Introductory Course in Alternative Photography | Agora, School of Experimentation

ONLINE | PRE-RECORDED | 3 LIVE MEETINGS

EXPERIMENTAL TECHNIQUES: EXPLORING

WHAT ARE YOU GOING TO EXPLORE?

A 2-month course to introduce you to experimental photography through creative techniques, alternative processes, and practical exercises that you can complete at your own pace.

This course is part of the first module of the Diploma, but it can also be taken independently. It is ideal for those who want to discover the basics of experimental photography before moving on to more specific or professional techniques.

TECHNIQUES

• Creative photography
· Cyanotype
· Multiple exposure
· Film Swap
· Film Soup
· Redscale
· Chemigrams
· Pinhole
· Solarigraphy

START DATES

· October 7, 2026
· December 2, 2026
· February 3, 2027

· April 7, 2027

DURATION
2 months
PRICE
€50
MODE
Pre-recorded online sessions + live meetings
LEVEL
No prior knowledge is required

BUY THIS COURSE

CONTENT

· 9 sessions
· 10 techniques
· 7 workshops
· 3 live matches
· 14 conferences
• Online community for sharing materials and resolving doubts

JOIN THE DIPLOMA PROGRAM

1/3

COURSE CALENDAR

THE COURSE IS OFFERED FOUR TIMES DURING THE ACADEMIC YEAR. EACH EDITION FOLLOWS THE SAME PEDAGOGICAL APPROACH AND COMBINES PRE-RECORDED CLASSES WITH LIVE SESSIONS. THE RECORDED CLASSES CAN BE VIEWED AT YOUR OWN PACE AND REMAIN AVAILABLE WITH UNLIMITED ACCESS.

LIVE MEETING SCHEDULES:

WEDNESDAYS FROM 5:00 PM TO 7:00 PM (SPAIN TIME) IN ENGLISH
WEDNESDAY 7:00 PM TO 9:00 PM (SPAIN TIME) IN SPANISH
CHOOSE THE EDITION THAT BEST SUITS YOUR CALENDAR.

NEXT EDITION / REGISTRATION OPEN

07/10

LIVE | ONLINE | 7:00-9:00 PM (SPAIN)

Experimental Photography with Pablo Giori | Techniques, Concepts, and Key Books A Social History of Experimentation: Science, Analog, Digital, and Starting Over with Pablo Giori Body and Feminism in the Visual Arts with Nadia Bautista, Ana Harff, and Cairo Elio Reconceptualizing Institutional Structures: Women’s Perspectives with Dale Rio, Naroa Pérez, Susan Patrice, and Anne Eder Painting Is Dead, They Said: Analog Photography in Context by Bridget Conn History of Experimental Photography by Marc Lenot Body, Dark Camera, Uterine Device: Female Experimentation in Brazil with Ana Angélica Costa Digital Negatives: From Simple to Complex with Christina Z. Anderson Contemporary Feminist Photography with the Women Alternative Photography Group and the Feminist Photography Network Speculation on Non-Traditional Processes to Deactivate the Latent Image with Diego Haristoy, Paulina Sadrak, and Maria Solaguren-Beascoa A History of Misogyny and the Ethics of Representation with Laia April

12/10

CREATIVE TECHNIQUES

Workshop: CreativEXP. Creative Photography Workshop with SIBUX Film Bleaching: Reworking the Archive with Daura Campos Conference: Learning to See: Creativity and Divergent Thinking with Ana Becerra Researching to Create: Historical Techniques and Contemporary Creation with Rosell Meseguer "Creative" Photography in Catalonia (1973-1982) with Pep Rigol and Manel Úbeda Webinar: Exploring Creative Photography: Find Your Vision! with Lidia Vives, Irene Cruz, Nadia Bautista, Heather Palecek, Susan Burnstine, and Anne Eder

19/10

MULTIPLE EXHIBITION AND FILM SWAP

Workshop: Chance Takes Over! Double Exposure, Portraits, and Film Swap with Pablo Giori and Laura Ligari Lectures: Experimental Multiperspective: Relative Space and Cyclical Time with Ernesto Mendoza Multiple Exposure with Lena Storjohann and Kasia Kozinska Additional Material: Multiple Exposure and Film Swap

18/10

Monthly Agora Community Meeting (Live)

26/10

PINHOLE AND SOLARIGRAPHY

Workshop: Pinhole and Beyond with Heather Palecek Lectures: Pinhole Photography with Diane Bos, Justin Quinnell, and Heather Palecek Pinhole Photography and Solarigraphy with Carlos Erices, Javier Piñana, and Jordi Bofill Additional Materials: Pinhole Camera and Solarigraphy Selected Articles from AlternativePhotography.com Why You Shouldn’t Photograph a Total Solar Eclipse

