Courses available in English

The Hungarian University of Fine Arts
– download the catalogue here

PAINTING

Painting Studio Work FEM-FEMM04
The course is held by various teachers of the department in different studios
Painting Studio Work is the main course of the painting training. It enables students to acquire the artistic attitude as well as the methodology of engaged creative work. Students will be introduced to different materials and to classical and modern painting techniques in order to gain knowledge of and confidence in the expressive toolkit of universal painting art. Besides the different painting and other artistic techniques the course gives space for individual technical and artistic experimentations.

Color Theory FEM-SZIN02
József Attila Erdődy
The aim of the course is to use colors, the most important expressive tools of painting consciously and innovatively in order to create autonomous contemporary works of art.
Beyond the basic terminology of the field, through the theories of universal classic arts and of science history the course will teach their contemporary tendencies. Besides using traditional painting materials and techniques, the course will also put great emphasis on the knowledge and use of recent technical inventions, the electronic imaging and display tools in painting. To do so, the course will introduce students into the most important correlations of the basic terms physics, biology and psychology. With the help of this course we want students, having the necessary knowledge and experience, to create their own world of colors thus helping their improvement in painting.

Digital Exercises in Painting FEM-DIFE02
József Attila Erdődy
This course's aim is to bring closer participants to the last developments in the picture
making - in the aspects of electronic and digital technologies. The training is in relationship
with painting practice, with connection to the painterly approach of the last decades.
The course in Fall semester is more focusing on single image, while in Spring semester it is concentrating on motion picture, or moving images.
In both courses practice will be focused on the basic understanding of these methods and the course also contains some software knowledge and skill developments for painters as well.

SCULPTURE

Studio Practice SZM-SZOG04
The course is held by various teachers of the department in different studios
The goal of the course is the education of autonomous personality, who has many accomplishments. The training is in masterclasses (there are four classes, optional), where the students are together from the different years. The spectrum of teaching stretches from tradition to modernity, from classical to contemporary sculpture. The different classes focus more on the figurative, the abstract-nonfigurative or conceptual problems of the sculpture. The method is based on the personal consultation between the teacher and the student. There are often tasks given to the whole class and group exhibitions.

Sculptural Drawing SZM-SZBR04
The course is held by various teachers of the department in different studios
Drawing is the most simple and direct way of visual thinking. The course provides regular opportunity for drawing in the studio, in close connection to the studio practice. It involves studies, designing, free self-expression drawing or can be an opportunity to try some graphic techniques. The teacher is the same, like in Studio Practice.

Digital Practices for Sculptors FEM-DISZ02
József Attila Erdődy
Digital Exercises in Sculpture
Beyond the classical visual art fields, like painting, sculpture and graphic art, this Subject is trying to open the doors of new technical media, from still image photography through digital drawing/painting to the motion pictures recording and processing or digital presentation, getting a software knowledge, going through several experimental tasks.

Foundation Course in Stone and Wood Carving SZM-KŐFA01
Beyond being only a technical process carving is an important way of thinking in sculpture by creating forms via substraction as opposed to additive techniques like modelling in clay. First of all students try hand carving. Later they are taught to use machines, pneumatic carving tools. They get introduced to different stone and wood types at the end of course. Students can realize their own ideas with the help and guidance of the workshop leader.

Medal Course 2 SZM-ÉRMÉ02
Tamás Szabó
The goal of the course is to get acquainted to the story of medals, coins, plaquettes. It covers the whole process from choosing the theme, first sketches, modelling, carving till production and marketing. At the beginning of the course every student has to choose one out of three themes and design and make one side of the medal in plaster. The best piece will get ready by minting medal process in the Medal Manufacture of Szeged. There are excursions and visits to workshops and collections. Completing the course, the students will be able to compete individually in medal design competitions with their unique artistic medals.

GRAPHIC ARTS

Graphic Studio Practice GRM-KGMŰ04
István Madácsy
The Graphic Arts Department deals with the possibilities of graphic work in the context of current art production. Students are encouraged to try out any kind of graphic representation and they are supported in further artistic thinking, developing projects and working for personal purposes. We also offer a wide range of creative printmaking courses and workshops that will introduce students to varied traditional techniques including etching, intaglio, lithography, relief and screen printing. Our workshops provide all the technical equipment and most of the required materials. All participants will receive expert individual guidance on creative input and direction about the artwork being made, and there is a possibility to try and achieve computer-aided procedures, experimental or unique methods as well. For the applicants we also provide special topics on demand. Students will be encouraged to set their own projects, and our intention is to develop personal visual language and critical decision making, and to focus on their own independent artistic understanding and acting. Every student should be open to the contemporary interpretations and has to be able to address questions of content, of subject matter. We hope that they will extend and broaden their printmaking knowledge through developing personal projects, shaping themselves by forming their art.

