ONLINE | PRE-RECORDED | BIMONTHLY
HISTORIES, THEORIES AND DEBATES ON EXPERIMENTAL PHOTOGRAPHY:
FROM ORIGINS TO HISTORICAL AVANT-GARDES
WITH PABLO GIORI
PHOTOGRAPHY WAS BORN AS A TESTING GROUND. SCIENTISTS, INVENTORS, CRAFTSPEOPLE, AND ARTISTS INVESTIGATED SENSITIVE MATERIALS, CAMERAS, CHEMICALS, AND FORMS OF REPRESENTATION WITHOUT KNOWING EXACTLY WHAT RESULTS THEY WOULD OBTAIN.
THIS COURSE TRACES THAT HISTORY FROM THE FIRST EXPERIMENTS OF THE 19TH CENTURY TO KODAK, PICTORIALISM, THE HISTORICAL AVANT-GARDES, THE BAUHAUS, CONSTRUCTIVISM, CRITICAL THEORY, ABSTRACTION AND CONCEPTUAL ART.
MORE THAN MEMORIZING DATES AND NAMES, YOU WILL LEARN TO RECOGNIZE THE DEBATES THAT TRANSFORMED THE MEDIUM AND UNDERSTAND HOW PHOTOGRAPHY DEVELOPED AMONG SCIENCE, INDUSTRY, ART, POLITICS, AND EXPERIMENTATION.
UNDERSTANDING THE REVOLUTIONS OF THE PAST TO CREATE THE IMAGES OF THE FUTURE
THROUGH LECTURES, IMAGES, TEXTS, AND DISCUSSIONS, WE WILL ANALYZE HOW INDUSTRIALIZATION, THE AVANT-GARDE, ABSTRACTION, AND CONCEPTUALISM TRANSFORMED PHOTOGRAPHY. THE COURSE CONNECTS THESE GENEALOGIES WITH CURRENT PRACTICES TO HELP YOU SITUATE YOUR WORK, RECOGNIZE INFLUENCES, AND UNDERSTAND WHAT IT MEANS TO EXPERIMENT WITHIN A DIVERSE AND CONSTANTLY EVOLVING HISTORY.
TECHNIQUES
ORIGINS OF PHOTOGRAPHY
SCIENCE AND EXPERIMENTATION
HISTORICAL AVANT-GARDES
BAUHAUS
CONSTRUCTIVISM
CRITICAL THEORY
ABSTRACTION
CONCEPTUAL ART
PHOTOGRAPHIC THINKING
ANALOG AND DIGITAL PHOTOGRAPHY
EXPANDED PHOTOGRAPHY
POST-PHOTOGRAPHY
CONTEMPORARY DEBATES
CONTENT
13 PRE-RECORDED CLASSES
3 LIVE MEETINGS
SUPPLEMENTARY TEXTS AND RESOURCES
SIGN UP!
150€
2 MESES
PREGRABADO
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.
PRESENTATION MEETING OF THE AGORA EXPERIMENTAL PHOTOGRAPHY: EXPERIMENTAL PHOTOGRAPHY: CONCEPTS, DEBATES AND TECHNIQUES WITH PABLO GIORI
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.
MONTHLY MEETING AGORA COMMUNITY
A JOURNEY FROM THE FIRST EXPERIMENTS WITH PHOTOSENSITIVE MATERIALS TO THE INDUSTRIALIZATION OF PHOTOGRAPHY. THIS CLASS EXPLORES HOW A SCIENTIFIC, HANDCRAFTED, AND EXPERIMENTAL PRACTICE GRADUALLY BECAME AN INDUSTRY, A FORM OF LEISURE, AND A NEW ARTISTIC FIELD. THE EARLY EXPERIMENTS OF THOMAS WEDGWOOD, HUMPHRY DAVY, JOHN HERSCHEL, WILLIAM HENRY FOX TALBOT, LOUIS DAGUERRE, AND HIPPOLYTE BAYARD. THE SEARCH FOR LIGHT-SENSITIVE MATERIALS, FIXING PROCESSES, AND REPRODUCTION SYSTEMS. PHOTOGRAMS, CYANOTYPES, CALOTYPES, DAGUERREOTYPES, AND EARLY EXPERIMENTS WITH COLOR. THE ROLE OF ANNA ATKINS, SARAH ANNE BRIGHT, AND OTHER WOMEN IN THE ORIGINS OF PHOTOGRAPHY. THE EMERGENCE OF KODAK, THE PORTABLE CAMERA, AND THE DEMOCRATIZATION OF PHOTOGRAPHIC PRACTICE. THE EXPANSION OF AMATEUR PHOTOGRAPHY, DOMESTIC PHOTOGRAPHY, AND MASS VISUAL CULTURE. PICTORIALISM AND ITS DEBATES AROUND ART, MANIPULATION, UNIQUE PRINTS, AND STRAIGHT PHOTOGRAPHY. THE TENSION BETWEEN EXPERIMENTAL INTERVENTION, REALISM, AND THE SEARCH FOR ARTISTIC LEGITIMACY.
