AVA Akademija Za Vizualne Umetnosti / Academy of Visual Arts

AVA Akademija za vizualne umetnosti / Academy of Visual Arts

Zadnje posodobitve : Feb. 2021

Predmetnik in učni načrt za dodiplomski program : Vizualne umetnosti / Likovna umetnost in konceptualizacija prostora Programme structure, Unit specifications For undergraduate programme in Visual Arts / Fine Art and Conceptualisation of Space

1. Letnik / Yr 1 Struktura programa Predmetnik / Programme structure Vizualne umetnosti / Visual arts /smer / path/ LIKOVNA UMETNOST / FINE ART Koda Učna enota/ Unit - Module Vrsta Predvidene Credits /Code predmeta / ure/ ECTS Course type Notional hours T11 Zgodovina umetnosti 1 /History of art 1 Obvezni 120 4 Doc.dr. Sebastjan Leban Mandatory T12 Zgodovina gledališča 1/ History of theatres 1 Obvezni 120 4 Doc. Željko Hrs Mandatory T13 Zgodovina filozofskih idej 1 / History of Obvezni 120 4 philosophical ideas 1 Mandatory Doc.Dr. Gregor Kroupa T15 Teorija fotografije/ Theory of photography Obvezni 120 4 Doc.Aleksandra Vajd Mandatory P 10 Objektivno risanje 1/ Objective drawing 1 Obvezni 120 4 Doc.Andrej Savski Mandatory P11/FA Slikarstvo 1 / painting 1 Obvezni 120 4 Doc. Miran Mohar Mandatory P12 Fotomedia / Photomedia Obvezni 120 4 Doc.Jasna Klančišar Mandatory P13/FA Skulptura / Sculpture Obvezni 220 8 Doc.Miran Mohar / Doc.Pepi Peter Sekulich Mandatory P14/FA Mešani mediji / Mix media Izbirni 220 8 Doc.Miran Mohar Elective P13/CS Koncipiranje prostora 2 Gledališče / Set design 2 Theatre – Doc.Pepi Peter Sekulich – Doc.David Burrows P14/CS Koncipiranje prostora 3 / Set design 3 Doc. Pepi Peter Sekulich P15 Video/Film Obvezni 12 Doc.Pepi Peter Sekulich Mandatory 320 P16 Strokovna praksa (razstava ali produkcija) / Obvezni 120 4 Professional practice (exhibition or production) Mandatory Doc.Miran Mohar Total 1720 60

2. Letnik / Yr 2 Struktura programa Predmetnik / Programme structure Vizualne umetnosti / Visual arts /smer / path/ LIKOVNA UMETNOST / FINE ART Koda Učna enota/ Unit - Module Vrsta Predvidene Credits /Code predmeta / ure/ ECTS Course type Notional hours T21 Zgodovina umetnosti 2 /History of art 2 Obvezni 120 4 Doc.Dr. Sebastjan Leban Mandatory T22/CS Zgodovina gledališča 2/ History of theatres 2 Obvezni 120 4 Doc. Željko Hrs Mandatory T23 Zgodovina filozofskih idej 2 / History of Obvezni 120 4 philosophical ideas 2 Mandatory Doc.Dr. Gregor Kroupa T26 Teorija gibljive slike / Theory of motion picture Obvezni 120 4 Doc.Dr.Andrej Šprah Mandatory T27 Kritična analiza 1 / Crytical analysis 1 Obvezni 120 4 Doc.Dr. Sebastjan Leban Mandatory P 20 Objektivno risanje 2/ Objective drawing 2 Obvezni 120 4 Doc.Andrej savski Mandatory P21/CS Prenos zgodbe v vizualni medij / Transposing story Izbirni 280 10 into visual media Elective Doc. Pepi Peter Sekulich P21/FA Individualni (prosti) projekt / Individual project 1 Izbirni Doc.Miran Mohar Elective P22/FA Instalacija / Installation Obvezni 340 12 Doc.Miran Mohar Mandatory P23 Individualni (prosti) projekt / Individual project 2 Obvezni 280 10 Doc.Pepi Peter Sekulich Mandatory P26 Strokovna praksa (razstava ali produkcija) / Obvezni 120 4 Professional practice (Exhibition – production) Mandatory Doc.Miran Mohar Total 1740 60

3. Letnik / Yr 3 Struktura programa Predmetnik / Programme structure Vizualne umetnosti / Visual arts /smer / path/ LIKOVNA UMETNOST / FINE ART Koda Učna enota/ Unit - Module Vrsta Predvidene Credits /Code predmeta / ure/ ECTS Course type Notional hours T31 Zgodovina in teorije sodobne umetnosti / Obvezni 120 4 Contemporary Art History and Theory Mandatory Doc.Dr.Jovita Pristovšek T37 Kritična analiza 2 / Crytical analysis 2 Obvezni 120 4 Doc.Dr. Sebastjan Leban Mandatory T38 Kreativno izražanje / Creative expression Obvezni 120 4 Doc.Željko Hrs (Bojan Jablanovec) Mandatory T39 Vizualne kulture - Visual cultures Obvezni 120 4 Doc.Dr.Jovita Pristovšek Mandatory P31 Kreativne prakse – raziskava in diplomska naloga Obvezni 560 20 Creative practice – Research Mandatory Doc.Miran Mohar -Doc. Pepi Peter Sekulich P 32 Kreativne prakse – resolucija (končni projekt) Obvezni 450 16 Creative practice – Resolution (Final project) Mandatory Doc.Pepi Peter Sekulich P36 Strokovna praksa: Diplomska razstava ali Obvezni 225 8 produkcija / Professional practice: Degree show Mandatory or production Doc.Miran Mohar Total 1715 60

1. Letnik / Yr 1 Struktura programa Predmetnik / Programme structure Vizualne umetnosti / Visual arts /smer / path/ KONCEPTUALIZACIJA PROSTORA / CONCEPTUALISATION OF SPACE Koda Učna enota/ Unit - Module Vrsta Predvidene Credits /Code predmeta / ure/ ECTS Course type Notional hours T11 Zgodovina umetnosti 1 /History of art 1 Obvezni 120 4 Doc.Dr. Sebastjan Leban Mandatory T12 Zgodovina gledališča 1 / Histories of Thetre 1 Obvezni 120 4 Doc. Željko Hrs Mandatory T13 Zgodovina filozofskih idej 1 / History of Obvezni 120 4 philosophical ideas 1 Mandatory Doc.Dr. Gregor Kroupa T15 Teorija fotografije/ Theory of photography Obvezni 120 4 Doc.Aleksandra Vajd Mandatory P 10 Objektivno risanje 1/ Objective drawing 1 Obvezni 120 4 Doc.Andrej Savski Mandatory P11/CS Koncipiranje prostora 1 Film / set design 1 film Obvezni 120 4 Doc. Pepi Peter Sekulich Mandatory P12 Fotomedia / Photomedia Obvezni 120 4 Doc.Jasna Klančišar Mandatory P13/FA Skulptura / Sculpture Obvezni 220 8 Doc. Miran Mohar / Doc.Pepi Peter Sekulich Mandatory P14/FA Mešani mediji / Mix media Izbirni 220 8 Doc.Miran Mohar Elective P13/CS Koncipiranje prostora 2 Gledališče / Set design 2 Theatre – Doc.Pepi Peter Sekulich – Doc.David Burrows P14/CS Koncipiranje prostora 3 / Set design 3 Doc. Pepi Peter Sekulich P15 Video/Film Obvezni 320 12 Doc. Pepi Peter Sekulich Mandatory P16 Strokovna praksa (razstava/produkcija) / Obvezni 120 4 Professional practice (Exhibition/production) Mandatory Doc. Miran Mohar Total 1720 60

2. Letnik / Yr 2 Struktura programa Predmetnik / Programme structure Vizualne umetnosti / Visual arts /smer / path/ KONCEPTUALIZACIJA PROSTORA / CONCEPTUALISATION OF SPACE Koda Učna enota/ Unit - Module Vrsta Predvidene Credits /Code predmeta / ure/ ECTS Course type Notional hours T21 Zgodovina umetnosti 2 /History of art 2 Obvezni 120 4 Doc.Dr. Sebastjan Leban Mandatory T22/CS Zgodovina gledališča 2/ History of theatres 2 Obvezni 120 4 Doc. Željko Hrs Mandatory T23 Zgodovina filozofskih idej 2 / History of Obvezni 120 4 philosophical ideas 2 Mandatory Doc.Dr. Gregor Kroupa T26 Teorija gibljive slike / Theory of motion picture Obvezni 120 4 Doc.Dr. Andrej Šprah Mandatory T27 Kritična analiza 1 / Crytical analysis 1 Obvezni 120 4 Doc.Dr. Sebastjan Leban Mandatory P 20 Objektivno risanje 2/ Objective drawing 2 Obvezni 120 4 Doc. Andrej Savski Mandatory P21/CS Prenos zgodbe v vizualni medij / Transposing story Izbirni 280 10 into visual media Elective Doc. Pepi Peter Sekulich P21/FA Individualni (prosti) projekt / Individual project Izbirni Doc. Miran Mohar Elective P22/CS Koncipiranje prostora po scenariju – Film / Film Obvezni 340 12 production design Mandatory Doc. Pepi Peter Sekulich P23 Individualni (prosti) projekt / Individual project Obvezni 280 10 Doc. Pepi Peter Sekulich Mandatory P26 Strokovna praksa (razstava ali produk / Obvezni 120 4 Professional practice (Exhibition – production) Mandatory Doc.Miran Mohar Total 1740 60

3. Letnik / Yr 3 Struktura programa Predmetnik / Programme structure Vizualne umetnosti / Visual arts /smer / path/ KONCEPTUALIZACIJA PROSTORA / CONCEPTUALISATION OF SPACE Koda Učna enota/ Unit - Module Vrsta Predvidene Credits /Code predmeta / ure/ ECTS Course type Notional hours T31 Zgodovina in teorije sodobne umetnosti / Obvezni 120 4 Contemporary Art History and Theory Mandatory Doc.Dr.Jovita Pristovšek T37 Kritična analiza 2 / Crytical analysis 2 Obvezni 120 4 Doc.Dr. Sebastjan Leban Mandatory T38 Kreativno izražanje / Creative expression Obvezni 120 4 Doc.Željko Hrs (Bojan Jablanovec) Mandatory T39 Vizualne kulture - Visual cultures Obvezni 120 4 Doc.Dr.Jovita Pristovšek Mandatory P31 Kreativne prakse – raziskava in diplomska naloga Obvezni 560 20 Creative practice - Research Mandatory P 32 Kreativne prakse – resolucija (končni projekt) Obvezni 450 16 Creative practice – Resolution (Final project) Mandatory P36 Strokovna praksa: Diplomska razstava ali Obvezni 225 8 produkcija / Professional practice: Degree show Mandatory or production Doc.Miran Mohar Total 1715 60

UČNI NAČRT : VIZUALNE UMETNOSTI 1. Stopnja /1. LETNIK UNIT DESCRIPTORS : VISUAL ARTS L4 /Yr 1.

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Zgodovina umetnosti 1 Course title: History of Art 1

Študijski program in Letnik Študijska smer Semester stopnja Academic Study field Semester Study programme and level year Vizualne umetnosti Konceptualizacija prostora / 1 1,2; 1.stopnja Likovna umetnost Visual arts level 1 ( L4) FA / CS 1 1,2;

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course T 11 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 50 10 10 50 4

Nosilec predmeta / Doc. dr. Sebastjan Leban Lecturer:

Jeziki / Slo Predavanja / Slo Languages: Lectures: Slovenski Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year, študija, • A prerequisite for the exam is minimum • pogoj za pristop k izpitu je minimalno 80 80% attendance at lectures. % prisotnost na predavanjih.

Vsebina: Content (Syllabus outline): Učna enota uvaja študente v razumevanje This unit introduces the students to an zgodovine umetnosti, kot temeljnega elementa understanding of history of art as a constitutive v formaciji umetniškega mišljenja. Ključno je element in the formation of the artistic thought. namreč poznavanje zgodovine umetnosti in Of key importance is the knowing of the history posameznih slogov, ki so se v njej odvijali, da of art in its different periods for the student to lahko študent/ka razume genealogijo understand the genealogy of the history of art in zgodovine umetnosti v vsej njeni celovitiosti. its totality. The analysis of Histroy of Art 1 Analiza Zgodovine umetnosti 1 vključuje covers the period from the Reinesance up obdobje od Renesanse do Romantike. Namen Romanticism. The purpose of the unit is to učne enote je zgraditi trden temelj znanja provide a solid base of knowledge of the history zgodovine umetnosti, na podlagi katerega of art on which students can upgrade their lahko študentje nadgradijo svoje znanje in knowing and understanding of art. razumevanje umetnosti.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura / Required Readings:

• Arnheim, Rudilf., 2002. Art and Visual Perception, A Psychology of the Creative Eye, University of California Press, Los Angeles. • Chadwick, Whitney., 2002. Women, Art, and Society, Thames & Hudson, London. • Gombrich, Ernst., 1997. Story of Art, Phaidon, London. • H. Honour & J. Fleming., 2005. A World History of Art, Laurence King, London. • Janson, H. W., 1991. History of Art, Thames & Hudson,London. • Nochlin, Linda., Why Have There Been No Great Women Artists?, http://davidrifkind.org/fiu/library_files/Linda%20Nochlin%20%20Why%20have%20there%2 0been%20no%20Great%20Women%20Artists.pdf • Shapiro, Mayer., 1994, Theory and Philosophy of Art: Style, Artist, and Society, George Braziller Inc., New York.

Priporočena literatura / Recommended Readings:

• Hauser, Arnold., 1999. The social history of art, Routledge, London-New York. • Menaše, Luc., 1971. Evropski umetnostnozgodovinski leksikon, Mladinska knjiga, Ljubljana.

Spletne strani / Web Pages:

• Artlex Art Dictionary: http://www.artlex.com/ • Web Gallery of Art: http://www.wga.hu/index1.html

Cilji in kompetence: Objectives and competences: • Študentje so poučeni o osnovnih • • Students are acknowledged with the konceptih in razumevanju zgodovine basic concepts and understanding of the umetnosti. history of art. • Opremiti študente s potrebnim znanjem • Equip students with the research and za raziskovanja in analizo obranavanih study skills of the analysed topics. tematik. • Equip students with a solid base of • Opremiti študente s trdno osnovo knowledge of the history of art from the znanja zgodovine umetnosti od Reinesance up Romanticism. Renesanse do Romantike. • Analysis of the influence of the history of • Analiza vpliva zgodovine umetnosti v art in the artistic production. umetniški produkciji. • Encourage students in the development • Spodbuja študenta v izgradnjo razvoja of the instrumentation for reading and instrumentarija za branje in understanding the history of art. razumevanje zgodovine umetnosti. •

Predvideni študijski rezultati: Intended learning outcomes: • Znanje in razumevanje: • • Knowledge and understanding:

• Po uspešnem zaključku učne enote bo • On successful completion of this unit, študent sposoben : students will be able to demonstrate:

• Poznavanja in razumevanja različnih • Knowing and understanding of the obdobji v zgodovini umetnosti. various periods in the history of art. • Obrazložiti funkcijo zgodovine umetnosti v • Explain the functions of the history of relaciji do zgodovinskih in kritičnih študij v art in relation to historical and critical vizualni umetnosti. studies in visual arts. • Identificirati in uporabiti zgodovino • Identify and use the history of art in umetnosti pri analizi vizualne umetnosti. the analysis of visual arts. • Individualno razumevanje zgodovine • An individual understanding of the umetnoste in idej. history of art and ideas. •

Metode poučevanja in učenja: Learning and teaching methods: • Predavanja • Lectures • Branje • Readings • Vizulano gradivo • Visual material • Pisni izpit • Written exam

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Pisne naloge: Written tasks:

• Naloge 20 % • Tasks 20 % • Pisni izpit 80 % • Written exam 80 %

Reference nosilca / Lecturer's references: Doc. dr. Sebastjan Leban je teoretik in raziskovalec. Deluje na področju teorije in umetnosti. Med leti 2007 in 2011 je bil glavnih urednik in soustanovitelj časopisa in platforme Reartikulacija. Svoja besedila ima objavljena v najpomembnejših nacionalnih in mednarodnih publikacijah na področju umetnosti in teorije: E-flux magazine, Camera Austria, Identities Journal, Argobooks, Fuse magazine, Peter Lang Publishing, Palgrave Macmillan, Maska, Založba ZRC SAZU, Seismopolite Journal for Art and Politics, AM Journal of Art and Media Studies, Pavilion in drugi. Najpomembnešja izvedena javna predavanja: Transmediale, Central European University, Akademija za likovno umetnost, ZRC SAZU, Alma Mater Europeae – Institutum Studiorum Humanitatis, Društvo Humanistov Nova Gorica. V preteklih letih je sodeloval in organiziral številne simpozije in predavanja: Zakon kapitala: Zgodovine zatiranja, Re-articulating the Scenarios of Environmental Catastrophe, Umetnost in estetika v posttranzicijskih razmerah, Suverenost, migranti in kultura, Transmediale, Central European University, Akademija za likovno umetnost, ZRC SAZU, Alma Mater Europeae – Institutum Studiorum Humanitatis, Društvo Humanistov Nova Gorica in drugi. Raziskovalna polja: politična ekonomija, dekolonialne in postkolonialne študije, kulturne in vizualne študije.

* * * Assoc. prof. dr. Sebastjan Leban is a theoretician and researcher. He works in the field of theory and art. During the years 2007-2011 was the editor in chief of the platform and journal Reartikulacija. Has texts published in major national and international publications in the field of art and theory: E-flux magazine, Camera Austria, Identities Journal, Argobooks, Fuse magazine, Peter Lang Publishing, Palgrave Macmillan, Maska, Založba ZRC SAZU, Seismopolite Journal for Art and Politics, AM Journal of Art and Media Studies, Pavilion and others. Most relevant public lectures: Transmediale, Central European University, Akademija za likovno umetnost, ZRC SAZU, Alma Mater Europeae – Institutum Studiorum Humanitatis, Društvo Humanistov Nova Gorica. During the past years he organized and participated in numerous symposiums and lectures: Zgodovine zatiranja, Re-articulating the Scenarios of Environmental Catastrophe, Umetnost in estetika v posttranzicijskih razmerah, Suverenost, migranti in kultura, Transmediale, Central European University, Akademija za likovno umetnost, ZRC SAZU, Alma Mater Europeae – Institutum Studiorum Humanitatis, Društvo Humanistov Nova Gorica and others. Research fields: political economy, decolonial and postcolonial studies, cultural and visual studies.

Izbrani znanstveni članki:

LEBAN, Sebastjan. Art in residency : precarity or opportunity?. Seismopolite : Journal of Art and

Politics, ISSN 1894-5449, 2018, iss. 18/19. https://www.seismopolite.com/art-in-residency- precarity-or-opportunity. [COBISS.SI-ID 513733762]

LEBAN, Sebastjan. The construction of the other : (re)producing bare life. AM, ISSN 2406-1654, Oct. 2017, iss. 14, str. 69-79. https://fmkjournals.fmk.edu.rs/index.php/AM/article/view/200, doi: 10.25038/am.vOi14.200. [COBISS.SI-ID 513733250]

MCLAREN, Peter, LEBAN, Sebastjan. Revolutionary Critical Pedagogy : A Conversation With Peter McLaren. V: MCLAREN, Peter. Pedagogy of insurrection : from resurrection to revolution, (Education and Struggle, vol. 6). New York: Peter Lang. 2015, str. 225-255. [COBISS.SI-ID 3671924]

LEBAN, Sebastjan. Paradigma svobode : reprodukcija kapitala in demokracije. V: GRŽINIĆ, Marina (ur.), et al. Politika, estetika in demokracija. 1. natis. Ljubljana: Založba ZRC, ZRC SAZU. 2015, str. 7-20. [COBISS.SI-ID 39217965]

Selected scientific articles:

LEBAN, Sebastjan. Art in residency : precarity or opportunity?. Seismopolite : Journal of Art and Politics, ISSN 1894-5449, 2018, iss. 18/19. https://www.seismopolite.com/art-in-residency- precarity-or-opportunity. [COBISS.SI-ID 513733762]

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Zgodovina gledališča 1 Course title: History of Theatre 1

Študijski program in Letnik Študijska smer Semester stopnja Academic Study field Semester Study programme and level year Vizualne umetnosti 1. Konceptualizacija prostora / 1 1,2; stopnja Likovna umetnost Visual arts level 1 ( L4) FA/CS 1 1,2;

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course T 12 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 50 10 10 50 4

Nosilec predmeta / Doc. Željko Hrs Lecturer:

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti:

• Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam is minimum • Pogoj za pristop k izpitu je minimalno 80% attendance at lectures. 80% prisotnost na predavanjih.

Vsebina: Content (Syllabus outline):

Učna enota predstavlja in raziskuje zgodovino This Unit introduces and explores the histories gledališča z medkulturnega vidika, ki preučuje of theatre from an intercultural perspective, ključna obdobja in gibanja skozi teorijo in examining key periods, movements, theorists prakso skozi prostor in čas. and practitioners over time and space. The Koncept učne enote Zgodovina gledališča 1 je concept of the unit History of Theater 1 is to skozi sodoben okvir razmišljanja predstaviti introduced trough a contemporary thinking vlogo in pomen gledališča, s posebnim perspetcive the role and meaning of theater with povdarkom na dvajsetem in enaindvajsetem special focuse on the 20th and 21st century. stoletju. Razumevanje današnjega post- The understanding of today’s theatre, post modernega, interkulturalnega in modern, intercultural and globalised is therefore globaliziranega gledališča, kot izraza številnih, understood as an expression of many complex kompleksnih vplivov, je ključ na podlagi influences and represents a key in the student's katerega lahko študent razvija kritičen diskurz. capabilities in the developing of critical discourse.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura / Required Readings:

• Brook, P. 1971. Prazen prostor. Ljubljana: Knjižnica MGL. • Brook, P. 1968. Empty Space. London: Penguin. • Artaud, A. 1994. Gledališče in njegov dvojnik. Ljubljana: Knjižnica MGL. • Artaud, A. 1970. Theatre and its Double. London: Calder. • Grotowski, J. 1973. Revno gledališče. Ljubljana: Knjižnica MGL. • Grotowski, J. 1976. Towards a Poor Theatre. London: Methuen. • Zarrilli, P.B., McConachie B., Williams G.J. and Sorgenfrei C.F. 2006/2007. Theatre histories, An Introduction. New York/ London: Routledge. • Pronco, L.C. 1967. Theater East & West. Los Angeles: University of California Press. • Brockett, O.G.1991. History of the Theatre 6th.ed. Austin: University of Texas.

Priporočena literatura / Recommended Readings:

• Greenblatt, S. 2005. Will in the World. London: Pimlico. • Miočinović, M. 1976. Surovo pozorište. Beograd: Prosveta. • Otto, W.F. 1965. Dionysus – Myth and Cult. Bloomington: Indiana University Press, • Barba, E., Savarese, N. 1991. Dictionary of Theatre Anthropology. London/New York: Routlege.

Cilji in kompetence: Objectives and competences: • Študentje so poučeni o osnovnih • Students are getting knowledge about konceptih in razumevanju zgodovine the basic concepts and understanding of gledališča. the history of theater. • Opremiti študente s potrebnim znanjem • Equip students with the research and za raziskovanja in analizo obranavanih study skills of the analyzed topics. tematik. • The ability to analyse and discuss the • Zmožnost analize in informirane relationship between written and razprave o odnosu med pisnimi in performed texts. izvajanimi besedili. • Understanding the relation between • Razumevanje povezave med scenography, ritual, genres, texts and scenografijo, obredi, žanri, besedili in spectators.

gledalci.

Predvideni študijski rezultati: Intended learning outcomes: Znanje in razumevanje: Knowledge and understanding:

Po uspešnem zaključku učne enote bo On successful completion of this unit, študent sposoben : students will be able to demonstrate:

• Poznavanja in razumevanja različnih • Knowing and understanding of the obdobji zgodovine gledališča. various periods in the history of theater. • Razumevanja odnosa med gledališčem in • Understand the relationship between drugimi oblikami umetnosti. theatre and other art forms. • Odkrivanja in uporabe zgodovinskih in • Identify and use historical and teoretičnih virov za razlago gledališča. theoretical sources to explain theatre. • Individualnega razumevanja zgodovine • An individual understanding of the gledališča. history of theatre.

Metode poučevanja in učenja: Learning and teaching methods: • Predavanja • Lectures • Seminar • Seminar • Pisni izpit • Written Exam • Predstavitve • Presentation • Vizualni material • Visual materials • Obiski gledaliških predstav • Theatre visits

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Seminar, pisni in ustni izpit. Seminar, written and oral exam.

• Written exam 100% • Pisni izpit 100%

Reference nosilca / Lecturer's references:

Željko Hrs: igralec, dramaturg, stalni član ansambla SMG, gostujoči predavatelj na Goldsmiths, University of London, predavatelj na AVA, Akademiji vizualnih umetnosti, Ljubljana. - rojen leta 1957 - leta 1981 absolviral AGRFT v Ljubljani in se zaposlil v SMG, Ljubljana - diplomiral leta 1992 iz dramske igre na AGRFT Ljubljana - bil dramaturg v več predstavah SMG in Betontanca - od leta 2008 gostujoči profesor na MA Performance making na Goldsmiths, University of London - od leta 2008 predavatelj zgodovine gledališča na AVA (Akademija vizualnih umetnosti) Ljubljana

Leta 1993 sem sodeloval pri mednarodnem projektu Sarajevo, ki ga je po besedilu Gorana Stefanovskega zrežiral Slobodan Unkovski in ki je bil predstavljen v Antwerpnu, kulturni prestolnici Evrope 1993, na mednarodnem festivalu LIFT v Londonu, festivalih v Hamburgu, Kobenhavnu, Stockholmu in več švedskih mestih. Leta 2013 sem sodeloval pri projektu Osvajanje sreče v režiji Harisa Pašovića v koprodukciji Prime Cut Productions iz Belfasta, East West iz Sarajeva in SMG Ljubljana. Kot dramaturg sem delal v predstavah Hiša Bernarde Alba (SMG, 2000), Peter Pan SMG in Lutkovno gledališče Ljubljana, 2001), Soba srečanj Zavod Bunker in SMG in Centre Choreographique National de Rennes et de Bretagne, 2002), Wresting Dostoievsky Zavod Bunker, Betontanc, 2004, Lulubaj (SMG, 2004), Kitov trebuh SMG in Teatro Petra Bogota in Iberoameriški gledališki festival Bogota, 2006), vse v režiji Matjaža Pograjca ter Don Juan.kdo? (SMG in The Athletes of the Heart, London, 2007) v režiji Anne Furse). Hiša Bernarde Alba je bila v dnevniku Nuevo Herald proglašena za "najbolj vznemirljivo predstavo leta 2003, popoln spektakel in najbolj inovativno predstavo" Mednarodnega festivala hispanskega gledališča v Miamiju, ZDA. Predstava Kdo se boji Tennesseeja Williamsa je dobila nagrado Villanueva za najboljšo tujo predstavo leta 2004 na Kubi. Gostovala je v Čilu, Argentini, Urugvaju, Paragvaju, Dominikanski republiki in Kubi v Latinski Ameriki in Italiji, Hrvaški in Makedoniji. Sem soavtor gledaliških tekstov Kdo se boji Tennesseeja Williamsa (SMG 1999) in Don Juan.kdo? (SMG in Athletes of the Heart 2007); Tekst Don Juan.kdo? je bil objavljen (tudi v slovenščini) v antologiji Theatre in Pieces pri založbi Methuen v Londonu 2011 (ISBN: 978 1 408 13996 7). Predstava Don Juan.kdo? je gostovala v Londonu leta 2007 (Shunt Vaults) in 2008 na festivalu FeEast, Riverside Studios.

Zeljko Hrs: actor, dramaturg, permanent member of SMG ensemble, visiting lecturer at Goldsmiths, University of London, lecturer at AVA, Academy of Visual Arts, Ljubljana. - born 1957 - l981 finished Academy AGRFT in Ljubljana and got employed in SMG theatre, Ljubljana - graduated in1992 on acting at AGRFT Ljubljana - was dramaturg at several performances SMG Theatre and Betontanc Theatre - from 2008 visiting Lecturer on MA Performance making at Goldsmiths, University of London - from 2008 lecturer of Histories of Theatre at AVA Academy of Visual Arts, Ljubljana

* * *

In 1993 participated as actor in international project Sarajevo, written by Goran Stefanovski and directed by Slobodan Unkovski; Sarajevo opened Antwerpen as a European Cultural Capital 1993

16 and attended international theatre festival LIFT in London, festivals in Hamburg, Kobenhavn, Stockholm and several Swedish cities. In 2013 participted as actor in international project The Conquest of Happiness directed by Haris Pašović; coproduction of Prime Cut Productions from Belfast, East West from Sarajevo and SMG Ljubljana. As dramaturg worked on performances Hiša Bernarde Alba (The House of Bernarda Alba) (SMG, 2000), Peter Pan (SMG and Lutkovno gledališče Ljubljana, 2001), Soba srečanj (Maison des rendez-vous) (Zavod Bunker and SMG and Centre Choreographique National de Rennes et de Bretagne, 2002), Wresting Dostoievsky (Zavod Bunker, Betontanc, 2004), Lulubaj (SMG, 2004), Kitov trebuh (El vientre de la ballena) (SMG and Teatro Petra Bogota and Iberoamerican Theatre Festival Bogota, 2006), all directed by Matjaž Pograjc and Don Juan.kdo? (Don Juan.Who?)(SMG and The Athletes of the Heart, London, 2007) directed by Anne Furse). Hiša Bernarde Alba (The House of Bernarda Alba) was proclamed by Nuevo Herald as "the most thrilling performance of the year 2003, absolute spectacle and the most innovative performance" of International Festival of Hispanic Theatre in Miami, USA. Performance Kdo se boji Tennesseeja Williamsa (Who is Afraid of Tennessee Williams) got award Villanueva for best foreign show of the year 2004 in Cuba. It toured in Chile, Argentina, Uruguay, Paraguay, Dominican Republic in Latin America and Italy, Croatia and Macedonia. I am co-author of theatre plays Kdo se boji Tennesseeja Williamsa (Who is Afraid of Tennessee Williams) (SMG 1999) and Don Juan.kdo? (Don Juan.Who?) (SMG and Athletes of the Heart 2007); Theatre play Don Juan.kdo? was published (also in Slovenian) in anthology Theatre in Pieces by editing house Methuen, London, 2011 (ISBN: 978 1 408 13996 7). Performance Don Juan.kdo? toured in Londonu 2007 (Shunt Vaults) and 2008 on festival FeEast, Riverside Studios. From 2008 I am Visiting Lecturer on MA Performance Making at Goldsmiths, University of London.

UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Zgodovina filozofskih idej 1 Course title: History of philosophical ideas 1

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course T 13 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 50 10 10 50 4

Nosilec predmeta / Doc. dr. Gregor Kroupa Lecturer:

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti:

Vsebina: Content (Syllabus outline):

Učna enota predstavlja osrednje filozofske In this course, students are introduced to koncepte skozi zgodovinski kontekst. some of the central philosophical concepts Predavanja in seminarji niso postavljeni through their historical contexts. Lectures kronološko, temveč vključujejo študente v and seminar readings are intended not to sistematično raziskavo in razumevanje cover the history of philosophy problemov skozi analize in kritično chronologically, but rather to engage refleksijo. students in systematic understanding of a 1) Uvod v filozofijo problem, its analysis and critical evaluation. 2) Platonova votlina 1) Introduction to Philosophy 3) Berkeleyjeva teorija vizualnosti 2) Plato's cave 4) Lockovo pojmovanje osebne 3) Berkeley's theory of vision identitete 4) Locke on personal identity 5) Čas in prostor pri Newtonu, 5) Space and time in Newton, Leibniz, Leibnizu, Kantu in Bergsonu Kant and Bergson 6) Filozofsko ozadje problema umetne 6) The philosophical background of the inteligence problem of artificial intelligence 7) Utilitarizem 7) Utilitarianism 8) Problem svobodne volje 8) The problem of free will 9) Eksistencializem 9) Existentialism

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literature / Required Readings: • Platon, 2004. Država (7. poglavje). In: Zbrana dela, Celje: Mohorjeva družba. • Descartes, René, 1988. Meditacije o prvi filozofiji. Ljubljana: Slovenska matica. • Kant, Immanuel, 2020. Kritika čistega uma (Poglavje I.II.ii.2.2: “Antinomija čistega uma”). Ljubljana: Analecta.

Priporočena literatura / Recommeneded Readings : • Berkeley, G., 1910. A New Theory of Vision and Other Select Philosophical Writings (izbrana poglavja). A. D. Lindsay, ed., London, New York: Dent, Dutton. • Hofstadter, D.R. & Dennett, D.C., ur., 1990. Oko duha: fantazije in refleksije o jazu in duši, Ljubljana: Mladinska knjiga. • Locke, J., 1975. An essay concerning human understanding (poglavje “On Personal Identity”). P. H. Nidditch, ed., Oxford: Clarendon Press.

Cilji in kompetence: Objectives and competences:

• Študenti so poučeni o specifični • Students learn about the specific terminologiji in osnovnih konceptih terminology and the fundamental zgodovine filozofske misli. concepts of the history of philosophy. • Študente so uvedeni v filozofski • Students are introduced to the način razmišljanja in postavljanja philosophical way of thinking and posing vprašanj ter znajo razlikovati med questions; they learn to distinguish filozofsko in znanstveno, historično, between the philosophical and scientific, politično obravnavo določenega historical, or political analysis of a problema. particular issue. • Po zaključku Učne enote so • After completion, students are able to študenti sposobni povzeti bistvo summarize the essence of a particular določenega problema ter na problem and to present, in general splošno predstaviti njegove možne terms, its possible solutions and their rešitve ter njihove prednosti in pitfalls and prospects. slabosti. • Students achieve basic competence of • Študenti si pridobijo kompetenco reading and analyzing philosophical osnovnega samostojnega branja in texts on their own. analize filozofskega besedila.

Predvideni študijski rezultati: Intended learning outcomes: Znanje in razumevanje: Knowledge and understanding: Po uspešnem zaključku učne enote bo On successful completion of this unit, študent sposoben : students will be able to demonstrate:

• razumeti in smiselno uporabljati • the understanding and meaningful use of osnovno filozofsko terminologijo; basic philosophical terms; • argumetirati svoja stališča v • his/her view of a particular philosophical diskusiji o filozofskem problemu; issue and to argue in its support; • razpravljati o temah, ki so bile • the ability to discuss the topics from the obravnavane na predavanjih lectures and seminars (the problem of (problem Platonove votline, Plato’s cave, empiricist theory of empiristična teorije zaznave, teorije perception, theories of space and time in časa in prostora v zgodovini the history of philosophy, crucial lines of filozofije, ključni argumenti thought in Descartes’s philosophy, etc.) Descartesove filozofije, idr.)

Metode poučevanja in učenja: Learning and teaching methods:

• Predavanja • Lectures • Branja • Readings • Razprava • Discussion • Pisni izpit • Written exam • Predstavitve • Presentation

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Pisni izpit, aktivna prisotnost na Written exam, presence and predavanjih commitment in class

• Pisni izpit: 75% • Written exam: 75% • ocena celoletne aktivnosti na • Assessment of commitment predavanjih: 25% in class: 25%

Reference nosilca / Lecturer's references: Gregor Kroupa, rojen 1. 9. 1977 v Ljubljani. V letih 1986-2004 živel v Pragi, kjer je končal študij filozofije. Od leta 2004 živi v Ljubljani. Ukvarja se z zgodovino filozofije, še zlasti novoveške in filozofije razsvetljenstva (1600-1800). Na tem področju je aktiven kot predavatelj, avtor znanstvenih besedil, urednik in prevajalec. Objavil je več znanstvenih člankov s področja novoveške in razsvetljenske filozofije v recenziranih revijah, se s prispevki udeležil konferenc v Izoli, Dubrovniku, Berlinu, Nikoziji, Beogradu, Aberdeenu idr. Kot urednik, prevajalec ali pisec spremnih študij je sodeloval pri pomembnih slovenskih prevodih klasičnih del Renéja Descartesa, Adama Smitha, Denisa Diderota, Jeana d'Alemberta, barona d'Holbacha in Jeremyja Benthama. Leta 2009 je uspešno zagovarjal doktorat pod mentorstvom red. prof. Mirana Božoviča na Oddelku za filozofijo na Filozofski fakulteti Univerze v Ljubljani. Razširjeno različico doktorskega dela je leta 2011 izdal pri ugledni založbi Studia Humanitatis pod naslovom Podobno v nepodobnem: o metafori v novoveški filozofiji. V letih 2008-14 je bil na Filozofski fakulteti UL zaposlen najprej kot mladi raziskovalec, nato pa še na dveh temeljnih raziskovalnih projektih.

Najpomembnejše publikacije v zadnjih treh letih:

Recenzirani članki in poglavja v publikacijah: Kroupa, Gregor. “Concordet : vednost, družba in zgodovina (spremna študija).” In Nicolas de Condorcet: Očrt zgodovinske slike napredka človeškega duha. Ljubljana: Studia Humanitatis, 2016. Kroupa, Gregor. “Leibniz’s Linguistic Realism.” In New Realism and Contemporary Philosophy, edited by Gregor Kroupa and Jure Simoniti. London: Bloomsbury, 2020. ———. “Realizem Leibnizeve Univerzalne Karakteristike.” Filozofski Vestnik 39, no. 1 (2018): 157–74.

Urednik mednarodne monografije: Kroupa, Gregor, and Jure Simoniti, eds. New Realism and Contemporary Philosophy. London: Bloomsbury, 2020.

Drugo: Slaček, Nina. “Je razsvetljenski projekt propadel?” (intervju z Gregorjem Kroupo) Glasovi svetov. Radio Slovenija, Tretji program (Program Ars), June 1, 2017. http://4d.rtvslo.si/arhiv/glasovi- svetov/174474727.

* * *

Gregor Kroupa, born September 1st, 1977 in Ljubljana, Slovenia. From 1986 until 2004 he had lived in Prague, Czech Republic, where he had obtained hi M.A. in Philosophy. Since 2004 he has lived in Ljubljana. His area of expertise is history of philosophy, especially Early Modern and philosophy of Enlightenment (ca. 1600-1800). Hi is active as a lecturer, author of articles, editor and translator. He has published several articles in the field of early modern and enlightenment philosophy in peer-reviewed journals. He has presented conference papers in Izola, Dubrovnik, Berlin, Nicosia, Belgrade and Aberdeen. As an editor, translator or author of introductory studies he has participated in publishing important Slovenian translations of classical texts by René Descartes, Adam Smith, Denis Diderot, Jean d'Alembert, baron d'Holbach and Jeremy Bentham. In 2009, he successfully defended his doctoral thesis under the supervision of professor Miran Božovič, PhD. at the Department of Philosophy, Faculty of Arts (University of Ljubljana). A revised and expanded version of this thesis was published in 2011 with a prestigious press Studia Humanitatis (under the title: The Similar in the Dissimilar: on Metaphor in Early modern Philosophy). Since 2008 he has been employed at the Faculty of Arts, University of Ljubljana, first as junior research fellow, and as a researcher on two basic research projects.

Key publications in the last three years:

Peer-reviewed articles and book chapters: Kroupa, Gregor. “Concordet : vednost, družba in zgodovina (spremna študija).” In Nicolas de Condorcet: Očrt zgodovinske slike napredka človeškega duha. Ljubljana: Studia Humanitatis, 2016. Kroupa, Gregor. “Leibniz’s Linguistic Realism.” In New Realism and Contemporary Philosophy, edited by Gregor Kroupa and Jure Simoniti. London: Bloomsbury, 2020. ———. “Realizem Leibnizeve Univerzalne Karakteristike.” Filozofski Vestnik 39, no. 1 (2018): 157–74.

Editor of an international collection: Kroupa, Gregor, and Jure Simoniti, eds. New Realism and Contemporary Philosophy. London: Bloomsbury, 2020.

Other: Slaček, Nina. “Je razsvetljenski projekt propadel?” (interview with Gregor Kroupa) Glasovi svetov. Radio Slovenija, Tretji program (Program Ars), June 1, 2017. http://4d.rtvslo.si/arhiv/glasovi- svetov/174474727.

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Teorija fotografije Course title: Theory of Photography

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course T 15 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 20 20 20 10 50 4

Nosilec predmeta / Doc. Aleksandra Vajd Lecturer:

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam/crit is • Pogoj za pristop k izpitu je minimalno minimum 80% attendance at lectures. 80 % prisotnost na predavanjih.

Vsebina: Content (Syllabus outline): Učna enota je zasnovana kot povezava med This Unit is designed to interrelate the theory teorijo in prakso fotografije. Fotografija igra and practice of Photography. Photography plays pomembno vlogo v sodobni umetniški praksi. a crucial role in contemporary art practice. Povdarjeno je razumevanje fotografije kot Special consideration is given to the medija, ki nima točno določene identitete, kar understanding of photography as a medium with daje strukturo in širino mediju; ne na estetski no fixed identity. This gives photography a čistosti pač pa mnogoterosti retoričnih oblik unique strucutre and range as a medium not uporabljenih za kreacijo dejstev, fikcije in based on aesthetical purity but on a multiplicity domišlije. Učna enota obravnava fotografijo kot of rhetorical forms used for the creation of facts, medij zapisovanja in spreminjanja prostora, fiction and fantasy. The unit presents časa in diskurza. photography as a medium of recording and transforming of time, space and discourse.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura / Required Readings:

• Bartes Roland., 1981. Camera Lucida: Reflection on Photography, Hill and Wang. • Benjamin Walter, A short History of Photography http://screen.oxfordjournals.org/cgi/reprint/13/1/5.pdf • Sontag Susan., 1977. On Photography, New York: Farrar, Straus and Giroux. • Sontag Susan., 2003. Regarding the Pain of Others, Penguin. • Flusser William., 2000. Towards a Philosophy of Photography, Reaction Books.

Cilji in kompetence: Objectives and competences: • Študentje so poučeni o osnovnih konceptih • Students are aknowledge with the basic in razumevanju teorije fotografije. concepts and understanding of the theory of • Opremiti študente s potrebnim znanjem za photography. raziskovanja in analizo obranavanih • Equip students with the research and study tematik. skills of the analysed topics. • Kritičen, refleksiven in domiselen angažma • Critical, reflective and imaginative v mediju fotografije v odnosu do številnih engagement within the photographic kulturnih praks. medium in relation to its many cultural • Razumevanje individualne prakse practices. fotografije v korelaciji z drugimi • Indicate an understanding of the individual relevantnimi medijskimi oblikami in practice of photography in relation to other konteksti produkcije in uporabe . relevant media forms and contexts of production and consumption.

Predvideni študijski rezultati: Intended learning outcomes: Znanje in razumevanje: Knowledge and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to demonstrate:

• Konceptualnega in kritičnega razmišlja • Conceptual and critical thinking of o fotografiji. photography. • Identifikacije načinov za ustvarjanje • Identify ways of generating creative kreativnih impulzov, pri opredelitvi impulses in defining the photographic fotografskega medija. medium. • Različnih pristopov pri obravnavi fotografije v relaciji do umetniške • Different approaches in addressing produkcije in družbe. photography in relation to art production and society.

Metode poučevanja in učenja: Learning and teaching methods: • Predavanja • Lectures • Seminar • Seminar • Predstavitve • Demonstrations • Projekcije • Screenings • Individualne in skupinske vaje • Individual and group tutorials • Pisniizpit • Written exam • Neodvisna ateljejska praksa in • Independent studio practice and raziskave research • Samoevalvacija • Self evaluation Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Seminar, pisni in ustni izpit, praktično Seminar, written and oral exam, practical delo. work.

• Seminar in praktično delo 20% • Seminar and practical work • Ustni predstavitev 20% 20% • Pisni izpit 60% • Oral presentation 20% • Written Exam 60%

Reference nosilca / Lecturer's references: Aleksandra Vajd je študirala fotografijo na FAMU v Pragi, kjer je tudi magistrirala. Obenem je diplomantka Fakultete za veterinarsko medicino v Ljubljani, Slovenija. Od leta 2004 do 2006 je prejela Fulbrightovo štipendijo za študij fotografije na SUNY, New Paltz, NY. Njena dela so bila razstavljena po Evropi (Futura in Josef Sudek Atelier v Pragi, Moderna galerija, Mestni muzej in Mestna galerija v Ljubljani) in ZDA (Bard College, Samuel Dorsky Museum v New Paltz, Češka Center v New Yorku, Muzej sodobne fotografije v Chicagu). Prejela je številne štipendije in nagrade, med njimi: Leta 2000 Zlata ptica, leta 2002 Vordemberge-Gildewart, Švicarske fundacije

– Štipendija za mlade talente; 2005 Delovne štipendije Ministrstva za kulturo Republike Slovenije, leta 2005 prvo nagrado Frame005 Award, Brno, Češka Republika, 2006 Nominacija za Deutsche Börse Award, London, Velika Britanija, leta 2006 je bila finalistka nagrade skupine OHO, Ljubljana, Slovenija.Vajdova je ena od ustanoviteljic društva Format1 in sourednica revije Fotograf v Pragi. Poučevala je na Akademiji za likovno umetnost in oblikovanje v Ljubljani in na Akademiji za umetnost, arhitekturo in oblikovanje v Pragi, kjer poučuje še danes.

* * * Aleksandra Vajd holds a BA and an MA in photography from FAMU in Prague as well as a degree from the Faculty of Veterinary Medicine in Ljubljana, Slovenia. From 2004 to 2006, she received a Fulbright Scholarship to study photography at SUNY, New Paltz, NY. Her work has appeared in numerous exhibitions in Europe (Futura and Josef Sudek Atelier in Prague; Modern Gallery, City Museum and City Gallery in Ljubljana) and the United States (Bard College, Samuel Dorsky Museum in New Paltz; Czech Center in NYC; and Museum of Contemporary Photography in Chicago). She received numerous grants and awards, among them: the 2000 Golden Bird; the 2002 Vordemberge-Gildewart Swiss Foundation – Grant for the young talents; the 2005 Working Scholarship of the Ministry of Culture of Republic of Slovenia; the 2005 First Prize of the Frame005 Award, Brno, Czech Repubic; the 2006 Nomination for Deutsche Borse Photographic Award, London, Great Britain; and the 2006 Finalist of the OHO Group Award, Ljubljana, Slovenia. She is one of the founders of the association Format1 and a co-editor of the magazine Fotograf in Prague. She has taught at the Academy of Arts in Ljubljana and at the Academy of Arts, Architecture and Design in Prague where she teaches today.

UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Kontekstualno in objektivno risanje 1 Course title: Contextual and Objective Drawing 1

Vrsta predmeta / Course type Obvezni/mandatory

Univerzitetna koda predmeta / University course P10 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 10 70 10 30 4

Nosilec predmeta / Doc. Andrej Savski Lecturer:

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam/crit is • Pogoj za pristop k izpitu/kritiki je minimum 80% attendance . minimalno 80 % prisotnost .

Vsebina: Content (Syllabus outline): Učna enota se osredinja na razvoj veščin This unit focuses on the development of the opazovanja in prenosa vidnega prostora v skills of observing and transmitting the visible vizualni. Študentje tekom enote razvijejo tako space into a visual. During the course students veščino risbe kot kreativne odzive na develop both, the skills of drawing and creative zastavljene naloge in probleme. responses to the tasks and problems that have Enota vzporedno s praktičnimi nalogami been set to them. seznani študente z vrsto pristopov, ki se In a parallel with practical tasks, the unit nanašajo na risbo in njeno rabo. Študentje se introduces students to a number of approaches tako seznanijo z anatomijo človeka, linearno that relate to the drawing and its use. Students perspektivo (eno, dvo in trobežiščno), s get acquainted with the human anatomy, linear prostorskimi/globinskimi ključi, proporci, perspective (one, two, and three-point), with možnostmi kompozicije, senčenjem, s tonsko spatial/depth keys, proportions, composition risbo, izraznostjo črte itd. Kritika, korekture in options, shading, tone drawing, with the diskusije o umetnostno-zgodovinskih in possibilities of the line expression, etc. Criticism, sodobnejših pristopih v risbi so integrirane v corrections and discussions on historical and sam procesa dela. contemporary artistic approaches in drawing are integrated into the process itself. Ker je namen učne enote razviti razumevanje risbe kot primarnega raziskovalnega elementa Since the purpose of the learning unit is to za kasnejšo večpomensko rabo, delež develop an understanding of the drawing as a praktičnih nalog postopno uvaja povezavo tudi primary research element for subsequent z ostalimi sočasno izvajanimi praktičnimi multipurpose use, this unit gradually introduces učnimi enotami, kot so Slikarstvo, Fotomedia, the linking of specific practical assignments with Koncipiranje prostora, Skulptura, Mešani other learning units such as Painting, mediji, Video/Film. Photomedia, Set design, Sculpture, Mix media, Video/Film. Predhodno znanje ni potrebno. No prior knowledge is required.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura / Required Readings:

• Gottfried, B., 2017. The Complete Guide to Anatomy for Artists and Illustrators, Tunbridge Wells, United Kingdom: Search Press Ltd. • D'Amelio, J., 2004. Perspective Drawing Handbook. Mineola, NY: Dover Publications, Inc.

Priporočena literatura / Recommended Readings:

• Hockney, D., 2001. Secret Knowledge: rediscovering the lost techniques of the old masters. London: Thames&Hudson. • Kaupelis, R., 1992. Experimental Drawing Techniques. New York: Watson-Guptill Publications • Dexter, E. et al., 2005. Vitamin D: new perspectives in drawing. London, NY: Phaidon.

Cilji in kompetence: Objectives and competences: • Študentje so poučeni o osnovah • Students are aknowledge with the basics of risanja in slikanja. drawing and painting. • Opremiti študente s potrebnim znanjem • Equip students with the research and study za raziskovanja in analizo obranavanih skills of the analysed topics. tematik. • Develop an understanding of drawing as • Razumevanje risbe kot osnovne a core research activity which underpins art raziskovalne dejavnosti, ki podpira and design practice. druge aspekte vizualnega izražanja. • Gain a confidence in making visual • Pridobiti samozupanje pri transpoziciji observations through notation and the motivov skozi skozi temeljne development of other practical methods. raziskovalne aktivnosti, ki podpirajo vizualne prakse.

Predvideni študijski rezultati: Intended learning outcomes: Znanje in razumevanje: Knowledge and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to demonstrate:

• Profesionalnega razumevanje praktične • Professional understanding of the in teoretične uporabe risbe in slike. practical and theoretical usage of drawing • Uporabe konstruktivne kritike skozi and painting. samoevalvacije. • Make use of constructive criticism through • Neodvisnega razvoja celovitih self-evaluation. obzervativnih, interpretativnih in • Independent development of tehničnih znanj in veščin v povezavi z comprehensive observational, risbo in sliko. interpretative and technical skills in • Koherentne verbalne in vizualne relation with drawing and painting. prezentacije (verbalne, pisne, vizualne) • Give a verbal and visual coherent del predavateljem/tutorjem in kolegom. presentation (verbal, written or visual) of your work to your tutors and peer group.

Metode poučevanja in učenja: Learning and teaching methods: • Predstavitve • Demonstrations • Individualne in skupinske vaje • Individual and group tutorials • Neodvisni ateljejska praksa in • Independent studio practice and raziskave research • Skupinska kritika • Group Critiques • Samoevalvacija • Self evaluation

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Kritika in prezentacija. Critic and presentation.

• Izkaz dela in napredka preko • Record of work and development leta 80% during the year 80% • Prezentacija 20% • Presentation 20%

Reference nosilca / Lecturer's references: Andrej Savski (1961, Ljubljana), aktiven na področju sodobne likovne umetnosti, postavitev razstav, občasno deloval kot prevajalec in urednik. V zadnjem desetletju poučuje slikarstvo in sodobno umetnost. Je soustanovitelj in član skupine Irwin (1983) ter soustanovitelj in član Neue Slowenische Kunst (1984). Osnovna koncepta in metodi dela skupine Irwin sta kolektivno delo in retro princip (Was ist Kunst, Retroavantgarda, Ikone, Retroprincip), za njihove projekte je značilna obravnava razmerja med umetnostjo, politiko in ideologijo. Osredotočajo se na dialog med Vzhodom in Zahodom ter vprašanje vzhodnoevropske identitete in zgodovine umetnosti (Kapital, 1990; NSK ambasada Moskva, 1992; Transnacionala, 1996; East Art Map, 2000–06; Paviljon države NSK Benetke, 2017). S skupino Irwin je leta 2004 dobil Jakopičevo nagrado, ter leta 2005 nagrado za vizualno ustvarjalnost revije TREND. Njegova (in skupine Irwin) dela so v kolekcijah Moderne galerije Ljubljana, MOMA New York, MUMOK Dunaj, Ludwig Museum Budimpešta, Ludwig Museum Aachen, Van Abbemuseum Eindhoven, Ujazdovski zamek Varšava, Fonds National des Arts Plastiques Pariz itd.

* * *

Andrej Savski (1961, Ljubljana), works in the field of contemporary art and painting, exhibition set- up, occasionally as a translator and editor. In the past decade he has been teaching painting and contemporary art. He is co-founder and member of the Irwin Group (1983) and co-founder and member of the Neue Slowenische Kunst (1984). The basic concepts and methods of the Irwin Group work are collective work and retro principle (Was ist Kunst, Retroavantgarda, Icons, Retroprincip). Their projects are characterized by the relationship between art, politics and ideology. Their conceptual projects have been focusing on the East-West Dialogue and the issue of Eastern European Identity and Art History (Kapital, 1990; NSK Embassy Moscow, 1992; Transnacionala 1996, East Art Map, 2000-06; NSK State Pavilion Venice, 2017). In 2004 he (with Irwin) received the Jakopič Prize, and in 2005 the TREND Award for Visual Creativity. His works are in the collections of the Moderna galerija Ljubljana, MOMA New York, MUMOK Vienna, Ludwig Museum Budapest, Ludwig Museum Aachen, Van Abbemuseum Eindhoven, Ujazdovsky Castle Warsaw, Fonds National des Arts Plastiques Paris etc

UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Koncipiranje prostora 1 - Film Course title: Concept of space 1 - Film

Študijski program in Letnik Študijska smer Semester stopnja Academic Study field Semester Study programme and level year Vizualne umetnosti 1. Konceptualizacija prostora 1 1 stopnja Visual arts level 1 (L4) Conceptualization of Space 1 1

Vrsta predmeta / Course type Obvezni / Mandatory

Univerzitetna koda predmeta / University course P11/CS code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 5 20 15 80 4

Nosilec predmeta / Doc. Pepi Peter Sekulich Lecturer:

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam/crit is • Pogoj za pristop k izpitu/kritiki je minimum 80% attendance at lectures, minimalno 80 % prisotnost .na presentations and tutorials. predavanjih, prezentacijah in tutorialih.

Vsebina: Content (Syllabus outline):

Cilj učne enote je uvajanje široke palete This unit aims to introduce a broad range of procesov in ključnih idej v polju filmskega processes and key ideas within the field of prostora in časa. Povdarek bazira na Cinema space and time. There is an razvijanju strategij izvedbe, razvoja idej in emphasis on developing strategies for sprejemanju odločitev; raumevanje making, thinking and decision-making; to medsebojnih povezav le-teh ter understand their interconnections and to vzpostavljanje pomena konteksta in establish the importance of context as raziskave v polju individualnih interesov. research interests emerge. The aim is to Cilj je opremiti študente s kontekstualnim, equip students with contextual, conceptual konceptualnim in tehničnim besednjakom z and technical vocabularies by developing, razvojem, pisanjem in ustvarjanjem prostora writing and creating the space (model) for a (modela) za izmišljeni lik, kjer ustvarjajo fictional character where they are making a segment potencialnega filma z atributi segment of a potential film with the attributes filmskega žanra in sloga. Z razumevanjem, of a film genre and style. da je igrani film čista fikcija s sklicevanjem na With understanding, that the feature film is resničnost, cilj študentov, ustvariti čas in pure fiction with the reference to reality thus prostor ae: sam svet, ki samo skozi natančne their aim is to create the time and space ae: asociativne elemente spominja in / ali the world on it’s own, that only resembles posnema dejansko resničnost. and-or mimics the actual reality trough Učna enota s tem omogoča ustrezno precise associative elements. This unit razvijanje strategij artikuliranih skozi izvedbo, provides students with the proper refleksije in skupinske debate. development of strategies articulated through Ključni aspekt učne enote je izbor, writing, making, reflection and group sestavljanje in organiziranje individualne discussion. Key to this unit is the collation 'konstelacije' raziskav. and organisation of individual 'constellation' of research.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literature / Required Readings:

• Haig Khatchadourian., 1987. Space and time in film, British Journal of Aestetics, Vol 27, • Woodbridge, Patricia., 2000. Designer Drafting for the Entertainment World, Focal Press.

Priporočena literature / Recommended Readings:

• Patti Belantoni., 2005. If it’s Purple, Someone’s Gonna die : The Power of Color in Visual storytelling. Focal Press; 4th edition. • Montague, John., 1998. Basic Perspective Drawing 3rd Edition, Wiley. • Neat, David., 2008. Model-Making: Materials and Methods, The Crowood press Ltd. • Ching, Francis D. K., 2007. Architecture: Form, Space, and Order 3rd Edition, Wiley. • Page, Neville., 2006. Concept Design 2, Titan Books Ltd

Cilji in kompetence: Objectives and competences: • Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to demonstrate:

• Poznavanja osnovnih konceptov in • Knowledge of underlying concepts and razprav, povezanih s spreminjajočo debates associated with the changing kulturo narativnih časovnih medijev in culture of narrative based temporal zmožnost vrednotenja in interpretacije media and an ability to evaluate and le-teh v praksi konceptualizacije interpret these within the practice of the prostora. conceptualisation of space. • Razvojnega pristopa v skladu s • A developing approach to research in teorijami in koncepti predmeta. accordance with theories and concepts • Oceniti primernosti procesov in znanj of the subject. pri realizaciji, izboru in prezentaciji • An ability to evaluate the kreativnih namenov. appropriateness of processes and skills • Uporabe refleksije in samoevalvacije in the realisation, selection and kot del učnega procesa. presentation of creative intentions. • Razvoj prenosljivih sposobnosti in • The use of reflection and self-evaluation zaupanje v svojo (edinstveno) as part of the learning process. ustvarjalnost ter razvoja načinov • Developing transferable skills and participacije v sodelovanju z drugimi. confidence in your unique creativity and • Znanje in uporaba praktičnih in the ways in which you can communicate teoretičnih prvin koncipiranja prostora. your contribution in collaboration with others. • Knowledge and use of practical and theoretical elements of the conceptualization of space.

Predvideni študijski rezultati: Intended learning outcomes: Znanje in razumevanje: Knowledge and understanding:

• Poznavanja in razumevanja • Knowing and understanding of the konceptualizacije prostora. conceptualisation of space. • Uporaba konstruktivne kritike in • Make use of constructive criticism zmožnost samoevelvacije through written self-evaluation. • Zmožnost usklajene verbalno-vizualne • Give a verbal and visual coherent predstavitve (ustno, pisno, in vizualno) presentation (verbal, written and visual) • Razumevanje pomembnosti timskega of your work to your tutors and peer dela group. • Samostojno oblikovanje tehničnih • Appreciate the value of teamwork. veščin računalniškega upodabljanja ki • Independent development of a ustreza disciplini in osebnim interesom comprehensive set of IT and technical pri raziskavah. skills appropriate to the discipline and personal research interests.

Metode poučevanja in učenja: Learning and teaching methods: • Predavanja • Lectures • Predstavitve • Presentations • Individualne in skupinske vaje • Individual and group tutorials • Samostojno ateljejsko delo in raziskave • Independent studio practice and • Samoevalvacija research • Self evaluation

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Kritika in prezentacija. Crit and presentation.

• Izkaz dela in napredka v teku • Record of work and development projekta 80% during the project 80% • Prezentacija 20% • Presentation 20%

Reference nosilca / Lecturer's references: Pepi Sekulich je ustanovitelj in iniciator AVA- Akademije za vizualne umetnosti in njenih programov. Diplomiral v Londonu /1992/ – Wimbledon Colege of Art (University of the arts London). Kot gledališki scenograf je sodeloval pri več kot 30-tih gledaliških in plesnih predstavah s številnimi gledališči in skupinami: SNG Drama Ljubljana, Slovensko Mladinsko gledališče, PDG Nova Gorica, Mestno gledališče Ljubljana, Gledališče Ptuj, Koprsko gledališče, Fundacao Serralves Porto, Le Ballet Gent, En Knap… Sekulich je avtor filmskih scenografij za 13 celovečernih filmov in številnih srednje in kratkometražnih filmov kot so : Outsider 1995, Stereotip 1996, Ita Rina 1997, Spleti 1998, Ljubljana 1999, Zvenenje v glavi 2000, Varuh meje 2000, Desperado tonic 2001, Novi svet 2002, Jasnovidka 2003, Reality 2006, Stanje šoka 2011…Je dobitnik številnih nagrad za filmsko scenografijo (2x ‘Vesna’ za najboljšo scenografijo). Režija celovečernega dokumentarno-igranega filma: Vaja za smrt 2007 in številnih video spotov. Je avtor

številnih razstav in umetniških akcij. Poučeval je likovno umetnost in konceptualizacijo prostora na različnih Visokošolskih in umetniških inštitucijah. Od leta 2009 je Dekan, Direktor vodja programov na AVA, ter organizator in producent razstav in video-filmskih del študentov AVA.

