a) Approved by the statutorily competent scientific body of the higher education institution.
TP: Theoretical and practical

a) Approved by the statutorily competent scientific body of the higher education institution.
T: Theoretical

a) Approved by the statutorily competent scientific body of the higher education institution.
TP: Theoretical and practical

a) Approved by the statutorily competent scientific body of the higher education institution.
T: Theoretical

B1 Modernity, Modernism and the Avant-Garde
B2 The Concept of Modernity
B3 The Concept of Modernism
B4 The Concept of Avant-garde: Aesthetics, Ideology, and Politics
B5 The Modern Movements in the Early Twentieth Century
B6 Impressionism
B7 Expressionism
B8 Cubism
B9 Dadaism and its various centres of radiation
B10 Surrealism
B11 Abstraction, different understandings
B12 Italian Futurism
B13 The Russian Avant-garde
B14 Limits and sunset of the Avant-garde

a) Approved by the statutorily competent scientific body of the higher education institution.
TP: Theoretical and practical

a) Approved by the statutorily competent scientific body of the higher education institution.
TP: Theoretical and practical

B1. The mass society in the mirror: “Pop” art
B2. From the wall to the floor: minimalism and a new paradigm
B3. Occupying space: the installation and its origins
B4. “When attitudes become form”: conceptualism and dematerialization of the work of art
B5. The emergence of language in the plastic arts: from the 60s to the present
B6. The art outside of itself: “Land Art”, Performance and “Body art
B7. Photography and video in Contemporary Art
B8. The Post-Modern Condition B9. The Contemporary: in search of a definition
B9. The Contemporary: in search of a definition

a) Approved by the statutorily competent scientific body of the higher education institution.
TP: Theoretical and practical

a) Approved by the statutorily competent scientific body of the higher education institution.
TP: Theoretical and practical

Drawing Laboratory proposes a higher level of problematisation of drawing, dealing with some of its issues more specifically associated to artistic drawing. The work will focus on the development of the drawing process itself, often assuming a structurally tutorial nature – in parallel with the other pedagogical actions defined in the curricular unit programme.
The pedagogical contents in the course of this curricular unit focus on:
B1. A participatory and comparative experimentation on the visual matter that constitutes, in its diverse disciplinary
and technical manifestations, the subject of plastic production as an autonomous discipline.
B2. The implementation of a sustained path, understanding the drawing as a practice that is workshop but also
experimental power of response to a plastic intentionality.
B3. An understanding of what drawing contains as contingent, but also as constructed/structured.

A.First movement – Concepts and images for an aesthetics of contemporary art.
Station 1. Identity, community, otherness.
Station 2. Place, space, spirituality.
Station 3. Power, Politics, Democracy.
Station 4: Protest, resistance, insurrection.
Station 5: Research, experimentation, project.
Station 6: Consumerism, entertainment, capitalism.
Station 7: Game, chance, tragic.
Station 8: Humour, irony, deconstruction.
B. Second movement – Texts and documents for a politics of contemporary art.
Station 9: Situation: localized action, public space and significant gestures.
Station 10: Participation: relational aesthetics, contextual art and social activism.
Station 11: Ethics: sharing the sensitive, ecopolitical critique of necro-capitalism.
Station 12. Utopia: ecological transition, utopian imaginary and critical alternatives.

a) Approved by the statutorily competent scientific body of the higher education institution.
TP: Theoretical and practical

a) Approved by the statutorily competent scientific body of the higher education institution.
T: Theoretical

B1. Design a Portfolio in digital format and physical support
B2. Register, select and organize documentation of the work done for portfolio
B3. Identifying and cataloguing artistic works
B4. Preparing synopses about the artistic path, a work and/or an event.
B5. Write a biographical note and CV.
B6. Consideration of the graphic and literary conception of a Portfolio from the artist’s point of view
B7. Designing and realizing a 3D model of an artistic project and its architectural / landscape exhibition context
B8. Adapting the place for a work / an exhibition / an event
B9. Writing the Descriptive Memory of a project
B10. Design different exhibition solutions
B11. Make a public presentation / publication: physical and online presentation devices, including digital communication tools that apply to the creation of a website
B12.Creating proposals to artistic residency programs and or grants, appropriate to the context of the finalist students.

A.First movement – Concepts and images for an aesthetics of contemporary art.
Station 1. Identity, community, otherness.
Station 2. Place, space, spirituality.
Station 3:Power, Politics, Democracy.
Station 4: Protest, resistance, insurrection.
Station 5: Research, experimentation, project.
Station 6: Consumerism, entertainment, capitalism.
Station 7: Game, chance, tragic.
Station 8: Humour, irony, deconstruction.
B. Second movement – Texts and documents for a politics of contemporary art.
Station 9: Situation: localized action, public space and significant gestures.
Station 10: Participation: relational aesthetics, contextual art and social activism.
Station 11: Ethics: sharing the sensitive, ecopolitical critique of necro-capitalism.
Station 12. Utopia: ecological transition, utopian imaginary and critical alternatives.

a) Approved by the statutorily competent scientific body of the higher education institution.
TP: Theoretical and practical

a) Approved by the statutorily competent scientific body of the higher education institution..
T: Theoretical