Independent Studies Programme
Academic Director 2014–15: Beatriz Preciado
Permanent lecturers: Xavier Antich, Manuel Asensi, Franco Berardi Bifo, Jordi Bonet, Marcelo Expósito, Guillermo Gómez-Peña and La Pocha Nostra, Ana Longoni, Peter Pal Pelbart, Beatriz Preciado, Suely Rolnik.
Guest lecturers: Georges Didi-Hüberman, Michel Feher, Walter Mignolo, Miguel Morey, Quim Pujol, Jorge Ribalta, Toni Serra, among others.
The aim of the INDEPENDENT STUDIES PROGRAMME (PEI) is to explore the field of the artistic practices that connect art to human sciences and to social, political and institutional intervention. The programme is conceived as an interdisciplinary education forum that can prepare those who participate in it to embark on critical professional work in the field of art and culture.
Backed up by its six year history and its international prestige, the PEI has been able to operate as a device for training individuals who are qualified to experiment in the institutional sphere without losing sight of the social context and political conditions of arts and cultural institutions. Based on an understanding of art as a form of production at the intersection of many kinds of knowledge, systems of representation and of social codification (critique of discourse, gender studies, queer theory, decolonial critique, social movements, critical urban studies, etc.) the Independent Studies Programme accepts students from a wide array of professional, academic and social backgrounds: artists, architects, historians, sociologists, anthropologists, designers, activists, curators, psychologists, etc., who come together around an international team of teachers who share a political vision of the museum and education as spheres for critical and social experimentation.
The PEI positions itself as a pivot between museum and university, and rejects the traditional division of knowledge and the museum-based logic of the cultural industries, as well as the ecosystem targeted at the education of an ‘intellectual workforce’ in the neoliberal context. As such, the PEI challenges the idea that the accepted notions of ‘cultural management’ and its techniques are the only way of operating professionally in the artistic and cultural production system. Instead, it fills the need for a pedagogy based on subaltern forms of knowledge, with a special emphasis on critical theories, grammars of feminism and the languages and practices of decolonisation. The programme ultimately seeks to become inextricably linked to the critique knowledge production processes.
The Independent Studies Programme is made up of a series of interconnected mobile work spaces that generate a range of different activities. It follows three main lines of research (Critical theories of discourse, Political imagination and Gender technologies) and six complementary subjects (Decolonial epistemologies, Art and visuality, Rights to the city, Methodologies for border action, Strategies of desire and The economy of culture). Several seminars and lectures are scheduled throughout the course, as well as a series of workshops on archive research, the making of cartographies, discursive or curatorial experimentation and the production of cultural and social intervention strategies) which gradually interact with a programme of seminars and lectures scheduled throughout the course, as well as specific workshops on archival research, mapping, discursive or curatorial experimentation, and the production of cultural and social intervention strategies.
The next course begins in April 2014 and ends in June 2015.
Duration: 15 months.
Teaching hours: Monday to Friday, between 4 and 9 pm*
The academic calendar is divided into three academic terms and a term of presentation of end of course projects. Each term consists of:
- Three or four subjects each of three-hour duration. Monday to Friday, 4 to 9 pm.
- Reading Workshops about the used bibliography.
-One public seminar or conference. These will be held on weekdays or Saturdays.
- A research workshop (to choose one of several options) with intensive sessions held periodically throughout the three terms.
* This schedule is subject to change, in some cases it can be extended to mornings and Saturdays.
• Agreement with the Universitat Autónoma de Barcelona (UAB). The PEI is accredited as "Own Master in Museum Studies and Critical Theory" (60 ETCS credits).
• Agreement with the University of Buenos Aires for the recognition of the PEI credits as credits of free election in their own qualifications.
• Agreement with the Group of research Body and Textuality, linked to the Department of Spanish Philology at Universitat Autònoma de Barcelona and directed by Dr. Meri Torras. Recognition of the PEI as credits of the doctorate program.
It will consist of ongoing evaluation (60%) and the public presentation of the final project (40%). It is compulsory to attend 80% of the lectures. Unjustified absences may result in the student not being evaluated.
The PEI offers two types of work experience in different departments of the MACBA:
1) Practices related to the research workshop, overseen by curators from MACBA as part of the final work.
