Workshop II - Sculpture

Code:

AEII

Acronym:

AEII

Keywords
Classification	Keyword
OFICIAL	Fine Arts/Sculpture

Instance: 2022/2023 - A

Active?	Yes
Responsible unit:	Fine Arts Department
Course/CS Responsible:	Fine Arts

Cycles of Study/Courses

Acronym	No. of Students	Study Plan	Curricular Years	Credits UCN	Credits ECTS	Contact hours	Total Time
AP	16	Plano de estudos de LAP_publicaçao em DR de 24/05/2021	3	-	24	270	648

Teaching language

Suitable for English-speaking students

Objectives

- To contribute for a progressive autonomy of the student in the development of an exploratory thought and attitude in the construction of sculptural projects that express a personal universe.

- To discuss and support the resolution of conceptual and technological problems inherent to the processes of three-dimensional construction in relation to the space.

- To develop theoretical and practical skills in the context of three-dimensional composition and conceptual structuring in line with the proposed challenges;

- To problematize processes and ways of daily relationship with the studio space.

- To value additional knowledge resulting from research developed within other curricular areas or unpredictable contextual territories.

- To encourage a critical relationship with current artistic thinking and practice in their disciplinary diversity.

- To develop the communication skills of personal projects, as well as enhance tools for analysis and critical reflection of their work and their peers.

- To value permanent investment in self-discovery and motivate a practice of constant search for the sense of originality of each student. Originality that is not so much recognized in the idea of ​​doing different or doing new, but in the idea of ​​making its way towards the origin.

Learning outcomes and competences

At the end of the Atelier II - Sculpture, the student should be able to generate and develop autonomously and responsibly a project based on personal concerns from their initiatory conceptions until their completion, demonstrating their capacity for technical achievement, conceptual reflection and methodological organization.

Working method

Presencial

Program

Atelier II - Sculpture has as its primordial focus on the thought and artistic experimentation around the relations between the body, the object and the space.
In essence it traces an exploratory path that promotes the deepening of the intelligibility, limits and possibilities of contemporary three-dimensional construction and its forms of visibility, maintaining a rigorous commitment to a procedural attitude that aims the construction of the student as an author. 

Therefore, it is structured in four large territories that inform the route till the end:

a) Representation and subjectivity: What does representation means? Representation vs presentation; self-representation (body/identity/ memory); to represent as a strategy of power (the author) (M. Foucault); originality as a strategy for defining an origin (G. Agamben); 

(b) Transformation and materiality / spatiality: the 'intelligence' of matter (dismissal of control / chance / accident) (R. Rauschenberg / J. Cage); raw matter - matter formed without an explicit function - matter formed into an artifact - matter as a support for inscriptions - matter as a place (M. Heidegger); the idea of ​​an object as vehicle (J. Beuys); immateriality (light, sound, word); incorporation into a matter attributes of another  (Ângelo de Sousa); site / place / context (R. Krauss, M. Kwon); the symbolic and relational space (E. T Hall); spatial problems (social-intimate; physical-symbolic; inner-outer; natural-built); non-site (an indoor earthwork) (R. Smithson);relationship between body-matter-place  (A. Carneiro);

c) Action and procedurality: the deconstruction of traditional operating conditions (J. Albers); the exploitation of technological diversity; the clarity of gesture and composition sufficiency; the issues of scale, light and motion; the tensions between thinking and action (J. Fiadeiro); say the same thing by different processes (F. Tropa); the creative act as a labyrinth (Ana Hatherly); the ephemeral; documentation as meta-discourse (Gordon Matta Clark); displacement and resignification processes (M. Duchamp); remembering as a creative possibility (C. Boltansky)

d) Exhibition and visibility: What are the possibilities and limits of the exhibiting act? When and how to show? the power of non-revelation; the modes and devices of visibility? the exhibitions conditions as projectual starting point; the “white cube” paradigm; the studio as an exhibition space (C. Brancusi); exhibiting as a process  and the importance of the non-exclusive audience; (T. Hirschhorn); audience relationship typologies: interaction, participation and collaboration (C. Bishop / N. Bourriaud / J. Ranciére);  the refusal of visibility as a discursive statement;

Based on this content the students walk two complementary itineraries that follow a logic of progressive growth:

1st itinerary: one that is understood during the first semester period and which is characterized by a set of short-term proposition-exercises that call the student to an exploratory study of a set of conceptual and methodological problems inherent to the sculptural practice.
2nd itinerary: the one that is comprehensively understood in the 2nd semester and characterized by a period where the student, following the previous work, summons a repertoire of personal interests and concerns for the construction of a personal path translated into projects conceived and developed in a progressive autonomy.


