First Semester – Compulsory
Compulsory, theoretical and workshop
First semester, winter
Teaching staff: X. Bitsikas and N. Papadimitriou
Course description:
The course Issues in Space and representation approaches the ways and forms with which art interacts and forms public space in conjunction with time and the body experience, as perceptual concepts. The course analyzes 4 concepts: transparency and reflection (Dan Graham), light as space configurator (James Turrell), the configuration of empty space (Rachel Whiteread), Intersecting the architectural space (Gordon Matta-Clark).
Key words: perception, light, transparency, scale, public place, urban landscape, art and public space, deconstruction, intersection, installations
Course assignment:
Creation of artwork/project focusing on the urban or natural environment of Ioannina
Written assignment (2,500 words)
Teaching methods:
Lectures – presentations
Tutorials
Final presentation of the assignment
Teaching can take place by means of a hybrid system (live and distance education). Distance education can account for up to 35% of the number of lectures in each semester (Law 4485/2017, chapter 6, articles 30 and 45)
Indicative bibliography
-Adcock, Craig: (1990) James Turrell: the art of light and space Berkeley: University of California Press, ISBN 0-520-06728-2 ISBN 0-520-06728-2
-Bachelard, Gaston: La poétique de la revene D.R.©1960, Presses Universitaires de France, Paris
-Bachelard Gaston, Η εποπτεία της στιγμής, Εκδ. Καστανιώτη, ISBN: 978-960-03-1735-0
-Bachelard Gaston, Η ποιητική του χώρου, Εκδ. Χατζηνικολή, ISBN: 960-264-055-3
-Baudrillard, Jean: Η έκσταση της επικοινωνίας, Εκδ. Καρδαμίτσα, Αθήνα, 1991
-Baudrillard, Jean: América, Ed. Anagrama, Barcelona, 1997
-Baudrillard, Jean: Περί Σαγήνης, Εδ. Εξάντας 2009 ISBN: 960-256-677-0
- Bergson Henry, Τα άμεσα δεδομένα της συνείδησης, εκδόσεις Καστανιώτη, Αθήνα, 1998
-Pelzer, Mark Francis, Beatriz Colomina, Dan Graham, Phaidon, New York, 2001
-Chen Zen: Metaphors of the body, EMST 2002
-Clement Rosset. Το πραγματικό και το διπλό του. Δοκίμιο περί αυταπάτης. Αθήνα: Εκδ. Αρμός, 2008 (ISBN: 960-527-466-3) (Clement Rosset. «The Real and its Double» Translated by Chris Turner, Seagull Books)
- Colomina Beatriz: Privacy and Publicity. Modern Architecture As Mass Media, MIT Press, 1996
-Colomina B., Sexuality and space, Princeton architectural press, N.Y, 1992
-Dan Graham, Two way mirror power, Selected writings by Dan Graham, Edited by Alexander Alberto, MIT Press, Cambridge Massachusetts, 1999
–Erika Suderburg (Ed.): Space, Site, Intervention: Situating Installation Art , 2000 ISBN-13: 978-0816631599
–Foucault, Michel. “Technologies of the Self.”, edited by Luther H. Martin, Huck Gutman and Patrick H. Hutton, pp. 16-49. Univ. of Massachusets Press, 1988.
-Foucault Michel, Ο στοχασμός του έξω: Για τον Maurice Blanchot, Εκδ. ΡΙΝΟΠΟΥΛΟΣ & ΣΙΑ ISBN: 978-960-348-072-3,
-Grosz Elizabeth, Architecture from the outside. Essays on virtual and real space, the MIT press, 2001
-Hall, Edward T.: The Hidden Dimension, Ed. N.York: Anchor Books - Doubleday, 1990
-Julie H. Reiss : From Margin to Center: The Spaces of Installation Art Paperback – October 1, 2001, ISBN-13: 978-0262681346
-Levin, David Michael: Sites of Vision, The Discursive Construction of Sight in the History of Philosophy, Ed. MIT, Cambridge Massachusetts, 1997
-Merleau-Ponty, Maurice (2014), Phenomenology of Perception, Milton Park: Routledge. ISBN 978-0415834339.
-Merleau-Ponty, Maurice.Η αμφιβολία του Cezanne. Το μάτι και το πνεύμα. Εκδ.Νεφέλη 1991
- Meyer Ursula, Conceptual art, E.P.Dutton & co, New York, 1972
-Moure, Gloria (Ed.) : Dan Graham, Ed. Fundació Antoni Tapies, Barcelona y Centro Gallego de Arte Contemporáneo, Santiago de Compostela, 1998
-Osborne Peter, Conceptual art, Phaidon, New York, 2002
-Pelzer Birgit, Mark Francis, Beatriz Colomina, Dan Graham, Phaidon, New York, 2001
- Rabinowitz Sophie. Aziz + Cucher: Landscapes and Interiors”. Εssay in a catalogue of Aziz + Cucher works for an exhibition at Artereal Gallery, Sydney,
-Σταυρίδης Σταύρος: Από την πόλη οθόνη στην πόλη σκηνή, Εκδ. Ελληνικά Γράμματα, Αθήνα, 2002
-Σταυρίδης Σταύρος: Η συμβολική σχέση με το χώρο, Εκδ. Κάλβος 1990
-Virilio Paul Πανικόβλητη πόλη, Εκδ. Νησίδες, ISBN: 978-960-8263-39-5
First semester, compulsory – theoretical and workshop
Polychronopoulos, Dr. in architecture, Professor of Architecture and Urban Planning, Department of Civil Engineering, Democritus University of Thrace
Grigoriadou, Dr. in architecture, assistant professor of urban planning, Department of Civil Engineering, Democritus University of Thrace
Course description:
The course addresses theoretical issues concerning the definition of concepts for the city’s public space, while students also deal with issues about identification of the urban space, in relation with interventions that take place in it
Key words: public place, urban landscape, art and public space, hybrid design, installations and street art
Course assignment:
Artwork/intervention/action related to the subject area of the course with free choice of medium
Teaching methods:
The course, in its theoretical part, consists of invited talks and lectures by professors from different Higher Education Institutions.
Teacher-student meetings.