2) Optional work experience to promote the student’s professionalization. This may include internships in one of the various departments of MACBA (subject to availability).
- Currently the PEI is part of the Culture@Work Project funded by the European Community, which supports the circulation of artistic work and collaborative practices for professionals in the culture sector. The project will include international workshops for students and is integrated, together with MACBA, with the Catholic University in Lisbon, Portugal, the National Literature Centre in Mersch, Luxembourg, and the University of Copenhagen, Denmark.
- Co-beneficiary of the project The uses of Art - The Legacy of 1848 and 1989, the programme of the museum network L’Internationale that will be implemented with the realisation of the project Aesthetics of Emancipation. This project focuses on redefining the concept of emancipation that has occurred since the Iranian revolution of 1979, a moment that marks the beginning of a new political and economic framework.
- Currently working to establish new agreements with international universities and European institutions.
- LOOP. Currently students and alumni of PEI collaborate on curatorial projects in the section Screen Festival.
- In late 2013, the Fondazione Sandretto Re Rebaudengo has invited PEI to collaborate in the process of selecting participants for their Young Curators Residency Programme, suggesting that two PEI alumni become candidates to participate in this prestigious international programme.
- In October 2013 two full grants were awarded by the Herbst Academy enabling two PEI students to participate in the Steirischer Herbst Festival of New Art in Graz, Austria (20 September – 13 October 2013).
Since 2008, Aecid grants have been available to train groups of researchers from Latin American and Eastern countries. This has facilitated the movement of foreign students studying for the Postgraduate Diploma, as well as providing publicity abroad. During the year 2012–13, seven student maintenance grants were available thanks to Aecid.
PEI follows three main lines of research that determine the subjects.
CRITICAL THEORIES OF DISCOURSE
Manuel Asensi and Xavier Antich
This is the backbone of the programme and lays the groundwork that all the other subjects will build on. It addresses the methodologies, metalanguages and tools that philosophical thought has developed throughout history in its attempts to critically approach the art institution. It entails a systematic overview of key texts from structuralism and post-structuralism, semiology and theories of language, psychoanalysis, Marxism, etc.
TECHNOLOGIES OF GENDER
Feminism as a critical theory and a practice for social change has given rise to a whole series of strategies for intervention in the public sphere and the production of visibility and knowledge. This subject explores the complex theoretical legacy that is the result of subaltern discourses and practices, feminism, decolonial critique, queer, trans and crip theories, and also of the politics of the body in relation to institutional critique, artistic practices and visuality. The idea is to trace the counterhegemonic artistic and discursive practices that have displaced dominant ideas around identity, by means of a cartography made up of texts, analytical tools and conceptual models that make it possible to understand the many grammars of sexual, racial and gender emancipation that are attempting to redefine the modern project.
Diagrams of the new political imagination
This subject offers an overview of some of the historical links between artistic avant-gardes and political vanguards (from the Russian-Soviet avant-gardes and Berlin Dada to institutional critique...), and then hones in on the articulations between the artistic practices and forms of political invention that characterise our own current historical cycle. In this subject, participants will attempt to collectively produce maps and diagrams of the forms that these articulations have taken from the eighties to the present.
STRATEGIES OF DESIRE
Art as micropolitical experimentation
By Suely Rolnik and Peter Pal Pelbart
This subject studies the convergences and divergences between the spheres of artistic creativity and psychotherapy. Drawing on Suely Rolnik's career as a therapist and art theorist (her work has been linked to figures such as Félix Guattari, Lygia Clark and Cildo Meireles), this subject takes a hybrid approach that lies somewhere between theoretical reflection and psychotherapeutic exercise, and considers arts practice in terms of experimenting with the production of subjectivity.
THE ECONOMY OF CULTURE
The arts of invention in cognitive capitalism.
By Franco Berardi Bifo and Michel Feher
This subject analyses the mutations of capitalism and the relation between political economy, artistic practice and production. Michel Feher will analyse the neoliberal condition through a critical reading of key texts on modern political economy, from Adam Smith and John Stuart Mill to Frederick Hayek and Milton Friedman. Franco Berardi Bifo proposes an anti-idealist approach to the ‘artistic’ invention and the autonomy of the work of art by taking a critical stand on political economy and ‘cognitive’ capitalism.