All project responses to the proposals will be presented and critically discussed by the teacher and the other students.

At the end of the academic year, it is expected that a moment of exhibition will take place where students can face the contingencies of the act of presentation: the tasks and multiple assembly techniques, the space problems, the modes and visibility devices, the relationship with the viewer, the communication formats, among others.

Mandatory literature

Damásio António R.; O sentimento de si
Archer Michael; Art since 1960
BACHELARD, Gaston; A Poética do Espaço
GUASCH, Anna Maria; El arte último del siglo XX – Del posminimalismo a lo multicultural
HENRY, Adrian; Enviroments and Happenings
KRAUSS, Rosalind E; Caminhos da escultura moderna
PETRY, Michael; OXLEY, Nicola e OLIVEIRA, Nicolas de, com textos de Micheal Archer, ; Instalation Art
Tavares Gonçalo; Atlas do corpo e da imaginação
Alain Borer; The essencial Joseph Beuys. ISBN: 0-500-09267-2
Claire Bishop; Artificial hells. ISBN: 978-1-84467-690-3
Claire Bishop; Participation. ISBN: 978-0-85488-147-5
Nicolas Bourriaud; Estética relacional. ISBN: 978-85-99102-97-8
Giorgio Agamben; Nudez, Relógio D´Água, 2010
Daniel Buren; The function of the studio, October 10 (Autumn), 1979
João Fiadeiro; Anatomia de uma decisão, Ghost Editions, 2017
Roselee Goldberg; A^Arte da performance. ISBN: 978-989-95565-0-8
Donald Judd; Complete writings 1959-1975. ISBN: 0-919616-42-9
Miwon Kwon; One Place After Another. ISBN: 0-262-11265-5 38.61
Pamela M. Lee; Object to be destroyed. ISBN: 0-262-12220-0 51.25
Ana Hatherly ; Casa das Musas, Editorial Estampa, 1995
Martin Heidegger; A origem da obra de arte. ISBN: 972-44-0524-9
Mark Rosenthal; Understanding installation art. ISBN: 3-7913-2984-7
Paul Schimmel; Out of actions: between performance and the object, MACBA / Museum of Contemporary Art Los Angeles, 1998

Comments from the literature

The literature indicated is indicative only and will be complemented with students

Teaching methods and learning activities

The teacher´s role  focuses on raising in the student the construction of possible paths of research throughout the process of creation.
Briefly, in addition to monitoring and individualized support for the development of projects and proposed exercises, classes are held that stimulate discussion and group dialogue.

There will be periodic presentations of work proposals using theoretical classes, as well as, if necessary, practical classes in workshop format oriented with specialized technical support.

Guidance for the organization of field diaries with documentation of the entire work process and final portfolio - synthesis of the work done throughout the school year (photographs, synopses and thecnical description);


In case it will be offered "classes in residence", experimental format that aims to transfer the traditional workplace (classroom) into an exhibition space with a view to formulating an exhibition.

Software

https://atelierdeescultura.wordpress.com/
https://porta105.weebly.com/
https://fbaupatelier2escultura.wordpress.com/

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Designation	Weight (%)
Participação presencial	40,00
Trabalho escrito	10,00
Trabalho laboratorial	50,00
Total:	100,00

Amount of time allocated to each course unit

Designation	Time (hours)
Elaboração de projeto	60,00
Estudo autónomo	50,00
Frequência das aulas	288,00
Trabalho de campo	100,00
Trabalho de investigação	50,00
Trabalho laboratorial	100,00
Total:	648,00

Eligibility for exams

Frequency is obtained through continuous assessment that assumes high class attendance, active participation, methodological autonomy, technical knowledge, organizational skills, assertiveness in the deadlines of the presentations and quality of responses to the proposals launched by the teacher.

Calculation formula of final grade

As an annual unit course, in addition to the quality of projects developed by each student throughout the academic year, in its different stages, the following factors will be valued in the evaluation:
a) Attendance;
b) Participation in discussions and other activities;
c) Conceptual, technical and methodological capacity to work in autonomous way;
d) Compliance with the deadlines set in the class calendar.

The fulfillment of the work proposals for the first 
semester will be quantitatively assessed. 

The final evaluation will be made based on a 
weighting between the global work carried out, 
discussed and accompanied by teaching staff, 
assisted by the digital portfolio / site with 
percentages of 50%, 40% and 10% respectively.

Classification improvement

Frequency of the following year.