Presentation of artwork at the end of the semester
Teaching can take place by means of a hybrid system (live and distance education). Distance education can account for up to 35% of the number of lectures in each semester (Law 4485/2017, chapter 6, articles 30 and 45)
Bibliography
Colomina Beatriz, Privacy and Publicity. Modern Architecture As Mass Media, MIT Press, 1996
-Merleau-Ponty, Maurice (2014), Phenomenology of Perception, Milton Park: Routledge. ISBN 978-0415834339.
Baudrillard Jean: Η έκσταση της επικοινωνίας (L' AUTRE PAR LUI-MEME), Εκδ. Καρδαμίτσα, Αθήνα, 1991
Martin Heidegger, στην σειρά Rowohts Monographien του Walter Biemel. Επίσης, Building, Dwelling, Thinking στο Albert Hofstadter (μτφ), Poetry, Language, Thought, New York : Harper & Row Publishers, 1971
Daniels Stephen και Cosgrove Denis, The iconography and landscape: Essays on the Symbolic Representation, Design and Use of Past Environments, Cambridge University Press, 1988
Gombrich Ernst, Simmel George, Ritter Joachim, μτφρ: Γ. Σαγκριώτης, Λ. Αναγνώστου, Ν. Δασκαλοθανάσης, Το τοπίο, εκδόσεις Ποταμός, 2004
Norberg – Schulz Christian, Genius Loci – Το πνεύμα του τόπου, Πανεπιστημιακές Εκδόσεις ΕΜΠ, 2009
Pallasma, Juhani, The Eyes of the Skin. UK: John Wiley and Sons Ltd, 2012
Pallasma, Juhani, ΔΩΔΕΚΑ ΔΟΚΙΜΙΑ ΓΙΑ ΤΟΝ ΑΝΘΡΩΠΟ, ΤΗΝ ΤΕΧΝΗ ΚΑΙ ΤΗΝ ΑΡΧΙΤΕΚΤΟΝΙΚΗ 1980-2018 ΠΕΚ (ΠΑΝΕΠΙΣΤΗΜΙΑΚΕΣ ΕΚΔΟΣΕΙΣ ΚΡΗΤΗΣ),2021
Tilley Christopher, Space, place, landscape and Perception: Phenomenological Perspectives, A phenomenology of landscape (places, paths and monuments), Oxford/ Providence, USA: BERG, 1994
Zumthor Peter, Atmospheres: Architectural Environments - Surrounding Objects, Birkhäuser Architecture; 5th Printing. Edition, 2006
Zumthor Peter, Thinking Architecture, Birkhäuser Architecture; 3rd edition, 2010
Μαρκέτου Πελαγία (μτφ), Tilley Christopher: χώρος, τόπος, τοπίο. Φαινομενολογικές προσεγγίσεις, στη Συλλογική έκδοση Υλικός Πολιτισμός - Η ανθρωπολογία στη Χώρα των πραγμάτων, Γιαλούρη Ελεάνα (επιμ.), εκδ. Αλεξάνδρεια, 2012
Μωραΐτης Κώστας, Γεωργαντά Τζ. (επιμ), Το τοπίο, πολιτιστικός προσδιορισμός του τόπου, εκδόσεις Σιδερης Ι., 2015
Elective, theoretical and workshop
First semester, winter
Teaching staff: N. Lefa, Associate Professor
Description
Immersion into the City
The main objective is to become able to perceive and experience the city space in order to approach its complexity and represent it (each time anew) in some artwork that will contain such a multiplicity as to be in a position to inspire us. In this course, the body will be the instrument of measurement and perception.
“Not to be able to orient yourself in a city doesn’t mean much. To get lost, though, drifting in a city, as in a wood, requires training” (Benjamin 2005).
The students will leave themselves in the “pauses” of the city, in its invisible stops, the will enter the various worlds it offers, without being cut out of its flow. We will attempt to create a relation to the space in a way similar to the one described by Michel de Certeau in his L'Invention du Quotidien, Vol 1, Arts de Faire. The experience is condensed in these border moments and let the double character of the city emerge; a character moving constantly between the real and the non-real, between what we can touch with our hands and that which we can see with our phantasy. The registration of these moments will be the raw material on which the students will work, transforming the tension, the experience into images, with a variety of means, from hand sketches to projects made in design programs such as Maya, Blender, and Unity
Keywords:
Reality, immersion, City, Public Space, Body, Multiplicity
The course will comprise of lectures, readings and study of philosophical essays, breakdown of emblematic artworks.
Meetings in the town and group walking.
Workshop for familiarization with the new media.
Requirements
Deliverable 1) group project; each student will prepare a representation of one feature, a being, a construct with their preferred means, and all these will comprise the representation of the real city in a virtual one.
Deliverable 2) At the end of the semester a “city diary” will be created, notes taken during the course (texts, photos, etc) as well a conclusion-draft-proposal for a new project.
Bibliography.
Bachelard, Gaston, La poetique de l’espace (Greek edition: Η ποιητική του χώρου. Athens: Hatzinicolis 2014).
Bachelard, Gaston, Psychoanalyse du feu (Greek edition: Η ψυχανάλυση της φωτιάς. Athens: Erato 2007).
Benjamin, Walter, “ Das Paris des Second Empire bei Baudelaire” (Greek edition: «Ο Μποντλέρ ή οι δρόμοι του Παρισιού», in: Παρίσι, Πρωτεύουσα του 19ου αιώνα. Athens: Wapiti 2020).
Benjamin, Walter, Das Arkadenprojekt. Cambridge, Mass.: HUPress 2002 [1982].
Benjamin, Walter, Kinderjahren in Berlin, (Greek edition: Τα παιδικά χρόνια στο Βερολίνο το 1900. Athens: Agra 2005)
Certeau, Michel, L'Invention du Quotidien, Vol 1, Arts de Faire (Greek edition: Επινοώντας την καθημερινη πρακτική. Athens: Smili 2010).
Colomina, Beatriz, Privacy and Publicity. Modern Architecture As Mass Media. Cambridge, Mass.: MIT
Press, 1996.
Heidegger, Martin, Der Urprung des Kunstwerkes (Greek edition: Η Προέλευση του έργου Τέχνης. Athens: Dodoni 1986.