By Walter Mignolo
This course addresses issues such as the production of discourse from the point of view of de-centralised geopolitics, the possibility of another thought, the identity or lack of identity of the suppressed, the strategies for their emergence and expression (in which the issue of the indigenous is central), and other aspects arising from the exercise of postcolonial criticism.
ART AND VISUALITY
By Georges Didi-Hüberman
This course focuses on setting up a wider field for the study of art and visuality. It is therefore not limited to historiographical discourse for it understands that the arts generate a specific form of knowledge and culture that needs to be addressed in an expanded way, both transversal and multidisciplinary.
By Quim Pujol
This seminar-workshop deals in the theatrical dimension and its relation to the production of the social body. The subjects of study will be presence, the performative, perceptive systems, the distribution of the body in space through architectural and/or choreographic strategies, the ritual, the spectacular, distancing, and the relation between theatricality and the different forms of power and counter-power. Through the reading of texts and the analysis of study cases, this seminar-workshop will examine the uses of performance and theatre in art, from Hermann Nitsch to the rituals of Dionysus; from Oskar Schlemmer to John Cage; from La Ribot to Israel Galván; from Isadora Duncan to the Cockettes; from Fina Miralles to the Costumari Català; from the Ballets Russes to Xavier Le Roy. The key objective will be to reflect on the theatricalities around us and to imagine other theatrical strategies with different ethics.
A 'decentred' history of art from a Latin American perspective
In the spirit of the PEI's desire to review existing historiographic accounts from the perspective of an explicit critique of coloniality, this subject will focus on the tempestuous history of the artistic avant-gardes in Latin America, essentially from the 1920s onwards. From the 'foundational' milestones of Argentina's artistic avant-garde in the sixties to the forms of artistic activism and political creativity that developed in Latin America in the eighties and nineties, this 'decentred' history of art is an implicit critique of the models of visuality that have historically been considered valid in the Eurocentric narrative of modern art.
RIGHT TO THE CITY
The city conceived by those who live in it
Imparted by Jordi Bonet
This subject continues the PEI's ongoing interest in critical urbanism and the analysis of the urban phenomenon, but this time the experience will be more geographically rooted in the city. The idea is to come up with a reading of Barcelona's metropolitan environment as it is now, with the input of a series of individuals and groups who are currently actively involved in constructing a city model that offers an alternative to neoliberal commodification.
METHODOLOGIES FOR BORDER ACTION
By Guillermo Gómez Peña and La Pocha Nostra
La Pocha Nostra is a trans-disciplinary arts organisation that provides a support and interrelations network for artists of various disciplines, generations and ethnic origin. La Pocha Nostra seeks to remove the boundaries between art and politics, between artistic practice and theory, and between artist and viewer. La Pocha Nostra has focused on the notion of collaboration across borders between countries, races, genders and generations as a radical act of citizen diplomacy, with the ultimate aim of creating ephemeral communities of rebel artists.
Apart from classes, the PEI is articulated through elective workshops aimed to initiate specific research projects both in the academic environment and in the production, according to the interests of the student.
NOTE: Due to the status of the guest speakers and the intensity of the agenda, the organisation cannot take responsibility for any changes in the programme
Xavier Antich was the academic director of the Independent Studies Programme until 2011. He has a doctorate in Philosophy and is professor of Aesthetics and Director of the Master's degree in Communication and Art Criticism at the University of Girona. He is the author of a book on the metaphysics of Aristotle (Introducción a la metafísica de Aristóteles) and several translations of contemporary philosophers such as Merleau-Ponty, Emmanuel Léveinas, Franco Rella and Chantal Mouffle. He has had some eighty articles published in specialist journals and collective publications, basically on issues relating to philosophy, aesthetics and contemporary art, and has won the Joan Fuster Essay Prize for and the Espais Award for art criticism. He is on the editorial board of Cultura/s, the cultural supplement of La Vanguardia, and of the magazines L'Espill (Valencia) and Trame (Venice).
