COURSE OUTLINES POSTGRADUATE STUDIES “Curation: theoretical and practical approaches”

Compulsory

First semester, winter

Teaching staff: E. Solomon, assistant professor, Museology

Course description

The course aims at familiarizing students with the theoretical analysis of exhibitions as social/cultural events. Through a series of exhibition examples, discussions and invited speakers the course of curation in relation to visual art, archaeological, historical, ethnographic/folklore exhibitions since the 19^th century is examined.

Learning outcomes

After successful completion of the course, students are expected to:

Have become familiar with the ideological, historical, cultural and wider social parameters of the exhibition phenomenon

To form and express judgements in relation to the significance and function of museum representations and the exhibition phenomenon in general

Γενικές ικανότητες στις οποίες αποσκοπεί το μάθημα: General competences

After successful completion of the course students are expected to have developed critical analysis and interpretation skills in relation to exhibition representations.

The ability to conduct research, employ and evaluate aspects of social theory related to structuring an exhibitions

Production of free, creative and inductive thinking in the field of curatorial studies

Key words: organizing exhibitions, exhibition practices, cultural analysis, curator, social theory

.

Course assignment

Course evaluation is based on a written assignment (5,00-6,000 words)

Criteria also include student participation in the lectures and presentation of the weekly assignments/tasks

Teaching methods

Lectures – presentations

Presentation of students’ research

Tutorials

Team study for processing of information

Submission of course assignment followed by brief presentation

Teaching takes place in the classroom, while there are also visits to exhibition spaces.

Indicative bibliography

Bibliography in Greek

• Αδαμοπούλου A., Τέχνη και ψυχροπολεμική διπλωματία. Διεθνείς εκθέσεις τέχνης στην Αθήνα, 1950-1967, Θεσσαλονίκη, University Studio Press, 2019.
• AICA HELLAS, (2011). Tο έργο της επιμέλειας. AICA HELLAS, τ. 4.
• Βουδούρη, Δ. (2003). Κράτος και Μουσεία, Αθήνα-Θεσσαλονίκη: Σάκκουλας.
• Γερογιάννη, Ε. (2013). «Όταν οι καλλιτεχνικές συζητούν αδιάκοπα»: Τοποθετήσεις, υποθέσεις, διερευνήσεις για ένα Μουσείο Σύγχρονης Τέχνης στην Ελλάδα», Κριτική + Τέχνη 5, Κριτική των θεσμών - Κριτικοί θεσμοί, Ένωση Κριτικών Τέχνης AICA Ελλάς. Αθήνα: Εκδόσεις Γρηγόρη, 2013.
• Hοοper-Greenhill Eilean, 2006. Τo Μουσείο και οι πρόδρομοί του. (Museums and the Shaping of Knowledge). [Μτφ. Ανδρέα Παππά] Αθήνα: Πολιτιστικό Ίδρυμα Ομίλου Πειραιώς.
• Κανιάρη, Α. Το μουσείο ως χώρος της ιστορίας της τέχνης. Αθήνα: Εκδόσεις Γρηγόρη, 2013.
• Καραμπά Ε. (επιμ.), Curating: Απόψεις για την επιμελητική δράση. Αθήνα: Futura.
• Καφέτση, Α. (επιμ.) (2010). Τέχνης πολιτική: από τη συλλογή του ΕΜΣΤ.  Αθήνα: Εθνικό Μουσείο Σύγχρονης Τέχνης.
• Κοσκινά, Κ. (επιμ.) (2017). Αντίδωρον: Η συλλογή του ΕΜΣΤ, documenta 14 Fridericianum, Κάσελ, Αθήνα : Εθνικό Μουσείο Σύγχρονης Τέχνης.
• Κυριαζή, Ν. (1998). Η κοινωνιολογική έρευνα, κριτική επισκόπηση των μεθόδων καιτεχνικών, Αθήνα: Ελληνικές Επιστημονικές Εκδόσεις.
• Μπούνια Α. , Γκαζή Α. (επιμ.), (2012). Εθνικά μουσεία στη νότια Ευρώπη : ιστορία και προοπτικές, Αθήνα : Καλειδοσκόπιο.
• Ξαγοράρης, Π. (1966). «Απόψεις για την ίδρυση Μουσείου Σύγχρονης Τέχνης», Επιθεώρηση Τέχνης, τ. 136.
• Οικονόμου, Μ. (2003). Μουσείο : αποθήκη ή ζωντανός οργανισμός; : μουσειολογικοί προβληματισμοί και ζητήματα. Αθήνα : Κριτική
• Προκοπίου, Α. (1962). «Τα ακατανόητα και τα κατανοητά για το μουσείο της σύγχρονης τέχνης», Αθήνα : Νέες Μορφές
• Σερότα, Ν., Εμπειρία ή ερμηνεία: Το δίλημμα των μουσείων μοντέρνας τέχνης. Αθήνα: Άγρα.
• Σκαλτσά, Μ. (1989). Αίθουσες τέχνης στην Ελλάδα : Αθήνα, Θεσσαλονίκη 1920-1988. Αθήνα: Άποψη.
• Σολομών Ε. (2012). «Τα μουσεία ως 'αντικείμενα'. Αναζητώντας τρόπους προσέγγισης». Στο Ε. Γιαλούρη (επιμ.), Υλικός πολιτισμός. Η ανθρωπολογία στη χώρα των πραγμάτων, Αθήνα: Αλεξάνδρεια, σσ. 75-124.
• Τροβά, Ε. (2018). Η πολιτιστική κληρονομιά της Ευρώπης, Αθήνα-Θεσσαλονίκη: Σάκκουλας.

