PAINTING IN THE DIGITAL ERA: AFFINITY AND SPECIFICITY
PROGRAM OF THE 1st YEAR
INSTRUMENTAL ANALYSIS APPLIED TO THE PHYSIC-CHEMICAL CHARACTERIZATION OF WORKS OF CULTURAL HERITAGE
José Francisco García
Methodological Subject 4 credits. Painting Department.
Instrumental analysis applied to the physic-chemical characterization of works of cultural heritage - Introduction to advanced techniques of instrumental analysis - Application of the advanced instrumental techniques of analysis into heritage related problems.
FROM CHIAROSCURO TO PIXEL: WAYS OF SEEING, UNDERSTANDING AND REPRESENTING REALITY
Joan Descarga. Fundamental Subject. 4 credits. Painting Department
Program: 1. The virtual images 2. The mastery of shadow and the mastery of light 3. PROJECTIONS, reflections and transparencies 4. Aims of the Artistic Practice: to analyze and experiment with the application of physical principles used in the origins of analogical photography and the cinema in relation to digital applications and its use in contemporary artistic practice. The course will consist of a block of information and of creative practise, which will be exhibited in a public space after overcoming professional standards. The course will take place at the Museum of Cinema of Girona and at the Faculty of Fine Arts,
THE DOUBLE OF THE LIGHT: FROM REPRESENTATION TO PRESENCE OF THE IMAGE
Alicia Vela. 4 credits. Painting Department
Program: We are seduced by the presence of the image, by its optics, and by its analogical and numerical codification. To capture and to keep a record of data is our most immediate action. But if we are interested in art in its formation and its appearance, we will have to do also a work of reinterpretation and to preserve that surface that maintains an essential part of the image. The image as an apparition provokes a congealed retention. We are seduced, and every seduction implies a solitary action. This essential loneliness of which speaks Maurice Blanchot (The literary space) covers the very creative space of the artwork. This course will reflect on the modifications of language in the creation of digital imaging. 1. From a substrate of mater -pictorial or graphic materials -to the dematerialization of the matrix 2. The work of digital art: creative strategies 2.1 Symmetry, clonation: from the photographic image to the image as a reflection of a binary pattern 3. Digital image and printing
DISSOLUTION OF MATTER: LIGHT AND TIME AS THE DECONSTRUCTIVE ELEMENTS OF PAINTING
Pilar Palomer Fundamental Subject. 4 credits. Painting Department.
Objectives: theoretical considerations and formal analysis of systems of expression, technology and the media in contemporary art works that are generated from and beyond the orthodoxy of the language of painting-which, by their content, have a special impact on society, generate interest, texts and theories in currents of thought today (including a participation in conferences, seminars or some workshops run by a variety of artists / authors). METHODOLOGY This course is located between artistic practice and theories implicit in the creative act: a) An analysis of the adequacy of the systems of expression, their formal and technological support used for the materialization of the artwork, according to its conceptual and communicative achievement. b) Monitoring the constructive process, the processing of the images and the status that achieves the finished work. c) Confrontation of the artworks to the contemporary environment.
SPACES OF FLOTATION Teresa Blanch. Fundamental Subject.
4 credits. Painting Department.
Program: - Selfgeneration and nodules. A new concept of space. - Life Systems related to technological systems. - Dialogues with the art of fluid mechanics and screens without limits. - Digital energies, brain energies. Order and hallucinations.
WAYS OF LOOKING: FROM THE SHADOW TO THE PIXEL
Alex Nogué Fundamental Subject. 4 credits. Painting Department
Program: 1. Painting, photography and cinema 2. Interdisciplinary artistic expressions 3. The drawing machines 4. The innocence of optical inventions (magic lantern, darkroom, opaque optical views, "zoogracopios", dioramas, anamorphic drawings, "litofanias", "taumátropos", "estresboscopios", Zoetrope, "praxinoscopios", "coreustoscopio", "folioscopio", "mutoscopio", projectors, etc.) 5. Art practice, personal creation.
OBJECTIVES: to confront two stages in the production of icons that have marked the ways of seeing in Western culture: the nineteenth century with the proliferation of optical devices that converge with the advent of photography and pre-cinema, and the twentieth century with the advent of information technology that meets the digital images and their telematic transmission. This course intends to make a reinterpretation from a contemporary perspective of the appliances and devices that are generated with the advent of photography and cinema and their ability to transform the way of perceiving and represent our reality. The course will consist of a block of information to be conducted in the Museum of Cinema of Girona and in the Faculty of Fine Arts, and of a work of artistic creation, which will be presented in a public space after overcoming a level of quality .
Anna Calvera Affine subject. 3 credits. Design and Image Department.
Program: to introduce the student into the historiographical methods and their application in the field of design. To depart from pre-existent analysis of historic nature and from potentially new perspectives in this regard.
WAYS OF SEEING: FROM THE ARTIST BOOK TO THE DIGITAL BOOK
Antònia Vilà Fundamental Subject. 4 credits Painting Department
Program: Examining the artist book perceived as one of the most radical ruptures within the poetic art of the sixties until today, puts us in the dimension of creating another type of artwork provoked by the will to expand its potential into new narrative forms. The narrative strategies of contemporary art are articulated through ways of seeing that share a double sense: 1. A creative potentiality of linking the new media with a continuous graphic art and photography. 2. The individual perception of these languages and its use as a creative process that modifies and interferes in them, responding to the imagination of each viewer.