* * *

Pepi Sekulich is a founder and the initiator of the Institute A.V.A. – Academy for Visual Arts and it’s programme. He graduated in London / 1992 / – Wimbledon College of Art (University of the Arts London) As a Theatre designer- scenographer participated in more than 30 theatre and dance performances in several theaters and companies such as: SNG Drama Ljubljana, Theatre Mladinsko, PDG, Nova Gorica, Ljubljana City Theatre, Theatre Ptuj, Koper Theatre, Fundacao Serralves Porto, Le ballet Gent, En Knap …Production designer of 12 feature length films and numerous mid metrage and short films as: Outsider 1995, Stereotype 1996, Ita Rina, 1997, Web 1998, Ljubljana 1999, Head noise 2000, Guardian of the Frontier 2000, Desperado Tonic 2001, New World 2002, The Clairvoyant 2003, Reality 2006, State of Shock 2010 …He recieved Three Awards for best Production design. Directed the feature length documentary-drama: A Rehearsal for Death 2007 (National TV) Author of numerous Exhibitions and Artistic Actions. Tought Fine Art and Design for stage and screen at several HE and Art Institutions. Since 2009 works as a AVA Dean, Director and programme leader as well as organiser and producer of Public Exhibitions and student's films and videos.

UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Slikarstvo 1 Course title: Painting 1

Študijski program in Letnik Študijska smer Semester stopnja Academic Study field Semester Study programme and level year Vizualne umetnosti 1. Likovna umetnost 1 1 stopnja Visual arts level 1 ( L4) Fine Art 1 1

Vrsta predmeta / Course type Obvezno / Mandatory

Univerzitetna koda predmeta / University course P11/FA code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 5 20 15 80 4

Nosilec predmeta / Doc. Miran Mohar Lecturer:

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam/crit is • Pogoj za pristop k izpitu/kritiki je minimum 80% attendance at lectures, minimalno 80 % prisotnost .na presentations and tutorials. predavanjih, prezentacijah in tutorialih.

Vsebina: Content (Syllabus outline): Učna enota pričakuje od študentov, da se This unit demands from students to poglobijo v umetniški potencial slikarstva, in da investigate the artistic potential of painting raziščejo kakšna je vloga slikarstva glede na dominacijio digitalnih reprodukcijskih medijev v and to research the role of painting in the današnjem času. Z svojim delom bodo time of today's domination of digital media. poskušali odgvoriti na vprašanje, zakaj danes Through their work they will try to answer slikati. the question of why to paint today. They will Študentje bodo seznanjeni z osnovnimi metodami in koncepti slikarstva v 20. in 21. be acquainted with the basic methods and stoletju, kakor tudi njegovimi posodobitvami concepts of painting in the 20th and 21st (uporaba fotografije kot kreativnega, centuries (including photography as a raziskovalnega orodja). Predstavljene bodo creative and research tool). Different tudi primeri metod različnih sodobnih slikarjev in slikark. Pomemben je razvoj vizualne zavesti methods of painting of contemporary in percepcije, ter sposobnosti interpretacije painters will also be presented to them. lastnih idej in stališč skozi medij sodobnega What is important is the awareness of and slikarstva. ability to analyse and translate observations

and ideas into contemporary painting.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura / Required Readings:

• Myers,Terry., 2001. Painting, MIT Press. • Mayer, Ralph., 1991. The artist’s handbook of Materials and Techniques, Faber and Faber. • Schwabsky, Barry., 2004, Vitamin P / New Perspectives in Painting, An global survey of painting today, featuring 114 contemporary painters, Phaidon Press. • Badovinac, Zdenka., 2002. Ungemalt, Sammlung Essl - Kunst Der Gegenwart. • Kemp, Martin., 2004. The Oxford History of Western Art, Oxford University Press. • Jenko, Marko., 2016. Bogoslav Kalaš : stroj za slikanje : pregledna razstava, Moderna galerija, Ljubljana

Cilji in kompetence: Objectives and competences:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to demonstrate:

• Knowledge of underlying concepts and • Poznavanja osnovnih konceptov in debates associated with the changing razprav, povezanih s spreminjajočo culture of fine art and an ability to kulturo likovne umetnosti in sposobnost evaluate and interpret these within the vrednotenja in razlage skozi slikarske practice of painting. prakse. • Oceniti primernosti procesov in znanj • An ability to evaluate the pri realizaciji, izboru in prezentaciji appropriateness of processes and skills kreativnih namenov. in order to realise, select and present • Uporabe in razumevanja osnovnih your intentions. metod in konceptov znotraj slikarskega • Use and understanding of the basic polja vse od raziskave klasičnih tehnik methods and concepts developed within do poznavanja in uporabe the classical techniques of painting, nasodobnejših tehnologij pri izvedbi along with the latest technologies in use slikarskega dela. when working in the field of painting. • Razvojnega pristopa v skladu s • A developing approach to research in teorijami in koncepti predmeta. accordance with theories and concepts • Uporabe refleksije in samoevalvacije of the subject. kot del učnega procesa. • The use of reflection and self-evaluation • Razvoja prenosljivih sposobnosti in as part of the learning process. zaupanje v svojo (edinstveno) • Developing transferable skills and ustvarjalnost ter razvoja načinov confidence in your unique creativity and komunikacije the ways in which you can communicate your contribution.

Predvideni študijski rezultati: Intended learning outcomes: Znanje in razumevanje: Knowledge and understanding:

• Razumevanje in poznavanje tehnik in • Understanding and knowledge of konceptov v uporabi znotraj sikarskega concepts and techniques in use in the polja. field of painting. • Prikaza pridobljenega znanja. • Demonstration of the acquired • Zmožnost usklajene verbalno-vizualne knowledge. predstavitve (ustno, pisno, in-ali • Give a verbal and visual coherent vizualno). presentation (verbal, written or visual) of • Uporaba konstruktivne kritike in your work to your tutors and peer group. zmožnost samoevalvacije. • Make use of constructive criticism • Samostojno oblikovanje tehničnih through written and or verbal self- veščin slikarstva ki ustreza disciplini in evaluation. osebnim interesom pri raziskavah. • Uporabe refleksije in samoevalvacije • Independent development of a kot del učnega procesa. comprehensive set of technical painting skills appropriate to the discipline and • Razvoja prenosljivih sposobnosti in personal research interests. zaupanje v svojo (edinstveno) ustvarjalnost ter razvoja načinov • The use of reflection and self-evaluation komunikacije in sodelovanja z drugimi. as part of the learning process. • Developing transferable skills and confidence in your unique creativity and

the ways in which you can communicate your contribution in collaboration with others.

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Kritika in prezentacija. Critic and presentation.

• Izkaz dela in napredka preko • Record of work and development leta 80% during the year 80% • Prezentacija 20% • Presentation 20%

Reference nosilca / Lecturer's references: Miran Mohar (rojen v Novem mestu, 6. 4. 1958) slikar, grafični oblikovalec in scenograf. Je član skupine Irwin (1983) ter soustanovitelj in član Neue Slowenische Kunst (1984), ki je 1991 preimenovana v NSK Država v času; 1983–86 soust. Gledališča sester Scipinon Nasice (soavtor in scenograf predstave Krst pod Triglavom, 1986) in 1984 soustanovitelj oblikovalske skupine Novi kolektvizem (soavtor Plakata za Dan mladosti, 1987). Je tudi docent na AVA, Akademiji za vizualne umetnosti, Ljubljana in njen prodekan ter soustanovitelj gibanja Maja Farol za odprto arhitekturo. Je tudi član Evropskega kulturnega parlamenta od leta 2002 ter mentor dvoletnega tečaja za kustose sodobne umetnosti v organizaciji Centra za sodobno umetnost v Ljubljani. Od leta 2017 tudi gostujoči predavatelj na univerzi UBT v Prištini. Skupaj z ostalimi štirimi člani skupine Irwin (Dušan Mandič, Andrej Savski, Roman Uranjek and Borut Vogelnik) je sodeloval na vseh Irwin razstavah in projektih od leta1984 naprej. Tu je nekaj od njih: I’m One Only If I’m many, Christine König Galerie, Vienna, 2019; The Comedy of Being – Art and Humour from Antiquity until Today, Kunsthaus Zug, Zurich, 2018; From Kapital to Capital, Reina Sofia, Madrid, 2017; Planting Seeds, Laznia Centre for Contemporary Art, Gdansk, 2016; From Kapital to Capital, Moderna galerija Ljubljana, 2015; Hans in Luck - Art and Capital, Lehmbruck Museum, Duisburg, 2014; Former West, HKW, Berlin, Art Turning Left, Tate Liverpool, Liverpool, 2013; A Bigger Splash, Tate Modern, London; NSK Passport Office, Museum of Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Centre for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold

War, 2009 / Krems, Kunsthalle Krems, State in Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003

Miran Mohar (born in 1958 in Novo Mesto, Slovenia) is a painter, graphic designer and set designer based in Ljubljana. He is a member of the Irwin artists group (1983) and a co-founder of the Neue Slowenische Kunst art collective (1984), which was renamed in 1991 to NSK State in TIme, the graphic design studio New Collectivism (co-author of the Poster for Youth Day, 1987) and the Scipion Nasice Sisters Theatre (1984) (co-author of the set design of the play Baptism under Triglav, 1986). He is also an assistant professor at AVA, the Academy of Visual Arts, Ljubljana, and its vice-dean, as well as a co-founder of the Maja Farol movement for open architecture. He has also been a member of the European Cultural Parliament since 2002 and a mentor of a two-year course for curators of contemporary art organized by the Center for Contemporary Art in Ljubljana. Since 2017 he is also a guest lecturer at the University of UBT in Pristina. Together with the other four members of the Irwin group (Dušan Mandič, Andrej Savski, Roman Uranjek and Borut Vogelnik), he has participated in all Irwin exhibitions and projects since 1984. Here are some of them: I’m One Only If I’m Many, Christine König Galerie, Vienna, 2019; The Comedy of Being – Art and Humour from Antiquity until Today, Kunsthaus Zug, Zurich, 2018; From Kapital to Capital, Reina Sofia, Madrid, 2017; Planting Seeds, Laznia Centre for Contemporary Art, Gdansk, 2016; From Kapital to Capital, Moderna galerija Ljubljana, 2015; Hans in Luck - Art and Capital, Lehmbruck Museum, Duisburg, 2014; Former West, HKW, Berlin, Art Turning Left, Tate Liverpool, Liverpool, 2013; A Bigger Splash, Tate Modern, London; NSK Passport Office, Museum of Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Centre for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold War, 2009 / Krems, Kunsthalle Krems, State in Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Fotomedia Course title: Photomedia

Študijski program in Letnik Študijska smer Semester stopnja Academic Study field Semester Study programme and level year Vizualne umetnosti 1. Konceptualizacija prostora / 1 2 stopnja Likovna umetnost Visual arts level 1 ( L4) FA/CS 1 1

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course P12 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 5 5 20 10 80 4

Nosilec predmeta / Doc. Jasna Klančišar Lecturer:

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam/crit is • Pogoj za pristop k izpitu/kritiki je minimum 80% attendance at lectures. minimalno 80 % prisotnost na predavanjih.

Vsebina: Content (Syllabus outline): Učna enota raziskuje izpopolnitev This Unit explores the refinement of process obvladovanja procesov v produkcijskih control in the production areas of colour, black območjih barve, črno-bele (analogni procesi) in and white, and digital photography, and on the digitalne fotografije, ter na pridobivanju in acquisition and deployment of appropriate uvajanju ustreznega tehničnega razumevanja technical understanding and skill. The emphasis in spretnosti. Poudarek učne enote temelj na of the unit lies on the importance of production celotnem pomenu produkcijskih vrednot in values and the inter-relationship between the medsebojnih vplivov med idejo, procesom, idea, the process, the image and the viewer. podobo in gledalcem. Vsebina vključuje, Content includes colour printing, colour barvno tiskanje, barvno preglednost, črno-bela transparency, black and white printing tehnika razvijanja (mokra obdelava) in techniques (wet processing) and advanced sodobne digitalne tehnike. digital techniques.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura / Required Readings:

• Schaefer, J. P.,1992. The Ansel Adams Guide: Basic Techniques of Photography – Book 1, New York City: Little, Brown and Co. • Schaefer, J. P., 1992. The Ansel Adams Guide: Basic Techniques of Photography – Book2, New York: Little, Brown and Co.

Priporočena literatura / Recommended Readings:

• Berger, J., Mohr, J., 1982. Another way of telling. New York: Pantheon books. • Hunter, F., Biver, S., Fuqua, P., 2011. Light Science and Magic: An Introduction to Photographic Lighting. Oxford: Focal press. • Hedgecoe, J., 1980. Vse o fotografiji. Ljubljana: Državna založba Slovenije

Cilji in kompetence: Objectives and competences: • Zmožnost odčitave barvne temperature, • Capable of reading the colour transparence in svetlobe. temperature, transparency, and light • Kalibracija polja, nastavitve in kontrola reading. svetlobe. • Calibration, brightness range and • Poznavanje tipov povečevalnikov. development adjustment. • Poznavanje tipov foto aparatov. • Enlarger types. • Poznavanje filtrov, povečav in bliskavic. • Camera types. • Skeniranje, Photoshop, procesiranje. • Filter types, printing and flashing • Metode, strategije, materijali in načini techniques. prezentacije. • Scanning, Photoshop, outputting. • Methods, strategies, materials and types of presentation.

Predvideni študijski rezultati: Intended learning outcomes: Znanje in razumevanje: Knowledge and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to (demonstrate) : • Razumevanje in poznavanje tehnik in konceptov v uporabi znotraj medija • Understanding and knowledge of fotografije. concepts and techniques in use in • Prikaza pridobljenega znanja. medium of photography. • Obvladovanja ustrezne opreme, tehnik, • Demonstration of the acquired metod in procesov ki podpirajo knowledge. individualne strategije pri razvoju del pri • Control of appropriate equipment, kreativnih praksah fotografije. techniques, methods and processes to • Izvedbe koherentnih, kritično support individual picture-making informiranih in urejenih, kompetentno strategies in the development of a body izpeljanih in primerno predstavljenih of work through sustained practice. fotografskih del. • The ability to bring to resolution a body • Uporabe refleksije in samoevalvacije of work, which is coherent, critically kot del učnega procesa. informed and edited, competently • Razvoja prenosljivih sposobnosti in executed and appropriately presented. zaupanje v svojo (edinstveno) • The use of reflection and self-evaluation ustvarjalnost ter razvoja načinov as part of the learning process. komunikacije in sodelovanja z drugimi. • Developing transferable skills and confidence in your unique creativity and the ways in which you can communicate your contribution in collaboration with others.

Metode poučevanja in učenja: Learning and teaching methods:

• Predavanja • Lectures • Demonstracije • Demonstrations • Individualne in skupinske vaje • Individual and group tutorials • Samostojno ateljejsko delo in raziskave • Independent studio practice and research • Predstavitve • Presentation • Samoevalvacija • Self evaluation

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Kritika in prezentacija. Critic and presentation.

• Izkaz dela in napredka preko • Record of work and development leta 80% during the year 80% • Prezentacija 20% • Presentation 20%

Reference nosilca / Lecturer's references: Jasna Klančišar, rojena leta 1973 v Ljubljani, je leta 2002 diplomirala na FAMU Filmova a Televizni Fakulta Akademie Muzickych Umeni v Praze (Film and TV School of the Academy of Performing Arts in Prague) in tam leta 2004 zaključila Magistrski študij na na temo dokumentarne fotografije marginaliziranih skupin, pod mentorstvom Viktorja Kolařa. Od leta 2009 poučuje fotografijo na Akademiji za vizualno umetnost A.V.A. v Ljubljani in Višji strokovni šoli Sežana. Leta 2016 je opravila usposabljanje za pridobitev pedagoško-andragoške izobrazbe na Filozofski fakulteti Univerze v Ljubljani. Od leta 2018 poučuje fotografijo na programu Snovanje vizualnih komunikacij in trženja tudi na GEA College CVŠ. Profesionalno se posveča dokumentarnim projektom, zanimajo jo predvsem teme marginaliziranih skupin. Tako so nastale večje serije kot so Objemi me močno o lezbičnem paru, Vzhodno od zore zahodno od mraka o življenju v samskem domu za ženske, Portreti iz Hrastnika o življenju v malem rudarskem mestu, 30˝ - portreti transspolnih in cisspolno nenormativnih oseb in druge. Umetniško pogosto sodeluje z literati, tako so njene fotografije na številnih knjižnih naslovnicah in vizualnih podobah literarnih festivalov. Uveljavila se je tudi kot reportažna fotografinja. Kot kuratorka je delovala pri mnogih razstavah, festivalih in dogodkih (projekti Nomadinje, Prostori, sledi in sence, Skozi njene oči, Dokumentirana preteklost in drugi). V obdobju med 2012 in 2019 je nudila mentorstva številnim študentom in mlajšim kolegom pri fotografskih projektih, ki so rezultirali v obliki razstav – projekti Tree/Drevo, Niti Vilenice, Ego in fabula, Obrazi parade ponosa in drugi. V letih od 2012 do 2018 je sokoordinirala mnoge kulturno-umetniške festivale, med njimi Lezbično četrt in Dneve raznolikosti ter mednarodni fotografsko-filmski festival SEFF (Sežana foto-film), katerega program so tvorile številne skupinske in samostojne razstave, izobraževanja, delavnice in strokovna predavanja. V okviru festivalov je opravljala tudi vlogo izvajalke nekaterih delavnic, kustosinje in mentorice. * * *

Jasna Klančišar was born in 1973 in Ljubljana, she graduated from the FAMU Film and Television Faculty of the Academy of Music Arts in Prague in 2002 (Film and TV School of the Academy of Performing Arts in Prague) and completed her Master's degree in documentary photography in 2004 with the theme of marginalized groups, under the mentorship of Viktor Kolař. Since 2009, she has been teaching photography at the Academy of Visual Arts A.V.A. in Ljubljana and the Sežana Vocational College. In 2016, she completed training for the acquisition of

43 pedagogical and andragogical education at the Faculty of Arts, University of Ljubljana. Since 2018, he has been teaching photography in the Visual Communications and Marketing Design program at GEA College CVŠ. She dedicates herself professionally to documentary projects and is mainly interested in the topics of marginalized groups. Thus, larger series such as Squeeze me tight about a lesbian couple, East from sun west from the moon about life in a single home for women, Portraits from Hrastnik about life in a small mining town, 30˝ - portraits of transgender and cissexual non-normative people and others were created. She often collaborates artistically with writers, so her photographs are on many books covers and visual images of literary festivals. She also established herself as a reportage photographer. She has worked as a curator at many exhibitions, festivals and events (Nomadinje projects, Spaces, Traces and Shadows, Through Her Eyes, Documented Past and others). In the period between 2012 and 2019, she offered mentorships to many students and younger colleagues in photographic projects, which resulted in the form of exhibitions - projects Tree / Tree, Threads of Vilenica, Ego and Fabula, Faces of the Pride Parade and others. In the years from 2012 to 2018, she co-coordinated many cultural and artistic festivals, including the Lesbian Quarter and Diversity Days and the international photography and film festival SEFF (Sežana photo-film), whose program consisted of numerous group and solo exhibitions, trainings, workshops and professional lectures. As part of the festivals, she also performed the role of performer of some workshops, curator and mentor.

UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Koncipiranje prostora 2 - Gledališče Course title: Koncept of space 2 - Theatre

Študijski program in Letnik Študijska smer Semester stopnja Academic Study field Semester Study programme and level year Vizualne umetnosti 1. Konceptualizacija prostora / 1 1,2 stopnja Likovna umetnost Visual arts level 1 ( L4) FA/CS 1 1,2

Vrsta predmeta / Course type Izbirni/Elective

Univerzitetna koda predmeta / University course P13/CS code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 20 10 45 5 140 8

Nosilec predmeta / Doc. Pepi Peter Sekulich - Doc.David Burrows Lecturer:

Jeziki / Predavanja / Slo/Eng Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam/crit is • Pogoj za pristop k izpitu/kritiki je minimum 80% attendance at lectures, minimalno 80 % prisotnost .na presentations and tutorials. predavanjih, prezentacijah in tutorialih.

Vsebina: Content (Syllabus outline): Učna enota je namenjena seznanjanju This unit equips students with some of the študentov s poglavitnimi veščinami ki se principal design skills needed for scenography. uporabljajo v scenografiji. Projektno delo v The speculative work undertaken in the studio ateljeju vključuje raziskovanje in uporabo involves the exploration of space and character prostora in nosilnih likov v različnih in various performance contexts. Basic research performativnih kontekstih. Osnovne raziskave surveying, 3D modelling techniques (trough a razmerij, 3D modeliranja (skozi izdelavo 1:50 or 1:25 scale model Computer programing makete v razmerju 1:50 ali 1:25 in and CGI) and technical drawing are taught to računalniškega programiranja / oblikovanja) in aid analysis and representation of spatial forms, učenje tehničnega risanja, pripomorejo k rendering and colour. The basic goal of the unit analizi prostorskih oblik, upodabljanja ter is to develop a research in relation to a given določanja barve, tonov in svetlobe. Osnovni cilj text, character analysis and speculative design učne enote je uporaba metodologij raziskave, as to demonstrate the centrality and impact of ki se nanaša na kontekst danega teksta, human presence on stage / performance space. karakterizacije likov skozi kostum, analizo karakterjev in oblikovanje prostora, kakor tudi demonstrirati osrednjo in vplivno vlogo človeške prisotnosti na odru/performativnem prostoru.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura / Required Readings:

• Brook, Peter., 1996. The Empty Space . Simon & Schuster • Grotowski, Jerzy., 1969. Towards a Poor Theatre. Methuen • Pilbrow, Richard., 2008. Stage Lighting Design-The Art ,The Craft, The Life. Nick Hern Books • Vsako leto se določi nov delovni tekst (gledališka igra/libretto) s katerim se razišče izpostavljene osnovne cilje učne enote.

• Each year a new working texts is determined (e.g. play text/libretto) to be the object of the research of the study unit. • Študentom so omogočene individualne konzultacije In tutoriali v slovenskem in-ali angleškem jeziku. • Students are provided with individual consultations and tutorials in English language.

Cilji in kompetence: Objectives and competences: • Zmožnost opredelitve raziskovalnega • Identify sources of research material and materijala in razumevanje možnosti understand their worth and application. uporabe le-tega. • To be able to apply special skills and • Prepoznavanje možnosti aplikacije knowledges in the realization of the različnih specijalističnih veščin in znanj artistic work. za izvedbo umetniškega dela. • Creation of a scale representation of • Izdelava modela prostora v razmerju, performance space; populating it with opremljenega s figurami (1:25). characters (1:25). • Zmožnost analize in predstavitve likov. • Capable of the analysis and • Zmožnost uporabe programov za 3D presentations of the characters. modeliranje in projektiranje (CGI) • Capable to use Computer -3D modeling and design programmes (CGI)

Predvideni študijski rezultati: Intended learning outcomes: Znanje in razumevanje: Knowledge and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to demonstrate:

• Understanding and knowledge of • Razumevanje in poznavanje tehnik in concepts and techniques. konceptov. • Prikaza pridobljenega znanja. • Demonstration of the acquired • Poznavanja osnovnih konceptov in knowledge. razprav, povezanih s spreminjajočo • Knowledge of underlying concepts and kulturo gledališča, filma in televizije in debates associated with the changing zmožnost vrednotenja in interpretacije culture of theatre, film and television and le-teh v praksi koncipiranja prostora (in an ability to evaluate and interpret these časa). within the practice of conceptualisation • Uporabe programov za 3D modeliranje of space (and time). in projektiranje (CGI) • Ability to use Computer -3D modeling • Razvojnega pristopa v skladu s and design programmes (CGI) teorijami in koncepti predmeta. • A developing approach to research in • Oceniti primernosti procesov in znanj accordance with theories and concepts pri realizaciji, izboru in prezentaciji of the unit. kreativnih namenov. • An ability to evaluate the • Uporabe refleksije in samoevalvacije appropriateness of processes and skills kot del učnega procesa. in order to realise, select and present • Razvoja prenosljivih sposobnosti in your intentions.

zaupanje v svojo edinstveno • The use of reflection and self-evaluation ustvarjalnost ter razvoja načinov as part of the learning process. komunikacije in sodelovanja z drugimi. • Developing transferable skills and confidence in your unique creativity and the ways in which you can communicate your contribution in collaboration with others.

Metode poučevanja in učenja: Learning and teaching methods: • Predavanja • Lectures • Individualne in skupinske vaje • Individual and group tutorials • CGI workshop • CGI Workshop • Pisne in ustne povratne informacije • Written and oral feedback • Samostojno ateljejsko delo in raziskave • Independent studio practice and research • Predstavitve • Presentation • Samoevalvacija • Self-evaluation

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Kritika in prezentacija. Crit and presentation.

• Izvedba projekta 60% • Realization of a project 60% • Evidenca razvoja skozi • Evidence of the research through raziskave 20% the development 20% • Samoevalvacija 20% • Self evaluation 20%

Reference nosilca / Lecturer's references: David Burrows je bil sedem let predstojnik Katedre za Gledališče in Film (Theatre School) na Wimbledon College of Art,University of the Arts, London do leta 2009. Njegova kariera v visokošolskem izobraževanju vključuje delo, tako uradnega zunanjega ocenjevalca akademskih programov (External Exsaminer) znotraj britanskega visokošolskega sistema (), kot predmetnega specialista v imenu Britanske agencije za nadzor kvalitete visokošolskih programov (QAA). Vzporedno z akademskim delom, je deloval na področju gledališča kot svobodni umetnik in scenograf, predvsem v Združenem kraljestvu (v regionalnih gledališčih vključno z West Endom), na Cipru, v Nemčiji in v Avstriji. V več kot 30 letni karieri, je sodeloval predvsem z režiseriji kot so

Phil Young, Alkis Kritikos in David Graham-Young. Na AVA deluje od leta 2012, kot predsednik komisije za diplomska dela in vodja učnih enot kreativnih praks. Od leta 2007 je raziskoval življenje in delo vplivnega scenografa in režiserja Richard Negri-ja ter o nejem izdal knjigo (Life and work of Richard Negri , (Blurb - 2013), dostopno na richardnegri.co.uk. Celoten spisek Davidova dela je dosegljiv na www.davidburrows.com

* * *

David Burrows was Head of the Theatre School at Wimbledon College of Art,University of the Arts, London for seven years until 2009. His career in higher education included work as an external examiner and as a subject specialist for subject reviews on behalf of the UK’s Quality Assurance Agency (QAA). In parallel with his work as an academic he has worked as a freelance theatre designer, principally in the UK (including the West End and regional theatres), Cyprus, Germany and Austria, for more than 30 years, mainly in collaboration with directors Phil Young, Alkis Kritikos and David Graham-Young. He has been working at AVA since 2012, as Chairman of the Graduate Pannel and Head of Creative Practice Teaching Units. Since 2007, he has researched the life and work of influential set designer and director Richard Negri and published a book (Life and work of Richard Negri, Blurb - 2013) the outcome of which can be seen at richardnegri.co.uk. A full account of David’s work can be seen at www.davidburrows.com

UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Skulptura Course title: Sculpture

Študijski program in Letnik Študijska smer Semester stopnja Academic Study field Semester Study programme and level year Vizualne umetnosti 1. Konceptualizacija prostora / 1 1,2 stopnja Likovna umetnost Visual arts level 1 ( L4) FA/CS 1 1,2

Vrsta predmeta / Course type Obvezen/Mandatory

Univerzitetna koda predmeta / University course P13/FA code:

Predavanja Seminar Vaje Klinične Druge Samost. ECTS Lectures Seminar Tutorial vaje oblike delo

work študija Individ. work 20 10 45 5 140 8

Nosilec predmeta / Doc. Miran Mohar / Doc.Pepi Peter Sekulich Lecturer:

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam/crit is • Pogoj za pristop k izpitu/kritiki je minimum 80% attendance at lectures, minimalno 80 % prisotnost na presentations and tutorials. predavanjih, prezentacijah in tutorialih.

Vsebina: Content (Syllabus outline): Namen učne enote je predstavitev This unit introduces the students to three- tridimenzionalne umetnosti (predvsem dimensional art (mostly modern and modernega in sodobnega kiparstva) ter vplivati contemporary sculpture) and aims to assist the na nadaljnji razvoj študentove ustvarjalne further development of students' creative neodvisnosti skozi razvoj razumevanja tehnik independence. It aims to develop their in veščin kiparstva; uvedba in uporaba understanding of the techniques and skills of konstrukcijskih tehnik in materijalov, ki sculpture; introduce the use of construction vključujejo različne materijale in orodja, razvoj techniques involving a variety of media and osnovnih veščin kiparstva in uporabe skice za tools; develop basic skills in sculpture and the priprave in razvoj idej, razumevanje razmerja use of sketch to develop ideas; to deepen their pri izdelavi kiparskega modela (1:2, 1:5...) ; understanding of the relationship in the making pozicioniranje skulpture v prostor – vključuje of a sculptural model (1:2, 1:5 ...) and fotografiranje lokacije v katero se umontira positioning a public sculpture or monument into fotografija makete javne sculpture ali space – this involves photographing the location spomenika v izbranem razmerju (photoshop) . where the photo of the model is merged and S tem študent razvija sposobnost prostorskega blended (photoshop). In this way, students mišljenja ter analiziranja del drugih kiparjev. develop their ability to think in the round; and look at and learn from the work of other sculptors.

Temeljna in priporočena literatura / Required and Recommended Readings: • Temeljna literature / Required Readings: • • Collins, J., 2007. Sculpture Today, London: Phaidon. • Miles, M., 1997. Art, Space and the City: Public art and Urban Futures, London: Routledge • Anne Ellegood., 2009. Vitamin 3-D: New Perspectives in Sculpture and Installation, Phaidon.

Priporočena literature / Recommended Readings:

• Stace, Alison., 2008. Sculpture Parks and Trails of England/ A & C Black Publishers Ltd. • Duby, G., Daval, Jean-Luc., 2006. Sculpture - From Antiquity to the Present Day/ Taschen.

Cilji in kompetence: Objectives and competences: • Zmožnost opredelitve raziskovalnega • Identify sources of research material and materijala in razumevanje možnosti understand their worth and application. uporabe le-tega. • To be able to apply special skills and • Prepoznavanje možnosti aplikacije knowledges in the realization of the artistic različnih specijalističnih veščin in znanj work. za izvedbo umetniškega dela. • The ability of the analysis and the selection • Zmožnost analize in izbora ustreznih of proper materials and techniques in the materialov in tehnik pri izvedbi projekta realization of the project whose form will katerega končni produkt je skulptura. result in the sculpture.

Predvideni študijski rezultati: Intended learning outcomes: Znanje in razumevanje: Knowledge and understanding: • Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to demonstrate:

• Razumevanje in poznavanje tehnik in • Understanding and knowledge of konceptov v uporabi znotraj kiparstva. concepts and techniques in use in the • Prikaza pridobljenega znanja. field of sculpture. • Poznavanja osnovnih konceptov in • Demonstration of the acquired razprav, povezanih s spreminjajočo knowledge. kulturo likovne umetnosti in zmožnost • Knowledge of underlying concepts and vrednotenja in interpretacije le-teh v debates associated with the changing kiparski praksi. culture of fine art and an ability to • Ustreznega raziskovalnega pristopa v evaluate and interpret these within the skladu s konceptom in diskurzom v učni practice of sculpture. enoti. • A proper research approach in realtion • Oceniti primernosti procesov in znanj with the concept and discourses of the pri realizaciji, izboru in prezentaciji unit.

kreativnih namenov. • A developing approach to research in • Uporabe refleksije in samoevalvacije accordance with theories and concepts kot del učnega procesa. of the subject. • Razvoja prenosljivih sposobnosti in • The use of reflection and self-evaluation zaupanje v svojo (edinstveno) as part of the learning process. ustvarjalnost ter razvoja načinov • Developing transferable skills and komunikacije in sodelovanja z drugimi. confidence in your unique creativity and the ways in which you can communicate your contribution.

