B1 Presentation of contents, authors, artists and tools for interdisciplinary theory-practice based research, through collective reading and texts discussions, preparation of critical reviews on art classes with guest artists and other agents, field trips, bibliographic suggestions , etc.
B2 Students will develop a work proposal during the semester trough systematic artistic production, studio and workshop practice, in order to build an individual final project.
B3 regular dialogue with students in a mentoring/tutorial method in order to build a framework or a map of references appropriate to the intent, form, idea, techniques of each of the individual final projects.
B4 Public presentation of final individual project and participated debate with the class.

B.1– Modernity
B. 1.1. – Baudelaire modern life;
B. 1.2. – Marinetti and futurism;
B. 1.3. – Fernand Léger and the new spirit in painting;
B. 1.4. – Paul Klee and modern art.

B. 2– The first oponents of modernity
B. 2.1 – André Breton and surrealism.
B. 2.2 – Georges Bataille, the human, the animal and informe.
B. 2. 3 – Max Ernst and oposition to painting through technique..
B. 2.4 – Giacometti and the call for imaterial.

B. 3 –Contemporary
B. 3.1 – Arthur Danto and the definition of contemporary
B. 3.2 – The end of modernism: minimal art and pop art
B. 3.3 – The end of modernism: Ernesto de Sousa.

B. 1) Introduction: artistic practices.
B1.1)The being without end of art (useless or no finality?)
B.1.2.) On the construction of art.

B.2.) Central concepts of construction:
B.2.1.) Experimentation/Experimentalism.
B. 2.2.) expressive materials, concepts and ideas.
B.2.3.) Constuction of art – necessitya)various media and meansb) Unity and multiplicity. .

B.3.) : a) Some strategies of creation / construction in contemporary authors. b) Contemporary art in relationship with other contemporary culture territories.B.4) Conclusion: “useless” productivity builds itself, without “end” or proper means. But it must (“necessarily”) be built.

• 2001316 – Drawing and Experience in Art *

The Drawing and Experience in Art proposes a higher level of questioning about drawing by treating some of its questions more specifically associated with the notion of frontier of drawing within the fine arts. The work will focus on the development of this issue, and assume often a tutorial form, alongside the other pedagogical actions – as defined. The pedagogical contents
focus on: B1. A participatory and comparative experience on drawings’ visual issues. The making of the visual output on drawing – in its disciplinary and technical manifestations – conceived as an independent subject. B2. The ‘put into practice’ of a sustainable channel of work that’s, at the same time, a craft and an experimental response to creative intentionality.B3. The understanding of the relations within different kinds of drawings.

* This Elective is defined annually by the school.

• 2001317 – Contextos do Objeto Artístico*

B1 – The commons – resources, places and living beings: extraction, production and exploitation; natural disasters
and accidents since the second half of the 20th century; the role of imagination: relationships with art.B2 – Space,
time and confinements – the consents; consent and common goods; shared spaces, confinement and cooperation:
relationships with artistic practices.B3 – Mutual support – Imagination, ecology and freedom; commons and individual

* This Elective is defined annually by the school.

B1 – Continuation of each artistic individual project, previously presented and discussed with the curricular unit teacher.

B2 – Presentation of processes and methodologies with an experimentation component related to the project production and materialization.

B3 – Solution research, acording to each personnal path.

B4 – Bibliography research, acording to each personnal project justification.

B. 1 – Art and art criticism in the 21st century – a crossroads
B. 1.1 – What art? What criticism?
B. 1.2 – Criticism and dynamics and interrelations in the artistic field (school, market, museum, curatorship)
B.1.3 Criticism after criticism ends

B. 2. – The Contemporary paradigm and its foundations
B. 2.1 Concept (Idea, Language, Meaning)
B. 2.2 Image (Representation, Real, Fiction, Simulation)
B. 2.3 Presence (Object, Space, Context)
B. 2.4 Action (Gesture, Demonstration, Liberation)

B3. – Themes, contexts and recurring problems of contemporary art
B3.1 Art and Institutional Context
B3.2 Art and Gender Policies and Representation
B3.3 Art, Postmodernity and Postcolonial Context

