B., Live and Let Die: Colonial Sovereignity and the Death Worlds of

Necrocapitalism. http://www.borderlands.net.au/vol5no1_2006/banerjee_live.htm • Fanon, Frantz., 2008. Black Skin, White Masks. Grove Press, New York. • Grosfogule, Ramón., 2008. Transmodernity, Border Thinking and Global Coloniality. • http://www.eurozine.com/articles/2008-07-04-grosfoguel-en.html • Gržinić, Marina., The Emergence of the Political Subject, Emanciaption of the Resistance.

http://emancipationofresistance.wordpress.com/grzinic/ • Gržinić, M., Heeg, G., Darian, V., 2006. Mind the Map! History is not Given. Revolver,

Slovenia. • Harvey, David., 2006. The Art of Rent. Globalization, Monopoly and the Commodification of

Culture. http://www.16beavergroup.org/mtarchives/archives/001966.php/. • Leban, Sebastjan., 2010. De-Linking from Capital and the Colonial Matrix of Power: Class

Racialization and the (De)Regulation of Life, Pavilionmagazine, Biopolitics, Necropolitics, De-coloniality, Bukarešta.

• Marx, Karl., 1993. Grundrisse: Foundations of The Critique of Political Economy. Penguin Books, London.

• Mignolo, Walter., The Darker Side of Western Modernity. Duke University Press.


• Cooper, M., Mitropoulos, A., In Praise of Usura. http://www.metamute.org/editorial/articles/praise-usura

• Foucault, Michael., 2001. Arheologija vednosti. Ljubljana: Studia humanitatis. • Harvey, David., 2003. The New Imperialism. Oxford University Press. • Mignolo, D., W., 2002. The Geopolitics of Knowledge and the Colonial Difference.

http://waltermignolo.com/publications/#articles_english • Ponty, Merleau., 2002. The Phenomenology of Perception. New York: Routledge. • Quijano, Anibal., 2000. Coloniality of Power, Eurocentrism and Latin America. Durham:

Nepantla. • Žižek, Slavoj., 2009. Violence. London: Profile Books Cilji in kompetence:


• Omogočarazvijanjeosredotočenega

študijakritičneanalize.

• Razvojrazumevanjakonceptov,

diskurzovinmetodologij,kitemeljijo

naobravnavanihinanaliziranihtemah.

• Zmožnostkritičnegamišljenjain

pisanja.

• Razvojustreznihkontekstualnih

okvirjev,vključnozzgodovinskimiin

sodobnimireferencamikiseprenašajonaindividualnekreativne

• Enableyoutodevelopafocusedstudy

ofcriticalanalysis.

• Developanunderstandingofconcepts,

discoursesandmethodologiesbased

ontheanalysedtopicsinthecourse.

• Tobeabletoproducecriticalthinking

andwriting.

• Equipyoutodeveloparelevant

contextualframeworkincludinghistoricalandcontemporary

referencesforyourpractice.

• Provideaplatformfromwhichyoucan

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prakse.

• Zagotovitiizhodiščezanadaljne

raziskaveanaliziraneteme

• Zagotovitirazličnaznanja,ki

podpirajosamostojneustvarjalne

dejavnostiterstemdvigatikakovost

kreativnegadela.

furtherinvestigatetheanalysedtopics.

• Provideyouwithavariousrangeof

knowledgeproductionwithwhichto

supporttheproductionofhighquality

independentandself-managed

creativeactivity.





• Zavedanje o povezavah med različnimi področji raziskav, kot so umetnost, teorija in filozofija.

• Oblikovanja osnovnih radikalno-kritičnih diskurzov.

• Izvajanja interdisciplinarnih raziskav in primerjave rezultatov raziskave v širši družbeno-politični kontekst.

• Sposobnost nadgradnje pridobljenega znanja.



• Awareness of connections between different research fields; such as art, theory and philosophy.

• Formulate basic radical-critical discourses.

• Produce interdisciplinary investigations and correlate the outcomes of the research to the wider socio-political issue.

• Upgrading the knowledge acquired during the course.



• Predavanja • Seminar • Predstavitve • Individualne in skupinske vaje • Pisni in ustni izpit • Neodvisne raziskave • Predstavitve • Zahteva se sodelovanje študentov pri

branju in analizi tekstov

• Lectures

• Seminar

• Demonstrations

• Individualandgrouptutorials

• Writtenandoralexam

• Independentresearch

• Presentation

• Collaborationofstudentsinreadingand

analysingoftextisrequired



Assessment:

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6. LEBAN, Sebastjan. Rethinking the future: politics of extermination. Reartikulacija : umetniško-politična-teoretična-diskurzivna platforma, ISSN 1855-1335, 2009, [Št.] 6, str. 13-14. [COBISS.SI-

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ID 30098477]











Urednik


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101


Predmet: Objektivno risanje 2 Course title: Objective Drawing 2




Letnik Academic

year

Semester Semester



2 3,4;


P20

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


Doc. Andrej Savski



Slo


Prerequisits:





Vsebina:


102

Učna enota predstavlja vrsto praktičnih pristopov, ki se nanašajo na risbo in njeno uporabo. Učna enota upošteva namen in potencial risbe kot osnovnega elementa v širšem kontekstu umetnosti in oblikovanja. Namen učne enote je razviti razumevanje risbe kot osnovnega raziskovalnega elementa v likovni umetnosti. Učna enota Objektivno risanje 2 je nadaljevanje in nadgradnja učne enoto Objektivno risanje 1.

This unit introduces you to a range of practical approaches related to the discipline of drawing. The unit considers the purpose and potential of drawing as the basic element within the broad context of art and design practice. The purpose of the unit is to develop an understanding of drawing as basic research element in fine art. The unit Objective Drawing 2 is a continuation and upgrade of the unit Objective Drawing 1.


• Kaupelis, Robert., 1992. Experimental Drawing Techniques, Watson-Guptill Publications. • Burton, J., Dexter, E., et al., 2005. Vitimin D: New perspectives in drawing, Phaidon. • Hoptman, Laura., 2002. Drawing Now: Eight Propositions, New York: The Museum of

Modern Art. Priporočena literatura / Recommended Readings:

• Gill, W. Robert., 2006. Perspective: from basic to creative, London : Thames & Hudson.



• Študentje so poučeni o osnovah risanja in slikanja.


• Razumevanje risbe kot osnovne raziskovalne dejavnosti, ki podpira druge aspekte vizualnega izražanja.

• Pridobiti samozupanje pri transpoziciji motivov skozi skozi temeljne raziskovalne aktivnosti, ki podpirajo vizualne prakse.

• Students are aknowledge with the basics of drawing and painting.


• Develop an understanding of drawing as a core research activity which underpins art and design practice.

• Gain a confidence in making visual observations through notation and the development of other practical methods.





• Razumevanje in poznavanje tehnik in konceptov v uporabi znotraj risbe.



• Understanding and knowledge of concepts and techniques in use in

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• Prikaza pridobljenega znanja. • Profesionalnega razumevanje praktične

in teoretične uporabe risbe in slike. • Uporabe konstruktivne kritike skozi

samoevalvacije. • Neodvisnega razvoja celovitih

obzervativnih, interpretativnih in tehničnih znanj in veščin v povezavi z risbo in sliko.

• Koherentne verbalne in vizualne prezentacije (verbalne, pisne, vizualne) del predavateljem/tutorjem in kolegom.

medium of drawing.


• Professional understanding of the practical and theoretical usage of drawing and painting.

• Make use of constructive criticism through self-evaluation.

• Independent development of comprehensive observational, interpretative and technical skills in relation with drawing and painting.

• Give a verbal and visual coherent presentation (verbal, written or visual) of your work to your tutors and peer group.



• Predstavitve • Individualne in skupinske vaje • Neodvisni ateljejska praksa in raziskave • Skupinska kritika • Samoevalvacija

• Demonstrations • Individual and group tutorials • Independent studio practice and

research • Group Critiques • Self evaluation



Assessment:







Reference nosilca / Lecturer's references: Andrej Savski rojen 1961 v Ljubljani. Član skupine Irwin.

* * * Andrej Savski was born 1961 in Ljubljana. Member of the IRWIN group. Razstave od leta 2015 dalje/Exhibition since 2015: Samostojne/Individual: • Osnabrück, IRWIN. WO DENKST DU HIN?! Kunsthalle Osnabrück, 26 September 2015 - 10 January 2016 • Ljubljana, NSK from Kapital to Capital (Neue Slowenische Kunst – an Event of the Final Decade of Yugoslavia), Museum of Modern Art, Ljubljana, 11 May 2015 — 16 August 2015

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Skupinske/Collective: • Ljubljana, Crises and New Beginnings – Art in Slovenia 2005 – 2015, Muzej sodobne umetnosti Metelkova, MSUM, 22.12.2015 – 3.4.2016 • Ljubljana, Equrna Pop, Equrna, 22.12.2015 – 12.2.2016 • Ljubljana, Bogoslav Kalaš, The Painting Machine, Moderna galerija, 17.12.2015 – 20.3.2016 • Nürnberg, Passion, Fan Behaviour and Art, Kunsthaus Nürnberg, 17.12. – 14.2.2016 • Istanbul, Ariel, White Screen Black Hole, 15.12.2015 – 23.1.2016 • Ljubljana, Black-White/Dark-Light, Visconti Fine Art, 12.12.2015 – 12.3.2016 • Ljubljana, Inside Out - Not so White Cube, Mestna galerija (City Art Gallery), September 24 – November 22 • Berlin, Passion - Fan Behavior and Art - Künstlerhaus Bethanien, 10.07. – 09.08. • Võru, Kilometre of Sculpture 2015 Võru - KoS, July 4 – 26 • Ljubljana, Hommage à Malevich - Black Square Continued, Mestna galerija (City Art Gallery), July 2 –September 6 • Ljubljana, Yu - Art, Galerija Visconti, 11.6. – 30.9. • Kiev, Some Say You Can Find Happiness There, Visual Culture Research Center (Kyiv, Ukraine), May 20 – June 15 • Rijeka, Signals Above The City, Museum of Modern and Contemporary Art Rijeka, May 5 – Jun 5 • Zagreb, The magic of art, protagonists of Slovenian contemporary art 1968-2013, Gliptoteka, April 9 – May 3 • Portorož, Istria Contemporanea, Monfort, 2.4. – 27.5. • Tirana, Workers leaving the studio, looking away from socialist realism, National Gallery of Arts, 27.2. – 5.4. • Moscow, Grammar Of Freedom / Five Lessons: Works From Arteast 2000+ Collection - Garage Museum of Contemporary Art, Moscow, February 6 – April 19 • Vienna, The Magic of Art / The protagonists of contemporary Slovenian art 1968–2013, Künstlerhaus Vienna, 6 February –29 March 2015 • Bratislava, Art Has No Alternative, tranzit.sk, January 9 – February 1 leto 2016 samostojne: • Berlin, Paintings 1984 - 2016, Galerija Gregor Podnar, 11.11.2016 – 14.1.2017 • Moscow, NSK: From Kapital to Capital, Garage Museum of Contemporary Art, 30.9. – 9.12.2016 • Eindhoven, NSK: From Kapital to Capital. An Event in the Final Decade of Yugoslavia, Van Abbemuseum, April 16 - June 26, 2016 • Gdańsk, IRWIN. Planting Seeds, Łaźnia Centre For Contemporary Art, May 13th – July 17th, 2016 skupinske: • Venice, Palazzo Mora, FRAGILE BODY – MATERIAL BODY, III Venice International Performance Week, 10.12. – 17.12. • Venice, A plus A Gallery, The Material Body of Art, 13.12 – 28.2 17 • Istanbul, Pera Museum, Cold Winds from the Balkans, 8.11. – 7.5.2017 • Tirana, A Retrospective of Art about Public Space in Tirana 1996 – 2016, FAB Gallery, 22.10. – 1.11. • Ljubljana, Working Drawings and Other Visible Things on Paper Not Necessarily Meant To Be Viewed as Art (After Mel Bochner), Galerija SKUC, 21.10. – 20.11. • Ljubljana, Novi prostori, nove podobe, Moderna galerija,14.10. – 1.1.2017