Manuel Asensi is professor of Literary Theory and Comparative Literature at the Philology Department of the University of Valencia and has been visiting professor at several universities in Europe and the United States. He is director the Humanidades collection for the publishing house Tirant lo Blanch and a cultural critic for Cultura/s, the cultural supplement of the newspaper La Vanguardia. His field of research basically revolves around literary theory and criticism, Spanish literature, film and art criticism. His published works include: Historia de la teoría de la literatura (two volumes), Los años salvajes de la teoría and Crítica y sabotaje. He directed the Spanish critical edition and translation of Gayarti Spivak's Can the Subaltern Speak?
Franco Berardi Bifo
Franco Berardi is a philosopher, writer and mass media theorist. In the seventies, he was actively involved in the Italian autonomist movements and in alternative communication projects that made history, such as Radio Alice. In the following decade, he supported the explosion of the incipient net as a vast social and cultural phenomenon, and from 2005 onwards he was an agitator for the Italian tele-streets movement. He has published many books, including The Factory of Unhappiness and Il sapiente, il mercante, il guerriero, both of which have been translated into Spanish. He currently works with the online platforms th-rough.eu and SCEPSI (European School of Social Imagination) and is participating in dOCUMENTA (13).
Jordi Bonet i Martí
Jordi Bonet i Martí has a PhD in Social Psychology from the Universitat Autònoma de Barcelona and teaches at the Department of Pedagogy, Universitat Rovira i Virgili. Since 2005, he has been a researcher at the IGOP (Institut de Govern i Polítiques Públiques), Universitat de Barcelona, and since 2008 he has formed part of the SIMReF (Seminari Interdisciplinar de Metodologia de Recerca Feminista) advocacy group. He has written numerous books and articles on social exclusion, civic participation, urban policies and feminist research methods.
Marcelo Expósito's work as an artist (marceloexposito.net) expands into the fields of critical theory, publishing, curating and translation. He regularly teaches at institutions and in non-formal contexts in several countries. He is a member of the Universidad Nómada, the Southern Conceptualisms Network and the editorial team of transversal (eipcp.net/transversal). He co-founded the magazine Brumaria and co-edited it from 2002 to 2006. He has published, alone or in collaboration, the books Cris Marker, Modos de hacer. Arte crítico, esfera pública y acción directa, Historias sin argumento. El cine de Pere Portabella, Producción cultural y prácticas instituyentes and Los nuevos productivismos.
Performer, writer, activist, radical teacher and director of the performance group La Pocha Nostra. Born in Mexico City, he moved to the United States in 1978. He has published ten books, with which he has contributed to the debate on cultural diversity, border culture and relations between Mexico and the United States. His art has been shown in the United States, Canada, Latin America, Europe, Russia, South Africa and Australia. Winner of the American Book Award 1997 for The New World Border: Prophecies, Poems, and Loqueras for the End of the Century. He is a regular contributor to American and European newspapers and magazines, and deputy editor of The Drama Review (NYU-MIT). He is a Senior Fellow at the Hemispheric Institute of Performance and Politics and patron of the Live Art Development Agency (London).
Ana Longoni has a PhD in Arts and teaches at the University of Buenos Aires. She is also a CONICET researcher, playwright, political essayist and one of the most highly regarded historians of avant-garde and contemporary art in Latin America. She has written some key texts such as Del Di Tella a Tucumán Arde and Traiciones. La figura del traidor en los relatos acerca de los sobrevivientes de la represión, as well as an influential essay on Oscar Masotta. She curated the Roberto Jacoby retrospective and, as part of the Southern Conceptualisms Network, a vast overview-in-process on art and social activism in Latin America in the eighties, both at the Museo Reina Sofia.
Peter Pál Pelbart
Philosopher and essayist. Born in Budapest and educated in Paris, he is a lecturer at the Pontificia Universidad Católica of São Paulo (PUC-SP). His research is centred on topics such as madness, time, subjectivity and bio-politics. His publications include O Tempo não-reconciliado (1998), A Vertigem por um filo (2000), Vida Capital (2003) and Nietzsche e Deleuze: Bárbaros, Civilizados (2004). He is currently coordinator of a theatre company with psychiatric patients, with whom he has produced O Anti-Edipo (2001), Gotham-SP (2004), Trem Fantasma (2007) and Enquête sur le/notre dehors (2007).