Foreign Bibliography

• Altshuler Bruce, Biennials and Beyond: Exhibitions that Made Art History: 1962-2002, Phaidon Press, 2013.
• Altshuler Bruce, Salon to Biennial - Exhibitions that Made Art History, 1863-1959, Phaidon Press, 2008.
• Barthes, R. (1977), Image-Music-text. Trans. Stephen Heath. Fontana, London.
• Bennett, Τ. (1995), The birth of the museum: history, theory, politics, London: Routledege.
• Bishop, C. (2014). Radical Museology Or, “What’s Contemporary” in Museums of Contemporary Art? rev. ed. London: Koenig Books.
• Borja-Villel, M. (2009), Relational Objects: MACBA Collection 2002- 07, Barcelona: MACBA
• Broersma, L., Van Rosse, P. (2015), “Rewriting or Reaffirming the Canon? Critical Readings of Exhibition History – Editorial”. Stedelijk Studies
• Crimp, D. (1993), On the museum's ruins, Cambridge: The MIT Press.
• Cuno, J. (ed.) (2003), Whose muse?: art museums and the public trust, Princeton Cambridge, Mass. : Princeton University Press: Harvard University Art Museum.
• Davallon, J. (2011), L'exposition à l'oeuvre : stratégies de communication et  médiation symbolique. Paris: L' Harmattan.
• Eilertsen, L. and Bugge Amundsen, A. (eds.) (2012), Museum Policies in Europe (1990-2010): Negotiating Professional and Political Utopia, EuNaMus Report No. 3, Linköping University Electronic Press
• Ferguson Bruce W., Greenberg Reesa, Nairne Sandy (eds), Thinking About Exhibitions, London: Routledge, 1996.
• Haskell, F. The Ephemeral Museum, Old Master Paintings and the Rise of the Art Exhibition.
• Höller, C. (ed.) (2004), L’Internationale: Post-War Avant-Gardes between 1957 and 1986, Zürich: JRP/Ringier.
• Knell, S., Axelsson, B., Eilertsen, L., Myrivili, E., Porciani, I. (2012), Andrew Sawyer and Sheila Watson, Crossing Borders: Connecting European Identities in Museums and Online, EuNaMus Report No. 2, Linköping University Electronic Press
• Macdonald, S. , Fyfe, G. (eds.) (1997). Theorizing museums: representing identity and diversity in changing world, Oxford: Blackwell.
• Murawska-Muthesius, K. , Piotrowski, P. (eds.) (2017), From Museum Critique to the Critical Museum, Abingdon, Oxon; New York: Routledge.
• Hans Ulrich Obrist and April Elizabeth Lamm, Everything You Always Wanted to Know About Curating* But Were Afraid to Ask, 2011.
• Hans Ulrich Obrist, A brief history of curating, 2008.
• O’ Doherty, B. (1999), Inside the White Cube: The Ideology of the Gallery Space. Expanded ed. Berkeley: University of California Press.
• Paul O'Neill, The Culture of Curating and the Curating of Culture(s), MIT Press, 2012.
• Putnam, J. (2001), Art and artifact: the museum as medium, London: Thames and Hudson.
• Snauwaert, D., J. Borja-Villel, M., Esche, C. (eds.) (2017), The Absent Museum: Blueprint for a Museum of Contemporary Art for the Capital of Europe, Brussels: WEILS : Mercatorfonds.
• Solomon, E. 2011. “Museums and the subversion of the exhibitionary order: Playing with Enlightenment values”. In Reference/Representation, 105-110. Athens: Futura Editions.
• Staniszewski M. A., The Power of Display: A History of Exhibition Installations at the Museum of Modern Art, The MIT Press, 1998.
• Sternfeld, N. 2013. «Involvements - A short introduction to curating between entanglement and solidarity». MUSTEKALA, Numerot, Kuratointi 3/13, 52. Available at: http://www.mustekala.info/node/35816 (accessed July 25, 2015).
• Vogel, F. (2014), “Notes on exhibition history in curatorial discourse” in On Curating (21), http://www.on-curating.org/issue-21-reader/notes-on-exhibition-history-in-curatorial.
• Weibel, P., Buddensieg, A. (eds.), (2007) Contemporary art and the museum: a global perspective.  Ostfildern : Hatje Cantz Verlag.

Compulsory

First Semester, winter

Teaching staff: A. Adamopoulou, Professor, History of Art

Course description

The course focuses on the history of exhibiting works of art. It covers the period from the middle 19^th century to this days. It examines the role of art exhibitions in the promotion, circulation and the art market in this time period. At the same time it poses questions as regards the relationship between art and exhibitions and the role of the latter in the style and content of art. Finally, it examines the relationship between exhibitions and state or private initiatives.

Learning outcomes

After successful completion of the course, students are expected to:

Exhibit their historical knowledge in relation to exhibitions and exhibition practices in Europe and the Western world from the 19^th century to these days.

Form and express judgement in relation to the significance of history and the function of museum and exhibition representations

General competences

After successful completion of the course, students are expected to have developed the following competences/skills:

Oral presentation of the history of exhibitions

Critical analysis and interpretation of museum representations

Research and organization, evaluation and communication of data and theoriew related to specific questios posed by an exhibition

Criticism and self-criticism

Production of free, creative and inductive thinking

Key words: exhibitions of works of art, history of exhibitions, museum and exhibition representations, the world of art, the curator’s role, presentation of exhibits

Course assignment

Course evaluation is based on a written assignment (5,00-6,000 words)

Criteria also include student participation in the lectures and presentation of the weekly assignments/tasks

Teaching methods

Lectures – presentations

Presentation of students’ research

Tutorials

Team study for processing of information

Submission of course assignment followed by brief presentation

Teaching takes place in the classroom, with the use of Information and Communication Technology (ICT) for communication with students.

Indicative bibliography

• AICA (τ. 4), To έργο της επιμέλειας, Αθήνα, 2011.
• Altshuler Bruce, The Avant-Garde in Exhibition, New Art in the 20^th Century, Los Angeles, London: University of California Press, 1994
• Altshuler Bruce, Biennials and Beyond: Exhibitions that Made Art History: 1962- 2002, Phaidon Press, 2013.
• Altshuler Bruce, Salon to Biennial - Exhibitions that Made Art History, 1863-1959, Phaidon Press, 2008
• Avgita Louisa, “The Balkans does not exist”, Third Text, ειδικό τεύχος “Balkans”, 21, 2, Μάρτιος 2007
• Avgita Louisa, “The Rewriting of Art History as Art: Mapping the ‘East’” στο Maria Oriskova (ed.), Curating ‘Eastern Europe’ and Beyond: Art Histories through the Exhibition, Frankfurt am Main, Bratislava: Peter Lang, Veda, 2013
• Avgita Louisa, “What is there to be learnt from Athens? Documenta 14 and the colonisation of history”, στο Marco Folin και Rosa Tamborrino (επιμ.), Multiethnic cities in the Mediterranean World. History, Culture, Heritage, ηλεκτρονική έκδοση, AISU International, 2019
• Belting Hans, Andrea Buddensieg και Peter Weibel, The Global Contemporary and the Rise of New Art Worlds, Karlsruhe & Cambridge, MA: ZKM & The MIT Press, 2013
• Bishop Claire, Radical Museology or, What’s ‘Contemporary’ in Museums of Contemporary Art? London: Koenig Books, 2013
• Ferguson Bruce W., Greenberg Reesa, Nairne Sandy (eds), Thinking About Exhibitions, London: Routledge, 1996
• Hοοper-Greenhill Eilean, Τo Μουσείο και οι πρόδρομοί του, (Museums and the Shaping of Knowledge). [Μτφ. Ανδρέα Παππά] Αθήνα: Πολιτιστικό Ίδρυμα Ομίλου Πειραιώς, 2006.
• Obrist Hans Ulrich and April Elizabeth Lamm, Everything You Always Wanted to Know About Curating* But Were Afraid to Ask, 2011.
• Obrist Hans Ulrich, A brief history of curating, 2008.
• O'Neill Paul, 'The Culture of Curating and the Curating of Culture(s), MIT Press, 2012.
• Serota Nicholas. Εμπειρία ή ερμηνεία: Το δίλημμα των μουσείων μοντέρνας τέχνης, Αθηνα, Άγρα, 2012
• Staniszewski Mary Anne, The Power of Display: A History of Exhibition Installations at the Museum of Modern Art, The MIT Press, 1998.
• Αδαμοπούλου Αρετή, «Τα Παναθήναια Γλυπτικής του 1965», Δωδώνη, Επιστημονική Επετηρίδα της Φιλοσοφικής Σχολής του Πανεπιστημίου Ιωαννίνων, τεύχ. 33, 2004, σ. 249-300. https://uoi.academia.edu/adamopoulouareti
• Αδαμοπούλου Αρετή, «Τέχνη και εθνική ταυτότητα στην Ελλάδα στη δεκαετία του 1960», στο Ν. Δασκαλοθανάσης (επιμ.), Β’ Συνέδριο Ιστορίας της Τέχνης, Προσεγγίσεις της καλλιτεχνικής δημιουργίας από την Αναγέννηση έως τις μέρες μας, Αθήνα: Νεφέλη, 2008, σ. 233-248. https://uoi.academia.edu/adamopoulouareti
• Αδαμοπούλου Αρετή, Τέχνη και ψυχροπολεμική διπλωματία. Διεθνείς εκθέσεις τέχνης στην Αθήνα, 1950-1967, Θεσσαλονίκη, University Studio Press, 2019.