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• Nowy Sacz, Intermarium, BWA SOKÓŁ Gallery of Contemporary Art, 30.9. – 4.12. • Graz, 100 Years of World Transition, Chaumbad, 9.9. – 9.10. • Bad Munstereifel, Aus 45. Jahren, Galerie Inge Baecker, 4.9. – 6.10. • Kiel, Passion. Fan-Verhalten und Kunst - Stadtgalerie Kiel, 17.8 – 16.10. • Sarajevo, Creators, Galerija suvremene umjetnosti Charlama, 11.8. – 11.9. • Beograd, Upside Down: Hosting the Critique, Belgrade City Museum, 24.6. – 25.6. • Ballyvaughan,The 2nd NSK State Folk Art Biennale: Folk Art Rising 1916-2016, County Clare, Burren College of Art, 30.6. – 5.8. • Ljubljana, Decentralisation of Contemporary Arts, Art Center Rog, 9.6. – 25.7. • Ljubljana, Beyond the Globe, 8. Trienial of Contemporary Art, Moderna galerija, 2. 6. • Ljubljana, Low-Budget Utopias, Museum of Contemporary Art Metelkova, +MSUM, 26 April — 11 September • Budapest, Passion. Fan Behaviour and Art, Ludwig Museum - Museum of Contemporary Art, 15.3. – 26.6 • Maribor, The Hunting One!, UGM, Umetnostna galerija Maribor, 11.3. – 16.4. • Ljubljana, Apprentice/Master: In Dialogue with Conceptual Art, Galerija Vžigalica, 4.2. – 6.3. • Prague, Intermarium, FUTURA Gallery, 26.1. – 27.3. leto 2017 samostojne oz. projekti: • Venice, NSK State Pavilion - 57th Venice Biennial, Palazzo Ca’ Tron, 11 May – 15 July 2017 • Madrid, NSK: From Kapital to Capital, Neue Slowenische Kunst. An Event of the Final Decade of Yugoslavia, Museo Nacional Centro de Arte Reina Sofía, June 28, 2017 - January 8, 2018 • New York, James Gallery, Centre for the Humanities, NSK State Art: New York - The Impossible Return, 7.2. - 25.3.2017 • Vienna, NSK State Venice Pavilion in Vienna – Thinking Europe, ARCC.art Space, 17. 5. - 11. 6. 2017 • Labin, Lamparna, A Documentary of the First NSK Citizen’ Congres in Berlin, 20. 5. - 20. 6. 2017 • Biel, Art Center Pasquart, Dreams and Conflicts, 22.9. - 19.11. 2017 skupinske: - Landskrona, Working Drawings and Other Visible Things on Paper Not Necessarily Meant to Be Viewed as Art (after Bochner), CAC Landskrona, 21.1. - 5.2.1917 - Beirut, Contemporary Artistic “Revolutions”: An Institutional Perspective, AUB Art Galleries Beirut Lebanon, 28.2. - 28.6.2017 - Ljubljana, Osemdeseta - Večmediske prekse in produkciska prizorišča, Muzej sodobne umetnosti Metelkova, 22.3. - 11.6. 2017 - New York, Cabinet de regard: Twenty Names Circled in Red or Green, ArtHelix Gallery (Brooklyn), 1. - 16.4.2017 - Modena, 10 years old - Fondazione Fotografia Modena, 2.2. - 30.4.2017 - Ljubljana, Dediščina leta 1989. Študijski primer: druga razstava Jugoslovanski dokumenti Osemdeseta skozi prizmo dogodkov, razstav in diskurzov, 3.del, Moderna Galerija, 26.4. - 17.9.2017 - Dresden, Ostrale 17 - Internationale Ausstellung zeitgenössischer Künste, 28.7. – 1.10.2017 - Guangdong, Symptoms of Society, Museum of Art, 30.5. – - Ptuj, Art Stays - Velika krajina, Dominikanski samostan, 7. - 5.9.2017

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UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Prenos zgodbe v vizualni medij Course title: Transposing a Story into Visual Media




Letnik Academic

year

Semester Semester



2 3

Visual arts level 1 ( L5) FA/ CS 2 3 Vrsta predmeta / Course type Izbirni/Elective Univerzitetna koda predmeta / University course code:

P21/CS

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


Doc. Pepi Sekulich



Slo


Prerequisits:

107





Vsebina:


Učna enota je sestavljena iz dveh komponent enotnega projekta od katerih ena komponenta temelji na ateljejskem delu in raziskavah, druga pa na praktični realizaciji ki je tesno povezana z dano temo/zgodbo. Delo omogoča eksperimentiranje znotraj individualnih kreativnih praks v ateljeju z ambicijo realizacije idej v kontekstu resničnega dogodka oz. produkcije. Naloga je analiziranje in preoblikovanje zgodovinskih in sodobnih idej in jezika v dejanski vizualni medij (Gledališče, Performans, Film/Video ipd.) v skladu s profesionalnimi standardi. V procesu razvoja in izvedbe študentje spoznavajo kompleksnost mreže za podporo lastnih idej pri prenosu zgodbe v vizualni medij.

This unit gives you a single project with two components, one studio-based and one involving practical realised production closely linked by a common subject. The work therefore gives you the opportunity to both experiment with your on-going practice in the studio with increased ambition and relate that work to ideas in the context of a real event/production. You will analyse and transform historical and contemporary ideas and language into a realised and sustainable visual media (Theatre, Performance, Film/Video, or other apprpriate media) to a standard commensurate with professional practice. In the process of making the work students become aware of the complex network of support needed to transform the story into visuals.

Temeljni literatura in viri / Readings: Temeljna literatura:

• Kratka zgodba • Delovna besedila primerna za izvedbo projekta – referenčna zgodbi (scenarij, tekst,

libretto) • Dodatno : priporočena literatura projeknih mentorjev, ki se nanaša na izbran medij in polje

potrebnih raziskav

Required Readings:

• Short story • Working texts appropriate to the subject matter of the project (e.g. play text/libretto) and

contextual reference. • In Addition: As appropriate to the field of exploration/established with the help of project

Tutor.

108

Cilji in kompetence: Objectives and competences: • Zmožnost eksperimentiranja in invencij

pri realizaciji dane nalog. • Zavedanje pomembnosti sodelovanja in

tehnične kompleksnosti produkcijskih procesov vključno z finančnim planom in efektivno uporabo časa.

• Zmožnost vodenja projekta v vlogi režiserja.

• Zmožnost samostojnega delovanja in sodelovanja z drugimi.

• Spoštovanje rokov in razumevanje strokovnih praks in pristopov.

• Use experimentation and invention to realise a given task.

• Appreciate both the collaborative and technical complexities of the production process including managing a budget and time effectively.

• Examine the work process as the director.

• Work and learn both as an independent visual artist and a company member.

• Respect deadlines and understand professional practices and approaches.






• Prikaza pridobljenega znanja. • Poznavanja in kritičnega razumevanja

spreminjanja kulture gledališkega, filmskega/video, televizijskega in podobnih medijev, ter sposobnost za ocenjevanje in interpretacije teh znanj v izbrane kreativne prakse.

• Razvoja raziskovalnih metodologij in uporabe le teh na ustrezni strokovni ravni.

• Sprejemanje odločitev in prevzemanja odgovornosti za lastno učenje s pomočjo refleksije in samoevalvacije.

• Uporabe procesov in znanj za realizacijo, selekcioniranje in ptezentacijo lastnih kreativnih namenov

• Uporabe različnih prenosljivih znanj in veščin pri komunikaciji, pobudah in reševanju problemov na strokovnem področju.

• Izkazati zavedanje v formalnem strukturiranju osebnih idej in uporabi ustreznih materialov in tehnik.





• Knowledge and critical understanding of the changing culture of theatre, film and television and an ability to evaluate and interpret these within the practice of your chosen pathway.





• Demonstrate an awareness in the formal structuring of personal ideas and the use of appropriate materials and technologies.

109



• Predavanja • Seminar • Predstavitvene vaje • Individualne in skupinske vaje • Samostojno ateljejsko delo in raziskave • Predstavitve • Samoevalvacija

• Lectures • Seminars • Demonstrations • Individual and group tutorials • Independent studio practice and research • Presentation • Self evaluation



Assessment:


• Predstavitev maketnega modela v merilu in delovnih risb 30%

• Predstavitev izvedljivega dogodka / produkcije 50%

• Dnevnik / skicirka z zabeleženimi delovnimi in produkcijskimi procesi 20%


• Presentation of scale model and working drawings 30%

• Staging of a real event/production 50%

• Log/sketch book with recording both personal and production processes 20%


* * * Pepi Sekulich is a founder and the initiator of the Institute A.V.A. – Academy for Visual Arts and it’s programme. He graduated in London / 1992 / – Wimbledon College of Art (University of the Arts London) As a Theatre designer- scenographer participated in more than 30 theatre and dance performances in several theaters and companies such as: SNG Drama Ljubljana, Theatre Mladinsko, PDG, Nova Gorica, Ljubljana City Theatre, Theatre Ptuj, Koper Theatre, Fundacao Serralves Porto, Le ballet Gent, En Knap …Production designer of 12 feature length films and numerous mid metrage and short films as: Outsider 1995, Stereotype 1996, Ita Rina, 1997, Web 1998, Ljubljana 1999, Head noise 2000, Guardian of the Frontier 2000, Desperado Tonic 2001,

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New World 2002, The Clairvoyant 2003, Reality 2006, State of Shock 2010 …He recieved Three Awards for best Production design. Directed the feature length documentary-drama: A Rehearsal for Death 2007 (National TV) Author of numerous Exhibitions and Artistic Actions. Tought Fine Art and Design for stage and screen at several HE and Art Institutions.

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Individualni (prosti) projekt Course title: Individual Project




Letnik Academic

year

Semester Semester



2 3

Visual arts level 1 ( L5) FA/ CS 2 3 Vrsta predmeta / Course type Izbirni/Elective Univerzitetna koda predmeta / University course code:

P21/FA

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


Doc. Miran Mohar

Jeziki / Languages:


Slo


Prerequisits:





Vsebina:


111

Učna enota se nanaša na ideje in raziskave kreativnih praks likovne umetnosti prvega letnika ter uvaja njihovo poglobljeno nadgradnjo in integracijo. Obenem omogoča temelje za vzpostavitev območja individualnega kreativnega delovanja/profila v nadaljevanju študija. Študentom so predstavljeni parametri delovanja v 2D in 3D v korelaciji s sodobnimi umetniškimi praksami. Namen učne enote je priprava študentov za lociranje lastnih kreativnih praks v izbrani obliki, ki so kritično podprta z osebnim načrtovanjem in raziskavo.

This unit makes reference to the ideas and practical work explored in the Introduction to Studio Practices in Fine Art and extends them. The unit provides the framework in which students establish the area of studio practice they wish to focus on over the continuation of the study. Students are introduced to the parameters of both 2D and 3D practice in relation to contemporary Art. The module prepares students to locate their own creative practice within a particular form, which are critically underpinned by a personal agenda and research.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura:

• Priporočena literatura projeknih mentorjev, ki se nanaša na izbran medij in polje potrebnih raziskav,

Required Readings:

• As appropriate to the field of exploration/established with the help of project Tutor.



• Zmožnost opredelitve lastnega področja kreativnega delovanja skozi refleksijo in samoevalvacijo.

• Zmožnost opredelitve lastnih raziskovalnih interesov in razvoja projekta v dogovoru z tutorji,

• Zmožnost prezentacije lastnega razvojnega programa za projekt, ki je podprt z evidencami raziskav in razvoja ideje.

• Through reflection and self-evaluation you will define an area of study that reflects your interests and ambition.

• Define your personal and research interests and develop a project, agreed with your tutors,

• Develop a presentation for a programme of study for a project that is supported by research and idea development.





• Poznavanja in kritično razumevanje narave 2D ali 3D vizualnih praks skozi procese stalnih kritičnih raziskovanj.

• Razvoja raziskovalnih metodologij in


• On successful completion of this unit, students will be able to: (demonstrate)

• Knowledge and critical understanding of the nature of either 2D or 3D practice through a process of sustained practical

112

uporabe le teh na ustrezni strokovni ravni.


• Uporabe procesov in znanj za realizacijo, selekcioniranje in prezentacijo lastnih kreativnih namenov


• Izkazati zavedanje v formalnem strukturiranju osebnih idej in uporabi ustreznih materialov in tehnik.

and critical enquiry.

• Developing research methodology, and application of this methodology in a relevant professional context.




• Demonstrate an awareness in the formal structuring of personal ideas and the use of appropriate materials.




