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ART DEPARTMENT ART AND FINE ARTS PROGRAMS PROGRAM OF STUDY – SYLLABUS AUGUST 2017 – PRESENT

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MISSION

To encourage students to recognize their personal perception towards diverse cultural expressions in a globalized world and manifest how they interpret society, culture and identity through artistic research practices.

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STAFF

2013 – 2014 Mauricio Pérez – Preschool Santiago Pacheco – Preschool and Elementary

Diana Afanador – Elementary Alejandro Sánchez – Area Head

Alejandra Díaz – Middle School Elisa Luque – High School

2014 – 2015 Mauricio Pérez – Preschool Santiago Pacheco – Preschool and Elementary

Sofia Botero & Lina Campuzano – Elementary Diana Afanador – Elementary, Middle and High School

Alejandra Díaz – Middle and High School Alejandro Sánchez – Area Head

2015 – 2016 Mauricio Pérez – Preschool Santiago Pacheco – Preschool and Elementary

Lina Campuzano – Elementary Felipe Vallejo – Elementary, Middle and High School

Alejandra Díaz – Middle and High School Alejandro Sánchez – Area Head

2016 – 2017 Laura Manosalva – Preschool Santiago Pacheco – Preschool and Elementary

Ketty Hernández – Elementary Felipe Vallejo – Elementary, Middle and High School

Alejandra Díaz – Middle and High School Alejandro Sánchez – Area Head

2017 – 2018 Laura Manosalva – Preschool

Santiago Pacheco – Preschool and Elementary Ketty Hernández – Elementary Felipe Vallejo – Elementary, Middle and High School

Alejandra Díaz – Middle and High School Alejandro Sánchez – Area Head

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TIMELINE >

1 PRE-SCHOOL

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2 ELEMENTARY

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3 MIDDLE SCHOOL

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4 FINE ARTS PROGRAM

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BEING AS INDIVIDUAL PRE-KINDER KINDER TRANSITION

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DIVERSITY FIRST SECOND THIRD FOURTH FIFTH

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ART HISTORY SIXTH SEVENTH

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EXPLORATION AND RESEARCH EIGHTH NINTH TENTH ELEVENTH

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1 PRESCHOOL BEING AS INDIVIDUAL PRE-KINDER, KINDER AND TRANSITION

FROM IMAGINATIVE DISCOURSES TO AN IMMEDIATE REALITY SENSORY EXPLORATION. CONSTANT EXPERIMENTATION BASED ON PARTICULAR CONCEPTS (VISUAL LANGUAGE ELEMENTS), MATERIALS AND TECHNIQUES. TRIAL AND ERROR: DISCOVERY AND FINDINGS (SELF AND COLLECTIVE). SYSTEMS THINKING (CHANGING CONTEXTS). SHORT, GUIDED AND PUNCTUAL WORKSHOPS. PLAYFUL AND INTERACTIVE EXERCISES: GROUP WORK AND INDIVIDUAL EXPLORATIONS.

PRE-KINDER

KINDER TRANSITION

EXPLORING THE NEAR CONTEXT (TOOLS, MATERIALS AND SPACE) EXPLORANDO EL CONTEXTO CERCANO (HERRAMIENTAS, MATERIALES Y EL ESPACIO) LABORATORIO ARTÍSTICO EXPERIMENTACIÓN CONSTANTE APRENDIZAJE A TRAVÉS DEL HACER Metodologías enfocadas al juego y a experiencias lúdicas, prácticas creativas y sensoriales, dentro y fuera del salón de clase, que obliguen a los estudiantes a usar su cuerpo, a entender las dimensiones del espacio físico y a comprender las posibilidades de materiales y técnicas. ENTORNO PROBLÉMICO- Conceptos clave a partir de los Elementos y Principios del Lenguaje Visual:

1. Punto, línea y plano. 2. Figuras vs. Formas. 3. El color.

Ejercicios cíclicos, cortos, puntuales y repetitivos. Que apunten a los mismos conceptos, haciendo cambios evidentes de condiciones y contextos.

MULTIVERSE: ALTERNATIVE REALITIES ART LAB REPETITIVE/CYCLIC EXPERIMENTATION EXPERIENCE BASED LEARNING TRIAL AND ERROR Learning methodologies that concentrate on playful exercises, sensory experiences and repetitive activities. Proposals that encourage students to work inside and outside the classroom. With conventional, analog, digital and non-conventional tools. And that may raise awareness regarding the use of the body and the physical transformations of the space. INQUIRY TOPIC - Main concepts connected to Visual Language Elements and Principles: 1. Visual and tactile textures. 2. Visual patterns. 3. Unity and variety.

