Contemporary Photography and Arts 2
| Code | Completion | Credits | Range | Language Instruction | Semester |
|---|---|---|---|---|---|
| 307EFU2 | ZK | 4 | 2T | English | summer |
Subject guarantor
Name of lecturer(s)
Josef LEDVINA, Tereza STEJSKALOVÁ
Learning outcomes of the course unit
Introduction to contemporary tendencies in photography. Analysis of those tendencies.
Mode of study
A lecture series with screenings. At lectures there will usually be one to two student presentations - see Grading Methods and Criteria
Prerequisites and co-requisites
None
Course contents
Reading materials: https://drive.google.com/drive/folders/1PlqgB-2KaMxBKws781hcviRAJx7K8EaY
1.
11.2.
Political Economy of Contemporary Art. The value of contemporary art. The flows of financial and cultural capital. The age of mass art production.
Hito Steyerl, “Duty Free Art,” Duty Free Art. Art in the Age of Planetary Civil War. New York: Verso, 2017, pp. 134-159.
Hito Steyerl, I Dreamed a Dream: Politics in the Age of Mass Art Production, Former West, 13.3.2013, http://opentranscripts.org/transcript/dreamed-dream-politics-age-mass-art-production/.
W.A.G.E., Democracy in America, Creative Time, https://www.youtube.com/watch?v=UO99rEVPstM.
Isabell Lorey, “Governmentality and Self-Precarization. On the normalization of cultural producers,” http://eipcp.net/transversal/1106/lorey/en.
Chris Mansour, “The occupation of art’s labor: An interview with Julia Bryan-Wilson”, http://platypus1917.org/2012/04/01/occupation-of-arts-labor-julia-bryan-wilson/.
Gregory Sholette, Dark Matter, Activist Art and the Counter-Public Sphere, http://www.gregorysholette.com/wp-content/uploads/2011/04/05_darkmattertwo1.pdf
Anetta Mona Chişa & Lucia Tkáčová, Jana Kapelová, Krisdy Shindler, Jiří Skála, Anton Vidokle, Mierle Ukeles, W.A.G.E.
2.
18.2.
Commitment and Participation. Socially engaged art. Aestheticization of politics or politicization of art?
Claire Bishop, “The Social Turn. Collaboration and Its Discontents,” Artforum, 2006.
Maria Lind, “The Collaborative Turn.” In Maria Lind: Selected Writing. Berlin: Sternberg Press, 2011, pp. 177-204.
Thomas Hirschorn, Tania Brugera, Pawel Althamer, Chto Delat, Gita Blak, Jonas Staal, Phil Collins, Artur Zmijewski, Oscar Bony, Santiago Sierra, Renzo Martens
3.
25.2.
Politics of Biennials. History of biennialization. Biennales of resistance. The relationship between global and local.
Julia Bethwaite, Anni Kangas, “The Scales, Politics, and Political Economies of Contemporary Art Biennials,” The Arts Journal, https://theartsjournal.net/2018/02/07/the-scales-politics/.
Oliver Marchart . “The Globalization of Art and the ‘Biennials of Resistance’: A History of Biennials from the Periphery.” World Art 4.2 (2014), pp. 263 - 76.
4.
4.3.
The Curatorial. On curatorial authorship. The political potential or curatorial practice.
Maria Lind, “The Curatorial,” Artforum 2009, p.103
“Curatorial”, Curatorial Dictionary, tranzit.hu, http://tranzit.org/curatorialdictionary/index.php/dictionary/curatorial/
Hans Ulrich Olbrist, “Lucy Lippard,” in Brief History of Curating, JRP Ringier & Les Presses du reel, 2011, 243-292.
Anton Vidokle, “Art Without Artists?” e-flux Journal. 16 (2010), http://www.e-flux.com/journal/art-without-artists/
Cristina David, Ruth Noack, Carolyn Christov-Bakargiev, Maria Lind, Charles Esche, Anselm Franke, Adam Szymczyk
5.
11.3.
What is Art in Public Space When We Live in Echo Chambers? The question of public space in the age of social media and its borders (what/who they include/exclude) as reflected by contemporary art.
Chantal Mouffe, “Artistic Activism and Agonistic Politics,” in Atlas transformace, ed. Vít Havránek, Zbyněk Baladrán, Věra Krejčová, Praha: tranzit, 2010, http://monumenttotransformation.org/atlas-of-transformation/html/p/political-environment/artistic-activism-and-agonistic-politics-chantal-mouffe.html.
Nancy Fraser, “Rethinking the Public Sphere: A Contribution to the Critique of Actually Existing Democracy,” Social Text, No. 25/26 (1990), pp. 56-80, http://my.ilstu.edu/~jkshapi/Fraser_Rethinking%20the%20Public%20Sphere.pdf.
Patricia Reed, „Promiscuous Publicness and The Uncommon In-Common,“ on Public Art Munich 2018, https://pam2018.de/texts/promiscuous-publicness-and-the-uncommon-in-common/?lang=en.
Alexander Kluge, Thomas Hirschhorn, Dan Perjovschi, Alexandra Pirici, Tomáš Rafa, Vasil Artamonov and Alexey Klyuykov,
6.
18.3.
There Is No Art on a Dead Planet. Art in the age of anthropocene. Artworld and sustainability.