Heidegger, Martin, Bauen Wohnen Denken (Greek edition: Κτίζειν, Κατοικείν, Σκέπτεσθαι, μτφρ. Γ. Ξηροπαίδης. Athens: Plethron 2008).
La Cecla, Franco, Pedersi, L’uomo senza ambiente. Bari: Laterza 1988.
De Micheli, Mario. Le avanguardie artistiche del Novecento (Greek edition: Οι πρωτοπορίες της τεχνης του 20 αιωνα. Athens: Odysseas 1997).
Merleau-Ponty, Maurice, Phenomenology of perception (Greek edition: Φαινομενολογία της αντίληψης. Athens: Nisos 2016).
Rosset, Clement, Le Réel et son double (Greek edition: Το πραγματικό και το διπλό του. Δοκίμιο περί αυταπάτης. Athens: Armos 2008).
Second Semester – Compulsory
Compulsory, second semester, theoretical and workshop
Teaching staff:. O. Pangalos, Dr. Architect, Academic Scholar, Department of Fine Arts and Arts Sciences, University of Ioannina.
Course description:
The course examines methods and practices of the artistic process in relation to public space. It explores strategies, methodologies of practical and emerging issues in artistic practices, through a theoretical approach and analysis of artworks.
Course assignment (choice from the following):
Complete artwork or project with brief accompanying text
Conception of an artwork or project, with processed audiolingual material and extensive accompanying text
Teaching methods:
Seminars (theoretical and practical) – student-teacher sessions, submission of artwork at the end of the semester followed by short presentation.
Teaching can take place by means of a hybrid system (live and distance education). Distance education can account for up to 35% of the number of lectures in each semester (Law 4485/2017, chapter 6, articles 30 and 45). Duration: 13 weeks
Indicative bibliography
- Bloustien, Gerry, and Margaret Peters. Youth, Music and Creative Cultures: Playing for Life. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011.
- Caillois, Roger. 1961. Man, play, and games. New York: Free Press of Glencoe.
- Carr, Stephen, Mark Francis, and Leanne G. Rivlin. Public Space. Cambridge: Cambridge
- University Press, 1992.
- Cage, John. Silence: Lectures and Writings. Hanover, N.H.: Wesleyan University Press, 1973.
- Deutsche, Rosalyn. Evictions: Art and Spatial Politics. 1998.
- Dixon, Steve, and Barry Smith. Digital Performance: A History of New Media in theater, dance, performance art, and installation. Cambridge, Mass: MIT Press, 2015.
- Huizinga, J. Homo Ludens: a study of the play-element in culture. London: Routledge & Kegan Paul, 1949.
- Leavy, Patricia. Method Meets Art: Arts-Based Research Practice. New York: The Guilford Press, 2009.
- McCormick, Carlo. Trespass : a History of Uncommissioned Urban Art. Köln: Taschen, 2010.
- McNiff, Shaun. Trust the Process: An Artist's Guide to Letting Go. Boston: Shambhala, 1998.
- Pangalos, Orestis. 2019. "Two museum visits in Lund, Sweden and the streets between them: Accidental monuments between public and curated spaces". International Journal of Semiotics. 5, no. 2: 155-181.
- Rush, Michael, and Michael Rush. New Media in Art. London: Thames & Hudson, 2005.
- Tharp, Twyla, and Mark Reiter. The Creative Habit: Learn It and Use It for Life : a Practical Guide. New York, NY: Simon & Schuster Paperbacks, 2006.
- Wilson, Stephen. Information arts: intersections of art, science, and technology. Cambridge, Mass: The MIT Press, 2002.
Second semester, theoretical and workshop
Teaching staff: K. Bassanos, visual artist, Associate Professor
Course description:
The Seminar II is developed throughout the semester, framing the thematic unit of the course Concept and process in artistic creation in the form of seminars, which are self-contained units - topics for study divided into three-hour teaching sessions (lectures/presentations, case studies, presentation of works in progress, lectures by invited speakers, workshops, etc.). Issues concerning particular aspects of the concept of the public, as revealed through artistic practices and theoretical-critical approaches, as well as critical issues of contemporary thought and practice on Art and Public Space are explored, focusing on the mechanisms of representation in the conception and creative process of artwork in public space, as a political gesture and practice.
Course assignment:
During the semester, students are required to present a seminar on a topic of their choice in the context of the research field of the course, as well as a written assignment to be delivered at the end of the semester with a short presentation.
Teaching methods:
Seminars (theoretical and practical), student-tutor sessions.
Teaching can take place by means of a hybrid system (live and distance education). Distance education can account for up to 35% of the number of lectures in each semester (Law 4485/2017, chapter 6, articles 30 and 45). Duration: 13 weeks
Bibliography
The originality of Avant Guard and other Modernist Myths, Rosalind Krauss, MIT Press, 1986
Public Monuments: Art in Political Bondage 1870-1997, Sergiusz Michalski, Reaktion Books, 1998.
Space, Site, Intervention. Situating Installation Art, E. Sudenburg (ed), University of Minnesota Press, 2000
One Place After Another: Site-specific Art and Locational Identity, M Kwon, MIT Press, 2000.
Site Specific Art: Performance, Place and Documentation, Nick Kaye, Routledge, 2000
Odd Lots. Revisiting Gordon Matta Clark’s Fake Estates, Cabinet Books, 2005
Two-way Mirror Power, Selected writings by Dan Graham on his Art, MIT Press, 1999
Robert Smithson: The Collected Writings, Robert Smithson, University of California Press 1996.
Ruins, Ed. Brian Dillon, Documents of Contemporary Art, Whitechapel Gallery, MIT Press, 2011
Tilted Arc and the Uses of Democracy, Rosalyn Deutsche, Designing Cities: Critical Readings in Urban Design, Alexander R. Cuthbert, 2003
Neo-Baroque Aesthetics and Contemporary entertainment, Angela Ndalianis, MIT Press, 2004
Walter Benjamin. The Arcades Project, Ed. Rolf Tiedemann. Trans. Howard Eiland and Kevin McLaughlin, New York: Belknap Press, 2002
Warped Space, Antony Vilder, MIT Press, 2001
The Artist House. From workspace to artwork, Kirsty Bell, Sternberg Press, 2013
A voyage on the North Sea. Art in the age of post-medium condition, Rosalind Krauss, Thames and Hudson
Going Public (E-Flux Journal), Boris Groys (author), Julieta Aranda, Brian Kuan Wood, Anton Vidokle (ed), Sternberg Press, 2010
On the Shores of Politics, Jacques Ranciere, New York, Verso, 2007
Dialogues in Public Art, Tom Finkelpearl, Cambridge, MIT Press, 2000
Virtual Art. From Illusion to immersion, Oliver Grau, MIT Press, 2003
The Vision Machine, Paul Virilio, BFi and Indiana University Press, 1994
The Architectural Uncanny: essays in the modern unhomely, Antony Vidler, MIT Press, 1992.