Appreciation practices. Individual and collective assessment. Short, punctual and repetitive exercises offered in different conditions and contexts. Reflections upon processes, steps and learning opportunities.

REALITY VS. IMAGINATION ART LAB REPETITIVE/CYCLIC EXPERIMENTATION EXPERIENCE BASED LEARNING TRIAL AND ERROR Learning methodologies that concentrate on playful exercises, sensory experiences and repetitive activities. Proposals that encourage students to work inside and outside the classroom. With conventional, analog, digital and non-conventional tools. And that may raise awareness regarding the use of the body and the physical transformations of the space. INQUIRY TOPIC - Main concepts connected to Visual Language Elements and Principles:

1. Color associations. 2. Emphasis and balance. 3. Rhythm and movement.

Appreciation practices. Individual and collective assessment. Short, punctual and repetitive exercises offered in different conditions and contexts. Reflections upon processes, steps and learning opportunities.

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PRESCHOOL: MAIN CONCEPTS, CONTENT AREA, GRADE OBJECTIVE AND INQUIRY TOPIC CONCEPTS CONCEPTOS

GRADE CURSO

CONTENT AREA CONTENIDOS

GRADE OBJECTIVE OBJETIVO DE GRADO

INQUIRY TOPICS ENTORNOS PROBLÉMICOS

METHODOLOGY, REFERENCES AND CONCEPTUAL APPROACHES METODOLOGÍAS, REFERENCIAS Y ENFOQUE CONCEPTUAL

EL INDIVIDUO. EXPLORACIÓN SENSORIAL, EXPERIMENTACIÓN ESTÉTICA Y MATERIAL, MANEJO DEL CUERPO (PROYECTOS RELACIONADOS CON EL CUERPO). IMAGINACIÓN VS. REALIDAD. CAMBIO DE CONTEXTOS Y/O ESPACIOS.

PK PJ

EXPLORANDO EL CONTEXTO CERCANO (HERRAMIENTAS, MATERIALES Y EL ESPACIO)

Al final del año el estudiante será capaz de identificar características básicas de elementos esenciales del lenguaje visual a través de procesos sistemáticos experimentales en diferentes contextos de trabajo.

1. Punto, línea y plano. 2. Figuras vs. Formas. 3. El Color.

LABORATORIO ARTÍSTICO: Espacio de experimentación, creación y análisis. De producción y exhibición. De prueba y error. Metodología: Aplicación del Pensamiento Sistémico: análisis de conceptos en condiciones tanto bidimensionales como tridimensionales, espaciales y sensoriales (sensibilización). Aplicación de los Tipos de Razonamiento de acuerdo con las edades. Implementación del ciclo de Evaluación Formativa. Ejercicios de creación, apreciación y exploración formal.

BEING AS INDIVIDUAL SENSORY EXPLORATION, EXPERIMENTATION (CONCEPTS AND MATERIALS) & DISCOVERY (SELF AND COLLECTIVE).

K MULTIVERSE (ALTERNATIVE REALITIES)

By the end of the year the student will be capable of describing basic visual language elements and principles in guided exercises and workshops.

1. Visual and Tactile Textures. 2. Visual patterns. 3. Unity and variety.

ART LAB: A space destined to experimentation, creation and study. Destined to production and exhibition. A place suitable for trial and error. Methodology: Systems Thinking: analyzing concepts form different perspectives and diverse conditions (two-dimensional, three-dimensional, spatial and sensory conditions). Types of Reasoning and Formative Assessment cycles. Exercises, workshops and/or activities that focus on appreciation and creation processes.

T REALITY VS. IMAGINATION

By the end of the year the student will be able to relate visual language elements and principles through repetitive experimentation in dissimilar conditions.

1. Color associations. 2. Emphasis and balance. 3. Rhythm and movement.

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2 ELEMENTARY DIVERSITY Colombian and Latin American identities. FIRST, SECOND, THIRD, FOURTH AND FIFTH GRADE

UNDERSTANDING IDENTITY IN ITS MULTIPLE PERSPECTIVES AND REFLECTING ON WHAT CAN AFFECT, INFLUENCE OR TYPIFY IT: CULTURAL EXCHANGES, HISTORICAL VALUE, CRITICAL VIEW POINTS REINTERPRETATION AND APPROPRIATION. CONCEPTUAL AND AESTHETIC TRANSLATION AND/OR INTERPRETATION. MULTIPLE PERSPECTIVES (PAST AND CONTEMPORARY NOTIONS). CONSTANT EXPERIMENTATION, APPLYING CONCEPTS AND FORMAL ATTRIBUTES, ETC.

