ECTS credits ECTS credits: 3
ECTS Hours Rules/Memories Student's work ECTS: 51 Hours of tutorials: 3 Expository Class: 9 Interactive Classroom: 12 Total: 75
Use languages Spanish, Galician
Type: Ordinary subject Master’s Degree RD 1393/2007 - 822/2021
Departments: History of Art
Areas: History of Art
Center Faculty of Philosophy
Call: First Semester
Teaching: With teaching
Enrolment: Enrollable | 1st year (Yes)
- Stimulate debate around public art spaces.
- Provide theoretical tools to understand the debate on art and society.
- Analyze the role that art and cultural processes play in constructing the city's image.
- Provide theoretical and historical analysis materials to further explore current debates on monuments (historical memory, decolonization, etc.).
1. Debates on public art at the beginning of the new millennium
2. Monuments, counter-monuments, and redefinitions
3. Spectacle and culture in the city: production, consumption, resistance (debates on cultural forms)
4. Interventions, artistic actions, and the reappropriation of public space
BASIC
Bishop, C.: Infiernos artificiales, arte participativo y políticas de la espectaduría. Ciudad de México: Taller de Ediciones Económicas, 2016.
Freedberg, David: Iconoclasia. Historia y psicología de la violencia contras las imágenes Sans Soleil, 2018.
Yúdice, G.: El Recurso de la cultura. Usos de la cultura en la era global. Barcelona: Gedisa, 2002.
COMPLEMENTARY
Brissac Peixoto, N.: Arte/cidade. Zona leste. Máquinas urbanas. Santiago de Compostela: Dardo, 2011.
Camnitzer, L.: Didáctica de la liberación. Arte conceptualista latinoamericano. Murcia: CEADEAC, 2009.
Clark, T. J.: Imagen del pueblo. Gustave Courbet y la Revolución de 1848. Barcelona: Gustavo Gili, 1981.
Decter, J. & Draxler, H.: Exhibition as Social Intervention. ‘Culture in Action’, 1993. London: Afterall Books, 2014.
Deutsche, R.: Agorafobia. Barcelona: MACBA, Quaderns Portàtils, nº 12, 2008.
Doherty, C. (ed.): Situation. London & Cambridge (Mass.): Whitechapel Gallery / The MIT Press, 2009.
Duque, F.: Arte público y espacio político. Madrid: Akal, 2001.
Hebdige, D.: Subcultura. El significado del estilo. Barcelona: Paidós, 2013.
Helguera, P.: Education for Socially Engaged Art. A Materials and Techniques Handbook. New York: Jorge Pinto, 2011.
Mitchell, W. J. T.: ¿Qué quieren las imágenes? Una crítica de la cultura visual. Sans Soleil Ediciones, 2017.
Ramírez, J.: Utopías artísticas de revuelta: Claremont Road, Reclaim the Streets, la Ciudad de Sol. Madrid: Cátedra, 2014.
Sección inglesa de la Internacional Situacionista: La revolución del arte moderno y el moderno arte de la revolución. Logroño: Pepitas de calabaza, 2007.
Tenorio Trillo, Mauricio: La historia en ruinas. El culto a los monumentos y a su destrucción. Madrid: Alianza Editorial, 2022.
Tunzelmann, Alex von: Fallen Idols: Twelve Statues That Made History. Headline Publishing Group, 2021.
Zukin, S.: The Cultures of Cities. Oxford: Blackwell, 1996.
- Develop written work skills.
- Develop argumentative skills related to controversies surrounding public art.
- Ability to manage visual and online resources on contemporary art.
- Fluently master key terms and concepts related to disputes surrounding public space.
- Promote debate on the presence and use of art in urban contexts.
There will be two types of classes: one focused on the presentation of topics—led by the professor—with discussions in which students will participate; and another dedicated to practical work (interactive sessions). In the latter, the content may vary depending on the material covered: concepts, reference texts, or analysis of works of art and actions related to public art.
For the interactive sessions, students will be provided with materials in the form of scanned texts and online resources, with a series of questions or issues to consider beforehand. Active student participation will be encouraged from the beginning.
In groups of two or three, students will complete an essay-style project, using some of the materials provided by the professor, as well as other resources or sources they must find through personal research
The course will be assessed based on student attendance and participation in class, as well as the submission of written work. Students must demonstrate oral and written discursive skills in the two co-official languages of Galicia (Galician and Spanish) in relation to the use of words as the primary tool of philosophical thought. A final exam is not contemplated.
These are the elements to be considered for assessment:
- Attendance and participation in seminars. Students will be provided with sufficient time and must address the issues outlined in a pre-provided script. Particular attention will be paid to the depth of student reflections, as well as their relevance to the debates raised (50%). Class roll calls will be held weekly, and attendance will count for 20% of the final grade.
- Completion of a short essay-style written assignment. This will be completed in groups of two or three people and will focus on interventions or works of public art that address controversies and public debates linked to political and social events (gender identity, wars and historical memory, colonization processes, etc.). The purpose is to analyze the connections between art and society based on case studies of works that have given rise to controversy and polemics. At the beginning of the course, guidelines will be provided regarding maximum length (no more than 12 pages in total) and style considerations, and submission dates will be indicated. The assignment must be presented orally by the end of the term (50%).
Second opportunity. A second opportunity is available in which students must present two papers: a first draft of one of the program topics, and another similar to the one proposed for the first opportunity (case analysis of public art and social debates), but completed individually. Instructions for these assignments will be provided in advance by the instructor.
Exemption: Students granted exemption from class attendance (in accordance with Instruction No. 1/2017 of the General Secretariat on exemption from class attendance in certain circumstances) will be assessed with a specific final exam, which will account for 100% of the grade.
In cases of fraudulent completion of exercises or tests, the provisions of the Regulations for the Evaluation of Student Academic Performance and the Review of Grades will apply.
This course is assigned 3 ECTS credits, corresponding to 75 hours of student work. Following the recommendations for this type of credit, one-third corresponds to in-person hours and two-thirds to distance learning. The distribution will be as follows:
24 in-person hours, divided into:
- Lecture hours: 12
- Interactive hours: 8
- Tutorial hours: 4
51 distance learning hours, divided into:
- Readings and study of materials provided for interactive classes: 25 hours
- Completion of the final project: 26 hours in total, per semester.
Attendance at interactive classes is mandatory, and absences must be justified.
Whenever students have questions about the content covered in class, study materials, or the assessment system, it is recommended that students attend tutorials or ask the professor.
Readings, interactive assignments, and the final project must be completed within the established deadlines.
Miguel Anxo Rodriguez Gonzalez
Coordinador/a- Department
- History of Art
- Area
- History of Art
- Phone
- 881812601
- miguelanxo.rodriguez [at] usc.es
- Category
- Professor: University Lecturer
| Monday | |||
|---|---|---|---|
| 17:30-19:00 | Grupo /CLE_01 | Galician | Seminario Butler (108) |
| Thursday | |||
| 19:00-20:30 | Grupo /CLIS_01 | Galician | Seminario Butler (108) |
| 01.28.2026 16:00-19:00 | Grupo /CLIS_01 | Seminario Butler (108) |
| 01.28.2026 16:00-19:00 | Grupo /CLE_01 | Seminario Butler (108) |
| 06.11.2026 16:00-19:00 | Grupo /CLIS_01 | Seminario Butler (108) |
| 06.11.2026 16:00-19:00 | Grupo /CLE_01 | Seminario Butler (108) |