Degree | Type | Year | Semester |
---|---|---|---|
2500797 Early Childhood Education | OT | 4 | 2 |
2500798 Primary Education | OT | 4 | 2 |
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.
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.
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. THE MARGINS: SPACE OF EXPLORATION AND CREATION
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.
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).
Our teaching approach and assessment procedures may be altered if public healthauthorities impose new restrictions on public gatherings for COVID-19
Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Explore art as a critical tool of society and of educational models | 20 | 0.8 | 1, 3, 8, 6 |
RESEARCH AND APPLICATIONS | 55 | 2.2 | 1, 3, 6 |
Research and recognition of subjectivity and its mechanisms of expression | 25 | 1 | 1, 13, 8, 6 |
Type: Supervised | |||
PRODUCTION | 20 | 0.8 | 13, 8, 6 |
Type: Autonomous | |||
Conducting research and project preparation. | 20 | 0.8 | 1, 3, 6 |
One ofthe necessary criteria to pass this subject will be to show, throughout the course, that the student has developed some personal and social skills essential to be "a good teacher": active participation in classes, responsibility and rigor in autonomous work, not judging, arguing, appropriate use of electronic devices (mobile, computer, etc.), critical thinking and behaviors that favor a friendly and positive environment, democratic and where differences are respected. The subject teacher will observe, document the sessions and write down evidence in relation to these personal and social skills of the students; and will be evaluated throughout the course.
It is also necessary that the student shows a good general communicative competence, both orally and in writing, and a good command of the language or languages that appear in the teaching guide.
The assessment will also focus on skills for cooperative and teamwork and will be gender sensitive.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
DOSSIER FINAL. INDIVIDUAL | 20 | 4 | 0.16 | 9, 1, 2, 12, 11, 13, 10, 3, 8, 14, 7, 4, 5 |
Project 1. Second Skill. INDIVIDUAL | 40 | 3 | 0.12 | 9, 1, 2, 12, 11, 13, 10, 3, 8, 14, 7, 4, 6, 5 |
Project 2. THE BORDERS. GROUP. | 40 | 3 | 0.12 | 9, 1, 2, 12, 11, 13, 10, 3, 8, 14, 7, 4, 6, 5 |
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.
Video, audio and image editors.