A researcher and teacher at Paris 8 University, Beatriz Preciado is a philosopher and queer activist He holds degrees from the New School for Social Research in New York and Princeton University, and is a leading international figure in the fields of gender studies and the politics of the body and of sexuality. He is the author of the books Manifiesto contrasexual, Testo yonqui and Pornotopía, and of numerous articles published in Spanish, English and French journals such as Multitudes, Artecontexto, Parallax and Log. He has collaborated in curatorial projects with Annie Sprinkle, Beth Stephens, Mark Tompkins, Oreet Ashery, Ron Athey and Shu Lea Cheang.
Suely Rolnik is a full professor at the Pontifical Catholic University of São Paulo, where she coordinates the Centre for Cross-Disiciplinary Studies of Subjectivation as part of the postgraduate Clinical Psychology programme. Fleeing the Brazilian military dictatorship, from 1970 to 1979 she sought exile in Paris, where, in addition to completing her psychoanalytic training she also studied Philosophy, Social Sciences and Psychology. Rolnik's main lines of work are the politics of subjectivation in relation to the clinic and power, and art as a field of micropolitical experimentation. Along with Félix Guattari, she co-wrote the influential book Micropolítica: Cartografias do Desejo, which she translated into Spanish along with several of her essays on Lygia Clark and Cildo Meireles.
Philosopher, art historian and essayist, he has lectured on social sciences at the École des hautes études in Paris since 1990. He studied at the French Academy in Rome, in the Villa I Tatti in Florence and at the Warburg Institute in London, and has taught at universities around the world. His works are mainly essays on his professional work, especially on the history and theory of images from an aesthetic and philosophical perspective. Among his writings are Lo que vemos, lo que nos mira (1997), L'Image survivante. Histoire de l'art et temps des fantômes selon Aby Warburg (2002), Imágenes pese a todo. Memoria visual del Holocausto (2004), Gestes d'air et de pierre. Corps, parole, souffle, image (2005), Venus rajada. Desnudez, sueño, crueldad (2005), Ante el tiempo. Historia del arte y anacronismo de las imágenes (2006) and Ex-voto. Image, organe, temps (2006).
Philosopher and publisher, founder of Zone Books (New York) and President of Cette France-là (Paris), a French organisation that monitored French immigration policy under President Sarkozy. He is the author of Powerless by Design: The Age of the International Community (2000) and co-editor of Nongovernmental Politics (2007), with Gaëlle Krikorian and Yates McKee. More recently he was co-author and publisher of Cette France-là 1, 2007/2008 and Cette France-là 2, 2008/2009.
Art and culture critic. Author of numerous essays, he is also the instigator of collaborative research processes and of activities for the exploration of the urban environment. Both aspects are strong points of Continental Drift, organised with the 16 Beaver group of New York and the Compass group of the Chicago region. Currently, he is pursuing Three Crisis: the 30s, 70s and today, a historical investigation into the economic, social, cultural and geopolitical roots of the current crisis.
Argentine semiotician, he has lectured on literature at Duke University, USA, since 1993. Ph.D. from the École des hautes études in Paris, he has taught at the universities of Toulouse, Indiana and Michigan. He has published extensively on semiotics and literary theory, and has explored concepts such as global coloniality, geopolitics of knowledge, transmodernity and border thinking. Among his most important contributions has been the production of categories of analysis such as ‘colonial difference’, ‘border thinking’, ‘coloniality of being’ and the idea of ‘Western Hemisphere/the North Atlantic’. He is director of the Franklin Institute for Interdisciplinary and International Studies at Duke University and Duke’s programme in the Andes.
Professor Emeritus of Philosophy at the Universitat de Barcelona and member of the School of Philosophy. Visiting professor at the universities of Buenos Aires, Havana, Venice, Vienna, Munich and Paris, among others. Contributor to numerous magazines and newspapers, including El País and La Vanguardia. He has translated several works of Michel Foucault and Gilles Deleuze into Spanish, such as Obras esenciales (I): entre filosofía y literatura (1954–1970) (1999) and La lógica del sentido (1989). Noteworthy among his publications are El hombre como argumento (1987), Deseo de ser piel roja (1994, XXII Anagrama de Ensayo award) and, more recently, Pequeñas doctrinas de la soledad (2007) and Hotel Finisterre (2011).