• Lectures

• Demonstrations



• Presentation

• Self-evaluation



Assessment:



raziskave 20% Samoevalvacija 20%




Reference nosilca / Lecturer's references: Miran Mohar, Likovni umetnik, grafični oblikovalec, scenograf. Je član skupine Irwin (1983) ter soustanovitelj Neue Slowenische Kunst (1984), soustanovitelj Gledališča sester Scipinon Nasice (1983–86 ), soavtor in scenograf predstave Krst pod Triglavom (1986) in soustanovitelj oblikovalske skupine Novi kolektvizem (1984). Kot član skupine Irwin, katere osnovni načeli sta kolektivno delo in retroavantgarda, je soavtor serije slik ‘Was ist Kunst’ (1985–2007), ‘Retroavantgarda’ (1994), ‘Ikone’ (1995–2006), ‘Retroprincip’(2003). Že v 80. letih je bila za

113

projekte Irwin značilna obravnava razmerja med umetnostjo, politiko in ideologijo; od začetka 90. let so razvili vrsto projektov, ki se osredotočajo na dialog med Vzhodom in Zahodom ter na vprašanje vzhodnoevropske identitete in zgodovine umetnosti (Kapital, 1990; NSK ambasada Moskva, 1992; Transnacionala, 1996; East Art Map, 2000–06). Nagrajenec Prešernovega sklada 1992, Jakopičeva nagrada 2004. Kot predstavnik skupine Irwin je član nevladnega Evropskega kulturnega parlamenta (ECP). Izbrane razstave: Former West, HKW, Berlin, Art Turning Left, Tate Liverpool, Liverpool, 2013; A Bigger Splash, Tate Modern, London; NSK Passport Office, Museum of Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Center for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold War, 2009 / Krems, Kunsthalle Krems, State in Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003 / Berlin, Kunstlerhaus Bethanien, Retroprincip, 2003 / Berlin, Gropius Bau, Berlin-Moscow /Moscow-Berlin, 2003 / Hagen, Karl Ernst Osthaus Museum, Museotopia, 2002 / Rome, Galeria Moderna e Contemporanea, Le Tribu' del'arte, 2002 / Vienna, Museum of 20th Century, Aspects and positions, 1999 / Istanbul, Istanbul Biennial, 1997 / Rotterdam, Boyman Museum, Manifesta, 1996 / Ljubljana, Moscow, Apt Art and Ridzina Gallery, NSK Embassy – Moscow, 1992, Moderna galerija, Slovenske Atene, 1991 / Düsseldorf, Städtische Kunsthalle Düsseldorf, 1988, London, Riverside Gallery, 1987


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UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Koncipiranje prostora po scenariju / Filmska scenografija Course title: Film Production Design




Letnik Academic

year

Semester Semester


Konceptualizacija prostora 2 3,4;

Visual arts level 1 ( L5) Conceptualisation of Space 2 3,4; Vrsta predmeta / Course type Obvezni/Mandatory Univerzitetna koda predmeta / University course code:

P22/CS

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS





Slo


Prerequisits:





Vsebina:


Učna enota se osredotoča na oblikovanje, načrtovanje in postavitev narativnega besedila, ki bo posneta na film ali video. Projekt temelji na obstoječem scenariju in obravnava osrednjo vlogo ki jih v tem mediju zasedajo postavitve, karakter in premikajoče vizure. Študentje so stimulirani k razvoju kreativnih veščin in osebnega vizualnega jezika. Seminarji, vaje, konzultacije in predavanja usmerjajo študente k integriranju dela na praktičnem in kontekstualnem nivoju.

The unit focuses on designing, planning and setting of a narrative story that will be recorded on either film or video. This is a speculative project based on an existing screenplay that aims to explore the central role that settings, character and movable viewpoints occupy in this media. Studetns are stimulated to develop their design skills and personal visual language. Seminars, tutorials and lectures guides students toward an integration of practical and contextual work. The aim is to develop a thorough research

115

Cilj je razviti poglobljeno raziskovalno metodologijo, ki temelji na informirani in premišljeni kritični obravnavi.

methodology based upon informed and reflective critical judgments.


• Katz, Steven D., 1991. Film Directing Shot by Shot. Butterworth-Heinemann.

• Ettedgui, Peter., 1999. Production Design and Art Direction, RotoVision.

• Alley, Tony., 2005. Exploring 3D Modeling with Cinema 4D V9. Thompson Learning. Priporočena literatura / Recommended Readings:

• Zell, Mo., 2008. The Architectural Drawing Course: Understand the Principles and Master the Practices., Thames & Hudson.

• Page, Neville., 2006. Concept Design 2., Titan Books Ltd.

• Mitchell, Mitch., 2004. Visual Effects for Film and Television. Focal Press.

• Rickett, Richard., 2006. Special Effects: The History and Technique, Aurum Press Ltd.

• Tarkovsky, Andrei., 1989. Sculpting in Time, Faber & Faber.



• Zmožnost participacije pri produkcijskih procesih, strokovnega načrtovanja, oblikovanja in realizacije ter izkazati tehnična znanja stroke.

• Zmožnost samo-motivacije, odgovornosti znotraj strokovnih kontekstov in upoštevanje rokov.

• Zmožnost učinkovitega raziskovanja.

• Participate in the process of professional design and realisation demonstrating technical knowledge related to current professional practice in the relevant field.

• Demonstrate self-motivation, innovation and responsibility in professional contexts and in respecting deadlines.

• Developing ability to research effectively.






• Prikaza pridobljenega znanja. • Poznavanja in razumevanja

spreminjanja kulture časovnih medijev, vrednotenja in interpretacije le-teh v praksi izbrane smeri.

• Razvoja raziskovalnih metodologij in





• Knowledge and critical understanding of the changing culture of time-based media and an ability to interpret them within the chosen

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uporabe le teh na ustrezni strokovni ravni izbrane smeri.




practice.








• Lectures

• Demonstrations



• Presentation

• Self-evaluation



Assessment:







Reference nosilca / Lecturer's references: Pepi Sekulich je ustanovitelj in iniciator AVA- Akademije za vizualne umetnosti in njenih programov. Diplomiral v Londonu /1992/ – Wimbledon Colege of Art (University of the arts London). Kot gledališki scenograf je sodeloval pri več kot 30-tih gledaliških in plesnih predstavah s številnimi gledališči in skupinami: SNG Drama Ljubljana, Slovensko Mladinsko gledališče, PDG

117

Nova Gorica, Mestno gledališče Ljubljana, Gledališče Ptuj, Koprsko gledališče, Fundacao Serralves Porto, Le Ballet Gent, En Knap… Sekulich je avtor filmskih scenografij za 13 celovečernih filmov in številnih srednje in kratkometražnih filmov kot so : Outsider 1995, Stereotip 1996, Ita Rina 1997, Spleti 1998, Ljubljana 1999, Zvenenje v glavi 2000, Varuh meje 2000, Desperado tonic 2001, Novi svet 2002, Jasnovidka 2003, Reality 2006, Stanje šoka 2011…Je dobitnik številnih nagrad za filmsko scenografijo (2x ‘Vesna’ za najboljšo scenografijo). Režija celovečernega dokumentarno-igranega filma: Vaja za smrt 2007 in številnih video spotov. Je avtor številnih razstav in umetniških akcij. Poučeval je likovno umetnost in konceptualizacijo prostora na različnih Visokošolskih in umetniških inštitucijah.


UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Instalacija Course title: Installation




Letnik Academic

year

Semester Semester


Likovna umetnost 2 3,4;

Visual arts level 1 ( L5) Fine Art 2 3,4; Vrsta predmeta / Course type Obvezni/Mandatory Univerzitetna koda predmeta / University course code:

P22FA

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Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


Doc. Miran Mohar



Slo/Ang


Prerequisits:





Vsebina:


Učna enota Instalacija nadgrajuje unčno enoto Mešani Mediji 1 in z njo pridobljeno znanje. Študentom omogoča uporabo sodobnih kreativnih procesov, ki vključujejo uporabo več kot enega medija, kot so; fotografija, instalacija, zvok, film /video, novi mediji, in kombiniranje 2D in 3D medijev pri koncipiranju in izvedbi umetniškega dela. S tem vzpodbuja študente k preučevanju možnosti izvedbe umetniškega dela v širokem spektru načinov in medijskih oblik. Učna enota temelji na razvoju individualnih smeri kreativnih praks in samokritičnosti.

The unit Installation upgrades the unit Mixed Medai along with the acquired knowledge. Students are able to utilise contemporary creative processes that involves the use of more than one media such as: photography, installation, sound, film, video, new media and combinations of 2D and 3D media in the conceptualisation and production of a new work. In this way it stimulates the students to consider the possibility of a production of an artwork in relation to a broad spectrum of methods and media. The unit is based on the development of an individual self-critical direction for your practical work.


• Bishop, C., 2005. Installation Art: a Critical History. London, Tate Publishing. • Doherty, C., 2004. Contemporary Art: from Studio to Situation. London, Black Dog

Publishing. • Lippard, L., 1997 The Lure of the Local: Senses of Place in a Multicentered Society. New

York, The New Press.

119


• Matzner, F., 2004. Public Art: a Reader. Ostfildern, Germany. • Putnam, J., 2001. Art and Artifact: the Museum as Medium. London, Thames and Hudson. • Staniszewski, M. A., 2001. The Power of Display, A History of Exhibition Installations at the

Museum of Modern Art, MIT Press. • Kastner,J., 1998 Land and Environmental Art, Phaidon Press. •



• Razumevanje osnovnih konceptov instalacije.

• Sposobnost realizacije instalacije. • Zmožnost participacije pri produkcijskih

procesih, strokovnega načrtovanja, oblikovanja in realizacije ter izkazati tehnična znanja stroke.

• Zmožnost samo-motivacije, odgovornosti znotraj strokovnih kontekstov in upoštevanje rokov.

• Zmožnost učinkovitega raziskovanja

• Understanding of the basic concepts of the installation.

• The capability to realize the installation.

• Participate in the process of, professional design or realisation demonstrating technical knowledge related to current professional practice in the relevant field.

• Demonstrate self-motivation, innovation and responsibility in professional contexts, respecting deadlines.

• Developing ability to research effectively.





• Razumevanje in poznavanje tehnik in

konceptov. • Prikaza pridobljenega znanja. • Izkazati premišljeno in selektivno

zavedanje o ustvarjalnih možnosti dela z različnimi mediji skozi raziskave.

• Razvoja raziskovalnih metodologij in uporabe le teh v na ustrezni strokovni ravni izbrane smeri.

• Izvedbe kreativnega dela ki uteleša prefinjenost, kritično zavedanje in poznavanje primernih tehnik in pristopov pri realizaciji.



• Uporabe različnih prenosljivih znanj in



• Understanding and knowledge of concepts.


• Demonstrate an informed and selective awareness of the creative possibilities of working with a variety of media via a body of research.

• A developing research methodology and the application of this methodology in a relevant professional context of chosen path.

• Present practical work that creatively embodies a sophisticated and critically aware knowledge of relevant techniques and approaches in this area.

• An ability to make decisions and take responsibility for your own learning through the use of reflection and self-

120

veščin pri komunikaciji, pobudah in reševanju problemov na strokovnem področju.

evaluation. • The application of processes and

skills in order to realise, select and present your intentions as a body of work.