Deleuze and Space, Ed. Ian Buchanan and Gregg Lambert, Edinburgh University Press, 2005
Cine|Spaces. Cinematic Spaces in Architecture and Cities, Richard Koeck, Routledge, 2013
Participation. Documents of Contemporary Art, Claire Bishop (ed), Whitechapel Gallery, MIT Press.
Sophie Calle. Suite Venitienne. Jean Boudrillard. Please follow me, Bay Press, 1988
Bas Jan Ader. Death is Elsewhere, A. Dumbadge, The University of Chicago Press, 2013
Critical Laboratory. The Writings of Thomas Hirschhorn, L. Lee- Hal Foster (eds), October Books, 2013
Mark Dion, Phaidon Press, 1997
Third Semester – Compulsory
Compulsory, theoretical and workshop
Third semester, winter
Teaching staff: Ch. Charisis, visual artist, Associate professor and V. Paspalis, visual artist, contract teacher
Course description:
The main axis of the course is the development of visual artwork in space. The concept of installation as an autonomous art form is studies. Widening the process of expansion in the field of classic forms of expression (painting, photography, collage, sculpture, video, performance, happenings, conceptual art, land art, etc.), new issues arise related to the comprehension of representation systems.
Course assignment:
Visual artwork
Teaching methods:
Seminars (theoretical and practical), student-teacher sessions, Visual artwork, presented at the end of the semester. Duration: 13 weeks
Indicative bibliography
- Art Since 1960, new edition, Michael Archer, Εκδ. Thames & Hudson, Word of Art.
- New Art in the 60s and 70s, Redefining reality, Anne Rorimer, Εκδ. Thames & Hudson, Word of Art.
- Aporia in Architecture: What Now?, Μάντζου Πολυξένη, Εκδ. Επίκεντρο Α.Ε. 2017
- Sculpture Today, Judith Collins, Εκδ. Phaidon.
- Από τη μινιμαλιστική στην εννοιολογική τέχνη. Μια κριτική ανθολογία, Επιμέλεια: Νίκος Δασκαλοθανάσης, Εκδ. Ανώτατη Σχολή Καλών Τεχνών.
- Ο μηχανικός του χαμένου χρόνου. Συζητήσεις με τον Pierre Cabanne, Marcel Duchamp. Εκδ. Άγρα. Αθήνα, 2008
- Καθρέφτης του κόσμου: Μια νέα ιστορία της τέχνης, Bell Julian Εκδ. Μεταίχμιο 2009
Η μεταμόρφωση του κοινότοπου, Danto Arthur C Εκδ. Μεταίχμιο 2004
Fourth Semester – Compulsory
Prior to the end of the third semester, the postgraduate students, in consultation with the member of the teaching staff who will supervise the postgraduate thesis, must select and state a topic for for the postgraduate thesis. It consists of the production of original artwork, that is accompanied by a theoretical support text at least 5,000 words in length (excluding references, tables, captions, etc.) and it should not exceed 40 pages in total. It must be submitted in bound form and include full photographic documentation of the work produced. The presentation of the Postgraduate Thesis is public in front of the Examination Committee, which then judges the scientific correctness and integrity of the work and whether it constitutes a contribution to science and art.
Elective First and Third Semester, winter
First and third semester, winter, elective, workshop
Teaching staff: I. Kokkalis, Assistant Professor
Course description
The course examines the sculptural object, its relationship with space and the viewer. In this process, form, materials and finally, the space the artwork occupies are the main factors
Teaching methods:
Presentations and assignments aiming at familiarization with the three dimensions, materials and methodology of sculpture. Lessons take place at the sculpture workshop
Teaching can take place by means of a hybrid system (live and distance education). Distance education can account for up to 35% of the number of lectures in each semester (Law 4485/2017, chapter 6, articles 30 and 45)
Course assignment:
At the end of the semester students present a sculpture that represents the whole process of the final product (research, preparatory sketches, accompanying text)
Bibliography:
-Η τέχνη από το 1900 : μοντερνισμός, αντιμοντερνισμός, μεταμοντερνισμός, Θεσσαλονίκη, Επίκεντρο, 2018
-Johan Huizinga, Ο άνθρωπος και το παιχνίδι (homo ludens), Αθήνα, Γνώση, 2010
-Kimon Nicolaides, The Natural Way to Draw, Souvenir Press Ltd, 2008
(optional, A & C Semester)) elective, workshop
Teaching staff: Tutor: Konstantinos Papamichalopoulos, Academic Scholar, Department of Fine Arts and Arts Sciences, University of Ioannina.
Course Description:
The lesson focuses on ways in which the broad field of visual creation, from the conception, evolution and development of a theme, has its origin in the idea and practice of drawing.
The more general approach to the concept of drawing breaks it down to a kind of mediation between thought and practice in the broader spectrum of the real, but also alludes to a communication system and a practice of interpreting and recording physical and mental stimuli. The concept of design may, after all, have some similarities with the concept of designing / planning, the method of moulding a shape or a program into a kind of tool which will further facilitate the attainment of a specific goal. The very act of drawing can be thought of as a mental process, which encompasses the formulation of an idea in order to produce the expression of a visible shape and/or form or that reaches its conclusion in the advent of an action. A drawing can have an impact on the conceptual, the imaginary as well as on the interpretive context. It is an abstract, ambiguous and vague process of birth, emergence, or formulation of an element to be executed, but whose principle, origin, or process is often uncertain. Drawing provides the spark of an idea and the formulation of a mental / spiritual image. It is part of the initial phase of conception, reception, and underlining of the main features of a design / organization, and as such, precedes the design phase. In this lesson, therefore, drawing, in addition to its original meaning, also includes the concept of design, in the sense that it often organizes and presents a more general or more specific structured narrative. The concept of storytelling and its techniques is a field of an overarching conception of the design and reflection process on specific data. From this perspective, the course approaches issues of visual practice, narrative techniques, strategies and scenarios for the creation of worlds, through the analysis and comparison of general categories as well as specific case studies. Through the reflective processes, the combined theory and application structure of the practice of drawing is elucidated. The ultimate educational goal is to "learn" through the creative process itself in a project (or a series of projects), and in turn relying on this experience for the creation of future works.
