
Artistic Projects
Code: 102030Credits: 6
| Degree programme | Type | Course |
|---|---|---|
| Early Childhood Education | OP | 4 |
| Primary Education | OP | 4 |
Contact lecturer
- Name :
- Mar Moron Velasco
- Email :
- mar.moron@uab.cat
Teaching staff
- Mario Nofre Nofre Maiz
Group languages
You can consult this information at the end of the document.
Prerequisites
To take this subject, it is recommended to have passed the compulsory subjects in the area, the EP Degree and / or the EI Degree:"Music and visual education", EP2; "Music, visual and learning education", EP3; "Visual Arts Education I", EI3 i "Education of the Visual Acts II", EI3.
This subject is part of the mention of PERFORMATIVE ARTS EDUCATION.
Objectives
Know how to develop each of the phases of a creative process to realize an artistic project: Since finding the first idea concerning search, search of materials, the chosen artistic language, technical resources ... to the end result.
Get and internalize the conceptual resources necessary to create applications of projective character models; to develop his professional activity as teachers.
Learning outcomes
- Have the capacity to organize both personal and group work to perform the tasks required of the subject.
- Guide parents regarding family education in the 0-6 period.
- Express critical and objective arguments with respect to the functions and tasks performed by social institutions.
- Displaying creative and reflective capabilities in the implementation of art projects.
- Know in depth about suitable procedures and techniques for artistic practice.
- Demonstrate competence in understanding and disseminating the various manifestations of art in different communicative and multicultural formats.
- Acquire criteria and resources to advise and intervene at the primary education stage.
- Be open to signs of aesthetic, social and cultural changes that make it possible to avoid aesthetic or didactic stereotypes.
- Demonstrate capacity for creation and reflection in carrying out artistic projects.
- Have a deeper knowledge of the appropriate procedures and techniques for artistic practice.
- Demonstrate competence in the comprehension and dissemination of the different artistic manifestations in different communicative and multicultural formats.
- Have knowledge of the appropriate digital technology for artistic practice.
- Offer critical and objective arguments with respect to the functions and tasks carried out by social institutions.
- Analyse the indicators of sustainability of academic and professional activities in the areas of knowledge, integrating social, economic and environmental dimensions.
Contents
Project 1. THE SECOND SKIN
The body as a container of experiences, intimate and private, as a support, as a tool, as a passive subject, as the point of reference for relating to the world, as a link between relationships and realities, will become the axis of artistic productions.
Some reference artists that we will discuss in class: Alicia Framis, Abel Azcona, Joan Morey, Sergio Prego, Lubaina Himid, Ana Mendieta, Esther Ferrer, Gibert and George, Doris Salcedo, Orlan, Sonia Gómez, Barbara Kruger, Emilie Hallard.
PROJECT 2. ARTISTIC PROJECTS AND PUBLIC SPACE
Develop a project for artistic intervention in public space.
Outside of hegemonic systems, narratives, and artistic productions, it has fertile ground for alternative research and production. Work from minorities, differences, dissent, explosions, oppression and intersectionalities.
Some of the reference artists we will discuss in class: Daniel Johnston, Val del Omar, Henry Darger, Pedro Lemebel, Cristina Coll, Itziar Ocariz, Ai Wei Wei, Lorenza Bötner, Valie Export, Giusseppe Campuzano, Félix Gonzàlez Torres, Daniela Ortiz.
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| RESEARCH AND APPLICATIONS | 55 | 2.2 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 |
| PRODUCTION | 20 | 0.8 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 |
| Conducting research and project preparation. | 20 | 0.8 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 |
| Explore art as a critical tool of society and of educational models | 20 | 0.8 | 3, 4, 6, 8, 9, 11, 13, 14 |
| Research and recognition of subjectivity and its mechanisms of expression | 25 | 1 | 1, 3, 8, 13 |
Interdisciplinary art projects related to the visual and plastic education: students will delve into the interplay of artistic disciplines and productive features cultural knowledge application context.
The classroom will be considered as a creative space. On the one hand they are presented several artistic references (Pictures, videos and visiting art centers) .Moreover individually supervised tutorials and presentations will be in public project status of each student / a.
DYNAMICS WILL CONTINUE EDUCATION METHODOLOGICAL PERFORMATIVE ARTS.
ALL SESSIONS WILL BE ATTENDANCE (review schedule).
Given the current \"climate alarm\", \"lack of natural resources\" and \"economic imbalances\" that are living on the planet, the team of professors of the Plastic Expression Didactics Unit will promote artistic skills from from an eco-social and eco-feminist look. Natural and recycling materials will be prioritized during workshop sessions and individual and/or group artistic creations, which is realitzin. The use of natural materials and the elaboration of others from these, generate environmental awareness among students, which implies developing sensitivity and critical ability to perceive the natural environment and material that ens surrounds, to know i react before attitudes, situations and events that contribute to improving the healing of the planet.
