The course aims at raising awareness of the complexity of contemporary art practices. To this aim, the course programme is organised around topics that are transversal to the contemporary art history. Goign beyond a chronological criterion, the course rather addresses the challenging issues raised by contemporary art practices to the traditional paradigm of conservation-restoration. The main goal to achieve through this course should be developing a mindset suitable at approaching contemporary art without prejudices.

The course includes one lecture per week lasting 4 hours, 2 of which will be frontal lecture and 2 devoted to the development of a group project. The frontal lecture will generally be dedicated to introducing key themes in contemporary art, following a criterion that is not necessarily chronological. Space is left for students to identify and report particular interests, which may become themes in the lectures. The group project will cover one or more of the topics touched upon during the lectures by aiming to deepen them through collaborative learning.

Arguments of the course will tpuch upon the XXth and XIXth Century Arts. A previuos knowledge about modern art history is then required.

knowledge and understanding: students should be able to demonstrate the acknowledgment of the main topics and issues dealt with within the course and to put them in relation with the most recent art practices.

applying knowledge and understanding: the course aims at providing students with methods and tools to apply the findings achieved during classes to the main issues in conservation and restoration of cultural heritage, in order for them to be able to question established theories and practices.  

making judgments: students  should demonstrate the ability of handling complexity and the cross-over nature of contemporary art practices, making autonomous judgments and reflections free from biases. 

communication: worshops and collaborative sessions specifically designed within the course are aimed at developing dialogic skills and communication abilities. 

lifelong learning skills: students are pushed to develop an autonomous reserach path, which they are asked to share with their colleagues.

The teaching material prepared by the lecturer in addition to recommended textbooks (such as for instance slides, lecture notes, exercises, bibliography) and communications from the lecturer specific to the course can be found inside the Moodle platform › blended.uniurb.it

Presentation slides of the lectures will be made available to students at the end of the course on the Moodle.blended platform.

When possible, seminar meetings with experts or other lecturers specializing in topics related to the course will be organized.

At least one educational outing will be organized.

Teaching

The course alternate traditional lectures, discussion among students about case studies and collaborative projects.

Innovative teaching methods

debate 

flipped learning 

cooperative learning

Attendance

Attendance is highly recommended, still not mandatory. However, a collaborative project will be held during the course. Participation in the implementation of the project will be considered a determining part of the final assessment.

Course books

In order to get a broad overview of the topics covered in the classroom, it is necessary to take as a reference a contemporary art history textbook (even a high school one) that starts from 1900 and goes up to the present day (approximately). As an example, the following text might be suitable: Dorfles, G., Vettese, A. Arte 3. Artisti, opere, temi,  Atlas, 2010. 

The most comprehensive text suitable for graduate-level study is AAVV, Arte dal 1900.Modernismo, Antimodernismo, Postmodernismo,  Zanichelli, 2016. Inside this volume, it is advisable to select topics of specific personal interest, in accordance with the lecturer.

Vettese, A. Capire l'arte contemporanea, Allemandi, 2021 is stongly suggested.

For a comprehensive analysis of the aspects that contemporary art has revolutionized see N. Einich, Il paradigma dell'arte contemporanea. Strutture di una rivoluzione artistica, Johan&Levi, 2022.

Essential study text for an overview of the problems posed by contemporary art to the discipline of conservation and restoration is P. Martore (a cura di), Tra memoria e oblio. Percorsi nella conservazione dell'arte contemporanea, Castelvecchi, 2014.

Other studying materials will be provided for english speaking only students.

Assessment

The final exam will be an oral test, assessing the competences achieved about the main topics proposed along the course. If a collaborative project has been started during the course, participation to the project will be highly considered for the final evaluation.

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.

Teaching

Attendance is highly recommended, still not mandatory.

Attendance

Attendance is highly recommended, still not mandatory.

Course books

Mandatory texts (choose one):

Dorfles, G., Vettese, A. Arte 3. Artisti, opere, temi,  Atlas, 2010. 

AAVV, Arte dal 1900.Modernismo, Antimodernismo, Postmodernismo,  Zanichelli, 2016.

Students can choose one book amongst the following:

Vettese A., Si fa con tutto. Il linguaggio dell'arte contemporanea, 2015

Riout D., L'arte del XX secolo, Einaudi, Milano 2002

Pancotto P.P., Arte contemporanea. Dal minimalismo alle ultime tendenze, Carocci, 2010

Ferriani B., Pugliese M., Monumenti effimeri. Storia e conservazione delle installazioni, Electa, 2009

Martore P. (a cura), Tra memoria e oblio. Percorsi nella conservazione dell'arte contemporanea, Castelvecchi, 2014.

Pugliese M., Tecnica mista. Materiali e procedimenti nell’arte del XX Secolo, Mondadori, Milano, 2006.

Falcinelli R., Figure. Come funzionano le immagini dal Rinascimento ad Instagram, Einaudi, Milano 

2020.

O'Doherty B., Inside the White Cube. L'ideologia dello spazio espositivo, Johan e Levy, 2012

Other studying materials may be provided for english speaking only students.

Assessment

The final exam will be an oral interview on the topics contained in the textbook or in the in-depth text of the student's choice. The oral test may be supplemented by the recognition and analysis of works shown by the lecturer to assess the level of critical and analytical skills achieved by the student with regard to the main artistic movements constituting the course program.

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.