02/11

FILM SOUP

Workshop: Magical Potion Cooking Class with Juliana Gagné Lecture: The Aesthetics of Expired Film with Vera and Patrice Baunov There Are No Good Dirty Negatives with Kelli Perletti Bonus Material: Film Soup

09/11

CYANOTYPE

Workshops: Basic cyanotype with Sara Poer Cyanotype: Space and Time as Photographic Negatives with Virginia Dal Magro Conference: Modern Cyanotype with Annette Golaz, Virginia Dal Magro and Fruma Markowiiz Additional Material: Cyanotype Selected articles from AlternativePhotography.com

16/11

CHEMIGRAMS

Workshop: Homemade Chemigrams! Playing with Photosensitivity at Home by Irina Chernikova Conference: Cameraless Photography with George Roast, Irina Chernikova, and Sophie Sherwood Webinar: New Visual Explorations: Photobooks, Transphotography, and Alternative Exhibitions Bonus Material: Chemigrams Selected Articles from AlternativePhotography.com ✨📷

18/11

LIVE | ONLINE | 7:00-9:00 PM (SPAIN)

Agora Closing Meeting

Student work presentations, viewing of reference materials, and interactive question-and-answer sessions

12/02

LIVE | ONLINE | 7:00-9:00 PM (SPAIN)

Experimental Photography with Pablo Giori | Techniques, Concepts, and Key Books A Social History of Experimentation: Science, Analog, Digital, and Starting Over with Pablo Giori Body and Feminism in the Visual Arts with Nadia Bautista, Ana Harff, and Cairo Elio Reconceptualizing Institutional Structures: Women’s Perspectives with Dale Rio, Naroa Pérez, Susan Patrice, and Anne Eder Painting Is Dead, They Said: Analog Photography in Context by Bridget Conn History of Experimental Photography by Marc Lenot Body, Dark Camera, Uterine Device: Female Experimentation in Brazil with Ana Angélica Costa Digital Negatives: From Simple to Complex with Christina Z. Anderson Contemporary Feminist Photography with the Women Alternative Photography Group and the Feminist Photography Network Speculation on Non-Traditional Processes to Deactivate the Latent Image with Diego Haristoy, Paulina Sadrak, and Maria Solaguren-Beascoa A History of Misogyny and the Ethics of Representation with Laia April

07/12

CREATIVE TECHNIQUES

Workshop: CreativEXP. Creative Photography Workshop with SIBUX Film Bleaching: Reworking the Archive with Daura Campos Conference: Learning to See: Creativity and Divergent Thinking with Ana Becerra Researching to Create: Historical Techniques and Contemporary Creation with Rosell Meseguer "Creative" Photography in Catalonia (1973-1982) with Pep Rigol and Manel Úbeda Webinar: Exploring Creative Photography: Find Your Vision! with Lidia Vives, Irene Cruz, Nadia Bautista, Heather Palecek, Susan Burnstine, and Anne Eder

14/12

MULTIPLE EXHIBITION AND FILM SWAP

Workshop: Chance Takes Over! Double Exposure, Portraits, and Film Swap with Pablo Giori and Laura Ligari Lectures: Experimental Multiperspective: Relative Space and Cyclical Time with Ernesto Mendoza Multiple Exposure with Lena Storjohann and Kasia Kozinska Additional Material: Multiple Exposure and Film Swap

21/12

HISTORICAL AVANT-GARDES AND PHOTOGRAPHY: FUTURISM, DADAISM, SURREALISM AND MAN RAY (1919-1945)

PHOTOGRAPHY ENTERS A PERIOD OF RUPTURE. MOVEMENT, CHANCE, COLLAGE, PHOTOMONTAGE, AND CAMERALESS IMAGES BECOME TOOLS FOR QUESTIONING TRADITIONAL REPRESENTATION AND RESPONDING TO THE POLITICAL AND SOCIAL TRANSFORMATIONS OF THE TIME. FUTURIST PHOTODYNAMISM AND THE REPRESENTATION OF MOVEMENT, TIME, AND SPEED. DADAISM AND THE USE OF COLLAGE, PHOTOMONTAGE, APPROPRIATION, AND ABSURDITY. THE RELATIONSHIP BETWEEN IMAGE, PROPAGANDA, REVOLUTION, THE PRESS, AND MASS CULTURE. SURREALISM, AUTOMATISM, CHANCE, AND THE EXPLORATION OF THE UNCONSCIOUS. RAYOGRAPHS, SOLARIZATION, AND THE EXPERIMENTAL RESEARCH OF MAN RAY. THE CONTRIBUTIONS OF HANNAH HÖCH, CLAUDE CAHUN, DORA MAAR, AND OTHER WOMEN ARTISTS OF THE AVANT-GARDES. THE SHIFT FROM FORMAL EXPERIMENTATION TOWARDS POLITICAL, DOCUMENTARY, AND SOCIAL PHOTOGRAPHY DURING THE 1930S.