Model 3 – Permitted Use:
In this course, the use of Artificial Intelligence (AI) technologies is allowed as an integral part of the development of coursework, provided that the final outcome reflects a significant contribution by the student in terms of personal analysis and reflection. Students must clearly identify which parts were generated using AI, specify the tools used, and include a critical reflection on how these tools influenced both the process and the final outcome of the task. Lack of transparency in the use of AI will be considered academic dishonesty and may result in a grade penalty or, in severe cases, more serious sanctions.
It should be noted that the use of AI entails considerable energy consumption. Therefore, promoting responsible and efficient use of AI in educational settings is essential—prioritizing applications with a positive impact and avoiding unnecessary use in order to minimize environmental impact.
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Project 1. Second Skill. INDIVIDUAL | 40 | 3 | 0.12 | 1, 3, 4, 5, 6, 8, 9, 10, 11, 12, 13, 14 |
| DOSSIER FINAL. INDIVIDUAL | 20 | 4 | 0.16 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 |
| Project 2. THE BORDERS. GROUP. | 40 | 3 | 0.12 | 1, 3, 4, 5, 6, 8, 9, 10, 11, 12, 13, 14 |
The assessment will be continuous. The work completed in class will be evaluated throughout the entire creative process, as well as the concepts and research that underpin it. Project presentations and discussions, together with reflections and analyses, will also be assessed. Class attendance is recommended due to the teaching methodology used.
PROJECT 1. THE SECOND SKIN
Create an artistic project based on the concept of the body. Individual assignment. A 5-minute in-class presentation of the final artwork and a personal reflection on the creative process. Submission at the end of October.
Assessment criteria:
Formal development: 30%
Poetic and discursive coherence: 40%
Quality throughout the entire process: 30%
PROJECT 2. PUBLIC SPACE: A SPACE FOR EXPLORATION AND CREATION
Create an artistic project based on a place to explore, rediscover, and understand. Reflect on and analyze the possibilities of applying this type of work in schools through an interdisciplinary, multidisciplinary, and transdisciplinary project.
Group assignment (approximately 5 students). A 5-minute public presentation of the final artwork. Submission at the end of November.
Assessment criteria:
Interaction and negotiation skills: 30%
Formal development: 20%
Poetic and discursive coherence: 30%
Quality throughout the entire process: 20%
FINAL PORTFOLIO (DUE JUNE 9)
Personal reflections on the two completed projects.
A reflection on the application of this type of project in schools, analyzing the changes it could bring to the schools where teaching placements were carried out.
A critical reflection on the course and the subject.
RESIT DATE: JUNE 23
The student will have to submit all the evaluation evidence again, after having a tutorial with the teacher, and agreeing on what needs to be improved. The maximum grade obtainable in the resit will be 5 out of 10. Students are also expected to demonstrate strong overall communication skills, both oral and written, as well as a good command of the language(s) of instruction specified in the course guide. Assessment will also take into account students' ability to work cooperatively and collaboratively, and it will be gender-sensitive. Students may request single-assessment (final assessment). This assessment will take place on June 9. Students choosing this option will complete the same assessment tasks as those following continuous assessment; however, any group assignments must be completed individually.
The same resit procedure will apply to both continuous and single assessment. The review of the final grade will follow the same procedure in both cases.
A student will be considered not assessed if they do not attend the required assessment activities. Feedback on assessment activities will be provided by the lecturer within a maximum of 20 days after the submission deadline.
Regarding language proficiency, students must demonstrate a level equivalent to Catalan Level 2 (equivalent to CEFR C2) for Early Childhood and Primary Education teacher training.
One of the requirements for passing this course is to demonstrate, throughout the semester, the personal and social competencies considered essential for becoming an effective teacher. These include active participation in class, responsibility and rigor in independent work, respectful attitudes without prejudice, the ability to provide reasoned arguments, appropriate use of electronic devices (mobile phones, computers, etc.), critical thinking, and behaviors that foster a positive, respectful, democratic, and inclusive learning environment. The course instructor will observe and document evidence of these personal and social competencies throughout the semester, and they will form part of the overall assessment.
Given the current context of climate emergency, natural resource scarcity, and economic imbalance affecting the planet, the teaching staff of the Visual Arts Education Unit will promote artistic competencies from an eco-social and eco-feminist perspective. Natural and recycled materials will be prioritized during workshops and in both individual and group artistic projects. The use of natural materials, as well as the creation of new materials from them, aims to foster environmental awareness among students by developing their sensitivity and critical capacity to understand the natural and material environment around them and to respond to attitudes, situations, and events that contribute to better care of the planet.
Total or partial plagiarism in any assessment activity, or cheating in an examination or assessment task, will result in an automatic fail for the course.