• Lectures • Demonstrations • Individual and group tutorials • Independent studio practice and research • Presentation • Self-evaluation



Assessment:







Reference nosilca / Lecturer's references: Miran Mohar, Likovni umetnik, grafični oblikovalec, scenograf. Je član skupine Irwin (1983) ter soustanovitelj Neue Slowenische Kunst (1984), soustanovitelj Gledališča sester Scipinon Nasice (1983–86 ), soavtor in scenograf predstave Krst pod Triglavom (1986) in soustanovitelj oblikovalske skupine Novi kolektvizem (1984). Kot član skupine Irwin, katere osnovni načeli sta kolektivno delo in retroavantgarda, je soavtor serije slik ‘Was ist Kunst’ (1985–2007), ‘Retroavantgarda’ (1994), ‘Ikone’ (1995–2006), ‘Retroprincip’(2003). Že v 80. letih je bila za projekte Irwin značilna obravnava razmerja med umetnostjo, politiko in ideologijo; od začetka 90. let so razvili vrsto projektov, ki se osredotočajo na dialog med Vzhodom in Zahodom ter na vprašanje vzhodnoevropske identitete in zgodovine umetnosti (Kapital, 1990; NSK ambasada Moskva, 1992; Transnacionala, 1996; East Art Map, 2000–06). Nagrajenec Prešernovega sklada 1992, Jakopičeva nagrada 2004. Kot predstavnik skupine Irwin je član nevladnega Evropskega kulturnega parlamenta (ECP). Izbrane razstave: Former West, HKW, Berlin, Art Turning Left, Tate Liverpool, Liverpool, 2013; A Bigger Splash, Tate Modern, London; NSK Passport Office, Museum of Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Center for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The

121

International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold War, 2009 / Krems, Kunsthalle Krems, State in Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003 / Berlin, Kunstlerhaus Bethanien, Retroprincip, 2003 / Berlin, Gropius Bau, Berlin-Moscow /Moscow-Berlin, 2003 / Hagen, Karl Ernst Osthaus Museum, Museotopia, 2002 / Rome, Galeria Moderna e Contemporanea, Le Tribu' del'arte, 2002 / Vienna, Museum of 20th Century, Aspects and positions, 1999 / Istanbul, Istanbul Biennial, 1997 / Rotterdam, Boyman Museum, Manifesta, 1996 / Ljubljana, Moscow, Apt Art and Ridzina Gallery, NSK Embassy – Moscow, 1992, Moderna galerija, Slovenske Atene, 1991 / Düsseldorf, Städtische Kunsthalle Düsseldorf, 1988, London, Riverside Gallery, 1987


122


Predmet: Individualni (prosti) projekt Course title: Individual project




Letnik Academic

year

Semester Semester



2 4

Visual arts level 1 ( L5) FA/ CS 2 4 Vrsta predmeta / Course type Obvezni/Mandatory Univerzitetna koda predmeta / University course code:

P23

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS





Slo


Prerequisits:





Vsebina:


123

Učna enota spodbuja študente k definiranju in razvoju individualnega programa kreativnih praks, ki odraža njihove interese in sposobnosti ter jih pripravlja na izive zadnjega letnika. Namen je razvoj dejanskega ali idejnega projekta v izbrani smeri/mediju. Definicija 'vizualnih umetnosti' in 'medija' je znotraj programa odprta za interpretacijo v najširšem pomenu. Zahteve učne enote so upravljanje in usmerjanje, praktičnih, strokovnih in kritičnih raziskav, v skladu z razvojem študentovih strokovnih in kreativnih praks. Cilj je izkaz trajnostnih metodologij pri podpori individualne strokovne, ustvarjalne prakse in uporaba vrste prenosljivih veščin in znanj; ter priprava in predstavitev predloga lastnega učnega načrta za diplomsko leto.

The purpose of this unit is for you to start defining and developing an individual programme of study that reflects your interests and abilities and prepares you for the challenges of the final year. You will develop an actual or speculative project according to your chosen media. The definitions of ‘Visual Arts’ and 'Media' are left open to interpretation in the broadest sense within the context of the programme. This unit requires you to manage and direct your practical, professional and critical enquiry according to your developing professional and creative practice. Showing a sustained research methodology in support of your professional and creative practice, and employing a range of transferable skills, you are asked to prepare and present a programme of study for the final year.


• Priporočena literatura projeknih mentorjev, ki se nanaša na izbran medij in polje potrebnih

raziskav.




• Zmožnost opredelitve študija ki odraža študentove interese in ambicije s poglobljenim razmislekom in samoevalvacijo

• Zmožnost opredelitve lastnih raziskovalnih interesov, razvoja in izvedbe dogovorjenega projekta, ki odraža potencialno smer delovanja v diplomskem letu .

• Zmožnost razvoja prezentacije samostojnega projekta, podprtega z raziskavami in razvojem idej.

• Through reflection and self-evaluation you will define an area of study that reflects you interests and ambition.

• Define your personal and research interests and develop a project, agreed with your tutors, which will lead to a portfolio of work that reflects the potential direction of your final year’s work.




124



• Koherentnega kritičnega stališča ter

detaljnjega zavedanja in razumevanja ključnih zgodovinskih in sodobnih kontekstov izbrane smeri.

• Uporabe trajnostnih raziskovalnih metodologij, ki je kritično povezana z izbrano strokovno smerjo študija.


• Integracije konceptov, procesov in znanj za realizacijo, selekcioniranje in ptezentacijo lastnih kreativnih namenov, ki se manifestira skozi umetniško delo.



• On successful completion of this unit, students will be able to: (Demonstrate)


• A sustained research methodology, which critically engages with your specialist field of study.



• The deployment of a range of transferable skills in communication, initiative and problem solving.







Assessment:







125



UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Strokovna praksa : Razstava/Produkcija Course title: Professional Practice : Exhibition/Production




Letnik Academic

year

Semester Semester



2 4


P26

Predavanja

Lectures Seminar Seminar

Vaje Tutorial

Klinične vaje

Druge oblike

Samost. delo

ECTS

126

work študija Individ. work


Doc. Miran Mohar

Jeziki / Languages:


Slo


Prerequisits:

• Uspešno opravljen Individualni projekt P23

• Successfull completion of Individual Project P23

Vsebina:


Namen učne enote je razširitev razvoja kreativnih praks v 2. letniku in je povezana z Individualnim projektom (P23). Študentje bodo morali svoja dela postaviti zunaj studia, ter se s tem izpostaviti kritiki širšega občinstva. To je skozi razstavo, performans, ali katero koli drugo priznano obliko predstavitve umetniškega dela. Učna enota je namenjena povezovanju projektov kreativnih praks v prezentabilno celoto, kar lahko vključuje nacionalne ali internacionalne razpise, razstave, produkcije, žive nastope ali projekcije del. *akademija vsako leto organizira pregledno razstavo del študentov pri kateri študentje aktivno sodelujejo pri postavljanju svojih del in del kolegov, pri vzdrževanju razstave in kot vodiči po razstavi.

The aim of this unit is to extend the developments made in year 2, it is the extention of the Individual project (P23). Students will be required to set up their work outside of the studio, exposing their work to wider audience and thus criticism. This is through exhibition, performance, or any other recognised method of artist presentation. The unit is designed to bring together creative practice developments through practical (studio) engagement developed from a personally developed project(s). It could include national and international competitions, exhibitions, productions, live performances or screenings.

• The Academy each year organizes the exhibition of students work in which students actively participate in setting their works and works of peers in the maintenance of the exhibition and as gallery guides.



raziskav


127

Cilji in kompetence: Objectives and competences: • Zmožnost opredelitve študija/lastnega

dela ki odraža študentove interese in ambicije s poglobljenim razmislekom in samoevalvacijo.

• Zmožnost opredelitve lastnih raziskovalnih interesov, razvoja in izvedbe dogovorjenega projekta, ki odraža potencialno smer delovanja v diplomskem letu .

• Zmožnost razvoja prezentacije samostojnega projekta, podprtega z raziskavami in razvojem idej.

• Through reflection and self-evaluation you will define an area of study/field of work that reflects you interests and ambition.

• Define your personal and research interests and develop a project, agreed with your tutors, which will lead to a portfolio of work that reflects the potential direction of your final year’s work.






• Prikaza pridobljenega znanja. • Koherentnega kritičnega stališča ter

detaljnjega zavedanja in razumevanja ključnih zgodovinskih in sodobnih kontekstov izbrane smeri


• Integracije konceptov, procesov in znanj za realizacijo, selekcioniranje in prezentacijo lastnih kreativnih namenov, ki se manifestira skozi umetniško delo.

• Uporabe različnih prenosljivih znanj in veščin pri komunikaciji, pobudah in reševanju problemov pri postavitivi razstave ali izvedbi projekta.







• The deployment of a range of transferable skills in communication, initiative and problem solving in the exhibition setting or in the production of a project.



128

• Lectures

• Predstavitvene vaje • Individualne in skupinske vaje • Samostojno ateljejsko delo in raziskave • Predstavitve • Samoevalvacija




Assessment:








* * *

129

Miran Mohar, Artist, graphic designer, scene-painter. He is a member of the Group Irwin (1983) and co-founder of the Neue Slowenische Kunst (1984), co-founder of the theater Gledališče sester Scipinon Nasice (1983–86 ), co-author and scene-painter of Krst pod Triglavom (1986) and co-founder of the design group Novi kolektivizem (1984). As member of Irwin, who bases on the principle collective work and retro avant-garde he is co-author of a series of paintings (installations) ‘Was ist Kunst’, ‘Retroavantgarda’ …– He was awarded with the national awards of ‘Prešernov sklad’ 1992 and the ‘Jakopičeva nagrada’ 2004. As representative of the Group Irwin he is a member of the non-governmental European Cultural Parliament (ECP). Selected shows: Former West, HKW, Berlin, Art Turning Left, Tate Liverpool, Liverpool, 2013; A Bigger Splash, Tate Modern, London; NSK Passport Office, Museum of Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Center for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold War, 2009 / Krems, Kunsthalle Krems, State in Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003 / Berlin, Kunstlerhaus Bethanien, Retroprincip, 2003 / Berlin, Gropius Bau, Berlin-Moscow /Moscow-Berlin, 2003 / Hagen, Karl Ernst Osthaus Museum, Museotopia, 2002 / Rome, Galeria Moderna e Contemporanea, Le Tribu' del'arte, 2002 / Vienna, Museum of 20th Century, Aspects and positions, 1999 / Istanbul, Istanbul Biennial, 1997 / Rotterdam, Boyman Museum, Manifesta, 1996 / Ljubljana, Moscow, Apt Art and Ridzina Gallery, NSK Embassy – Moscow, 1992, Moderna galerija, Slovenske Atene, 1991 / Düsseldorf, Städtische Kunsthalle Düsseldorf, 1988, London, Riverside Gallery, 1987

130

UČNI NAČRT : VIZUALNE UMETNOSTI 1. Stopnja/ 3. LETNIK

UNIT DESCRIPTORS : VISUAL ARTS L6 /Yr 3.

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Zgodovina in teorija sodobne umetnosti Course title: Contemporary Art History and Theory




Letnik Academic

year

Semester Semester



3 5,6;

Visual arts level 1 ( L6) FA/ CS 3 5,6; Vrsta predmeta / Course type Obvezni/Mandatory Univerzitetna koda predmeta / University course code:

T31

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


Viš. pred. dr. Jovita Pristovšek

Jeziki / Languages:


Slo


Prerequisits:





Vsebina:


131

Učna enota uvaja študente v razumevanje zgodovine umetnosti, kot temeljnega elementa v formaciji umetniškega mišljenja. Ključno je namreč poznavanje zgodovine umetnosti in posameznih slogov, ki so se v njej odvijali, da lahko študent razume genealogijo zgodovine umetnosti v vsej njeni celovitiosti. Analiza učne enote Zgodovina in analiza sodobne umetnosti je osredotočena na temeljito obravnavo vzpostavitve, delovanja in razumevanja sodobne uemtnosti. Namen učne enote je zgraditi trden temelj znanja zgodovine umetnosti, na podlagi katerega lahko študentje nadgradijo svoje znanje in razumevanje umetnosti. Poseben povdarek v učni enoti je posvečen na razvoju raziskovalnih spretnosti in znanja zgodovine umetnosti, ter nadgradnja snovi obravnavane v Zgodovini umetnosti 1 in 2, z predstavitvijo konceptov in praks zgodovine in teorije umetnosti skupaj z osrednjimi tezami, razpravami in teorijami, ki jo konstituirajo.

This unit introduces the students to an understanding of history of art as a constitutive element in the formation of the artistic thought. Of key importance is the knowing of the history of art in its different periods for the student to understand the genealogy of the history of art in its totality. The analysis of unit Contemporary Art History and Theory is focused on the thorougly analysis of the establishment, working and understanding of contemporary art. The purpose of the unit is to provide a solid base of knowledge of the history of art on which students can upgrade their knowing and understanding of art. The aims of this module are to develop and upgrade the research skills and subject knowledge discussed in the History of Art 1 and 2. It will do this by introducing the concepts and practices of the histories and theories of art along with the central and principal debates that constitute those histories and theories.

Temeljni literatura in viri / Readings: Temeljna literatura / Required Readings:

• Barnet, S., 2005. A Short Guide to Writing about Art. Harlow, Longman. • Bronwen, M., Ringham, F., 2006. Key Terms in Semiotics. London, Continuum. • De Landa, M., 1998. A Thousand Years of Non-Linear History. New York, Zone Books. • Foster, H., 1996. The Return of the Real: the Avant-Garde at the End of the Century.