Metode poučevanja in učenja: Learning and teaching methods: • Predavanja • Lectures • Predstavitvene vaje • Demonstrations • Individualne in skupinske vaje • Individual and group tutorials • Samostojno ateljejsko delo in raziskave • Independent studio practice and research • Predstavitve • Presentation • Samoevalvacija • Self evaluation

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Kritika in prezentacija. Critic and presentation.

• Izkaz dela in napredka preko • Record of work and development leta 80% during the year 80% • Prezentacija 20% • Presentation 20%

Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Centre for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold War, 2009 / Krems, Kunsthalle Krems, State in Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Koncipiranje prostora 3 Course title: Set Design 3

Študijski program in Letnik Študijska smer Semester stopnja Academic Study field Semester Study programme and level year Vizualne umetnosti 1. Konceptualizacija prostora 1 2 stopnja Visual arts level 1 ( L4) Conceptualisation of Space 1 2

Vrsta predmeta / Course type Izbirni/Elective

Univerzitetna koda predmeta / University course P14/CS code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 20 10 45 5 140 8

Nosilec predmeta / Doc. Pepi Peter Sekulich Lecturer:

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam/crit is • Pogoj za pristop k izpitu/kritiki je minimum 80% attendance at lectures, minimalno 80 % prisotnost .na presentations and tutorials. predavanjih, prezentacijah in tutorialih.

Vsebina: Content (Syllabus outline): Učna enota obravnava koncipiranje zabavne , This unit explores television studio or arena sit com ali pogovorne TV oddaje in prostora za based design, with an audience, for televised TV studio ali areno s publiko. Projekt zahteva entertainment. This project typically demands a bolj grafičen oz. čistejši oblikovni pristop kot pri koncipiranju prostora za film. (skozi izdelavo more graphical or ’pure’ design for the screen makete v razmerju 1:50 ali 1:25 in than film production design. (trough a 1:50 or računalniškega programiranja / oblikovanja) 1:25 scale model Computer programing and Povdarek je na kombiniranju različnih CGI) dosedanjih področij, izkušenj in praktičnih You will be drawing together the different znanj s kritično in vsebinsko usmeritvijo ter z strands of your experience so far including your uporabo in nadgradnjo relevantnih strokovnih practical work, critical and contextual focus and veščin in znanj. Predstavitev idej in postopkov, relevant professional skills and knowledge. You med in na koncu projekta je ključna pri razvoju will be asked to present your ideas to your komunikacijskih veščin študenta, v peers and tutors as a further development of pisni,verbalnih in vizualni obliki. your written, verbal and visual communication skills.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura / Required Readings:

• Woodbridge, Patricia., 2000. Designer Drafting for the Entertainment World, Focal Press. • Mitchell, Mitch., 2004. Visual Effects for Film and Television, Focal Press.

Cilji in kompetence: Objectives and competences: • Zmožnost eksperimentiranja in • To be capable to use experimentation inventivnost pri uresničevanju danih and invention to realise a given task. nalog. • Appreciate both the collaborative and • Upoštevanje pomembnosti sodelovanja technical complexities of the production z drugimi in zavedanje tehnične process including effective time kompleksnosti produkcije ter management. učinkovitega časovnega planiranja. • Examine the work process of the director • Zmožnost preučitve procesov s stališča and performer. režiserja in izvajalca. • Work and learn both as an independent • Delovanje in učenje v kontekstu designer and a company member. samostojnega ustvarjalca in člana • Respect deadlines and understand ekipe. professional practices such as health • Spoštovanje rokov in razumevanje and safety regulations. strokovnih praks ter upoštevanje • Capable to use Computer -3D modeling varnostnih predpisov. and design programmes (CGI)

• Zmožnost uporabe programov za 3D modeliranje in projektiranje (CGI)

Predvideni študijski rezultati: Intended learning outcomes: Znanje in razumevanje: Knowledge and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to demonstrate:

• Razumevanje in poznavanje tehnik in • Understanding and knowledge of konceptov. concepts and techniques. • Prikaza pridobljenega znanja. • Demonstration of the acquired • Poznavanja osnovnih konceptov in knowledge. razprav, povezanih s spreminjajočo kulturo gledališča, filma in televizije in • Knowledge and critical understanding of zmožnost vrednotenja in interpretacije the changing culture of theatre, film and le-teh v praksi koncipiranja prostora (in television and an ability to evaluate and časa). interpret these within the • Razvojnih raziskovalnih postopkpov in conceptualisation of space (and time). uporabe le teh na relevantni strokovni • A developing research methodology and ravni. the application of this methodology in a • Sprejemanja odločitev in prevzemanja relevant professional context. odgovornosti za lastno učenje s • An ability to make decisions and take pomočjo refleksije in samoevalvacije. responsibility for your own learning • Oceniti primernosti procesov in znanj through the use of reflection and self- pri realizaciji, izboru in prezentaciji evaluation. kreativnih namenov. • To evaluate the properness of the • Uporabe različnih prenosljivih znanj in processes and skills in the realisation, veščin v komunikaciji in reševanju select and presentation of the creative promlemov na strokovnem področju. intentions. • Uporabe programov za 3D modeliranje • The deployment of a range of in projektiranje (CGI) transferable skills in communication, initiative and problem solving in an emerging professional context. • Ability to use Computer -3D modeling and design programmes (CGI)

Metode poučevanja in učenja: Learning and teaching methods:

• Predavanja • Lectures • Seminar • Seminars • CGI workshop • CGI workshop • Predstavitvene vaje • Demonstrations • Individualne in skupinske vaje • Individual and group tutorials • Samostojno ateljejsko delo in raziskave • Predstavitve • Independent studio practice and research • Samoevalvacija • Presentation • Self evaluation

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Ustni izpit, izpraševanje, naloge, Oral exam, examination, coursework, projekt. project.

* * *

56 for Death 2007 (National TV) Author of numerous Exhibitions and Artistic Actions. Tought Fine Art and Design for stage and screen at several HE and Art Institutions. Since 2009 works as a AVA Dean, Director and programme leader as well as organiser and producer of Public Exhibitions and student's films and videos..

UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Mešani mediji Course title: Mix Media

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course P14/FA code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 20 10 45 5 140 8

Nosilec predmeta / Doc. Miran Mohar Lecturer:

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam/crit is minimum • Pogoj za pristop k izpitu/kritiki je 80% attendance at lectures, presentations minimalno 80 % prisotnost .na and tutorials. predavanjih, prezentacijah in tutorialih.

Vsebina: Content (Syllabus outline): Učna enota uvaja sodobne ustvarjalne An introduction to contemporary creative procese, ki vključujejo uporabo več kot enega processes that involves the use of more than one medija, kot so fotografija, montaža, zvok, film, media such as photography, installation, sound, video in s kombinacijami 2D in 3D medijev. film, video and combinations of 2D and 3D media. Študente spodbuja k raziskovanju domišljanju Students are encouraged to explore the možnosti dela s kombinacijami različnih imaginative possibilities of working with medijev, tehnik, tehnologij, materialov in oblik, combinations of media, technologies, materials (vključno z računalniškim programiranjem / and forms (Including CGI). oblikovanjem CGI) .Študentom in študentkam Students will be introduced to authors who used bodo predstavljeni avtorji, ki so v 20. in 21. various materials, media and techniques in their stoletju (do današnjih dni) v svojih umetniških works of art in the 20th and 21st centuries (to the delih uporabljali različne materiale, medije in present day). ter tehnike.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura / Required Readings:

• Bishop, Claire., 2006. Participation, MIT Press. • Rush, M., 2007. Video Art, London: Thames & Hudson. • Woods, T., 1999. Beginning Postmodernism, Manchester University Press. • Stallabrass, J., 2003. Contemporary Art: a very short introduction, Oxford University Press.

Priporočena literatura / recommended readings: • Zgonik N., 2009. Pojmovnik Slovenske umetnosti po letu 1945, Inštitut ALUO in Študentska založba.

Cilji in kompetence: Objectives and competences: • Zmožnost eksperimentiranja in • Use experimentation and invention to inventivnost pri uresničevanju danih realise a given brief. nalog • Respect deadlines and understand • Spoštovanje rokov in razumevanje professional practices such as health and strokovnih praks ter upoštevanje safety regulations. varnostnih predpisov. • Capable to use Computer -3D modeling • Zmožnost uporabe programov za 3D and design programmes (CGI) modeliranje in projektiranje (CGI)

• Understanding and knowledge of concepts • Razumevanje in poznavanje tehnik in and techniques. konceptov. • Demonstration of the acquired knowledge. • Prikaza pridobljenega znanja. • Zavedanja kreativnih možnosti pri delu • An awareness of the creative possibilities of z različnimi mediji in postopki skozi working with a variety of media via a body raziskave in strokovne prakse. of research • Praktičnih pristopov, ki domiselno • Present practical work that imaginatively pooseblja nova znanja in veščine skozi embodies an emerging knowledge of relevantne pristope in tehnike izraznega relevant techniques and approaches in this polja area • Sprejemanja odločitev in prevzemanja • An ability to make decisions and take odgovornosti za lastno učenje s responsibility for your own learning through pomočjo refleksije in samoevalvacije. the use of reflection and self-evaluation. • Oceniti primernosti procesov in znanj • The application of processes and skills in pri realizaciji, izboru in prezentaciji order to realise, select and present your kreativnih namenov. intentions as a body of work. • Uporabe programov za 3D modeliranje • Ability to use Computer -3D modeling and in projektiranje (CGI) design programmes (CGI) • Uporabe različnih prenosljivih znanj in • The deployment of a range of transferable veščin v komunikaciji in reševanju skills in communication, initiative and promlemov na strokovnem področju problem solving in an emerging professional context.

Metode poučevanja in učenja: Learning and teaching methods:

• Predavanja • Lectures • Predstavitvene vaje • Demonstrations • Individualne in skupinske vaje • Individual and group tutorials • CGI workshop • CGI workshop • Samostojno ateljejsko delo in raziskave • Independent studio practice and research • Predstavitve • Samoevalvacija • Presentation • Self-evaluation

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment:

Ljubljana, and its vice-dean, as well as a co-founder of the Maja Farol movement for open architecture. He has also been a member of the European Cultural Parliament since 2002 and a mentor of a two-year course for curators of contemporary art organized by the Center for Contemporary Art in Ljubljana. Since 2017 he is also a guest lecturer at the University of UBT in Pristina. Together with the other four members of the Irwin group (Dušan Mandič, Andrej Savski, Roman Uranjek and Borut Vogelnik), he has participated in all Irwin exhibitions and projects since 1984. Here are some of them: I’m One Only If I’m Many, Christine König Galerie, Vienna, 2019; The Comedy of Being – Art and Humour from Antiquity until Today, Kunsthaus Zug, Zurich, 2018; From Kapital to Capital, Reina Sofia, Madrid, 2017; Planting Seeds, Laznia Centre for Contemporary Art, Gdansk, 2016; From Kapital to Capital, Moderna galerija Ljubljana, 2015; Hans in Luck - Art and Capital, Lehmbruck Museum, Duisburg, 2014; Former West, HKW, Berlin, Art Turning Left, Tate Liverpool, Liverpool, 2013; A Bigger Splash, Tate Modern, London; NSK Passport Office, Museum of Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Centre for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold War, 2009 / Krems, Kunsthalle Krems, State in Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003

UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Video/Film (izraz z gibljivo sliko) Course title: Video/Film (Expression with moving immage)

Študijski program in Letnik Študijska smer Semester stopnja Academic Study field Semester Study programme and level year Vizualne umetnosti 1. Konceptualizacija prostora / 1 2 stopnja Likovna umetnost Visual arts level 1 ( L4) FA/CS 1 2

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course P15

61 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 20 20 50 30 200 12

Nosilec predmeta / Doc. Pepi Peter Sekulich Lecturer:

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam/crit is • Pogoj za pristop k izpitu/kritiki je minimum 80% attendance at lectures, minimalno 80 % prisotnost .na presentations and tutorials. predavanjih, prezentacijah in tutorialih.

Vsebina: Content (Syllabus outline): Učna enota je zasnovana kot paleta This is an introductory unit designed as a produkcijskih in izraznih tehnik ki uvaja carousel of production techniques, inducting študente v tehnične in izrazne aspekte gibljive students into the technical aspects of digital slike, digitalnega videa, zvoka, luči, kamere, video, sound recording, lighting for video, along skupaj z z osnovami montaže in postprodukcije with digitising and basic editing on Final Cut Pro na računačniških programih (Final Cut pro, software, and DVD authoring. The class will Premiere, Cinema 4D..). Kot pomemben also consider storyboarding, listing your shots aspekt učne enote je predprodukcija, and production planning. Weekly sessions will načrtovanje, ki vključuje story board, sinopsis, be divided into lectures and screenings, osnove snemalne knjige in časovni načrt. student-led seminars, tutorial sessions and Tedenske aktivnosti so razdeljene v intensive practical workshops. predavanja, seminarje, projekcije filmov, vaj in Students will work individually and-or in groups intenzivnih delavnic. and be required to conceive, plan and complete Študentje delujejo samostojno in-ali v skupinah a video project of approx. 3-10 minutes. This kjer realizirajo ca 3-10 minutni video. might be a diary film or slice of life documentary,

Izdelek je lahko; filmski dnevnik, dokumentarni, a short narrative, a fictional sequence or scene narativni, eksperimentalni, animirani . Osnovno from a larger project idea, or merely an vodilo je kreativni izraz z gibljivo sliko. experiment with the media you have been introduced to. The main aim is creative expression with moving immage.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura / Required Readings:

• Steven Ascher / Edward Pincus., 2013. The Filmmaker's Handbook: A Comprehensive Guide for the Digital Age 5th edition, Plume. • David Bordwelll /Kristin Thompson ., 2019. Film Art: an Introduction, McGraw-Hill Education; 12 edition • Walter Murch., 2001. In the blink of an eye : New edition, Silman – James press, US.

Priporočena literatura / Recommended Readings:

• Manovich, L., 2000. The Language of Digital Media, MIT Press. • Ohanian, T. A., 1996. Digital filmmaking: the changing art and craft of making motion pictures, Focal Press. • Rush, M., 2005. New Media in Art, Thames & Hudson.

Cilji in kompetence: Objectives and competences: • Razviti in pokazati znanje pri uporabi • Develop and demonstrate competence digitalnih video in zvočnih zapisov in in the use of digital video and sound video postprodukcije programske recording, and video post-production opreme. software. • izkazati sposobnost za učinkovito • Demonstrate the ability to effectively načrtovanje in organiziranjeprojektnega plan and organise a group production tima produkcije in postprodukcije. and post-production project. • Kritično, refleksivno in domiselno • Indicate a critical, reflective and zavedanje odnosa videa do njegovih imaginative engagement with the številnih kulturnih praks. medium of video in relation to its many • Izkazati razumevanje svoje kreativne cultural practices. prakse v razmerju do drugih ustreznih • Indicate an understanding of your medijskih oblik in vidikov proizvodnje in practice in relation to other relevant uporabe. media forms and contexts of production and consumption.

Predvideni študijski rezultati: Intended learning outcomes:

Znanje in razumevanje: Knowledge and understanding: • Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben: students will be able to demonstrate:

• Razumevanje in poznavanje tehnik in • Understanding and knowledge of konceptov. concepts and techniques. • Prikaza pridobljenega znanja. • Demonstration of the acquired • Poznavanja in ponazoritve jezikov knowledge. gibljive slike. • Kritično oceniti svoje in avdio-vizualna • Illustrate knowledge of moving image dela drugih . languages. • Kritične raziskave in načrtovanja • Critically assess theirs and others’ audio- produkcije in post-produkcija video visual work. projekta. • Critically research and plan production • Dokazati tehnično usposobljenost za and post-production of a video project. uporabo tehnologij in programske • Demonstrate technical competence in opreme, ki ustreza obsegu in omejitvam use of technologies and software video projekta. appropriate to the scope and limits of the • Prikazati osnovne kompetence in video project. znanja uporabe opreme za snemanje • Show basic competences in digital video slike in zvoka ter opreme in orodij za and sound recording, and in post- postprodukcijo production equipment. • Izvedbe video projekta. • Execute a short video project . • Učinkovite uporabe časa, virov in delovnih razmerij • Effectively manage time, working relationships, and resources. • Učinkovitega delovanja in sodelovanja v skupinah • Work effectively and cooperatively in groups

Metode poučevanja in učenja: Learning and teaching methods:

• Predavanja • Lectures • Seminar • Seminars • Predstavitvene vaje • Demonstrations • Projekcije • Screenings • Individualne in skupinske vaje • Individual and group tutorials • Pisne in ustne povratne informacije • Samostojno ateljejsko delo in raziskave • Written and oral feedback • Predstavitve • Independent studio practice and research • Samoevalvacija • Presentation • Self evaluation

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Ustni izpit, izpraševanje, naloge, Oral exam, examination, coursework, projekt. project.

* * *

65 for Death 2007 (National TV) Author of numerous Exhibitions and Artistic Actions. Tought Fine Art and Design for stage and screen at several HE and Art Institutions. Since 2009 works as a AVA Dean, Director and programme leader as well as organiser and producer of Public Exhibitions and student's films and videos.

UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Strokovna praksa (razstava / produkcija) Course title: Professional practice (Exhibition / Production)

Študijski program in Letnik Študijska smer Semester stopnja Academic Study field Semester Study programme and level year Vizualne umetnosti 1. Konceptualizacija prostora / 1 2 stopnja Likovna umetnost Visual arts L 1 FA/CS 1 2

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course P16 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 10 10 20 80 4

Nosilec predmeta / Doc. Miran Mohar Lecturer:

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam/crit is • Pogoj za pristop k izpitu/kritiki je minimum 80% attendance at lectures, minimalno 80 % prisotnost .na presentations and tutorials. predavanjih, prezentacijah in tutorialih.

Vsebina: Content (Syllabus outline): Učna enota je namenjena povezavi, This unit is designed to interrelate and extend soodvisnoti in nadgradnji idej in praktičnega the ideas and practical work explored in the dela raziskanega v predhodnih učnih enotah, previous units, Preliminary Studio Practice CS: CS: Scenografija / Ustvarjanje podob/ Set design / Image Making / performans / video. FA : Slikarstvo/ kiparstvo/ Installation/performance / Video. FA: Painting / instalacija/ video; Zahteva učne enote je Image Making / Sculpture / priprava predloga projekta, ki ga je mogoče Installation/Video. The unit requires students to postaviti v določen kontekst in v povezavo z produce a work proposal through negotiation občinstvom. Učna enota omogoča nadaljnji that can be established within a particular razvoj idej, bolj poglobljeno delovanje ter professional context in relation to meaning, posledično vspostaljanje lastnega audience, form and presentation. This enables ustvarjalnega profila. them to further develop their ideas and challenges them to work in greater depth.

Temeljni literatura in viri / Readings:

Skozi debato z učnim osebjem študentje razvijejo seznam literature in virov, ki se nanašajo na konkreten projekt in polje raziskave.

Through negotiation with staff, students will develop a list of literature and learning resources in relation to their ideas and as appropriate to the field of exploration.

Cilji in kompetence: Objectives and competences: • Razviti projektni predlog, ki artikulira • Develop a proposal that articulates the oris izbrane naloge outline for a practice based assignment • Izkazati sposobnost za učinkovito • Demonstrate the ability to effectively načrtovanje in izvedbo dela znotraj plan and produce work within the given danega časovnega okvirja time limits • Kritično, refleksivno in domiselno zavedanje odnosa izbranega medija do • Indicate a critical, reflective and njegovih potencijalnih kulturnih praks. imaginative engagement with the chosen • Izkazati razumevanje svoje kreativne medium in relation to its potential cultural prakse v razmerju do drugih ustreznih practices. medijskih oblik in vidikov proizvodnje in • Indicate an understanding of your uporabe. practice in relation to other relevant media forms and contexts of production and consumption.

Predvideni študijski rezultati: Intended learning outcomes:

Znanje in razumevanje: Knowledge and understanding: • Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to • Prikaza pridobljenega znanja. (demonstrate) : • Koherentnega kritičnega stališča ter • Demonstration of the acquired detaljnjega zavedanja in razumevanja knowledge. ključnih zgodovinskih in sodobnih • A coherent critical position in relation to kontekstov izbrane smeri detailed awareness and understanding • Neodvisnega načrtovanja in of key historical and contemporary organizacije lastnega učenja debates/contexts within your specialist povezanega z vsemi vidiki svojega pathway. kreativnega dela s pomočjo analitičnih • Independence in planning and postopkov, refleksije in samoevalvacije. organising your own learning, in relation • Integracije konceptov, procesov in to all aspects of your work, through a znanj za realizacijo, selekcioniranje in process of analysis, reflection and self- prezentacijo lastnih kreativnih evaluation. namenov, ki se manifestira skozi umetniško delo. • The integration of concepts, processes • Uporabe različnih prenosljivih znanj in and skills in order to realise, select and veščin pri komunikaciji, pobudah in present your intentions as a coherent reševanju problemov pri postavitivi body of work. razstave ali izvedbi projekta. • The deployment of a range of transferable skills in communication, initiative and problem solving in the exhibition setting or in the production of a project.

Metode poučevanja in učenja: Learning and teaching methods: • Predavanja • Lectures • Seminar • Seminars • Predstavitvene vaje • Demonstrations • Projekcije • Screenings • Individualne in skupinske vaje • Pisne in ustne povratne informacije • Individual and group tutorials • Samostojno ateljejsko delo in raziskave • Written and oral feedback • Predstavitve • Independent studio practice and research • Samoevalvacija • Presentation • Self evaluation

Delež (v %) /

Načini ocenjevanja: Weight (in %) Assessment:

Contemporary Art, Gdansk, 2016; From Kapital to Capital, Moderna galerija Ljubljana, 2015; Hans in Luck - Art and Capital, Lehmbruck Museum, Duisburg, 2014; Former West, HKW, Berlin, Art Turning Left, Tate Liverpool, Liverpool, 2013; A Bigger Splash, Tate Modern, London; NSK Passport Office, Museum of Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Centre for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold War, 2009 / Krems, Kunsthalle Krems, State in Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003

UČNI NAČRT : VIZUALNE UMETNOSTI 1. Stopnja/ 2. LETNIK UNIT DESCRIPTORS : VISUAL ARTS L1 /Yr 2.

UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Zgodovina umetnosti 2 Course title: History of Art 2

Letnik Študijski program in stopnja Študijska smer Semester Academic Study programme and level Study field Semester year Vizualne umetnosti Konceptualizacija prostora / 2 3,4; 1.stopnja Likovna umetnost Visual arts level 1 ( L5) FA / CS 2 3,4;

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course T 21 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 50 10 20 40 4

Nosilec predmeta / Lecturer: Doc. dr. Sebastjan Leban

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam is minimum • Pogoj za pristop k izpitu je minimalno 80 80% attendance at lectures. % prisotnost na predavanjih.

Vsebina: Content (Syllabus outline): Učna enota uvaja študente v razumevanje This unit introduces the students to an zgodovine umetnosti kot temeljnega elementa v understanding of history of art as a constitutive formaciji umetniškega mišljenja. Ključno je element in the formation of the artistic thought. namreč poznavanje zgodovine umetnosti in Of key importance is the knowing of the history posameznih slogov, ki so se v njej odvijali, da of art in its different periods for the student to lahko študent razume genealogijo zgodovine understand the genealogy of the history of art in umetnosti v vsej njeni celovitiosti. Analiza its totality. The analysis of Histroy of Art 2 Zgodovine umetnosti 2 vključuje obdobje od covers the period from Realism up to the Realizma do pojava Sodobne umetnosti. beginning of Contemporary art. The purpose of Namen učne enote je zgraditi trden temelj the unit is to provide a solid base of knowledge znanja zgodovine umetnosti, na podlagi of the history of art on which students can katerega lahko študentje nadgradijo svoje upgrade their knowing and understanding of art. znanje in razumevanje umetnosti. Poseben The aims of this module are to develop and povdarek v učni enoti je posvečen na razvoju upgrade the research skills and subject raziskovalnih spretnosti in znanja zgodovine knowledge discussed in the History of Art 1. It umetnosti, ter nadgradnja snovi obravnavane v will do this by introducing the concepts and Zgodovini umetnosti 1, s predstavitvijo practices of the histories and theories of art konceptov in praks zgodovine in teorije along with the central and principal debates that umetnosti skupaj z osrednjimi tezami, constitute those histories and theories. razpravami in teorijami, ki jo konstituirajo.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura / Required Readings:

• Harrison, Charles., Wood, Paul., 2003. Art in theory 1900 – 2000: An Anthology of Changing Ideas, Blackwell Publishing. • Honour, H., Fleming, J., 2005. A World History of Art, Laurence King, London. • Janson, H. W., 1991. History of Art, Thames & Hudson, London. • Krauss, Rosalind., 2004. Art since 1900: Modernism, Antimodernism, Post-modernism,. Thames & Hudson, London. • Lynton, Norbert., 1989. The Story of Modern Art, Phaidon Press, London. • Moffitt, John F., 1987. Art and Politics: An Underlying Pictorial - Political Topos in Courbet's Real Allegory, Artibus et Historiae, Vol. 8, No. 15. • Tamar, Garb., 1998. Bodies of Modernity, Thames & Hudson, London.

Priporočena literatura / Recommended Readings:

• Evans, Jesica., 2004. Visual Culture: The Reader, Sage publications. • Gombrich, Ernest., 1997. Story of Art, Phaidon, London.

Spletne strani / Web Pages:

• Artlex Art Dictionary: http://www.artlex.com/ • Web Gallery of Art: http://www.wga.hu/index1.html • Eflux: http://www.e-flux.com/ • Seismopolite art journal: http://www.seismopolite.com/ • Camera Austria: http://camera-austria.at/

Cilji in kompetence: Objectives and competences: • Študentje so poučeni o osnovnih • • Students are acknowledged with the konceptih in razumevanju zgodovine basic concepts and understanding of the umetnosti. history of art. • Opremiti študente s potrebnim znanjem • Equip students with the research and za raziskovanje in analizo obranavanih study skills of the analysed topics. tematik. • Equip students with a solid base of • Opremiti študente s trdno osnovo znanja knowledge of the history of art from zgodovine umetnosti od Realizma do Realism up to the beginning of the začetka Sodobne umetnosti. Contemporary art. • Analiza vpliva zgodovine umetnosti v • Analysis of the influence of the history of umetniški produkciji. art in the artistic production. • Spodbuja študenta v izgradnjo razvoja • Encourage students in the development instrumentarija za branje in razumevanje of the instrumentation for reading and zgodovine umetnosti. understanding the history of art. • Razvoj fokusiranega študija zgodovine • Development of a focused study of the umetnosti. History of Art. • Zmožnost kritičnega mišljenja in pisanja. • Engage you in critical thinking and • Zmožnost nadaljnje poglobljene writing. raziskave obravnavanih tem. • Capability of further research of the analysed topics.

• Predvideni študijski rezultati: Intended learning outcomes: • Znanje in razumevanje: • • Knowledge and understanding:

• Po uspešnem zaključku učne enote bo • On successful completion of this unit, študent sposoben : students will be able to: • Knowing and understanding of the • Poznavanja in razumevanja različnih obdobji various periods in the history of art. v zgodovini umetnosti. • Explain the functions of the history of • Obrazložiti funkcijo zgodovine umetnosti v art in relation to historical and critical studies relaciji do zgodovinskih in kritičnih študij v in visual arts. vizualni umetnosti. • Identify and use the history of art in • Identificirati in uporabiti zgodovino umetnosti the analysis of visual arts. pri analizi vizualne umetnosti. • An individual understanding of the history of • Individualno razumevanje zgodovine art and ideas. umetnoste in idej. • Identify and explain the various theories and • Prepoznavanje in razlaga različnih teorij in historical perspectives on art of the 20th zgodovinskih pogledov na umetnost century. dvajsetega stoletja. • Critically analyses the researched artistic periods. • Kritično pojasniti obravnavana umetniška

obdobja.

Metode poučevanja in učenja: Learning and teaching methods: • Predavanja • Lectures • Branje • Readings • Vizulano gradivo • Visual material • Pisni izpit • Written exam

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Pisni naloge: Written tasks:

• Naloge 20 % • Tasks 20 % • Pisni izpit 80 % • Written exam 80 %

75 lectures: Transmediale, Central European University, Akademija za likovno umetnost, ZRC SAZU, Alma Mater Europeae – Institutum Studiorum Humanitatis, Društvo Humanistov Nova Gorica. During the past years he organized and participated in numerous symposiums and lectures: Zgodovine zatiranja, Re-articulating the Scenarios of Environmental Catastrophe, Umetnost in estetika v posttranzicijskih razmerah, Suverenost, migranti in kultura, Transmediale, Central European University, Akademija za likovno umetnost, ZRC SAZU, Alma Mater Europeae – Institutum Studiorum Humanitatis, Društvo Humanistov Nova Gorica and others. Research fields: political economy, decolonial and postcolonial studies, cultural and visual studies.

Izbrani znanstveni članki:

Selected scientific articles:

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Zgodovina gledališča 2 Course title: History of Theatre 2

Študijski program in Letnik Študijska smer Semester stopnja Academic Study field Semester Study programme and level year Vizualne umetnosti Konceptualizacija prostora / 2 3,4; 1.stopnja Likovna umetnost Visual arts level 1 ( L5) FA / CS 2 3,4;

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course T 22CS code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 40 10 10 20 40 4

Nosilec predmeta / Doc. Željko Hrs Lecturer:

Jeziki / Slo Predavanja / Slo Languages: Lectures: Slovenski Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam is minimum • Pogoj za pristop k izpitu je minimalno 80% attendance at lectures. 80 % prisotnost na predavanjih.

Vsebina: Content (Syllabus outline):

Učna enota predstavlja in raziskuje zgodovino This Unit introduces and explores the histories gledališča iz medkulturnega vidika, ki preučuje of theatre from an intercultural perspective, ključna obdobja in gibanja skozi teorijo in examining key periods, movements, theorists prakso skozi prostor in čas. Koncept učne and practitioners over time and space. The enote Zgodovina gledališča 2 je nadgraditi concept of the unit History of Theatre 2 is to obravnavano snov iz prvega letnika s upgrade the analysed topics from the first year posebnim povdarkom na študentovem with special focues on the student's research raziskovalnem potencialu. Razumevanje potential. The understanding of today’s theatre, današnjega post-modernega, interkulturalnega post-modern, intercultural and globalised is in globaliziranega gledališča, kot izraza therefore understood as an expression of many številnih, kompleksnih vplivov je ključ na complex influences and represents a key in the podlagi katerega lahko študetn razvija kritičen student's capabilities in the developing of critical diskurz. Predmet omogoča konceptualno discourse. The unit will provide a conceptual podlago razumevanja scenografije kot je basis for understanding scenography in the full 'pisanje' v prostoru kot temeljnjne izrazne sense of the term i.e. writing in space as a oblike jezika gledališča, umetniške oblike, ki je fundamental expression of theatrical language, živa in deluje v času in prostoru. an art form that is both live, and works in time and space.