Αυγήτα Λουίζα, «Τι κάνει τα Βαλκάνια σήμερα τόσο αλλιώτικα, τόσο ελκυστικά; Οι μεταμορφώσεις των Βαλκανίων στις εκθέσεις σύγχρονης τέχνης», στο Λία Γυιόκα (επιμ.), Μουσεία 06: Διαλέξεις και μελέτες για τις πολιτισμικές σπουδές και τις εικαστικές τέχνες, Θεσσαλονίκη, Εκδόσεις Ζήτη, 2012.

Compulsory

First semester, winter

Teaching staff: S. Paschou, Dr. of Museology

Course description

The course aims at familiarizing students with the concept and the content of the museum (learning and educational role) and the (museum) exhibition.

Learning outcomes

After successful completion of the course, students are expected to:

Be able to relate the concepts of “museum”, “education” and “museum education” and comprehend the educational role of the museum as a place of informal education

Be familiar with issues related to the educational exploitation of an exhibition, its content, and the way its narrative character is implemented

General competences/skills

After successful completion of the course, students are expected to have developed the following competences/skills:

Critical analysis and interpretation of exhibitions for educational exploitation

Development of ideas and suggestions for the creation of a museum education programme and the ability to implement it

Production of free and creative thinking in the field of exhibitions and the ability to evaluate them (through a theoretical framework and research into visitors’ experiences)

Keywords: learning and educational role of museums and exhibitions, museum education, formal and informal education, educational programmes, digital technologies

The lectures take place in the classroom; visits to exhibition places and cooperation with invited speakers also take place.

use of Information and Communication Technology (ICT) in communication with students.

Course assignment

Course evaluation is based on a written assignment (5,00-6,000 words)

Criteria also include student participation in the lectures and presentation of the weekly assignments/tasks

Indicative bibliography

In Greek

• Αλεξάκη, Ε. (2002). «Το σύγχρονο μουσείο: εμπορικό κέντρο ή χώρος ουσιαστικής εκπαιδευτικής διαδικασίας». Στο Γ. Κόκκινος, Ε. Αλεξάκη (επιμ). Διεπιστημονικές Προσεγγίσεις στη Μουσειακή Αγωγή. Μεταίχμιο: Αθήνα 2002.
• Βουδούρη, Δ., (2003). Κράτος και Μουσεία, Το Θεσμικό Πλαίσιο των Αρχαιολογικών Μουσείων, Αθήνα : Σάκκουλας.
• Γκαζή, Α. (1999). Από τις μούσες στο μουσείο: Η ιστορία ενός θεσμού δια μέσου των αιώνων. Αρχαιολογία και Τέχνες, 70, 39-46.
• Γκαζή, Α. & Νικηφορίδου, Α. (2004). Κείμενα για μουσεία και εκθέσεις. Προβληματισμός, μεθοδολογίας, μελέτη περίπτωσης. Museology, International Scientific Electronic Journal, 2. Διαθέσιμο στο: https://docplayer.gr/4610670-Keiuena-gia-uoyseia-kai-ektheseis-provliuatisuos-uethodologia-ueleti-periptosis.html
• Ιωαννίδη, Β. (2005).  «Μουσεία και κοινωνικά αποκλεισμένες ομάδες. Η περίπτωση ατόμων με ειδικές ανάγκες: προβληματική, δυνατότητες, εφαρμογές». Νέα Παιδεία, 114 σελ.  43-54.
• Καλογιάννη, Α., (2015). Αξιοποιώντας παιδαγωγικά τις επισκέψεις σε Μουσεία. Η περίπτωση του Αθανασάκειου Αρχαιολογικού Μουσείου Βόλου. Museumedu, (1), 115-134.
• Μιχαηλίδου, Μ., (2002).  «Μουσείο: πορεία και προοπτικές προς τον 21ο αιώνα» στο: Γ. Κόκκινος, Ε. Αλεξάκη (επιμ.), Διεπιστημονικές προσεγγίσεις στη Μουσειακή αγωγή. Αθήνα: Μεταίχμιο.
• Νάκου, Ε., (2000). Ιστορική Γνώση και Μουσείο. Μνήμων, τ. 22, 221-237.
• Νικονάνου, Ν. (2005). Ο ρόλος της μουσειοπαιδαγωγικής στα σύγχρονα μουσεία. Τετράδια μουσειολογίας, 2.
• Νικονάνου, Ν. (2010). Μουσειοπαιδαγωγική, Από τη θεωρία στην πράξη, 4^η εκδ. (2013) Αθήνα: Πατάκης.
• Νικονάνου, Ν., Μπούνια, Α., Φιλιππουπολίτη, Α., Χουρμουζιάδη, Α., Γιαννούτσου, Ν. (επιμ.). (2015). Μουσειακή Μάθηση και Εμπειρία στον 21^ο Αιώνα. Αθήνα:  Σύνδεσμος Ελληνικών Ακαδημαϊκών Βιβλιοθηκών. Διαθέσιμο: https://repository.kallipos.gr/handle/11419/712
• Παπαϊωάννου Γ., Στεργιάκη Α. (2013). Σχολείο – Μουσείο – Ψηφιακός Κόσμος Σύνθεση Ψηφιακού Μουσειακού Χώρου με Συνεπιμέλεια Μαθητών και Εκπαιδευτικών. Ρόδος: Εύδημος.
• Πάσχου, Σ., Παπαϊωάννου, Γ. & Δεληγιάννης, Ι. (2017). Οι Πίνακες Συνομιλούν με Μαθητές και Επισκέπτες...: Πιλοτική Αξιολόγηση Ψηφιακής Εκπαιδευτικής Εφαρμογής Επαυξημένης Πραγματικότητας στην Κερκυραϊκή Πινακοθήκη του Δήμου Κέρκυρας, Πρακτικά 3ου Πανελληνίου Επιστημονικού Συνεδρίου με Διεθνή Συμμετοχή, Ανθρωπιστικές Επιστήμες, Εκπαίδευση, Κοινωνία και Πολιτική Παιδεία, IAKE, Ηράκλειο Κρήτης, 5-7 Μαΐου 2017, (σσ.420 – 430). Ηράκλειο: ΙΑΚΕ.
• Σολομών, Ε. (2012). Τα μουσεία ως αντικείμενα. Αναζητώντας τρόπους προσέγγισης. Στο Ε. Γιαλούρη (επιμ.), Υλικός Πολιτισμός. Η ανθρωπολογία στη χώρα των πραγμάτων. Αθήνα: Εκδόσεις Αλεξάνδρεια.
• Φιλιππουπολίτη, Α. (2015). Εκπαιδευτικές θεωρίες και μουσειακή μάθηση. Στο: Μουσειακή Μάθηση και Εμπειρία στον 21^ο Αιώνα, Νικονάνου, Ν., Μπούνια, Α., Φιλιππουπολίτη, Α., Χουρμουζιάδη, Α., Γιαννούτσου. (επιμ.). Αθήνα:  Σύνδεσμος Ελληνικών Ακαδημαϊκών Βιβλιοθηκών.