Cambridge, Mass., The MIT Press. • Silverman, K., 1985. The Subject of Semiotics. Oxford, Oxford University Press. •


• Baudrillard, J., 2005. The Conspiracy of Art: Manifestos, Texts, Interviews. New York, Semiotexte.

• Deacon, D., Pickering, M., Golding, P., 1999. Researching Communications a Practical Guide to the Methods on Media and Cultural Analysis. London, Arnold.



• Študentje so poučeni o osnovnih konceptih in razumevanju zgodovine in

• Students are aknowledge with the basic concepts and understanding of the

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teorije sodobne umetnosti. • Opremiti študente z potrebnim znanjem

za raziskovanja in analizo obranavanih tematik.

• Opremiti študente z trdno osnovo znanja zgodovine in teorije sodobne umetnosti.

• Analiza vpliva sodobne umetnosti v umetniški produkciji.

• Spodbuditi študenta v izgradnjo razvoja instrumentarija za branje in razumevanje zgodovine in teorije sodobne umetnosti.

• Zmožnost kritičnega mišljenja in pisanja.

• Zagotavljanje platforme iz katere je možna nadaljnja poglobljena raziskava obravnavanih tem.

history and theory of contemporary art. • Equip students with the research and

study skills of the analysed topics. • Equip students with a solid base of

knowledge of the history and theory of contemporary art.

• Analysis of the influence of the contemporary art in the artistic production.

• Encourage students in the development of the instrumentation for reading and understanding the history and theory of the contemporary art.

• Engage you in critical thinking and writing.






• Poznavanja in razumevanja sodobne umetnosti.

• Obrazložiti funkcijo sodobne umetnosti. • Identificirati in uporabiti zgodovino in

teorijo sodobne umetnosti pri analizi vizualnih umetnosti.

• Individualno razumevanje zgodovine in teorije sodobne umetnosti.

• Kritično pojasniti obravnavane umetniške prakse.



• Knowing and understanding of contemporary art.

• Explain the functions of contemporary art.

• Identify and use the history and theory of contemporary art in the analysis of visual arts.

• An individual understanding of the history and theory of contemporary art.

• Critically analyse the researched artistic practices.



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• Lectures • Seminar • Written and oral exam • Presentation



Assessment:




• Seminar 20%


• Oral exam 60%

Reference nosilca / Lecturer's references: ČLANKI IN DRUGI SESTAVNI DELI Izvirni znanstveni članek PRISTOVŠEK, Jovita. Sublime, race, racialization: formalization, necessity, contingency. AM : art + media, ISSN 2217-9666. [Print ed.], 2017, no. 14, str. 45-56. https://fmkjournals.fmk.edu.rs/index.php/AM/rt/printerFriendly/202/0, doi: 10.25038/am.v0i14.202. [COBISS.SI-ID 43240493] PRISTOVŠEK, Jovita. Rasa, družbeni spol, postpolitično. Dialogi, ISSN 0012-2068, 2017, letn. 53, št. 11/12, str. 178-193. [COBISS.SI-ID 43232301] PRISTOVŠEK, Jovita. Re/-production : identity, queer, and labour in the work of Angela Mitropoulos. Identities : journal for politics, gender and culture, ISSN 1857-8616, 2013, vol. 10, no. 1/2, str. 20-28. http://www.identitiesjournal.edu.mk/documents/IDENTITETI-VOL10-NO.-1---2.pdf. [COBISS.SI-ID 36457261] 1.02 Pregledni znanstveni članek PRISTOVŠEK, Jovita. Urbani likovni projekti skozi teoretično optiko sprememb prostora. Praznine : glasilo za arhitekturo, umetnost in bivanjsko kulturo, ISSN 2232-4216, 2015, [Št.] 9, str. 22-27. [COBISS.SI-ID 293284608] 1.12 Objavljeni povzetek znanstvenega prispevka na konferenci PRISTOVŠEK, Jovita. Sublimno, rasa, rasializacija : formalizacija, nujnost, kontingenca = Sublime, race, racialization : formalisation, necessity, contingency. V: Drugi mednarodni kolokvij Suverenost, migranti in kultura = 2nd International colloquium Sovereignty, migrants and culture. Ljubljana: [Znanstvenoraziskovalni center Slovenske akademije znanosti in umetnosti]. 2016, str. [12-13], [36]. [COBISS.SI-ID 41017645] PRISTOVŠEK, Jovita. O obratu od politike reprezentacije k režimu estetskega = On the shift from politics of representation to the regime of aesthetic. V: GRŽINIĆ, Marina (ur.). Mednarodni kolokvij Politika, estetika in demokracija = International colloquium Politics, Aesthetics and Democracy. [Ljubljana: Znanstvenoraziskovalni center Slovenske akademije znanosti in umetnosti: Akademija za vizualne umetnosti. 2015], str. [9]. [COBISS.SI-ID 39208749] 1.16 Samostojni znanstveni sestavek ali poglavje v monografski publikaciji PRISTOVŠEK, Jovita. O obratu od politike reprezentacije k režimu estetskega. V: GRŽINIĆ,

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Marina (ur.), et al. Politika, estetika in demokracija. 1. natis. Ljubljana: Založba ZRC, ZRC SAZU. 2015, str. 57-71. [COBISS.SI-ID 39218989] PRISTOVŠEK, Jovita. Commodity racism. V: AGREDO, Carolina (ur.), et al. Utopia of alliances, conditions of impossibilities and the vocabulary of decoloniality : conflictual histories in hegemonic spaces. Wien: Löcker. cop. 2013, str. 121-127. [COBISS.SI-ID 36420653] IZVEDENA DELA (DOGODKI) 3.15 Prispevek na konferenci brez natisa PRISTOVŠEK, Jovita. Globalna mreža teles : predavanje 45. kolokviju Slovenskega društva za estetiko z nasl. "Družbena koreografija", Moderna galerija, Ljubljana 10. nov. 2017. [COBISS.SI-ID 43262253] PRISTOVŠEK, Jovita. On the limits of artistic expression : predavanje na mednarodnem simpoziju "Blindfold: censorship, art and voluntary blindness", Mala dvorana ZRC SAZU, Ljubljana, 28. nov. 2011. [COBISS.SI-ID 43262509] 3.25 Druga izvedena dela PRISTOVŠEK, Jovita. Biopolitika, nekropolitika : sublimno, rasizem, podoba in nove digitalne tehnologije : soizvedba sklopa predavanj na Podiplomski šoli ZRC SAZU v Ljubljani v okviru modula Transformacija moderne misli - filozofija, psihoanaliza, kultura pri predmetu Sodobne teorije umetnosti in kulture ter estetika novih tehnologij (nosilka red. prof. dr. Marina Gržinić), ZRC SAZU, Ljubljana, 16. feb. 2018, 23. feb. 2018, 2. mar. 2018, 9. mar. 2018, 16. mar. 2018, 23. mar. 2018. [COBISS.SI-ID 43322157] PRISTOVŠEK, Jovita. Estetski režim : sublimno : I. del : gostujoče predavanje za študente na Akademiji za likovno umetnost Univerze v Ljubljani v okviru predmeta Oblikovne zasnove II (nosilec izr. prof. Sergej Kapus), Aluo Ljubljana, 29. mar. 2018. [COBISS.SI-ID 43321645] PRISTOVŠEK, Jovita. Estetski režim : sublimno : II. del : gostujoče predavanje za študente na Akademiji za likovno umetnost Univerze v Ljubljani, v okviru predmeta Oblikovne zasnove II (nosilec izr. prof. Sergej Kapus), Aluo Ljubljana, 5. apr. 2018. [COBISS.SI-ID 43321901] AMBROŽIČ, Mara (diskutant), BAHOVEC, Eva D. (diskutant), BARŠI, Jože (diskutant), GRŽINIĆ, Marina (diskutant), POGAČAR PODGORNIK, Tjaša (diskutant), RAJGELJ, Barbara (diskutant), PRISTOVŠEK, Jovita (diskutant). O pedagoškem obratu : okrogla miza, Muzej sodobne umetnosti Metelkova, Ljubljana, 29. mar. 2016. [COBISS.SI-ID 40106029] PRISTOVŠEK, Jovita. Teoretična konceptualizacija javnega prostora : gostujoče predavanje na Akademiji za likovno umetnost in oblikovanje Univerze v Ljubljani v okviru predmeta Oblikovne zasnove (nosilec izr. prof. Sergej Kapus), 11. dec. 2015. [COBISS.SI-ID 43322413] PRISTOVŠEK, Jovita. Praznina, ki ustvarja diskurz, in diskurz, ki ustvarja praznino : gostujoče predavanje na Akademiji za likovno umetnost in oblikovanje Univerze v Ljubljani v okviru predmeta Oblikovne zasnove (nosilec izr. prof. Sergej Kapus), 28. nov. 2014. [COBISS.SI-ID 43322669] SEKUNDARNO AVTORSTVO Urednik Drugi mednarodni kolokvij Suverenost, migranti in kultura = 2nd International colloquium Sovereignty, migrants and culture. Ljubljana: [Znanstvenoraziskovalni center Slovenske akademije znanosti in umetnosti], 2016. [44] str. [COBISS.SI-ID 40619565] Šum : revija za kritiko sodobne umetnosti. Pristovšek, Jovita (član uredniškega odbora 2015).

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[Tiskana izd.]. Ljubljana: Galerija Boks, društvo študentov za kulturno umetniško dejavnost, 2013-. ISSN 2335-4232. http://sumrevija.si/issues/. [COBISS.SI-ID 268984064] Mentor pri diplomskih delih (bolonjski študij 1. stopnje) HÄGGLUND, Evelina. Exposing overexposure : degree dissertation = diplomsko delo. Ljubljana: [E. Hägglund], 2018. [28] f. [COBISS.SI-ID 43346477] OBLAK, Nina. Memorial to erasure and forgetting : degree dissertation = Obeležitev brisanja in pozabljanja : diplomsko delo. Ljubljana: [N. Oblak], 2018. [33] f, ilustr. [COBISS.SI-ID 43346221]

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Kritična analiza 2 Course title: Critical Analysis 2




Letnik Academic

year

Semester Semester



3 5,6;


T37

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS



Jeziki / Languages:


Slo


Prerequisits:

136





Vsebina:


Učna enota Kritična analiza 2 nadgrajuje obravnavane teme in diskurze v učni enoti Kritična analiza 1. Program je formiran na presečišču različnih družbenih praks, začenši s teorijo, umetnostjo in filozofijo, ter na političnem aktivizmu. Na podlagi tega učna enota poskuša organizirati novo področje raziskave. Učna enota Kritična analiza 2 postavlja v ospredje razumevanje delovanja kapitala v odnosu do umetniške produkcije in družbe. Skozi predavanja so študentje seznanjeni z načinom delovanja in vzpostavitve kapitala kot ultimativnega elementa družbene dominacije, ki ga definiramo skozi tri ključna obodbja: mehanični način produkcije, kinematični način produkcije in digitalni način produkcije. V odnosu do specifičnega načina produkcije so študentje soočni s transformacijo umetnosti vse od pojava avantgardnih praks pa do formacije radikalnih kritičnih praks. V relaciji do kritike kapital kot oblike načina produkcije se študentje seznanijo s kritiko biopolitike in sistemi regulacije in nadzora, kot načinom produkcije življenja. Na ta način se študentje soočijo s tezo o načinu produkcije kapital, ki ni naključno povezan z načinom produkcije življenja, ampak je prav kapital tisti, ki diktira transformacijo v načinu produkcije življenja.

The course Critical Analysis 2 upgrades the elaborated topics and discourses developed in the unit Critical Analysis 1. The course is formed at the intersection of different social practices, starting with theory, art and philosophy, and on to political activism. On this basis, the course tries to organize a new field of research. The unit Critical Analysis 2 places in the forefront the understanding of the functionig of capital in relation to the production of art and society. Through the lectures students get to know the mode of operation of capital as being the ultimative element of social domination that is manifested in three specific periods: the mechanical mode of production, the cinematic mode of production and the digital mode of production. In relation to the specific mode of production students are confronted with the transforamtion of art starting with the Avantgarde and up to the foramtion of radical critical practices as to the critic of biopolitics and the system of regualtion and control that marks the mode of production of life. In this way students are able to realize that the mode of production of capital is not accidentally linked with the mode of production of life, but that it is capital who by transforming its mode of production dictates the mode of production of life.