28/12

MARXISM AND CRITICAL THEORY: FROM RUSSIA AND GERMANY TO THE UNITED STATES (1917-1963)

NEW SOCIETIES DEMANDED NEW IMAGES. THIS CLASS EXPLORES HOW RUSSIAN CONSTRUCTIVISM AND CRITICAL THEORY UNDERSTOOD PHOTOGRAPHY AS A POLITICAL TOOL, A MEANS OF REPRODUCTION, AND A WAY OF INTERVENING IN COLLECTIVE LIFE. THE RUSSIAN REVOLUTION AND THE EMERGENCE OF AN ART CONNECTED TO SOCIAL TRANSFORMATION. CONSTRUCTIVISM AND THE INTEGRATION OF PHOTOGRAPHY, DESIGN, ARCHITECTURE, AND PROPAGANDA. ALEKSANDR RODCHENKO AND THE SEARCH FOR NEW POINTS OF VIEW FOR A NEW SOCIETY. EL LISSITZKY, PHOTOMONTAGE, AND POLITICAL COMMUNICATION. WALTER BENJAMIN AND THE TRANSFORMATION OF THE WORK OF ART THROUGH MECHANICAL REPRODUCTION. THE DEBATE AROUND AURA, ORIGINAL, COPY, CULTURAL INDUSTRY, AND COLLECTIVE EXPERIENCE. THE FRANKFURT SCHOOL AND THE CRITIQUE OF MASS MEDIA. PHOTOGRAPHY AS A TOOL FOR EMANCIPATION, PERSUASION, SURVEILLANCE, OR CONTROL.

04/01

ABSTRACTION, CONCEPTUALISM AND CONTEMPORARY ART: VORTICISM, SUBJECTIVE, CONCRETE AND GENERATIVE PHOTOGRAPHY (1917-1980)

WHAT HAPPENS WHEN PHOTOGRAPHY STOPS REPRESENTING THE WORLD AND BEGINS TO ANALYZE ITSELF? THIS CLASS EXPLORES DIFFERENT MOVEMENTS THAT USED LIGHT, MATERIALS, SEQUENCE, THE BODY, AND THE PHOTOGRAPHIC APPARATUS ITSELF AS SUBJECTS OF INVESTIGATION. PHOTOGRAPHIC ABSTRACTION AND THE QUESTIONING OF REALISM AND THE SUPPOSED TRUTH OF THE IMAGE. VORTICISM, SUBJECTIVE PHOTOGRAPHY, CONCRETE PHOTOGRAPHY, AND GENERATIVE PHOTOGRAPHY. THE INFLUENCE OF THE BAUHAUS, CONSTRUCTIVISM, AND EXPRESSIONISM ON POSTWAR PHOTOGRAPHY. THE CAMERA, NEGATIVE, PAPER, LIGHT, AND CHEMISTRY AS SUBJECTS WITHIN THE WORK ITSELF. CONCEPTUALISM AND THE USE OF PHOTOGRAPHY AS DOCUMENT, INSTRUCTION, ARCHIVE, OR SERIES. THE ROLE OF PERFORMANCE, THE BODY, AND HAPPENINGS IN THE PRACTICES OF THE 1960S AND 1970S. THE EMERGENCE OF PHOTOGRAPHY IN MUSEUMS, GALLERIES, AND THE CONTEMPORARY ART MARKET. THE TENSION BETWEEN FINE ART PHOTOGRAPHY, EXPERIMENTAL PHOTOGRAPHY, AND ART MADE THROUGH PHOTOGRAPHIC MEDIA.

11/01

ABSTRACTION, CONCEPTUALISM AND CONTEMPORARY ART: VORTICISM, SUBJECTIVE, CONCRETE AND GENERATIVE PHOTOGRAPHY (1917-1980)