Temeljna in priporočena literatura / Required Readings: Temeljna literatura / Required Readings:

• Appia, A. 1998., Glasba, igralec, prostor. Ljubljana: Knjižnica MGL. • Goldberg, R., 1999. Performance Art: From Futurism to the Present. London: Thames and Hudson. • Senker, B., 1977. Redateljsko kazalište. Zagreb: Biblioteka Prolog. • Brecht, B., 1979. Dialektika u Teatru. Beograd: Nolit. • Walton, J.M. ed., 1999. Craig on Theatre. London: Methuen. • Wilson, E.,Goldfarb, A., 2000. Living Theater, A History. New York: McGraw-Hill Higher Education.

Priporočena literatura / Recommended Readings:

• Debord, G. 1999. Družba spektakla. Ljubljana: Študentska založba. • Boal, A. 2000. Theatre of the Oppressed. London: Pluto Press. • Meyerhold, V.E. 1976. O Pozorištu. Beograd: Nolit. • Stanislavski, K. 1977. Sistem I., II. Ljubljana: Knjižnica MGL.

Cilji in kompetence: Objectives and competences: • Zmožnost analize in razprave o • • The ability to analyse and discuss the družbeno-političnih in zgodovinskih socio-political and historical context of a kontekstih številnih gledališčih po vsem broad range of theatres worldwide. svetu. • The relation between scenography, • Razmerje med scenografijo, ritualom, ritual, genres, texts and spectators. žanri, besedili in gledalci. • The relationship between written and • Razmerje med teksti in izvedbami performed texts. besedil. • Key theorists, texts, inventions and • Poznavanje ključnih teoretikov, besedil, innovations. invencij in inovacij. • The ability to absorb a wide range of

• Sposobnost, absorbcije in uporabe knowledge and apply this to self- širokega spektra znanj in informacij, ter motivated research. zmožnost uporabe le-teh pri raziskavah.

• Predvideni študijski rezultati: Intended learning outcomes: • Znanje in razumevanje: • • Knowledge and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to demonstrate:

• Prepoznave in razlage specifičnih teorij • Identify and explain the specific theories in zgodovinskih pogledov na gledališče and historical perspective on theater in v določenih časovnih obdobjih. specific time periods. • Kritično pojasniti obstoj in izkušnje • Critically explain the existence and primerov gledališke produkcije. experience of examples of theatre • Komunicirati ustrezne ideje in production. argumente v pisni obliki. • Communicate appropriate ideas and • Razumevanja odnosa med gledališčem arguments in written form. in drugimi oblikami umetnosti. • An understanding of the relationship between theatre and other art forms.

Metode poučevanja in učenja: Learning and teaching methods: • Predavanja • Lectures • Seminar • Seminar • Pisni izpit • Written Exam • Predstavitve • Presentations • Vizualni materiali • Visual materials • Obiski gledaliških predstav • Theatre visits

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Seminar, pisni in ustni izpit. Seminar, written exam.

• Pisni izpit 100% • Written exam 100%

Reference nosilca / Lecturer's references:

* * *

In 1993 participated as actor in international project Sarajevo, written by Goran Stefanovski and directed by Slobodan Unkovski; Sarajevo opened Antwerpen as a European Cultural Capital 1993

80 and attended international theatre festival LIFT in London, festivals in Hamburg, Kobenhavn, Stockholm and several Swedish cities. In 2013 participted as actor in international project The Conquest of Happiness directed by Haris Pašović; coproduction of Prime Cut Productions from Belfast, East West from Sarajevo and SMG Ljubljana. As dramaturg worked on performances Hiša Bernarde Alba (The House of Bernarda Alba) (SMG, 2000), Peter Pan (SMG and Lutkovno gledališče Ljubljana, 2001), Soba srečanj (Maison des rendez-vous) (Zavod Bunker and SMG and Centre Choreographique National de Rennes et de Bretagne, 2002), Wresting Dostoievsky (Zavod Bunker, Betontanc, 2004), Lulubaj (SMG, 2004), Kitov trebuh (El vientre de la ballena) (SMG and Teatro Petra Bogota and Iberoamerican Theatre Festival Bogota, 2006), all directed by Matjaž Pograjc and Don Juan.kdo? (Don Juan.Who?)(SMG and The Athletes of the Heart, London, 2007) directed by Anne Furse). Hiša Bernarde Alba (The House of Bernarda Alba) was proclamed by Nuevo Herald as "the most thrilling performance of the year 2003, absolute spectacle and the most innovative performance" of International Festival of Hispanic Theatre in Miami, USA. Performance Kdo se boji Tennesseeja Williamsa (Who is Afraid of Tennessee Williams) got award Villanueva for best foreign show of the year 2004 in Cuba. It toured in Chile, Argentina, Uruguay, Paraguay, Dominican Republic in Latin America and Italy, Croatia and Macedonia. I am co-author of theatre plays Kdo se boji Tennesseeja Williamsa (Who is Afraid of Tennessee Williams) (SMG 1999) and Don Juan.kdo? (Don Juan.Who?) (SMG and Athletes of the Heart 2007); Theatre play Don Juan.kdo? was published (also in Slovenian) in anthology Theatre in Pieces by editing house Methuen, London, 2011 (ISBN: 978 1 408 13996 7). Performance Don Juan.kdo? toured in Londonu 2007 (Shunt Vaults) and 2008 on festival FeEast, Riverside Studios. From 2008 I am Visiting Lecturer on MA Performance Making at Goldsmiths, University of London.

UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Zgodovina filozofskih idej 2 Course title: History of philosophical ideas 2

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course T 23 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 50 10 10 10 40 4

Nosilec predmeta / Doc. dr. Gregor Kroupa Lecturer:

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam is minimum • Pogoj za pristop k izpitu je minimalno 80% attendance at lectures. 80 % prisotnost na predavanjih.

Vsebina: Content (Syllabus outline): Učna enota predstavlja osrednje filozofske In this course, students are introduced to some koncepte skozi zgodovinski kontekst. Učna of the central philosophical concepts in their enota je nadaljevanje učne enote Zgodovina historical contexts. The unit continues the filozofskih idej 1 in je osredotočena na splošno course developments of the unit History of filozofsko obravnavo semiotike in problema Philosophical Ideas 1 and focuses on the reprezentacije, posebej pa na primerih jezika in philosophical consideration of semiotics and the umetnosti. Enota tako oriše problem problem of representation in general and the reprezentacije od Platona in renesančne cases of language and art in particular. The filozofije do Magrittovega slikarstva. Posebno course thus outlines the problem of mesto je namenjeno tudi filozofski definiciji in representation from Plato and renaissance obravnavi postmodernizma v primerjavi z philosophy to the painting of René Magritte. mislijo evropskega razsvetljenstva. Special attention is also given to the philosophical definition and investigation of Učna enota obravnava vključevanje filozofskih postmodernism in comparison with the thought problemov v umetniški kontekst, kakor tudi of the European Enlightenment. spoznavanje povezav in skupnih vzorcev na področju različnih, zgodovinsko oddaljenih The unit introduces philosophical problems into filozofskih tradicij. the the context of art and teaches students to identify connections and common patterns in 1) Definicija reprezentacije in znaka different sand historically distant philosophical 2) Naravni in arbitrarni jezik v Platonovem traditions. dialogu Kratil 3) Semiotična teorija v renesančnem 1) Defining representation and sign okultizmu 2) Natural and arbitrary language in Plato's 4) Moderna semiotika od Locka do dialogue Cratylus Saussura 3) Semiotic theory in renaissance occult 5) Foucaultov tekst To ni pipa: podrobna thought analiza Magrittovega slikarstva 4) Modern semiotics from Locke to 6) Kaj je razsvetljenstvo? Saussure 7) Kaj je postmodernizem? 5) Foucault's book This is not a pipe: a detailed analysis of the art of René Magritte 6) What is Enlightenment? 7) What is Postmodernism?

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura / Required Readings:

• Foucault, M., 2007. To ni pipa, Ljubljana: Društvo za teoretsko psihoanalizo. • Kant, I., 2006. Odgovor na vprašanje: Kaj je razsvetlejnstvo? In: Zgodovinsko-politični spisi R. Riha, ed., Ljubljana: Založba ZRC SAZU. • Lyotard, J.-F., 2002. Postmoderno stanje (Uvod), Ljubljana: Društvo za teoretsko psihoanalizo. • Platon, 2004. Kratil. In: Zbrana dela, Celje: Mohorjeva družba.

Priporočena literatura / Recommended Readings:

• Foucault, M., 2010. Besede in reči: arheologija humanističnih znanosti (2. poglavje), Ljubljana: Studia Humanitatis. • Saussure, F. de, 1997. Predavanja iz splošnega jezikoslovja (1. poglavje), Ljubljana: ISH. • Vickers, B., 1984. “Analogy versus identity: the rejection of occult symbolism, 1580-1680.” In B. Vickers, ed. Occult and Scientific Mentalities in the Renaissance. New York: Cambridge University Press.

Cilji in kompetence: Objectives and competences: • razumevanje kompleksnejših konceptov • • understanding of some of the more v zahodni filozofski tradiciji; advanced concepts in the Western • refleksija skupnih točk umetnosti in philosophical traditions; filozofije; • reflections on the points of convergence • sposobnost dojeti osnovno strukturo in between art and philosophy; argumente sodobnih filozofskih besedil. • ability to grasp the basic structure and reasonings of contemporary philosophical texts.

• Predvideni študijski rezultati: Intended learning outcomes: • Znanje in razumevanje: • • Knowledge and understanding:

Po uspešnem zaključku učne enote bo On successful completion of this unit, študent sposoben : students will be able to:

• razumeti in razpravljati o izbranih • understand and discuss selected filozofskih temah; philosophical topics; • Komunicirati kompleksnejše filozofske • communicate the more advanced ideje in argumente v pisni obliki; philosophical ideas and arguments in • izraziti globlje razumevanje odnosa written form; med filozofijo in umetnostjo; • express deeper understanding of the • vključiti filozofske vidike pri svojem relationship between Philosophy and Art; izražanju v kreativnih umetniških • include philosophical perspectives in praksah. their own artistic expression.

Metode poučevanja in učenja: Learning and teaching methods: • Predavanja • Lectures • Branja • Readings • Razprava • Discussion • Pisni izpit • Written exam • Predstavitve • Presentations

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Pisni izpit, aktivna prisotnost na Written exam, presence and predavanjih commitment in class

• Pisni izpit: 75% • Written exam: 75% • ocena celoletne aktivnosti na • Assessment of commitment in predavanjih: 25% class: 25%

Reference nosilca / Lecturer's references: Doc. dr. Gregor Kroupa, rojen 1. 9. 1977 v Ljubljani. V letih 1986-2004 živel v Pragi, kjer je končal študij filozofije. Od leta 2004 živi v Ljubljani. Ukvarja se z zgodovino filozofije, še zlasti novoveške in filozofije razsvetljenstva (1600-1800). Na tem področju je aktiven kot predavatelj, avtor znanstvenih besedil, urednik in prevajalec. Objavil je več znanstvenih člankov s področja novoveške in razsvetljenske filozofije v recenziranih revijah, se s prispevki udeležil konferenc v Izoli, Dubrovniku, Berlinu, Nikoziji, Beogradu, Aberdeenu idr. Kot urednik, prevajalec ali pisec spremnih študij je sodeloval pri pomembnih slovenskih prevodih klasičnih del Renéja Descartesa, Adama Smitha, Denisa Diderota, Jeana d'Alemberta, barona d'Holbacha in Jeremyja Benthama. Leta 2009 je uspešno zagovarjal doktorat pod mentorstvom red. prof. Mirana Božoviča na Oddelku za filozofijo na Filozofski fakulteti Univerze v Ljubljani. Razširjeno različico doktorskega dela je leta 2011 izdal pri ugledni založbi Studia Humanitatis pod naslovom Podobno v nepodobnem: o metafori v novoveški filozofiji. V letih 2008-14 je bil na Filozofski fakulteti UL zaposlen najprej kot mladi raziskovalec, nato pa še na dveh temeljnih raziskovalnih projektih.

Najpomembnejše publikacije v zadnjih treh letih:

Urednik mednarodne monografije: Kroupa, Gregor, and Jure Simoniti, eds. New Realism and Contemporary Philosophy. London: Bloomsbury, 2020.

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Key publications in the last three years:

Editor of an international collection: Kroupa, Gregor, and Jure Simoniti, eds. New Realism and Contemporary Philosophy. London: Bloomsbury, 2020.

UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Teorija gibljive slike Course title: Theory of Motion Picture

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course T 26 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 40 10 10 20 40 4

Nosilec predmeta / Doc. dr. Andrej Šprah Lecturer:

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Vsebina: Content (Syllabus outline): Učna enota je zasnovana z namenom opremiti This unit is designed to equip students with a študente z obsežnim znanjem na področju wide-ranging knowledge of motion picture filmske kritike in teorije. Program sledi theory and aesthetic. The course will trace the nastanku in evoluciji filmske umetnosti in emergence and evolution of film art and theory teorije od njenih začetkov do danes. V from its origins to the present. In a practical praktičnem smislu, gre za kompleksen pregled sense the course offers a survey of film theory filmske teorije v svojem zgodovinskem razvoju, in its historical development, its important pomembnih konceptov in osebnosti ter ključnih concepts and figures and its key theoretical teoretičnih gibanj. movements. Začenši s 'klasično' filmsko teorijo, ki vključuje We begin with "classical" film theory, including 'auterism' in teorije avtorstva, auteurism and theories of authorship, ekspresionizmom in realizmom, teorijo žanrov i expressionism and realism, genre theory and politično kritiko. Program se ndaljuje v political criticism. Then we move on to an raziskavi sodobnih filmskih teorij : semiotike in investigation of contemporary film theory: strukturalizma, Marksizma in kritične teorije, semiotics and structuralism, Marxism and ideologije in inter-tekstualizma, spolov in critical theory, ideology and inter-textuality, spolnosti v filmu, modernizma in gender and sexuality in cinema, modernism and epostmodernizma in kinematografije. postmodernism, and word cinema. Much of the Večina programa obravnava in analizira course, however, will be given over to analysis teoretične aspekte in ključne estetske of the theoretical aspects of crucial aesthetic koncepte in kategorije kinematografije, kot so concepts and categories of cinema such as slog in pomen, elementi filmske pripovedi, ter style and meaning, elements of film form and filma kot vizualnega medija ipd. narrative, issues of film as audiovisual representation, etc.

Temeljna in priporočena literatura / Recquired and Recommended Readings: Temeljna literatura / Recquired Readings:

Aumont, J., Bergala A., Marie, M., Vernet, M., 1994. Aesthetics of Film. Austin: University of Texas Press, Bazin, A., 2010. Kaj je film?. Ljubljana: KINO!. Cook, P. ur. 2007. Knjiga o filmu. Ljubljana: Umco, Slovenska kinoteka. Casetti, F., 2013. Oko 20. stoletja: Film, izkustvo, modernost. Ljubljana: Slovenska kinoteka. Deleuze, G., 1991. Podoba-gibanje. Ljubljana: Studia humanitatis. Elsaesser, T. in Hagener, M. 2015. Teorija filma: uvod skozi čute. Ljubljana, Slovenska kinoteka Šprah, A., 2011. Vračanje realnosti: novi realizem v sodobnem filmu. Ljubljana: Slovenska kinoteka. Šprah, Andrej. 2013. Neuklonljivost vizije: politični dokumentarni film po drugi svetovni vojni. Ljubljana: Slovenska kinoteka. Winston, B., Vanstone, G. and Chi, W. 2017. The Act of Documenting: Documentary Film in the 21st Century. New York: Bloomsbury Academic.

Priporočena literatura / Recommended Readings:

Alter, N. M. 2018. The Essay Film: After Fact and Fiction. New York: Columbia University Press. Nil Baskar, N. ur. 2015. Tretji film: teorija, praksa, odmevi. Ljubljana: Slovenska kinoteka. Bonitzer, P., 1985. Slepo polje. Ljubljana: ŠKUC, Znanstveni inštitut Filozofske fakultete. Bresson, R., 1997. Zapiski o kinematografu. Ljubljana: Slovenska kinoteka. Deleuze, G., 1989. Cinema: The Time-image. Minneapolis: University of Minnesota Press. Ellis, J.C. and McLane, B. 2006. A New History of Documentary Film. New York and London: Continuum. MacDonald, S. 1993. Avant-garde Film: Motion Studies. Cambridge and New York: Cambridge University Press. Mazierska, E. and Győri, Z. ur. 2019. Popular music and the moving image in Eastern Europe. New York: Bloomsbury Academic. Nanacy, J.-L., 2009. Evidenca filma: Abbas Kiarostami Ljubljana: Društvo za širjenje filmske kulture KINO!. Rees, A.L., 1999. A History of Experimental Film and Video. London, BFI Publishing Stam, R. 2015. Keywords in Subversive Film/Media Aesthetics. Chichester: John Wiley & Sons. Šprah, A., 2010. Prizorišče odpora: Sodobni dokumentarni film in zagate postdokumentarne kulture. Ljubljana: Društvo za širjenje filmske kulture KINO!. Vrdlovec, Z. ur., 1987. Lekcija teme: zbornik filmske teorije. Ljubljana: Državna založba Slovenije. Wells, P., 1998. Understanding Animation, London and New York: Routledge.

Cilji in kompetence: Objectives and competences: • • Introduction to the diversity of film • Obravnava raznolikosti filmskih praks in practices and provide you with s tem podajanje teoretičnih orodji, ki theoretical tools that will allow you omogočajo analizo povezave med analyse the connections between kinematografijami in različnimi cinema and the various cultural, social kulturnimi, družbenimi in političnimi and political contexts in which the films konteksti v katerih so bili filmi have been produced and consumed. proizvedeni in prezentirani. • To introduce you to the aesthetics and • Obravnava estetik in politik raznovrstnih politics of a variety of films selected from filmov izbranih iz različnih žanrov, different types, genres, movements, gibanj, zgodovinskih obdobij in kulturnih historical periods and cultures. okolij. • To enhance your ability to explore • Izboljšanje zmožnosti študentov pri various ways of looking at cinema: as an preučevanju različnih pristopov in art form, as cultural formation, as pogledov na film : kot umetniško obliko, technology, as specific language, as kot kulturno informacijo, kot posebno mass media, as consumer product and tehnologijo, kot specifien jezik, kot as industry. masovni medij in kot na potrošniški • Comparison of a variety of analytical produkt ter industrijo. tools in studying and understanding • Primerjava različnih analitičnih načinov cinema should equip students with

pri študiju in razumevanju competency of autonomous critical view kinematografije opremijo študente s on films. kompetentnim, avtonomnim, kritičnim pogledom na film.

• Predvideni študijski rezultati: Intended learning outcomes: • Znanje in razumevanje: • • Knowledge and understanding:

• Po uspešnem zaključku učne enote bo • On successful completion of this unit, študent sposoben : students will be able to demonstrate:

• Presoje razmerij med različnimi gibanji v • An appreciation of relationships between zgodovini filma in kako ti vplivajo na various movements in film history and how trenutne filmske izraze in produkcije. they affect current film production. • Kritičnega razumevanja pomenov filma kot • A more critical understanding of the oblike umetnosti, kot kulturnega besedila in meanings of film as art form, as cultural text kot načina prezentacije. and as a mode of representation. • Uporabe kritične analize in orodij pri • The application of critical and analytical obravnavi filma različnih obdobij in kulturnih tools on films from different historical sredin. periods and cultures. • Razumevanja odnosa med filmom in • An understanding of the relationship drugimi oblikami umetnosti. between Film and other forms of Art.

Metode poučevanja in učenja: Learning and teaching methods: • Predavanja • Lectures • Seminar • Seminar • Projekcije • Screenings • Pisni izpit • Written exam • Predstavitve • Presentation

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Seminar, pisni izpit, praktično delo. Seminar, written exam, practical work.

• Seminar in praktično delo 20% • Seminar and practical work • Pisni izpit 80% 20% • Written Exam 80%

Reference nosilca / Lecturer's references: Dr. Andrej Šprah, ki je končal doktorski študij medijskih študijev na Institutu Studiorum Humanitatis – Fakulteti za podiplomski humanistični študij v Ljubljani z disertacijo: Dokumentarna namišljenost in dozdevnost realnosti v sodobnem filmu: aktualni svetovni kino med determinantami novega realizma in postdokumentarne kulture, je vodja raziskovalno-založniškega oddelka Slovenske kinoteke, predavatelj filmske teorije na Akademiji za vizualne umetnosti A.V.A. v Ljubljani in docent za področje zgodovine in teorije filma in televizije na Akademiji za gledališče, radio, film in

90 televizijo Univerze v Ljubljani. Je filmski teoretik, pisatelj ter avtor številnih esejev in razprav, v katerih obravnava fenomene filmskega dokumentarizma, svetovnega družbeno-angažiranega filma, slovenskega filma in kinematografij nekdanje Jugoslavije. Njegove pomembnejše objave obsegajo študijo »Utrujen od podobe svojega pogleda« v knjigi Pogib in počas (Studia Humanitatis, 1997), referenčno monografijo Dokumentarni film in oblast (Slovenska kinoteka, 1998), zbirko esejev o poosamosvojitvenem slovenskem filmu Osvobajanje pogleda (Slovenska kinoteka 2004), knjigo o sodobnem dokumentarnem filmu Prizorišče odpora (KINO!, 2010), znanstveno razpravo Vračanje realnosti (Slovenska kinoteka, 2011), ki raziskuje vprašanja novega realizma v svetovnem filmu, Neuklonljivost vizije (Slovenska kinoteka, 2013), študijo o angažiranem dokumentarcu po drugi svetovni vojni ter članke v mednarodnih zbornikih: »Catastrophe, Documentary and the Limits of Cinematic Representation« v The Cultural Life of Catastrophes and Crises (De Gruyter 2012); »Newsreel 55 : Which side are you on?« v Cinema journal (2017); »Musical variations in Karpo Godina's alternative cinema« v Popular music and the moving image in Eastern Europe (Bloomsbury Academic, 2019) in »Contemporary Newsreel and New Everybody Figures as Mediators in Late Democracies« v Popularization and populism in the visual arts : attraction images (Routledge, 2020). Med leti 1997 in 2005 je bil član uredništva revije Ekran, od leta 2008 pa je član uredništva revije KINO!. Svoje prispevke objavlja predvsem v revijah Ekran, KINO!, Kinotečnik in Časopis za kritiko znanosti; sodeloval pa je tudi v mednarodnih projektih kot MoveEast, Carte di Cinema, Romboid in European Summer School of Cultural Studies, Studies in Eastern European cinema. * * * Andrej Šprah, who completed his Ph.D. in Media Studies at the Institutum Studiorum Humanitis– Ljubljana Graduate School of the Humanities with a dissertation titled Documentary Fictiveness and Seemingness of Reality in Contemporary Cinema: Current World Cinema Between the Determinants of New Realism and Post-Documentary Culture, is the Head of Research and Publishing Department at the Slovenian Cinematheque, lecturer of Film Theory Programme at the Institute A.V.A.–Academy of Visual Arts, Ljubljana and assistant professor of film history and theory at the Academy of Theatre, Radio, Film and Television, Universitiy of Ljubljana. His research focuses on the political documentary, as well as on the cultural, political and social implication of the Third Cinema. He has published widely about the relationship between fictional and documentary representation of reality and the cinematography of former Yugoslavia. His works include the book Documentary Film and Power (Slovenian Cinematheque, 1998) on propaganda documentary, a collection of essays on contemporary Slovenian cinema, Liberating the Gaze (Slovenian Cinematheque, 2005), a book about the issues of new documentary cinema in the so-called post-documentary culture, The Site of Resistance (KINO!, 2010), scientific monograph Return of Realty (Slovenian Cinematheque, 2011) about the new realistic and transnational tendencies in recent World Cinema, Obstinacy of Vision (Slovenian Cinematheque 2013), a study on the militant post-war documentary, and articles in the international collections: »Catastrophe, Documentary and the Limits of Cinematic Representation« in The Cultural Life of Catastrophes and Crises (De Gruyter, 2012); »Newsreel 55 : Which side are you on?« in Cinema journal (2017); »Musical variations in Karpo Godina's alternative cinema« in Popular music and the moving image in Eastern Europe (Bloomsbury Academic, 2019) and »Contemporary Newsreel and New Everybody Figures as Mediators in Late Democracies« in Popularization and populism in the visual arts : attraction images (Routledge, 2020). Between 1997 and 2005 he was a member of the editorial board of Ekran, Journal for Film and Television. He is the co–editor of KINO!, a magazine for cinema and cinematic. His essays are frequently published in magazines Ekran, KINO!, Apokalipsa, Časopis za kritiko znanosti; occasionally he also participated in international projects like MoveEast, Balcanis, Carte di Cinema, Romboid and European Summer School of Cultural Studies, Studies in Eastern European cinema.

UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Kritična analiza 1 Course title: Critical Analysis 1

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course T 27 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 40 10 10 60 4

Nosilec predmeta / Lecturer: Doc. dr. Sebastjan Leban

Jeziki / Slo Predavanja / Slo Languages: Lectures: Slovenski Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam is minimum • Pogoj za pristop k izpitu je minimalno 80 80% attendance at lectures. % prisotnost na predavanjih.

Vsebina: Content (Syllabus outline): Učna enota Kritična analiza 1 temelji na The course Critical Analysis 1 is based on interdisciplinarni raziskavi političnih, teoretičnih, interdisciplinary research of political, theoretical, filozofskih, umetniških in drugih diskurzov. Učna philosophical, artistic, etc. discourses. The enota obravnava problem, kako razumeti in course deals with the problem on how to brati znanje, ki nastaja znotraj in zunaj understand and read knowledge that is being evrocentrične perspektive, kakor tudi produced inside and outside a Eurocentric razumevanja različnih diskurzov, ki se nanašajo perspective, as to understand on how to na različna področja v logično strukturirano conflate different discourses pertaining to podatkovno bazo, ki naj analizira vse bolj different fields into a logical database structure razvito sodobno družbo, kot tudi stare in nove with which to analyse the ever more developed oblike izkoriščanja, zatiranja in podrejanja. contemporary society as also new and old forms Namen učne enote je, da študente opremi z of exploitation, oppression and subjugation. The kritičnim instrumentarijem s katerim lahko course objective is to provide the students with analizirajo, razumejo in berejo realnost critical tools that assist them to analyse, sodobnega sveta. Posebna pozornost je understand and read the reality of the namenjenja formaciji radikalnih kritičnih praks. contemporary world. Special consideration will Predmet je zasnovan na osnovi be given to the formation radical critical interdiscpilinarne metodologije poučevanja, ki discourse. The course is based on vključuje kritiko politične ekonomije, interdisciplinary teaching methodology including dekolonialnih in postkolonialnih študij, študije the critic of political economy, decolonial and spolov. postcolonial studies, gender studies.

Temeljna in priporočena literatura / Required and Recommended Readings:

• Balockite, Rasa., 2009. “Go West... ” Myths of Femininity and feminist utopias in the East and West, http://www.eurozine.com/articles/2009-08-14-balockaite-en.html • Banerje, S. B., 2006. Live and Let Die: Colonial Sovereignity and the Death Worlds of Necrocapitalism. http://www.borderlands.net.au/vol5no1_2006/banerjee_live.htm • Fanon, Frantz., 2008. Black Skin, White Masks. Grove Press, New York. • Grosfogule, Ramón., 2008. Transmodernity, Border Thinking and Global Coloniality. • http://www.eurozine.com/articles/2008-07-04-grosfoguel-en.html • Gržinić, Marina., The Emergence of the Political Subject, Emanciaption of the Resistance. http://emancipationofresistance.wordpress.com/grzinic/ • Gržinić, M., Heeg, G., Darian, V., 2006. Mind the Map! History is not Given. Revolver, Slovenia. • Harvey, David., 2006. The Art of Rent. Globalization, Monopoly and the Commodification of Culture. http://www.16beavergroup.org/mtarchives/archives/001966.php/. • Leban, Sebastjan., 2010. De-Linking from Capital and the Colonial Matrix of Power: Class Racialization and the (De)Regulation of Life, Pavilionmagazine, Biopolitics, Necropolitics, De- coloniality, Bukarešta. • Luxemburg, Rosa., 1951, The Accumulation of Capital, London: Routledge and Kegan Paul LTD. • Marx, Karl., 1996. Primitive Accumulation, in Marx-Engels Collected Works, Vol. 35, New York: International Publishers. • Mohanty, Talpade Chandra., 1991. Under Western Eyes: Feminist Scholarship and Colonial Discourses, in Third World Women and the Politics of Feminism, ed. Chandra Talpade Mohanty, Ann Russo, Lourdes Torres, Bloomington: Indiana University Press.

Cilji in kompetence: Objectives and competences:

• Omogoča razvijanje osredotočenega • • Enable you to develop a focused study študija kritične analize. of critical analysis. • Razvoj razumevanja konceptov, • Develop an understanding of concepts, diskurzov in metodologij, ki temeljijo na discourses and methodologies based on obravnavanih in analiziranih temah. the analysed topics in the course. • Osnovno poznavanje klasifikacije po • Basic knowledge of sexual, racial and spolu, rasi in razredu. class clasificaion. • Zmožnost kritičnega mišljenja in • To be able to produce critical thinking pisanja. and writing. • Razvoj ustreznih kontekstualnih • Equip you to develop a relevant okvirjev, vključno z zgodovinskimi in contextual framework including historical sodobnimi referencami ki se prenašajo and contemporary references for your na individualne kreativne prakse. practice. • Zagotoviti izhodišče za nadaljne • Provide a platform from which you can raziskave analizirane teme. further investigate the analysed topics. • Zagotoviti različna znanja, ki podpirajo • Provide you with a various range of samostojne ustvarjalne dejavnosti ter s knowledge production with which to tem dvigati kakovost kreativnega dela. support the production of high quality independent and self-managed creative activity.

• Predvideni študijski rezultati: Intended learning outcomes: • Znanje in razumevanje: • • Knowledge and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to demonstrate:

• Zavedanje o povezavah med različnimi • Awareness of connections between področji raziskav, kot so umetnost, different research fields; such as art, teorija in filozofija. theory and philosophy. • Oblikovanja osnovnih radikalno-kritičnih • Formulate basic radical-critical diskurzov. discourses. • Izvajanja interdisciplinarnih raziskav in • Produce interdisciplinary investigations primerjave rezultatov raziskave v širši and correlate the outcomes of the družbeno-politični kontekst. research to the wider socio-political • Sposobnost nadgradnje pridobljenega issue. znanja. • Upgrading the knowledge acquired during the course.

