DIDÁCTICA ITALIANO E INGLÉS ❯
El arte de romper las fronteras.
El Máster en Fine Arts es la continuación natural de la Licenciatura en Pintura y Artes Visuales y Escultura e Instalaciones. Sin embargo, también pueden asistir a él estudiantes que proceden de otros ámbitos educativos y que desean completar sus estudios con el estudio del arte contemporáneo.
Titulación:
Diploma académico de segundo nivel equivalente a una licenciatura
Duración:
2 años, tiempo completo
Idioma:
Italiano e inglés
Créditos:
120 CFA
Location of attendance:
Roma
Requisitos:
Estudiantes italianos
Título de bachillerato
Portfolio
Estudiantes internacionales
Licenciatura/Grado valido para el Sistema de Educacion Italiano
Portfolio
Certificado B2 de la lengua en el que se imparte el curso
Los estudiantes no Europeos admitidos/inscritos deben realizar la solicitud del Visado de estudio
Clase magistral:
3 clases magistrales al año durante 3 semanas, bajo la dirección de artistas internacionales.
Campo:
Pintura, Pintura direcctión Performance Arts, Escultura, Arte Gráfico
Temas principales:
Ilustración, Técnicas de Escultura, Pintura, Técnicas de Grabado, Técnicas escénicas para las artes visuales, Instalaciones multimedia, Psicología del Arte, Gestión del Arte.
Futuras carreras:
Mediador cultural, galerista, artista y comisaria de performances, gestor cultural, comisario, impresor de arte.
La Maestría en Artes está dividida en 4 planes de estudio: Pintura, Pintura direcctión Performance Arts, Escultura y Grabado, arte gráfico, que comparten la misma estructura y vocación. Estos cursos están en inglés y son la mejor solución para perfeccionar, enriquecer y mejorar la preparación de los artistas, los profesionales creativos y los operadores culturales. Durante cada curso académico, 6 clases magistrales de una semana de duración involucrarán a los estudiantes en muchos proyectos bajo la guía de artistas y profesionales de renombre internacional.
En un ambiente fuertemente estimulante y práctico, los estudiantes tendrán la oportunidad de estudiar en profundidad todos los aspectos prácticos y teóricos relacionados con cada plan de estudios y con el arte contemporáneo como: instalaciones, performances, video arte, arte público, crítica de arte y mercado del arte.
Hoy en día los artistas son profesionales multidisciplinares cada vez más demandados por las empresas y las realidades creativas que valoran su capacidad para encontrar soluciones visuales y de diseño innovadoras y sorprendentes. El artista trabaja en estrecha colaboración con empresas y negocios, para el éxito de proyectos y eventos.
El artista del siglo XXI es aquel que transforma la percepción de la realidad creando nuevas estéticas y muchos mundos diferentes. Por esta razón, estudiar Pintura, Pintura direcctión Performance Arts, Escultura y Grabado a través de este Máster en Artes es una inversión para el futuro de nuestra cultura.
MIRA LOS PROYECTOS DE LOS ESTUDIANTES DE FINE ARTS
Campos y ámbitos profesionales
Los egresados del Programa de Licenciatura en Artes Visuales de dos años podrán dedicarse a la práctica artística y a la educación artística en general, así como a las múltiples profesiones creativas relacionadas con el mundo del arte: mediador cultural, galerista, performer, gestor cultural, comisario, impresor de arte.
Coordinador y Tutor: Marta Jovanovic
Docentes: Andrea Aquilanti, Gianna Bentivenga, Beatrice Bulla, Flaminia Bulla, Emanuela Camacci, Davide Dormino, Marta Jovanovic, Alida Massari, Fabrizio Pizzuto, Donatella Saroli, David Vernaglione, Devin Kovach, Gianluca Lorenzini, Ra Di Martino, Silvia Giambrone.
