Introductory studio class, which aims at the acquisition of solid design skills by the students and the development of their observation and perception skills. Students explore a range of materials and media and gain knowledge of perspective, anatomy and composition. They begin with figurative design, and gradually move towards abstract and expressive aspects of visual communication, through the design. 

Introductory studio laboratory course, which further develops students' drawing and painting skills, as well as observation and perception skills. Materials and methods are also furtherly explored through drawing, painting, and collage of living models, still life, and abstract themes. Assignments aim at the development of the personal expression and visual "language" of the students and generally, in the acquisition, of a wider knowledge and ability in the visual expression.

Introductory course in studio practice of printmaking. As a crash course it is intended for students to get-to-know and experiment in traditional and contemporary techniques and methods of etching and printmaking; also, to be introduced and exposed to history of the basic printmaking (Relief, Intaglio, Lithography, Silkscreen).

Introductory studio class on painting, which explores form, structure, composition, light and color, through laboratory and open space exercises, with or without model, as well as through abstract compositions. It starts with monochrome works and proceeds to the full color range, in order to develop skills for paint handling, color mixing, composition and use of various materials. Both realistic, abstract and conceptual approaches re adopted. Emphasis is placed on the development of analytical, research and methodological skills, critical thinking and work methods, that promote experimentation.

This Studio course offers an introduction and practical experience in developing sculptural work. Hands-on experimentation with several media and various approaches of three-dimensional form are referenced with respect to historical and cultural influences. Students explore primarily form, structure, and composition, via a variety of exercises and engage with a range of materials, tools and media. Emphasis is placed on the perception of negative and positive space and on the rendering of three-dimensional form and volume.

This course builds on the topics on formal perception and projection from the previous semester and deepens students' understanding of key concepts, materials, and processes employed in sculptural practice especially those concerning structure, space and time. Students are engaged in assignments that include sculptural explorations of space, free experimentations, engagement of environment, and atmosphere, combined media, techniques, materials and ways of displaying sculpture. 

The course aims to offer basic - practical and theoretical - photography knowledge. It seeks to understand the basic functions of the camera, and to acquire knowledge and skills in the various photographic methods. The work aims to develop an understanding of the various technical elements of the camera, as well as the elements of tone, texture and light, as they are determined by the technical capabilities of the photographic medium. In addition, students are introduced to darkroom techniques and black and white developing and printing. 

The course develops students' knowledge of contemporary photography and their technical skills including studio photography and the handling of digital photographic media for processing and presentation of photography. Particular emphasis is also placed on theoretical knowledge in order to develop critical and analytical thinking, including the ability to discuss photographic practices. Through lectures, critiques and theoretical texts, the course examines: the photographic tradition, from the invention of the medium to modern digital practices and the relationship of photography to video and cinema, narrative photography and sequence photography. 

This module engages students in the wide variety of ways in which it is possible to 'do art history'. It is designed to work in conjunction with other first-year modules, providing the student with the core study, visual and textual analysis skills necessary for thinking about, analysing, discussing, and writing about art and its histories. As well as helping the student to identify and engage with academic texts, the module also explores non-academic modes of writing about art: exhibition catalogues and reviews in different contexts, including blogs by historians, critics, journalists as well as art historical fictions.

This module introduces the students to key periods, themes and movements in western art from antiquity through to the late twentieth century. This is done through the study of key genres and concepts in the history of art and visual cultures.

Advanced course in studio practice of printmaking. Students with their gained knowledge from the previous crash course will elaborate and experiment in traditional and contemporary techniques and methods of etching and printmaking in order to shape their own vocabulary. Students will advance their practical skills and enrich their studio practice, while specific lectures with visual material of printmaking history, and of important artists, will specify their research. 

Το μάθημα περιλαμβάνει περαιτέρω διερεύνηση των διαφόρων μέσων και τεχνικών, τα οποία διδάχθηκαν στη Χαρακτική 1, όπως, υψιτυπία, αναγλυφοτυπία, βαθυτυπία και μεταξοτυπία. Οι φοιτητές δουλεύουν σειρά ατομικών projects, τα οποία στοχεύουν στην ενδυνάμωση τόσο των εννοιολογικών ικανοτήτων όσο και των τεχνικών δεξιοτήτων τους. Η τελική τους εργασία – σε μορφή έργου/ων που θα εκτεθεί/ούν – εξοικειώνει τους φοιτητές με τις διαδικασίες επιμέλειας και παρουσίασης. Επιπρόσθετα, το μάθημα δημιουργεί ένα περιβάλλον, όπου έννοιες και ορισμοί περί εκτύπωσης και χαρακτικής εξετάζονται, αμφισβητούνται και επεκτείνονται. Ενισχύονται και ενθαρρύνονται η δημιουργική προσέγγιση, η πειραματική διερεύνηση και ο συνδυασμός τεχνικών δεξιοτήτων, υλικών και μέσων. Αυτά θα διαφανούν στα έργα των φοιτητών για την τελική του παρουσίαση.