FIRST SECOND THIRD FOURTH FIFTH

FOLKLORE INQUIRY TOPIC: 1. Tradition: aesthetics

and imagery. 2. Cultural objects and

artifacts. 3. Icons and art.

INDIGENOUS REALM INQUIRY TOPIC: 1. Indigenous

constructions: abstraction and representation.

2. Indigenous cultural practices: reality and customs.

3. Indigenous influences today: interpretations and appropriations.

NEW CROSS-CULTURAL EXCHANGES (Syncretism) INQUIRY TOPIC: 1. Trade: exchanging

ideas and aesthetics. 2. Travel: nurturing

alternative aesthetics. 3. Recontextualizing

aesthetics: merging cultures.

LATIN AMERICAN CONSTRUCTIONS INQUIRY TOPIC: 1. Origins and connections:

popular practices. 2. Latin American

identities. 3. Contemporary Latin

American aesthetics.

NEW COLOMBIAN ARTISTIC PRACTICES INQUIRY TOPIC: 1. Emerging aesthetics:

transforming reality. 2. Colombian identities:

politics and art. 3. Contemporary Colombian

practices.

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ELEMENTARY: MAIN CONCEPTS, CONTENT AREA, GRADE OBJECTIVE AND INQUIRY TOPIC CONCEPTS GRADE CONTENT AREA GRADE OBJECTIVE INQUIRY TOPICS METHODOLOGY, REFERENCES AND

CONCEPTUAL APPROACHES

DIVERSITY BEING THE CONCEPTUAL ESTRUCTURE UNDERSTANDING IDENTITY IN ITS MULTIPLE PERSPECTIVES AND REFLECTING ON WHAT CAN AFFECT, INFLUENCE OR TYPIFY IT: CULTURAL EXCHANGES, HISTORICAL VALUE, CRITICAL VIEW POINTS REINTERPRETATION AND APPROPRIATION. CONCEPTUAL AND AESTHETIC TRANSLATION AND/OR INTERPRETATION. MULTIPLE PERSPECTIVES (PAST AND CONTEMPORARY NOTIONS). CONSTANT EXPERIMENTATION, APPLYING CONCEPTS AND FORMAL ATTRIBUTES, ETC.

1ST FOLKLORE

By the end of the year the student will be able to establish connections between tradition, patrimony and identity in past and present cultural expressions, through permanent visual studies and representational appropriations.

1. Tradition: aesthetics and imagery. 2. Cultural objects and artifacts.

(material) 3. Icons and art. (immateriality and

patrimony).

ART LAB: A space destined to experimentation, creation and study. Destined to production and exhibition. A place suitable for trial and error. Methodology: a. Systems Thinking: analyzing

concepts form different perspectives and diverse conditions (two-dimensional, three-dimensional, spatial and sensory conditions). Types of Reasoning and Formative Assessment cycles.

b. Project based approach: planning, designing and creating based on specific concepts and guidelines

c. Experimentation sessions: identifying tools and materials, understanding techniques and proposing alternative processes.

2ND INDIGENOUS REALM

By the end of the year the student will be able to differentiate cultural depictions embedded in past and contemporary indigenous expressions through systematic analysis and appropriation of visual characteristics and conceptual motifs.

1. Indigenous constructions: abstraction and representation.

2. Indigenous cultural practices: reality and customs.

3. Indigenous influences today: interpretations and appropriations.

3RD NEW CROSS-CULTURAL EXCHANGES Syncretism.

By the end of the year the student will identify evidences of cross-cultural expressions taking as reference the influence of traditions, behaviors and/or practices, through visual and conceptual appropriations.

1. Trade: exchanging ideas and aesthetics.

2. Travel: nurturing alternative aesthetics.

3. Recontextualizing aesthetics: merging cultures.

4TH LATIN AMERICAN CONSTRUCTIONS

By the end of the year the student will be able to describe and illustrate differences among Latin American cultural and aesthetic expressions, through visual and conceptual adaptations.

