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
Center Faculty of Geography and History
Call: Second Semester
Teaching: Sin Docencia (En Extinción)
Enrolment: No Matriculable (Sólo Planes en Extinción)
1.- To provide specialised and advanced training on the role of art history in temporary exhibitions.
2.- To provide students with the necessary perspective to understand the elements involved in an exhibition project.
3.- To enable students to develop an exhibition project in a coherent and meaningful way.
The contents of this subject are oriented towards knowledge of the reality of temporary exhibitions and their management.
By way of clarification, contents such as the following stand out:
-Temporary exhibitions. Case studies
-Organisation, Sponsorship and Budgeting.
-Exhibition spaces
- Organisational chart
-The exhibition discourse
-Documentation, Assembly and Design
-Marketing, Advertising and Inauguration
-Transfers, Customs and Insurance
-Conservation and Restoration Treatment
-Catalogue Preparation, Design and Presentation
- Temporary exhibitions: critical review of real projects.
- From opportunity to opportunism in temporary exhibition proposals.
- Towards a post-pandemic context in temporary exhibitions.
Translated with DeepL.com (free version)
Bibliography:
-Antigüedad del Castillo-Olivares, Ma D. (directora) y Martínez Pino, Joaquín (coordinador), (2013): Mediación y Gestión del Patrimonio en Europa ,Editorial Universitaria Ramón Areces, Madrid
-Alonso Fernández, L. (1993): Introducción a la teoría y práctica del museo. Madrid, pp. 133-169
-Asensio, M. (2000): “Estudios de público y evaluación de exposiciones como metodología de la planificación museológica: el caso del Museu Marítim de Barcelona”. Revista de la Asociación Profesional de Museólogos de España. 5, pp. 73-104.
-Belcher M. (1997): Organización y diseño de exposiciones: su relación con el museo, Trea, Colección Biblioteconomía y Administración Cultural, núm. 5, Gijón
-Calaf, R., Fontal, O. (2004): Comunicación educativa del patrimonio: referentes, modelos y ejemplos. Trea. Gijón.
-De Pantorba, Bernardino. (1980). Historia y crítica de las Exposiciones Nacionales de Bellas Artes celebradas en España. J. Ramón García-Rama.
-Fernández, Luis Alonso, and Isabel García Fernández (2010). Diseño de exposiciones: concepto, instalación y montaje. Alianza.
-García Blanco, A. (2009): La exposición, un medio de comunicación, Akal, (Colección Arte y Estética, no 55), Madrid.
-Hantelmann, Dorothea von (2009): “The Rise of the Exhibition / El auge de las exposiciones”, en el cat. exp. El medio es el museo, Pedro de Llano y Pablo Fanego (eds.), MARCO de Vigo y Koldo Mitxelena Kulturenea.
-Hernández, F. (1988): El museo como espacio de comunicación. Trea. Gijón.
-Hernández Hernández, Fr. (2006): Planteamientos teóricos de la museología. Gijón, pp. 17-57.
-Hernández Socorro, M. de R. (2012): Catálogo de la Exposición\" Menchu Gal. Creando en el silencio\". Fundación Menchu Gal y Obra Social de La Caja de Canarias. Centro de Iniciativas de La Caja de Canarias. Las Palmas de Gran Canaria (ISBN: 978-84-616-0528-6).
-Hernández Socorro, M. de R. (2013): Catálogo de la Exposición \"Construcciones de Eva”. Universidad de Las Palmas de Gran Canaria. Las Palmas de Gran Canaria. (ISBN: 978-84-695-7367-9).
-Hoffmann, Jens (2013): Ten Fundamental Questions of Curating, Mousse Publishing, Milan.
-Hugues, Philip (2019): Diseño de exposiciones. De los aspectos técnicos al concepto de diseño, Hoaki Books.
-Macarrón, Miguel, A. M. y González Mozo, A. (2003): La Conservación y la restauración en el siglo XX. Editorial Tecnos, Madrid.
-Möntmann, Nina (2006): Art and Its Institutions. Current Conflicts, Critique, and Collaborations, Black Dog Publishing, London.
-Mourao, Joao y Silva, Luis (2011): Performing the Institution(al), Kunsthalle Lissabon, Lisboa.
-Obrist, Hans-Ulrich (2008): A Brief History of Curating, JRP Ringier & Les Presses du Réel, Zürich-Dijon.
-Pastor, M.I. (2004): Pedagogía museística. Ariel. Barcelona.
-Pérez Castillo, Mª Regina (2019): Diseño y gestión de exposiciones temporales, Madrid, Editorial Síntesis.
-Rico, Juan Carlos (1996). Montaje de exposiciones: museos, arquitectura, arte (Vol. 2). Silex Ediciones.
-Rico, Juan Carlos (2016): El taller de montaje de exposiciones. Vol. I: Procesos de diseño, CreateSpace Independent Publishing Platform.
-Rico, Juan Carlos (2016): El taller de montaje de exposiciones. Vol. II: Lecturas expositivas, tipologías espaciales y circulaciones, CreateSpace Independent Publishing Platform.
-Santacana, J., Serrat, N. (2005): Museografía didáctica. Ariel. Barcelona.
-Serrano, Carmen Giménez (1993). Las exposiciones de arte. In Los espectáculos del arte: instituciones y funciones del arte contemporáneo (pp. 203-222). Tusquets editores.
Core competences.
CB6 - To possess and understand knowledge that provides a basis or opportunity for originality in the development and/or application of ideas, often in a research context.