Image and Copy - Practical Applications of Graphic Mediums GRM-KGAM02
András Lengyel, Bianka Dobó
The course aims to develop strong independent points of view and a mature grasp of the range of critical debate surrounding contemporary art, furthermore experiment with new forms of printmaking (application of experimental techniques, special materials, tools) based on the issued task during the current semester. A tutor monitors progress, sets targets and directs students in their studies. In addition to the official consultations, the students may request technical assistance based for the complete of the tasks this requires an additional appointment with the instructor. Alongside this, workshops and projects designed to introduce a range of techniques and approaches are offered throughout the semester. Students develop their studio work in discussion with the tutors. Students attend taught practical classes in printmaking. We highly encourage the experimentation. Recommended literature is always determined by the current topic.
Assessment
Practical studio-based work. A final exhibition of work made during the semester.
Conditions of signature: compliance with the deadline.

Graphic Materials and Techniques 1 (Relief print – Litography) GRM-KATI02
János Barta
Over the 1+1 semester study period, the course program covers two of the main technical fields: “ Linocut and Relief Printing”and “Litography” . In the first semester these two modules provide you with basic practical knowledge and comprehension which you will require for your future art practice. Each technique relies on different forms of learning and practicing.
The second semester provides you advanced in-depth practical knowledge on your main focused technique. Being this semester an additional one, it allows the improving the technical skills along a variable, but more consistent direction, based on the needs of the participants.
The course is taught in English.
(Modified contents in case of COVID19 restrictrictions:
In virus emergency situation departments and staff are available via email. Student questions for Advising should be sent to or
Videochat and other online communication methods are possible and needed weekly during the virus emergency period. Possible resuming of the classes will be decided later.
Departments and staff are available via email. Student questions for Advising should be sent to or
Videochat and other online communication methods are possible and needed.)

Graphic Materials and Techniques 3 (Intaglio – Silkscreen) GRM-KATI04
János Barta
Over the 1+1 semester study period, the course program covers two of the main technical fields: “Etching and Intaglio” and “Serigraphy”. In the first semester these two modules provide you with basic practical knowledge and comprehension which you will require for your future art practice. Each technique relies on different forms of learning and practicing.
The second semester provides you advanced in-depth practical knowledge on your main focused technique. Being this semester an additional one, it allows the improving the technical skills along a variable, but more consistent direction, based on the needs of the participants.
The course is taught in English.
( Modified contents in case of COVID19 restrictrictions:
In virus emergency situation departments and staff are available via email. Student questions for Advising should be sent to or
Videochat and other online communication methods are possible and needed weekly during the virus emergency period. Possible resuming of the classes will be decided later.
Departments and staff are available via email. Student questions for Advising should be sent to or )

Artistic Graphical Techniques II. 1 GRMGTII02
János Barta
Over the 1+1 semester study period, the course program covers four main technical fields: “ Linocut and Relief Printing”, “Etching and Intaglio”, “Litography” and “Serigraphy”.
In the first semester the four modules provide basic practical knowledge and understanding which will be required for future artistic practice. Each technique relies on different forms of learning and practicing.
The second semester provides advanced in-depth practical knowledge of the student’s main focused technique. Being this semester an additional one, it allows to improve the technical skills along a variable, but more consistent direction based on the needs of the participants.

Figure Drawing GRM-TGAR02
Péter Berentz
Having reviewed major international illustration definitions, we try to elaborate the ontological and typological model of illustration and its texts and the model of reception methods.
The interpretation must compare the two poles continuously. Our studies try to validate the research principle and the interpreter, who contemplates the illustration - advocating for the important role of illustration, even more for the importance of its quality, and for the utmost importance of recognizing its functional complexity – necessarily has to theme the questions of the configuration and confrontation of text and images, literary works and illustrations.
Maximum number of students: 8 persons

GRAPHIC DESIGN

Graphic Studio Practice GRM-TGMŰ04
László Lelkes
Graphic design studio practice by selected exercises and assignments is to encourage practical experiment based reconsideration of existing modes, methods and standards of visual communication. The practice of traditional manual techniques are just as important in the creative process as the knowledge of the cutting edge digital media. The healthy combination of the two can open new horizons in contemporary image making. Tasks in the course of the semester are modelling conceivable situations when visual answers are not only fulfilling external expectations but are equally valid means of expressing individual artistic messages. Depending on the different tasks students are to practice the usage of different levels of abstraction from the concise world of logo design and typography to the more talkative realm of illustrative narration. Our main concern that instead of specialization students can acquire a multi-sided knowledge so that later they have a better chance to build a successful career in the whole spectrum of graphic design. Compulsory assignments may be accompanied by real commissions from external clients and staff controlled participation in design competitions. Collective and individual consultations are held regulary on the consultation days twice a week.