Προαπαιτούμενα: FAR 102 Χαρακτική 1

Το εργαστηριακό αυτό μάθημα κορυφώνει τη διαδικασία της ανάπτυξης των σχεδιαστικών ικανοτήτων των φοιτητών, όπως και τις ικανότητες παρατήρησης και πρόσληψης, που καλλιεργήθηκαν στα προηγούμενα τρία μαθήματα σχεδίου. Επιπρόσθετα, ενθαρρύνει τους φοιτητές να αναπτύξουν τη δική τους «γλώσσα», δίνοντας έμφαση στο σχέδιο ως αναπόσπαστο μέρος της περαιτέρω καλλιτεχνικής τους ανάπτυξης. Οι φοιτητές έχουν την ευκαιρία να εξερευνήσουν περαιτέρω το σχέδιο ως καλλιτεχνική δημιουργία σε διάφορες ιστορικές περιόδους και πολιτισμούς.

Προαπαιτούμενα: FAR 200 Σχέδιο 3

The course includes practice with various materials and methods. It incorporates further and deeper investigation of the topics discussed in the respective courses of the first year. It includes laboratory exercises for small groups of students, helping them to start developing their own artistic personalities. Combined applications with various media are explored. Students have the opportunity to explore the development of their works through the history of art and to acquire the necessary theoretical supplies to develop their ability for analytical and critical thinking. 

This course is intended to interweave content and context in 2D visual practices. This course will bridge the 2D previous courses and prepare the studio of third year.   Students start to acknowledge the value of research and create more complex projects with a combination of methods, techniques and materials in painting, drawing and printmaking. This merging can lead to installations, free experimentation in space (physical, architectural, private or public) and in time (performative) in order to explore Content and Context and the Conceptual framework in their work.

This Sculpture Course embraces an expanded approach to object-making to embrace public art, social practices and performance. Instead of focusing on object making we consider the process as a work of art. In order to cover a wide range of field research, students are guided toward more experimental works combining materials and methods. The course also aims to question   the "traditional way of approaching art" with the interest shifting from the artistic object to the process that preceded it for its production. More investigation in the movement and artists of Process-based Art (the movement in which the process of creation, the materials and the way they were used matter and not the result). 

In this course students perform more complex projects with a combination of methods, techniques and materials, such as constructions, installations, free experimentation in space (physical, architectural or private or public) and in time (performance) in order to explore Content and Context and the Conceptual framework in their work. Students are introduced to the central place of concepts, parameters, conditions, and states that surround a work of art and define it physically or conceptually and are offered a studio-laboratory environment for transdisciplinary, cross-media experimentations in sculpture, installation and site specific works.

The course introduces students to the use and history of technology in art, providing them with historical-theoretical knowledge into their artistic application. With Animation as the main axis students are introduced to the moving image and deal with issues of theory and methodology of animation that aim at the design and construction of its functions and to become familiar and informed about its range and extensions in the new media. The course combines traditional and digital drawing animation techniques and compositing for applications in cinema, video and corresponding hybrid derivatives of new media technologies. 

The course introduces students to experimental animation and aims to enhance the theoretical process of developing ideas and to introduce the practical application of experimental procedures for the creation of animation films and videos. Practices of animation, creation of movement and behavior in art, and the aesthetic, technological and conceptual aspects of the cinematographic and visual animation work are examined. Emphasis is placed on learning: stop motion animation techniques, the aesthetics as well as the technological aspects of 3D animation (traditional and digital), the use of drawing and modeling techniques, concept design and storyboarding, photography, lighting, sound, scenography, film directing and the combination of traditional and digital practices (tradigital).

This module guides the students through the art produced from the mid-19th century to the 1950s.It will guide the students through the many exciting changes, challenges, concerns and discussions that characterise this period through an engagement with the social, political and philosophical currents that have informed the production of art. The module will take the students across the major capitals of Europe - London, Paris, Berlin, Vienna, Moscow - and the two World Wars that marked and wounded the continent. It will engage with the effects of the Industrial Revolution, the emergence of modernity, the expansion of cities, the rising of women's voices, the aftermath of two totalitarian regimes in Europe and the trauma of the two world wars, on the artistic production of this period.

