With this 100% online university program, you will delve into the historical and conceptual evolution of Contemporary Art, from post-war movements to the most groundbreaking trends of the digital era”  

Contemporary Art is a multifaceted discipline that encompasses all forms of artistic expression developed from the mid-20th century to the present day. In constant dialogue with social, political, economic and technological changes, this field is characterized by its ability to challenge the limits of the traditional and explore new languages and narratives. Its essence lies in interdisciplinary interaction, experimentation and cultural criticism, addressing issues as diverse as the impact of globalization, environmental sustainability and social justice. 

In a world in constant transformation, this field plays a crucial role by questioning, interpreting and proposing new ways of understanding reality. According to UNESCO data, the cultural and creative sector employs more than 30 million people worldwide, representing 3% of global GDP. However, current global challenges (such as climate change, inequality and the technological revolution) require a new generation of specialists capable of responding to these complexities from a critical and creative perspective. 

In view of this situation, TECH has designed this Master's Degree, thanks to which professionals will acquire a comprehensive vision of Contemporary Art, addressing the historical and theoretical bases necessary to understand its evolution, as well as the key tools for management, curatorship and artistic production in both global and digital contexts. They will also explore current trends, market dynamics and research methodologies in depth, developing critical skills that will enable them to lead innovative and socially conscious artistic projects. 

At the same time, this university program is based on a convenient online modality, so experts will only need an electronic device with an Internet connection to access the Virtual Campus. In addition, TECH uses its groundbreaking Relearning methodology, which guarantees optimal learning. 

A prestigious teaching staff that will give you the keys to incorporating Artificial Intelligence into your artistic endeavors" 

This Master's Degree in Contemporary Art contains the most complete and up-to-date program on the market. The most important features include:

• The development of case studies presented by experts with a deep knowledge of contemporary artistic theory, criticism and production 
• The graphic, schematic and eminently practical contents with which it is conceived gather scientific and practical information on those disciplines that are indispensable for professional practice 
• Practical exercises where the process of self-assessment can be used to improve learning 
• Its special emphasis on innovative methodologies  
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments 
• Content that is accessible from any fixed or portable device with an Internet connection 

You will delve into the dynamics of the global art market, from collecting and auctions to the management of galleries and international fairs" 

The program’s teaching staff includes professionals from the sector who contribute their work experience to this specializing program, as well as renowned specialists from leading societies and prestigious universities.

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide immersive education programmed to prepare for real situations.

This program is designed around Problem-Based Learning, whereby the professional must try to solve the different professional practice situations that arise during the course. For this purpose, students will be assisted by an innovative interactive video system created by renowned and experienced experts.

You will specialize in the Curatorship and Design of Contemporary Exhibitions, acquiring key skills to manage avant-garde museographic projects"

You will benefit from the innovative Relearning methodology, of which TECH is a pioneer, which will facilitate the retention of the most relevant content"

Through a comprehensive journey through historical evolution, the most influential theories and new technologies applied to art, this Master's Degree covers everything from transformations in classical disciplines such as painting and sculpture, to innovations such as digital art and immersive experiences. It also explores the social and political impact of art, market dynamics and curatorial strategies, providing professionals with the tools they need to interpret, create and manage artistic projects in a global context. 

You will analyze the social and political impact of art in international contexts, addressing issues such as activism, sustainability and cultural diversity” 

Module 1. Evolution of Contemporary Art: Artists and Context 

1.1. The Neo-Avant-Garde and the Culture of Spectacle in Contemporary Art 

1.1.1. Transformations in Post-War Artistic Movements: World War II. European Historical-Cultural Context 
1.1.2. New Realism: the Group of Pierre Restany 
1.1.3. The Situationist International: Guy Debord and Experimentation Based on Everyday Life 

1.2. Consumer Society and the Aesthetics of American Pop Art 

1.2.1. Pop Art as a Response to the Post-War Context  
1.2.2. Mass Art and Culture: Comics, Advertising and Consumer Objects 
1.2.3. Artworks and Artists: Roy Lichtenstein, Andy Warhol, James Rosenquist and Ed Ruscha 

1.3. The Expanded Field and “Vacant Representation” 

1.3.1. Non-Figurative and Abstract Expressionism 
1.3.2. From Gesture to Action Painting: Willem De Kooning and Jackson Pollock 
1.3.3. The Intervened Landscape: Land Art and Earth Art 