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.
A CLASS DEDICATED TO ONE OF THE MOST INFLUENTIAL MOMENTS IN MODERN PHOTOGRAPHY. THE BAUHAUS TRANSFORMED THE RELATIONSHIP BETWEEN ART, TECHNOLOGY, DESIGN, AND EDUCATION, WHILE LÁSZLÓ MOHOLY-NAGY UNDERSTOOD PHOTOGRAPHY AS A TOOL FOR CREATING A NEW CULTURE OF LIGHT. THE BAUHAUS AS AN ARTISTIC, EDUCATIONAL, AND SOCIAL PROJECT. THE NEW VISION AND THE SEARCH FOR PERSPECTIVES, FRAMINGS, AND SCALES THAT MOVE BEYOND CONVENTIONAL WAYS OF SEEING. THE PHOTOGRAM AND THE CREATION OF IMAGES THROUGH LIGHT AND PHOTOSENSITIVE MATERIALS. PHOTOGRAPHY, TYPOGRAPHY, GRAPHIC DESIGN, ARCHITECTURE, ADVERTISING, AND FILM. THE RELATIONSHIP BETWEEN THE BAUHAUS AND CONSTRUCTIVISM. LÁSZLÓ MOHOLY-NAGY’S APPROACHES TO LIGHT, ABSTRACTION, AND PERCEPTION. THE TRANSFER OF THESE IDEAS FROM WEIMAR, DESSAU, AND BERLIN TO THE NEW BAUHAUS IN CHICAGO. EXPERIMENTATION UNDERSTOOD AS AN EDUCATIONAL METHOD AND A FORM OF SOCIAL TRANSFORMATION.
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.
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.
STUDENT WORK PRESENTATIONS, VIEWING OF REFERENCE MATERIALS, AND INTERACTIVE ACTIVITIES WITH QUESTIONS
YOUR TEACHER
PABLO GIORI
FOUNDER AND CO-DIRECTOR OF THE EXPERIMENTAL PHOTO FESTIVAL ASSOCIATION: EXPERIMENTAL PHOTO FESTIVAL, AGORA, SCHOOL OF EXPERIMENTATION, AND IPFA (INTERNATIONAL ASSOCIATION OF PHOTOGRAPHY FESTIVALS).
BACHELOR OF ARTS (CLASSICAL PHILOLOGY) FROM THE NATIONAL UNIVERSITY OF TUCUMÁN (ARGENTINA); MASTER'S DEGREE IN COMMUNICATION AND CULTURAL STUDIES FROM THE UNIVERSITY OF GIRONA (SPAIN) AND IN STRATEGIC COMMUNICATION FROM THE UNIVERSITY OF TARRAGONA (SPAIN), BOTH WITH SCHOLARSHIPS. PHD IN CONTEMPORARY HISTORY FROM THE UNIVERSITY OF GIRONA WITH A COMPARATIVE STUDY BETWEEN SPAIN AND CANADA. SPEAKS FOUR LANGUAGES.