This module lesson examines the reactions to abstract expressionism and modernism through the rise of Pop Art and conceptual art in the 1960s. The module pays particular attention to the rise of minority movements in Europe and the United States (Feminist, Black, Queer). The course explores how these art practices challenged the great narrative of modernism to create what has been termed postmodernism. The module focuses on specific case studies with special mention to some of the issues pertaining to Cypriot contemporary art practices such as globalisation, the periphery and war, conflict, and borders.

The course’s introduction examines the relation between philosophy and art, as an autonomous field of inquiry, which, at the same time, is located and functions (with its own methodological tools) within the wider framework of Western philosophy, from Antiquity to modern times. The course surveys ancient Greek philosophy and the epigone currents of Platonic idealism and Aristotelian Empiricism, in the Hellenistic era, the Middle Ages and the Renaissance. Emphasis is placed on the modern era: the social and aesthetic explorations of the Enlightenment and their influence on the course of Western culture, up to the great rapture of the French Revolution.

The course, which continues and expands on the examination of post-Hegelian relation between art and aesthetics, aims to clarify the radical intellectual-philosophical discourses of the 19th century, which paved the way for 20th-century philosophy. Topics to be discussed include questions about the definition of art, the aesthetic experience, the beautiful, the tragic, the paradox of horror and painful art, the role of the artist's intentions in the interpretation of the work of art, the ethical and the cognitive value of art. The course draws mainly from contemporary philosophers such as Beardsley, Danto, Carroll, Levinson, Robinson, Currie and others.

The course aims to the understanding of the role of the new media in the recent history and the contemporary era, especially in relation to the socio-historical context. The purpose of the course is for the students to develop a personal identity of artistic expression through audiovisual means, combining scientific and critical thinking, and creating small, autonomous audiovisual productions.

The course aims at an in-depth understanding of the role and use of new media by the students, focusing on the ways in which they explore and analyze aspects of reality. Emphasis is placed on the creation of artistic audiovisual material, using recorded footage of everyday life as a raw material, with the aim of highlighting issues and concepts that appear within the society. Also, the aim of the course is for the students to develop a personal identity of expression with the help of audiovisual tools, working with critical thinking and creating small productions based on the genre of documentary. 

The course aims to the understanding of the role of sound and sound art in recent history and in the contemporary era. The purpose of the course is for the students to develop a personal identity of artistic expression by utilizing the possibilities of the medium of sound, and to create sound artworks in real and/or digital space, combining scientific and critical thinking. 

The course aims to the in-depth understanding of video and its extensions as a means of communication, which is attempted through the acquaintance of students with Video Art. The purpose of the course is also for the students to develop their critical thinking and to create a personal identity of expression through the video, which will be captured in their own original works.

Το παρόν μάθημα έχει ως αντικείμενο τη μεθοδική και εις βάθος επαναπροσέγγιση ορισμένων βασικών προβλημάτων που αφορούν στην τεχνοϊστορική ανάλυση. Μια τέτοια περίπτωση αποτελεί η εξέταση δύο κυρίαρχων στοιχείων της καλλιτεχνικής αναπαράστασης – τον χώρο και τον χρόνο. Εξετάζεται το κατά πόσον η αναπαράσταση του χώρου και η αντίληψη του χρόνου σε κάθε πολιτισμική περίοδο της ευρωπαϊκής Δύσης (Αναγέννηση, Μανιερισμός Μπαρόκ, Κλασικισμός, Ρομαντισμός, μοντέρνα και σύγχρονη εποχή) ανταποκρίνονται σε ορισμένα σταθερά και αναγκαία κριτήρια – ή εάν, αντίθετα, οι έννοιες χώρος και χρόνος είναι σχετικές, και σε μεγάλο βαθμό συνδεδεμένες, με την ιστορική πραγματικότητα και τις (διαφορετικές) πολιτισμικές αξίες κάθε εποχής. [Τα παραπάνω διερευνώνται στη διάρκεια δύο ακαδημαϊκών εξαμήνων, μαζί με το FAR 341].

Προαπαιτούμενα: FAR 241 Ιστορία και Θεωρία της Τέχνης 4: Μεταμοντερνισμός και σύγχρονη τέχνη