Foreign bibliography

• Bennett, Τ. (1995), The birth of the museum: history, theory, politics, London: Routledege.
• Bishop, C. (2014). Radical Museology Or, “What’s Contemporary” in Museums of Contemporary Art? rev. ed. London: Koenig Books.

• Hein, G. (1995). The Constructivist Museum. Journal for Education in Museums, vol.16, pp.21-23.
• Hein, G. E. (2004). John Dewey and museum education.
• Hooper - Greenhill, E., (1987).  Museums in Education: towards the end of the century. Ιn Ambrose T., Education in Museums - Museums in Education. Edinburgh: Scottish Museums Council – HMSO.
• Hooper-Greenhill, E., (1991). Museum and gallery education. Leicester: Leicester University Press.
• Hooper – Greenhill, E., (1992). Museums and the Shaping of Knowledge. London- New York:  Routledge.
• Hooper - Greenhill, E., (1999). «Education, communication and Interpretation: A critical pedagogy in museums», Hooper - Greenhill, E., (επιμ.) The educational role of the museum. London:  Routledge.
• Falk, J. H., Dierking, L. D. (1995).  ‘Public institutions for personal learning’ στο J. H. Falk, L.D. Dierking (eds) Public institutions for personal learning, Establishing a Research Agenda, American Association of Museums.
• Falk, J., H., & Dierking, L., D. (2000). Learning from museums: Visitor experience and the making of meaning. New York: Altamira Press.
• Gammon, B. (2001). Assessing learning in museum environments: A practical guide for museum evaluators. London: Science Museum.
• Garcia, B., (2012) What we do best: Making the case for the museum learning in  its own right. Journal of Museum Education, 37(2), 47-55.
• Solomon, E. (2011). “Museums and the subversion of the exhibitionary order: Playing with Enlightenment values”. In Reference/Representation, 105-110. Athens: Futura Editions.

Compulsory

Second semester, spring

Teaching staff: K. Kotzia, Assistant Professor, Architectural Design

1. Filoxenidou, Assistant Professor, Arcitectural Design – Indoor Design
2. Smiris, Assistant Professor, History of Architecture

Course description

The course aims at familiarizing students with exhibition design as an extension and interpretation of exhibition curation. It focuses on the significance of perceiving the exhibition space and time, as well as of the limitation and the potentials that are offered.

Learning outcomes

After successful completion of the course, students are expected to:

Perceive the object and the language of museum design as a means of communication between the curatorial work and the audience

Recognise the steps of museum design, from conception to production

-

General competences/skills

After successful completion of the course, students are expected to have developed the following competences/skills:

Search for, analyse and synthesize information in relation to three-dimensional space and its exploitation, with the use of ICT.

Design and management of projects

Decision-making

Team work

Working in an interdisciplinary environment

Production of free, creative and inductive thinking

Keywords: exhibition design, ephemeral architecture, architectural installation and design, museographic design

Teaching methods:

Lectures

Seminars and workshops

Presentation of students’ research

Tutorials

Team study for processing of information

Submission of course assignment followed by brief presentation

Teaching takes place in the classroom, with the use of ICT for communication with students

Course assignment

Course evaluation is based on a written assignment (5,00-6,000 words)

Criteria also include student participation in the lectures and presentation of the weekly assignments/tasks

Indicative bibliography

Bibliography in Greek

• Τζώρτζη, Κ., 2010. Η Χωρική Αρχιτεκτονική των Μουσείων. Αθήνα : Καλειδοσκόπιο .
• Τζώρτζη, Κ., 2013. Ο Χώρος στο Μουσείο. Η Αρχιτεκτονική συναντά τη Μουσειολογία. Αθήνα: Πολιτιστικό Ίδρυμα Ομίλου Πειραιώς.
• Τροβά, Β., Μανωλίδης, Κ. & Παπακωνσταντίνου, Γ., 2006. Η αναπαράσταση ως όχημα αρχιτεκτονικής σκέψης. Αθήνα: Futura.

Foreign bibliography

• Dernie, D., 2007. Exhibition Design. London: Laurence King Publishing
• Falk, J. H. & Dierking, L. D., 2016. The Museum Experience Revisited. New York: Routledge.
• Feireiss, K. & Cohen, J.-L., 2001. The Art of Architecture Exhibitions. Rotterdam: NAI (Netherlands Architecture Institute).
• Hillier, B. & Tzortzi, K., 2006. A Companion to Museum Studies. Oxford: Blackwell.
• Kidd, J., 2013. Museums in the New Mediascape: Transmedia, Participation, Ethics. New York: Routledge.
• MacLeod, S., Austin, T. & Hale, J., 2018. The Future of Museum and Gallery Design: Purpose, Process, Perception. Oxford: Routledge.
• Macleod, S., Hourston, L. & Hale, J., 2012. Museum Making. Narratives, Architectures, Exhibitions. New York: Routledge.
• Marincola, P., 2006. What Makes a Great Exhibition?. Philadelphia: Philadelphia Exhibitions Initiative, Philadelphia Center for Arts and Heritage.
• Staniszewski, M. A., 1998. The Power of Display: A history of Exhibition Installations at the Museum of Modern Art.. Cambridge: MIT Press.

