THIS WAS THE STRUCTURE OF THE COURSE UNTIL THE SUMMER OF 2011. THOSE WHO ENROLLED ON THE COURSE IN 2010-2011 CAN STILL FINISH IN THE OLD WAY DESCRIBED BELOW(, but new students can only do it in the new way):
Welcome to a series of lectures, presentations & discussions:
WHAT IS THE FUTURE OF ART?
/ MIKÄ ON TAITEEN TULEVAISUUS?
Opintokohde / course number: 01095
The course is compulsory for the TaiK Fine Arts MA and Environmental Art MA students (http://.uiah.fi/finearts/studies), but open to the whole of Aalto: http://http://.taik.fi/opiskelu/taikin_opiskelijoille/yhteinen_taide_ja_teoriaopetus/historia_ja_teoriaopetus.html / http://http://.taik.fi/en/studies_/information_for_taik_students/fine_art_studies/history_and_theory_.html
Professor TEEMU MÄKI & visitors.
15 lectures/presentations with discussions about the future of art, about the relationship of art and society, about political art, about art and economy, not tied to any single medium or genre. The lectures are 3 hours long, so as to give ample room for not only solitary monologue of the lecturer, but also for work samples and discussions.
By being present in at least 10 of these and keeping a lecture diary OR writing an essay (12 pages) you’ll get 5 ects.
If you in addition to that write another essay (12 pages), you*ll get altogether 10 ects.
If – in addition to the above mentioned – you also make substantial artworks, you’ll get 15 ects. These ‘substantial artworks’ you can either make on your own or for example in one of the Contemporary Art Workshops / Nykytaiteen työpajat.
Doing the whole package is obligatory only for Fine Arts MA students.
What’s the Future of Art? course is tied to another course of same size: Research Methods. The two courses together form a weekly lecture series combination that goes on through both Autumn and Spring semesters (14 lectures in Autumn / 16 lectures in Spring).
To learn and understand various convictions about contemporary art’s definition, function and methods. Defining one’s own artistic conviction and learning to explain and justify that to others. Developing new and efficient artistic practices, for example methods that fluently appropriate scientific knowledge or journalistic tactics into artist’s toolbox and methods that make working in groups or collectives a viable option for those artists that traditionally have normally worked almost always alone.