Το παρόν μάθημα έχει ως αντικείμενο τη μεθοδική και εις βάθος επαναπροσέγγιση ορισμένων βασικών προβλημάτων που αφορούν στην τεχνοϊστορική ανάλυση. Μια τέτοια περίπτωση αποτελεί η εξέταση δύο κυρίαρχων στοιχείων της καλλιτεχνικής αναπαράστασης – τον χώρο και τον χρόνο. Εξετάζεται το κατά πόσον η αναπαράσταση του χώρου και η αντίληψη του χρόνου σε κάθε πολιτισμική περίοδο της ευρωπαϊκής Δύσης (Αναγέννηση, Μανιερισμός Μπαρόκ, Κλασικισμός, Ρομαντισμός, μοντέρνα και σύγχρονη εποχή) ανταποκρίνονται σε ορισμένα σταθερά και αναγκαία κριτήρια – ή εάν, αντίθετα, οι έννοιες χώρος και χρόνος είναι σχετικές, και σε μεγάλο βαθμό συνδεδεμένες, με την ιστορική πραγματικότητα και τις (διαφορετικές) πολιτισμικές αξίες κάθε εποχής. [Τα παραπάνω διερευνώνται στη διάρκεια δύο ακαδημαϊκών εξαμήνων, σε συνέχεια του FAR 340].

Προαπαιτούμενα: FAR 340 Ιστορία και Θεωρία της Τέχνης 5: Ειδικά Θέματα

After a brief introduction to the relevant terminology, the course – having as its starting point the 17th century – approaches texts and different treatises written by thinkers who tried to analyze the works of art through a detailed application of a particular method. Through a series of case studies, this course introduces various theoretical perspectives that have shaped perspectives and practices in art theory and critique. The course examines specific systematic methods (i.e Marxism, feminism, gender and queer theories, psychoanalysis, postcolonial theory and deconstruction) as fields of inquiry through which the study of fine arts and culture is practiced.

This course is a studio of practical creation, which further develops the observation and analysis skills, as well as the critical abilities of students. The main aim of the course is the evolution of their personal artistic language. The combined approach of practice and theory develops both the students’ technical skills and their ability to use different materials and methods conceptually. The students are led to explore their personal visual language, which will be further shaped for their final dissertation. 

A studio of practical creation, which further develops the observation and analysis skills, as well as the aesthetic judgement of the students, at the same time with the evolution of their artistic creativity. Questions, methods and systems of representation arising from the creative process are analyzed, such as art and public space (mural painting / site-specific painting), the concept of the ephemeral, visual interventions of painting and design, participation, virtual digital space, social and political framework as a structural element of the visual act-thus redefining these relations and restoring the negotiation between the systems of representation. 

How are contemporary artists expanding in collaborations in ways that are politically engaged? In the context of rapid global socio-economic changes and urgent political conditions, the module examines the relationship between visual and performing arts, 2D, 3D visual art practices and the public sphere thus producing 4D and XD projects. It also facilitates the creation of collaborative projects, dialogical artistic forums for the city and its social fabric, promoting alternative forms of histories and addressing the needs of underrepresented communities. Can artistic collaboration and socially engaged practice be generated so that they become ethical forms of cultural/political activism and frame the ephemeral and the ineffable?

This studio course begins students’ work towards an original body art, which (continuing in the corresponding studio of 8th semester) will constitute their graduation oeuvre. The course is focused on the high level development of the students’ creative practices as well as the description and communication (written and oral) of these. Students are able to focus on an artistic practice, or explore their subject’s topic with a combined approach of methods and practices. Emphasis is given on the creation of a personal language, which, at the same time, is informed both historically and theoretically. 

The Fine Arts Final Project and Exhibition consists mainly of a body of original works of art, which is accompanied by a written artist’s statement. Their works are presented at the end of the year in the Degree Show and this presentation is the main part of the evaluation. The course is focused on the high level development of practices of each student as well as the definition and communication (written and oral) of these practices to other students. The students, along with the teachers, examine and discuss the practices and the completed projects of the graduation year. The exchange of views and opinions between the students is of high importance, as it contributes in the understanding of the intentions of their colleagues, while they are able to comprehend and appreciate the context of their presentations and the potential intakes, to enrich their practice through constructive criticism of their colleagues, thus building a solidary community, which will continue in their professional life. They are able to focus on an artistic practice, or explore their subject’s topic with a combined approach of methods and practices. Students are encouraged to form a personal language, which is also historically and theoretically grounded, and it is characterized by ingenuity. Finally, the students should be able to successfully and consistently present the theme of their works, to communicate their work in clear terms and in different ways, and to discover personal methods of developing their practices. 

The module aims to provide students with the theoretical and practical basis of contemporary exhibition practices and of the wider framework of the art scene, both locally and globally.

The module continues from FAR 490, with the students applying the knowledge and experience they gain in the previous course, onto their own work (as carried out, in parallel, in FAR 461 studio), as well as being provided with the theoretical framework within which to complete a written dissertation (of around 3000 words). Within the dissertation students should be able to examine various artistic practices, as well as to theoretically explore their own artistic oeuvre. While exploring the work of artists who informed their own practice, students situate their own personal language, which is grounded both historically and theoretically.