Events
07.11.2019
Vent Space new season opening!
REKA presents… Vent Space Second Season!
This Thursday 9:30pm, at Vent Space, our cherished student-run gallery, the open call for the second season will be released!
Following the second season’s spirit of collaboration, the new team has partnered up with REKA bringing you an event featuring a DJ lineup, a collective installation, a satellite exhibition by Misa Asanuma and a surprise raffle.
DJ LINEUP:
Erjek
White Gloss
Karmo Jarv
Vent Space new season opening!
Thursday 07 November, 2019
REKA presents… Vent Space Second Season!
This Thursday 9:30pm, at Vent Space, our cherished student-run gallery, the open call for the second season will be released!
Following the second season’s spirit of collaboration, the new team has partnered up with REKA bringing you an event featuring a DJ lineup, a collective installation, a satellite exhibition by Misa Asanuma and a surprise raffle.
DJ LINEUP:
Erjek
White Gloss
Karmo Jarv
07.11.2019 — 30.11.2019
Marta Vaarik “I sow along a pirate sea and no dick is stopping me” at EKA Gallery 5.– 30.11.2019
Join us for the opening of the solo exhibition and performance on Thursday, November 5 at 8 PM. The exhibition will remain open until November 30.
Vaarik’s sixth solo exhibition is a continuation of her solo exhibition “Possessed” (2017). The expressive, provocative, daring and heartfelt show is about being a woman, a mother, about saving the world, raising children and cuddling. The artist is observing her close relationships and is seeking for conclusions to save the world.
“Skin is our contact with the world. Scroll up to your sleeves and stroke your arm with your hand. This is a feeling. We feel and learn to feel our bodies through strokes, pamper and cuddles. Sometimes there’s no need to overthink! Weird feelings create weird thoughts. But if you know it’s only that–a feeling–and you stop forcing yourself to collaborate with your brain, you can only feel without attributing linguistic meaning. Things are simply as they are. If we start to over-explain something we can mess it up.
We can try to save the world, but if we grow our children to be empathetic, they are doing it naturally. All humans grow inside their moms! I am lucky I was held tight.” – Marta Vaarik
Marta Vaarik (b. 1986) is an artist, photographer and self-proclaimed blond trickster based in Tallinn, Estonia. She holds a BFA degree in painting from the Estonian Academy of Arts and is currently studying Contemporary Art in the same university. She did an exchange program in UDK studying under professor Josephine Pryde. The current solo show at EKA Gallery is her sixth and she has participated in group shows in Berlin and Estonia. She works in the mediums of painting, photography, performance, and video.
Thanks: Sandra Mäesepp, Rebecca Künnis, Ülle Vaarik, Aadam Taaksalu, Andrus Vaarik, Kelly Turk, Margit Lõhmus, Sveta Grigorjeva, Piret Karro, Rasmus Neljand, Krislin Ots, Big Boy, Gunnar Laal, Taavi Lepp, Pire Sova, Johannes Luik, Kersti Heile
Exhibition title: Sveta Grigorjeva
Graphic design: Kersti Heile
The exhibition is supported by A. Le Coq.
Marta Vaarik “I sow along a pirate sea and no dick is stopping me” at EKA Gallery 5.– 30.11.2019
Thursday 07 November, 2019 — Saturday 30 November, 2019
Join us for the opening of the solo exhibition and performance on Thursday, November 5 at 8 PM. The exhibition will remain open until November 30.
Vaarik’s sixth solo exhibition is a continuation of her solo exhibition “Possessed” (2017). The expressive, provocative, daring and heartfelt show is about being a woman, a mother, about saving the world, raising children and cuddling. The artist is observing her close relationships and is seeking for conclusions to save the world.