Elective

Second semester, spring

Teaching staff: Dr. S. Kiousis, Dr. in Museology

Course description

The course aims at familiarizing students with curating contemporary art through the presentation of museum practices in the 21^st century. The special role of the curator is described along with students’ introduction to the stages involved in the production of a visual arts exhibition.

Learning outcomes

After successful completion of the course, students are expected to:

Be acquainted with contemporary museum practices and the role of the curator in the production of an exhibition

Be familiar with the stages involved in the production of a visual arts exhibition.

Interpret and research curation of modern art as it is reflected in current museum and exhibition practices

General competences/skills

After successful completion of the course, students are expected to have developed the following competences/skills:

Critical analysis and interpretation of exhibitions of contemporary art

Working independently

Working in groups

Searching for foreign bibliography

Production of free, creative and inductive thinking

Keywords: contemporary art, curator, production of visual art exhibition, curation theory, social media

Teaching methods

In the classroom

Visits and in-situ activities in exhibition spaces

Use of ICT in teaching, laboratory education, communication with students

Submission of assignment at the end of the semester with short presentation

Course assignment

Course evaluation is based on a written assignment (5,00-6,000 words)

Criteria also include student participation in the lectures and presentation of the weekly assignments/tasks

Indicative bibliography

Foreign

• Adamopoulou, Areti and Esther Solomon, “Artists-as-Curators in Museums: Observations on Contemporary Wunderkammern”, THEMA: 4, 2016.
• Alberti, Samuel J. M. M., Nature and culture: Objects, disciplines and the Manchester Museum, Manchester and New York: Manchester University Press, 2009.
• Alpers, Svetlana, “The museum as a way of seeing”, in Ivan Karp and Steven D. Lavine (eds.) Exhibiting Cultures: The Poetics and Politics of Museum Display, Washington and London: Smithsonian Institution Press, 1991.
• Altshuler, Bruce, Biennials and Beyond: Exhibitions That Made Art History, 1962-2002, London: Phaidon Press, 2013.
• Anderson, Benedict, Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso, 1991.
• Andronicos, Manolis, The Greek Museums, Athens; New York: Ekdotike Athenon S.A., 1974.
• Arnold, Ken, Cabinets for the Curious: Looking Back at Early English Museums (Perspectives on collecting series), Aldershot; Burlington: Ashgate, 2006.
• Ashworth Jr., William B., “Natural History and the Emblematic World View”, in Donald Preziosi and Claire Farago, (eds.) Grasping the World, the Idea of the Museum (Histories of Vision series), Aldershot; Burlington: Ashgate, 2004.
• Barnes, Richard, Animal Logic (photographs by the author, essays by Jonathan Rosen and Susan Yelavich), New York: Princeton Architectural Press, 2009.
• Beazley, J. D., Attic red-figure vase painters, vols. 1-3, Oxford: Clarendon Press, 1963.
• Bennett, Tony, The Birth of the Museum: History, Theory, Politics, London; New York: Routledge, 2006.
• Bonnell, Jennifer and Roger Simon, “Difficult Exhibitions and Intimate Encounters”, in MUSEUM AND SOCIETY, 5, July 2007.
• Bourdieu, Pierre, Distinction: A social critique of the judgement of taste (translated by Richard Nice), London: Routledge and Kegan Paul, 1984.
• Cannon-Brookes, Peter, “The nature of museum collections”, in Thompson, J. (ed.) Manual of Curatorship, London: Butterworth, 1984.
• Carbonell, Bettina M. (ed.) Museum Studies: An Anthology of Contexts. Malden, Oxford, Carlton: Blackwell Publishing, 2004.
• Charman, Helen and Michaela Ross, “Contemporary Art and the Role of Interpretation”, Tate Papers, no.2, Autumn 2004, TATE.
• Duncan Carol and Alan Wallach, “The Universal Survey Museum”, from Art History, in B. M. Carbonell’s (ed.) Museum Studies: An Anthology of Contexts, Malden, Oxford, Carlton: Blackwell Publishing, 2004 (1980).
• Fernie, Eric, Art History and It’s Methods: A Critical Anthology, Phaidon, 1995.
• Findlen, Paula, “The Museum: Its Classical Etymology and Renaissance Genealogy” in Donald Preziosi and Claire Farago, (eds.) Grasping the World: The Idea of the Museum, Aldershot and Burlington: Ashgate Publishing Limited, 2004.
• Findlen, P., “Masculine Prerogatives: Gender, Space, and Knowledge in the Early Modern Museum” in Peter Galison and Emily Thompson, (eds.) The Architecture of the Science, Cambridge; Massachusetts; London, England: The MIT Press, 1999.
• Findlen, Paula, Possessing Nature: Museums, Collecting, and Scientific Culture in Early Modern Italy, Berkeley: University California Press, 1994.
• Flower, William Henry, Essays on Museums and Other Subjects Connected with Natural History, London: MacMillan, 1898.
• Foucault, Michel, The Order of Things: An Archaeology of the Human Sciences (‘Les Mots et les Choses: Une Archéologie des Sciences Humaines’), London: Tavistock Publications, 1970.
• Fyfe, Gordon, “The Chantrey Episode: Art Classification, Museums and the State, c1870-1920” in S. Pearce, Art in Museum, The Athlone Press, 1995.
• Goodnow, Katherine and Haci Akman, (eds) Scandinavian Museums and Cultural Diversity, Museum of London and Berghahn Books, Oxford: 2008.
• Hallam, Elizabeth, Anatomy Museum: Death and the Body Displayed, London: Reaktion Books Ltd, 2016.
• Hamilakis, Yannis, The Nation and Its Ruins, Antiquity, Archaeology and National Imagination in Greece, Oxford; New York: Oxford University Press, 2007.
• Hudson, Kenneth, Museums of Influence, Cambridge; New York; New Rochelle; Melbourne; Sidney: Cambridge University Press, 1987.
• Hughes, Robert, “Joseph Cornell”, in Nothing if not Critical: Selected Essays on Arts and Artists. London, pp. 224-227.
• Hooper-Greenhill, Eilean, Museums and the Shaping of Knowledge, London: Routledge, 1992.
• Jenkins, Ian, The Parthenon Frieze, London: British Museum Press, 1994.
• Jones, Ian, Robert Macdonald and Darryl McIntyre, (eds) City Museums and City Development, Lanham; New York; Toronto; Plymouth, UK: Altamira Press,
• Jordanova, Ludmilla, “Museums: Representing the Real?” in George Levine, (ed.) Realism and Representation: Essays on the Problem of Realism in Relation to Science, Literature and Culture, Wisconsin; London: The University of Wisconsin Press, 1993.
• Impey, Oliver and Arthur MacGregor (eds.), The Origins of Museums: The Cabinet of Curiosities in Sixteenth -and Seventeenth-Century Europe, Oxford: Clarendon, 1985.
• Lagerkvist, Cajsa, “The Museum of World Culture: a “glocal” museum of a new kind” in Goodnow and Akman (eds), Scandinavian Museums and Cultural Diversity, 2008.
• Lord Barry and Gail Dexter Lord, (eds.) The Manual of Museum Exhibitions, Oxford: Altamira Press, 2001.
• Macdonald, Sharon, “Exhibitions of power and powers of exhibition: An introduction to the politics of display”, in The Politics of Display: Museums, Science, Culture. London and New York: Routledge, 1998.
• MacGregor, Arthur, Curiosity and Enlightenment, Collectors and Collections from the Sixteenth to the Nineteenth Century, New Haven and London: Yale University Press, 2007.
• MacGregor, Arthur, “The Ashmolean as a Museum of Natural History, 1683-1860”, 13 (2), Journal of the History of Collections, 2001.
• MacGregor, A., The Ashmolean Museum: a brief history of the Museum and its collections, Oxford; London: Ashmolean Museum; Jonathan Horne Publications, 2001.
• MacGregor, A., (ed.) Sir Hans Sloane: Collector, Scientist, Antiquary, London: British Museum Press; Alistair McAlpine, 1994.
• MacGregor, A., (ed.) Tradescant’s Rarities: Essays on the foundation of the Ashmolean Museum, 1683, with a catalogue of its surviving collections, Clarendon Press: Oxford, 1983.
• Macintyre Alasdair, After Virtue: A Study in Moral Theory, University of Notre Dame Press, 2007 (1981).
• Mack, John, The Art of small things, London: The British Museum Press, 2007.
• Mack, John, The Museum of the Mind: Art and Memory in World Cultures, London: British Museum Press, 2003.
• McClellan, Andrew, Inventing the Louvre: Art, Politics, and the Origins of the Modern Museum in Eighteenth-Century Paris, Cambridge; New York; Melbourne: Cambridge University Press, 1994.
• Miles, R. and M. B. Alt, ‘British Museum (Natural History): a New Approach to the Visiting Public’, Museums Journal, March 1979.
• O’ Doherty, Brian, Inside the White Cube, The Ideology of the Gallery Space, Santa Monica; San Francisco: The Lapis Press, 1986.
• Onians, John, Neuroarthistory: From Aristotle and Pliny to Baxandall and Zeki, New Haven and London: Yale University Press, 2007.
• Orbach, Catherine, “Ways of Looking Frameworks”, Tate Modern Teachers’ Kit, Tate Liverpool, 2002.
• Pearce, Susan, Art in Museums (New Research in Museum Studies, an International Series), London; Atlantic Highlands: The Athlone Press, 1995.
• Pearce, S., Museums, Objects and Collections: a Cultural Study, Leicester: Leicester University Press, 1992.
• Pomian, Krzysztof, Collectors and curiosities: Paris and Venice, 1500-1800 (translated by Elizabeth Wiles-Porter) Cambridge: Polity, 1990.
• RETHINK - Contemporary Art and Climate Change, art project and exhibition (a cooperation of National Gallery of Denmark, Den Frie Centre of Contemporary Art, Nikolaj Copenhagen Contemporary Art Center and the Alexandra Institute), www.rethinkclimate.org, accessed November 2009.
• Robinson, David M., Excavations at Olynthus, Part V: Mosaics, Vases and Lambs of Olynthus found in 1928 and 1931, Baltimore: John Hopkins Press, 1933.
• Serota, Nicholas, Experience or Interpretation: The Dilemma of Museums of Modern Art, Thames and Hudson, 2000.
• Stewart, Susan, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. Durham, N.C.: London: Duke University Press, 2003.
• Thomson, Keith S., Treasures on Earth: Museums, Collections and Paradoxes, London: Faber and Faber, 2002.
• Torgovnich, Marianna, Gone Primitive: Savage Intellects, Modern Lives, Chicago; London: University of Chicago Press, 1990.
• Yanni, Carla, Nature’s Museums, Victorian Science and the Architecture of Display, New York: Princeton Architectural Press, 2005.Σκαλτσά, Ματούλα, Για την Μουσειολογία και τον Πολιτισμό, Εκδόσεις Εντευκτηρίου, 2007.