1.4. Simplification of the Shapes: Return to Primary Structures 

1.4.1. Indistinction between Painting and Sculpture: The Specific Object 
1.4.2. Minimalism: “Less is More” and the End of Metaphor 
1.4.3. Conceptual Art: Dematerialization of the Art Object 

1.5. Art and Activism in the French May of '68 

1.5.1. Activism and the Collectivization of Art: The Atelier Populaire 
1.5.2. Arte Povera: Germano Celant and Michelangelo Pistoletto 
1.5.3. The Social Sculpture of Joseph Beuys 

1.6. The Body as a Space for Artistic Practices 

1.6.1. The Relevance of the Act: The Process Art of Viennese Actionism 
1.6.2. Corporeality in Artistic Practices: Performance Art 
1.6.3. The Body as a Canvas: Body Art 

1.7. Mass Media and New Technologies Applied to Art 

1.7.1. Between Visual Art, Performance, Film and Television: A Place of its Own for Video Art  
1.7.2. The Inclusion of Space: Video Sculptures, Video Exhibitions and Expanded Cinema 
1.7.3. Media, Internet and Interactive Art: The Beginnings of Networked Art 

1.8. Postmodernism and its Influence on Contemporary Art 

1.8.1. Criticism of Modernism: Theories and Artistic Manifestations 
1.8.2. Challenges to the Concept of Originality: Appropriationism, Pastiche, Simulationism 
1.8.3. Intertextuality: Aesthetics of Fragmentation and Non-Linear Narratives 

1.9. Multiculturalism and the Plurality of Artistic Languages 

1.9.1. Nomadic Thought and Interdisciplinary Art 
1.9.2. Decentering and Attention to the Art of “The Peripheries” 
1.9.3. Miscegenation and Hybridity: Art Between Borders 

1.10. The Diversity of Global Art 

1.10.1. The Challenges of Globalization and the Drifts of Contemporary Art 
1.10.2. The Expansion of New Media and the Impact of Current Digital Art 
1.10.3. Other Trends: Ecology and Sustainable Art 

Module 2. Contemporary Art Theory. Thoughts, Debates, Influences and Trends 

2.1. Theory of Art Today 

2.1.1. Theory of Art Today. Theoretical Justification 
2.1.2. The Death of Art 
2.1.3. Thinking About Art Without Art 

2.2. Art After Auschwitz. Theories of Art and Culture After World War II 

2.2.1. Greenberg and the Autonomy of Art  
2.2.2. Apocalyptic and Integrated 
2.2.3. Cultural Studies 

2.3. The Image Supplants the Real: The Zeitgeist of Postmodernity 

2.3.1. Debord and the Society of the Spectacle 
2.3.2. Postmodernism or the Cultural Logic of Advanced Capitalism 
2.3.3. Culture and Simulation 

2.4. Neoliberal Globalization (I). Art in Response to The End of History 

2.4.1. The Return of the Political 
2.4.2. The Artist as Ethnographer 
2.4.3. Rancière: Art and Politics 

2.5. Neoliberal Globalization (II). Art in Response to The Great Recession 

2.5.1. Empire and Multitude 
2.5.2. Post-Operaism  
2.5.3. Productivity vs. Unproductivity 

2.6. Subalternities: Otherness in the Contemporary Debate 

2.6.1. Politics of Recognition 
2.6.2. Gender in Dispute 
2.6.3. Parrhesia 

2.7. Other Worlds, Other Beings. Cultures Beyond the Human 

2.7.1. Fisher: The Weird and the Spooky 
2.7.2. Cyborgs and Monsters 
2.7.3. Cybernetic Culture Research Unit 

2.8. The Internet and the Production of a New Hegemonic Visuality 

2.8.1. Poor Image and Circulationism 
2.8.2. Groys: Becoming an Artist 
2.8.3. Digital Inflation  

2.9. Sloterdijk, Menke and Badiou. A Singular Contemporaneity 

2.9.1. Sloterdijk: The Color of Time 
2.9.2. The Loss of Force 
2.9.3. Artistic Truths 

2.10. Art in the Face of Catastrophe: Shipwrecks with Spectators 

2.10.1. Contemplation of Disaster 
2.10.2. When Images Take a Stand 
2.10.3. Panoramas  

Module 3. Contemporary Art I. Media and Techniques 

3.1. Evolution of Artistic Disciplines since the 1960s  

3.1.1. Structural Changes in the Different Artistic Disciplines 
3.1.2. The Emergence of Video Art and Its Impact on Artistic Practices 
3.1.3. The Rise of Interdisciplinarity in the Visual Arts 