137

Temeljni literatura in viri / Readings: Temeljna literatura / Required Readings:

• Althusser, Louis and Balibar, Étienne 1970, Reading Capital, London: New Left Books.

• Agamben, Giorgio 1995, Homo Sacer: Sovereign Power and Bare Life, Stanford: Stanford University Press.

• Beller, Jonathan 2006/07, Paying Attention, Cabinet Magazine, accessible online: http://www.cabinetmagazine.org/issues/24/beller.php.

• Beller, Jonathan 2014, From The Cinematic Mode of Production to Computational Capital: An Interview with Jonathan Beller for Kulturpunkt, accessible online: http://socialtextjournal.org/from-the-cinematic-mode-of-production-to-computational-capital-an-interview-with-jonathan-beller-for-kulturpunkt/.

• Berardi, Franco 2009, The Soul at Work, Los Angeles: Semiotext(e).

• Debord, Guy 1994, Society of the Spectacle, New York: Zone Books.

• Foucault, Michel 1978, The History of Sexuality: Volume I, New York: Pantheon Books. • Gramsci, Antonio 1999, Selections from Prison Notebooks, London: The Electric Book

Company.

• Hardt, Michael and Negri, Antonio 2000, Empire, Harvard: Harvard University Press. • Lazzarato, Maurizio 1996, Immaterial Labour, in Radical Thought in Italy: A Potential

Politics, ed. Paolo Virno, Michael Hardt, Minneapolis: University of Minnesota Press, 1996.

• Leban, Sebastjan 2017, The Construction of the Other: (Re)producing Bare Life, AM Journal of Art and Media Studies 14 (2017): 69-79. doi: 10.25038/am.v0i14.200

• Leban, Sebastjan 2015, Paradigma svobode: reprodukcija kapitala in demokracije, v Politika, estetika in demokracija, Založba ZRC SAZU.

• Luxemburg, Rosa 1951, The Accumulation of Capital, London: Routledge and Kegan Paul LTD.

• Marazzi, Christian 2001, The Violence of Financial Capitalism, Los Angeles: Semiotext(e). • Marx, Karl1996, Primitive Accumulation, in Marx-Engels Collected Works, Vol. 35, New

York: International Publishers.

• Mbembe Achille 2003, Necropolitics, in Public Culture 15, Vol. 1, Durham: Duke University Press.

• Terranova, Tiziana 2003, Free Labour: Producing Culture for the Digital Economy, in Social Text, 63, Vol. 18, No. 2, Durham: Duke University Press.



• Omogoča nadgrajeno razvijanje osredotočenega študija kritične analize.

• Razvoj razumevanja konceptov, diskurzov in metodologij, ki temeljijo na obravnavanih in analiziranih temah.

• Zmožnost kritičnega mišljenja in pisanja.

• Razvoj ustreznih kontekstualnih okvirjev, vključno z zgodovinskimi in

• Enable you to the upgrade development a focused study of critical analysis.

• Develop an understanding of concepts, discourses and methodologies based on the analysed topics in the course.

• To be able to produce critical thinking and writing.

• Equip you to develop a relevant contextual framework including historical

138

sodobnimi referencami ki se prenašajo na individualne kreativne prakse.

• Zagotoviti izhodišče za nadaljne raziskave analizirane teme.

• Zagotoviti različna znanja, ki podpirajo samostojne ustvarjalne dejavnosti ter s tem dvigati kakovost kreativnega dela.

and contemporary references for your practice.


• Provide you with a various range of knowledge production with which to support the production of high quality independent and self-managed creative activity.





• Zavedanje o povezavah med različnimi področji raziskav, kot so umetnost, teorija in filozofija.

• Oblikovanja osnovnih radikalno-kritičnih diskurzov.

• Izvajanja interdisciplinarnih raziskav in primerjave rezultatov raziskave v širši družbeno-politični kontekst.

• Sposobnost nadgradnje pridobljenega znanja.



• Awareness of connections between different research fields; such as art, theory and philosophy.

• Formulate basic radical-critical discourses.

• Produce interdisciplinary investigations and correlate the outcomes of the research to the wider socio-political issue.

• Upgrading the knowledge acquired during the course.



• Predavanja • Seminar • Predstavitve • Individualne in skupinske vaje • Pisni in ustni izpit • Neodvisne raziskave • Predstavitve • Zahteva se sodelovanje študentov pri

branju in analizi tekstov

• Lectures • Seminar • Demonstrations • Individual and group tutorials • Written and oral exam • Independent research • Presentation • Collaboration of students in reading and

analysing of text is required



Assessment:


• Seminar in praktično delo 20% • Pisni izpit 20%



139

• Ustni izpit 60%

• Written Exam 20% • Oral Exam 60%











140










Urednik


43. Drugi mednarodni kolokvij Suverenost, migranti in kultura = 2nd International colloquium Sovereignty, migrants and culture. Ljubljana: [Znanstvenoraziskovalni center Slovenske akademije

141

znanosti in umetnosti], 2016. [44] str. [COBISS.SI-ID 40619565]














142

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Kreativno pisanje Course title: Creative writings




Letnik Academic

year

Semester Semester



3 5,6;


T38

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


Doc. Philip Burt

Jeziki / Languages:


Slo/Ang


Prerequisits:





Vsebina:


143

Učna enota omogoča raziskovanje različnih načinov kreativnega pisanja in izražanja ter izpopolnjevanje znanja in veščin za pisanje akademskih raziskovalnih nalog ki vključuje diplomskego delo. Še posebej se učna enota osredotoča na narativno; pripovedi, dialogi, poezija; delavnice pa obravnavajo bolj formalna besedila ki vključujejo različne oblike povzetkov, prevodov in slogovnih oblik akademskega pisanja. Poseben povdarek v učni enoti je priprava na pisnje diplomskega dela, pri katerem se študentje seznanijo s formalnimi izhodišči priprave diplomske naloge.

The course will provide students with opportunities to explore various modes of creative writing in English, and to practise skills required to write an academic research paper. In particular, students will write narratives, dialogue, and poetry, while the workshops on more formal texts will include various aspects of summary, translation, and the stylistic aspects of academic writing, such as paragraph construction. Special consideration in the unit is to set a prepearation for writing the diploma in which students get familliar with the formal basis on how to prepare the diploma.

Temeljna in priporočena literatura / Recommended and Required Readings: Temeljna literatura / Required Readings:

• Horace., On the Art of Poetry. http://www.ourcivilisation.com/smartboard/shop/horace/arspoet.htm

• Longinus., 1890. On the Sublime. Macmillian and Co., New York. • Johnstone, Keith., 1979. Impro: Improvisation and Theater. Methuen, London.

Priporočena literatura / Recommended Readings: Priporočena literatura projeknih tutorjev/mentorjev, ki se nanaša na izbrane in obravnavane teme in polje potrebnih raziskav.

In adition as appropriate to the field of exploration/established with the help of project Tutor.




• Razumevanje tehnik kreativnega pisanja.

• Zmožnost pisanja esejev in disertacije, ki izkazujejo poznavanje primernih formatov, konvencij načina navajanja bibliografskih referenc in razumevanje plagiatorstva.

• Razumevanje osnov priprave in pisanja diplomske naloge.

• Understand the techniques of creativ writting.

• Produce essays and dissertation to a good standard displaying knowledge of appropriate format, referencing and bibliographical conventions, and understanding criteria for plagiarism.

• Understand the basis for the preparation and writting of the diploma.



144



• Raziskovalnega pristopa v skladu s teorijami in koncepti predmeta.

• Analizirati lastno pisanje in ga umestiti v kontekst.

• Razumevanja vplivov družbenih, estetskih in socialnih kontekstov na procese njihovega pisanja.

• Poznavanja temeljnih konceptov in razprav, povezanih s spreminjajočo se naravo diskurza in vrednotenje in razlage le teh v praksi izbrane smeri.




• Analyse your own writing and situate it contextually.

• Understand the influence of social, cultural and aesthetic contexts on their writing process.

• Knowledge of underlying concepts and debates associated with the changing nature of discourse and an ability to evaluate and interpret these within the practice of your chosen pathway.



• Predavanja • Seminar • Predstavitvene vaje • Individualne in skupinske vaje • Predstavitve • Samoevalvacija

• Lectures • Seminar • Demonstrations • Individual and group tutorials • Independent studio practice and research • Presentation • Self-evaluation



Assessment:




• Seminar 20%


• Oral exam 60%

Reference nosilca / Lecturer's references: Philip Burt je študiral socialno antopologijo na Univerzi Sussex (VB), kjer je diplomiral leta 1980. Kot predavatelj je poučeval na različnih inštituciah, dodiplomskega in podiplomskega študija,med drugim tudi na Filozofski fakulteti v Ljubljani. Poleg pedagoške dejavnosti, ki zajema tudi kreativno pisanje, dramske tehnike improvizacije in govora, v veliki meri deluje kot urednik, scenarist za oglaševalske agencije in film, objavlja članke ter je tekstopisec in producent številnih dramskih in glasbenih del.

* * *

145

Philip Burt studied Social Anthropology at the University of Sussex, graduating in 1980. He was a lecturer at the Faculty of Philosophy, University of Ljubljana, specialising in academic writing at graduate and undergraduate level. In addition to his teaching activities, he has worked as an editor and co-translator, published articles, written advertising copy and film scripts, and has written and produced numerous plays and musical comedies for Slovene and British drama groups.

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Vizualne kulture - Teorija medijev Course title: Visual Cultures - Media Theory




Letnik Academic

year

Semester Semester



3 5,6;


T39

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


Viš. pred. dr. Jovita Pristovšek

Jeziki / Languages:


Slo


Prerequisits:

146





Vsebina:


Učna enota Teorija medijev (Transmedia) odpira prostor za razpravo o širokem izboru medijev, ki jim je človek izpostavljen, v katere je potopljen, do točke, kjer zaradi vseprisotnosti medija, medij postane neopazen. In vendar kakor mediji vplivajo na človeka, tako človek vpliva na medije. Glede na to, da je medsebojna odvisnost omogočena preko napredkov v tehnologiji je Poudarek seminarja na tem, kako so mediji, ki so bili ustvarjeni ali spremenjeni po človeku spremenili človekovo vedenje, zavedanje in pozornost. Poseben poudarek je na interakciji umetnika z medijem in njegove odzive na spremembe v medijih.

The Media Theory seminar (Transmedia) aims to open up the space for discussion on broad variety of media that a human being is exposed to, immersed into, to the point where the pervasiveness of a medium makes the medium imperceptible. And yet the human being is not only influenced by the medium but influencing it as well. Considering that mutual dependency enabled through advancement in technology the focus of the seminar will be on how the media that were created or modified by humans are modifying human behavior, awareness and attention. Special emphasis will be placed on how the artist interacts with the medium and reacts to the changes in media.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura / Required Readings

• Benjamin, W., 2008. The Work of Art in the Age of Mechanical Reproduction, Penguin. • McLuhan M., 1962. The Gutenberg galaxy: the making of typographic man. University of

Toronto Press. • McLuhan, M., 1994. Understanding media: the extensions of man. MIT Press. • McLuhan M., McLuhan E., 1992. Laws of media: the new science. University of Toronto

Press. • Nicolescu, B., 2002. Manifesto of transdisciplinarity. State University of New York Press.


• Duchamp, M., Sanouillet, M., Peterson, E., eds., 1989. The Writings of Marcel Duchamp. Da Capo Press.

• Bergson, H., 1992. The creative mind: an introduction to metaphysics. Cittadel press. • Bergson, H., 2012. Dreams. Create Space. Independent Publishing Platform • Bergson, H., 2007. Laughter: An Essay on the Meaning of the Comic, Lightning Source

Inc. • Molderings, H., 2010. Duchamp and the aesthetics of chance: art as experiment. Columbia

University Press.



147

• Zmožnost uporabe različnih znanj in veščin, ki podpirajo samostojne ustvarjalne dejavnosti ter s tem dvigati kakovost kreativnega dela.

• Razumevanje konceptov, diskurzov in metodologij, ki temeljijo na obravnavanih in analiziranih temah.

• Zmožnost kritičnega mišljenja in pisanja. Zmožnost uporabe kontekstualnih okvirjev, vključno z zgodovinskimi in sodobnimi referencami pri samostojnem delu.

• Ability to use various range of knowledge and skills with which to support the production of high quality independent and self-managed creative activity.

• Understanding of concepts, discourses and methodologies based on the analysed topics in the course.