WHAT HAPPENS WHEN PHOTOGRAPHY STOPS REPRESENTING THE WORLD AND BEGINS TO ANALYZE ITSELF? THIS CLASS EXPLORES DIFFERENT MOVEMENTS THAT USED LIGHT, MATERIALS, SEQUENCE, THE BODY, AND THE PHOTOGRAPHIC APPARATUS ITSELF AS SUBJECTS OF INVESTIGATION. PHOTOGRAPHIC ABSTRACTION AND THE QUESTIONING OF REALISM AND THE SUPPOSED TRUTH OF THE IMAGE. VORTICISM, SUBJECTIVE PHOTOGRAPHY, CONCRETE PHOTOGRAPHY, AND GENERATIVE PHOTOGRAPHY. THE INFLUENCE OF THE BAUHAUS, CONSTRUCTIVISM, AND EXPRESSIONISM ON POSTWAR PHOTOGRAPHY. THE CAMERA, NEGATIVE, PAPER, LIGHT, AND CHEMISTRY AS SUBJECTS WITHIN THE WORK ITSELF. CONCEPTUALISM AND THE USE OF PHOTOGRAPHY AS DOCUMENT, INSTRUCTION, ARCHIVE, OR SERIES. THE ROLE OF PERFORMANCE, THE BODY, AND HAPPENINGS IN THE PRACTICES OF THE 1960S AND 1970S. THE EMERGENCE OF PHOTOGRAPHY IN MUSEUMS, GALLERIES, AND THE CONTEMPORARY ART MARKET. THE TENSION BETWEEN FINE ART PHOTOGRAPHY, EXPERIMENTAL PHOTOGRAPHY, AND ART MADE THROUGH PHOTOGRAPHIC MEDIA.

20/01

LIVE | ONLINE | 7:00-9:00 PM (SPAIN)

AGORA CLOSING MEETING

STUDENT WORK PRESENTATIONS, VIEWING OF REFERENCE MATERIALS, AND INTERACTIVE ACTIVITIES WITH QUESTIONS

03/02

LIVE | ONLINE | 7:00-9:00 PM (SPAIN)

A CLASS DEDICATED TO BUILDING AN OPEN AND CRITICAL DEFINITION OF EXPERIMENTAL PHOTOGRAPHY. RATHER THAN SIMPLY USING UNCONVENTIONAL TECHNIQUES, EXPERIMENTAL PHOTOGRAPHY QUESTIONS THE NORMS OF THE MEDIUM, INVESTIGATES ITS MATERIALS, AND UNCOVERS NEW CREATIVE POSSIBILITIES. IN THIS SESSION WE WILL EXPLORE: THE RELATIONSHIPS AND DIFFERENCES BETWEEN EXPERIMENTAL, CREATIVE, ALTERNATIVE, HISTORICAL, AND CONTEMPORARY PHOTOGRAPHY. THE EXPERIMENTAL ATTITUDE AS A PRACTICE OF RESEARCH, NONCONFORMITY, AND THE PURSUIT OF KNOWLEDGE. INDUSTRIAL PHOTOGRAPHY VERSUS EXPERIMENTAL PHOTOGRAPHY: STANDARDIZATION CONTRASTED WITH THE DIVERSITY OF PROCESSES AND PERSPECTIVES. THE ROLE OF ERROR, CHANCE, REPETITION, MANIPULATION, AND INTERDISCIPLINARITY IN IMAGE-MAKING. KEY MOMENTS IN THE HISTORY OF PHOTOGRAPHIC EXPERIMENTATION. THE CREATIVE PROCESS AS A SPACE FOR DISCOVERY, BEYOND THE FINAL OUTCOME.

08/02

WHAT DO WE TALK ABOUT WHEN WE TALK ABOUT EXPERIMENTAL PHOTOGRAPHY?

A CLASS DEDICATED TO BUILDING AN OPEN AND CRITICAL DEFINITION OF EXPERIMENTAL PHOTOGRAPHY. RATHER THAN SIMPLY USING UNCONVENTIONAL TECHNIQUES, EXPERIMENTAL PHOTOGRAPHY QUESTIONS THE NORMS OF THE MEDIUM, INVESTIGATES ITS MATERIALS, AND UNCOVERS NEW CREATIVE POSSIBILITIES. IN THIS SESSION WE WILL EXPLORE: THE RELATIONSHIPS AND DIFFERENCES BETWEEN EXPERIMENTAL, CREATIVE, ALTERNATIVE, HISTORICAL, AND CONTEMPORARY PHOTOGRAPHY. THE EXPERIMENTAL ATTITUDE AS A PRACTICE OF RESEARCH, NONCONFORMITY, AND THE PURSUIT OF KNOWLEDGE. INDUSTRIAL PHOTOGRAPHY VERSUS EXPERIMENTAL PHOTOGRAPHY: STANDARDIZATION CONTRASTED WITH THE DIVERSITY OF PROCESSES AND PERSPECTIVES. THE ROLE OF ERROR, CHANCE, REPETITION, MANIPULATION, AND INTERDISCIPLINARITY IN IMAGE-MAKING. KEY MOMENTS IN THE HISTORY OF PHOTOGRAPHIC EXPERIMENTATION. THE CREATIVE PROCESS AS A SPACE FOR DISCOVERY, BEYOND THE FINAL OUTCOME.