In Greek

• Σκαλτσά, Ματούλα, (επ.) A Passage (κατάλογος της ομώνυμης έκθεσης που πραγματοποιήθηκε στο Μακεδονικό Μουσείο Σύγχρονης Τέχνης τον Μάιο του 2017, στο πλαίσιο των εργασιών του Διεθνούς Συμποσίου για την Μετανάστευση και τη Διασπορά («Greek Diaspora Fellowship Program»/ DRIMMI)
• Τζώνος, Πάνος, Μουσείο και μουσειακή έκθεση, Εκδόσεις Εντευκτηρίου, 2015.

Second semester, spring

Teaching staff: S. Paschou, Dr. in Museology

Course description

The course “Strategies for communication with the public/elements of the economy of culture and cultural management” is an introduction to the ways a communicative policy of the museum and cultural management can be implemented. It examines issues related to communication models with the public and visitors and they ways through which these models can be used and implemented.

Learning outcomes

After successful completion of the course, students are expected to:

Understand the conditions (financial, social, etc.) in the framework of which the art marketing developed and know the administration strategies and management of a museum.exhibition institution.

Be familiar with the stages and means for the design of a communication strategy and be able to evaluate the optimum means and presentation techniques.

General competences/skills

After successful completion of the course, students are expected to have developed the following competences/skills:

Recognition, critical analysis and interpretation of the nature of cultural audience and perception concerning its heterogeneity

Designing and analysis an audience survey

Critical awareness of the importance of branding for institutions in relation to marketing, goal achievement and communication policy and promotion of free thought.

Με την επιτυχή ολοκλήρωση του μαθήματος ο φοιτητής/τρια θα πρέπει να έχει αναπτύξει τις ακόλουθες  ικανότητες:

Keywords: communication, economy of culture, management, audience, art marketing, audience survey

Teaching methods:

In the classroom

Visits and in-situ activities in exhibition spaces

Use of ICT in teaching, laboratory education, communication with students

Submission of assignment at the end of the semester with short presentation

Course evaluation/assignment

Course evaluation is based on a written assignment (5,00-6,000 words)

Criteria also include student participation in the lectures and presentation of the weekly assignments/tasks

Indicative bibliography

In Greek

• Μπιτσάνη, Ε. (2004). Πολιτισμική διαχείριση και περιφερειακή ανάπτυξη: Σχεδιασμός πολιτιστικής πολιτικής και πολιτιστικού προϊόντος. Αθήνα: Διόνικος.
• Τομάρας Π. (2000). Εισαγωγή στο Marketing και την έρευνα αγοράς. Αθήνα: Πολιτεία.