• Ability for critical thinking and writing. • Ability to apply a relevant contextual

framework including historical and contemporary references for your practice.





• Raziskovalnega pristopa v skladu s teorijami in koncepti predmeta.

• Razumeti opredeliti ključna vprašanja in sodobne teoretične poglede na področju lastnih raziskav.

• Razumevanja vplivov družbenih, estetskih in socialnih kontekstov na kreativne procese.

• Poznavanja temeljnih konceptov in razprav, povezanih s spreminjajočo se naravo diskurza in vrednotenje in razlage le teh v praksi izbrane smeri.

• Interdisciplinarnih raziskav in povezave rezultatov raziskav na širša družbeno-politična vprašanja.




• Understand key contemporary issues and theoretical perspectives within your identified area of research.

• Understand the influence of social, cultural and aesthetic contexts on their working process;

• Knowledge of underlying concepts and debates associated with the changing nature of discourse and an ability to evaluate and interpret these within the practice of your chosen pathway

• Capacity to produce interdisciplinary investigations and correlate the outcomes of the research to wider socio-political issues.



148

• Predavanja • Seminar • Predstavitvene vaje • Individualne in skupinske vaje • Predstavitve • Samoevalvacija

• Lectures • Seminar • Demonstrations • Individual and group tutorials • Independent studio practice and research • Presentation • Self-evaluation



Assessment:




• Seminar 20%


• Oral exam 60%

Reference nosilca / Lecturer's references: ČLANKI IN DRUGI SESTAVNI DELI Izvirni znanstveni članek PRISTOVŠEK, Jovita. Sublime, race, racialization: formalization, necessity, contingency. AM : art + media, ISSN 2217-9666. [Print ed.], 2017, no. 14, str. 45-56. https://fmkjournals.fmk.edu.rs/index.php/AM/rt/printerFriendly/202/0, doi: 10.25038/am.v0i14.202. [COBISS.SI-ID 43240493] PRISTOVŠEK, Jovita. Rasa, družbeni spol, postpolitično. Dialogi, ISSN 0012-2068, 2017, letn. 53, št. 11/12, str. 178-193. [COBISS.SI-ID 43232301] PRISTOVŠEK, Jovita. Re/-production : identity, queer, and labour in the work of Angela Mitropoulos. Identities : journal for politics, gender and culture, ISSN 1857-8616, 2013, vol. 10, no. 1/2, str. 20-28. http://www.identitiesjournal.edu.mk/documents/IDENTITETI-VOL10-NO.-1---2.pdf. [COBISS.SI-ID 36457261] 1.02 Pregledni znanstveni članek PRISTOVŠEK, Jovita. Urbani likovni projekti skozi teoretično optiko sprememb prostora. Praznine : glasilo za arhitekturo, umetnost in bivanjsko kulturo, ISSN 2232-4216, 2015, [Št.] 9, str. 22-27. [COBISS.SI-ID 293284608] 1.12 Objavljeni povzetek znanstvenega prispevka na konferenci PRISTOVŠEK, Jovita. Sublimno, rasa, rasializacija : formalizacija, nujnost, kontingenca = Sublime, race, racialization : formalisation, necessity, contingency. V: Drugi mednarodni kolokvij Suverenost, migranti in kultura = 2nd International colloquium Sovereignty, migrants and culture. Ljubljana: [Znanstvenoraziskovalni center Slovenske akademije znanosti in umetnosti]. 2016, str. [12-13], [36]. [COBISS.SI-ID 41017645] PRISTOVŠEK, Jovita. O obratu od politike reprezentacije k režimu estetskega = On the shift from politics of representation to the regime of aesthetic. V: GRŽINIĆ, Marina (ur.). Mednarodni kolokvij Politika, estetika in demokracija = International colloquium Politics, Aesthetics and Democracy. [Ljubljana: Znanstvenoraziskovalni center Slovenske akademije znanosti in umetnosti: Akademija za vizualne umetnosti. 2015], str. [9]. [COBISS.SI-ID 39208749]

149

1.16 Samostojni znanstveni sestavek ali poglavje v monografski publikaciji PRISTOVŠEK, Jovita. O obratu od politike reprezentacije k režimu estetskega. V: GRŽINIĆ, Marina (ur.), et al. Politika, estetika in demokracija. 1. natis. Ljubljana: Založba ZRC, ZRC SAZU. 2015, str. 57-71. [COBISS.SI-ID 39218989] PRISTOVŠEK, Jovita. Commodity racism. V: AGREDO, Carolina (ur.), et al. Utopia of alliances, conditions of impossibilities and the vocabulary of decoloniality : conflictual histories in hegemonic spaces. Wien: Löcker. cop. 2013, str. 121-127. [COBISS.SI-ID 36420653] IZVEDENA DELA (DOGODKI) 3.15 Prispevek na konferenci brez natisa PRISTOVŠEK, Jovita. Globalna mreža teles : predavanje 45. kolokviju Slovenskega društva za estetiko z nasl. "Družbena koreografija", Moderna galerija, Ljubljana 10. nov. 2017. [COBISS.SI-ID 43262253] PRISTOVŠEK, Jovita. On the limits of artistic expression : predavanje na mednarodnem simpoziju "Blindfold: censorship, art and voluntary blindness", Mala dvorana ZRC SAZU, Ljubljana, 28. nov. 2011. [COBISS.SI-ID 43262509] 3.25 Druga izvedena dela PRISTOVŠEK, Jovita. Biopolitika, nekropolitika : sublimno, rasizem, podoba in nove digitalne tehnologije : soizvedba sklopa predavanj na Podiplomski šoli ZRC SAZU v Ljubljani v okviru modula Transformacija moderne misli - filozofija, psihoanaliza, kultura pri predmetu Sodobne teorije umetnosti in kulture ter estetika novih tehnologij (nosilka red. prof. dr. Marina Gržinić), ZRC SAZU, Ljubljana, 16. feb. 2018, 23. feb. 2018, 2. mar. 2018, 9. mar. 2018, 16. mar. 2018, 23. mar. 2018. [COBISS.SI-ID 43322157] PRISTOVŠEK, Jovita. Estetski režim : sublimno : I. del : gostujoče predavanje za študente na Akademiji za likovno umetnost Univerze v Ljubljani v okviru predmeta Oblikovne zasnove II (nosilec izr. prof. Sergej Kapus), Aluo Ljubljana, 29. mar. 2018. [COBISS.SI-ID 43321645] PRISTOVŠEK, Jovita. Estetski režim : sublimno : II. del : gostujoče predavanje za študente na Akademiji za likovno umetnost Univerze v Ljubljani, v okviru predmeta Oblikovne zasnove II (nosilec izr. prof. Sergej Kapus), Aluo Ljubljana, 5. apr. 2018. [COBISS.SI-ID 43321901] AMBROŽIČ, Mara (diskutant), BAHOVEC, Eva D. (diskutant), BARŠI, Jože (diskutant), GRŽINIĆ, Marina (diskutant), POGAČAR PODGORNIK, Tjaša (diskutant), RAJGELJ, Barbara (diskutant), PRISTOVŠEK, Jovita (diskutant). O pedagoškem obratu : okrogla miza, Muzej sodobne umetnosti Metelkova, Ljubljana, 29. mar. 2016. [COBISS.SI-ID 40106029] PRISTOVŠEK, Jovita. Teoretična konceptualizacija javnega prostora : gostujoče predavanje na Akademiji za likovno umetnost in oblikovanje Univerze v Ljubljani v okviru predmeta Oblikovne zasnove (nosilec izr. prof. Sergej Kapus), 11. dec. 2015. [COBISS.SI-ID 43322413] PRISTOVŠEK, Jovita. Praznina, ki ustvarja diskurz, in diskurz, ki ustvarja praznino : gostujoče predavanje na Akademiji za likovno umetnost in oblikovanje Univerze v Ljubljani v okviru predmeta Oblikovne zasnove (nosilec izr. prof. Sergej Kapus), 28. nov. 2014. [COBISS.SI-ID 43322669] SEKUNDARNO AVTORSTVO Urednik Drugi mednarodni kolokvij Suverenost, migranti in kultura = 2nd International colloquium Sovereignty, migrants and culture. Ljubljana: [Znanstvenoraziskovalni center Slovenske akademije

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znanosti in umetnosti], 2016. [44] str. [COBISS.SI-ID 40619565] Šum : revija za kritiko sodobne umetnosti. Pristovšek, Jovita (član uredniškega odbora 2015). [Tiskana izd.]. Ljubljana: Galerija Boks, društvo študentov za kulturno umetniško dejavnost, 2013-. ISSN 2335-4232. http://sumrevija.si/issues/. [COBISS.SI-ID 268984064] Mentor pri diplomskih delih (bolonjski študij 1. stopnje) HÄGGLUND, Evelina. Exposing overexposure : degree dissertation = diplomsko delo. Ljubljana: [E. Hägglund], 2018. [28] f. [COBISS.SI-ID 43346477] OBLAK, Nina. Memorial to erasure and forgetting : degree dissertation = Obeležitev brisanja in pozabljanja : diplomsko delo. Ljubljana: [N. Oblak], 2018. [33] f, ilustr. [COBISS.SI-ID 43346221]

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Kreativne prakse – Raziskava in diplomsko delo Course title: Creative Practice - Research




Letnik Academic

year

Semester Semester



3 5,6;


P31

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


Doc. Miran Mohar / doc. Peter Pepi Sekulich / izbrani tutor



Eng/Slo

Vaje / Tutorial: Slo/Eng

151

Pogoji za vključitev v delo oz. za opravljanje študijskih obveznosti:

Prerequisits:





Vsebina:


Učna enota je zasnovana kot vodilo, ki bo razširilo in poglobilo izkušnje, spretnosti in znanja posameznega študenta. Z upoštevanjem razmerja med produkcijo umetnosti in teoretskih razprav bo študent oblikovati kritično stališče, analiziral in raziskal svojo umetniško pozicijo; S projektnim tutorji/mentorji bo na podlagi pisnega predloga dogovoril program primernih raziskav in razvoja svojega diplomskega dela ter pripravil in napisal diplomsko nalogo.

The Unit is designed to give guidance which will extend and further the experience, skills and knowledge of the student. Through the consideration of the relation between the production of art and theoretical debates the student will establish a critical position, analyse and research their own artistic position, negotiate with tutors a programme of relevant research and practice in relation to this position and develop their work as a preparatory exploration for the preparation and writing of the diploma thesis.



raziskav • As appropriate to the field of exploration/established with the help of project Tutor.




152

• Izkazati znanje komunikacijskih spretnosti skozi predstavitve.

• Razumevanje strokovnih delovnih praks in postopkov kot vizualni umetnik.

• Ovrednotiti svoje dosežke skozi proces samorefleksije.

• Projektno načrtovanje. • Uporabe samoevalvacijo pri refleksijah,

biti proaktiven v odnodsu do svojih kreativnih praks in do možnosti nadaljevanja kariere po diplomi.

• Samo promocije in povezovanja. • Razvoja portfolia.

• Demonstrate competence in communication / presentation skills.

• Evidence understanding of professional working practices as a visual artist.

• Evaluate your own achievement through a process of self-reflection.

• Project Planning

• Use self-evaluation to reflect upon, and be proactive about, the character of your forthcoming practice or possible niche following graduation.

• Self-presentation and networking.

• Portfolio development.





• Prikaza pridobljenega znanja Razumevanje odnosov med koncepti, postopki, izvedbo in prezentacijo v svoji kreativni praksi.

• Prikazati strategije raziskav tehnik, procesov, materialov in medijev, ki podpira kreativno prakso.

• Artikulirati konceptualni odnos med teorijo in prakso študijskega programa.

• Učinkovito komuniciranje lastnih idej širši javnosti.

• Evidentiranja, načrtovanja in raziskovanja tehnik, procesov, materijalov in medijev v podporo uspešni realizaciji diplomskega projekta.




• Understand relationships between concept, process, realisation and presentation within their creative practice.

• Demonstrate a strategic enquiry into techniques, processes, materials and media that supports studio practice.

• Articulate the conceptual interrelationship between theory and practice across the course.

• Communicate their ideas effectively to an audience.

• Record, plan and explore techniques, processes, materials and media that will inform successful production for final project.

153

Metode poučevanja in učenja: Learning and teaching methods:

• Diplomska naloga • Predstavitve • Neodvisne raziskave • Samoevalvacija

• Diploma thesis

• Presentations

• Independent research

• Self evaluation



Assessment:

Pisni izpit, ustno izpraševanje, naloge, projekt.