Critic, curator and artist. He has published articles in books such as Repensar la dramaturgia and A veces me pregunto por qué sigo bailando, and has contributed to various publications, including Artributos, Maska and Efímera. His most recent works are Tiburón tigre (2009) and Sin título (2011). He is co-curator of La estrategia doméstica and the Secció Irregular at the Mercat de les Flors. He is currently editing, together with Ixiar Rozas, a volume on affective theory in the series ‘Cos de Lletra’.
Artist and critic. He has curated, among others, the exhibitions El carrer. Joan Colom a la Sala Aixelà, 1961 (MNAC, Barcelona, 1999), Procesos documentales. Imagen testimonial, subalternidad y esfera pública (La Capella, Barcelona, 2001), Joan Colom. Fotografías de Barcelona, 1958–1964 (Ministerio de Cultura-Fundación Telefónica, Madrid, 2004) and Jo Spence. Más allá de la imagen perfecta. Fotografía, subjetividad, antagonismo (MACBA, Barcelona, 2005). Co-editor of the book Indiferencia y singularidad. La fotografía en el pensamiento artístico contemporáneo (1997) and editor of Servicio Público. Conversaciones sobre financiación pública y arte contemporáneo (1998) and Efecto real. Debates posmodernos sobre la fotografía (2004). He has been a regular contributor to the newspaper La Vanguardia and was head of public programmes at the Museu d’Art Contemporani de Barcelona (MACBA) between 1999 and 2009.
Works in video and new media. Founding member of the Archivos OVNI (Observatorio de Video No Identificado, www.desorg.org), where he does research and programming. He has written, among others, the critical texts Rizomas (2009), Exodus. Los Márgenes del Imperio (2008), El Sueño Colonial y Zonas Autónomas (2006), Resistencias (2005), Post Sept 11 (2003) and Comunidades (2000). His work has been shown in institutions such as the Centre Georges Pompidou, Paris, the Museo Nacional Centro de Arte Reina Sofía, the Centro Conde Duque and the Casa Encendida, Madrid, ZKM, Karlsruhe, Transmediale, Berlin, LUX and Tate Modern, London, and the Anthology Film Archives, New York.
LECTURERS AT PREVIOUS EDITIONS OF PEI
Doug Ashford, Zdenka Badovinac, Lars Bang Larsen, Enric Berenguer, Jordi Borja, Rosi Braidotti, Judith Butler, Ximena Briceño, Christophe Broqua, Pablo Ciccolella, Jeffrey Cohen, Lisa Collins, Beatriz Colomina, Douglas Crimp, David Harvey, Elisabeth Lebovici, José Esteban Muñoz, Miren Etxezarreta, Safaa Fathy, Maurizio Ferraris, Michel Ferrer, Devin Fore, Maria Gough, Gabriela Gutiérrez Dewar, José Luis Pardo, Robin Kelsey, Andrew Kirby, Rita McBride, Jordana Meldenson, Chantal Mouffe, Francesc Muñoz, Lluís Ortega, Doina Patrescu, Cynthia Patton, Jorge Pedemonte, Pilar Pedraza, Víctor Pimstein, Carlos Prieto, Ferran Pujol Roca, John Rajchman, Jacques Rancière, John Roberts, Joan Roca, Emmanuel Rodríguez, Anne Sauvagnargues, Allan Sekula, Neil Smith, Gayatri Spivak, Eyal Weizman, Brian Winston and George Yúdice.
Applications for admission will be accepted: from 15 October to 15 December 2013.
Admission requirements: applicants must have a university degree and a high level of both Spanish and English. Classes will be imparted in either language depending on the teacher and the subject in question.
Applicants to the programme must submit the following documents with the application:
• Application form
• Letter of motivation (two pages)
• Two letters of recommendation
• Photocopy DNI/Passport
• Photocopy of university degree certificate
The selection process will be based on the material submitted. Above all, the connections between the content and objectives of the Programme and the applicant’s academic, professional or artistic experience and activities will be valued. The applicant’s level of English will also be assessed.
