MarcoBrandizzi
THREE-YEAR COURSE CURRICULUM
The programme comprises a workshop component and a theory component:
In the workshop component, first-year students will learn the technical foundations required to work in the field of Decoration.
They will acquire extensive knowledge of the techniques of drawing, mural painting, painting on canvas and panel, sculpture and bas-relief (techniques that will be further explored in the other workshop subjects included in the Decoration curriculum). Second- and third-year students will first design and then create a site-specific work in a public or private space (e.g., a conference room, a square, a museum, a natural environment, the façade of a building). In addition, as part of their diploma thesis, third-year students will be required to produce a final project, which will involve the preparation of a final exhibition featuring the works created during their final year of study.
In all three years, there will be sessions dedicated to life drawing, with a male or female model present.
The theoretical component aims to explain the complex mechanisms of creativity associated with the Visual Arts. Lectures will be supported by slides featuring images and excerpts from the textbooks used on the course.
Below is some general information on the traditional and experimental techniques used in the decorative arts:
Traditional decorative techniques
Dry wall paintings or frescoes
Mosaic
Bas-relief, high relief, relief in the round
Contemporary decorative methodologies, techniques and technologies
Painting: Acrylic paints or industrial varnishes to be applied to walls, panels and canvases for installation in a given space.
Installations: site-specific works created using a variety of materials, such as iron, glass, textiles, rubber, plastic, or even precious materials like stone, wood or bronze.
Video installations: works created using screens, computers, cameras and lighting.
Digital works: created using electronic circuit boards, computers and other technological tools (see: kinetic art and optical art, Antony Gormley).
Performance: the body and the spoken word as expressive tools (see: Marina Abramović).
Photography: both as a record of performative actions and as an art form in its own right (see artists such as Andrea Serrano and Vanessa Beecroft).
Texts used for the theory lectures:
Steiner, G., Grammatiche della creazione, Milan, Garzanti, 2003
Bachelard, G., La poetica dello spazio, Bari, Edizioni Dedalo, 1999
Calvino, I., Lezioni americane, Milan, Garzanti, 1988
Mecacci M., Identikit del cervello, Bari, Laterza, 1993
Goodman, N., I linguaggi dell’arte, Milan, Net. Il Saggiatore, 2003
Hillman, J., Il piacere di pensare, Milan, BUR, 2004
Note:
The texts listed above will be used on a rotating basis over the course of the three-year programme. The texts selected for the new academic year will be announced during the first lecture.
Texts used for the theoretical lessons on colour:
Brusatin M., Storia dei colori, Turin, Einaudi, 2000
Ball, P., Colore. Una biografia, Milan, Bur. Rizzoli, 2010
Mecacci M., Identikit del cervello, Bari, Laterza, 1993
Birren, F., Colori, Ideal Libri
Pastoureau M., Il piccolo libro dei colori, Milan, Ponte delle Grazie, 2006
TWO-YEAR COURSE SYLLABUS
The course involves the personalised planning, in dialogue with the student, of one or more projects that will shape your educational path and your artistic and professional identity. The design phase must be carried out on paper or, alternatively, using a three-dimensional model or a rendering. The projects must be accompanied by a description of the materials to be used and a report outlining and explaining the objectives, as well as the philosophical, theological or expressive concepts underlying the pieces you will create.
The Diploma Thesis will consist of documenting these projects and must be complemented by a solo exhibition to be held in a space at the Institute or at another public or private venue designated by the tutor or the student.
To support the workshop-based work, the course includes theoretical lectures. For this purpose, two books will be recommended (each year), selected from the list below. The texts will be read and explained in class, supported by slides.
List of texts:
Goodman, N., I linguaggi dell’arte, Milan, Net. Il Saggiatore, 2003
Hillman, J., Il piacere di pensare, Milan, BUR, 2004
Testa, A., La trama lucente. Che cos’è la creatività. Perché ci appartiene, Milan, Rizzoli, 2010
Ferraris, M., Arte. Perché certe cose sono opere d’arte, Rome, La biblioteca di Repubblica, 2012
Derrida, J., La verità in pittura, Rome, Newton e Comton Editori S.r.l., 1981
Ponty-Merleau M., Fenomenologia della percezione, Milan, Studi Bompiani
Augé, M., Rovine e macerie. Il segno del tempo, Turin, Bollati Boringhieri, 2006
Belpoliti M., Crolli, Turin, Giulio Einaudi Editore S.p.A., 2005
Belting, H., Facce. Una storia del volto, Rome, Carrocci editore, 2014