"Register and Performative and Contextual Art Practices" is a subject focused on the study, development and experimentation of artistic practices with a clear vocation of direct interaction in the sociocultural context in which they happen, using heterogeneous tools, strategies and formats, sometimes not exclusive of the artistic scene. They are artistic practices that take very much into account the various agents involved in the artistic experience —both those who assume the role of entities that produce the artistic work and those who receive it—, as well as the possibility of contributing to the environment and being influenced by it.



The subject has a project and procedural character. Importance is given both to knowing how to bring motivations or needs to artistic formalizations through a planned and managed creation and to being able to include more procedural and improvised moments. Likewise, work is done without the disciplinary restrictions of what is traditionally understood as art, and even of the presumptions about where a work of art can or should be located. Radical, practical and discursive experimentation is also encouraged, as a way to formalize artistic projects, with a methodology of gradual approaches, guided by a previous desire or intuition.



The concept of performative works in its double aspect: as a work from the living arts, playing with the presence and the body in a specific time and space, and as the ability to "perform", "act" or "affect" a given situation.



This subject gives importance to the relationship between production, analysis and reception of the work of art as a meeting place. In this sense, the registration of artistic projects (in photography, video, audio, graphic or other formats) is a very valuable tool for the artist to be able to generate different moments of reception of his project and different ways of penetrating it.

The competences that the student is expected to acquire during the development of the subject would be the following:

- Ability to identify and understand different artistic expressions that have to do with the contextual nature of the subject: participatory art, collaborative art, dialogic art, community art, socially committed art and relational art.

- Ability to invent different strategies with which to interact in a given context.

- Ability to handle different relational technologies (related to the behavior, communication and organization of people in performative proposals).

- Ability to propose projects in which the artist-work-receiver relationship occurs within alternative ways to the usual scheme of "production by the artist - consumption by the public".

- Ability to properly choose the documentation medium that best suits the structure and needs of each project and to technically formalize it in a manner adjusted to its intentions.

- Artistic framework in which we will move: contextual art, performative art, participatory art, collaborative art, dialogic art, community art, socially committed art and relational art.

- Games in which we participate: the game as an artistic strategy with which to subvert norms, confront decisions and experience divergent behaviors.

- Case study of artistic projects in context: Gau Irekia.

- Different types of recipients of an artistic project: public, user, participant, collaborator, co-creator...

- Technologies of relationships: mechanics of behavior, communication and organization of people.

- Different ways of tackling the registration of an artistic project.

The course is organized based on the following sequence of phases:

1) The Framing, 2) The Experimentation, 3) The Bet and 4) The Staging. These phases correspond respectively approximately to the four months of development of the subject. Firstly, the perspective of art from which we will work will be considered; Next, experiments and dynamics will be proposed that allow an intuitive approach to future projects; then they will focus, outline and develop the student projects for the subject and finally these projects will materialize so that they can be accessed from the specific spaces and times of artistic formalizations.



The methodology of the subject is based on four formats: experimental dynamics proposed both by the teacher and by the students themselves, documentary references of artistic projects and visits to specific contexts that can be taken as work enclaves. It is a mainly practical approach spiced with example pills.



Likewise, there will be the usual tutorials, to address the doubts that arise during the performance of the experiments and dynamics that make up the course.

• Continuous Assessment System
• Final Assessment System
• Tools and qualification percentages:
  • - Group dynamics made in class... 30% - Performative group actions (action + register)... 30% - Contextual project (project + exhibition device + memory)... 40% (%): 100

ORIENTATIONS

The evaluation system will be continuous, by presentation of works and participation in class dynamics.



Evaluation elements: class dynamics, performative group actions (and their records) and contextual projects (with their exhibition display sand memories).



Similarly, attendance and participation are essential for the proper development of the teaching/learning process in the course, and will be taken into account in the evaluation.



On the other hand, given the structure of interdependent interventions that sustains the course, the presentation, on the pre-established dates, of all the proposals is essential.



Each and every one of these works is required for the evaluation of the student process, and its qualification.



In the absence of any of them, other ways of verifying knowledge will be determined to confirm that the student has the necessary degree of theoretical-practical preparation.