Metode poučevanja in učenja: Learning and teaching methods: • Predavanja • Lectures • Branja • Readings • Individualne in skupinske vaje • Individual and group tutorials • Neodvisne raziskave • Independent research • Predstavitve • Presentation • Zahteva se sodelovanje študentov pri • Collaboration of students in reading and branju in analizi tekstov analysing of text is required • Seminar • Seminar

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Seminar, naloge. Seminar, tasks.

• Naloge 20 % • Tasks 20% • Seminar 80 % • Seminar 80 %

Izbrani znanstveni članki:

Selected scientific articles:

UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Kontekstualno in objektivno risanje 2 Course title: Contextual and objective Drawing 2

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course P20 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 5 80 10 25 4

Nosilec predmeta / Doc. Andrej Savski Lecturer:

Jeziki / Slo Predavanja / Slo Languages: Lectures: Slovenski Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam is minimum • Pogoj za pristop k izpitu je minimalno 80% attendance. 80 % prisotnost .

Vsebina: Content (Syllabus outline): Učna enota Kontekstualno risanje 2 je Learning Unit Contextual Drawing 2 is the nadaljevanje in nadgradnja učne enote continuation and an upgrade of the unit Kontekstualno risanje 1. Contextual Drawing 1. Učna enota se osredinja na spodbujanje This unit focuses on encouraging the creative kreativne rabe že usvojenih risarskih veščin use of already acquired drawing skills through a skozi vrsto danih praktičnih problemov (nalog), series of practical problems (tasks) that relate to ki se nanašajo na risbo in njeno rabo v širšem the drawing and its use in the wider context of kontekstu vizualne produkcije. Del vrste visual production. A part of the variety of praktičnih nalog je vezan na sodobne practical tasks is linked to contemporary praktičnein teoretske probleme in/ali pojme practical and theoretical problems and/or (denimo: obravnava pojmov kot so sodobnost, concepts (for example, dealing with the notion sublimno itd.; razmerje med podobo in of contemporaneity, sublime etc.; the tekstom; prevod umetniškega dela iz relationship between image and text; translation obstoječega medija v risarski itd.), drugi del of works of art from an existing medium into a praktičnih nalog pa se neposredno povezuje z drawing, etc.), while the other part of practical delom študentov na sočasno potekajočih tasks is directly linked to the work students are ostalih praktičnih učnih enotah, kot so Prenos engaged with at other practical learning units, zgodbe v vizualni medij, Individualni (prosti) such as Transposing story into visual media, projekt, Instalacija (in sicer skozi obravnavo Individual project, Installation (through problemov kot so: risba kot skica in/ali addressing the specific problems, e.g. sketch načrtovanje, karakterizacija lika, storyboard, drawing and/or planning of the work, character risba v prostoru, koncipiranje prostora, mešani design, storyboard, drawing in space, set mediji itd.). Kritika, korekture in diskusije o design, mix media, etc.). Criticism, corrections umetnostno-zgodovinskih in sodobnih pristopih and discussions on artistic and historical and v risbi so integrirane v sam procesa dela. contemporary approaches in drawing are integrated into the process itself. Namen učne enote je spodbujanje in The purpose of the learning unit is to promote prakticiranje suverene rabe risbe (kot and practice the sovereign use of the drawing osnovnega raziskovalnega elementa v vizualni (as a basic research element in visual produkciji) skozi različne kreativne pristope k production) through various creative reševanju danih problemov. Enota s tem approaches in solving given problems. kontekstualizira in razširi rabo risbe na ostala Thus, the unit contextualises and extends the področja vizualnega izražanja. use of the drawing to other areas of visual expression.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura / Required Readings:

• Kaupelis, Robert., 1992. Experimental Drawing Techniques, Watson-Guptill Publications. • Burton, J., Dexter, E., et al., 2005. Vitimin D: New perspectives in drawing, Phaidon. • Hoptman, Laura., 2002. Drawing Now: Eight Propositions, New York: The Museum of Modern Art.

Priporočena literatura / Recommended Readings:

• Gill, W. Robert., 2006. Perspective: from basic to creative, London : Thames & Hudson.

Cilji in kompetence: Objectives and competences: • Študentje obnavljajo osnove risanja ter • • Students renew the basics of drawing razvijajo njim lasten risarski jezik. and develop their own language of • razvijajo potrebno praktično in drawing. teoretsko znanje za raziskovanje in • develop the necessary practical and analizo obravnavanih problemov. theoretical knowledge for researching • pridobijo samozaupanje pri transpoziciji and analyzing the given problems motivov skozi skozi temeljne • gain self-confidence in transposing raziskovalne aktivnosti, ki podpirajo motives through basic research activities vizualne prakse. that support visual practices. • Razvijajo razumevanje risbe kot • develope an understanding of drawing osnovne raziskovalne dejavnosti, ki as a basic research activity that supports podpira druge aspekte vizualnega other aspects of visual expression. izražanja. • Predvideni študijski rezultati: Intended learning outcomes: Znanje in razumevanje: Knowledge• and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to demonstrate:

• Razumevanje in poznavanje tehnik in • Understanding and knowledge of konceptov v uporabi risarskega medija. concepts and techniques in use in the • Prikaza pridobljenega znanja. medium of drawing. • Profesionalnega razumevanje praktične in teoretične uporabe risbe v povezavi z • Presenting the acquired knowledge. drugimi načini vizualnega izražanja. • Professional understanding of the • Uporabe konstruktivne kritike skozi practical and theoretical usage of samo-evalvacije in evalvacije risb drawing in relation to other modes of drugih študentov. visual expression. • Neodvisnega razvoja celovitih • Make use of constructive criticism obzervativnih, interpretativnih in through self-evaluation and the tehničnih znanj in veščin v povezavi z risbo v kontekstu. evaluation of drawings produced by • Koherentne verbalne in vizualne other students. prezentacije (verbalne, pisne, vizualne) • Independent development of del predavateljem/tutorjem in kolegom. comprehensive observational, interpretative and technical skills in relation with the contextual drawing. • Give a coherent verbal and visual presentation (verbal, written or visual) of their work to lecturer/tutors and peer group.

Metode poučevanja in učenja: Learning and teaching methods: • Predstavitve • Demonstrations • Individualne in skupinske vaje • Individual and group tutorials • Neodvisni ateljejska praksa in raziskave • Independent studio practice and • Skupinska kritika research • Samoevalvacija • Group Critiques • Self evaluation

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Kritika in prezentacija. Critic and presentation.

• Izkaz dela in napredka preko • Record of work and development leta 80% during the year 80% • Prezentacija 20% • Presentation 20%

* * *

Andrej Savski (1961, Ljubljana), works in the field of contemporary art and painting, exhibition set-up, occasionally as a translator and editor. In the past decade he has been teaching painting and contemporary art. He is co-founder and member of the Irwin Group (1983) and co-founder and member of the Neue Slowenische Kunst (1984). The basic concepts and methods of the Irwin Group work are collective work and retro principle (Was ist Kunst, Retroavantgarda, Icons, Retroprincip). Their projects are characterized by the relationship between art, politics and ideology. Their conceptual projects have been focusing on the East-West Dialogue and the issue of Eastern European Identity and Art History (Kapital, 1990; NSK Embassy Moscow, 1992; Transnacionala 1996, East Art Map, 2000-06; NSK State Pavilion Venice, 2017). In 2004 he (with Irwin) received the Jakopič Prize, and in 2005 the TREND Award for Visual Creativity. His works are in the collections of the Moderna galerija Ljubljana, MOMA New York, MUMOK Vienna, Ludwig Museum Budapest, Ludwig Museum Aachen, Van Abbemuseum Eindhoven, Ujazdovsky Castle Warsaw, Fonds National des Arts Plastiques Paris etc

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UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Prenos zgodbe v vizualni medij Course title: Transposing a Story into Visual Media

Študijski program in Letnik Študijska smer Semester stopnja Academic Study field Semester Study programme and level year Vizualne umetnosti Konceptualizacija prostora / 2 3 1.stopnja Likovna umetnost Visual arts level 1 ( L5) FA/ CS 2 3

Vrsta predmeta / Course type Izbirni/Elective

Univerzitetna koda predmeta / University course P21/CS code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 10 10 90 10 160 10

Nosilec predmeta / Doc. Pepi Sekulich Lecturer:

Jeziki / Slo Predavanja / Slo Languages: Lectures: Slovenski Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam/crit is • Pogoj za pristop k izpitu/kritiki je minimum 80% attendance at lectures, minimalno 80 % prisotnost na presentations and tutorials. predavanjih, prezentacijah in tutorialih.

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Vsebina: Content (Syllabus outline): Učna enota je sestavljena iz dveh komponent This unit gives you a single project with two enotnega projekta od katerih ena komponenta components, one studio-based and one temelji na ateljejskem delu in raziskavah, involving practical realised production closely druga pa na praktični realizaciji ki je tesno linked by a common subject. The work therefore povezana z dano temo/zgodbo. Delo omogoča gives you the opportunity to both experiment eksperimentiranje znotraj individualnih with your on-going practice in the studio with kreativnih praks v ateljeju z ambicijo realizacije increased ambition and relate that work to ideas idej v kontekstu resničnega dogodka oz. in the context of a real event/production. produkcije. You will analyse and transform historical and Naloga je analiziranje in preoblikovanje contemporary ideas and language into a zgodovinskih in sodobnih idej in jezika v realised and sustainable visual media (Theatre, dejanski vizualni medij (Gledališče, Performance, Film/Video, or other apprpriate Performans, Film/Video ipd.) v skladu s media) to a standard commensurate with profesionalnimi standardi. professional practice. V procesu razvoja in izvedbe študentje In the process of making the work students spoznavajo kompleksnost mreže za podporo become aware of the complex network of lastnih idej pri prenosu zgodbe v vizualni medij. support needed to transform the story into visuals.

Temeljni literatura in viri / Readings: Temeljna literatura:

• Kratka zgodba • Delovna besedila primerna za izvedbo projekta – referenčna zgodbi (scenarij, tekst, libretto) • Dodatno : priporočena literatura projeknih mentorjev, ki se nanaša na izbran medij in polje potrebnih raziskav

Required Readings:

• Short story • Working texts appropriate to the subject matter of the project (e.g. play text/libretto) and contextual reference. • In Addition: As appropriate to the field of exploration/established with the help of project Tutor.

Cilji in kompetence: Objectives and competences: • Zmožnost eksperimentiranja in invencij • • Use experimentation and invention to pri realizaciji dane nalog. realise a given task. • Zavedanje pomembnosti sodelovanja in • Appreciate both the collaborative and tehnične kompleksnosti produkcijskih technical complexities of the production procesov vključno z finančnim planom process including managing a budget in efektivno uporabo časa. and time effectively. • Zmožnost vodenja projekta v vlogi • Examine the work process as the režiserja. director. • Zmožnost samostojnega delovanja in • Work and learn both as an independent

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sodelovanja z drugimi. visual artist and a company member. • Spoštovanje rokov in razumevanje • Respect deadlines and understand strokovnih praks in pristopov. professional practices and approaches.

• Predvideni študijski rezultati: Intended learning outcomes: • Znanje in razumevanje: • • Knowledge and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to:

• Razumevanje in poznavanje tehnik in • Understanding and knowledge of konceptov. concepts and techniques. • Prikaza pridobljenega znanja. • Demonstration of the acquired • Poznavanja in kritičnega razumevanja knowledge. spreminjanja kulture gledališkega, • Knowledge and critical understanding of filmskega/video, televizijskega in the changing culture of theatre, film and podobnih medijev, ter sposobnost za television and an ability to evaluate and ocenjevanje in interpretacije teh znanj interpret these within the practice of your v izbrane kreativne prakse. chosen pathway. • Razvoja raziskovalnih metodologij in • A developing research methodology and uporabe le teh na ustrezni strokovni the application of this methodology in a ravni. relevant professional context. • Sprejemanje odločitev in prevzemanja odgovornosti za lastno učenje s • An ability to make decisions and take pomočjo refleksije in samoevalvacije. responsibility for your own learning through the use of reflection and self- • Uporabe procesov in znanj za evaluation. realizacijo, selekcioniranje in ptezentacijo lastnih kreativnih namenov • The application of processes and skills in • Uporabe različnih prenosljivih znanj in order to realise, select and present your veščin pri komunikaciji, pobudah in intentions as a body of work. reševanju problemov na strokovnem • The deployment of a range of področju. transferable skills in communication, • Izkazati zavedanje v formalnem initiative and problem solving in an strukturiranju osebnih idej in uporabi emerging professional context. ustreznih materialov in tehnik. • Demonstrate an awareness in the formal structuring of personal ideas and the use of appropriate materials and technologies.

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Metode poučevanja in učenja: Learning and teaching methods: • Predavanja • Lectures • Seminar • Seminars • Predstavitvene vaje • Demonstrations • Individualne in skupinske vaje • Individual and group tutorials • Samostojno ateljejsko delo in raziskave • Independent studio practice and research • Predstavitve • Presentation • Samoevalvacija • Self evaluation

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Ustni izpit, izpraševanje, naloge, Oral exam, examination, coursework, projekt. project.

• Predstavitev maketnega • Presentation of scale model and modela v merilu in delovnih risb working drawings 30% 30% • Staging of a real • Predstavitev izvedljivega event/production 50% dogodka / produkcije 50% • Log/sketch book with recording • Dnevnik / skicirka z both personal and production zabeleženimi delovnimi in processes 20% produkcijskimi procesi 20%

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104 for Death 2007 (National TV) Author of numerous Exhibitions and Artistic Actions. Tought Fine Art and Design for stage and screen at several HE and Art Institutions. Since 2009 works as a AVA Dean, Director and programme leader as well as organiser and producer of Public Exhibitions and student's films and videos.

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UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Individualni (prosti) projekt Course title: Individual Project

Vrsta predmeta / Course type Izbirni/Elective

Univerzitetna koda predmeta / University course P21/FA code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 10 10 90 10 160 10

Nosilec predmeta / Doc. Miran Mohar Lecturer:

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam/crit is • Pogoj za pristop k izpitu/kritiki je minimum 80% attendance at lectures, minimalno 80 % prisotnost .na presentations and tutorials. predavanjih, prezentacijah in tutorialih.

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Vsebina: Content (Syllabus outline): Učna enota se nanaša na ideje in raziskave This unit makes reference to the ideas and kreativnih praks likovne umetnosti prvega practical work explored in the Introduction to letnika ter uvaja njihovo poglobljeno Studio Practices in Fine Art and extends them. nadgradnjo in integracijo. Obenem omogoča The unit provides the framework in which temelje za vzpostavitev območja students establish the area of studio practice individualnega kreativnega delovanja/profila v they wish to focus on over the continuation of nadaljevanju študija. Študentom so the study. Students are introduced to the predstavljeni parametri delovanja v 2D in 3D v parameters of both 2D and 3D practice in korelaciji s sodobnimi umetniškimi praksami. relation to contemporary Art. The module Namen učne enote je priprava študentov za prepares students to locate their own creative lociranje lastnih kreativnih praks v izbrani practice within a particular form, which are obliki, ki so kritično podprta z osebnim critically underpinned by a personal agenda and načrtovanjem in raziskavo. research.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura:

Skozi debato z učnim osebjem študentje razvijejo seznam literature in virov, ki se nanašajo na konkreten projekt in polje raziskave.

Through negotiation with staff, students will develop a list of literature and learning resources in relation to their ideas and as appropriate to the field of exploration.

Cilji in kompetence: Objectives and competences: • Zmožnost opredelitve lastnega • • Through reflection and self- področja kreativnega delovanja skozi evaluation you will define an area of refleksijo in samoevalvacijo. study that reflects your interests and • Zmožnost opredelitve lastnih ambition. raziskovalnih interesov in razvoja • Define your personal and research projekta v dogovoru s tutorji, interests and develop a project, agreed • Zmožnost prezentacije lastnega with your tutors, razvojnega programa za projekt, ki je • Develop a presentation for a podprt z evidencami raziskav in razvoja programme of study for a project that is ideje. supported by research and idea development.

• Predvideni študijski rezultati: Intended learning outcomes: • Znanje in razumevanje: • • Knowledge and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to: (demonstrate) • Poznavanja in kritično razumevanje narave 2D ali 3D vizualnih praks skozi • Knowledge and critical understanding of procese stalnih kritičnih raziskovanj. the nature of either 2D or 3D practice • Razvoja raziskovalnih metodologij in through a process of sustained practical

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uporabe le teh na ustrezni strokovni and critical enquiry. ravni. • Developing research methodology, and • Sprejemanje odločitev in prevzemanja application of this methodology in a odgovornosti za lastno učenje s relevant professional context. pomočjo refleksije in samoevalvacije. • An ability to make decisions and take • Uporabe procesov in znanj za responsibility for your own learning realizacijo, selekcioniranje in through the use of reflection and self- prezentacijo lastnih kreativnih namenov evaluation. • Uporabe različnih prenosljivih znanj in • The application of processes and skills in veščin pri komunikaciji, pobudah in order to realise, select and present your reševanju problemov na strokovnem intentions as a body of work. področju. • Izkazati zavedanje v formalnem • The deployment of a range of strukturiranju osebnih idej in uporabi transferable skills in communication, ustreznih materialov in tehnik. initiative and problem solving in an emerging professional context. • Demonstrate an awareness in the formal structuring of personal ideas and the use of appropriate materials.

Metode poučevanja in učenja: Learning and teaching methods:

• Predavanja • Lectures • Predstavitvene vaje • Demonstrations • Individualne in skupinske vaje • Individual and group tutorials • Samostojno ateljejsko delo in raziskave • Predstavitve • Independent studio practice and research • Samoevalvacija • Presentation • Self-evaluation

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Ustni izpit, izpraševanje, naloge, Oral exam, examination, coursework, projekt. project.

• Izvedba projekta 60% • Realization of a project 60% • Evidenca razvoja skozi • Evidence of the research through raziskave 20% the development 20% Samoevalvacija 20% • Self evaluation 20%

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Je tudi docent na AVA, Akademiji za vizualne umetnosti, Ljubljana in njen prodekan ter soustanovitelj gibanja Maja Farol za odprto arhitekturo. Je tudi član Evropskega kulturnega parlamenta od leta 2002 ter mentor dvoletnega tečaja za kustose sodobne umetnosti v organizaciji Centra za sodobno umetnost v Ljubljani. Od leta 2017 tudi gostujoči predavatelj na univerzi UBT v Prištini. Skupaj z ostalimi štirimi člani skupine Irwin (Dušan Mandič, Andrej Savski, Roman Uranjek and Borut Vogelnik) je sodeloval na vseh Irwin razstavah in projektih od leta1984 naprej. Tu je nekaj od njih: I’m One Only If I’m many, Christine König Galerie, Vienna, 2019; The Comedy of Being – Art and Humour from Antiquity until Today, Kunsthaus Zug, Zurich, 2018; From Kapital to Capital, Reina Sofia, Madrid, 2017; Planting Seeds, Laznia Centre for Contemporary Art, Gdansk, 2016; From Kapital to Capital, Moderna galerija Ljubljana, 2015; Hans in Luck - Art and Capital, Lehmbruck Museum, Duisburg, 2014; Former West, HKW, Berlin, Art Turning Left, Tate Liverpool, Liverpool, 2013; A Bigger Splash, Tate Modern, London; NSK Passport Office, Museum of Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Centre for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold War, 2009 / Krems, Kunsthalle Krems, State in Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003

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UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Koncipiranje prostora po scenariju / Filmska scenografija Course title: Film Production Design

Študijski program in Letnik Študijska smer Semester stopnja Academic Study field Semester Study programme and level year Vizualne umetnosti Konceptualizacija prostora 2 3,4; 1.stopnja Visual arts level 1 ( L5) Conceptualisation of Space 2 3,4;

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course P22/CS code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 15 10 55 48 212 12

Nosilec predmeta / Doc. Pepi Peter Sekulich Lecturer:

Jeziki / Slo Predavanja / Slo Languages: Lectures: Slovenski Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam/crit is • Pogoj za pristop k izpitu/kritiki je minimum 80% attendance at lectures, minimalno 80 % prisotnost .na presentations and tutorials. predavanjih, prezentacijah in tutorialih.

Vsebina: Content (Syllabus outline): Učna enota se osredotoča na oblikovanje, The unit focuses on designing, planning and načrtovanje in postavitev narativnega besedila, setting of a narrative story that will be recorded ki bo posneta na film ali video. on either film or video. This is a speculative Projekt temelji na obstoječem scenariju in project based on an existing screenplay that obravnava osrednjo vlogo ki jih v tem mediju aims to explore the central role that settings, zasedajo postavitve, karakter in premikajoče character and movable viewpoints occupy in vizure. Študentje so stimulirani k razvoju this media. Studetns are stimulated to develop kreativnih veščin in osebnega vizualnega their design skills and personal visual language. jezika. Seminarji, vaje, konzultacije in Seminars, tutorials and lectures guides students

110 predavanja usmerjajo študente k integriranju toward an integration of practical and contextual dela na praktičnem in kontekstualnem nivoju. work. The aim is to develop a thorough research Cilj je razviti poglobljeno raziskovalno methodology based upon informed and metodologijo, ki temelji na informirani in reflective critical judgments. premišljeni kritični obravnavi.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura / Required Readings:

• Katz, Steven D., 1991. Film Directing Shot by Shot. Butterworth-Heinemann. • Jane Barnwell., 2017. Production Design for Screen - Visual storytelling for Film and television. Bloomsbury Visual Arts. • Patti Belantoni., 2005. If it’s Purple, Someone’s Gonna die : The Power of Color in Visual storytelling. Focal Press; 4th edition.

Priporočena literatura / Recommended Readings:

• Zell, Mo., 2008. The Architectural Drawing Course: Understand the Principles and Master the Practices., Thames & Hudson. • Page, Neville., 2006. Concept Design 2., Titan Books Ltd. • Mitchell, Mitch., 2004. Visual Effects for Film and Television. Focal Press. • Rickett, Richard., 2006. Special Effects: The History and Technique, Aurum Press Ltd. • Tarkovsky, Andrei., 1989. Sculpting in Time, Faber & Faber. • Alley, Tony., 2005. Exploring 3D Modeling with Cinema 4D V9. Thompson Learning.

Cilji in kompetence: Objectives and competences: • Zmožnost participacije pri produkcijskih • • Participate in the process of professional procesih, strokovnega načrtovanja, design and realisation demonstrating oblikovanja in realizacije ter izkazati technical knowledge related to current tehnična znanja stroke. professional practice in the relevant field. • Zmožnost samo-motivacije, • Demonstrate self-motivation, innovation odgovornosti znotraj strokovnih and responsibility in professional kontekstov in upoštevanje rokov. contexts and in respecting deadlines. • Zmožnost učinkovitega raziskovanja. • Developing ability to research effectively.

• Predvideni študijski rezultati: Intended learning outcomes: • Znanje in razumevanje: • • Knowledge and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to:

• Razumevanje in poznavanje tehnik in • Understanding and knowledge of konceptov. concepts and techniques.

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• Prikaza pridobljenega znanja. • Demonstration of the acquired • Poznavanja in razumevanja knowledge. spreminjanja kulture časovnih medijev, • Knowledge and critical vrednotenja in interpretacije le-teh v understanding of the changing culture of praksi izbrane smeri. time-based media and an ability to • Razvoja raziskovalnih metodologij in interpret them within the chosen uporabe le teh na ustrezni strokovni practice. ravni izbrane smeri. • A developing research methodology • Sprejemanje odločitev in prevzemanja and the application of this methodology odgovornosti za lastno učenje s in a relevant professional context. pomočjo refleksije in samoevalvacije. • An ability to make decisions and take • Uporabe procesov in znanj za responsibility for your own learning realizacijo, selekcioniranje in through the use of reflection and self- ptezentacijo lastnih kreativnih namenov evaluation. • Uporabe različnih prenosljivih znanj in veščin pri komunikaciji, pobudah in • The application of processes and reševanju problemov na strokovnem skills in order to realise, select and področju. present your intentions as a body of work. • The deployment of a range of transferable skills in communication, initiative and problem solving in an emerging professional context.

Metode poučevanja in učenja: Learning and teaching methods:

• Predavanja • Lectures • Predstavitvene vaje • Demonstrations • Individualne in skupinske vaje • Individual and group tutorials • Samostojno ateljejsko delo in raziskave • Independent studio practice and research • Predstavitve • Samoevalvacija • Presentation • Self-evaluation

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Ustni izpit, izpraševanje, naloge, Oral exam, examination, coursework, projekt. project.

• Izvedba projekta 60% • Realization of a project 60% • Evidenca razvoja skozi • Evidence of the research through raziskave 20% the development 20% Samoevalvacija 20% • Self evaluation 20%

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UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Instalacija Course title: Installation

Študijski program in Letnik Študijska smer Semester stopnja Academic Study field Semester Study programme and level year Vizualne umetnosti Likovna umetnost 2 3,4; 1.stopnja Visual arts level 1 ( L5) Fine Art 2 3,4;

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course P22FA code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 15 10 55 48 212 12

Nosilec predmeta / Doc. Miran Mohar Lecturer:

Jeziki / Slo Predavanja / Slo/Ang Languages: Lectures: Slovenski Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam/crit is • Pogoj za pristop k izpitu/kritiki je minimum 80% attendance at lectures, minimalno 80 % prisotnost .na presentations and tutorials. predavanjih, prezentacijah in tutorialih. .

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Vsebina: Content (Syllabus outline): Učna enota Instalacija nadgrajuje učno enoto The unit Installation upgrades the unit Mixed Mešani Mediji 1 in z njo pridobljeno znanje. Media along with the acquired knowledge. Študentom omogoča uporabo sodobnih Students are able to utilise contemporary kreativnih procesov, ki vključujejo uporabo več creative processes that involves the use of more kot en medij, kot so; fotografija, zvok, film than one media such as: photography, /video, novi mediji, in kombiniranje 2D in 3D installation, sound, film, video, new media and medijev pri koncipiranju in izvedbi umetniškega combinations of 2D and 3D media in the dela ki mora biti umeščeno v prostor (lahko v conceptualisation and production of a new work. eksterierju ali interierju) Work had to be located in space (interior or S tem vzpodbuja študente k preučevanju exterior) možnosti izvedbe umetniškega dela v širokem In this way it stimulates the students to spektru načinov in medijskih oblik. Učna enota consider the possibility of a production of an temelji na razvoju individualnih smeri kreativnih artwork in relation to a broad spectrum of praks in samokritičnosti. methods and media. The unit is based on the development of an individual self-critical direction for your practical work.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura / Required Readings:

• Bishop, C., 2005. Installation Art: a Critical History. London, Tate Publishing. • Doherty, C., 2004. Contemporary Art: from Studio to Situation. London, Black Dog Publishing. • Lippard, L., 1997 The Lure of the Local: Senses of Place in a Multicentered Society. New York, The New Press. • Rebentisch, J., 2012. Aesthetics of Installation Art, Sternberg Press.

Priporočena literatura / Recommended Readings:

• Matzner, F., 2004. Public Art: a Reader. Ostfildern, Germany. • Putnam, J., 2001. Art and Artifact: the Museum as Medium. London, Thames and Hudson. • Staniszewski, M. A., 2001. The Power of Display, A History of Exhibition Installations at the Museum of Modern Art, MIT Press. • Kastner,J., 1998 Land and Environmental Art, Phaidon Press.

Cilji in kompetence: Objectives and competences: • Razumevanje osnovnih konceptov • • Understanding of the basic concepts of instalacije. the installation. • Sposobnost realizacije instalacije. • The capability to realize the installation. • Zmožnost participacije pri produkcijskih • Participate in the process of, procesih, strokovnega načrtovanja, professional design or realisation oblikovanja in realizacije ter izkazati demonstrating technical knowledge tehnična znanja stroke. related to current professional practice in • Zmožnost samo-motivacije, the relevant field. odgovornosti znotraj strokovnih • Demonstrate self-motivation, innovation kontekstov in upoštevanje rokov. and responsibility in professional • Zmožnost učinkovitega raziskovanja contexts, respecting deadlines.

• Developing ability to research effectively.

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• Predvideni študijski rezultati: Intended learning outcomes: • Znanje in razumevanje: • • Knowledge and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to:

• Razumevanje in poznavanje tehnik in • Understanding and knowledge of konceptov. concepts. • Prikaza pridobljenega znanja. • Demonstration of the acquired • Izkazati premišljeno in selektivno knowledge. zavedanje o ustvarjalnih možnosti dela • Demonstrate an informed and z različnimi mediji skozi raziskave. selective awareness of the creative • Razvoja raziskovalnih metodologij in possibilities of working with a variety of uporabe le teh v na ustrezni strokovni media via a body of research. ravni izbrane smeri. • A developing research methodology • Izvedbe kreativnega dela ki uteleša and the application of this methodology prefinjenost, kritično zavedanje in in a relevant professional context of poznavanje primernih tehnik in chosen path. pristopov pri realizaciji. • Present practical work that creatively • Sprejemanje odločitev in prevzemanja embodies a sophisticated and critically odgovornosti za lastno učenje s aware knowledge of relevant techniques pomočjo refleksije in samoevalvacije. and approaches in this area. • Uporabe procesov in znanj za • An ability to make decisions and take realizacijo, selekcioniranje in responsibility for your own learning ptezentacijo lastnih kreativnih namenov through the use of reflection and self- • Uporabe različnih prenosljivih znanj in evaluation. veščin pri komunikaciji, pobudah in • The application of processes and reševanju problemov na strokovnem skills in order to realise, select and področju. present your intentions as a body of

work. • The deployment of a range of transferable skills in communication, initiative and problem solving in an emerging professional context.

Metode poučevanja in učenja: Learning and teaching methods:

• Predavanja • Lectures • Predstavitvene vaje • Demonstrations • Individualne in skupinske vaje • Individual and group tutorials • Samostojno ateljejsko delo in raziskave • Independent studio practice and research • Predstavitve • Presentation • Samoevalvacija • Self-evaluation

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Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Ustni izpit, izpraševanje, naloge, Oral exam, examination, coursework, projekt. project.

• Izvedba projekta 60% • Realization of a project 60% • Evidenca razvoja skozi • Evidence of the research through raziskave 20% the development 20% Samoevalvacija 20% • Self evaluation 20%

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Comedy of Being – Art and Humour from Antiquity until Today, Kunsthaus Zug, Zurich, 2018; From Kapital to Capital, Reina Sofia, Madrid, 2017; Planting Seeds, Laznia Centre for Contemporary Art, Gdansk, 2016; From Kapital to Capital, Moderna galerija Ljubljana, 2015; Hans in Luck - Art and Capital, Lehmbruck Museum, Duisburg, 2014; Former West, HKW, Berlin, Art Turning Left, Tate Liverpool, Liverpool, 2013; A Bigger Splash, Tate Modern, London; NSK Passport Office, Museum of Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Centre for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold War, 2009 / Krems, Kunsthalle Krems, State in Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003

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UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Individualni (prosti) projekt Course title: Individual project

Študijski program in Letnik Študijska smer Semester stopnja Academic Study field Semester Study programme and level year Vizualne umetnosti Konceptualizacija prostora / 2 4 1.stopnja Likovna umetnost Visual arts level 1 ( L5) FA/ CS 2 4

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course P23 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 20 40 40 180 10

Nosilec predmeta / Doc. Pepi Peter Sekulich Lecturer:

Jeziki / Slo Predavanja / Slo Languages: Lectures: Slovenski Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • submission and approval of Learning • Izpolnjen in potrjen učni načrt projekta agreement • Pogoj za pristop k izpitu/kritiki je • A prerequisite for the exam/crit is minimalno 80 % prisotnost .na minimum 80% attendance at lectures, predavanjih, prezentacijah in tutorialih. presentations and tutorials.

