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Lecturer(s)
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Course content
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1. Brief introduction to history of curation 2. The work of the avant-garde movements and pioneers 3. El Lissitzky 4. Alexander Dorner 5. László Moholy-Nagy 6. Ladislav Sutnar 7. The 1960's rise of the independent curator 8. The consequential birth of curatorial education programs and their institutionalizing effects 9. The 1990's superstar curators and their influence on the art market 10. The newest developments in curatorial strategies 11. - 12. Repetition via moderated dialogues 13. Student presentation of semester work
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Learning activities and teaching methods
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E-learning, Discussion, Multimedia supported teaching, Students' self-study, Self-study of literature, Lecture, Lecture with visual aids
- Individual project (40)
- 40 hours per semester
- Presentation preparation (report) (1-10)
- 10 hours per semester
- Contact hours
- 26 hours per semester
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| prerequisite |
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| Knowledge |
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| recall the basic concepts of both general and field art history to repeat basic linguistic or expressive mimetic techniques, formulate and write down your thoughts in a coherent language unit independently search for theoretical support resources |
| Skills |
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| interpret with the help of technical terms reproduced or otherwise presented examples of works of art, or visually figurative expressions, analyze the text and context of a work of art and art, to realize the values shaping one's own opinions in the field of artistic-aesthetic judgments, articulate, sophisticated and argued these courts to present to the partners in discussion reflect different opinions, critically consider them and confront them with their own opinions seek verified, systematic and respected sources of knowledge in the professional community and use them to enrich the personal and professional competence portfolio |
| Competences |
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| N/A |
| N/A |
| learning outcomes |
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| Knowledge |
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| basic concepts of curation related to the issue of artistic expression, the historical context of the origin of curation, artistic, philosophical, economic context influencing the development of curation from the 1920s to the present |
| Skills |
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| views and reflects on own and foreign artistic practice in the historical context of curation, is able to discuss his thoughts in moderated dialogues, is able to cultivate self-presentation, self-expression, analysis and critical reflection on the topics discussed |
| Competences |
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| N/A |
| N/A |
| teaching methods |
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| Knowledge |
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| Lecture |
| Self-study of literature |
| Discussion |
| Skills |
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| Individual study |
| One-to-One tutorial |
| Collaborative instruction |
| Cooperative instruction |
| Competences |
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| Discussion |
| assessment methods |
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| Knowledge |
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| Individual presentation at a seminar |
| Continuous assessment |
| Combined exam |
| Skills |
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| Seminar work |
| Kolokvium |
| Competences |
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| Individual presentation at a seminar |
| Project |
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Recommended literature
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Doris Chon. Harald Szeemann?s Museum of Obsessions: The Legacy of a Mythological Institution. U.S.A. The University of Chicago Press | Journals, Volume 8, 2016.
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Hans Ulrich Obrist. A Brief History of Curating. London, U.K.; Geneva/Zürich, Switzerland, 2008. ISBN 9783905829556.
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Michael Connor. Curating Online Exhibitions. New York, U.S.A., 2020.
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Paul O? Neill. Curating and the Educational Turn. London, UK; Amsterdam, The Netherlands, 2010. ISBN 978-0-949004-18-5.
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Paul O? Neill. The Culture of Curating and the Curating of Culture(s). Cambridge, MASS, U.S.A.; London, UK, 2012. ISBN 978-0-262-01772-5.
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Terry Smith. Thinking Contemporary Curating. New York, U.S.A.: Independent Curators International, 2012. ISBN 978-0-916365-86-8.
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