“Skin is our contact with the world. Scroll up to your sleeves and stroke your arm with your hand. This is a feeling. We feel and learn to feel our bodies through strokes, pamper and cuddles. Sometimes there’s no need to overthink! Weird feelings create weird thoughts. But if you know it’s only that–a feeling–and you stop forcing yourself to collaborate with your brain, you can only feel without attributing linguistic meaning. Things are simply as they are. If we start to over-explain something we can mess it up.
We can try to save the world, but if we grow our children to be empathetic, they are doing it naturally. All humans grow inside their moms! I am lucky I was held tight.” – Marta Vaarik
Marta Vaarik (b. 1986) is an artist, photographer and self-proclaimed blond trickster based in Tallinn, Estonia. She holds a BFA degree in painting from the Estonian Academy of Arts and is currently studying Contemporary Art in the same university. She did an exchange program in UDK studying under professor Josephine Pryde. The current solo show at EKA Gallery is her sixth and she has participated in group shows in Berlin and Estonia. She works in the mediums of painting, photography, performance, and video.
Thanks: Sandra Mäesepp, Rebecca Künnis, Ülle Vaarik, Aadam Taaksalu, Andrus Vaarik, Kelly Turk, Margit Lõhmus, Sveta Grigorjeva, Piret Karro, Rasmus Neljand, Krislin Ots, Big Boy, Gunnar Laal, Taavi Lepp, Pire Sova, Johannes Luik, Kersti Heile
Exhibition title: Sveta Grigorjeva
Graphic design: Kersti Heile
The exhibition is supported by A. Le Coq.
18.10.2019 — 20.10.2019
Circular economy hackathon tackles sustainability issues
SAVE THE DATE! Join us at the Circular Economy Hackathon happening from 18th to 20th of October at Mektory – the biggest Innovation Center in Estonia.
You will have an amazing opportunity to meet fellow changemakers, solve real-life sustainability challenges and win awesome prizes! All this under the guidance of best mentors & experts. As a bonus, you will hear inspiring stories from Reet Aus, Mihkel Tamm (Pillirookõrs) and Kristo Elias. Read more about the event and register now – we have a limited amount of seats!
At the end of the hackathon, an international jury will select 10 ideas that can participate in the growth and scaling workshops in Finland and Riga, and an accelerator boot camp in Estonia (organized by Tehnopol).
WHAT YOU’LL GET FROM PARTICIPATING?
– You will meet fellow changemakers and inspiring people who might become your life-long friends or future business partners.
– Circular economy is the future of sustainable business. You’ll learn everything you need to get ahead in this field and actually solve real- life sustainability challenges.
– You will work, eat and sleep in the creative spaces of Mektory – the biggest innovation center in Estonia. Check out the one and only 270 degree Videal Screen hall and our new Innovation HUB.
HOW TO PARTICIPATE?
Don’t worry if you’re not a tech wizard or a circularity expert. Innovation emerges at the crossroads of disciplines. Secure your spot HERE – we have a limited amount of seats!
Also, a circular economy pre-event is coming. Follow the EVENT or our Facebook page MEKTORY and stay tuned!
NB! The hackathon will be held in English. More information: kaisa.hansen@taltech.ee
The project is supported by the European Regional Development Fund (Central Baltic Interreg Program 2014-2020).
Circular economy hackathon tackles sustainability issues
Friday 18 October, 2019 — Sunday 20 October, 2019
SAVE THE DATE! Join us at the Circular Economy Hackathon happening from 18th to 20th of October at Mektory – the biggest Innovation Center in Estonia.
You will have an amazing opportunity to meet fellow changemakers, solve real-life sustainability challenges and win awesome prizes! All this under the guidance of best mentors & experts. As a bonus, you will hear inspiring stories from Reet Aus, Mihkel Tamm (Pillirookõrs) and Kristo Elias. Read more about the event and register now – we have a limited amount of seats!
At the end of the hackathon, an international jury will select 10 ideas that can participate in the growth and scaling workshops in Finland and Riga, and an accelerator boot camp in Estonia (organized by Tehnopol).
WHAT YOU’LL GET FROM PARTICIPATING?