Applications can be submitted by e-mail or post:
Independent Studies Programme–MACBA
Plaça dels Àngels, 1
Pre-registration and enrolment
Course fee: € 3500
Pre-registration: 500 €. Until 20 February. Assumes reserved place
Registration: 3,000 €. Payment until 20 March. Possibility to pay in one installment or in two installments of 1,500 € (in March 2014 and January 2015)
Acceptance and registration at the Universitat Autonoma de Barcelona at the start the course.
Documentation required (original):
• Original Certified photocopy of university degree
• Certified photocopy of transcript
• Photocopy of DNI or passport
• Two passport photos
At this time scholarships are not available.
There needs to be a minimum of thirty and a maximum of forty participants. MACBA reserves the right to cancel the course if the minimum of participants is not achieved.
A series of seminars (partially or fully open to the public) and internal workshops will strengthen and reinforce the core themes that run through the programme, in more systematic or intensive formats.
- What is the difference between the PEI and the Masters in Museum and Critical Theory Studies?
- What is a Postgraduate Diploma?
- How is the PEI evaluated?
- How is the UAB Postgraduate Diploma in Museum and Critical Theory Studies evaluated?
- What is the individual work?
- What is the collective work?
- Enrolment and Degree legalisation for non-EU students
The PEI is an Independent Study Programme created in 2006 by the Museu d’Art Contemporani de Barcelona (MACBA) offering a radical educational alternative to other university courses on contemporary art and curatorial/management studies.
To facilitate academic continuity for students interested in the PEI, the programme formally adapts to the requirements of a Masters degree and is accredited by the Universitat Autònoma de Barcelona (UAB) as a Masters in Museum and Critical Theory Studies, of a professional and research nature, carrying 60 ECTS credits.
The PEI academic faculty is independent of the Museum and the University, ensuring the autonomy, coherence and stability of its intellectual programme.
Postgraduate Diplomas are independent studies validated by universities. The Masters in Museum and Critical Theory Studies grants a diploma signed by the Rector of the UAB and represents 60 credits.
The validation of these credits to continue doctoral studies depends on the university that recognises such studies, the proximity of the subjects and the inter-university agreements. Usually 15% of the credits are validated, but this is at the discretion of the director of the PhD.
To this end, the PEI has signed agreements with the University of Buenos Aires and the research group Cos i textualitat (UAB) for students who wish to pursue a doctorate.
Through continuous assessment of both the students’ attendance and their understanding of this radical research methodology. Assessed during the course are:
1 - The different essays presented during the course and participation in the research workshops.
2 - The presentation of a final individual project (used for the evaluation of the Masters).
3 - Participation in a collective project or work.
Through continuous assessment of the student’s attendance and the public presentation of a final dissertation (individual work).
This consists of the presentation of an individual written paper of at least 20 pages.
The public presentation of this work is mandatory to obtain the Postgraduate Diploma in Museum and Critical Theory Studies at the UAB. This is considered the final dissertation.
The public presentation will be held before a committee consisting of at least one member from the academic staff of the UAB and one from the PEI.
This work may adopt different formats: essay, research project, publishable article or a critical reflection on internships, etc., undertaken as part of the course.
Submission dates: end of the course. The student is eligible for a second call if circumstances justify.
This consists of presenting the result of work done collectively during the PEI research workshops.
The focus of this work will be addressed collectively by all students beginning with a common statement proposed by the PEI.
The project of each group is presented as part of the common statement, within the working policies of the PEI.
The presentation may take different formats: collective project, exhibition project, text, performance...
For the legalisation of the degree and academic record, consideration should be given as to whether your home country has signed the Hague Convention or not.
The management of this process varies as regards collating the documents and obtaining the apostille stamp. For countries that have signed the Convention only a certification / official apostille is necessary. For those countries that have not signed, three seals are required: the Ministry of Education of the country of origin, the Ministry of Foreign Affairs of the country of origin and the Spanish diplomatic representation in that country (Spanish consulate):
Alumnes amb titulació universitària de la resta de països
Consolat General de la República de Turquia a Barcelona
Consolat General de la República Bolivariana a Barcelona
Plaça dels Àngels, 1
Tel.: +34 93 481 33 58