3.2. Contemporary Painting: from Abstraction to the Experimental 

3.2.1. Use of Color and Abstraction in Painting since the 1960s 
3.2.2. Materialities and Hybrid Techniques in Contemporary Painting 
3.2.3. Main Exponents: Gerhard Richter, Cecily Brown and Katharina Grosse, Among Others 

3.3. Contemporary Sculpture: New Materials and Spaces  

3.3.1. Transformations in Sculpture from Minimalism to Conceptual Art 
3.3.2. Site-Specific Sculpture and Monumental Artworks: From Richard Serra to Anish Kapoor  
3.3.3. New Materials and Technologies in Contemporary Sculpture 

3.4. Contemporary Photography: Visual Narrative and Digital Manipulation  

3.4.1. Transformations in Photography from Documentary to Conceptual 
3.4.2. Key Exponents: Cindy Sherman, Wolfgang Tillmans and Zanele Muholi   
3.4.3. Use of Digital Technologies in Contemporary Photography 

3.5. Video Art and its Evolution since the 60s  

3.5.1. Origins of Video Art: Nam June Paik and the First Explorations  
3.5.2. Video Art as a Medium for Visual and Sound Experimentation 
3.5.3. Interactive Video Art and New Technologies: Hito Steyerl 

3.6. Performance: Body, Action and Memory. Other Languages of Contemporary Art 

3.6.1. Body Dynamics in Performance as an Artistic Medium 
3.6.2. Documentation and Recording: Video in Performance 
3.6.3. Iconic Performances: Marina Abramović, Tania Bruguera and Regina José Galindo 

3.7. Installation: Space as Artistic Experience  

3.7.1. Influences and Evolution of Installation as an Art Form 
3.7.2. Immersive Exhibitions: Sensory Interaction and Audience Participation 
3.7.3. Outstanding Examples: Olafur Eliasson, Yayoi Kusama and Doris Salcedo 

3.8. Art and Activism. Social and Political Explorations  

3.8.1. Art as a Tool for Social Change and Protest 
3.8.2. Main Exponents: Ai Weiwei, Guerrilla Girls and JR Among Others  
3.8.3. Art and Climate Change. Sustainability in Artistic Discourse: Tomás Saraceno 

3.9. Women and Artists Underrepresented in Contemporary Art  

3.9.1. Women Artists in Disciplines Historically Dominated by Men 
3.9.2. Contributions by Artists of African Descent, Indigenous People and Migrants 
3.9.3. Emerging Artists Redefining Current Artistic Trends  

3.10. Emerging Artists in Contemporary Art 

3.10.1. Emerging Artists in Painting and Sculpture 
3.10.2. Emerging Artists in Installation and New Technologies 
3.10.3. Galleries and Other Exhibition Spaces 

Module 4. Contemporary Art II. Urban Art and Art in the Public Space 

4.1. Art in the Public Space. Terminology, Context and Chronologies 

4.1.1. Art in the Public Space  
4.1.2. Urban Art 
4.1.3. Urban Art Tactics and Techniques 

4.2. Urban Art Before Urban Art  

4.2.1. Precursors of Urban Art 
4.2.2. Situationism and its Conception of Public Space  
4.2.3. French Urban Artists in the 60s and 70s 

4.3. Territorial Use of Graffiti by Gangs: From Marking Territory to Political Tool   

4.3.1. Territorial Use of Graffiti by Gangs  
4.3.2. Graffiti Explosion of May 68  
4.3.3. Presence in Subculture: Punk  

4.4. New York Graffiti and its Expansion. “It's All About Your Name” 

4.4.1. Pioneers of New York Graffiti Tagging 
4.4.2. Stylistic Evolution of New York Graffiti. From Getting Up to Blockbuster  
4.4.3. New York Graffiti in the Galleries 

4.5. Alternative Creativity in New York in the 70s and 80s: Artists Take the Streets 

4.5.1. Street Interventions in New York in the 70s and 80s  
4.5.2. Artists Connected to the World of Graffiti  
4.5.3. The Rise of Exhibitions 