IN ADDITION TO HIS WORK AT ÁGORA, HE TEACHES CRITICAL PERSPECTIVES IN PHOTOGRAPHY IN THE MASTER'S PROGRAM IN PHOTOGRAPHY AT THE BERLIN UNIVERSITY OF APPLIED SCIENCES (SRH), GERMANY. HE SPECIALIZES IN THE MANAGEMENT, CONSERVATION, DIGITIZATION, AND DISSEMINATION OF PHOTOGRAPHIC HERITAGE AND WORKED FOR THREE YEARS IN THE IMAGES DEPARTMENT OF THE NATIONAL ARCHIVE OF CATALONIA. HE HAS CURATED 21 EXHIBITIONS OF VARIOUS
PROJECTS IN SEVERAL COUNTRIES IN EUROPE AND LATIN AMERICA. HE HAS PUBLISHED THREE BOOKS, INCLUDING THE PHOTOBOOK UNEXPECTED INHABITANTS. 12 KEY IDEAS FOR DOING DOUBLE EXPOSURES AND FILM EXCHANGE (2018), THE PHOTOGRAPHIC BIOGRAPHY PERE CATALÁ I PIC. PHOTOGRAPHY, ADVERTISING, AVANT-GARDE AND LITERATURE (1889-1971) AND ALL THE CATALOGS OF THE EXPERIMENTAL PHOTO FESTIVAL: EXP.20, EXP.21 AND EXP.22.
MORE DETAILS
ADDRESSED TO
PHOTOGRAPHERS, ARTISTS, RESEARCHERS AND PEOPLE INTERESTED IN DELVING DEEPER INTO THE HISTORY, THEORIES AND DEBATES OF EXPERIMENTAL PHOTOGRAPHY.
REQUIREMENTS
NO PRIOR THEORETICAL, HISTORICAL, OR PHOTOGRAPHIC KNOWLEDGE IS REQUIRED.
GOALS
- UNDERSTAND THE MAIN GENEALOGIES OF EXPERIMENTAL PHOTOGRAPHY.
- RELATE TECHNIQUES AND MOVEMENTS TO THEIR HISTORICAL CONTEXTS.
- TO KNOW THE DEBATES THAT HAVE QUESTIONED PHOTOGRAPHIC OBJECTIVITY.
- ANALYZE THE MAIN CONTRIBUTIONS OF PHOTOGRAPHIC THOUGHT.
- TO PLACE ONE'S OWN PRACTICE WITHIN CONTEMPORARY EXPERIMENTATION.
12 HOURS IN DURATION
APPROXIMATE WEEKLY TIME COMMITMENT:
5 HOURS, EACH STUDENT MANAGES THEIR OWN TIME.
MODE
PRE-RECORDED ONLINE WITH 3 LIVE MEETINGS.
LANGUAGE
SPANISH AND ENGLISH
WHAT'S INCLUDED
UNLIMITED LIFETIME ACCESS TO ALL CONTENT
OF THE LIVE AND PRE-RECORDED CLASSES, WORKSHOPS, CONFERENCES AND ADDITIONAL DOWNLOADABLE MATERIALS.
BEING A MEMBER OF THE AGORA COMMUNITY
PARTICIPATE FOR FREE IN OUR MONTHLY ONLINE MEETINGS (DECEMBER 3, JANUARY 21, FEBRUARY 4, FEBRUARY 25, MARCH 18, APRIL 8, APRIL 29 AND MAY 20) AND SHOWCASE YOUR WORK ON OUR SOCIAL MEDIA.
ACCESS THE EXCLUSIVE AGORA COMMUNITY GROUP ON WHATSAPP
WITH EXCLUSIVE DISCOUNTS, DIRECT ACCESS TO TEACHERS AND THE AGORA TEAM, MONTHLY INFORMATION, AND SPECIAL CONTENT.
MATERIALS NEEDED
EACH LESSON EXPLAINS THE NECESSARY MATERIALS. WE RECOMMEND WATCHING THE LESSON FIRST AND THEN DECIDING WHICH MATERIALS YOU WANT TO BUY. THIS LINK SHOWS WHERE TO BUY THE MATERIALS IN MANY CITIES AROUND THE WORLD.
HOW ARE THESE COURSES MANAGED?
THE ECONOMIC AND ADMINISTRATIVE MANAGEMENT OF THE AGORA IS HANDLED BY THE NON-PROFIT ASSOCIATION EXPERIMENTAL PHOTO FESTIVAL. ALL COURSES INCLUDE 21% VAT IN THE PRICE. DURING THE PAYMENT PROCESS, A PASSPORT NUMBER, NIE, NIF, OR CIF WILL BE REQUESTED SOLELY FOR ACCOUNTING AND TAX PURPOSES. FOR MORE INFORMATION, PLEASE CONSULT OUR FINANCIAL TRANSPARENCY PAGE.