15/02

LIVE | ONLINE | 7:00-9:00 PM (SPAIN)

A CLASS DEDICATED TO BUILDING AN OPEN AND CRITICAL DEFINITION OF EXPERIMENTAL PHOTOGRAPHY. RATHER THAN SIMPLY USING UNCONVENTIONAL TECHNIQUES, EXPERIMENTAL PHOTOGRAPHY QUESTIONS THE NORMS OF THE MEDIUM, INVESTIGATES ITS MATERIALS, AND UNCOVERS NEW CREATIVE POSSIBILITIES. IN THIS SESSION WE WILL EXPLORE: THE RELATIONSHIPS AND DIFFERENCES BETWEEN EXPERIMENTAL, CREATIVE, ALTERNATIVE, HISTORICAL, AND CONTEMPORARY PHOTOGRAPHY. THE EXPERIMENTAL ATTITUDE AS A PRACTICE OF RESEARCH, NONCONFORMITY, AND THE PURSUIT OF KNOWLEDGE. INDUSTRIAL PHOTOGRAPHY VERSUS EXPERIMENTAL PHOTOGRAPHY: STANDARDIZATION CONTRASTED WITH THE DIVERSITY OF PROCESSES AND PERSPECTIVES. THE ROLE OF ERROR, CHANCE, REPETITION, MANIPULATION, AND INTERDISCIPLINARITY IN IMAGE-MAKING. KEY MOMENTS IN THE HISTORY OF PHOTOGRAPHIC EXPERIMENTATION. THE CREATIVE PROCESS AS A SPACE FOR DISCOVERY, BEYOND THE FINAL OUTCOME.

22/02

HISTORICAL AVANT-GARDES AND PHOTOGRAPHY: FUTURISM, DADAISM, SURREALISM AND MAN RAY (1919-1945)

PHOTOGRAPHY ENTERS A PERIOD OF RUPTURE. MOVEMENT, CHANCE, COLLAGE, PHOTOMONTAGE, AND CAMERALESS IMAGES BECOME TOOLS FOR QUESTIONING TRADITIONAL REPRESENTATION AND RESPONDING TO THE POLITICAL AND SOCIAL TRANSFORMATIONS OF THE TIME. FUTURIST PHOTODYNAMISM AND THE REPRESENTATION OF MOVEMENT, TIME, AND SPEED. DADAISM AND THE USE OF COLLAGE, PHOTOMONTAGE, APPROPRIATION, AND ABSURDITY. THE RELATIONSHIP BETWEEN IMAGE, PROPAGANDA, REVOLUTION, THE PRESS, AND MASS CULTURE. SURREALISM, AUTOMATISM, CHANCE, AND THE EXPLORATION OF THE UNCONSCIOUS. RAYOGRAPHS, SOLARIZATION, AND THE EXPERIMENTAL RESEARCH OF MAN RAY. THE CONTRIBUTIONS OF HANNAH HÖCH, CLAUDE CAHUN, DORA MAAR, AND OTHER WOMEN ARTISTS OF THE AVANT-GARDES. THE SHIFT FROM FORMAL EXPERIMENTATION TOWARDS POLITICAL, DOCUMENTARY, AND SOCIAL PHOTOGRAPHY DURING THE 1930S.

24/02

BAUHAUS, NEW VISION, CONSTRUCTIVISM AND MOHOLY-NAGY (1919-1946)

01/03

MARXISM AND CRITICAL THEORY: FROM RUSSIA AND GERMANY TO THE UNITED STATES (1917-1963)

NEW SOCIETIES DEMANDED NEW IMAGES. THIS CLASS EXPLORES HOW RUSSIAN CONSTRUCTIVISM AND CRITICAL THEORY UNDERSTOOD PHOTOGRAPHY AS A POLITICAL TOOL, A MEANS OF REPRODUCTION, AND A WAY OF INTERVENING IN COLLECTIVE LIFE. THE RUSSIAN REVOLUTION AND THE EMERGENCE OF AN ART CONNECTED TO SOCIAL TRANSFORMATION. CONSTRUCTIVISM AND THE INTEGRATION OF PHOTOGRAPHY, DESIGN, ARCHITECTURE, AND PROPAGANDA. ALEKSANDR RODCHENKO AND THE SEARCH FOR NEW POINTS OF VIEW FOR A NEW SOCIETY. EL LISSITZKY, PHOTOMONTAGE, AND POLITICAL COMMUNICATION. WALTER BENJAMIN AND THE TRANSFORMATION OF THE WORK OF ART THROUGH MECHANICAL REPRODUCTION. THE DEBATE AROUND AURA, ORIGINAL, COPY, CULTURAL INDUSTRY, AND COLLECTIVE EXPERIENCE. THE FRANKFURT SCHOOL AND THE CRITIQUE OF MASS MEDIA. PHOTOGRAPHY AS A TOOL FOR EMANCIPATION, PERSUASION, SURVEILLANCE, OR CONTROL.