Semester assignment (choose from the following):
-Complete work or project, with a short accompanying text that describes the reasoning that is underlying its creative process, the project’s references, its technical characteristics, influences, symbolism and meanings.
-Conception of a project or project, with a meticulously processed audio-visual material (in indicative or advanced stages of its development), and an extensive accompanying text that describes the proposed project’s rationale, regarding the final result and the overall process of development.
Conducting a lesson
Theoretical seminars coupled with studio-based practice sessions / Student-professor meetings / Final submission of the proposed topic for the semester with a short supporting presentation.
-Courses may be taught using a mixed teaching system (in-person and distance learning) and in particular distance learning will amount to 35% of the number of courses each semester (according to Law 4485/2017, Chapter F , article 30 and article 45).
Course structure
The structure of the course is a combination of theory and practice. The course is developed through lectures and studio practice of 13 weeks.
Teaching can take place by means of a hybrid system (live and distance education). Distance education can account for up to 35% of the number of lectures in each semester (Law 4485/2017, chapter 6, articles 30 and 45)
Elective, workshop, theoretical and workshop
First semester, winter
Teaching staff: Dr. O. Pangalos, Academic Scholar, Department of Fine Arts and Arts Sciences, University of Ioannina.
Course description:
The term video installation denotes a complex and hybrid artistic medium in which video is incorporates with the material elements of an installation in the framework of a defined space.
Keywords: Technology- Video Installation art- Video art- New Media art- Public Space.
Course assignment:
Artwork (project) – primary research and accompanying text
Teaching methods:
Seminars (theoretical and practical) – student-teacher meetings
Artwork, presented at the end of the semester
Teaching can take place by means of a hybrid system (live and distance education). Distance education can account for up to 35% of the number of lectures in each semester (Law 4485/2017, chapter 6, articles 30 and 45). Duration: 13 weeks
Indicative Bibliography
- «Εισαγωγή στην Βιντεοτέχνη», Rob Perree, Εκδ. Σχολή Σταυράκου-Επικοινωνία και Κουλτούρα, 1994
- Illuminating Video: An Essential Guide to Video Art, Doug Hall (Editor), Sally Jo Fifer (Editor), David Bolt (Preface), Εκδ. Aperture; (June 1, 1991)
- Art Since 1960, new edition, Michael Archer, Εκδ. Thames & Hudson, world of art
- New Art in the 60s and 70s, Redefining Reality, Anne Rorimer, Εκδ. Thames & Hudson, world of art
- New Media in Late 20th-Century Art (World of Art), Michael Rush, Εκδ. Thames & Hudson, world of art
- Digital Art, Christiane Paul, Εκδ. Thames & Hudson, world of art
- New Screen Media: Cinema, Art, Narrative, Martin Rieser (Editor), Andrea Zapp (Editor), Εκδ. British Film Inst. (April 2002)
- Video Spaces (PB), Barbara London, Εκδ. Museum of Modern Art, NY
- Video the Reflexive Medium, Yvonne Spielman, Εκδ. The MIT Press (2008)
- A History of Video Art, Chris Meich- Andrews, Εκδ. Berg (2006)
- A History of Experimental Film and Video, A. L. Rees, Εκδ. British Film Inst. (1999)
- Experimental Cinema in the Digital Age, Malcolm Le Grice, Εκδ. British Film Inst. (2001)
- Film Art Phenomena, Nicky Hamlin, Εκδ. British Film Inst. (2003)
- The New Media Book, Dan Harries (Editor), Εκδ. The MIT Press (2002)
- The Language of New Media, Lev Manovich, Εκδ. The MIT Press (2001).
Third semester, elective, theoretical and workshop
Teaching staff: N. Artemis, visual artist, Assistant professor
Course description:
The course focuses on mixed media artworks, audiovisual installations, experimental cinema/animation and music video.
Course assignment:
Creation of artwork/project related to the course and accompanying text describing the rationale, research, creative process, etc.
Teaching methods:
Seminars (theoretical and practical), student-teacher sessions, presentation of projects in progress, lectures by invited speakers, visual artwok presented at the end of the semester.
Teaching can take place by means of a hybrid system (live and distance education). Distance education can account for up to 35% of the number of lectures in each semester (Law 4485/2017, chapter 6, articles 30 and 45)
Indicative bibliography
Benjamin, Walter, Κείμενα 1934-1940, Άγρα, 2019
Bourriaud, Nicolas, Σχεσιακή Αισθητική, ΑΣΚΤ, 2014
Bourriaud, Nicolas, Μεταπαραγωγή. Αθήνα. ΑΣΚΤ 2014.
Christiane, Paul, Digital Art, Thames and Hudson, 2008.
Debord Guy, Η κοινωνία του θεάματος, Μεταίχμιο, 2016
Debord Guy, Σχόλια πάνω στην κοινωνία του θεάματος, Ελεύθερος Τύπος 1988
Deleuze, Gilles, Κινηματογράφος Ι: Η εικόνα-κίνηση, Αθήνα, Νήσος, 2009.
Deleuze, Gilles, Κινηματογράφος ΙΙ: Η χρονοεικόνα, Αθήνα, Νήσος, 2010.
Eisenstein, Sergei, Η μορφή του φιλμ, Αιγόκερως 2003.
Fisher, Mark, Καπιταλιστικός Ρεαλισμός, Futura 2015.
Handler Miller, Carolyn, Digital Storytelling, Focal Press, (2008)2012.
Jordan Ken, Parker Randall, Multimedia: From Wagner to Virtual Reality, Norton, 2002.