OBJECTIVES: 1. The course aims to explore the resources of the printed image (autographic, photographic and digital) targeting the production of a book. 2. The course will reconsider the work of artists from Edward Ruscha until today and to value the contribution of a radical new visuality. 3. Concepts such as page, cartografia/mapping , archiving, collection, encyclopedia and hypertext. These are the elements that stand in the context of this course with the ambition to develop a new product form containing its own way of seeing and hence make art. PROPOSAL OF WORK Accomplishment of a project concerning the artist's book in the formalization and slope chosen inside the diversity that provokes the concept of book as visual container. Development of a pre-design of the same .
NEW MATERIALS FOR THE REINTEGRATION OF CULTURAL HERITAGE
Núria Flos and Salvador Garcia. Fundamental subject. 4 credits. Painting Department
Program: - Review of traditional materials used in the reintegration - New materials.
PAINTING REVIEWED Joaquim Chancho Fundamental Subject. 4 credits. Painting Department.
Program of the subject: The course has a practical nature. Therefore, priority will be given to each student's artistic practice and the contextualization of their work. 1. Complements of the vision. Parallel Disciplines 2. The phase out of the picture. Rescue. 3. Appearances and certainties
PROGRAM OF THE 2 nd YEAR: RESEARCH PERIOD
PHYSICO-CHEMICAL CHARACTERISATION OF WORKS FROM THE CULTURAL HERITAGE
Jose Francisco Garcia. 12 credits / 1 seat
OBJECTIVES: to train the student to raise the resolution of problems related to cultural heritage, using information through advanced instrumental analysis. REQUIREMENTS - to have completed the doctorate course " Instrumental Analysis applied to the physical-chemical characterization of works of cultural heritage" or having knowledge analytical instrumentation. - a personal interview.
Teresa Blanch 6 credits / 5 seats
OBJECTIVES: To face a reasoned defence of the creation process in relation to the art context and, by extension, to other disciplines outside art that share resonances or direct links. To make visible that the theoretical discourse and the art practice follow a convergent development. REQUIREMENTS: to have achieved a high degree of adequacy of artistic language in the basic conceptual aspects of each personal proposal, within an artistic practice in constant review.
CONSERVATION AND RESTORATION OF THE PATRIMONY
Núria Flos and Salvador Garcia. 12 credits, 5 seats
OBJECTIVES: to ensure that the student knows how to use the material resources and scientific methodology in the field of Conservation and Restoration elected. REQUIREMENTS To have completed the courses of Restoration from the doctoral program and to make an approach to work along the lines proposed.
THE DOUBLE OF THE LIGHT: FROM REPRESENTATION TO PRESENCE OF THE IMAGE II
Alicia Vela 6 credits / 5 seats
OBJECTIVES: the second year of the project continues the work begun in the first course and its theoretical reflection. - Making a series of art with digital media containing, as art works, the results of the investigation. - Memory of the project. The goal is for students to investigate thoroughly and critically the concepts developed in the course. REQUIREMENTS : knowledge of Photoshop, Flash or others.
DIALOGUES: APPROPRIATIONS AND GENERATIONS
Joaquim Chancho 6 credits / 5 seats
OBJECTIVES: to place the creative work within the artistic context. Confluence of theory and artistic practice. REQUIREMENTS: it will be valued the student's art work.
TRANSPARENT SCENARIOS: PAINTING BEYOND A FLAT SUPPORT
Pilar Palomer 6 credits / 5 seats
OBJECTIVES: the student will demonstrate an ability to realize a projected work, to defend it conceptually and to defend the suitability of the medium used and its location. PRACTICUM: realization of a project within the parameters announced (from painting to any visual language or digital, from the pigment to light, from a single flat support to a multiple support, space or screen) SEMINARS: defence of the concept: reflection and analysis of the work in relation to its chosen location and context. Related works and theoretical sources that have influenced its making. Bibliography and visual sources. REQUIREMENTS: it will be valued the results obtained during the first course, the interest of the project and the trajectory of the aspirant. Bibliography will be provided for each specific project.
WAYS OF LOOKING: FROM THE SHADOW TO THE PIXEL II
Alex Nogué and Joan Descarga 12 credits / 5 seats
OBJECTIVES: tutorials will be given to each student as guidance for their research proposals. To overcome the course, students will have to present an exhibition showing their art practise to other students and teachers invited. They will have to defend their artwork and to submit an essay accompanied by the required visual documentation, in which the following aspects will be widely considered: 1 . The working method that has been followed 2. The possible relationship with other works and authors. REQUIREMENTS to have completed and passed one of the subjects in the 1st year related to this 2 nd grade "Ways of looking: from the shadow to the pixel" and "From the chiaroscuro to the pixel. Ways of looking, understanding and represent reality. "
WAYS OF SEEING: FROM THE ARTIST BOOK TO THE DIGITAL BOOK II
Antónia Vilà 6 credits / 5 seats
OBJECTIVES: to complete the project presented in the previous year after a critical review or tutoring. presentation of the original book or multiple. To submit a written a report considering the work done, its sources, the media used, its poetic and personal criteria and its technical support (traditional or digital). In this course the student must demonstrate that knows and dominates the theme of the course and to demonstrate that an artist book has been done that affirms a justified point of view. REQUIREMENTS knowledge of graphic arts or digital programs like Corel, Director, Photoshop and Freehand.