RESERVAR UNA ENTREVISTA DE ORIENTACIÓN
SOLICITA INFORMACIÓN
MAESTRÍA EN BELLAS ARTES
Programa de estudios recomendado – Participación obligada en las sedes de RUFA en Roma.
| PAINTING | PAINTING - PERFORMANCE ARTS SPECIALISATION | SCULPTURE | PRINTMAKING | ||
|---|---|---|---|---|---|
| YEAR | SUBJECT | ECTS / HOURS | ECTS / HOURS | ECTS / HOURS | ECTS / HOURS |
| I YEAR |
Iconography & anatomical drawing
Study of the body as a container of real and imaginary space. Drawing is intended as an instrument of knowledge and to overcome boundaries.
| 8 / 100 | 8 / 100 | 8 / 100 | 8 / 100 |
|
Printmaking 1
Working on printmaking personal and collective projects, in a permanent investigation of the contemporary condition with a free and open approach to suggestions and contaminations from other artistic and communication disciplines.
| 8 / 100 | - / - | 8 / 100 | 12 / 150 | |
|
Painting
Through practice and research, reaching a full awareness of the students’ deep creative needs, in order to understand which are the most appropriate tools of expression to finally create highly eloquent works.
| 12 / 150 | 12 / 150 | - / - | 6 / 75 | |
|
Sculpture 1
The development of a personal research through a project-homage to the city of Rome, focusing on the relationship with the city's aspects.
| - / - | - / - | 12 / 150 | - / - | |
|
Multimedia Installations
Learning and using art history examples together with multiple performance art tools to create artworks. Practicing how to think and write critically about performance art and developing the feeling of how to curate and document this particular and ephemeral art. Performance art practice will be examined in relation to other disciplines like theatre, dance, video art, photography, architecture, fashion, as well as its impact on popular culture.
| - / - | 8 / 100 | - / - | - / - | |
|
Video Installations
Learning and using art history examples together with multiple performance art tools to create artworks. Practicing how to think and write critically about performance art and developing the feeling of how to curate and document this particular and ephemeral art. Performance art practice will be examined in relation to other disciplines like theatre, dance, video art, photography, architecture, fashion, as well as its impact on popular culture.
| - / - | 6 / 75 | - / - | - / - | |
|
Performative techniques
Learning and using art history examples together with multiple performance art tools to create artworks. Practicing how to think and write critically about performance art and developing the feeling of how to curate and document this particular and ephemeral art. Performance art practice will be examined in relation to other disciplines like theatre, dance, video art, photography, architecture, fashion, as well as its impact on popular culture.
| 6 / 75 | 6 / 75 | 6 / 75 | 6 / 75 | |
|
Visual arts techniques and technologies
The most famous artistic movements from the nineties to the contemporary, the different techniques used for settings. Developing final projects based on site specific working practice in order to define and confront the space.
| 6 / 75 | 6 / 75 | - / - | - / - | |
|
Illustration
Experiencing the art of illustration applied to different sectors, from the illustrated book, to the editorial illustration for magazine, in order to develop a personal taste and style. Lab activities: the creation of short editorial projects for different targets and all the dynamics of storytelling.
| 6 / 75 | - / - | - / - | 6 / 75 | |
|
Printmaking
Working on personal and collective projects, in a permanent investigation of the contemporary condition with a free and open approach to suggestions and contaminations from other artistic and communication disciplines.
| - / - | - / - | - / - | 8 / 100 | |
|
Sculpture techniques
Developing the awarness, through lab practice, of various problems and working methods connected to the most common materials used in sculpture and the art field in general. The different steps of working processes and their specific tools.
| - / - | - / - | 6 / 75 | - / - | |
|
3D Digital modelling techniques
3Ds Max and V-ray: from modelling two-dimensional shapes and tridimensional primitives to complex and more organic objects and how to exchange and import files from other programs into 3ds Max. Learning how to render in a photorealistic way bringing the real camera rules in the computer field of application.