Kahn, Douglas, Noise, Water, Meat, A History of Sound in the Arts, MIT Press, 2001.
Kelly, Caleb (ed.), Sound // Documents of Contemporary Art, Whitechapel Gallery, MIT Press, 2011.
Kittler, Friedrich, Γραμμόφωνο, Κινηματογράφος, Γραφομηχανή, Νήσος, 2005.
Le Grice, Malcolm, Experimental Cinema in the Digital Age, BFI, 2001.
Manovich, Lev, Η Γλώσσα των Νέων Μέσων, ΑΣΚΤ, 2016
Rieser, Martin & Zapp, Andrea, New Screen Media-Cinema/Art/Narrative, BFI, 2002.
Rush, Michael, New Media in Art, 2005.
Shanken, Edward A., Art and Electronic Media, Phaidon Press, 2009.
Toop, David, Ocean of Sound, Serpent’s Tail, 1995.
Wands, Bruce, Art of the Digital Age, Thames and Hudson, 2007.
Youngblood, Gene, Expanded Cinema, E.P. Dutton, 1970.
Elective, theoretical and workshop
Third semester, winter.
Teaching staff: O. Pangalos, Dr. architect, Academic Scholar, Department of Fine Arts and Arts Sciences, University of Ioannina.
Course description
The course examines the multifaceted dimensions of the combination of the fields of sculpture and new media. In this framework, we explore emerging issues regarding methodology, practice, technology, innovation, timelessness, update, interdisciplinarity, form, material, techniques, technology, content, aesthetics, meaning and ethics. At the same time, issues concerning art history, history of media, history of technology and time theory emerge.
Course assignment: Choice of one of the following
Complete artwork or project with brief accompanying text describing the rationale, creative process, references, techniques, characteristics, influences, symbolisms and meanings
Conception of artwork or project with processed audiovisual material with extensive accompanying text describing the rationale.
Teaching methods:
Seminars (theoretical and practical), student-teacher sessions, visual artwok with short presentation presented at the end of the semester.
Teaching can take place by means of a hybrid system (live and distance education). Distance education can account for up to 35% of the number of lectures in each semester (Law 4485/2017, chapter 6, articles 30 and 45)
Indicative bibliography
- Bloustien, Gerry, and Margaret Peters. Youth, Music and Creative Cultures: Playing for Life. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011.
- Caillois, Roger. 1961. Man, play, and games. New York: Free Press of Glencoe.
- Carr, Stephen, Mark Francis, and Leanne G. Rivlin. Public Space. Cambridge: Cambridge University Press, 1992.
- Deutsche, Rosalyn. Evictions: Art and Spatial Politics. 1998.
- Deutsche, Rosalyn. Krzysztof Wodiczko. London: Black Dog, 2011.
- Dixon, Steve, and Barry Smith. Digital Performance: A History of New Media in theater, dance, performance art, and installation. Cambridge, Mass: MIT Press, 2015.
- Huizinga, J. Homo Ludens: a study of the play-element in culture. London: Routledge & Kegan Paul, 1949.
- Holzer, Jenny. Jenny Holzer Truth Before Power. Germany: Kunsthaus Bregenz, 2004
- Holzer, Jenny, David Joselit, Renata Salecl, and Joan Simon. Jenny Holzer. London: Phaidon, 2010.
- Leavy, Patricia. Method Meets Art: Arts-Based Research Practice. New York: The Guilford Press, 2009.
- McCormick, Carlo. Trespass : a History of Uncommissioned Urban Art. Köln: Taschen, 2010.
- McNiff, Shaun. Trust the Process: An Artist's Guide to Letting Go. Boston: Shambhala, 1998.
- Quaranta, Domenico. Beyond New Media Art. Brescia: LINK Editions, 2013
- Rush, Michael, and Michael Rush. New Media in Art. London: Thames & Hudson, 2005.
- Tharp, Twyla, and Mark Reiter. The Creative Habit: Learn It and Use It for Life : a Practical Guide. New York, NY: Simon & Schuster Paperbacks, 2006.
- Tribe, Mark, Uta Grosenick, and Reena Jana. New media art. Köln: Taschen, 2006.
Wilson, Stephen. Information arts: intersections of art, science, and technology. Cambridge, Mass: The MIT Press, 2002.
Elective, theoretical
First and third semester, winter
Teaching staff: E. Papadopoulou, Dr. Art History, Academic Scholar, Department of Fine Arts and Arts Sciences, University of Ioannina.
Course description
In the course “Photography: Contemporary Practices and Theories” students approach the relationship between art and visual arts from the first photographic practices to this day. The multidimensional relationship between photography and art in the framework of the wider social and political circumstances, technological developments, art market and museum exhibitions and galleries serve as reference points.
Keywords: Photography, document, body, file, photo books, digitality
Teaching methods:
Lectures, PowerPoint presentations. In each lecture postgraduate students are provided with a schedule that delineates the lecture and specific bibliography. During lectures, active participation is encouraged with questions seeking to lead to interactivity and discussion.
Course assignment
Written assignment (about 3,000 words) at the end of the semester. Oral presentation in which the research process will be evaluated.