Theory and Practice in Visual Communication GRM-TGEV02
László Lelkes
Although the subject – among others – is dealing with the story of graphic design and – in broader sense – the practice of ’purposeful’ image making, the course offers useful knowledge for students from other domains of the visual arts alike. Graphic design as an applied art form has been witnessing a paradigm shift recently. Initially a service-centered activity, visual communication is getting just as valid means of self expression as any other visual art forms. Its role in the society and the reasons for the constant change in the methods and focuses of pragmatic image making cannot be fully understood without putting some objective determining factors under a closer scrutiny. Through the analysis of the means and aims of different visual strategies students can better understand their own social role and responsibility. The course is aiming to raise students’ consciousness in using the techniques they already can handle. The analyses of an array of different artworks may also play an important role in broadening their visual vocabulary to achieve artistic goals. During the semester the frequent occurrence of in-class dialogues on the selected themes help generate thoughts thus forming the participating students’ critical thinking and their verbal performance.

CONSERVATION/RESTORATION

Studio Practice RMN-REMG04
Basic knowledge of painting and sculpture conservation practices. Practice of interventions on real art objects (paintings, sculptures).
Application of theoretical knowledge from the Material I-II-III courses on the conservation site. From sampling, through conservation to documentation.
Students can join in on-going restorations, school assignments - learn a variety of conservation techniques. With sufficient time (full year), it is possible to restore an independent artwork

Restoration theory, professional knowledge RMN-REIS04
The course focuses on the acquisition of the basic professional knowledge of conservation-restoration of easel paintings , especially on the restoration methods of canvas paintings. The course is based on the multiple knowledge acquisited during the 1-6. semester at other theoretical professional courses (organic and inorganic chemistry, physics), and helps to realise the connection between the domain knowledges. The theoretical instruction establishes the high quality practical work, reflecting continuously on the practical work.

History of painting techniques, materials and painting RMN-FETT02
The objective of the course is to bring closer the fundamental raw materials and techniques of painting, especially of easel paintings. In the first semester besides the lectures about theoretical questions, the program of the course is given by practicing the preparation of paints and grounds . In the second semester we focus mainly on the emulsion and oil binding media painting methods, within it the egg tempera technique (pure egg yolk and tempera grassa) has a major role. The course elaborates the historical techniques of European painting through the examination of a determinative oeuvre. In this semester the main topic will be the painting methods of Michelangelo Merisi, called Caravaggio.
The individual elaboration of professional literature is part of the theoretical instruction. The task is to make a short presentation based on the professional literature sources (article or chapter of a book).

Works of Art examinations, consultation RMN-MŰVK02
Evaluating together the examination results of the artworks restored at the university, discovering of the knowledge regarding to the construction, material, history and damage processes of the object, consulting regarding the objects, practicing with microscope.

INTERMEDIA

Intermedia - Studio Practice INM-MŰTG04
Allan Siegel
The practice of active art activity. Studio work based on individual creative work and personalized lecturer’s consultation led by the lecturers of the Department and by external lecturers. The practices are part of the studio work as the use of the laboratory and the studio following the students’ programs and tasks.
The point of view of the media artist is characterized by a cognitive – ready to know – artistic behavior. Seeing the fields of science, technology and art as a unit, the media artist is able to use the new mediums in an artistic way and to create a modern, autonomous artistic production which is suitable for the challenges of the 21^st century.
Through the synthetic or analytic use of the different techniques, tools and methods of the artistic expression the media artist creates high-level artistic works, considering the changes of the function of art and the modern, constantly forming social rule of it.

