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IPLUSO 27382

Installation and Performance Art

Multimedia Art
  • ApresentaçãoPresentation
    .
  • ProgramaProgramme
    1.Historical context and conceptual framework: the Dadaist and Surrealist experiments; environmental art; Happening and the Fluxus movement (1950s and 1960s); land art; the artist's body as a means of artistic expression; feminist and identity politics; the artist as performer and participant; interactivity and audience participation; Space-based and time-based media; space and expanded sculpture; site-specific vs gallery spaces; ritual, archive, activism.  2.Practical and experimental approaches and their articulation with different technologies: mixed media: poetic manifesto, happening, body art, photography, sculpture, architecture, found objects, drawing, etc.; expanded medium; artistic intervention and social engagement. 3.Development of working methods: preparation of a Project Brief: description, definition of the problem (concepts and references); research, studies, sketches and experiments; production strategies and tasks milestones; documentation and archiving.    
  • ObjectivosObjectives
    Trace the emergence of installation and performance from the avant-garde movements of the early 20th century Understand and identify notions of space and context,  time-based media, body and gesture, taking into account the particularities and specificities of place (site-specific), public or private space, exterior or interior, and the spectator's participation in the work; Examine the role of technological advances in shaping installation and performance techniques Explore and put into practice the influence of interdisciplinary approaches on contemporary artistic practices. Be able to conceive and produce performance and/or installation projects based on individual themes or concepts, materials and media, placing them in a contemporary perspective Document and produce their own research, developing working methodologies for the elaboration of artistic project dossiers.
  • BibliografiaBibliography
    BISHOP, C. Artificial Hells. Participatory Art and the Politics of Spectatorship.London: Verso, 2012. CONNOLLY, M. Place of Artist's Cinema: Space, Site and Screen. Chicago: Intellect Books,2009. ELWES, C. Installation and the Moving Image. London: Wallflowers Press,2015. Foá, M.;Grisewood, J.;Birgitta Hosea, B.;McCall,C. Performance Drawing. New Practices since 1945. London: Bloomsbury, 2020. GOLDBERG, R. A Arte da Performance, 2ª edição, Lisboa, Orfeu Negro,2012. KAYE, Nick. Site-Specific Art. Performance, Place and Documentation. London; New York: Routledge, 2000. KWON, M. One Place After Another: Site-Specific Art and Locational Identity. Cambridge/London: The MIT Press, 2002 MONDLOCH, K. Screens: Viewing Media Installation Art. Minneapolis: University of Minnesota Press, 2010. REISS, J. H. From Margin to Center: The Spaces of Installation Art. London: The MIT Press,1999. SUDERBURG, E.(ed). Space, Site, Intervention: Situating Installation Art.Minneapolis: University of Minnesota Press,2000
  • MetodologiaMethodology
    A methodology based on the active participation of students is adopted, with oral and visual classes that promote debate, critical reflection, and communication skills focused on the origins, influences, theories, and practices of performative or installation art. Readings and video screenings allow contact with perspectives from artists, curators, and critics, fostering analytical and argumentative thinking. Practical exercises in creating installations or performances are proposed, using problem¿based learning and collective brainstorming, followed by work plans, notes, drawings, photographs, and material collection. Students experiment with spatial, material, and conceptual solutions, applying acquired knowledge and responding to contemporary challenges.
  • LínguaLanguage
    Português
  • TipoType
    Semestral
  • ECTS
    4
  • NaturezaNature
    Mandatory
  • EstágioInternship
    Não