Indicative bibliography:
Azoulay Ariella, The civil contract of photography, Νέα Υόρκη: Zone Books 2008
Baldassari Anne, Picasso and photography. The dark mirror, Χιούστον: Museum of Fine Arts 1997
Batchen Geoffrey, Burning with desire: the conception of photography, Κέιµπριτζ: The MIT Press 1999
Bate David, Photography and surrealism. Sexuality, colonialism and social dissent, Λονδίνο, Νέα Υόρκη: I.B.Tauris 2003
Barthes Roland, Ο φωτεινός θάλαµος. Δοκίµιο για τη φωτογραφία, µτφρ. Γιάννης Κρητικός Αθήνα: Κέδρος 1983
Barthes Roland, Εικόνα- Μουσική-Κείµενο, µτφρ. Γιώργος Σπανός, Αθήνα: Πλέθρον 2007
Baudrillard Jean, Simulacra and simulation, µτφρ. Sheila Faria Glaser, Άνν Άρµπορ: The University of Michigan Press 1994
Blake Stimson, The pivot of the world : photography and its nation, Κέιµπριτζ: MIT Press 2006
Bochner Jay, An american lens: scenes from Alfred Stieglitz's New York Secession, Κέιµπριτζ, Λονδίνο: MIT Press2005
Bolton Richard, The contest of meaning. Critical histories of photography, Κέιµπριτζ: MIT Press 1992
Bourdieu Pierre, Un art moyen: essai sur les usages sociaux de la photographie, Παρίσι: Editions de Minuit 1965
Brougher Kerry, Ferguson Russell, Open city: street photographs since 1950, Οξφόρδη, Νέα Υόρκη: Μουσείο Μοντέρνας Τέχνης Οξφόρδη 2001
Buck-Morss Susan, Η διαλεκτική του βλέπειν. Ο Βάλτερ Μπένγιαµιν και το Σχέδιο Εργασίας περί Στοών, µτφρ. Μανόλης Αθανασάκης, Ηράκλειο: Πανεπιστηµιακές Εκδόσεις Κρήτης 2011
Burgin Victor, Thinking photography, Λονδίνο: Macmillan, 1982
Cadava Eduardo, Words of light. Theses on the photography of history, Πρίνστον, Νιου Τζέρσει: Princeton University Press 1997
Cartier Bresson Henri, Η αποφασιστική στιγµή. Λόγος για τη φωτογραφία, µτφρ. Σοφία Διονυσοπούλου, Αθήνα: Άγρα 2013
Clarke Graham, The photograph, Οξφόρδη, Νέα Υόρκη: Oxford University Press 1997
Cotton Charlotte, La photographie dans l'art contemporaine, Παρίσι : Thames and Hudson 2005
Corbus Bezner Lily, Photography and politics in America. From the New Deal into the Cold War, Βαλτιµόρη, Λονδίνο: The Johns Hopkins University Press 1999
(Επ.) Dezeuze Anne, Kelly Julia, Found sculpture and photography from surrealism to contemporary art, Λονδίνο, Νέα Υόρκη: 2013 Routledge
Edwards Steven, Photography. A very short introduction, Oxford : Oxford University Press 2006
Edwards Steve, “Photography out of conceptual art” στο (επ.) Perry Gillian, Paul Wood Themes in contemporary art, New Haven: Yale University Press - Open University 2004
Earle Robin Kelsey, The meaning of photography, New Haven: Sterling and Francine Clark Art Institute 2008
Elkins James, Photography theory, Νέα Υόρκη, Λονδίνο: Routledge 2007
Flusser Vilem, Towards a philosophy of photography, trad. Hercules Papaioannou , Thessalonica: University Press 1998
Fried Michael, Why photography matters as art as never before, New Haven: Yale University Press 2008
Freund Gisele, Photography and society , trad. Jenny Chatzispyrou , Athens: Theory 1982
Galassi Peter, Before photography. Painting and the invention of photography, N.York, Boston: Museum of Modern Art 1981
Goldberg Vicki, Photography in print writings from 1816 to the present,Αλµπουκέρκ: University of New Mexico Press 1988
Grasscamp Walter, The book on the floor. Andre Malraux and the imaginary museum, trad. Fiona Elliott, LA: The Getty Research Institute 2016
(Επ.) Higgott Andrew, Wray Timothy Camera constructs. Photography, architecture, and the modern city, Surrey , Burlington: Ashgate 2012 J
Krauss Rosalind, L'amour fou : photography & surrealism, Washington,N.York: Corcoran Gallery of Art 1985
Kozloff Max, The privileged eye. Essays on photography, Αλµπουκέρκ: University of New Mexico Press, 1987
(Επ.) Larsen Jonas, Sandbye Mette, Digital snaps. The new face of photography, London, N.York: I.B.Tauris 2014
Lemagny Jean-Claude, Rouille Andre, A History of photography : social and cultural perspectives, Cambridge, N.York : Cambridge University Press 1987
Levi Strauss David, Between the eyes. Essays on Photography and Politics, n.York : Aperture 2005
Marien Warner Mary, Photography. A cultural history, Νιου Τζέρσεϊ: Prentice Hall 2002
Mitchell William J., The reconfigured eye. Virtual truth in the post-photographic era, Cambridge , London: MIT Press 2001
Panayotopoulos Nikos, “On greek photography: eurocentrism, cultural colonialism and the construction of mythic classical Greece”, Third Text, τχ. 23:2, 2009, σσ. 181- 194
Philips Jocelyn, Collect contemporary: photography, Λονδίνο: Thames and Hudson 2012
Ritchin Fred, Bending the frame. Photojournalism, documentary and the citizen, Aperture: N.York 2013
Roberts John, The art of interruption. Realism, Photography and the everyday, Μάντσεστερ, Νέα Υόρκη: Manchester University Press 1998
Scharf Aaron, Art and Photography, Μίντλσεξ: Penguin books 1974
Soulages Francois, Esthétique de la photographie: la perte et le reste, Παρίσι A. Collin: 2005
Sinnena W. Peter, Dynamics of the pictured page. Representing the Nation in the Illustrated London News, Βέρµοντ: Ashgate 1988
Sontag Susan, Περί φωτογραφίας, µτφρ. Ηρακλής Παπαϊωάννου, Αθήνα: Εκδόσεις του περιοδικού Φωτογράφος 1993
Spencer Sternberger Paul, Between amateur and aesthete. The legitimization of photography as art in America 1880-1900, Αλµπουκέρκ: University of New Mexico 2001
(Επ.) Squiers Carol, The critical Image. Essays on contemporary photography, Bay Press: Σιάτλ 1990
Stott William, Documentary expression and thirties America, Σικάγο: The university of Chicago Press Σικάγο 1986
Taylor Laurie, The materiality of exhibition. Photography in the modernist era, Λονδίνο-Νέα Υόρκη: Routledge, 2021
(Επ.) Trachtenberg Alan, Classic essays on photography, Νιου Χέιβεν: Leete’s Island Books 1980
Walker Ian, City gorged with dreams. Surrealism and documentary photography in interwar Paris, Μάντσεστερ, Νέα Υόρκη: Manchester university press 2002
Tagg John, The disciplinary frame: Photographic truths and the capture of meaning, Μινεάπολις, Λονδίνο: University of Minnesota Press 2009
Wells Liz, The photography reader, Λονδίνο, Νέα Υόρκη: Routledge 2003
Αντωνιάδης Κωστής, Η (φωτογραφία) ως λανθάνουσα εικόνα: δοκίµιο για τη φωτογραφία, Αθήνα: Μωρεσόπουλος 1995
Ιωαννιδης Κώστας, Μία υπερόχως νόθος τέχνη: ποιητικές της φωτογραφίας τέλη 19ού - αρχές 20ού αιώνα, Αθήνα:Futura 2019
Παπαδοπούλου Ευδοξία, Το αστικό τοπίο στην ελληνική μεταπολεμική φωτογραφία, αδ.διδ.διατριβή, ΑΠΘ 2016
(Επ.) Παπαϊωάννου Ηρακλής, H ελληνική φωτογραφία και η φωτογραφία στην Ελλάδα, Αθήνα : Νεφέλη 2013
Elective, theoretical and workshop,
First and third semester, winter
Teaching staff: K. Papandreopoulou, Dr, Art History, Academic Scholar, Department of Fine Arts and Arts Sciences, University of Ioannina.