How to create Works of Art INM-MŰKÉ04
Allan Siegel
In this studio program we analyze both well known and less familiar art works as well the practices and ideas that are part of their creative processes; additionally, these discussions become part of a critique of the work of the participating students.
Alongside these discussions and critiques there are creative and practical exercises as well based on a simple 4 semesters structure. From drawing to video we analyse artworks with the help of radical interpretation. This course aims in the first semester the establishment of objective and critical attention, in the second semester we deal with dramaturgical questions, in the third and fourth we focus on the image-making processes.
The final outcome of the studio program is an exhibition of the creative work of the students in a venue decided and developed by the students.

Selected Readings

Griselda Pollack - Thinking sociologically: thinking aesthetically. Between convergence and difference with some historical reflections on sociology and art history.
Liam Gilleck - Contemporary art does not account for that which is taking place.
Paul Klee - Pedagogical Sketchbook.
Barbara Fässler - 177 days of running: Reflections on the Venice Biennale 2011.
Boris Groys - The Obligation to Self-Design.
Laszlo Moholy-Nagy, Oskar Schlemmer, Farkas Molnar - The Theatre of the Bauhaus.

Site specific art work and interventions in public space INM-SISP01
Allan Siegel
Sites for the exhibition of art work have continued to move beyond the traditional places of the museum, gallery or public square. In addition, exhibitions themselves have also evolved into site specific public art events: whether as regular spectacles like the Venice Biennale, Documenta or installations by a museum such as the Tate Modern.
The seminar is a survey of the evolution of the different interdisciplinary art practices relating to site specific public art projects and interventions which take place within or outside of the traditional museum environments. Focusing on projects specifically conceived as forms of an artistic discourse situated in a variety of public spaces.
The class includes a discussion and analysis of specific projects and art works that have significantly shaped the dimensions of this area of artistic activity. Additionally, students will apply the ideas and issues that evolve from these discussions in the form of practice based projects.

Readings to include selections from the following:

Benjamin, Walter. The Work of Art in the Age of Mechanical Reproduction, in Illuminations, edited by Hannah Arendt, Schocken Books, 1969
Crimp, Douglas. “Redefining Site Specificity” in On the Museum in Ruins (Cambridge: MIT Press, 1993) pp. 150-186 ISBN-10: 0-262-53126-7
Deutsche, Rosalyn. “Tilted Arc and the Uses of Democracy” in Evictions: Art and Spatial Politics (Cambridge: MIT Press, 1996) pp. 257-268 ISBN-10: 0-262-04158-8
Kluge, Alexander and Negt, Oskar. “The Public Sphere of Monuments - the Public Sphere and Historical Consciousness” in The Public Sphere and Experience (currently out of print)
Kwon, Miwon. One Place after Another: Notes on Site Specificity Author(s) in October, Vol. 80 (Spring, 1997), pp. 85-110
Marchart, Oliver. “Some basic observations on the difficult relation of public art, urbanism and political theory” in stadtmotiv* 5 Essays on Architecture, City and the Public Sphere(s) Editors: Andreas Lechner & Petra Maierthe (Wien: selene, 1999) ISBN 3-85266-111-0
Moholy-Nagy, László. “Space is a reality”
O’Neill, Paul. “Three stages in the art of public participation: The relational, social and durational” in dérive 39 (2010) pp. 1-10
Tsui, Hilary. “Art interventions as alternative place−making; Urban cultural exchange between Vienna and Hong Kong,” in dérive 33 (2008) pp. 1-5
Phillips, Patricia. “Creating Democracy: A Dialogue with Krzysztof Wodiczko” in Art Journal, (Winter 2003) pp. 32 – 47

Mapping the local INM-MALO01
Allan Siegel
The seminar presents an overview of the major phenomena, trends and issues of contemporary art based on various subjects in each semester in the form of presentations held by invited lecturers and field trips to museums, institutions and artist studios.
While offering an insight into the Hungarian contemporary art scene, one of the course's main objectives is to develop personal contacts and cultural interactions between local and visiting students fostering an emerging intercultural dialogue. During the semester, students work in groups in order to realize a collaborative project followed by an exhibition (contents and forms of the final project to be discussed during the seminar).
The course is primarily directed towards Erasmus students as well as local students of the Intermedia and Fine Art Theory and Curatorial Studies departments, but students from other departments are warmly welcome.