– You will meet fellow changemakers and inspiring people who might become your life-long friends or future business partners.
– Circular economy is the future of sustainable business. You’ll learn everything you need to get ahead in this field and actually solve real- life sustainability challenges.
– You will work, eat and sleep in the creative spaces of Mektory – the biggest innovation center in Estonia. Check out the one and only 270 degree Videal Screen hall and our new Innovation HUB.
HOW TO PARTICIPATE?
Don’t worry if you’re not a tech wizard or a circularity expert. Innovation emerges at the crossroads of disciplines. Secure your spot HERE – we have a limited amount of seats!
Also, a circular economy pre-event is coming. Follow the EVENT or our Facebook page MEKTORY and stay tuned!
NB! The hackathon will be held in English. More information: kaisa.hansen@taltech.ee
The project is supported by the European Regional Development Fund (Central Baltic Interreg Program 2014-2020).
09.09.2019 — 12.09.2019
PhD seminars HOW TO THEORIZE ART TODAY?
Date: September 9-12 / 5 pm–8 pm
Venue: Estonian Academy of Arts, Põhja pst 7, room A301
Lecturer: Ewa Domanska
This series of seminars is based on the assumption that today art can offer the historian (as well as anthropologists, archaeologists, literary scholar, etc.) theoretical inspiration, and even an epistemological paradigm and a research program of knowledge building. Interesting cognitive models, research categories, and representations of reality can be derived from the analysis of works of art. Following Susan Sontag’s statement that “each work of art gives us a form or paradigm or model of knowing something, an epistemology,” I would claim that analysis of various types of art objects, performances and activities might help us to build an inclusive knowledge of the past. Such knowledge would be more appropriate for the planetary condition than offered, for example, by history understood as a specific approach to the past that emerged within the Greco-Judeo-Christian tradition and carries a stigma as a colonial enterprise. Thus art participates in the struggle for the epistemic justice, commenting on the problem of “epistemological dependency” of non-western scholars, and criticizing Western cognitive (artistic) imperialism. It is an important force in the development of an emergent paradigm that is post-anthropocentric, post-Western, post-secular and post-global (planetary/ cosmic).
Contemporary art is a great laboratory for the testing of various kinds of future. If indeed there is a need for realistic, responsible (local or micro) utopias in the world today, they might be developed with the help of various ways of knowing (the world). This would include not only humanities, social sciences as well as life sciences and Earth Sciences (“radical interdisciplinarity”) – which is to say, Western type of knowledge, but also include indigenous ways of knowing. The question arises as to whether the historian and the artist can offer a more positive (affirmative) scenario of the future?
Registration
The seminar is open to PhD students.
Registration is open until 01.09.2019. Max group size is 15.
Readings (readings will be sent after registration)
- Doris Bachmann-Medick, Cultural Turns. New Orientations in the Study of Culture, trans. Adam Blauhut, Berlin: De Gruyter, 2016.
- Bruno Latour and Timothy M. Lenton, “Extending the Domain of Freedom, or Why Gaia Is So Hard to Understand.” Critical Inquiry, vol. 45, no. 3, Spring 2019: 659-680.
- Ariella Azoulay, “Potential History: Thinking through Violence”.Critical Inquiry, vol. 39, no. 3, Spring 2013.
- Rosi Braidotti Rosi, “Powers of Affirmation: Response to Lisa Baraitser, Patrick Hanafin and Clare Hemmings.” Subjectivity, vol. 3, no 2, 2010: 140–148.
- Ewa Domańska, “Affirmative Humanities”. Dějiny – teorie – kritika [Czech Republic], no. 1, 2018: 9-26.
- Ruth Lipschitz, Skin/ned Politics: Species Discourse and the Limits of “The Human” in Nandipha Mntambo’s Art. Hypatia, vol. 27, no. 3, August 2012: 546–566.