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Vsebina: Content (Syllabus outline): Učna enota spodbuja študente k definiranju in The purpose of this unit is for you to start razvoju individualnega programa kreativnih defining and developing an individual praks, ki odraža njihove interese in programme of study that reflects your interests sposobnosti ter jih pripravlja na izive zadnjega and abilities and prepares you for the letnika. Namen je razvoj dejanskega ali challenges of the final year. You will develop an idejnega projekta v izbrani smeri/mediju. actual or speculative project according to your Definicija 'vizualnih umetnosti' in 'medija' je chosen media. The definitions of ‘Visual Arts’ znotraj programa odprta za interpretacijo v and 'Media' are left open to interpretation in the najširšem pomenu. Zahteve učne enote so broadest sense within the context of the upravljanje in usmerjanje, praktičnih, programme. This unit requires you to manage strokovnih in kritičnih raziskav, v skladu z and direct your practical, professional and razvojem študentovih strokovnih in kreativnih critical enquiry according to your developing praks. Cilj je izkaz trajnostnih metodologij pri professional and creative practice. Showing a podpori individualne strokovne, ustvarjalne sustained research methodology in support of prakse in uporaba vrste prenosljivih veščin in your professional and creative practice, and znanj; ter priprava in predstavitev predloga employing a range of transferable skills, you are lastnega učnega načrta za diplomsko leto. asked to prepare and present a programme of study for the final year.

Temeljna in priporočena literatura / Required and Recommended Readings:

• Priporočena literatura projeknih mentorjev, ki se nanaša na izbran medij in polje potrebnih raziskav.

• As appropriate to the field of exploration/established with the help of project Tutor.

Cilji in kompetence: Objectives and competences: • Zmožnost opredelitve študija ki odraža • • Through reflection and self- študentove interese in ambicije s evaluation you will define an area of poglobljenim razmislekom in study that reflects you interests and samoevalvacijo ambition. • Zmožnost opredelitve lastnih • Define your personal and research raziskovalnih interesov, razvoja in interests and develop a project, agreed izvedbe dogovorjenega projekta, ki with your tutors, which will lead to a odraža potencialno smer delovanja v portfolio of work that reflects the diplomskem letu . potential direction of your final year’s • Zmožnost razvoja prezentacije work. samostojnega projekta, podprtega z • Develop a presentation for a raziskavami in razvojem idej. programme of study for a project that is supported by research and idea development.

•

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Predvideni študijski rezultati: Intended learning outcomes: • Znanje in razumevanje: • • Knowledge and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to: (Demonstrate) • Koherentnega kritičnega stališča ter detaljnjega zavedanja in razumevanja • A coherent critical position in relation to ključnih zgodovinskih in sodobnih detailed awareness and understanding kontekstov izbrane smeri. of key historical and contemporary • Uporabe trajnostnih raziskovalnih debates/contexts within your specialist metodologij, ki je kritično povezana z pathway. izbrano strokovno smerjo študija. • A sustained research methodology, • Neodvisnega načrtovanja in which critically engages with your organizacije lastnega učenja specialist field of study. povezanega z vsemi vidiki svojega • Independence in planning and kreativnega dela s pomočjo analitičnih organising your own learning, in relation postopkov, refleksije in samoevalvacije. to all aspects of your work, through a • Integracije konceptov, procesov in process of analysis, reflection and self- znanj za realizacijo, selekcioniranje in evaluation. ptezentacijo lastnih kreativnih • The integration of concepts, processes namenov, ki se manifestira skozi and skills in order to realise, select and umetniško delo. present your intentions as a coherent • Uporabe različnih prenosljivih znanj in body of work. veščin pri komunikaciji, pobudah in reševanju problemov na strokovnem • The deployment of a range of področju. transferable skills in communication, initiative and problem solving.

Metode poučevanja in učenja: Learning and teaching methods:

• Predavanja • Lectures • Predstavitvene vaje • Demonstrations • Individualne in skupinske vaje • Individual and group tutorials • Samostojno ateljejsko delo in raziskave • Independent studio practice and research • Predstavitve • Presentation • Samoevalvacija • Self-evaluation

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Ustni izpit, izpraševanje, naloge, Oral exam, examination, coursework, projekt. project.

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UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Strokovna praksa : Razstava/Produkcija Course title: Professional Practice : Exhibition/Production

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course P26 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 5 5 10 100 4

Nosilec predmeta / Doc. Miran Mohar Lecturer:

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Uspešno opravljen Individualni projekt • Successfull completion of Individual P23 Project P23

Vsebina: Content (Syllabus outline): Namen učne enote je razširitev razvoja The aim of this unit is to extend the kreativnih praks v 2. letniku in je povezana z developments made in year 2, it is the extention Individualnim projektom (P23). Študentje bodo of the Individual project (P23). Students will be morali svoja dela postaviti zunaj studia, ter se s required to set up their work outside of the tem izpostaviti kritiki širšega občinstva. To je studio, exposing their work to wider audience skozi razstavo, performans, ali katero koli and thus criticism. This is through exhibition, drugo priznano obliko predstavitve performance, or any other recognised method umetniškega dela. of artist presentation. Učna enota je namenjena povezovanju The unit is designed to bring together creative projektov kreativnih praks v prezentabilno practice developments through practical (studio) celoto, kar lahko vključuje nacionalne ali engagement developed from a personally

123 internacionalne razpise, razstave, produkcije, developed project(s). It could include national žive nastope ali projekcije del. and international competitions, exhibitions, productions, live performances or screenings. *Akademija vsako leto organizira pregledno razstavo del študentov pri kateri študentje aktivno sodelujejo pri postavljanju * The Academy each year organizes the exhibition of students svojih del in del kolegov, pri vzdrževanju razstave in kot vodiči work in which students actively participate in setting their works po razstavi. and works of peers in the maintenance of the exhibition and as gallery guides.

Temeljni literatura in viri / Readings:

• Priporočena literatura projeknih mentorjev, ki se nanaša na izbran medij in polje potrebnih raziskav

• As appropriate to the field of exploration/established with the help of project Tutor.

Cilji in kompetence: Objectives and competences: • Zmožnost opredelitve študija/lastnega • • Through reflection and self- dela ki odraža študentove interese in evaluation you will define an area of ambicije s poglobljenim razmislekom in study/field of work that reflects you samoevalvacijo. interests and ambition. • Zmožnost opredelitve lastnih • Define your personal and research raziskovalnih interesov, razvoja in interests and develop a project, agreed izvedbe dogovorjenega projekta, ki with your tutors, which will lead to a odraža potencialno smer delovanja v portfolio of work that reflects the diplomskem letu . potential direction of your final year’s • Zmožnost razvoja prezentacije work. samostojnega projekta, podprtega z • Develop a presentation for a raziskavami in razvojem idej. programme of study for a project that is supported by research and idea development.

• Predvideni študijski rezultati: Intended learning outcomes: • Znanje in razumevanje: • • Knowledge and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to: (Demonstrate) • Prikaza pridobljenega znanja. • Koherentnega kritičnega stališča ter • Demonstration of the acquired detaljnjega zavedanja in razumevanja knowledge. ključnih zgodovinskih in sodobnih • A coherent critical position in relation to kontekstov izbrane smeri detailed awareness and understanding • Neodvisnega načrtovanja in of key historical and contemporary

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organizacije lastnega učenja debates/contexts within your specialist povezanega z vsemi vidiki svojega pathway. kreativnega dela s pomočjo analitičnih • Independence in planning and postopkov, refleksije in samoevalvacije. organising your own learning, in relation • Integracije konceptov, procesov in to all aspects of your work, through a znanj za realizacijo, selekcioniranje in process of analysis, reflection and self- prezentacijo lastnih kreativnih evaluation. namenov, ki se manifestira skozi • The integration of concepts, processes umetniško delo. and skills in order to realise, select and • Uporabe različnih prenosljivih znanj in present your intentions as a coherent veščin pri komunikaciji, pobudah in body of work. reševanju problemov pri postavitivi • The deployment of a range of razstave ali izvedbi projekta. transferable skills in communication,

initiative and problem solving in the exhibition setting or in the production of a project.

Metode poučevanja in učenja: Learning and teaching methods:

• Lectures • Lectures • Predstavitvene vaje • Demonstrations • Individualne in skupinske vaje • Individual and group tutorials • Samostojno ateljejsko delo in raziskave • Independent studio practice and research • Predstavitve • Presentation • Samoevalvacija • Self-evaluation

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Ustni izpit, izpraševanje, naloge, Oral exam, examination, coursework, projekt. project.

125 parlamenta od leta 2002 ter mentor dvoletnega tečaja za kustose sodobne umetnosti v organizaciji Centra za sodobno umetnost v Ljubljani. Od leta 2017 tudi gostujoči predavatelj na univerzi UBT v Prištini. Skupaj z ostalimi štirimi člani skupine Irwin (Dušan Mandič, Andrej Savski, Roman Uranjek and Borut Vogelnik) je sodeloval na vseh Irwin razstavah in projektih od leta1984 naprej. Tu je nekaj od njih: I’m One Only If I’m many, Christine König Galerie, Vienna, 2019; The Comedy of Being – Art and Humour from Antiquity until Today, Kunsthaus Zug, Zurich, 2018; From Kapital to Capital, Reina Sofia, Madrid, 2017; Planting Seeds, Laznia Centre for Contemporary Art, Gdansk, 2016; From Kapital to Capital, Moderna galerija Ljubljana, 2015; Hans in Luck - Art and Capital, Lehmbruck Museum, Duisburg, 2014; Former West, HKW, Berlin, Art Turning Left, Tate Liverpool, Liverpool, 2013; A Bigger Splash, Tate Modern, London; NSK Passport Office, Museum of Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Centre for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold War, 2009 / Krems, Kunsthalle Krems, State in Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003

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UČNI NAČRT : VIZUALNE UMETNOSTI 1. Stopnja/ 3. LETNIK UNIT DESCRIPTORS : VISUAL ARTS L1 /Yr 3.

UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Zgodovina in teorije sodobne umetnosti Course title: Contemporary Art History and Theories

Študijski program in Letnik Študijska smer Semester stopnja Academic Study field Semester Study programme and level year Vizualne umetnosti Konceptualizacija prostora / 3 5,6; 1.stopnja Likovna umetnost Visual arts level 1 ( L6) FA/ CS 3 5,6;

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course T31 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 50 10 10 20 30 4

Nosilec predmeta / Doc. Dr. Jovita Pristovšek Lecturer:

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam is minimum • Pogoj za pristop k izpitu je minimalno 80% attendance at lectures. 80 % prisotnost na predavanjih.

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Vsebina: Content (Syllabus outline): Učna enota uvaja študente v razumevanje The teaching unit introduces students to the zgodovinske vloge estetskega diskurza ter understanding of the historical role of aesthetic njegovih temeljnih konceptov kot ključnih discourse and its main concepts as key elementov v formaciji (buržoaznega) subjekta, elements in the formation of the (bourgeois) njegovega mišljenja in delovanja. subject, his modes of thinking and acting.

Študenti se seznanijo s prvinami estetskega Students get acquainted with the key elements diskurza kot ga je zasnovala evropska kultura, of aesthetic discourse as conceived by z vpeljavo sodobnih post- in dekolonialnih teorij European culture, and by introducing v samo analizo pa se obenem seznanijo tudi s contemporary post- and decolonial theories into številnimi problematičnimi vidiki v artikulaciji an analysis also with a number of problematic tega diskurza (npr. postopke de-formacije aspects in the articulation of this discourse (e.g. specifičnih subjektov). Učna enota namreč processes of de-formation of specific subjects). analizira genealogijo artikulacije estetskega Namely, the unit analyses the genealogy of the diskurza z vidika rase, družbenega spola in articulation of aesthetic discourse in terms of razreda, obenem pa njegove ključne koncepte race, social gender and class, while at the same postavlja v paralelo s primeri iz sodobne time placing its key concepts in parallel with umetniške in kulturne produkcije, ter z examples from contemporary artistic and današnjim družbenim, političnim in cultural production, as well as with today's ekonomskim kontekstom. social, political and economic context.

Namen učne enote Zgodovina in teorije The purpose of the course Contemporary Art sodobne umetnosti je spodbuditi študente za History and Theories is to encourage students temeljito obravnavo načina vzpostavitve, to thoroughly consider the ways in which delovanja in konsekvenc artikulacije Western aesthetic discourse is established, zahodnega estetskega diskurza, na ta način pa articulated, acted upon and the consequences it zgraditi trden temelj znanja za razumevanje brought with, and in this way build a solid umetnosti ter razvoj kritičnega mišljenje kot knowledge for an understanding of art and a podlage za lastno umetniško prakso. development of critical thinking as a basis for one's own artistic practice. Poseben poudarek učne enote je posvečen razvoju raziskovalnih spretnosti, kritičnega A particular emphasis of the teaching unit is mišljenja in pisanja ter povezovanje pojmov iz devoted to the development of research skills, zgodovine estetskega diskurza s sodobnimi critical thinking and writing, and the linking of praksami in teorijami umetnosti. concepts from the history of aesthetic discourse with contemporary practices and theories of art.

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Temeljni literatura in viri / Readings: Temeljna literatura / Required Readings:

• Armstrong, Meg. »'The Effects of Blackness': Gender, Race, and the Sublime in Aesthetic Theories of Burke and Kant«. The Journal of Aesthetic and Art Criticism 54, št. 3 (poletje 1996): 213–236. doi:10.2307/431624. • Foucault, Michel. Življenje in prakse svobode. Uredila Jelica Šumič-Riha. Prevedli Jelka Kernev Štrajn, Katarina Rotar, Ana Žerjav, Vojislav Likar, Samo Tomšič in Mojca Mihelič. Ljubljana: Založba ZRC, 2007. • Lugones, María. »Heterosexualism and the Colonial/Modern Gender System«. Hypatia, št. 1 (2007): 186–209. • Mbembe, Achille. Kritika črnskega uma. Prevedla Suzana Koncut. Ljubljana: Založba ZRC, 2019. • Mignolo, Walter D. »Geopolitics of Sensing and Knowing: On (De)Coloniality, Border Thinking, and Epistemic Disobedience«. Eipcp, september 2011. https://eipcp.net/transversal/0112/mignolo/en.html. • Quijano, Anibal. »Coloniality of Power, Eurocentrism, and Latin America«. Nepantla: Views from South 1, št. 3 (2000): 533–580. Dostopno na https://www.unc.edu/~aescobar/wan/wanquijano.pdf. • Tanke, Joseph J. »What is the Aesthetic Regime?« Parrhesia, št. 12 (2011): 71–81. Dostopno na: http://parrhesiajournal.org/parrhesia12/parrhesia12_tanke.pdf.

Priporočena literatura / Recommended Readings:

• Carr, Brian. »At the Thresholds of the 'Human': Race, Psychoanalysis, and the Replication of Imperial Memory«. Cultural Critique, št. 39 (pomlad 1998): 119–150. doi:10.2307/1354553. • Hoyle, Sophie. »Collapse: Contemporary Artists’ Works Exploring Global Divisions of Labour«, video-esej, predstavljen na Material Matters in Times of Crisis Capitalism, Justus- Liebig University, Giessen, 13. –15. november 2014, in na Between Urgency and Abstraction: Cultural Studies After Stuart Hall, Panel II: Aesthetics of Urgency: Between Figure and Abstraction, na Goldsmiths University 26. junij 2014, https://www.youtube.com/watch?v=_RAEBEr2AFA. • Hallward, Peter. »Rancière and the subversion of mastery«, Jacques Rancière: aesthetics, politics, philosophy, ur. Mark Robson, Edinburgh University Press, Edinburg, 2005, str. 26– 45. Dostopno na: http://abahlali.org/files/hallward.ranciere.pdf. • Stoler, Ann Laura. Race and Education of Desire: Foucault's History of Sexuality and the Colonial Order of Things. Durham: Duke University Press, 1995.

Cilji in kompetence: Objectives and competences: • Analiza artikulacije estetskega diskurza • • An analysis of the articulation of in formacije njegovega subjekta aesthetic discourse and the formation of • Kritika problematičnih vidikov its subject. estetskega diskurza prek vpeljave • A critique of the problematic aspects of sodobnih teoretskih post- in aesthetic discourse by way of dekolonialnih teorij. introducing the contemporary post- and • Študentje so poučeni o glavnih decolonial theories. konceptih iz zgodovine estetike in teorij • Students are informed with the key sodobne umetnosti za raziskovanje in concepts from the history of aesthetics analizo obranavanih tematik. and theory of contemporary art for the

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• Spodbuditi študente v razvoj kritičnega research and analysis of the discussed mišljenja, raziskovalnih, bralnih in topics. pisnih veščin. • Engage students in critical thinking and • Zagotavljanje platforme iz katere je encourage them to develop the možna nadaljnja poglobljena raziskava research, reading and writing skills. obravnavanih tem v teoriji in/ali lastni • Provide a platform from which students umetniški praksi. can further investigate the analysed topics in theory and/or in one’s own practice.

• Predvideni študijski rezultati: Intended learning outcomes: • Znanje in razumevanje: • • Knowledge and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben: students will be able to: (Demonstrate) • Poznavanja in razumevanja konceptov iz zgodovine estetike ter sodobnih teorij • Knowledge and understanding of umetnosti. concepts in the history of aesthetics and • Kritično interpretirati zgodovinsko mesto contemporary theories of art. in vlogo zahodnega estetskega • Critically interpret the historical place diskurza v formaciji in de-formaciji and role of Western aesthetic discourse subjektov, v odnosu do konstrukcije in the formation and de-formation of družbenega, države, ekonomije itn. subjects, and in relation to the • Identificirati in uporabiti koncepte iz construction of the social, state, zgodovine estetike v povezavi s economy, etc. sodobnimi umetniškimi praksami in • Identify and apply concepts from the teorijami za analizo sodobnih history of aesthetics in connection with umetniških, družbenih, ekonomskih ter contemporary artistic practices and političnih fenomenov. theories for the analysis of contemporary artistic, social, economic and political phenomena.

Metode poučevanja in učenja: Learning and teaching methods:

• Predavanja • Lectures • Seminar • Seminar • Skupinske diskusije • Group discussions • Individualne predstavitve seminarjev • Individual presentation of seminars

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Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Ocena je sestavljena iz: The assessnebts consists of:

• Ustna predstavitev raziskave za • Oral presentation of the seminar 25% seminar research • Pisni seminar 50% • Written seminar 50% • Aktivno sodelovanje na predavanjih 25% • Active participation at the lectures 25%

Reference nosilca / Lecturer's references: Dr. Jovita Pristovšek je trenutno postdoktorska raziskovalka na dunajski Akademiji za likovno umetnost. Doktorirala je na področju filozofije na Podiplomski šoli ZRC SAZU, Ljubljana, in magistrirala na Akademiji za likovno umetnost in oblikovanje, Ljubljana. V času podiplomskega študija je bila štipendistka »Inovativne sheme za sofinanciranje doktorskega študija za spodbujanje sodelovanja z gospodarstvom in reševanja aktualnih družbenih izzivov – generacija 2011«. Njeno raziskovanje se osredinja na temo rase in rasizacije v kontekstu sodobnih režimov estetskega, javnega in političnega in v prepletanju filozofije, estetike, teorij sodobnih umetnosti, epistemologije ter post- in dekolonialne teorije. Rezultate svojega dela redno predstavlja na mednarodnih kolokvijih, v znanstvenih časopisih in editiranih publikacijah. Zadnja tri leta z red. prof. dr. Marino Gržinić Mauhler so-izvaja sklop predavanj z naslovom »Biopolitika/nekropolitika: sublimno, rasizem, podoba in nove digitalne tehnologije« v okviru predmeta Sodobne teorije umetnosti in kulture ter esetetika novih tehnologij na Podiplomski šoli ZRC SAZU, Ljubljana. Njene zadnje objave vključujejo znanstveno monografijo Strukturni rasizem, teorija in oblast (Ljubljana: Sophia, 2019) in Opposing Colonialism, Antisemitism, and Turbo-Nationalism: Rethinking the Past for New Conviviality (sourednica z Marino Gržinić in Sophie Uitz; Newcastle upon Tyne: Cambridge Scholars Publishing, 2020).

* * * Dr. Jovita Pristovšek is currently a postdoctoral researcher at the Academy of Fine Arts Vienna, Austria. She holds a PhD in philosophy from the Postgraduate School ZRC SAZU, Ljubljana, and an MA in Fine Arts from the Academy of Fine Arts and Design, Ljubljana. During her doctoral studies she was a scholarship holder of “Innovative Scheme for co-financing of doctoral studies for promoting co-operation with the economy and solving contemporary social challenges— generation 2011.” Her research interests focus on the theme of race and racialization within contemporary regimes of aesthetic, public, and political, combining the fields of philosophy, aesthetics, theories of contemporary art, epistemology, post- and decolonial theory. She presents the results of her research regularly at international colloquiums, in scientific journals and edited publications. In the past three years she has also been co-conducting a series of lectures entitled “Biopolitics/Necropolitics: Sublime, Racism, Image and New Digital Technologies” with Prof. dr. Marina Gržinić Mauhler at the Postgraduate School of ZRC SAZU, Ljubljana, Slovenia, at Gržinić’s course on “Contemporary Theory of Art and Culture, and the Aesthetics of New Technologies.” Her recent publications include Strukturni rasizem, teorija in oblast (Structural racism, theory and power; Ljubljana: Sophia, 2019) and Opposing Colonialism, Antisemitism, and Turbo-Nationalism: Rethinking the Past for New Conviviality (co-editor with Marina Gržinić and Sophie Uitz; Newcastle upon Tyne: Cambridge Scholars Publishing, 2020).

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UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Kritična analiza 2 Course title: Critical Analysis 2

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course T37 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 50 20 20 10 20 4

Nosilec predmeta / Doc. dr. Sebastjan Leban Lecturer:

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam is minimum • Pogoj za pristop k izpitu je minimalno 80% attendance at lectures. 80 % prisotnost na predavanjih.

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Vsebina: Content (Syllabus outline): Učna enota Kritična analiza 2 nadgrajuje The course Critical Analysis 2 upgrades the obravnavane teme in diskurze v učni enoti elaborated topics and discourses developed in Kritična analiza 1. Program je formiran na the unit Critical Analysis 1. The course is formed presečišču različnih družbenih praks, začenši s at the intersection of different social practices, teorijo, umetnostjo in filozofijo, ter na starting with theory, art and philosophy, and on političnem aktivizmu. Na podlagi tega učna to political activism. On this basis, the course enota poskuša organizirati novo področje tries to organize a new field of research. The raziskave. Učna enota Kritična analiza 2 unit Critical Analysis 2 places in the forefront the postavlja v ospredje razumevanje delovanja understanding of the functionig of capital in kapitala v odnosu do umetniške produkcije in relation to the production of art and society. družbe. Skozi predavanja so študentje Through the lectures students get to know the seznanjeni z načinom delovanja in mode of operation of capital as being the vzpostavitve kapitala kot ultimativnega ultimative element of social domination that is elementa družbene dominacije, ki ga manifested in three specific periods: the definiramo skozi tri ključna obodbja: mehanični mechanical mode of production, the cinematic način produkcije, kinematični način produkcije mode of production and the digital mode of in digitalni način produkcije. V odnosu do production. In relation to the specific mode of specifičnega načina produkcije so študentje production students are confronted with the soočni s transformacijo umetnosti vse od transforamtion of art starting with the pojava avantgardnih praks pa do formacije Avantgarde and up to the foramtion of radical radikalnih kritičnih praks. critical practices as to the critic of biopolitics and V relaciji do kritike kapital kot oblike načina the system of regualtion and control that marks produkcije se študentje seznanijo s kritiko the mode of production of life. In this way biopolitike in sistemi regulacije in nadzora, kot students are able to realize that the mode of načinom produkcije življenja. Na ta način se production of capital is not accidentally linked študentje soočijo s tezo o načinu produkcije with the mode of production of life, but that it is kapital, ki ni naključno povezan z načinom capital who by transforming its mode of produkcije življenja, ampak je prav kapital tisti, production dictates the mode of production of ki diktira transformacijo v načinu produkcije life. življenja.

Temeljna literatura in viri / Readings: Temeljna literatura / Required Readings:

• Althusser, Louis and Balibar, Étienne., 1970. Reading Capital, London: New Left Books. • Agamben, Giorgio., 1995. Homo Sacer: Sovereign Power and Bare Life, Stanford: Stanford University Press. • Beller, Jonathan., 2006/07. Paying Attention, Cabinet Magazine, accessible online: http://www.cabinetmagazine.org/issues/24/beller.php. • Beller, Jonathan., 2014. From The Cinematic Mode of Production to Computational Capital: An Interview with Jonathan Beller for Kulturpunkt, accessible online: http://socialtextjournal.org/from-the-cinematic-mode-of-production-to-computational-capital- an-interview-with-jonathan-beller-for-kulturpunkt/. • Berardi, Franco., 2009. The Soul at Work, Los Angeles: Semiotext(e).

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• Debord, Guy., 1994. Society of the Spectacle, New York: Zone Books. • Foucault, Michel., 1978. The History of Sexuality: Volume I, New York: Pantheon Books. • Gramsci, Antonio., 1999. Selections from Prison Notebooks, London: The Electric Book Company. • Hardt, Michael and Negri, Antonio 2000., Empire, Harvard: Harvard University Press. • Lazzarato, Maurizio., 1996. Immaterial Labour, in Radical Thought in Italy: A Potential Politics, ed. Paolo Virno, Michael Hardt, Minneapolis: University of Minnesota Press, 1996. • Mbembe, Achille,. 2003. Necropolitics, in Public Culture 15, Vol. 1, Durham: Duke University Press. • Terranova, Tiziana., 2003. Free Labour: Producing Culture for the Digital Economy, in Social Text, 63, Vol. 18, No. 2, Durham: Duke University Press.

Cilji in kompetence: Objectives and competences: • Omogoča nadgrajeno razvijanje • • Enable you to the upgrade development osredotočenega študija kritične analize. a focused study of critical analysis. • Razvoj razumevanja konceptov, • Develop an understanding of concepts, diskurzov in metodologij, ki temeljijo na discourses and methodologies based on obravnavanih in analiziranih temah. the analysed topics in the course. • Osnovno poznavanje kapitalističnega • Basic knowledge of the capitalist mode načina produkcije (mehanični, of production (mechanical, cinematic, kinematični, digitalni). digital). • Zmožnost kritičnega mišljenja in • To be able to produce critical thinking pisanja. and writing. • Razvoj ustreznih kontekstualnih • Equip you to develop a relevant okvirjev, vključno z zgodovinskimi in contextual framework including historical sodobnimi referencami ki se prenašajo and contemporary references for your na individualne kreativne prakse. practice. • Zagotoviti izhodišče za nadaljne • Provide a platform from which you can raziskave analizirane teme. further investigate the analysed topics. • Zagotoviti različna znanja, ki podpirajo • Provide you with a various range of samostojne ustvarjalne dejavnosti ter s knowledge production with which to tem dvigati kakovost kreativnega dela. support the production of high quality independent and self-managed creative activity.

• Predvideni študijski rezultati: Intended learning outcomes: • Znanje in razumevanje: • • Knowledge and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to demonstrate:

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• Izvajanja interdisciplinarnih raziskav in • Produce interdisciplinary investigations primerjave rezultatov raziskave v širši and correlate the outcomes of the družbeno-politični kontekst. research to the wider socio-political • Sposobnost nadgradnje pridobljenega issue. znanja. • Upgrading the knowledge acquired during the course.

Metode poučevanja in učenja: Learning and teaching methods:

• Predavanja • Lectures • Branja • Readings • Individualne in skupinske vaje • Individual and group tutorials • Seminar • Seminar • Neodvisne raziskave • Independent research • Zahteva se sodelovanje študentov pri • Collaboration of students in reading and branju in analizi tekstov analysing of text is required

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Naloge in seminar. Tasks and seminar.

• Naloge 20 % • Tasks 20 % • Seminar 80 % • Seminar 80 %

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Art and Politics, AM Journal of Art and Media Studies, Pavilion and others. Most relevant public lectures: Transmediale, Central European University, Akademija za likovno umetnost, ZRC SAZU, Alma Mater Europeae – Institutum Studiorum Humanitatis, Društvo Humanistov Nova Gorica. During the past years he organized and participated in numerous symposiums and lectures: Zgodovine zatiranja, Re-articulating the Scenarios of Environmental Catastrophe, Umetnost in estetika v posttranzicijskih razmerah, Suverenost, migranti in kultura, Transmediale, Central European University, Akademija za likovno umetnost, ZRC SAZU, Alma Mater Europeae – Institutum Studiorum Humanitatis, Društvo Humanistov Nova Gorica and others. Research fields: political economy, decolonial and postcolonial studies, cultural and visual studies.

______Izbrani znanstveni članki:

______

Selected scientific articles:

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UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Kreativno izražanje Course title: Creative expression

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course T38 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 30 20 30 10 30 4

Nosilec predmeta / Doc. Željko Hrs (Bojan Jablanovec) Lecturer:

Jeziki / Predavanja / Slo/Ang Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam is minimum • Pogoj za pristop k izpitu je minimalno 80% attendance at lectures. 80 % prisotnost na predavanjih.

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Vsebina: Content (Syllabus outline): Učna enota omogoča raziskovanje različnih The unit enables exploration of various forms of oblik kreativnega izražanja na področju creative expression in the field of konceptualizacije, kontekstualizacije, conceptualization, contextualization, prezentacije in reflesije umetniškega dela. presentation and reflection of a work of art.

Osredotoča se na prezentacijo, artikulacijo in It focuses on the presentation, articulation and refleksijo umetniške geste – tako s pozicije reflection of the artistic gesture - both from the kreacije kot s pozicije percepcije. Na position of creation and from the position of delavnicah se poslužuje performativne prakse, perception. The learning process uses kot orodja neposrednega prevajanja koncepta performative practice as a tool to directly v dejanje in metode feedbacka, kot orodja za translate the concept into action and feedback razvoj kritičnega mišljenja in refleksije. methods, as a tool for developing critical thinking and reflection. Učni proces je v sklepni fazi usmerjen k pisanju konceptov, prezentacij in refleksij, ki In the final stage, the learning process is umetniško idejo umeščajo v realen kontekst, directed towards writing concepts, presentations do katerega vzpostavljajo neko specifično and reflections that place the artistic idea in a razmerje. realistic context to which it establishes a specific relationship. Učna enota omogoča raziskovanje različnih načinov kreativnega izražanja in pisanja ter The course will provide students with izpopolnjevanje znanja in veščin za pisanje in opportunities to explore various modes of prezentacijo akademskih raziskovalnih nalog ki creative expression in presentation and writing , vključuje tudi diplomskego delo. and to practice skills required to write and present an academic research paper including Degree Dissertation.