CB7 - Students are able to apply their acquired knowledge and problem-solving skills in new or unfamiliar environments within broader (or multidisciplinary) contexts related to their area of study.
Core competences.
CB6 - To possess and understand knowledge that provides a basis or opportunity for originality in the development and/or application of ideas, often in a research context.
CB7 - Students are able to apply their acquired knowledge and problem-solving skills in new or unfamiliar environments within broader (or multidisciplinary) contexts related to their field of study.
CB8 - Students are able to integrate knowledge and deal with the complexities of making judgements on the basis of incomplete or limited information, including reflections on the social and ethical responsibilities associated with the application of their knowledge and judgements.
CB9 - Students are able to communicate their conclusions and the knowledge and rationale underpinning them to specialist and non-specialist audiences in a clear and unambiguous way.
CB10 - That students possess the learning skills that will enable them to continue studying in a way that will be largely self-directed or autonomous.
GC4 - To be able to apply knowledge in practice.
GC5 - Raise awareness of one's own capabilities
GC6 - To be able to work in an international context.
Transversal competences.
TC2 - Adapt to change, being able to apply new and advanced technologies and other relevant developments, with initiative and an entrepreneurial spirit.
CT3 - Analytical, critical and synthesis skills.
Specific competences.
CE1 - To provide the critical skills necessary for professional or research activity in art, architecture linked to cultural heritage, the historic city, spaces for the conservation and exhibition of artistic heritage and art and the art market.
CE2 - To provide sufficient knowledge to enter the professional field in the disciplines taught in the master's degree.
SC3 - To prepare students to issue and write historical-artistic and architectural reports through critical analysis, evaluation and synthesis of new and complex ideas.
SC4 - To be able to advise on master plans, special plans, etc. in an international context.
SC7 - To provide critical interpretation patterns linked to the history of art, architecture, music, audiovisual elements, cultural heritage and the historic city.
CE8 - To prepare the graduate, where appropriate, for the completion of a doctoral thesis in the fields of the disciplines of art history, architecture, music, audiovisuals and cultural heritage.
As it is a master's degree in extinction, this subject no longer includes face-to-face teaching. And given that the students who enrol in it must have already been enrolled in a previous course, it is understood that they have been able to attend the lectures and interactive classes. In any case, there is also a bibliographical recommendation that can guide and help students in reading and learning about the most important methodological, thematic and practical aspects of the reality of temporary exhibitions.
In any case, the coordinator of this subject will be available for any doubts or clarifications that students may require (david.chao [at] usc.es (david[dot]chao[at]usc[dot]es)).
On the other hand, students will be asked to apply the methodology and knowledge acquired in previous courses and/or from the recommended bibliography to carry out a written project that will focus on the development of an exhibition proposal. The evaluation of the subject and therefore the final mark will correspond exclusively to the evaluation of this work.
Single assessment criterion:
Individual written work with an unpublished expository proposal on the concept/idea/theme of armed conflicts and their dire consequences (over the last 40 years). With a personal approach of your choice.
This work should be approximately 20 pages long, in Times New Roman or similar, font size 12, and spacing 1.5. It should include the following sections:
- Conceptualisation of the exhibition (justified theoretical proposal). [Approx. 2 pages].
- Proposal of works and their artists (no more than 10 works in total). [Approx. 1 page].
- Brief analysis of each work (with a small image), with the justification for its inclusion in the exhibition. And a brief commentary on the author's career and creative personality. Brief final bibliography (1 page in total for each work) [Approx. 10 pages].
* In all these tasks that must be carried out when the students submit for their evaluation by the teaching staff, and following the normative indications of the USC regarding plagiarism and the misuse of technologies in the performance of tasks or tests, it is necessary to indicate that For the cases of fraudulent realization of exercises or tests, those included in the Regulation of evaluation of the academic performance of students and of review of grades will be applied.
- Proposal of a place to host the proposed exhibition, with its technical characteristics and needs. And a proposal for the distribution and installation of the works in this space, according to the initial exhibition discourse. [Approx. 2 pages] [Approx. 2 pages
- Catalogue proposal (structure, possible authors, etc.) [Approx. 1 page].
- Proposal for publicity dissemination (posters, leaflets, etc.) [Approx. 1 page] [Approx. 1 page] [Approx. 1 page] [Approx. 1 page
- Budget proposal, considering the different aspects. Approx. 1 page] [Approx. 1 page
- General bibliography used [Approx. 1 page].
- Graphic annex, with a proposal of the final assembly based on a planimetry.
This work, converted into PDF, will be sent by e-mail to the professor (david.chao [at] usc.es (david[dot]chao[at]usc[dot]es)) before 15 May 2025.
* In all these tasks that will have to realize in delivering the alumnado for his evaluation by part of the profesorado, and following the normative indications of the USC referred to the plagiarism and to the misuse of the technologies in the realization of tasks or proofs, is necessary to indicate that to the cases of fraudulent realization of exercises or proofs will be of application the collected in the Regulations of evaluation of the academic performance of the students and of revision of qualifications.
Training activity Hours: 150 hours.
Tutorials: by e-mail (david.chao [at] usc.es (david[dot]chao[at]usc[dot]es)), telephone (8818 12595) or in person, by prior appointment by e-mail (office 405, 4th floor, in the Edificio de Mazarelos-Facultade de Filosofía).
David Chao Castro
- Department
- History of Art
- Area
- History of Art
- Phone
- 881812595
- david.chao [at] usc.es
- Category
- Professor: Temporary PhD professor