Course description
The course focuses on aesthetic theories which prevailed in Europe, and especially in France from the period of Romanticism to the onset of the second world war. Special emphasis is placed on the theories of aestheticism and idealism in relation to their impact on contemporary and innovative movements in the framework of modernity.
Course assignment
Combination of a theoretical/philosophical text in the framework of the course in cooperation with the professor and creation of an artwork. The artwork, along with its theoretical documentation, should be briefly presented and submitted at the end of the semester.
Teaching methods
Lectures, with the use of case studies
Weekly meetings/tutorials in the classroom and the workshops
Student presentations
Bibliography
AGAMBEN, Giorgio, L'homme sans contenu, Sauhures, éd. Circé, 1996.
ALAIN, Propos sur les Beaux-Arts. Préface de François Foulatier ; postface de Robert Bourgne, Παρίσι, Presses universitaires de France, 1998
BAUDELAIRE, Charles, Αισθητικά δοκίμια, Printa, 2017.
BEARDSLEY, Monroe, Ιστορία των Αισθητικών θεωριών: από την κλασική αρχαιότητα μέχρι σήμερα, Αθήνα, Νεφέλη, 1989.
BECQ, Annie, Genèse de l’esthétique française moderne 1680-1814, Παρίσι, Albin Michel, 1984.
CARROLL, David, French Literary Fascism : Nationalism, Anti-Semitism, and the Ideology of Culture, Πρίνστον, Princeton University Press, 1995.
CASSAGNE, Albert, La théorie de l’art pour l’art en France : chez les derniers romantiques et les premiers réalistes, Παρίσι, Dorbon, 1959.
CLAIR, Jean, Χειμώνας στον πολιτισμό, Αθήνα, Μικρή Άρκτος, 2012.
CLAIR, Jean, Σκέψεις για την κατάσταση των εικαστικών τεχνών: κριτική της μοντερνικότητας, Αθήνα, Σμίλη, 1999.
COMPAGON, Antoine, Les cinq paradoxes de la modernité, Παρίσι, Seuil, 1990.
CONIO, Gérard, L'art contre les masses : esthétiques et idéologies de la modernité : essais, Λωζάνη, L'Âge d'homme, 2003.
FERRY, Luc, Le sens du beau : aux origines de la culture contemporaine, Παρίσι, Librairie générale française, 2001.
FIEDLER, Konrad, Essais sur l'art, présenté par Philippe Junod, avertissement de Françoise Choay, Besançon, Les éd. de l'|mprimeur, 2002.
FRIED, Michael, Esthétique et origines de la peinture moderne. III, Le Modernisme de Manet ou Le visage de la peinture dans les années 1860. Traduit de l'anglais par Claire Brunet, Παρίσι, Gallimard, 2000.
FRIED, Michael, Esthétique et origines de la peinture moderne. Ι, La place du spectateur. Traduit de l'anglais par Claire Brunet, Παρίσι, Gallimard, 1990.
GAUT, Berys Nigel and MCIVER LOPES, Dominic, The Routledge companion to aesthetics, Λονδίνο, Νέα Υόρκη, Routledge, 2005.
GOLSAN, Richard J., Fascism, Aesthetics, and Culture, UPNE, 1992.
JUNOD, Philippe, Transparence et opacité : essai sur les fondements théoriques de l'art moderne : pour une nouvelle lecture de Konrad Fiedler, Nîmes, J. Chambon, 2004.
JUNOD, Philippe, Hegel et la peinture, Παρίσι, L'Harmattan, 2003.
McWILLIAM, Neil, L'Εsthétique de la réaction – Tradition, foi, identité et l'art français (1900-1914), Brepols, 2021.
MERRILL, Linda, A Pot of Paint: Aesthetics on trial in Whistler v. Ruskin, Washington, Smithsonian Institution Press, 1992.
SCHAEFFER, Jean-Marie, L'art de l'âge moderne : l'esthétique et la philosophie de l'art du XVIIIe siècle à nos jours, Παρίσι, Gallimard, 1992.
SCHELLING, Friedrich Wilhelm Joseph von, Η σχέση των πλαστικών τεχνών με τη φύση, Αθήνα, Έρασμος, 1978.
SCHOPENHAUER, Arthur, Ο κόσμος ως βούληση και παράσταση, Ροές, 2020.
STEINER, Rudolf, L'art, sa nature, sa mission : cinq conférences 1888-1921. Traduit de l'allemand par Marcel Altmeyer et Henriette Bideau. Paris: Centre Triades, 1990
VAISSE, Pierre, « L'esthétique XIXe siècle : de la légende aux hypothèses », Le Débat, vol. 44, no. 2, 1987, p. 90-105.
WOLIN, Richard, Η γοητεία του ανορθολογισμού. Το ειδυλλιο της διανοησης με τον φασισμο. Απο τον Νιτσε στον μεταμοντερνισμο, Πόλις, 2007.
ΒΕΛΟΥΔΗΣ, Γιώργος, G.W.F. Hegel. Εισαγωγή στην αισθητική, Αθήνα, Πόλις, 2000.
ΤΑΊΝ, Ιππόλυτος, Η φιλοσοφία της τέχνης, Αθήνα, Γκοβόστης.