• Izvedba raziskave projekta 60% • Evidenca razvoja 20% • Predstavitev diplome (pisno in

ustno) 20%

Written exam, oral examination, coursework, project.

• Practical output from unit (research) 60%

• Evidence of the research 20%

• Diploma presentation (written and oral) 20%

Reference nosilca / Lecturer's references: Glej reference nosilcev: doc. Pepi Peter Sekulich, doc. Miran Mohar in tutorji iz teoretičnega dela.

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Kreativne prakse – Resolucija (Končni projekt) Course title: Creative Practice – Resolution (Final project)




Letnik Academic

year

Semester Semester



3 5,6;


P32

Predavanja Seminar Vaje Klinične Druge Samost. ECTS

154

Lectures Seminar Tutorial vaje work

oblike študija

delo Individ.

work 10 40 50 350 16

Nosilec predmeta / Lecturer:


Jeziki / Languages:


Slo


Prerequisits:

• Pogoj za vključitev v delo je uspešno zaključena učna enota P31 / Raziskava.

• Pogoj za pristop k izpitu/kritiki je minimalno 80 % prisotnost.

• Successfully completed unit P31 /Research.

• A prerequisite for the exam/crit is minimum 80% attendance.

Vsebina:


Učna enota kreativne prakse / Resolucija, temelji na individualnem razvoju projekta v enoti P31. Kot finalna učna enota Kreativnih praks predpisuje združitev praktičnih, strokovnih in kritičnih stališč v končno izvedbo opusa del ali projekta kot realizacije razvijajočih se individualnih kreativnih, strokovnih praks. Naloga študentov je integracija konceptualnih in praktičnih raziskav skozi trajnostne raziskovalne metodologije in uporabo primernih procesov, znanj in veščin pri realizaciji idej. Cilj učne enote je koncipiranje, načrtovanje, izvedba in javna predstavitev končnega projekta v obliki diplomske razstave, produkcije (ali v drug primerni obliki umetniške prezentacije).

This unit is a programme of studio practice study developed by you in Creative Practice /Research Module. This final unit requires you to synthesise your practical, professional and critical position into a resolved body of work/portfolio as a realisation of your developing Professional and Creative Practice. You should be integrating your conceptual and practical explorations and demonstrating a sustained research methodology that uses appropriate processes and skills to realise your ideas. Unit aims is to conceptualise, plan and execute your individual Final Project in the form of a publicly disseminated exhibition, production (or any other recognised method of artist presentation.)


155


raziskav






• Ovrednotiti svoej dosežke skozi proces samorefleksije.

• Projektno načrtovanje • Uporabe samoevalvacijo pri refleksijah,

biti iproaktiven v odnodsu do svojih kreativnih praks in do možnosti nadaljevanja kariere po diplomi.

• Samo promocije in povezovanja. • Razvoj celovitega delovnega gradiva, ki

izkazuje raziskave ter razvoj idej in rešitev nastalih problemov.

• Jasna in kvalitetna prezentacija dela ali projekta, ki verodostojno izraža študentove interese in zmožnosti v strokovnih, kreativih praksah.

• Demonstrate competence in communication / presentation skills

• Evidence understanding of professional working practices as a Visual artist.

• Evaluate your own achievement through a process of self-reflection.

• Project Planning.

• Use self-evaluation to reflect upon, and be proactive about, the character of your forthcoming practice or possible niche following graduation.


• Development of a comprehensive body of supporting work that details research, development of ideas and solutions to problems you have encountered.

• Developing a presentation of your portfolio of work that is clear, of high quality and accurately reflects your interests, abilities and thought processes in relation to your professional and creative practice.





• Razumevanje in poznavanja obravnavanih konceptov.

• Prikaza pridobljenega znanja. • Koherentnega kritičnega stališča, ki se

nanaša na podrobno poznavanje in razumevanje ključnih zgodovinskih in


• On successful completion of this unit, students will be able to:(Demonstrate)

• Understanding and knowledge of analysed concepts.


• A coherent critical position in relation to detailed awareness and understanding

156

sodobnih razprav / kontekstov znotraj izbrane strokovne smeri.

• Trajnostnih raziskovalnih metodologij, ki kritično obravnava strokovna področja izbrane smeri študija.


• Integracije konceptov, procesov in znanj za realizacijo, selekcioniranje in ptezentacijo lastnih kreativnih namenov, ki se manifestira skozi umetniško delo.

• Uporabe različnih prenosljivih znanj in veščin pri komunikaciji, pobudah in reševanju problemov na strokovnem področju, nadaljnjem študiju ali zaposlitvi.

• Uporabiti in razširiti svoje sposobnosti pri kreativnih praksah v določenem ali samoiniciativnem kontekstu.

• Lociranja lastne kreativne prakse v osebno definiranem kulturnem polju.

• Temeljito izkoristiti, (z razvitimi metodami dela): materiale, tehnologije, procese in koncepte za izvajanje svojih idej.

of key historical and contemporary debates/contexts within your specialist pathway.

• A sustained research methodology, which critically engages with your specialist field of study.



• The deployment of a range of transferable skills in communication, initiative and problem solving to equip you for professional practice, further study and employment.

• Have exploited and extended your capability for creative practice within a given or self-initiated context.

• Have located your practice within a personally defined cultural territory.

• Have thoroughly exploited, through a developed working method: materials, technologies, processes and concepts, in the forming of your ideas.



• Seminar • Predstavitve • Projekcije • Individualne in skupinske vaje • Pisne in ustne povratne informacije • Neodvisne raziskave • Samoevalvacija

• Seminar

• Presentations

• Screenings




• Self evaluation



Assessment:

157


• Izvedba raziskave projekta skozi portfolio del 60%

• Evidenca razvoja/ dnevnik 20% • Predstavitev projekta (pisno in

ustno) 20%

Oral exam and oral examination, coursework, project.

• Practical output from unit (research) 60%

• Log book/ project journal 20%

• Project proposal presentation

(written and oral) 20%




158

Predmet: Strokovna praksa: Diplomska razstava/produkcija Course title: Professional practice: Resolution-Degree Show/Production




Letnik Academic

year

Semester Semester



3 6


P36

Predavanja Lectures

Seminar Seminar

Vaje Tutorial

Klinične vaje work


Samost. delo

Individ. work

ECTS


Doc. Miran Mohar



Slo


Prerequisits:

• Pogoj za vključitev v delo je uspešno zaključen 3 letnik.

• Successfully completed year 3.

Vsebina:


Učna enota je zsnovana kot sklepni del dodiplomskega izobraževanja. Fokus učne enote je končna diplomska razstava ali produkcija organizirana ob koncu akademskega leta ter kot podaljšek učne enote P32 (Resolucija). Cilj učne enote je koncipiranje, načrtovanje, izvedba in javna predstavitev končnega projekta v obliki diplomske razstave, produkcije (ali v drug primerni obliki umetniške prezentacije); organizacija in postavitev razstave, ki ustreza vsem profesionalnim standardom v modificiranih ateljejskih prostorih ali v primernih prostorih zunaj akademije.

This unit is designed to bring the programme of study at undergraduate level to a conclusion. The focus of this unit is the Final Degree Show Exhibition or production held at the end of the unit P32 (Resolution) and to to conceptualise, plan and execute their individual Final Project in the form of a publicly disseminated exhibition. Students are expected to bring a final body of work to a professional standard and to organise and set up an exhibition either in the designated Studio space, or at a suitable, and previously agreed venue external to the Academy.

159



raziskav






• Zmožnost ovrednotenja svojih dosežkov skozi proces samorefleksije

• Zmožnost projektnega načrtovanja. • Samo promocije in povezovanja. • Razvoj celovitega delovnega gradiva, ki

izkazuje raziskave ter razvoj idej in rešitev nastalih problemov.

• Jasna in kvalitetna prezentacija dela ali projekta, ki verodostojno izraža študentove interese in zmožnosti v strokovnih, kreativih praksah.

• Demonstrate competence in communication / presentation skills

• Evidence understanding of professional working practices as a Visual artist.

• Evaluate your own achievement through a process of self-reflection

• Project Planning.


• Development of a comprehensive body of supporting work that details research, development of ideas and solutions to problems you have encountered.

• Developing a presentation of your portfolio of work that is clear, of high quality and accurately reflects your interests, abilities and thought processes in relation to your professional and creative practice.





• Izkazati celovito razumevanje strokovnih znanj in kritičnega razumevanja izbrane smeri skozi opus



• A comprehensive understanding of professional knowledge and critical understanding of the chosen discipline

160

del ali projekt s postavitvijo razstave ali produkcije, ki dosega vse strokovne/profesionalne standarde.

• Izkazati obsežno raziskovalno gradivo samostojnega razvoja od ideje do končnega izdelka/dela.

• Jasne kritične samoevalvacije in refleksije.

• Izkazati izvirnost raziskovalnih pristopov za dosego ustvarjalnih rezultatov

by producing a body of work to a professional exhibition/published standard.

• Provide substantial evidence in generating ideas independently, developing work in your chosen discipline.

• Clearly display critical evaluation and reflection.

• Demonstrate originality in the application of research to the final outcome(s).



• Predstavitve • Projekcije • Individualne in skupinske vaje • Pisne in ustne povratne informacije • Neodvisne raziskave • Samoevalvacija

• Presentations

• Screenings




• Self evaluation



Assessment:


• Izvedba raziskave projekta skozi portfolio del 60%

• Evidenca razvoja/ dnevnik 20% • Predstavitev projekta (pisno in

ustno) 20%

Oral exam and oral examination, coursework, project.

• Practical output from unit

(research) 60%

• Log book/ project journal 20%

• Project proposal presentation (written and oral) 20%

Reference nosilca / Lecturer's references: Miran Mohar, Likovni umetnik, grafični oblikovalec, scenograf. Je član skupine Irwin (1983) ter soustanovitelj Neue Slowenische Kunst (1984), soustanovitelj Gledališča sester Scipinon Nasice (1983–86 ), soavtor in scenograf predstave Krst pod Triglavom (1986) in soustanovitelj oblikovalske skupine Novi kolektvizem (1984). Kot član skupine Irwin, katere osnovni načeli sta kolektivno delo in retroavantgarda, je soavtor serije slik ‘Was ist Kunst’ (1985–2007), ‘Retroavantgarda’ (1994), ‘Ikone’ (1995–2006), ‘Retroprincip’(2003). Že v 80. letih je bila za

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projekte Irwin značilna obravnava razmerja med umetnostjo, politiko in ideologijo; od začetka 90. let so razvili vrsto projektov, ki se osredotočajo na dialog med Vzhodom in Zahodom ter na vprašanje vzhodnoevropske identitete in zgodovine umetnosti (Kapital, 1990; NSK ambasada Moskva, 1992; Transnacionala, 1996; East Art Map, 2000–06). Nagrajenec Prešernovega sklada 1992, Jakopičeva nagrada 2004. Kot predstavnik skupine Irwin je član nevladnega Evropskega kulturnega parlamenta (ECP). Izbrane razstave: Former West, HKW, Berlin, Art Turning Left, Tate Liverpool, Liverpool, 2013; A Bigger Splash, Tate Modern, London; NSK Passport Office, Museum of Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Center for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold War, 2009 / Krems, Kunsthalle Krems, State in Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003 / Berlin, Kunstlerhaus Bethanien, Retroprincip, 2003 / Berlin, Gropius Bau, Berlin-Moscow /Moscow-Berlin, 2003 / Hagen, Karl Ernst Osthaus Museum, Museotopia, 2002 / Rome, Galeria Moderna e Contemporanea, Le Tribu' del'arte, 2002 / Vienna, Museum of 20th Century, Aspects and positions, 1999 / Istanbul, Istanbul Biennial, 1997 / Rotterdam, Boyman Museum, Manifesta, 1996 / Ljubljana, Moscow, Apt Art and Ridzina Gallery, NSK Embassy – Moscow, 1992, Moderna galerija, Slovenske Atene, 1991 / Düsseldorf, Städtische Kunsthalle Düsseldorf, 1988, London, Riverside Gallery, 1987


Documents

2019/09/02 · 2 1. Letnik / Yr 1 Struktura programa Predmetnik / Programme structure Vizualne umetnosti / Visual arts /smer / path/ LIKOVNA UMETNOST / FINE ART Koda /Code Učna