The use of Artificial Intelligence (AI) technologies is permitted as part of the development of coursework, provided that the final outcome reflects a significant contribution from the student in terms of analysis and personal reflection. Students must clearly identify which parts of their work have been generated using AI, specify the tools used, and include a critical reflection on how these tools influenced both the process and the final outcome of the assignment. Failure to disclose the use of AI will be considered a breach of academic integrity and may result in a penalty on the assignment grade or more severe disciplinary measures in serious cases.
Students should also be aware that the use of AI involves considerable energy consumption. Therefore, responsible and efficient use of AI in educational contexts is encouraged, prioritizing applications that have a positive impact and avoiding unnecessary use in order to minimize environmental impact while preserving the uniqueness of each student's critical thinking and narrative voice.
Bibliography
General bibliography:
Allan, E.(2001). Método poético y narrativo. Castelló: Ellago Ediciones.
Dewey, J. (2008). El arte como experiencia. Barcelona: Paidós.
Marchan Fiz, S. (1986). Del arte objetual al arte de concepto. Madrid: Ediciones Akal, S. A.
Schapiro, M. (1993). El arte moderno.Madrid: Alianza Editorial.
Stangos, N. (1997). Conceptos de arte moderno. Madrid: Alianza Editorial.
Rosalind E.; Krauss (2002). Pasajes de la escultura moderna. Madrid: Ediciones Akal.
Bibliography to develop the projects that will be proposed in class:
Project 1
Bozal, V. (1999). El gusto. Madrid: Editorial Visor.
García Cortés (1997). El cuerpo mutilado. Valencia: Generalitat Valenciana.
Pardo, J. L. (1992). Las formas de la exterioridad. Valencia: Pre-textos.
Rancière, J. (2002). La división de lo sensible. Estética y política. Salamanca: Centro de Arte de Salamanca.
Tanizaki, J. (2008). El elogio de la sombra. Madrid: Siruela
Project 2
Ardenne, P. (2006). Un Arte Contextual. Creación artística en medio urbano, en situación, de intervención, de participación. Murcia: Centro Documentación y Estudios Avanzados Arte.
Augé, M. (2004). Los no lugares. Barcelona: Gedisa.
Carere, F. (2002). Walkscapes. El andar como práctica estética. Barcelona: Gustavo Gili.
Joseph, I. (2002). El transeunte y el espacio urbano. Barcelona: Gedisa.
Marina, J. A. (1996). El Laberinto Sentimental. Barcelona: Anagrama public.
Nauman, B. (1994). Inside Out. Museo National Centro de Arte Reina Sofia. Recuperatde: https://www.museoreinasofia.es/exposiciones/bruce-nauman-inside-out
Orozco, G. (2005). Orozco. Museo Nacional Centro de Arte Reina Sofia. Recuperat de: https://www.museoreinasofia.es/publicaciones/gabriel-orozco
Rem K. (2002). Espacio basura. Barcelona: Gustavo Gili.
Roger, A. (2000). Breu tractat del paisatge. Barcelona: La Campana.
Walser (2001). El paseo. Madrid: Siruela.
Bibliografia complementària per als projectes:
Ábalos, I. (2001). La buena vida, Visita guiada a las casas de la modernidad. Barcelona: Gustavo Gili.
Bachelard, G. (1994). La poetica del espacio. Méjico: Fondo de Cultura Económica.
Bartomeu, L. i Nielsen, P. (2010). El model. Un model per a una societat cualitativa. Barcelona: MACBA.
Danto, A. C. (2002). La transfiguración del lugar común. Una filosofía del arte. Barcelona: Paidós.
Heidegger, M. (1994). Construir‐Habitar‐Pensar. Barcelona: Serbal.
Maderuelo, J. (1990). El espacio raptado. Madrid: Ed. Mondadori.
Outeiro Ferreño, E. (2011). Cabañas para pensar. A Coruña: Fundación Luis Seoane.
Perec, G., (1999). Especies de espacios. Edición española propiedad de Literature y Ciencia, Barcelona.
Smithson, R. (1993). El paisaje entrópico, una retrospectiva, 1960-1973. Valencia: IVAM Centre Julio González, Generalitat Valenciana, Conselleria de Cultura, Educació i Ciencia.
Wolf, V. (1986). Una habitacion propia. Barcelona: Seix Barral. Barcelona.
Software
Video, audio and image editors.
Course groups and languages
The information provided is provisional until November 30. After this date, you will be able to consult the language of each group through this link. To access the information, you will need to enter the course CODE
| Type of teaching | Group | Language | Semester | Shift |
|---|---|---|---|---|
| (TE) Theory | 1 | Catalan | second semester | afternoon |
| (PAUL) Classroom practices | 1 | Catalan | second semester | morning-mixed |
| (PLAB40) Pràctiques de laboratori (40 estudiants per grup) | 1 | Catalan | second semester | morning-mixed |