1. Origins and connections: popular practices.

2. Latin American identities. 3. Contemporary Latin American

aesthetics.

5TH

NEW COLOMBIAN ARTISTIC PRACTICES

By the end of the year the student will be able to recognize and reformulate diverse Colombian aesthetic expressions through appropriation practices in creation lab processes.

1. Emerging aesthetics: transforming reality.

2. Colombian identities: politics and art. 3. Contemporary Colombian practices.

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3 MIDDLE SCHOOL THE WORLD SIXTH AND SEVENTH GRADE

GLOBAL PERSPECTIVE PERCEPTION, REPRESENTATION, RECONTEXTUALIZATION, ART HISTORY, MODERNISM & CONTEMPORARY EXPRESSIONS. PROJECT BASED: CONNECTIONS OR ASSOCIATIONS WITH GRADE’S OBJECTIVES. ESSENTIAL CRITIQUE: ANALYZING GESTURES, CONCEPTS, PROCESS AND VISUAL RESULTS.

SIXTH

SEVENTH

NEW ANCIENT AESTHETICS ART LAB: FORMAL EXPERIMENTATION, PRODUCTION AND/OR CONSTRUCTION. EXPERIENCE BASED LEARNING. Learning methodologies that concentrate on concepts related to Popular Culture perspectives regarding social, cultural, religious and political issues. Applying conventional, analog, digital and non-conventional tools. INQUIRY TOPICS:

1. Graphic narratives (rupestry art and ancient civilizations: Egypt and Mesopotamia).

2. On symbology (ancient civilizations: Incas and Mayas - Mesoamerica). 3. Ideas of beauty (Greece and Rome).

Appreciation practices. Individual and collective assessment.

WESTERN CONCEPTIONS ART LAB: FORMAL EXPERIMENTATION, PRODUCTION AND/OR CONSTRUCTION. EXPERIENCE BASED LEARNING. Learning methodologies that concentrate on concepts related to beauty, ugliness, evil and kindness that are present in one way or another in different moments in Art History, that represent the diverse world conceptions (before Renaissance and after). INQUIRY TOPICS:

1. Middle ages aesthetics and ethics: beauty (good) vs. ugliness (evil) (Middle Ages -Renaissance).

2. Depicting reality: 17th through 19th century. 3. Modernism: ruptures and continuities (Vanguards).

Appreciation practices. Individual and collective assessment.

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MIDDLE SCHOOL: MAIN CONCEPTS, CONTENT AREA, GRADE OBJECTIVE AND INQUIRY TOPIC CONCEPTS GRADE CONTENT AREA GRADE OBJECTIVE INQUIRY TOPICS METHODOLOGY, REFERENCES AND

CONCEPTUAL APPROACHES

THE WORLD: PERCEPTION, REPRESENTATION, RECONTEXTUALIZATION, ART HISTORY, MODERNISM & CONTEMPORARY EXPRESSIONS. PROJECT BASED: CONNECTIONS OR ASSOCIATIONS WITH GRADE’S OBJECTIVES. ESSENTIAL CRITIQUE: ANALYZING GESTURES, CONCEPTS, PROCESS AND VISUAL RESULTS.

6TH NEW ANCIENT AESTHETICS

By the end of the year the student will be able to explain narrative and representational perspectives regarding ancient aesthetics, from theoretical and appropriation practices.

1. Graphic narratives (rupestry art and ancient civilizations: Egypt and Mesopotamia).

2. On symbology (ancient civilizations: Incas and Mayas - Mesoamerica).

3. Ideas of beauty (Greece and Rome).

ART LAB: A space destined to experimentation, creation and study. Destined to production and exhibition. A place suitable for trial and error. Methodology: d. Systems Thinking: analyzing concepts

form different perspectives and diverse conditions (two-dimensional, three-dimensional, spatial and sensory conditions). Types of Reasoning and Formative Assessment cycles.

e. Project based approach: planning, designing and creating based on specific concepts and guidelines

f. Experimentation sessions: identifying tools and materials, understanding techniques and proposing alternative processes.

7TH WORLD CONCEPTIONS

By the end of the year the student will be able to appreciate diverse perspectives in western art history, through theoretical revisions, visual studies and formal reinterpretations.