08/03

ABSTRACTION, CONCEPTUALISM AND CONTEMPORARY ART: VORTICISM, SUBJECTIVE, CONCRETE AND GENERATIVE PHOTOGRAPHY (1917-1980)

WHAT HAPPENS WHEN PHOTOGRAPHY STOPS REPRESENTING THE WORLD AND BEGINS TO ANALYZE ITSELF? THIS CLASS EXPLORES DIFFERENT MOVEMENTS THAT USED LIGHT, MATERIALS, SEQUENCE, THE BODY, AND THE PHOTOGRAPHIC APPARATUS ITSELF AS SUBJECTS OF INVESTIGATION. PHOTOGRAPHIC ABSTRACTION AND THE QUESTIONING OF REALISM AND THE SUPPOSED TRUTH OF THE IMAGE. VORTICISM, SUBJECTIVE PHOTOGRAPHY, CONCRETE PHOTOGRAPHY, AND GENERATIVE PHOTOGRAPHY. THE INFLUENCE OF THE BAUHAUS, CONSTRUCTIVISM, AND EXPRESSIONISM ON POSTWAR PHOTOGRAPHY. THE CAMERA, NEGATIVE, PAPER, LIGHT, AND CHEMISTRY AS SUBJECTS WITHIN THE WORK ITSELF. CONCEPTUALISM AND THE USE OF PHOTOGRAPHY AS DOCUMENT, INSTRUCTION, ARCHIVE, OR SERIES. THE ROLE OF PERFORMANCE, THE BODY, AND HAPPENINGS IN THE PRACTICES OF THE 1960S AND 1970S. THE EMERGENCE OF PHOTOGRAPHY IN MUSEUMS, GALLERIES, AND THE CONTEMPORARY ART MARKET. THE TENSION BETWEEN FINE ART PHOTOGRAPHY, EXPERIMENTAL PHOTOGRAPHY, AND ART MADE THROUGH PHOTOGRAPHIC MEDIA.

15/03

ABSTRACTION, CONCEPTUALISM AND CONTEMPORARY ART: VORTICISM, SUBJECTIVE, CONCRETE AND GENERATIVE PHOTOGRAPHY (1917-1980)

WHAT HAPPENS WHEN PHOTOGRAPHY STOPS REPRESENTING THE WORLD AND BEGINS TO ANALYZE ITSELF? THIS CLASS EXPLORES DIFFERENT MOVEMENTS THAT USED LIGHT, MATERIALS, SEQUENCE, THE BODY, AND THE PHOTOGRAPHIC APPARATUS ITSELF AS SUBJECTS OF INVESTIGATION. PHOTOGRAPHIC ABSTRACTION AND THE QUESTIONING OF REALISM AND THE SUPPOSED TRUTH OF THE IMAGE. VORTICISM, SUBJECTIVE PHOTOGRAPHY, CONCRETE PHOTOGRAPHY, AND GENERATIVE PHOTOGRAPHY. THE INFLUENCE OF THE BAUHAUS, CONSTRUCTIVISM, AND EXPRESSIONISM ON POSTWAR PHOTOGRAPHY. THE CAMERA, NEGATIVE, PAPER, LIGHT, AND CHEMISTRY AS SUBJECTS WITHIN THE WORK ITSELF. CONCEPTUALISM AND THE USE OF PHOTOGRAPHY AS DOCUMENT, INSTRUCTION, ARCHIVE, OR SERIES. THE ROLE OF PERFORMANCE, THE BODY, AND HAPPENINGS IN THE PRACTICES OF THE 1960S AND 1970S. THE EMERGENCE OF PHOTOGRAPHY IN MUSEUMS, GALLERIES, AND THE CONTEMPORARY ART MARKET. THE TENSION BETWEEN FINE ART PHOTOGRAPHY, EXPERIMENTAL PHOTOGRAPHY, AND ART MADE THROUGH PHOTOGRAPHIC MEDIA.

17/03

LIVE | ONLINE | 7:00-9:00 PM (SPAIN)

AGORA CLOSING MEETING

STUDENT WORK PRESENTATIONS, VIEWING OF REFERENCE MATERIALS, AND INTERACTIVE ACTIVITIES WITH QUESTIONS

07/04

LIVE | ONLINE | 7:00-9:00 PM (SPAIN)