4.6. The Rise of Postgraffiti in the 2000s: The Decade That Changed Everything  

4.6.1. Postgraffiti and Culture Jamming  
4.6.2. Leading Postgraffiti Artists of the Late 90s and 2000s  
4.6.3. Media Overexposure of Postgraffiti: Exhibitions and Auctions  

4.7. Muralism as a Tool for Identity (I). Social Construction of Heritage  

4.7.1. Mexican Muralism, a Global Benchmark 
4.7.2. Awareness of the Neighborhood through Muralism in the Second Half of the 20th Century  
4.7.3. Muralism in the First Two Decades of the 21st Century 

4.8. Muralism (II). Ownership and Protection of Urban Art Forms 

4.8.1. Ownership of Interventions in Public Space 
4.8.2. Muralism in the Auction Market. If it Belongs to Everyone, it Belongs to No One   
4.8.3. Protection of Urban Art Forms 

4.9. Urban Art and Gentrifying Dynamics 

4.9.1. Festivals: The Patina of Urban Art 
4.9.2. Dynamics and Counter-Dynamics of an Irreversible Process?  
4.9.3. Revitalization and Repositioning in the Rural Environment. Other Routes 

4.10. Urban Art and Social Media  

4.10.1. Urban Art Influencers: Genesis of Viral Art  
4.10.2. Viral Art vs. Art Hunting  
4.10.3. Artists in Virtual Spaces: Painting a Lot for a Few or Painting Little for Many 

Module 5. Contemporary Art (III). Digital Art and New Technologies 

5.1. Precedents of Digital Art and their Impact on Contemporary Art. Historical Context 

5.1.1. Origins of Digital Art: From Electronic Art to the First Artworks of Computational Art 
5.1.2. Pioneers of Digital Art and Their Impact on Contemporary Art  
5.1.3. Evolution and Trends in Digital Art up to the 21st Century  

5.2. Digital Photography in Contemporary Art 

5.2.1. Transition from Analog to Digital Photography: Transformation in Technique and Concept 
5.2.2. Digital Manipulation in Artistic Photography: Tools and Aesthetics  
5.2.3. Conceptual Photography in the Digital Age: Themes and Critical Approaches 

5.3. Virtual Reality in Current Artistic Practices 

5.3.1. Virtual Reality in Artistic Creation: Tools and Applications 
5.3.2. Immersive Experience in Art: Virtual Installations and Interactive Narratives 
5.3.3. Examples of Artworks in Virtual Reality: Analysis of Notable Artists and Projects 

5.4. Augmented Reality and its Application in Art 

5.4.1. Augmented Reality Tools in Art  
5.4.2. Augmented Reality in Public Spaces: Urban Art and Augmented Art Experiences 
5.4.3. Examples of Artworks in Augmented Reality. Case Studies and Critical Analysis of Current Artworks 

5.5. Generative Art and Algorithms in Contemporary Art  

5.5.1. Generative Art: Algorithms, Code and Creativity  
5.5.2. Languages and Tools for Generative Art: Processing, TouchDesigner P5.js  
5.5.3. Examples of Generative Art and Analysis of Relevant Projects  

5.6. Artificial Intelligence Applied to Art. Ethics and Technology 

5.6.1. Artificial Intelligence in Artistic Creation: Types and Applications in Visual Art  
5.6.2. Neural Networks and Art: GANs, Deep Learning and Visual Creation  
5.6.3. Ethics, Aesthetics and Criticism of AI-Created Art: “Authorship” in Generative Art  

5.7. Sound Art: Exploring the Auditory Dimension in Digital Art 

5.7.1. Evolution of Sound Art in the Context of New Technologies  
5.7.2. Digital Tools for the Creation of Sound Art: Synthesis, Sampling and Sound Design
5.7.3. Sound Exhibitions and Immersive Auditory Experiences: Sound as an Artistic Space 

5.8. New Narratives and Immersive Experiences in Contemporary Art 

5.8.1. The Role of Interactivity and Immersion in the Digital Artwork  
5.8.2. Non-Linear and Participatory Narratives: Creating Stories in Digital Media  
5.8.3. Examples of Immersive Experiences in Contemporary Art: Interactive Exhibitions  

