This course provides an in-depth study of the practice of painting from the point of view of technological aspects, whether they are traditionally pictorial or of a more current nature, digital or otherwise. The relationship between painting and technology is something that crosses all painting through the ages. However, from this subject, in addition to the procedural relationship between form, discourse and tool, the aim is to analyze that borderland where pictorial practices meet the latest technologies. A multiform space in which connections arise with other artistic languages and other practices. The main objectives of the course are the knowledge and technological experimentation, and the extension of the debate on painting to these transdisciplinary spaces, favoring the creation of projects with a mixed spirit and setting in motion artistic processes from the point of view of painting, aware that similar debates and processes or projects would be different if they were approached from the specificity of other practices.

C4º. C1. Sufficient technical autonomy for the development of an individual or collective artistic practice.

-C4º.C2 Understanding of art as a specific knowledge, approaching the thought and methodology of artists through their works and texts.

C4º. C3. Capacity for the transmission of artistic experience. Being able to transmit knowledge and carry out a pedagogical and mediating work of the artistic in the areas that require it (educational institutions, museums, etc.).

C4º. C4. To know the art system, its functioning mechanisms and its requirements in order to be able to integrate professionally in it. Know the modes of operation and the problems related to copyright and intellectual property.

C4º. C5. To recognize, in the artistic activity, individual-collectivity relational aspects proper of the social. To take responsibility for the act of creation and for what has been done in relation to what is socially demanded to the contemporary artist. Capacity of commitment.

C4º. C6. To be able to recognize and carry out the basic operation of symbolization that accompanies all artistic experimentation and is necessary for it to conclude in a work of art.

1. Minimum units: manual, mechanical, electronic.

2. The surface as a field of action

3. Spatial configurations. Overlapping units, contiguous units

4. The literal, the metaphorical

5. The real, the virtual

6. Inclusion of elements of a non-pigmentary nature.

Learning outcomes. Fourth year is oriented towards specificity and professionalization; therefore, the learning outcomes must reflect this situation.

- The disciplinary or interdisciplinary artistic work, as evidence of a technical autonomy for an autonomous experimental production, at an individual or collective level.

- Works of written expression, oral expression and critical comprehension, which analyze, identify, understand and know thoughts and methodologies of artists through their works and texts.

The practical and experimental character of the subject is predominant, based on the teaching methods of seminars and workshops combining theory and practice, implementing active methodologies that encourage the student's formative initiative.

The work proposals and projects of the students will be the starting point of experimental work processes through which the learning, reflection and analysis of the subject will be articulated.

• Continuous Assessment System
• Final Assessment System
• Tools and qualification percentages:
  • Realization of Practical Work (exercises, cases or problems) (%): 10
  • Individual works (%): 75
  • Exhibition of works, readings ... (%): 10
  • Participación (%): 5

Evaluation system:



- Practical work (exercises, cases or problems).

- Individual work

- Exhibition of works, readings...



The evaluation of the work of the course will be continuous, taking into account procedural aspects, both attitudinal and aptitudinal, and referring to both classroom and non classroom work, taking into account the specific capabilities of the subject.



The evaluation is NOT carried out through exams, but by the work done throughout the course.



However, at the end of the teaching period, tests of the minimum theoretical/practical contents presented in the course may be carried out, or formulas, general or personalized, for the demonstration of knowledge, which must be coordinated with the teacher.



Abdication of the call:

To abdicate the convocation the student will have to submit the abdication in writing to the teacher responsible for the subject one month before the official examination date of the subject.”



Abdication of the evaluation system:

Students will have the right to be evaluated through the final evaluation system. To do so, they must submit a written resignation document of the continuous evaluation system and will have a period of 9 weeks to do so for quarterly subjects and 18 weeks for annual subjects, counting from the beginning of the quarter or course, respectively.

In the extraordinary call, the evaluation will require the presentation of all the exercises that are carried out in the course and, where appropriate, also an exam. For all this, it will be required the attendance to all the tutorials of the weeks between the publication of grades of the ordinary call and the exam of the extraordinary call.

Basic bibliography

• Basic bibliography



-Antonioni, Michenlangelo. (2002) Para mí, hacer una película es vivir . Barcelona, Buenos Aires, México: Ed. Paidós

-Barthes, Roland. (1989) La cámara lúcida. Nota sobre fotografía. Barcelona: Ed. Paidós

-Benjamin, Walter. (1989) Discursos interrumpidos I. La obra de arte en la época de su reproductibilidad técnica. Buenos Aires: Ed. Taurus

-Berger, René. (1976) El conocimiento de la pintura. Barcelona: Ed. Noguer

-Calvo Serraller, Francisco. (1992) La senda extraviada del arte. Barcelona: Ed. Mondadori