| - / - | - / - | 6 / 75 | - / - | |
|
Psychology of art
The psychology of art through the lenses of historical formalism, Freudian and post-Freudian psychology, perception, visual studies and recent applications of the neurosciences to the visual arts. Developing students’ critical thinking, and their self-awareness about their own practices, as makers and as viewers.
| 6 / 45 | 6 / 45 | 6 / 45 | 6 / 45 | |
|
Art pedagogy and teaching methods
Fostering students’ creativity through a variety of critical, historical and practice-based theory, in order to aid in the ability to effectively organize and communicate their artistic research, as well as those of others as art teachers and art educators.
| 6 / 45 | 6 / 45 | 6 / 45 | 6 / 45 | |
| English for artistic communicazione | 2 / - | 2 / - | 2 / - | 2 / - | |
| 3 one week Masterclass** | - / 150 | - / - | - / 150 | - / 150 | |
| II YEAR |
Photography
The image and its simulacrum are the fundamentals of the use of photography in this course designed to support an interdisciplinary educational journey. The course includes a theoretical-historical part and a laboratory part, in which each student will work on a personal project.
| 8 / 100 | 8 / 100 | 8 / 100 | 8 / 100 |
|
Painting 2
The interdisciplinary language that connotes contemporary art is one of the starting points of the second year of painting. Each student will develop a research aimed at the realization of a personal project, which will be developed in different declinations during the year.
| 12 / 150 | - / - | - / - | - / - | |
|
Visual arts techniques and technologies 2
The most famous artistic movements from the nineties to the contemporary, the different techniques used for settings. Developing final projects based on site specific working practice in order to define and confront the space.
| 12 / 150 | 12 / 150 | - / - | - / - | |
|
Printmaking 2
The second year of Printmaking continues the first year by working on printmaking personal and collective projects, in a permanent investigation of the contemporary condition with a free and open approach to suggestions and contaminations from other artistic and communication disciplines.
| - / - | - / - | - / - | 12 / 150 | |
|
Sculpture 2
Intensification of the study of the relationship between content and design in order to deal, in an exclusive approach, with the places of future interventions.
| - / - | - / - | 12 / 150 | - / - | |
|
Experimental printmaking
In line with the concept of Expanded Field, in the course of experimental printmaking, an interdisciplinary approach will be followed which will lead each student to deal with innovative areas of printmaking to create of one or more personal projects.
| - / - | - / - | - / - | 6 / 75 | |
|
Phenomenology of contemporary arts
Phenomenology as a methodology for understanding the change in visual arts. In-depth study of the art key players of the nineteen-hundreds and the new millennium and the related extralinguistic contaminations. The study of the deviant characters and movements of the history of art will be the starting point for a reflection on contemporary styles, techniques and practices, themes and ideas of art design.
| 6 / 45 | 6 / 45 | 6 / 45 | 6 / 45 | |
|
Digital image processing
Adobe Photoshop: from the study of basic processes for color correction and processing techniques for developing raw files, up to photomontage and composite images.
| 6 / 75 | 6 / 75 | 6 / 75 | 6 / 75 | |
|
Art management
Exhibition and analysis of curatorship today, from the preparation to the communication of an exhibition. Analysis of the art system: galleries, museums, the network, roles. Writing a portfolio with statements and developing the ability to entertain a Studio Visit with a curator. Exhibition exercise, from communication to installation, through the development of a theme concerning the student’s personal poetics.
| 6 / 45 | 6 / 45 | 6 / 45 | - / - | |
| Elective educational activities | 6 / - | 6 / - | 6 / - | 6 / - | |
| Language skills - Internships - Workshops | 6 / - | 6 / - | 6 / - | 6 / - | |
| 3 one week Masterclass** | - / 150 | - / - | - / 150 | - / 150 | |
| Thesis | 10 / - | 10 / - | 10 / - | 10 / - | |
| Total credits | 120 | 120 | 120 | 120 |
**Las clases magistrales forman parte del número de horas lectivas de los cursos curriculares.
CREDITS
Foto slider: Vanshika Agrawal, Davide Miceli, Amedeo Longo.
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