A CLASS DEDICATED TO BUILDING AN OPEN AND CRITICAL DEFINITION OF EXPERIMENTAL PHOTOGRAPHY. RATHER THAN SIMPLY USING UNCONVENTIONAL TECHNIQUES, EXPERIMENTAL PHOTOGRAPHY QUESTIONS THE NORMS OF THE MEDIUM, INVESTIGATES ITS MATERIALS, AND UNCOVERS NEW CREATIVE POSSIBILITIES. IN THIS SESSION WE WILL EXPLORE: THE RELATIONSHIPS AND DIFFERENCES BETWEEN EXPERIMENTAL, CREATIVE, ALTERNATIVE, HISTORICAL, AND CONTEMPORARY PHOTOGRAPHY. THE EXPERIMENTAL ATTITUDE AS A PRACTICE OF RESEARCH, NONCONFORMITY, AND THE PURSUIT OF KNOWLEDGE. INDUSTRIAL PHOTOGRAPHY VERSUS EXPERIMENTAL PHOTOGRAPHY: STANDARDIZATION CONTRASTED WITH THE DIVERSITY OF PROCESSES AND PERSPECTIVES. THE ROLE OF ERROR, CHANCE, REPETITION, MANIPULATION, AND INTERDISCIPLINARITY IN IMAGE-MAKING. KEY MOMENTS IN THE HISTORY OF PHOTOGRAPHIC EXPERIMENTATION. THE CREATIVE PROCESS AS A SPACE FOR DISCOVERY, BEYOND THE FINAL OUTCOME.

12/04

WHAT DO WE TALK ABOUT WHEN WE TALK ABOUT EXPERIMENTAL PHOTOGRAPHY?

A CLASS DEDICATED TO BUILDING AN OPEN AND CRITICAL DEFINITION OF EXPERIMENTAL PHOTOGRAPHY. RATHER THAN SIMPLY USING UNCONVENTIONAL TECHNIQUES, EXPERIMENTAL PHOTOGRAPHY QUESTIONS THE NORMS OF THE MEDIUM, INVESTIGATES ITS MATERIALS, AND UNCOVERS NEW CREATIVE POSSIBILITIES. IN THIS SESSION WE WILL EXPLORE: THE RELATIONSHIPS AND DIFFERENCES BETWEEN EXPERIMENTAL, CREATIVE, ALTERNATIVE, HISTORICAL, AND CONTEMPORARY PHOTOGRAPHY. THE EXPERIMENTAL ATTITUDE AS A PRACTICE OF RESEARCH, NONCONFORMITY, AND THE PURSUIT OF KNOWLEDGE. INDUSTRIAL PHOTOGRAPHY VERSUS EXPERIMENTAL PHOTOGRAPHY: STANDARDIZATION CONTRASTED WITH THE DIVERSITY OF PROCESSES AND PERSPECTIVES. THE ROLE OF ERROR, CHANCE, REPETITION, MANIPULATION, AND INTERDISCIPLINARITY IN IMAGE-MAKING. KEY MOMENTS IN THE HISTORY OF PHOTOGRAPHIC EXPERIMENTATION. THE CREATIVE PROCESS AS A SPACE FOR DISCOVERY, BEYOND THE FINAL OUTCOME.

19/04

LIVE | ONLINE | 7:00-9:00 PM (SPAIN)

A CLASS DEDICATED TO BUILDING AN OPEN AND CRITICAL DEFINITION OF EXPERIMENTAL PHOTOGRAPHY. RATHER THAN SIMPLY USING UNCONVENTIONAL TECHNIQUES, EXPERIMENTAL PHOTOGRAPHY QUESTIONS THE NORMS OF THE MEDIUM, INVESTIGATES ITS MATERIALS, AND UNCOVERS NEW CREATIVE POSSIBILITIES. IN THIS SESSION WE WILL EXPLORE: THE RELATIONSHIPS AND DIFFERENCES BETWEEN EXPERIMENTAL, CREATIVE, ALTERNATIVE, HISTORICAL, AND CONTEMPORARY PHOTOGRAPHY. THE EXPERIMENTAL ATTITUDE AS A PRACTICE OF RESEARCH, NONCONFORMITY, AND THE PURSUIT OF KNOWLEDGE. INDUSTRIAL PHOTOGRAPHY VERSUS EXPERIMENTAL PHOTOGRAPHY: STANDARDIZATION CONTRASTED WITH THE DIVERSITY OF PROCESSES AND PERSPECTIVES. THE ROLE OF ERROR, CHANCE, REPETITION, MANIPULATION, AND INTERDISCIPLINARITY IN IMAGE-MAKING. KEY MOMENTS IN THE HISTORY OF PHOTOGRAPHIC EXPERIMENTATION. THE CREATIVE PROCESS AS A SPACE FOR DISCOVERY, BEYOND THE FINAL OUTCOME.