5.9. Digital art in Public Space and Social Media 

5.9.1. The Digitalization of Public Space: Projections, Mapping and Digital Urban Art  
5.9.2. Art on Social Media: Virality, Accessibility and the Role of the Spectator  
5.9.3. Digital Art Platforms and Communities: The Impact of Instagram, TikTok and Other Media 

5.10. Future of Digital Art and New Technologies 

5.10.1. New Technologies Emerging in Art: Blockchain, NFTs and Their Possibilities  
5.10.2. Projections for Digital Art: The Role of Technology in the Art of the Future  
5.10.3. Intersection of Art and Technology 

Module 6. Contemporary Art in the Global Context 

6.1. Chronologies and Terminologies in Global Art 

6.1.1. From Mundialization to Globalization: The Dismantling of the Center-Periphery Framework and the Decentralization of the Historiography of Contemporary Art 
6.1.2. Methodological Approaches: From World Art Studies to Global Art Studies 
6.1.3. From Multiculturalism to Interculturality: Critical Contributions from Third Text and Art in America 

6.2. Decolonial Theory from the Global South 

6.2.1. Precedents of Decolonial Thought in the Caribbean: Caribbean Thought, Theory of Blackness, and the Anti-Colonialism of Franz Fanon 
6.2.2. Contributions from the East: Orientalisms, Homi Bhabha and the Third Space, Subaltern Studies and Hybridization 
6.2.3. New Cartographies of Decolonial Language from Latin America: The Colonial Matrix of Power and Visuality 

6.3. Debates from Global Exhibitions: Curating Difference 

6.3.1. Vision of Latin American art from Euro-American Modernism: North American Exhibitions from the 1930s to the 1970s 
6.3.2. The Global Village of Contemporary Art. The Exhibition “Magiciens de la Terre” by Jean-Hubert Martin (1989) and the Paradigm Shift of Global Curatorship 
6.3.3. “L’Effet-Magiciens: The Case of the Exhibitions Art of the Fantastic (1987), Mexico: Splendors of Thirty Centuries (1990), Mito y Magia en América (1991), Latin American Artists of the twentieth Century (1993) 

6.4. Cultural Representation Policies in Contemporary Art 

6.4.1. Multiculturalism and Identity in the 1970s: Chicano Art as a Case Study 
6.4.2. Neo-Mexicanism in the Pictorial Return of the 1980s 
6.4.3. Neo-Conceptualisms in the 1990s. Gabriel Orozco: Identity, Globalization and the Market 

6.5. Transnational Institutions in the 1990s: From Biennials to Museum Franchises 

6.5.1. The Biennial Effect and Latin America on the International Scene: The São Paulo Biennial and the 3rd Havana Biennial 
6.5.2. Transnational Institutions, Globalized Biennials and Franchises 
6.5.3. The Asian Giant, the Museum Boom and Cultural Districts 

6.6. Artistic Practices and Critical Debates in the Global South 

6.6.1. Geopolitics and New Cartographies of Language from Visual Studies 
6.6.2. Artistic Practices of the Tricontinental Space and Transnational Cultural Networks: Groups and Mail Art 
6.6.3. The Conceptual/Conceptualist Debate: Conceptualisms from the Global South 

6.7. The Social Turn and the Relational Turn in Contemporary Art  

6.7.1. International Precedents: The Cases of Tucumán Arde, the Siluetazo, C.A.D.A. 
6.7.2. Relational Art of the Global Nineties: From Rikit Tiravanija to Santiago Sierra  
6.7.3. Site-Specific Practices, Activism and Decentralized Artivism: Colectivo Enmedio, Grupo Etcétera, Raqs Media Collective 

6.8. The Turn of Memory and the Archive in Contemporary Art 

6.8.1. Art and Memory in Contemporary Art: Alfredo Jaar, Kader Attia, Krzysztof Wodiczko 
6.8.2. Art and Archive. Aby Warburg's “Memory Effect” and the Curatorial Re-Reading of Georges Didi-Huberman. The Atlas Group as a Case Study 
6.8.3. Memorials, Monuments and Artistic Practices in the Crisis of History: From Black Lives Matter to Rhodes Must Fall 

6.9. The Ethnographic Turn and the Geographical Turn in Contemporary Art 

6.9.1. The Ethnographic Turn and the Artist as Ethnographer 
6.9.2. Dissident Geographies and Global Structures in Contemporary Art: Geo-Aesthetics and Border Thinking. Guillermo Gómez-Peña and The Border Art Workshop 
6.9.3. Counter-Cartographies from the Global South: Bouchra Khalili and Forensic Architecture 