Garance Malivel,“Bodies of Evidence: Mineral Extraction and Corporeal Erosion”, Artalk, http://artalk.cz/wp-content/uploads/2018/02/AR-1-EN-118240.pdf
Carolyn L. Kane, “Plastic Shine: From Prosaic Miracle to Retrograde Sublime”, e-flux, http://supercommunity.e-flux.com/texts/plastic-shine-from-prosaic-miracle-to-retrograde-sublime/.
Maja Fowkes and Reuben Fowkes, “Cracks in the Planet. Geo-ecological Matter in Eastern European Art,”in Extending the Dialogue, ed. Urška Jurman, Christiane Erharter, and Rawley Grau, Igor Zabel Association for Culture and Theory (Ljubljana), Archive Books (Berlin), and ERSTE Foundation (Vienna), 2016, pp. 140-162, http://translocal.org/pdfs/cracksintheplanet.pdf
Donna Harraway, “The Camille Stories,” in Staying with the Trouble, Making Kin in the Chthulucene, Durham: Duke University Press, 2016.
Ursula Biemann, Natalia LL, Rudolf Sikora, Marko Pogačnik, Tamás Kaszás & Aniko Lorant, Pierre Huyghe, Mel Chin, Lillian Ball, Mary Mattingly, Natalie Jeremijenko, Louis Henderson, Filipa César, Ben Russell, Angela Anderson & Angela Melitopulos, Anja Kirchner & David Panos, Otolith Group
7.
25.3.
Reconsidering Documentary Practices. The politics of truth, rehabilitation of observation, the image of the other.
Erika Balsom, “The Reality-Based Community”, https://www.e-flux.com/journal/83/142332/the-reality-based-community/.
Boris Groys, “Art in the Age of Biopolitics: From Artwork to Art Documentation” in Art Power, MIT Press, 2008.
Hito Steyerl, “Documentarism as Politics of Truth, http://www.eipcp.net/transversal/1003/steyerl2/en.
Harun Farocki, Hito Steyerl, Oleksyi Radynski, Ruti Sela, karrabing film collective, Abbounadara, Renzo Martens
8.
1.4.
An Archival Impulse (Josef Ledvina)
Exhibiting archive as a politics of memory, the role of archive in Eastern European art
Hal Foster, “An Archival Impulse,” October, 2004, pp. 3-22.
Nataša Petrešin-Bachelez, “Archive(s),” Atlas transformace, ed. Vít Havránek, Zbyněk Baladrán, Věra Krejčová, Praha: tranzit, 2010,http://monumenttotransformation.org/atlas-of-transformation/html/a/archive/archives-natasa-petresin-bachelez.html.
Nataša Petrešin-Bachelez, “Innovative Forms of Archives, Part One: Exhibitions, Events, Books, Museums, and Lia Perjovschi’s Contemporary Art Archive,” e-flux, https://www.e-flux.com/journal/13/61328/innovative-forms-of-archives-part-one-exhibitions-events-books-museums-and-lia-perjovschi-s-contemporary-art-archive/.
Zbyněk Baladrán, Filipa César, Rasha Salti (& Koyo Kouoh), Hito Steyerl, Catherine Simao, Thomas Hirschhorn
9.
8.4.
The Rise of Delegated Performance Art. (Josef Ledvina)
Artist as a choreographer. The mediation by photography and video. Reenactements. East European performance art.
Claire Bishop, „Outsourcing Authenticity? Delegated Performance in Contemporary Art“, in Double Agent, eds. Claire Bishop and Silvia Tramontana, London: ICA, 2008, pp 110-125, https://monoskop.org/images/1/19/Bishop_Claire_2008_Outsourcing_Authenticity_Delegated_Performance_in_Contemporary_Art.pdf.
Amy Bryzgel, “Artistic Reenactments in East European Performance Art, 1960-present,” Artmargins online, 2018, http://www.artmargins.com/index.php/featured-articles-sp-829273831/812-artistic-reenactments-in-east-europe-introduction
José Muñoz, Disidentifications : Queers of Color and the Performance of Politics. Minneapolis: University of Minnesota Press, 1999, pp. 1-34.
Merce Cunningham, Marina Abramovic, Jiří Kovanda, Petr Štembera, Tino Seghal, Young Boy Dancing Group, Alexandra Pirici, Veda Popovic, New Noveta
10.
15.4.
Conclusion of the seminar. Discussion of paper topics.
Recommended or required reading
see course contents
Assessment methods and criteria
Course Requirements:
1) 1) 10-15 minutes oral presentation on the topic of the seminar (can be a presentation of work of a visual artist). Prepare 3-4 questions for discussion.
- written paper
deadline: April 29, 2019
min. length: 7000 characters including spaces
Select a topic/problem that is of interest to you (preferably one discussed during the seminar). Argue your own position regarding the problem and use other sources to support your argument (use them to build up your argument or argue with them in case they support a different position). Please submit your paper by email to: terezastejskalova@gmail.com.
The final oral exam: discussion over your submitted paper.
Note
On alternate year for 2. and 3. class
Schedule for winter semester 2021/2022:
The schedule has not yet been prepared
Schedule for summer semester 2021/2022:
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06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
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| Date | Day | Time | Tutor | Location | Notes | No. of paralel |
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| Mon | 11:30–13:05 | Room No. 112 Lažanský palác |
lecture parallel1 |
The subject is a part of the following study plans
- Photography EN - Bachelor-1920 (required subject)