B.1. Introduction: Investigate to enhance your own practice
B.2. Research in art dimensions of artistic practice:
B.2..1. Research on art, through art and in art.
B.2.2. aesthetics; noetics; relation to you; relation to others; relation to the world.
B.2.3..know local art non-local knowledge in art
B.3. The enhancement of practice through discourse and writing:
B.3.1. Functions of writing in the arts (non-literary):B.3.2. Speech validation modes

• 2001318 – Machines of Imagination *

B1. Machines of Imagination (F. Jameson, G. Agamben, G. Deleuze & F. Guatarri)

B2.Utopia and Imagination (Stephen Shukaitis, Thomas More, Al Berto; José Gil)

B3. The Utopian Impulse and The Principle of Hope. (Stephen Shukaitis, Ernst Bloch, F. Jameson)

B4. Detour and the Utopian Impulse -Bertolt Brecht e o V-(Verfremdungseffekt) effect (Brecht, E. Bloch)

B5. OUncanny, o Terrain-vaguee os Espaços Heterotópicos (Freud, Solá-Morales,Michel Foucault)

B6. Debate and Experience: Dérive and other psychogeographic games (G.Debord)

B7. Conceptual and Formal Models of Imagination Machines.

B8. Public Presentation of theme and method for final theoretical paper.

B9. Individual Final Theoretical paper: Should reflect on at least one of the concepts or ideias exposed during classes, in relationto an artistic work o
artist.tópico e o Princípio Esperança. (StephenShukaitis, Ernst Bloch, F. Jameson)

* This Elective is defined annually by the school.

• 2001319 – Photography and video*

The syllabus and the class planningare structured according to four stages.Stage 1

B1 – The art practice as an experience of crossing, the boundaries of media and references.

B1.1 – The experience of crossing in oeuvres of: Edward Rusha (painting and photography); Roni Horn (drawing and photography).
B1.2 – The synthesis of references in the Jeff Wall’s work.Stage 2

B2 -Digital imaging knowledge and skills.
B2.1 – The digital single lens reflex ;DSLR.
B2.2 – Introduction to post-production for photography with the software Adobe Photoshop.
B2.3 – Introduction to video editing with the softwareAdobe Premiere.Stage 3

B3 – Delimitation and art practice exploration of a personal work which relates the work developed in the courses ofProjectowith the potentialities of the media of photography and video.Stage 4

B4 – Final show: proposal for an exhibition that relates the body of work developed in this course with pieces produced in the courses ofProjecto.

* This Elective is defined annually by the school.

MODULE 1 Celso MartinsArt,time and contemporaneityFrom the object of contemplation to the performative pretextPresences in space / Presence-spaces

MODULE 2 Susana Gaudêncio . Presentation of the Module and the briefing for final written essay; . Looking at the Portrait of the Subject.The return of Shamanism. The error as an artistic strategy”. Is There Socially Engaged Art?.Atlas, Archive, Image, Movement. New Materiality. Object Oriented Philosophy. Unproductive artistic production. Production of Identity and representation. Individual tutoring classes on the final work.. Final work presentation

B 1.) Theoretical and analytical seminars:
B 1.1.) Presentation and critical discussion of essays on contemporary artistic and cultural production;
B 1.2.) Collection and analysis of relevant case studies in the context of students artistic production and ongoing investigation; B
2) Field research seminars:
B 2.1.) Art Residences, study expeditions, practices of collecting and organizing empirical data;
B 2.2.) Critical and conceptual analysis and autonomous research applied to investigation in art;
B3) Thematic research seminars:
B 3.1.) Organization and presentation of individual research
B 3.2.) The organization and presentation of workshops with experts

B1 – To elaborate a theorical practical project on plastic arts.B2 – To define the research methodology to be adopted, and to establish final objectives to be achieved.

B1 – MFA’s thesis elaboration in both its practical and theoretical components.B2 – Public defense and discussion of the MFA’s thesis.

Authorship and idiosyncrasy: Bruce Nauman; Paul Theck; Marcel Broodthaers; Renée Magritte; Bruce Connor,
Francisco Tropa; Ana Jotta; Eva Hesse. Design as an emergency space; Metamorphoses: porosity of language; Photography as interstitial language, between document and speech.