-Casado Arsuaga, José Luis. El acto pictórico; experiencia y experimentación. En: VV.AA. Práctica y teoría de la pintura (2007) Leioa: Departamento de Pintura. UPV-EHU

-Deleuze, Gilles. ¿Qué es el acto de creación? Conferencia en la Femis (Escuela superior de oficios de imagen y sonido de París). 17/05/1987

https://www.youtube.com/watch?v=dXOzcexu7Ks

https://www.academia.edu/5192898/_Qu%C3%A9_es_el_acto_de_creaci%C3%B3n_de_Gilles_Deleuze

-Dery, Mark. (1998). Velocidad de escape. La cibercultura en el final del siglo. Madrid: Ed. Siruela

-Eco, Umberto. (2005) La definición de arte. Barcelona: Ed. Destino

-Foucault, Michel. (2016) La pintura de Manet. Madrid: Ed. Fondo de cultura económica

-Goldin, Nan. (1996) The Ballad of Sexual Dependency . Nueva York: Aperture Books.

-Hockney, David. (2012) El gran mensaje. Conversaciones con Martin Gayford. Madrid: Ed. La fábrica

-Maldonado, Tomás. (2009) Lo real y lo virtual. Madrid: Ed. Gedisa

-Mekas, Jonas. (1980) Self portrait

-Mitchell, W. J. T. (2017) ¿Qué quieren las imágenes? Vitoria Gasteiz: Ed. Sans Soleil

-Mumford, Lewis. (2006) Técnica y civilización. Madrid: Ed. Alianza

-Queau, Philipe. (1995) Lo virtual. Virtudes y vértigos. Barcelona: Ed. Paidós

-Rilke, Rainer Maria. (1992) Cartas sobre Cézanne. Barcelona: Ed. Paidós Estética

-Senni, Lorenzo. (2020) Scacco Matto

-VV.AA. Tillmans, Wolfgang. Ulrich Obrist, Hans. (2009) Conversaciones con fotógrafos. Madrid: Ed. La Fabrica

In-depth bibliography

• Bibliography for further study:

-Berger, John. (2016) Modos de ver. Barcelona: Ed. Gustavo Gili
-Brassai. (2002) Conversaciones con Picasso. Madrid: Ed. Turner
-Cage, John. (2002) Silencio. Madrid: Ed. Ardora
-Dalí, Salvador. (1998) El mito trágico del Angelus de Millet. Barcelona: Ed. Tusquets
-Dewey, John. (2008) El arte como experiencia . Barcelona: Ed. Paidós Estética 45.
-Krauss, Rosalin. (1985) La escultura en el campo expandido. En: La posmodernidad. coord. por Hal Fostern. Barcelona: Ed. Kairos
-Linch, David. (2016) Atrapa al pez dorado. Nueva York: Ed. Reservoir Books
-Renoir, Jean. (2007) Mi padre. Barcelona: Ed. Alba
-Shklovsky, Victor. El arte como artificio . En: Teoría de la literatura de los formalistas rusos (1991) Antología preparada y presentada por Tzvetan Todorov. México: Ed. Siglo XXI.
-Tarkovsky, Andrei. (1996) Esculpir en el tiempo. Madrid: Ed. Rialp
-Tytell, John. (1999) The living theatre. Arte, exilio y escándalo. Barcelona: Ed. La liebre de marzo

Journals

Journals held in the faculty library:

ARTFORUM, ARTNEWS, ARTE E INDIVIDUO Y SOCIEDAD, ARTE Y PARTE, BEAUS ARTS, EXIT, FLASH ART, LAPIZ, ART JOURNAL. LÁRT MEME, ART IN AMERICA, ART PRESSE, ART REVIEW, ZEHARtas que se encuentran en la biblioteca de la facultad. ARTFORUM, ARTNEWS, ARTE E INDIVIDUO Y SOCIEDAD, ARTE Y PARTE, BEAUS ARTS, FLASH ART, LAPIZ, ART JOURNAL. LÁRT MEME, ART IN AMERICA, ART PRESSE, ART REVIEW

Cultural supplements of local, national and international newspapers

Web addresses

-PLATFORMS:
http://www.eremuak.net/
http://www.azala.es/es/
http://www.bulegoa.org
http://www.consonni.org
https://www.lataller.com
http://www.okela.org/eu

-MUSEUMS, ART CENTERS:
https://www.tabakalera.eu/es
https://bilbaoarte.org/
http://carrerasmugica.com/
http://espaciomarzana.com/
https://www.guggenheim-bilbao.eus/
https://www.santelmomuseoa.eus
https://www.artium.org/

CRITICISM, DIFFUSION AND ARCHIVES:
http://www.ubu.com/resources/feature.html
http://a-desk.org/
http://www.tea-tron.com/teatron/Portada.do