Czech

Not applicable.

Students will have a better knowlege of the development of art after 2000 (personalities, institutions, paradigms).

Students must have a god knowledge of art after 1945.

Not applicable.

Teaching methods depend on the type of course unit as specified in the article 7 of BUT Rules for Studies and Examinations..

Cumpulsory presentation during the semester. Written essay in the end of the course.

1. Bienalisation of art. Why biennials are so important today. What are their roots? How do they differ (Venice, Havana, Kassel, shifting Manifesta)? How are they related to the art fairs?
2. Art since the year 2000: important personalities (artists, curators, critics, collectors, dealers).
3. An archival / a historiographical turn. Artist as a researcher interested in the past, memory, and archives in general and the specific interest of contemporary artist in the questions of modernity, its ideas and formal language.
4. Educational turn in art (from artifacts to discourse): a growing importance of supplementary programs, discussions, lecture blocs, etc. A convergence of the roles of curators and artists.
5. Is everything an installation? Installation as a genre, installation aesthetics (various trends and regimes after 2000).
6. Specific "art", or general "creativity"? The boundaries of art today: DIY aesthetics, street art and its socializing vatiants (guerilla gardening, guerilla knitting...), the erosion of the notion of "original authorship" in the field of digital media, the transfer of artistic strategies (such as remake, apropriation, remix, re-editing) onto the level of user tactics.

Not applicable.

Students will have a good orientation in contemporary art: important names, events, strands.

Controlled attendance (3 absences accepted).

Not applicable.

Not applicable.

Not applicable.

Barbara VANDERLINDEN – Elena FILIPOVIC (eds.), The Manifesta Decade: Debates on Contemporary Art Exhibitions and Biennials in Post-Wall Europe. Cambridge MA: MIT Press, 2005 (EN)
Boris GROYS, Going Public. New York – Berlin: Sternberg Press, 2010. (EN)
Claire BISHOP, Installation Art, London: Tate Publishing, 2011. (EN)
Elena FILIPOVIC – Marieke VAN HAL – Solveig ØVSTEBO (eds.), The Biennial Reader, Hatje Cantz, 2010. (EN)
Miwon KWON, One Place After Another. Site-Specific Art and Locational Identity, Cambridge, MA – Londýn: MIT Press 2002 (EN)
Nicolas BOURRIAUD, Postprodukce, Praha: Tranzit, 2004. (CS)
Ondřej HORÁK (ed.), Místa počinu. Praha: Komunikační prostor Školská 28, 2010. (CS)
Paul O’NEILL & Mick WILSON (Eds.), Curating and the Educational Turn. London: Open Editions a De Appel Arts Centre, 2010. (EN)