Foreign bibliography

• Berry, L.L., Carbone, L.P. & Haeckel, S.H. (2002). Managing the total customer experience. MIT Sloan Management Review, 43(3), 85-89.
• Chung, T. L., Marcketti, S., & Fiore, A. M. (2014). Use of social networking services for marketing art museums. Museum Management and Curatorship, 29(2), 188-205.
• Hill, L., O'Sullivan, C., O'Sullivan, T., & Whitehead, B. (2017). Creative arts market-ing. UK: Routledge.
• Holt, D. B., & Holt, D. B. (2004). How brands become icons: The principles of cul-tural branding. USA: Harvard Business Press.
• Kotler, N. G., Kotler, P., & Kotler, W. I. (2008). Museum marketing and strategy: de-signing missions, building audiences, generating revenue and resources. USA: John Wiley & Sons.
• McLean, F. C. (1993). Marketing in museums: A contextual analysis. Museum Management and Curatorship, 12(1), 11-27.
• Metaxas, T., & Deffner, A. (2008). Marketing, management and promotion policies of city image: defining the role and the contribution of public museums in Greece. Tech-nology in the Service of Cultural Heritage: Management, Education, Communication, 117-129.
• Mossberg, L. (2007). A marketing approach to the tourist experience. Scandinavian journal of hospitality and tourism, 7(1), 59-74.
• Papaioannou, G.& Sfyridou, Ε. (2020).Addressing social media choices of top European museums: framework, realities, and trends. MW2020 Conference Online. Διαθέσιμο στο: https://mw20.museweb.net/paper/social-media-choices-of-top-european-museums-content-analysis-addressing-realities-and-trends-towards-multi-way-museum-communication-schemes/
• Rentschler, R. (2002). Museum and performing arts marketing: The age of discovery. The Journal of Arts Management, Law, and Society, 32(1), 7-14.
• Rentschler, R. (2004). Museum marketing: understanding different types of audiences. Arts marketing, 139-158.
• Schuller, B., Ganascia, J. G., & Devillers, L. (2016, May). Multimodal sentiment analysis in the wild: Ethical considerations on data collection, annotation, and exploita-tion. In Actes du Workshop on Ethics In Corpus Collection, Annotation & Application (ETHI-CA2), LREC, Portoroz, Slovénie.
• Tobelem, J. M. (1997). The marketing approach in museums. Museum management and curatorship, 16(4), 337-354.
• Waltl, C. (2006). Museums for visitors: Audience development-A crucial role for successful museum management strategies. Intercom, 2006, 1-7.

Elective

Second semester, winter

Teaching staff: E. Solomon, Assistant Professor, Museology

Course description

The course examines the role of folklore and ethnographic collections, museums and exhibitions in representing recent past, as well as the formation of the collective memory. It uses tools from museology, social theory and museum education in order to highlight the social, ideological and educational character of these museums in Greece and abroad, while it also suggests ways for the exploitation of museum actions an exhibitions for teaching folk culture in different audiences.

Learning outcomes

After successful completion of the course, students are expected to:

Be aware of the historical, political, financial and social circumstances surrounding the establishment and operation of a folklore/ethnographic museum

De familiar with the potential for documentation, educational interpretation and communication of a folklore collection.

General competences/skills

After successful completion of the course, students are expected to have developed the following competences/skills:

Critical analysis and interpretation of folklore and ethnographic exhibitions

Individual work

Group work

Keywords: material civilization, traditional societies, folklore, ethnography, social anthropology, social memory, tourism, art, education, eco museums, technology museums, urban museums, oral history, intangible cultural heritage

Teaching methods

In the classroom

Use of ICT in teaching in communication with students

Submission of assignment at the end of the semester with brief presentation

Visits to folklore museums and collections in the region of Epirus, discussions with representatives of administration (curators, board members, collectors, donors of exhibits, etc), as well as invited speakers

Course evaluation/assignment

Course evaluation is based on a written assignment (6,000-7,000 words)

Criteria also include student participation in the lectures and presentation of the weekly assignments/tasks