Students will have the right to be evaluated through the final evaluation system, regardless of whether or not they have participated in the continuous evaluation system, as long as they present their resignation to the continuous evaluation with the advance indicated in the regulations.



WAIVER REGULATION

Resignation of the call:

To waive the call, students who go for continuous assessment will have to submit their resignation in writing to the teacher responsible for the subject one month before the official exam date of the subject. The students who go for the final evaluation it will be enought if they do not appear for the fixed test. In both cases the grade will be "not presented".



Waiver of the evaluation system:

The continuous assessment system is preferred at the UPV/EHU. However, students will have the right to be evaluated through the final evaluation system. To do this, you must submit your resignation to the continuous assessment system in writing and you will have a period of 9 weeks to do so from the beginning of the course, as it is a four-month subject of the first four-month period.

The works of "Performative Group Action" (with its audiovisual record) and "Contextual Project" (with its exhibition device and memory) will be requested. Both works will be presented in class regardless of where they were done. In addition, there will be a written test to check the acquisition of knowledge, references and class practices.

Those required in the exercises and class practices, the basic bibliographical references, as well as all the materials shared in egela.

Basic bibliography

Ardene, Paul. 2006. Un Arte Contextual. Creación artística en medio urbano, en situación, de intervención, de participación. Murcia: Cendeac.



Bourriaud, Nicolás. 2006. Estética relacional. Buenos Aires: Adriana Hidalgo.



Duarte, Ignasi y Bernat, Roger. 2009. Querido Público: El espectador ante la participación: jugadores, usuarios, prosumers y fans. Barcelona: Centro Párraga, Cendeac y Elèctrica Produccions.



Fisher-Lichte, Erika. 2011. Estética de lo performativo. Madrid: Abada.



Kaprow, Allan. 2007. La educación del des-artista. Madrid: Árdora.



Rancière, Jacques. 2010. El espectador emancipado. Castellón: Ellago ed.



Tudela, Javier. 2008 . Cuando arte es la respuesta, ¿cúal era la pregunta? En Ikas-art. 1er Encuentro de Arte Universitario, dirección y coordinación Jose María Herrera, 275-82. Güeñes: Enkartur.

In-depth bibliography

Bishop, Claire (ed). 2006. Participation. London: White Chapel Gallery & The MIT Press.

Jahn, Marisa ed. 2010. Byproduct. On the Excess of Embedded Art Practices. Canadá: YYZBooks.

Jullien, Francois y Suárez, Anne Hélèlen. 1999. Tratado de la Eficacia. Madrid: Siruela.

Kester, Grant. 2004. Conversation pieces: Community and Communication in Modern Art. California: University of California Press.

Laddaga, Reinaldo. 2006. Estética de la emergenci. Buenos Aires: Adriana Hidalgo editora.

Willats, Stephen. 2010. The Artist as an Instigator of Changes in Social Cognition and Behaviour. Londres: Occasional Papers.

Journals

http://www.a-desk.org

http://www.efimerarevista.es/

http://www.ehu.eus/ojs/index.php/ausart/index

http://esferapublica.org/nfblog/

Web addresses

http://www.rtve.es/television/metropolis/

https://www.consonni.org/

http://www.okela.org

http://www.bulegoa.org/

http://wikitoki.org/

http://azala.es

http://www.azkunazentroa.eus/

https://www.guggenheim-bilbao.eus/

http://www.salarekalde.bizkaia.net/

https://www.tabakalera.eu

http://kmk.gipuzkoakultura.eus/es/sala-de-exposiciones/presentacion

http://www.artium.org/es/

http://www.montehermoso.net/

http://www.ca2m.org

http://www.mataderomadrid.org

http://medialab-prado.es

https://www.lacasaencendida.es/

http://www.museoreinasofia.es/

http://hangar.org

http://www.cccb.org/es/

http://macba.es

http://theinfluencers.org

https://www.documenta.de/es/

http://bb9.berlinbiennale.de/

http://www.labiennale.org/it/arte/index.html

https://www.traficantes.net/nociones-comunes

http://esnorquel.es/pod-cast/