Multimedia INM-MULM02
Erik Róbert Langh
Studying Multimedia helps participants to define a creative approach with technology and media of their own in the process of creating artworks. Participants should have basic knowledge and routine in technical media, in virtualization and visualization, in the use and post-production of digital media. In the framework of Multimedia students become acquainted with making art aided by the computer, to solve problems that traditional mediums unable to solve.
Following the traditional narrative and dramatic interpretations computer simulations became able to mediate reality. Involving the audience into simulations - the possibility of interactivity - urges the media artist to find more natural ways of communication between human and machine. As the 3D perspectival representation of the physical world helps the process of perceptual reception, new developments enable us to use CGI, interactivity, photogrammetry, game peripheries, virtual spaces in art making. During the lectures several approaches and practices are demonstrated: optical and electronic scanners, lens correction, digital cameras, Microsoft Kinect, exercises in working under diverse light conditions, in- and outdoor environments, object or surround orientations of scanning. Visual engines like WebGL, OpenGL help reviewing the recorded material, or publishing them either to the WEB or offline for local installations

Interface and interactivity INM-INFI02
Márton Fernezelyi, Erik Róbert Langh, Zoltán Szegedy- Maszák
The aim of the course is to teach the students the theoretical and practical foundations of designing and implementing interactive applications. Within the curriculum students have to complete practical exercises parallel with working on their own independent artistic projects. Interface and Interactivity offers a development framework for producing students’ projects requiring special technical solutions (such as interactive installations, complex internet/multimedia applications). Cutting edge inventions, technical solutions can be studied and used by the students to develop their own artistic projects. With the help of the tutors it is mandatory for the participants to develop sophisticated, technically innovative projects on their own. Study prerequisite is a basic understanding and routine in computer-programming (Javascript, Python, Php, Max MSP, Eyesweb etc.).

SCENOGRAPHY

Scenography practice, set design, realisation 2. LÁM-DITK02
Judit Csanády, Piroska É. Kiss
Creating the set design of a selected drama on a given stage including the concept, a storyboard, the ground plan, drawings, all technical drawings, 3D model, and a paper model in 1:25 proportion.

Specialised Practice, Workshop, Study Tour 2. LÁA-SZMT02
Gabriella Kiss
Basic exercises of model building.
Study tour: it’s objective is to experience directly the history of art and theatre art knowledge following a given topic. During the studies it’s essential to get to know the learnt material live, in reality. The direct sensing of the dimensions and impressions results the understanding of artworks and eras. The direct experience is essential on the field of visual arts.

Scenography practice, costume design, realisation 2. LÁM-JETK02
Edit Zeke
Creating the costume design of a selected drama including the concept, the chosen era, and style, the relations of the characters, the color map of the performance, the completed design (with enclosed toppings of proposed textiles), texture and technical drawings.

Basic knowledge of scenography, theatre and film set, costume, puppet 2. LÁA-LDJB02
Gabriella Kiss, Patrícia Pajor
The individual elaboration of a fiction following a given topic. The task is the artistic presentation of the character’s home, and the character’s and their acquaintances’ costumes. The task is focused on the observation and on the conclusions of the effect that men and their surroundings have on each other.
Basic knowledge of puppet design: acquirement of the basics of puppet design through the design and making of a puppet by the student led by the puppet builder lecturer.

External professional workshop LÁM-KÜSG01
Edit Zeke, Gabriella Kiss
During this workshop students will have an insight into the implementation and the realization of a puppet theatre show. Students participate as a designer in the processes of design, realization and stage setting under the leadership of a tutor. Execution of specific tasks, realization of the project until the moment of premiere.

Mask making, cutting LÁA-MASZ02
Fruzsina Nagy
Definition of the departments of mask making for films and for theatre, and their tasks. The history of masks. Basic differences between film and theatre. Basic differences between films in colour and films in black and white. Reading and elaborating of a play and a script. Colour theory, the interaction of colour. Techniques of younger and elder look, preparation of body hair , wig, beard, mustache ecc., wounds, bleedings in film and on stage. Special effects, rubber masks, prosthetic appliances. Realistic make ups. Contradiction between the played character and the actor’s personality and abilities. Differences between genres: film, dramatic theatre, opera, ballet, musical, puppet theatre ecc.
Introduction and application of materials and techniques. Part of the task is connected to the motion picture costume design.
The course highlights that cutting is an elemental part of the design and the realization of the costume. The course represents the essence of cutting, the detailed processes of the realization of costumes, the main trends of cutting styles.

OPEN COURSES

Hungarian Language AKB-HUL
Lilian Precskó
Grammar and vocabulary at A1 level (greetings, introduction, countries, colours, numbers, objects, food, dialogues in a restaurant/shop ecc.)