1. Middle ages aesthetics and ethics: beauty (good) vs. ugliness (evil) (Middle Ages -Renaissance).

2. Depicting reality: 17th through 19th century.

3. Modernism: ruptures and continuities (Vanguards).

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4 FINE ARTS PROGRAM

VISUAL ARTS EMPHASIS EIGHTH, NINTH, TENTH

AND ELEVENTH

RESEARCH AND CONSTRUCTION CRITIQUE & STATEMENT (SOCIAL, RELIGIOUS, POLITICAL, CULTURAL & INSTITUTIONAL). CONTEMPORARY WORLD. PERSONAL AND COLLECTIVE EXPERIENCE. PHILOSOPHY (SEARCH OF MEANINGS, UNDERSTANDING GESTURES). CURATORIAL CONCEPTS. PRODUCTION & ANALYSIS: FUNCTIONALITY, CONCEPTUAL AND AESTHETIC EXPLORATION, MEANING AND SPECULATION.

EIGHTH

NINTH TENTH ELEVENTH

ART LAB FORMAL EXPERIMENTATION EXPERIENCE BASED LEARNING Learning methodologies (modes of production). INQUIRY TOPIC Contemporary aesthetics: new art forms. Practical and sensory experiences (inside & outside the classroom). Practical approach: 1. The object: uses and transformations. 2. Installation. 3. Ephemerality and performativity: the

use of the body, actions and space. 4. New forms of painting.

ART LAB FORMAL EXPERIMENTATION EXPERIENCE BASED LEARNING Learning methodologies (modes of production). INQUIRY TOPIC Contemporary practices: trespassing boundaries. Practical and sensory experiences (inside & outside the classroom). Practical approach: 1. The archive: uses and possibilities

(video, photography, documents, etc.).

2. Contemporary Drawing (big scale, alternative materials, drawing vs. space).

3. Synesthesia* and Sensory Experiences.

RESEARCH IN AND ON ART. FORMAL EXPERIMENTATION GUIDED BY TUTOR (TEACHER). CONSOLIDATING THEMES, CONCEPTS AND/OR LINES OF RESEARCH BASED ON PERSONAL INTERESTS. INQUIRY TOPIC 1. Research in (practice) and on (theory)

art. 2. Developing conceptual approaches

through artistic practices. 3. Contextualization and

recontextualization: first approach to a formal artistic process.

RESEARCH IN AND ON ART. FORMAL PRODUCTION GUIDED BY TUTOR (TEACHER). CURATORIAL APPROACH (EXHIBITION, SHOWCASE OR DISTRIBUTION STRATEGIES). INQUIRY TOPIC 1. Reformulating research: visualizing a

personal project. 2. Personal practice: giving shape to an

artwork. 3. Spectator vs. curator: selecting the

audience.

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FINE ARTS PROGRAM (FROM EIGHTH TO ELEVENTH GRADE): GENERAL APPROACH, FINE ARTS PERSPECTIVE, GRADE OBJECTIVE AND INQUIRY TOPIC

GEN

ERA

L A

PPR

OA

CH

UNIQUE TERM

8TH & 9TH (Cycle)

Experimentation - Conceptual and Technical Foundations – Appreciation Exercises – Progression upon different disciplines and modes of production

1ST TERM 2ND TERM 3RD TERM

10TH

Foundations Conceptual and formal inquiries.

Multiple techniques, materials, contexts, devices, etc.

Exploration Unfolding technical possibilities into

aesthetical concepts.

Appropriation First approach to personal Project. Giving

form to an idea. Formal elements of an artistic project.

11TH

Conceptualizing How to build or make a question?

Finding relevant sources. Conceptual and formal experimentation.

Problematization Justify why it is important what I am planning

to do. Methodology Production.

Resolution and Exposure Revisions and final product.

Circulation, distribution Dissertation and Exhibition.

FIN

E A

RTS

PE

RSP

ECTI

VES

(Cyc

le)

8TH & 9TH By the end of the cycle, the student will recognize the value of theoretical, referential, formal and conceptual perspectives embedded in creative contemporary practices, in order to understand music/visual arts/audiovisual media/ as a discipline, as a research field and as a creation process.

GR

AD

E O

BJE

CTI

VE

8TH (By area)

By the end of the term, the student will be able to distinguish production methodologies through diverse exploration and appreciation processes.

9TH (By area) By the end of the term, the student will be able to recognize art as a field of research and aesthetics as its context.

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10TH By the end of the year, the student will be able to design methodologies to communicate a personal inquiry showing a critical understanding of contemporary aesthetic references and modes of art production.