Indicative bibliography

• Βούρη Σ., «Μουσείο και συγκρότηση εθνικής ταυτότητας», στο Κόκκινος Γ., Αλεξάκη Ε. (επιμ.), Διεπιστημονικές προσεγγίσεις στη μουσειακή αγωγή, εκδ. Μεταίχμιο
• Γκαζή Α., «Διαδράσεις της μνήμης στο μουσείο», στο Ίρις, μελέτες στη μνήμη της καθ. Αγγελικής Πιλάλη-Παπαστερίου, επιμ. Μερούσης Ν., Στεφανή Ε., Νικολαϊδου Μ., εκδ. Κορνηλία Σφακιανάκη.
• Γκαζή Α., «Μουσεία και επισκέπτες στην εποχή της «βιομηχανίας» της μνήμης», στο Μπούσχοτεν Ρ., Βερβενιώτη Τ., Μπάδα Κ., Νάκου Ε., Πανταζής Π., Χατζαρούλα Π. (επιμ.), Γεφυρώνοντας τις γενιές: διεπιστημονικότητα και αφηγήσεις ζωής στον 21^ο αιώνα, Προφορική ιστορία και άλλες βιο-ιστορίες, Πρακτικά διεθνούς συνεδρίου, Ένωση προφορικής ιστορίας, Βόλος 2013.
• Δεδικούση Σ., Λαογραφικό Μουσείο Πανεπιστημίου Ιωαννίνων, Μουσειολογική και μουσειογραφική πρόταση επανέκθεσης των μόνιμων συλλογών του, διπλωματική εργασία, Ιωάννινα 2017.
• Δερμιτζάκης Μ., Τριανταφύλλου Μ., «Το πανεπιστημιακό μουσείο. Χαρακτήρας και λειτουργία» στο Σκαλτσά Μ., (επιμ.), Η μουσειολογία στον 21^ο αιώνα, θεωρία και πράξη, Πρακτικά Διεθνούς Συμποσίου Θες/κη 21-24 Νοεμβρίου 1997, εκδ. Εντευκτηρίου, Θεσ/κη 2001
• Μπάδα Κ., «Η εθνογραφική προοπτική του Δ. Σ. Λουκάτου μέσα από το λαογραφικό μουσείου του Πανεπιστημίου Ιωαννίνων», Πρακτικά επιστημονικής ημερίδας με θέμα: Ο Δ. Λουκάτος και η ελληνική λαογραφία, Παν/μιο Ιωαννίνων.
• Μπάδα Κ., «Η ιστορία και η μνήμη του κόσμου της χειροτεχνικής εργασίας στον ορεινό χώρο. Ασημουργοί και έργα», Πρακτικά Συνεδρίου με θέμα «Τοπικές κοινωνίες στον θαλάσσιο και ορεινό χώρο στα Νότια Βαλκάνια, 18^ος-19^ος αιώνας, Κέρκυρα 24-26 Μαΐου 2012, Εκδ. Ιόνιο Παν/μιο και Δήμος Κερκυραίων, 2014.
• Μπάδα Κ., «Πανεπιστημιακά μουσεία και συλλογές του λαϊκού πολιτισμού: Το παράδειγμα του Πανεπιστημίου Ιωαννίνων», Εθνογραφικά 12-13, Ναύπλιο 2003.
• Μπούσχοτεν Ρ., «Η πόλη θυμάται, Το μουσείο Πόλης του Βόλου και η συμβολή της προφορικής μαρτυρίας στη συγκρότησή του», στο Νάκου Ε., Γκαζή Α., Η προφορική Ιστορία στα μουσεία και στην εκπαίδευση, εκδ. Νήσος, Αθήνα 2015.
• Μπούσχοτεν Ρ., «Προφορική ιστορία και Μουσεία πόλεων», ἐν Βόλῳ, τ. 22, 2006.
• Νάκου Ε., «Προκλήσεις ενός σύγχρονου πολιτιστικού εκπαιδευτικού ρόλου. Το μουσείο της πόλης του Βόλου», ἐν Βόλῳ, τ. 22, 2006.
• Νάκου Ε., «Προφορική ιστορία και εκπαίδευση, βασικά ζητήματα και προβληματισμοί», στο Νάκου Ε. & Γκαζή Α., Η Προφορική Ιστορία στα μουσεία και στην εκπαίδευση, εκδ. Νήσος, Αθήνα, 2015.
• Νάκου Ε., Μουσεία, ιστορίες και Ιστορία, εκδ. Νήσος, Αθήνα 2009.
• Νικηφορίδου Α. «Άνθρωποι και εργαλεία. Η ερμηνευτική προσέγγιση της νέας έκθεσης του Μουσείου Ελληνικής Λαϊκής Τέχνης», Τετράδια Μουσειολογίας 2, 2005.
• Πάντζου Ν., «Φορείς τραυματικής Μνήμης: Το μουσείο Πολιτικών Εξορίστων Άη Στράτη στην Αθήνα», Τετράδια Μουσειολογίας 7, 2010.
• Σολομών Ε., «Μουσεία και προφορικές μαρτυρίες: ενδυναμώνοντας μνήμες και σχέσεις» στο Μπούσχοτεν Ρ., Βερβενιώτη Τ., Μπάδα Κ., Νάκου Ε., Πανταζής Π., Χατζαρούλα Π.(επιμ.), Γεφυρώνοντας τις γενιές: διεπιστημονικότητα και αφηγήσεις ζωής στον 21^ο αιώνα, Προφορική ιστορία και άλλες βιο-ιστορίες, Πρακτικά διεθνούς συνεδρίου, Ένωση προφορικής ιστορίας, Βόλος 2013.
• Σολομών Ε., «Τα μουσεία ως ‘αντικείμενα’. Αναζητώντας τρόπους πρεοσέγγισης», στο Γιαλούρη Ε., Υλικός Πολιτισμός. Η ανθρωπολογία στη χώρα των πραγμάτων, εκδ. Αλεξάνδρεια, Αθήνα, 2012.
• Χατζηνικολάου Τ., «Μνήμη και ανάμνηση. Για μια νέα προσέγγιση των μουσειακών συλλογών» στο Νάκου Ε. & Γκαζή Α., Η Προφορική Ιστορία στα μουσεία και στην εκπαίδευση, εκδ. Νήσος, Αθήνα, 2015.

Elective

Second semester, spring

Teaching staff: V. Ferentinou, Assistant Professor, Art theory

Course description

The aim of the course is to examine, through specific examples, the partnership between theory, criticism and art in the framework of curatorial work in international artistic events. Different curatorial approaches will be examined, as well as the interaction between contemporary art and theoretical discourse regarding art in the curatorial endeavor. Through lectures students will be able to understand the changing meaning of art, the relationship between art and artistic practices and the role of the curator in the articulation of critical and discerning discourse that transforms the exhibition space into a “workshop”, where theory is transformed into experience.

Learning outcomes

After successful completion of the course, students are expected to:

Be familiar with developments in contemporary art and the ways it transforms and is transformed by curatorial practice

Be able to have deep knowledge concerning interpretation tools, analysis and criticism that art theory offers in curating

Be able to reflect on the phenomenon of great artistic events and the function of curatorial discourse in curatorial practice

General competences/skills

After successful completion of the course, students are expected to have developed the following competences/skills:

Critical analysis and interpretation of the role of art theory in the structuring of curatorial discourse

Ability to explore and make use of the concepts of contemporary theory in curatorial practice

Production of free, creative and inductive thinking in the field of curatorial discourse in contemporary art exhibitions

Keywords: contemporary art, art theory, curatorial discourse, big artistic events, the role of the curator-theoretician, exhibition practices

Theoretical framework

The course is constructed around the following thematic areas.

Postwar art and its institutions: definition: Contemporary art, meta modernism and art, art and globalization, altermodernism

Biennale and contemporary art

Kassel documenta: history, theory and criticism

The artist as curator

The theoretician as a curator/theory and curating

Politics in curating and art institutions/contemporary art and activism

The challenges of technology. Digital age and curating or the internet as exhibition space

Case studies:

Thessaloniki Biennale

Athens Biennale

Documenta 14, Athens-Kassel

Biennale of Western Balkans

Course assignment

Course evaluation includes submission of a written assignment (5,000-6,000 words)

Criteria also include student participation in the lectures and presentation of the weekly assignments/tasks

Teaching methods

During the semester the following take place:

Lectures-presentations (theoretical/workshop)

Choice of topics by students and development of their research

Tutorials

Team study for processing of information

Final submission of assignment for the semester and short presentation in the framework of the course

Teaching takes place in the classroom, with the use of Information and Communication Technology (ICT) for communication with students.

Indicative bibliography

• ΑΙCA (τ. 4), To έργο της επιμέλειας, 2011.
• Altshuler Bruce, Biennials and Beyond: Exhibitions that Made Art History: 1962-2002, Phaidon Press, 2013.
• Βασιλείου, Κωνσταντίνος, Προς την τεχνολογία της τέχνης : Από τη μοντέρνα στη σύγχρονη τέχνη, Αθήνα, Πλέθρον, 2012.
• Carroll, Noel (ed.), Theories of Art today, The University of Wisconsin Press, 2000.
• Danto, Arthur, «Ο κόσμος της τέχνης», στο Πούλος, Παναγιώτης (επιμ.), Έννοιες της Τέχνης τον 20ο αιώνα, Ανωτάτη Σχολή Καλών Τεχνών, 2006, 333-364.
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