30137 - History of Contemporary Art (LM)

Course contents

The aim of the course is to analyze the proliferation of the avant-gardes of the 20th century from the point of view of their affirmation and their relationship to the system.
The lectures will begin by focusing on some fundamental questions: What is meant by the avant-garde? How did they spread? How can we consider it relevant? How do they differ from the neo-vanguards? How can we speak of modernity and contemporaneity?

The course will therefore approach the notion of the 'avant-garde' from a critical point of view, focusing in particular on the relationship with the exhibition system developed in the 20th century and the relevance of the market in a value system based on the 'exposability' of the work.
The sequence of lectures will follow a chronological outline, starting with the emergence of the so-called 'dealer-critical system' from the spread of the radical experiences of the historical avant-gardes, and will focus on some case studies that are useful for focusing on crucial moments. With the end of the Second World War, the concept of the avant-garde was recovered and reinterpreted, linking it to that of dissent, radicalism and research. The history of the avant-garde in this phase is articulated in the different readings and interpretations made of it by artists and the market. The figure of the gallerist, who operated on an international scale and interacted with institutions, became fundamental in promoting artists. The course looks at the most recent experiences that have seen the concept of the avant-garde replaced by the broader and more ambiguous concept of contemporaneity.

The course aims to show the complexity of conditions and situations that characterize the art ecosystem from the 20th century to the present day, including artists as well as critics, gallery owners, patrons, curators, intellectuals, dealers, museum directors and collectors. Students will also learn the basics of understanding of the contemporary art market.

Readings/Bibliography

The bibliography consists of the following volumes and readings. The texts are intended to supplement the lectures and therefore do not replace the content covered in the course. 

- Clarissa Ricci, Aperto 1980-1993, La mostra dei giovani artisti della Biennale di Venezia, Postmediabooks

-  Nathalie Heinich, Il paradigma dell’arte contemporanea. Strutture di una rivoluzione artistica, Johan & Levi

- Selected chapters from: Alle origini dell’arte contemporanea, a cura di Giuseppe di Giacomo e Claudio Zambianchi, Editori Laterza

 

Non-attending students must contact the teacher in time and must integrate the readings with the following volumes:

- Hal Foster, Il ritorno del reale. L'avanguardia alla fine del Novecento, Postmediabooks, 2006.

- Georgina Adam, Dark Side of the Boom. Controversie, intrighi, scandali nel mercato dell’arte, Johan & Levi

Teaching methods

The course is divided into 15 lectures focusing on specific case studies. Lectures will be delivered in both frontal and seminar formats.

Assessment methods

Oral Exam

Learning is assessed taking into account performance on an oral exam which is aimed at verifying the student’s knowledge of the material covered in the lessons (50%) and the readings assigned (50%). Therefore, questions will be asked both on the readings in the bibliography and on notes taken during the lessons.

 

Students with SLD or temporary or permanent disabilities. It is necessary to contact the relevant University office (https://site.unibo.it/studenti-con-disabilita-e-dsa/en) with ample time in advance: the office will propose some adjustments, which must in any case be submitted 15 days in advance to the lecturer, who will assess the appropriateness of these in relation to the teaching objectives.

Teaching tools

Interactive presentations, videos and PowerPoints.

Office hours

See the website of Clarissa Ricci