11TH By the end of the year, the student will be able to exhibit an original artwork using appropriate tools, media, and processes that reflect understanding of his role as a critical consumer and as a creative/original producer.

INQ

UIR

Y TO

PIC

8TH Contemporary aesthetics: new art forms.

9TH Contemporary practices: trespassing boundaries.

10TH

TERM I: Research in (practice) and on (theory) art. TERM II: Developing conceptual approaches through artistic practices. TERM III: Contextualization and recontextualization: first approach to a formal artistic process.

11TH

TERM I: Reformulating research: visualizing a personal project. TERM II: Personal practice: giving shape to an artwork. TERM III: Spectator vs. curator: selecting the audience.

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FINE ARTS PROGRAM – FOUNDATIONS CYCLE: MAIN CONCEPTS, CONTENT AREA, GRADE OBJECTIVE AND INQUIRY TOPIC CONCEPTS GRADE CONTENT AREA FINE ARTS PERSPECTIVE GRADE OBJECTIVE INQUIRY TOPICS METHODOLOGY, REFERENCES

AND CONCEPTUAL APPROACHES

VISUAL ARTS FOUNDATIONS Conceptual and aesthetic approach – review. General and focused theoretical revisions: contemporary art references from diverse disciplines will be offered to students as examples that may potentially inform their formal process. Formal experimentation: students will have the chance to explore with different materials, media and formats in order to establish valuable and feasible production strategies.

8TH

VISUAL ARTS FOUNDATIONS Conceptual and aesthetic approach – review.

By the end of the cycle, the student will recognize the value of theoretical, referential, formal and conceptual perspectives embedded in creative contemporary practices, in order to understand music/visual arts/audiovisual media/ as a discipline, as a research field and as a creation process.

By the end of the term, the student will be able to distinguish production methodologies through diverse exploration and appreciation processes.

UNIQUE TERM: Contemporary aesthetics: new art forms.

Technical and procedural experimentation. Visual Appreciation. Production methodologies Theoretical and referential studies on TIME – THE BODY – SPACE (PLACE) – FUNCTIONAL OBJECTS MADE NON-FUNCTIONAL.

9TH

By the end of the term, the student will be able to recognize art as a field of research and aesthetics as its context.

UNIQUE TERM: Contemporary practices: trespassing boundaries.

Technical and procedural experimentation. Visual Appreciation. Theoretical and referential studies on MEMORY – IDENTITY –– INTERACTIVITY. Conceptual framing: Understanding aesthetics.

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FINE ARTS PROGRAM – RESEARCH CYCLE: MAIN CONCEPTS, CONTENT AREA, GRADE OBJECTIVE AND INQUIRY TOPIC CONCEPTS GRADE CONTENT AREA GRADE OBJECTIVE INQUIRY TOPICS METHODOLOGY, REFERENCES AND

CONCEPTUAL APPROACHES

RESEARCH IN AND ON ART. CONSTRUCTION PRACTICES. CRITIQUE SESSIONS BASED ON FORMAL PRODUCTIONS WITHIN CLASS PROCESSES. PERSONAL AND COLLECTIVE CONSTRUCTION PROCESSES. INTRODUCTION TO CURATORIAL CONCEPTS AND/OR NOTIONS. PRODUCTION & ANALYSIS: FUNCTIONALITY, CONCEPTUAL AND AESTHETIC EXPLORATION, MEANING AND SPECULATION. Tutoring process: the teacher will be official tutor in individual research processes based on diverse artistic practices.

10TH

ARTISTIC DEVELOPMENT TUTORING. Research and production approaches. IMAGINARY DISCOURSES TUTORING. Research, production, critique and curatorial approaches.

By the end of the year, the student will be able to design methodologies to communicate a personal inquiry showing a critical understanding of contemporary aesthetic references and modes of art production.

TERM I: Research in (practice) and on (theory) art. TERM II: Developing conceptual approaches through artistic practices. TERM III: Contextualization and recontextualization: first approach to a formal artistic process.

Research and production methodologies. Curatorial perspectives. Technical and procedural approaches (individual and/or collective). Visual Appreciation. Theoretical and referential studies on themes of contemporary art.

11TH

By the end of the year, the student will be able to exhibit an original artwork using appropriate tools, media, and processes that reflect understanding of his role as a critical consumer and as a creative/original producer.

TERM I: Reformulating research: visualizing a personal project. TERM II: Personal practice: giving shape to an artwork. TERM III: Spectator vs. Curator: selecting the audience.