6.10. The Ecological Turn in Contemporary Art 

6.10.1. Questioning the Anthropocene. The Otolith Group as a Case Study 
6.10.2. Decolonizing Nature: a Focus from the Global South 
6.10.3. Anti-Colonial Fictions, Speculations and Futures Against the End of the World 

Module 7. Research Methodologies in Contemporary Art 

7.1. Contemporaneity and Disciplinary Displacements in Contemporary Art 

7.1.1. Contemporaneity, the Contemporary and Art in Response to this Temporality 
7.1.2. Inter, Multi, Trans and Indisciplinary. Transmediality 
7.1.3. The Research-Creation Paradigm 

7.2. (Counter)Narrative Methodologies in Contemporary Art 

7.2.1. Fable and Autobiography 
7.2.2. Microhistory 
7.2.3. Fictitious Archives and Archival Fictions 

7.3. (Counter)Cartographic Methodologies in Contemporary Art 

7.3.1. Geopolitics and Transits 
7.3.2. Experimental Geography and Spatial Production 
7.3.3. Forensic Method 

7.4. Case Studies of Exhibitions on (Counter) Narrative and (Counter) Cartographic

7.4.1. Documenta: Platforms, 2005 
7.4.2. Mercosur Biennial: Feminine. Visualities, Actions and Affects, 2020 
7.4.3. 60th Venice Biennale: Foreigners Everywhere, 2024 

7.5. Decolonization and the Recognition of Southern Epistemologies in Contemporary Art 

7.5.1. The Crisis of Anthropological Representations 
7.5.2. Subaltern Voices 
7.5.3. Decolonization from the Critique of the Museum 

7.6. Cosmologies, Knowledge and Consciousness in Contemporary Art 

7.6.1. Non-Human and More-Than-Human Agency 
7.6.2. Dreamlike Worlds and Images  
7.6.3. Animism 

7.7. Case Studies of Contemporary Art Exhibitions on Southern Epistemologies and Contemporary Cosmologies 

7.7.1. How to Make Things Public, 2005 and Animism, 2010 
7.7.2. 31st São Paulo Biennial (How to (…) Things That Don't Exist), 2014 and 32nd São Paulo Biennial (Incerteza Viva), 2016 
7.7.3. 15th Cuenca Biennial (Biocene Biennial, Changing Green for Blue), 2021  

7.8. Capitalocene and Sacrifice Zones in Contemporary Art 

7.8.1. Anthropocene, Capitalocene, Plantationocene, Chthulucene: Debates on Human Action 
7.8.2. Geographies of Extractivism, Environmental Disaster and Forced Displacement 
7.8.3. Water Politics   

7.9. Interspecies Relations in Contemporary Art 

7.9.1. Multispecies Communities 
7.9.2. Microbiopolitics and the Lessons of Mycelium 
7.9.3. Environmental Humanities and Narratives for a World in Extinction  

7.10. Case Studies of Contemporary Art Exhibitions on the Human and the Transhuman 

7.10.1. 22nd Paiz Guatemala Art Biennial (Lost. In Between. Together), 2021 
7.10.2. And if I Devoted My Life to One of Its Feathers?, 2021 
7.10.3. 23rd Sydney Biennial (Rīvus), 2022 

Module 8. Museology, Museography and Curating in Contemporary Art 

8.1. Democratization of Exhibition Practices since the French May of '68: New Expographies 

8.1.1. The Transformation of the Museum Institution: The New Museology 
8.1.2. Renewal of Exhibition Practices: The New Expographies 
8.1.3. Inclusive and Participatory Museum Institutions 

8.2. Evolution of Museology and Museography from the 1980s 

8.2.1. Critical Museology: Pedagogical Evolution of Exhibition Spaces 
8.2.2. Difference between Contemporary Museology and Museography 
8.2.3. Social Function of Museum and Exhibition Spaces for Contemporary Art 

8.3. Exhibition Spaces for Contemporary Art 

8.3.1. Proliferation of Museums and Contemporary Art Centers 
8.3.2. Galleries, Biennials and Contemporary Art Fairs 
8.3.3. Types of Cultural Spaces 