I. Introduction

1. Greetings
The Hungarian alphabet
Countries, nationalities
Numbers

2. Professions
Introduction
The verb „to be”

3. The vowel harmony
Where do you live? The suffix „in”
What language do you speak?

II. Food and drinks

4. Food and drinks
Measurements
Traditional Hungarian food

5. In the shop
The accusative form

6. In the restaurant, in the café
Summary

III. In the city

7. Places in the city
Asking for directions
Budapest quiz

8. Means of transport
Which number?
Travelling in the city

9. Preparation for the final test

10. Final test – online

Artistic Anatomy and Projection MAT-ANAT02
Frigyes Kőnig
Within the framework of the subject we learn the structure of the human body from the aspect of bones, muscles, form and expressiveness and process the drawing issues of space and space depiction. We develop a transparent body image to enhance the awareness of space vision, mass and plasticity. This improves the ability of analyzing and synthetizing to help awareness of depiction. All these enhance the fluency and the information richness of drawing communication. During osteology studies we learn the bone structure of the human body in detail. The form, function and connection of the bones. During the semester we prepare study drawings of all elements of the complete skeleton from as many aspects as possible.
The presentation of the musculoskeletal system through a sequence of lectures and the processing of these through drawings at the same time. Interpretation of the basic space elements and their shadows, leading to complex compositions by drawing.

Mapping the local* INM-MALO01
Allan Siegel
The seminar presents an overview of the major phenomena, trends and issues of contemporary art based on various subjects in each semester in the form of presentations held by invited lecturers and field trips to museums, institutions and artist studios.
While offering an insight into the Hungarian contemporary art scene, one of the course's main objectives is to develop personal contacts and cultural interactions between local and visiting students fostering an emerging intercultural dialogue. During the semester, students work in groups in order to realize a collaborative project followed by an exhibition (contents and forms of the final project to be discussed during the seminar).
The course is primarily directed towards Erasmus students as well as local students of the Intermedia and Fine Art Theory and Curatorial Studies departments, but students from other departments are warmly welcome.

Site specific art work and interventions in public space^* INM-SISP01
Allan Siegel
Sites for the exhibition of art work have continued to move beyond the traditional places of the museum, gallery or public square. In addition, exhibitions themselves have also evolved into site specific public art events: whether as regular spectacles like the Venice Biennale, Documenta or installations by a museum such as the Tate Modern.
The seminar is a survey of the evolution of the different interdisciplinary art practices relating to site specific public art projects and interventions which take place within or outside of the traditional museum environments. Focusing on projects specifically conceived as forms of an artistic discourse situated in a variety of public spaces.
The class includes a discussion and analysis of specific projects and art works that have significantly shaped the dimensions of this area of artistic activity. Additionally, students will apply the ideas and issues that evolve from these discussions in the form of practice based projects.

Readings to include selections from the following:

Benjamin, Walter. The Work of Art in the Age of Mechanical Reproduction, in Illuminations, edited by Hannah Arendt, Schocken Books, 1969
Crimp, Douglas. “Redefining Site Specificity” in On the Museum in Ruins (Cambridge: MIT Press, 1993) pp. 150-186 ISBN-10: 0-262-53126-7
Deutsche, Rosalyn. “Tilted Arc and the Uses of Democracy” in Evictions: Art and Spatial Politics (Cambridge: MIT Press, 1996) pp. 257-268 ISBN-10: 0-262-04158-8
Kluge, Alexander and Negt, Oskar. “The Public Sphere of Monuments - the Public Sphere and Historical Consciousness” in The Public Sphere and Experience (currently out of print)
Kwon, Miwon. One Place after Another: Notes on Site Specificity Author(s) in October, Vol. 80 (Spring, 1997), pp. 85-110
Marchart, Oliver. “Some basic observations on the difficult relation of public art, urbanism and political theory” in stadtmotiv* 5 Essays on Architecture, City and the Public Sphere(s) Editors: Andreas Lechner & Petra Maierthe (Wien: selene, 1999) ISBN 3-85266-111-0
Moholy-Nagy, László. “Space is a reality”
O’Neill, Paul. “Three stages in the art of public participation: The relational, social and durational” in dérive 39 (2010) pp. 1-10
Tsui, Hilary. “Art interventions as alternative place−making; Urban cultural exchange between Vienna and Hong Kong,” in dérive 33 (2008) pp. 1-5
Phillips, Patricia. “Creating Democracy: A Dialogue with Krzysztof Wodiczko” in Art Journal, (Winter 2003) pp. 32 – 47

* The course is not avalaible for painters