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080062 PS Case Study: "Living as Form": Relational Aesthetics and Socially Engaged Art (2015S)

Continuous assessment of course work

Registration/Deregistration

Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).

Details

max. 25 participants
Language: English

Lecturers

Classes (iCal) - next class is marked with N

Tuesday 03.03. 09:30 - 12:30 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
Tuesday 10.03. 09:30 - 12:30 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
Tuesday 14.04. 09:30 - 12:30 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
Tuesday 21.04. 09:30 - 12:30 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
Tuesday 12.05. 09:30 - 12:30 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
Tuesday 19.05. 09:30 - 12:30 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
Tuesday 02.06. 09:30 - 12:30 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27

Information

Aims, contents and method of the course

Since the 1990s, under the aegis of relational aesthetics and socially engaged art, countless art practitioners have undertaken diverse types of ‘cultural work’ that has questioned the boundaries between art and life, proposed new forms of sociability, and offered novel propositions for ‘life’ and ‘living’ as ‘forms’ within conditions of neoliberal global capitalism. This class examines a broad range of artistic practices that often intersect with the fields of theater, activism, urban planning and visual art and that embrace strategies of dialogue, participation, community engagement, and intervention in public space.

A few fundamental questions will anchor the course: (1) How do these practices position themselves in relationship to the legacy of the historical and neo-avant-gardes and, given the changed historical conditions, can we still use the same criteria to assess contemporary production or do we need to develop new measures and write different narratives? Specifically, how do we contend with the tensions between ‘form’ and ‘content’ and how do we assess what constitutes ‘politics’ and ‘aesthetics’ today? (2) What models of identity and subjectivity does relational aesthetic and socially engaged art offer and how do these relate to the increasingly powerful structures of globalization and the forces of neoliberal global capitalism? Specifically, what are the possibilities of imagining different ‘collectivities’ and ‘publics’ today? (3) How do these practices engage with the intensification of media culture, channels of marketing, advertising and publicity, and pervasiveness of social media? Specifically, how do they construct a specific experience of the ‘social’ and position themselves in relation to the promise of democracy and inclusion espoused by such media structures?

Assessment and permitted materials

The final grade consists of regular attendance and vigorous participation in class meetings and discussion (weighting of 10%), evaluation of the seminar presentation (weighting of 30%) and the written paper (weighting of 60 %). In order to pass the seminar, all sections must receive a positive assessment.

Minimum requirements and assessment criteria

The aims of the course are to 1) familiarize students with the practices of Relational Aesthetics and Socially Engaged Art in relation to art historical narratives and socio-political contexts; 2) engage with the issues raised by these practices along multidisciplinary pathways, including urban geography, sociology, cultural studies, feminist criticism, postcolonial theories, and political philosophy; 3) introduce students to methods, models, and theories for the critical analysis of contemporary art

Examination topics

This is a conceptually and theoretically driven seminar that approaches the study of contemporary art as an expanded and entwined constellation of representational artifacts, discursive objects, and material practices. Within this multidisciplinary constellation, we will be attentive to the ways in which artistic production relates and responds to forces, techniques, and effects of power and is implicated in the constitution of new subjectivities.

Specific pedagogical methods include: Close textual and visual analysis; class discussions, oral and written components, field trips.

Reading list

A syllabus with a detailed bibliography will be handed out at the first class meeting.

Association in the course directory

Last modified: Mo 07.09.2020 15:31