26/04

HISTORICAL AVANT-GARDES AND PHOTOGRAPHY: FUTURISM, DADAISM, SURREALISM AND MAN RAY (1919-1945)

PHOTOGRAPHY ENTERS A PERIOD OF RUPTURE. MOVEMENT, CHANCE, COLLAGE, PHOTOMONTAGE, AND CAMERALESS IMAGES BECOME TOOLS FOR QUESTIONING TRADITIONAL REPRESENTATION AND RESPONDING TO THE POLITICAL AND SOCIAL TRANSFORMATIONS OF THE TIME. FUTURIST PHOTODYNAMISM AND THE REPRESENTATION OF MOVEMENT, TIME, AND SPEED. DADAISM AND THE USE OF COLLAGE, PHOTOMONTAGE, APPROPRIATION, AND ABSURDITY. THE RELATIONSHIP BETWEEN IMAGE, PROPAGANDA, REVOLUTION, THE PRESS, AND MASS CULTURE. SURREALISM, AUTOMATISM, CHANCE, AND THE EXPLORATION OF THE UNCONSCIOUS. RAYOGRAPHS, SOLARIZATION, AND THE EXPERIMENTAL RESEARCH OF MAN RAY. THE CONTRIBUTIONS OF HANNAH HÖCH, CLAUDE CAHUN, DORA MAAR, AND OTHER WOMEN ARTISTS OF THE AVANT-GARDES. THE SHIFT FROM FORMAL EXPERIMENTATION TOWARDS POLITICAL, DOCUMENTARY, AND SOCIAL PHOTOGRAPHY DURING THE 1930S.

28/04

BAUHAUS, NEW VISION, CONSTRUCTIVISM AND MOHOLY-NAGY (1919-1946)

03/05

MARXISM AND CRITICAL THEORY: FROM RUSSIA AND GERMANY TO THE UNITED STATES (1917-1963)

NEW SOCIETIES DEMANDED NEW IMAGES. THIS CLASS EXPLORES HOW RUSSIAN CONSTRUCTIVISM AND CRITICAL THEORY UNDERSTOOD PHOTOGRAPHY AS A POLITICAL TOOL, A MEANS OF REPRODUCTION, AND A WAY OF INTERVENING IN COLLECTIVE LIFE. THE RUSSIAN REVOLUTION AND THE EMERGENCE OF AN ART CONNECTED TO SOCIAL TRANSFORMATION. CONSTRUCTIVISM AND THE INTEGRATION OF PHOTOGRAPHY, DESIGN, ARCHITECTURE, AND PROPAGANDA. ALEKSANDR RODCHENKO AND THE SEARCH FOR NEW POINTS OF VIEW FOR A NEW SOCIETY. EL LISSITZKY, PHOTOMONTAGE, AND POLITICAL COMMUNICATION. WALTER BENJAMIN AND THE TRANSFORMATION OF THE WORK OF ART THROUGH MECHANICAL REPRODUCTION. THE DEBATE AROUND AURA, ORIGINAL, COPY, CULTURAL INDUSTRY, AND COLLECTIVE EXPERIENCE. THE FRANKFURT SCHOOL AND THE CRITIQUE OF MASS MEDIA. PHOTOGRAPHY AS A TOOL FOR EMANCIPATION, PERSUASION, SURVEILLANCE, OR CONTROL.

08/03

CYANOTYPE

Workshops: Basic cyanotype with Sara Poer Cyanotype: Space and Time as Photographic Negatives with Virginia Dal Magro Conference: Modern Cyanotype with Annette Golaz, Virginia Dal Magro and Fruma Markowiiz Additional Material: Cyanotype Selected articles from AlternativePhotography.com

15/03

CHEMIGRAMS

Workshop: Homemade Chemigrams! Playing with Photosensitivity at Home by Irina Chernikova Conference: Cameraless Photography with George Roast, Irina Chernikova, and Sophie Sherwood Webinar: New Visual Explorations: Photobooks, Transphotography, and Alternative Exhibitions Bonus Material: Chemigrams Selected Articles from AlternativePhotography.com ✨📷

17/03

LIVE | ONLINE | 7:00-9:00 PM (SPAIN)

AGORA CLOSING MEETING

STUDENT WORK PRESENTATIONS, VIEWING OF REFERENCE MATERIALS, AND INTERACTIVE ACTIVITIES WITH QUESTIONS

MORE DETAILS

ADDRESSED TO

People who want to get started in the world of experimental photography.

REQUIREMENTS

No prior knowledge is required.

APPROXIMATE WEEKLY DEDICATION

3-5 hours.

LANGUAGE

Spanish and English videos with Spanish subtitles.

ACCESS

Unlimited and lifetime access to course content.

MATERIALS

Each class explains the necessary materials. We recommend watching the class first and then deciding which materials to buy.

DO YOU WANT TO START EXPERIMENTING WITH YOUR IMAGES?

You can take this course independently or add it to the complete Diploma in Experimental Photography course.

COMPLETE DIPLOMA

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