8.4. Beyond the Museum. The Musealization of Other Spaces 

8.4.1. The Public Space as Exhibition Space 
8.4.2. Spaces for Experimentation in Contemporary Art 
8.4.3. The Dematerialization of the Museum: The Virtual Museum 

8.5. Perspectives in Exhibition Design 

8.5.1. Permanent Exhibition vs. Temporary Exhibition 
8.5.2. The Curatorial Project 
8.5.3. The Museographic Project 

8.6. Curating Contemporary Art Exhibitions (I). Conception and Design of Narratives and Exhibition Experiences 

8.6.1. Functions of the Curator 
8.6.2. Planning a Curatorial Project 
8.6.3. The Relevance of Research and Exhibition Discourse 

8.7. Curating Contemporary Art Exhibitions (II). From Conceptualization to Execution 

8.7.1. Steps in the Conception of an Exhibition Project 
8.7.2. Exhibition Techniques 
8.7.3. Museographic Design and Installation 

8.8. Management of Contemporary Museum or Exhibition Spaces 

8.8.1. Differences between Museum Management and Cultural Management 
8.8.2. Exhibition Promotion Strategies and Actions  
8.8.3. Cultural Mediation and Cultural Management: a Bridge between Audience, Art and Culture 

8.9. The Visitor's Place or “Ways of Inhabiting the Museum” 

8.9.1. Dialogue, Participation and Cultural Activation  
8.9.2. Cultural Mediation or Curating as Mediation 
8.9.3. Museum Education or Curatorial Pedagogical Models 

8.10. Current Debates and New Perspectives 

8.10.1. New Formats: Expanded Curatorship 
8.10.2. New Institutional Models: The New Institutionality  
8.10.3. The Decolonization of Cultural Institutions 

Module 9. Cultural Economy, Art Market and Communication 

9.1. The Cultural Economy and the Contemporary Art Market 

9.1.1. The Cultural Economy 
9.1.2. History of the Contemporary Art Market: Evolution and Main Actors 
9.1.3. The Economic and Symbolic Value of Works of Art 

9.2. The Art Market 

9.2.1. Dynamics of the Primary and Secondary Art Market 
9.2.2. Analysis of Prices, Trends and Quotations in Contemporary Art: The Speculative Vocation 
9.2.3. The Capitalization of the Immaterial: Transformations of the Global Market in the 1990s 

9.3. The Collectionism of Art 

9.3.1. History of Collecting and its Typologies 
9.3.2. Types of Collecting: Private, Corporate and Public. Similarities and Differences 
9.3.3. The Role of Collectors in the Development, Promotion and Conservation of Contemporary Art 

9.4. Galleries and their Role in the Art Market 

9.4.1. Galleries History and Evolution 
9.4.2. The Gallery Owner, the Art Dealer and the Art Advisor: Roles, Relationships with Artists and Collectors 
9.4.3. Art Fairs and their Impact on Private, Corporate and Public Collections 

9.5. Auctions, Art Fairs and Art Biennials 

9.5.1. The Dynamics and Functioning of Auction Houses: Christie's, Sotheby's and Emerging Alternatives 
9.5.2. International Fairs Art Basel, Frieze, ARCOMadrid, FIAC, The Armory Show 
9.5.3. Biennials as Platforms for the Promotion and Circulation of Contemporary Art: Venice, São Paulo and Documenta 

9.6. Financing and Artistic Production 

9.6.1. Sources of Financing for Artists and Cultural Projects: Patronage, Crowdfunding and Residencies 
9.6.2. Marketing and Communication Strategies for Artists and Galleries 
9.6.3. Organization of Cultural Events: Fairs, Exhibitions and Launches 

9.7. Copyright and Intellectual Property in Art 

9.7.1. Copyright in Art: Copyright, Copyleft and Creative Commons 
9.7.2. Licenses, Reproductions and Image Rights in the Digital Age 
9.7.3. Emblematic Cases and Controversies Surrounding Copyright in Contemporary Art 

9.8. Art Criticism as Symbolic and Economic Valuation 

9.8.1. History and Function of Art Criticism in the Cultural Market  
9.8.2. Methodologies of Art Criticism: Description, Interpretation and Evaluation of Contemporary Works 
9.8.3. New Narratives of Criticism in the Age of Globalization and Social Networks 