Temeljna in priporočena literatura / Recommended and Required Readings: Temeljna literatura / Required Readings:

• Horace., On the Art of Poetry. http://www.ourcivilisation.com/smartboard/shop/horace/arspoet.htm • Johnstone, Keith., 1979. Impro: Improvisation and Theater. Methuen, London. • E. Fischer-Lichte: Estetika performativnega. Ljubljana: Študentska založba, 2008 • M. R. Sandford: Happenings and Other Acts. London and New York: Routledge, 1995 • M. Carlson: Performance: a critical introduction. London and New York: Routledge, 1996 • Jon McKenzie, Perform or Else, London: Routledge, 2001

Priporočena literatura / Recommended Readings:

Priporočena literatura / Recommended Readings: • Catherine Wood, Performance in Contemporary Art, London: Tate, 2018 • Amy Bryzgel, Performance Art in Eastern Europe since 1960, Manchester: Manchester University Press, 2017 • Branislav Jakovljevic, Alienation Effects. Performance and Self-Management in Yugoslavia, 1945-91, The University of Michigan Press, 2016 • Boris Groys: Teorija sodobne umetnosti, Študentska založba, Ljubljana 2002 Amelia Jones, Body Art. Uprizarjanje subjekta, Ljubljana: Študentska založba, Maska, 2001

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Cilji in kompetence: Objectives and competences: • Razumevanje tehnik kreativnega • • Understand the techniques of creative izražanja in pisanja. expression and writting. • Razumevanje konteksta sodobne • Understanding the context of umetniške produkcije. contemporary art production. • Razvoj kritičnega in konceptualnega • Development of critical and conceptual mišljenja. thinking. • Zmožnost pisanja umetniških • Ability to write artistic concepts, konceptov, refleksij, projektov in drugih reflections, projects and other forms of oblik predstavitev umetniške art practice presentation. prakse.Razumevanje osnov priprave in • Understand the basis for the preparation pisanje in prezentacijo akademskih and writting of academic research paper raziskovalnih nalog ki vključuje tudi including Degree Dissertation diplomskego delo.

• Predvideni študijski rezultati: Intended learning outcomes: • Znanje in razumevanje: • • Knowledge and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to demonstrate:

• Raziskovalnega pristopa v skladu s • A developing approach to research in teorijami in koncepti predmeta. accordance with theories and concepts • Konceptualizacije in kontekstualizacije of the subject. lastne umetniške prakse. • Conceptualize your own artistic practice • Razumevanja vplivov družbenih, and situate it contextually. estetskih in socialnih kontekstov na • Understand the influence of social, procese njihovega pisanja. cultural and aesthetic contexts on their • Poznavanja temeljnih konceptov in writing process. razprav, povezanih s spreminjajočo se • Knowledge of underlying concepts and naravo diskurza in vrednotenje in debates associated with the changing razlage le teh v praksi izbrane smeri. nature of discourse and an ability to

evaluate and interpret these within the practice of your chosen pathway.

Metode poučevanja in učenja: Learning and teaching methods:

• Predavanja • Lectures • Seminar • Seminar • Skupinska refleksija • Group feedback • Individualni in skupinski tutoriali • Individual and group tutorials • Predstavitve • Independent studio practice and research • Samoevalvacija • Presentation • Self-evaluation

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Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Seminar, pisni in ustni izpit. Seminar, written and oral exam.

• Projektni predlog 60% • Project proposal 60% • Prezentacija 20% • Presentation 20% • Razvoj refleksije 20% • Development of reflection 20%

Reference nosilca / Lecturer's references: (cv)

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Željko Hrs: actor, dramaturg, permanent member of SMG ensemble, visiting lecturer at Goldsmiths, University of London, lecturer at AVA, Academy of Visual Arts, Ljubljana. - born 1957 - l981 finished Academy AGRFT in Ljubljana and got employed in SMG theatre, Ljubljana - graduated in1992 on acting at AGRFT Ljubljana - was dramaturg at several performances SMG Theatre and Betontanc Theatre - from 2008 visiting Lecturer on MA Performance making at Goldsmiths, University of London - from 2008 lecturer of Histories of Theatre at AVA Academy of Visual Arts, Ljubljana

* * *

In 1993 participated as actor in international project Sarajevo, written by Goran Stefanovski and directed by Slobodan Unkovski; Sarajevo opened Antwerpen as a European Cultural Capital 1993 and attended international theatre festival LIFT in London, festivals in Hamburg, Kobenhavn, Stockholm and several Swedish cities. In 2013 participted as actor in international project The Conquest of Happiness directed by Haris Pašović; coproduction of Prime Cut Productions from Belfast, East West from Sarajevo and SMG Ljubljana. As dramaturg worked on performances Hiša Bernarde Alba (The House of Bernarda Alba) (SMG, 2000), Peter Pan (SMG and Lutkovno gledališče Ljubljana, 2001), Soba srečanj (Maison des rendez-vous) (Zavod Bunker and SMG and Centre Choreographique National de Rennes et de Bretagne, 2002), Wresting Dostoievsky (Zavod Bunker, Betontanc, 2004), Lulubaj (SMG, 2004), Kitov trebuh (El vientre de la ballena) (SMG and Teatro Petra Bogota and Iberoamerican Theatre Festival Bogota, 2006), all directed by Matjaž Pograjc and Don Juan.kdo? (Don Juan.Who?)(SMG and The Athletes of the Heart, London, 2007) directed by Anne Furse). Hiša Bernarde Alba (The House of Bernarda Alba) was proclamed by Nuevo Herald as "the most thrilling performance of the year 2003, absolute spectacle and the most innovative performance" of International Festival of Hispanic Theatre in Miami, USA. Performance Kdo se boji Tennesseeja Williamsa (Who is Afraid of Tennessee Williams) got award Villanueva for best foreign show of the year 2004 in Cuba. It toured in Chile, Argentina, Uruguay, Paraguay, Dominican Republic in Latin America and Italy, Croatia and Macedonia. I am co-author of theatre plays Kdo se boji Tennesseeja Williamsa (Who is Afraid of Tennessee Williams) (SMG 1999) and Don Juan.kdo? (Don Juan.Who?) (SMG and Athletes of the Heart 2007); Theatre play Don Juan.kdo? was published (also in Slovenian) in anthology Theatre in Pieces by editing house Methuen, London, 2011 (ISBN: 978 1 408 13996 7). Performance Don Juan.kdo? toured in Londonu 2007 (Shunt Vaults) and 2008 on festival FeEast, Riverside Studios. From 2008 I am Visiting Lecturer on MA Performance Making at Goldsmiths, University of London.

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Bojan Jablanovec, gledališki režiser, raziskovalec, pedagog, ustanovitelj in umetniški vodja projekta Via Negativa, diplomiral leta 1988 na ljubljanski AGRFT, v letih od 1993 do 1999 režiral v večini slovenskih repertoarnih gledališč, v obdobju 1997/99 poučeval kot asistent stažist za gledališko režijo in igro na AGRFT Ljubljana. 1999 prekine z režijsko prakso v repertoarnih gledališčih in se posveti raziskavi gledališča, ki ga v tem obdobju v prvi vrsti zanima kot medij komunikacije in ne estetizacije. 2002 ustanovi mednarodni projekt sodobne scenske umetnosti Via Negativa. Osredotoča se predvsem na oblikovanje postopka, ki naj izvajalca pripelje do avtorske kreacije – da na odru stoji s svojo izjavo, s svojim telesom in s svojim smislom. S pomočjo metode redukcije raziskuje razmerje med izvajalcem in gledalcem in se osredotoča na vprašanje realnega v tem odnosu. Z mednarodno ekipo sodelavcev ustvari več kot 60 projektov (do 2019), razvrščenih v tri vsebinske cikle: Sedem smrtnih grehov (2002 – 2008), Via Nova (2009 – 2012) in Nerazrešljivo (2011 -). Leta 2012 ustanovi VN LAB, laboratorij za sodobne scenske umetnosti, namenjen vsem, ki želijo razvijati lastne ustvarjalne postopke in raziskovati strategije sodobnega scenskega uprizarjanja. * * * Bojan Jablanovec A theatre director, researcher, pedagogue, founder and artistic director of the Via Negativa project. He graduated at Ljubljana Academy of Theater. From 1993 to 1999, he directed in most Slovenian theatres. From 1997 to 1999, he lectured as an assistant/trainee at Academy of Theatre Ljubljana. In 1999, he stopped directing in Slovenian repertory theatres and dedicated himself to theatre research. In 2002 he founded Via Negativa, an international contemporary performing arts project. In the first years Jablanovec is above all interested in theatre as a medium of communication rather than esthetization. During this period he mainly focuses on development of a creative process, which brings a performer to his authorial creation – so as to become an artist, who stands on stage with his own statement, with his own body and his own reasons. Using a reduction as working method, he focuses on the relationship between the performer and the viewer, and on the question of the real in this relationship. Together with his co-creators he devised more than 60 Via Negativa projects (up to 2019), grouped into three bigger cycles: Seven Deadly Sins (2002-2008), Via Nova (2009-2012) and Irresolvable (2011 -). In 2012 he founded VN LAB, laboratory for contemporary performing arts, which is open to emerging performing arts practitioners, which would like to develop or improve their creative process and performing strategy.

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UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Vizualne kulture Course title: Visual Cultures

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course T39 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 30 20 30 10 30 4

Nosilec predmeta / Doc. dr. Jovita Pristovšek Lecturer:

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je vpis v letnik • Enrollment in the study year. študija. • A prerequisite for the exam is minimum • Pogoj za pristop k izpitu je minimalno 80% attendance at lectures. 80 % prisotnost na predavanjih.

Vsebina: Content (Syllabus outline): Učna enota Vizualne kulture skozi raziskovalni Through a research approach and through pristop in združevanje prakse s teorijo combining practice with theory, teaching unit osvetljuje različne vidike vidnega (kot vselej Visual Cultures illuminates various aspects of kulturno konstruiranega, priučenega in the visible (as always culturally constructed, kultiviranega) prek obravnave strategij in politik learned and cultivated) by analysing reprezentacij v sodobnih umetniških praksah in representational strategies and politics in teorijah. Izbor primerov teoretskih in contemporary artistic practices and theories. umetniških praks je neposredno vezan na The selection of theoretical and artistic practice vsakoletni načrtovan sklop gostujočih examples is directly linked to the planned predavanj umetnikov/predavateljev. annual Visiting Artists/Lecturers Series.

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Študentje so seznanjeni s temeljnimi Students are acquainted with basic theoretical, teoretskimi, filozofskimi, estetskimi in philosophical, aesthetic and new media novomedijskimi prezentiranimi praksami in practices and theories, presented by visiting teorijami gostujočih umetnikov/predavateljev. artists/lecturers. Thus, students get acquainted Preko tega se seznanijo tudi s širšim also with a wider context of cultural kontekstom kulturnih reprezentacij, representations, signifying practices, systems of označevalnih praks, valorizacijskih sistemov v valorisation in the field of art, possibilities of umetnosti, z možnostmi refleksije lastne reflecting on their own art practice, and situating prakse, njeno umestitvijo znotraj obstoječega it within the existing art system etc. umetniškega sistema itn. The unit thus opens a field for a discussion, Enota s tem odpira polje za diskusijo, analizo analysis and contextualisation of the position of in kontekstualizacijo mesta praks v okviru practices within the cultural, social, political, and kultur(e), družbenega, političnega in power structures, as well as for analysing the oblastniškega, obenem pa tudi za analizo implications of the discourses articulated by implikacij diskurzov, ki jih te prakse artikulirajo, these practices and the methodological means in metodoloških sredstev, ki se jih v ta namen used in construction of these discourses. poslužujejo.

Temeljna in priporočena literatura / Required and Recommended Readings: Temeljna literatura / Required Readings:

• Foucault, M. To ni pipa. Ljubljana: Analecta: Društvo za teoretsko psihoanalizo, 2007.

• Hall, S. 1997. Representation: cultural representations and signifying practices. London Thousand Oaks, California: Sage in association with the Open University. • Minh-ha, T.T. 1993. “The Totalizing Quest for meaning”: Theorizing The Documentary, ed. Michael Renov, New York/London: Routledge, pp. 90–107. (Accessible at: http://www.onierafilms.com/readings/minh-ha.pdf) • Gržinić, M., 2017. “Racialized Bodies and the Digital (Financial) Mode of Production”: Regimes of Invisibility in Contemporary Art, Theory and Culture: Image, Racialization, History, eds. Marina Gržinić, Aneta Stojnić and Miško Šuvaković, eds., Cham, Switzerland: Palgrave Macmillan, 2017, str.13–28.

Priporočena literatura / Recommended Readings:

• Se priporoči na podlagi tem letne serije gostujočih umetnikov/predavateljev/ Recommended upon the annual Visiting Artists/Lecturers Series themes

Cilji in kompetence: Objectives and competences: • Seznaniti študente z različnimi • • Acquaint students with various concepts, koncepti, diskurzi in metodologijami s discourses and methodologies from the področja umetniških praks in teorij. field of art practices and theories. • Razvitje znanja in veščin, ki podpirajo • Develop the knowledge and skills with samostojne ustvarjalne dejavnosti ter s which to support the production of high tem dvigati kakovost lastnega quality independent and self-managed kreativnega dela. creative activity. • Zmožnost kritičnega mišljenja in • Ability for critical thinking and writing. pisanja. • Ability to apply a relevant contextual

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• Zmožnost uporabe kontekstualnih framework including historical and okvirjev, vključno z zgodovinskimi in contemporary references for one’s own sodobnimi referencami pri practice. samostojnem delu. • Predvideni študijski rezultati: Intended learning outcomes: • Znanje in razumevanje: • • Knowledge and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben: students will be able to: (Demonstrate) • Raziskovalnega pristopa v skladu s predstavljenimi praksami in teorijami v • A developing approach to research in okviru predmeta. accordance with presented practices • Razumeti, opredeliti ključna vprašanja and theories of the subject. in sodobne teoretične poglede na • Understand key contemporary issues področju lastnih raziskav. and theoretical perspectives within one’s • Razumevanja vplivov družbenih, own identified area of research. ekonomskih, kulturnih in estetskih • Understand the influence of social, kontekstov na kreativne procese. economic, cultural and aesthetic • Poznavanja temeljnih konceptov in contexts on working processes. razprav, povezanih s spreminjajočo se • Knowledge of underlying concepts and naravo diskurza in vrednotenje in debates associated with the changing razlage le teh v praksi izbrane smeri. nature of discourse and an ability to • Interdisciplinarnih raziskav in povezave evaluate and interpret these within the rezultatov raziskav na širša družbeno- practice of one’s own chosen pathway politična vprašanja. • Capacity to produce interdisciplinary investigations and correlate the outcomes of the research to wider socio- political issues.

Metode poučevanja in učenja: Learning and teaching methods:

• Predavanja gostujočih • Visiting Artists/Lecturers series umetnikov/predavateljev • Group and individual reflection • Skupinska in individualna refleksija • Seminar (individual research work; written • Seminar (individualno raziskovalno delo; pisni seminar) seminar) • Visual diary (individual presentation of own • Vizualni dnevnik (individualna predstavitev research in practice) lastnega raziskovanja v praksi)

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Ocena je sestavljena iz: The assessment consists of:

• seminar 50% • seminar 50% • vizualni dnevnik 25% • aktivna udeležba na predavanjih • visual diary 25% 25% • active participation at the lectures 25%

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UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Kreativne prakse – Raziskava in diplomsko delo Course title: Creative Practice - Research

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course P31 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 20 10 40 80 410 20

Nosilec predmeta / Doc. Miran Mohar / doc. Peter Pepi Sekulich Lecturer:

Jeziki / Slo Predavanja / Eng/Slo Languages: Lectures: Slovenski Vaje / Tutorial: Slo/Eng

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Vsebina: Content (Syllabus outline): Učna enota je zasnovana kot vodilo, ki bo The Unit is designed to give guidance which will razširilo in poglobilo izkušnje, spretnosti in extend and further the experience, skills and znanja posameznega študenta. knowledge of the student. Through the Z upoštevanjem razmerja med produkcijo consideration of the relation between the umetnosti in teoretskih razprav bo študent production of art and theoretical debates the oblikovati kritično stališče, analiziral in raziskal student will establish a critical position, analyse svojo umetniško pozicijo; and research their own artistic position, S projektnim tutorji/mentorji bo na podlagi negotiate with tutors a programme of relevant pisnega predloga dogovoril program primernih research and practice in relation to this position raziskav in razvoja svojega diplomskega dela and develop their work as a preparatory ter pripravil in napisal diplomsko nalogo. exploration for the preparation and writing of the Degree Dissertation.

Temeljna in priporočena literatura / Required and Recommended Readings:

• Priporočena literatura projeknih mentorjev, ki se nanaša na izbran medij in polje potrebnih raziskav • As appropriate to the field of exploration/established with the help of project Tutor.

• Študentom so omogočene individualne konzultacije ali vaje v slovenskem jeziku. • Students are provided with individual consultations or tutorials in Slovenian language.

•

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Predvideni študijski rezultati: Intended learning outcomes: • Znanje in razumevanje: • • Knowledge and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to demonstrate:

• Prikaza pridobljenega znanja • Demonstration of the acquired Razumevanje odnosov med koncepti, knowledge. postopki, izvedbo in prezentacijo v svoji • Understand relationships between kreativni praksi. concept, process, realisation and • Prikazati strategije raziskav tehnik, presentation within their creative procesov, materialov in medijev, ki practice. podpira kreativno prakso. • Demonstrate a strategic enquiry into • Artikulirati konceptualni odnos med techniques, processes, materials and teorijo in prakso študijskega programa. media that supports studio practice. • Učinkovito komuniciranje lastnih idej • Articulate the conceptual širši javnosti. interrelationship between theory and • Evidentiranja, načrtovanja in practice across the course. raziskovanja tehnik, procesov, • Communicate their ideas effectively to materijalov in medijev v podporo an audience. uspešni realizaciji diplomskega • Record, plan and explore techniques, projekta. processes, materials and media that will inform successful production for final project.

Metode poučevanja in učenja: Learning and teaching methods:

• Diplomska naloga • Diploma thesis • Predstavitve • Presentations • Neodvisne raziskave • Independent research • Samoevalvacija • Self evaluation

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Pisni izpit, ustno izpraševanje, Written exam, oral examination, naloge, projekt. coursework, project.

• Izvedba raziskave projekta 60% • Practical output from unit • Evidenca razvoja 20% (research) 60% • Predstavitev diplome (pisno in • Evidence of the research 20% ustno) 20% • Diploma presentation (written and oral) 20%

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Reference nosilca / Lecturer's references: Glej reference nosilcev: doc. Pepi Peter Sekulich, doc. Miran Mohar in tutorji iz teoretičnega dela.

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UČNI NAČRT PREDMETA / COURSE SYLLABUS 2020 Predmet: Kreativne prakse – Resolucija (Končni projekt) Course title: Creative Practice – Resolution (Final project)

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course P32 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 10 40 50 350 16

Nosilec predmeta / Doc. Pepi Peter Sekulich Lecturer:

Jeziki / Predavanja / Slo Languages: Lectures: Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je uspešno • Successfully completed unit P31 zaključena učna enota P31 / /Research. Raziskava. • A prerequisite for the exam/crit is • Pogoj za pristop k izpitu/kritiki je minimum 80% attendance. minimalno 80 % prisotnost.

Vsebina: Content (Syllabus outline): Učna enota kreativne prakse / Resolucija, This unit is a programme of studio practice temelji na individualnem razvoju projekta v study developed by students in Creative enoti P31. Kot finalna učna enota Kreativnih Practice /Research Unit -P31. This final unit praks predpisuje združitev praktičnih, requires you to synthesise your practical,

151 strokovnih in kritičnih stališč v končno izvedbo professional and critical position into a resolved opusa del ali projekta kot realizacije body of work/portfolio as a realisation of your razvijajočih se individualnih kreativnih, developing Professional and Creative Practice. strokovnih praks. You should be integrating your conceptual and Naloga študentov je integracija konceptualnih practical explorations and demonstrating a in praktičnih raziskav skozi trajnostne sustained research methodology that uses raziskovalne metodologije in uporabo appropriate processes and skills to realise your primernih procesov, znanj in veščin pri ideas. Unit aims is to conceptualise, plan and realizaciji idej. execute your individual Final Project in the form Cilj učne enote je koncipiranje, načrtovanje, of a publicly disseminated exhibition, production izvedba in javna predstavitev končnega (or any other recognised method of artist projekta v obliki diplomske razstave, produkcije presentation.) (ali v drug primerni obliki umetniške prezentacije).

Temeljna in priporočena literatura / Required and Recommended Readings:

• Priporočena literatura projeknih mentorjev, ki se nanaša na izbran medij in polje potrebnih raziskav

• As appropriate to the field of exploration/established with the help of project Tutor.

Cilji in kompetence: Objectives and competences: • Izkazati znanje komunikacijskih • • Demonstrate competence in spretnosti skozi predstavitve. communication / presentation skills • Razumevanje strokovnih delovnih praks • Evidence understanding of professional in postopkov kot vizualni umetnik. working practices as a Visual artist. • Ovrednotiti svoej dosežke skozi proces • Evaluate your own achievement through samorefleksije. a process of self-reflection. • Projektno načrtovanje • Project Planning. • Uporabe samoevalvacijo pri refleksijah, biti iproaktiven v odnodsu do svojih • Use self-evaluation to reflect upon, and kreativnih praks in do možnosti be proactive about, the character of your nadaljevanja kariere po diplomi. forthcoming practice or possible niche • Samo promocije in povezovanja. following graduation. • Razvoj celovitega delovnega gradiva, ki • Self-presentation and networking. izkazuje raziskave ter razvoj idej in • Development of a comprehensive body rešitev nastalih problemov. of supporting work that details research, • Jasna in kvalitetna prezentacija dela ali development of ideas and solutions to projekta, ki verodostojno izraža problems you have encountered. študentove interese in zmožnosti v • Developing a presentation of your strokovnih, kreativih praksah. portfolio of work that is clear, of high quality and accurately reflects your interests, abilities and thought processes in relation to your professional and creative practice.

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• Predvideni študijski rezultati: Intended learning outcomes: • Znanje in razumevanje: • • Knowledge and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to:(Demonstrate)

• Razumevanje in poznavanja • Understanding and knowledge of obravnavanih konceptov. analysed concepts. • Prikaza pridobljenega znanja. • Demonstration of the acquired • Koherentnega kritičnega stališča, ki se knowledge. nanaša na podrobno poznavanje in • A coherent critical position in relation to razumevanje ključnih zgodovinskih in detailed awareness and understanding sodobnih razprav / kontekstov znotraj of key historical and contemporary izbrane strokovne smeri. debates/contexts within your specialist • Trajnostnih raziskovalnih metodologij, ki pathway. kritično obravnava strokovna področja • A sustained research methodology, izbrane smeri študija. which critically engages with your Neodvisnega načrtovanja in • specialist field of study. organizacije lastnega učenja povezanega z vsemi vidiki svojega • Independence in planning and kreativnega dela s pomočjo analitičnih organising your own learning, in relation postopkov, refleksije in samoevalvacije. to all aspects of your work, through a • Integracije konceptov, procesov in process of analysis, reflection and self- znanj za realizacijo, selekcioniranje in evaluation. ptezentacijo lastnih kreativnih • The integration of concepts, processes namenov, ki se manifestira skozi and skills in order to realise, select and umetniško delo. present your intentions as a coherent • Uporabe različnih prenosljivih znanj in body of work. veščin pri komunikaciji, pobudah in • The deployment of a range of reševanju problemov na strokovnem transferable skills in communication, področju, nadaljnjem študiju ali initiative and problem solving to equip zaposlitvi. you for professional practice, further • Uporabiti in razširiti svoje sposobnosti study and employment. pri kreativnih praksah v določenem ali • Have exploited and extended your samoiniciativnem kontekstu. capability for creative practice within a • Lociranja lastne kreativne prakse v given or self-initiated context. osebno definiranem kulturnem polju. • Have located your practice within a • Temeljito izkoristiti, (z razvitimi personally defined cultural territory. metodami dela): materiale, tehnologije, • Have thoroughly exploited, through a procese in koncepte za izvajanje svojih developed working method: materials, idej. technologies, processes and concepts,

in the forming of your ideas.

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Metode poučevanja in učenja: Learning and teaching methods:

• Seminar • Seminar • Predstavitve • Presentations • Projekcije • Screenings • Individualne in skupinske vaje • Pisne in ustne povratne informacije • Individual and group tutorials • Neodvisne raziskave • Written and oral feedback • Samoevalvacija • Independent research • Self evaluation

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Pisni izpit, ustno izpraševanje, naloge, Oral exam and oral examination, projekt. coursework, project.

• Izvedba raziskave projekta skozi • Practical output from unit portfolio del 60% (research) 60% • Evidenca razvoja/ dnevnik 20% • Log book/ project journal 20% • Predstavitev projekta (pisno in ustno) 20% • Project proposal presentation (written and oral) 20%

* * *

154 numerous mid metrage and short films as: Outsider 1995, Stereotype 1996, Ita Rina, 1997, Web 1998, Ljubljana 1999, Head noise 2000, Guardian of the Frontier 2000, Desperado Tonic 2001, New World 2002, The Clairvoyant 2003, Reality 2006, State of Shock 2010 …He recieved Three Awards for best Production design. Directed the feature length documentary-drama: A Rehearsal for Death 2007 (National TV) Author of numerous Exhibitions and Artistic Actions. Tought Fine Art and Design for stage and screen at several HE and Art Institutions. Since 2009 works as a AVA Dean, Director and programme leader as well as organiser and producer of Public Exhibitions and student's films and videos.

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UČNI NAČRT PREDMETA / COURSE SYLLABUS Predmet: Strokovna praksa: Diplomska razstava/produkcija Course title: Professional practice: Resolution-Degree Show/Production

Študijski program in Letnik Študijska smer Semester stopnja Academic Study field Semester Study programme and level year Vizualne umetnosti Konceptualizacija prostora / 3 6 1.stopnja Likovna umetnost Visual arts level 1 ( L6) FA/ CS 3 6

Vrsta predmeta / Course type Obvezni/Mandatory

Univerzitetna koda predmeta / University course P36 code:

Samost. Klinične Druge Predavanja Seminar Vaje delo vaje oblike ECTS Lectures Seminar Tutorial Individ. work študija work 5 20 40 160 8

Nosilec predmeta / Doc. Miran Mohar Lecturer:

Jeziki / Slo Predavanja / Slo Languages: Lectures: Slovenski Vaje / Tutorial: Slo/Eng

Pogoji za vključitev v delo oz. za Prerequisits: opravljanje študijskih obveznosti: • Pogoj za vključitev v delo je uspešno • Successfully completed year 3. zaključen 3 letnik. Vsebina: Content (Syllabus outline): Učna enota je zsnovana kot sklepni del This unit is designed to bring the programme of dodiplomskega izobraževanja. study at undergraduate level to a conclusion. Fokus učne enote je končna diplomska The focus of this unit is the Final Degree Show razstava ali produkcija organizirana ob koncu Exhibition or production held at the end of the akademskega leta ter kot podaljšek učne enote unit P32 (Resolution) and to to conceptualise, P32 (Resolucija). Cilj učne enote je plan and execute their individual Final Project in koncipiranje, načrtovanje, izvedba in javna the form of a publicly disseminated exhibition. predstavitev končnega projekta v obliki Students are expected to bring a final body of diplomske razstave, produkcije (ali v drug work to a professional standard and to organise primerni obliki umetniške prezentacije); and set up an exhibition either in the designated organizacija in postavitev razstave, ki ustreza Studio space, or at a suitable, and previously vsem profesionalnim standardom v agreed venue external to the Academy. modificiranih ateljejskih prostorih ali v primernih prostorih zunaj akademije.

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Temeljni literatura in viri / Readings:

• Priporočena literatura projeknih mentorjev, ki se nanaša na izbran medij in polje potrebnih raziskav

• As appropriate to the field of exploration/established with the help of project Tutor.

Cilji in kompetence: Objectives and competences: • Izkazati znanje komunikacijskih • • Demonstrate competence in spretnosti skozi predstavitve. communication / presentation skills • Razumevanje strokovnih delovnih praks • Evidence understanding of professional in postopkov kot vizualni umetnik. working practices as a Visual artist. • Zmožnost ovrednotenja svojih • Evaluate your own achievement through dosežkov skozi proces samorefleksije a process of self-reflection • Zmožnost projektnega načrtovanja. • Project Planning. • Samo promocije in povezovanja. • Razvoj celovitega delovnega gradiva, ki • Self-presentation and networking. izkazuje raziskave ter razvoj idej in • Development of a comprehensive body rešitev nastalih problemov. of supporting work that details research, • Jasna in kvalitetna prezentacija dela ali development of ideas and solutions to projekta, ki verodostojno izraža problems you have encountered. študentove interese in zmožnosti v • Developing a presentation of your strokovnih, kreativih praksah. portfolio of work that is clear, of high quality and accurately reflects your interests, abilities and thought processes in relation to your professional and creative practice.

• Predvideni študijski rezultati: Intended learning outcomes: • Znanje in razumevanje: • • Knowledge and understanding:

• Po uspešnem zaključku učne enote • On successful completion of this unit, bo študent sposoben : students will be able to demonstrate:

• Izkazati celovito razumevanje • A comprehensive understanding of strokovnih znanj in kritičnega professional knowledge and critical razumevanja izbrane smeri skozi opus understanding of the chosen discipline del ali projekt s postavitvijo razstave ali by producing a body of work to a produkcije, ki dosega vse professional exhibition/published strokovne/profesionalne standarde. standard. • Izkazati obsežno raziskovalno gradivo • Provide substantial evidence in samostojnega razvoja od ideje do generating ideas independently,

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končnega izdelka/dela. developing work in your chosen • Jasne kritične samoevalvacije in discipline. refleksije. • Clearly display critical evaluation and • Izkazati izvirnost raziskovalnih pristopov reflection. za dosego ustvarjalnih rezultatov • Demonstrate originality in the application of research to the final outcome(s).

Metode poučevanja in učenja: Learning and teaching methods:

• Predstavitve • Presentations • Projekcije • Screenings • Individualne in skupinske vaje • Individual and group tutorials • Pisne in ustne povratne informacije • Neodvisne raziskave • Written and oral feedback • Samoevalvacija • Independent research • Self evaluation

Delež (v %) / Načini ocenjevanja: Weight (in %) Assessment: Pisni izpit, ustno izpraševanje, naloge, Oral exam and oral examination, projekt. coursework, project.

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From Kapital to Capital, Moderna galerija Ljubljana, 2015; Hans in Luck - Art and Capital, Lehmbruck Museum, Duisburg, 2014; Former West, HKW, Berlin, Art Turning Left, Tate Liverpool, Liverpool, 2013; A Bigger Splash, Tate Modern, London; NSK Passport Office, Museum of Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Centre for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold War, 2009 / Krems, Kunsthalle Krems, State in Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003

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