9.9. Precarious Work and Good Practices in the Art Sector 

9.9.1. The Employment Situation in the Art World: Artists, Curators and Cultural Workers 
9.9.2. Good Practices in Art Management, Curatorship and the Art Market: Some International Case Studies 
9.9.3. Other Forms of Artistic Collectivization: Platforms, Associations, Trade Unions 

9.10. Challenges and Future of the Art Market 

9.10.1. Commercialization of New Formats: The Boom in Digital Art and NFTs 
9.10.2. New Relevant Art Markets:  ARCO Madrid, Art Basel Miami Beach 
9.10.3. Perspectives in the Asian and Middle Eastern Markets: Cases such as Art Dubai and Art Basel Hong Kong 

Module 10. Cultural Policies, Inclusion and Diversity in Contemporary Art 

10.1. Culture as a Right and Cultural Policies as a Framework for Action in Contemporary Art 

10.1.1. Culture and Cultural Diversity, the Common Heritage of Humanity (UNESCO) 
10.1.2. Models for the Design of Cultural Policies that Include Cultural Rights 
10.1.3. Local Culture, Heritage and Sustainability in Contemporary Art Movements 

10.2. From Policies to Artistic Practices or Vice Versa: Gender, Diversity and Sustainability 

10.2.1. Evolution of Feminisms and their “Waves”. Artistic Influences 
10.2.2. Diversity and Inclusion. Decolonial Thought 
10.2.3. Ecological Awareness and Sustainable Art 

10.3. Feminist Art: A Key Contribution to the History of Contemporary Art 

10.3.1. Womenhouse and the Emergence of the Feminist Movement in Art 
10.3.2. The Female Body and Painting in Action: Performance and Fluxus 
10.3.3. The Construction of Gender Identity in Visual Culture 

10.4. Women Artists and BIPOC Artists on the Scene: Diversity and Creation 

10.4.1. Public Space/Private Space: Women Artists from Great Britain in the 90s 
10.4.2. Politicized Art by African American Artists: The 1999 Whitney Biennial in New York 
10.4.3. Latin American Blackness: Miscegenation and Symbolism 

10.5. Decolonial Aesthetics and the Coloniality of Gender 

10.5.1. Visual Activism of Gender and Color: Zanele Muholi 
10.5.2. Diaspora and Memory: María Magdalena Campos-Pons 
10.5.3. Tensions between Cultural Identity and Femininity: Shirin Neshat 

10.6. Landscape, Nature and Ancestral Knowledge 

10.6.1. Paper, Fibers and Spirits: When the Ancestors Speak. Sheroanawe Hakihiiwe (Sheroana, Venezuela) 
10.6.2. Brain Forest Quipu by Cecilia Vicuña, Tate Modern (London, 2022) 
10.6.3. Seeds and Mythologies: Profundis by Delcy Morelos, CAAC (Sevilla, 2024) 

10.7. Environmental Art. Pioneering and Contemporary Artists 

10.7.1. Joseph Beuys Plants 7000 Oak Trees at Documenta #8 (1987)   
10.7.2. The Ice Watch Installation by Olafur Eliasson 
10.7.3. Waste and New Landscapes: Yao Lu's Tableaux Vivants 

10.8. Aesthetic-Cultural Approaches to Environmental Change 

10.8.1. Beyond Land Art: Environmental Art 
10.8.2. Science, Art and Nature: Ecoart 
10.8.3. Rethinking the Relationship between People and Nature: Ecofeminism 

10.9. Museum Institutions and their Policies under Scrutiny 

10.9.1. Review of Institutional Policies: ReThinking Collections, Museum of Africa (Brussels, 2024) 
10.9.2. Revisiting Visual Imaginaries: Colonial Unframing, Centre Pompidou (Paris, 2024) 
10.9.3. Revised Iconographies: Colonial Memory in the Thyssen-Bornemisza Collections, Thyssen-Bornemisza Museum (Madrid, 2024) 

10.10. Reflections on the Consequences and Effects of Artistic Movements on Cultural Policies 

10.10.1. Influences of Artistic Initiatives on Cultural Policies: Bottom-up 
10.10.2. Citizen Participation and Inclusive Narratives 
10.10.3. Diversity, Representation and Sustainability in Artistic, Curatorial and Institutional Practices 

You will delve into advanced research methodologies, exploring counter-narrative, cartographic and decolonial approaches"