- Ann-Marie Tully, Becoming Animal: Liminal Rhetorical Strategies in Contemporary South African Art. Image & Text, vol. 17, 2011: 64-84.
- Kathy Charmaz, Constructing Grounded Theory: A Practical Guide Through Qualitative Analysis. Sage, 2006.
Program
Monday, September 9
- Paradigm shift in the contemporary humanities and social sciences
Tuesday, September 10
- Prefigurative Art/Humanities
Wednesday, September 11
- Contemporary Art and the Future of History
Thursday, September 12
- How to build a theory? [workshop]
PhD seminars HOW TO THEORIZE ART TODAY?
Monday 09 September, 2019 — Thursday 12 September, 2019
Date: September 9-12 / 5 pm–8 pm
Venue: Estonian Academy of Arts, Põhja pst 7, room A301
Lecturer: Ewa Domanska
This series of seminars is based on the assumption that today art can offer the historian (as well as anthropologists, archaeologists, literary scholar, etc.) theoretical inspiration, and even an epistemological paradigm and a research program of knowledge building. Interesting cognitive models, research categories, and representations of reality can be derived from the analysis of works of art. Following Susan Sontag’s statement that “each work of art gives us a form or paradigm or model of knowing something, an epistemology,” I would claim that analysis of various types of art objects, performances and activities might help us to build an inclusive knowledge of the past. Such knowledge would be more appropriate for the planetary condition than offered, for example, by history understood as a specific approach to the past that emerged within the Greco-Judeo-Christian tradition and carries a stigma as a colonial enterprise. Thus art participates in the struggle for the epistemic justice, commenting on the problem of “epistemological dependency” of non-western scholars, and criticizing Western cognitive (artistic) imperialism. It is an important force in the development of an emergent paradigm that is post-anthropocentric, post-Western, post-secular and post-global (planetary/ cosmic).
Contemporary art is a great laboratory for the testing of various kinds of future. If indeed there is a need for realistic, responsible (local or micro) utopias in the world today, they might be developed with the help of various ways of knowing (the world). This would include not only humanities, social sciences as well as life sciences and Earth Sciences (“radical interdisciplinarity”) – which is to say, Western type of knowledge, but also include indigenous ways of knowing. The question arises as to whether the historian and the artist can offer a more positive (affirmative) scenario of the future?
Registration
The seminar is open to PhD students.
Registration is open until 01.09.2019. Max group size is 15.
Readings (readings will be sent after registration)
- Doris Bachmann-Medick, Cultural Turns. New Orientations in the Study of Culture, trans. Adam Blauhut, Berlin: De Gruyter, 2016.
- Bruno Latour and Timothy M. Lenton, “Extending the Domain of Freedom, or Why Gaia Is So Hard to Understand.” Critical Inquiry, vol. 45, no. 3, Spring 2019: 659-680.
- Ariella Azoulay, “Potential History: Thinking through Violence”.Critical Inquiry, vol. 39, no. 3, Spring 2013.
- Rosi Braidotti Rosi, “Powers of Affirmation: Response to Lisa Baraitser, Patrick Hanafin and Clare Hemmings.” Subjectivity, vol. 3, no 2, 2010: 140–148.
- Ewa Domańska, “Affirmative Humanities”. Dějiny – teorie – kritika [Czech Republic], no. 1, 2018: 9-26.
- Ruth Lipschitz, Skin/ned Politics: Species Discourse and the Limits of “The Human” in Nandipha Mntambo’s Art. Hypatia, vol. 27, no. 3, August 2012: 546–566.
- Ann-Marie Tully, Becoming Animal: Liminal Rhetorical Strategies in Contemporary South African Art. Image & Text, vol. 17, 2011: 64-84.
- Kathy Charmaz, Constructing Grounded Theory: A Practical Guide Through Qualitative Analysis. Sage, 2006.
Program
Monday, September 9
- Paradigm shift in the contemporary humanities and social sciences
Tuesday, September 10
- Prefigurative Art/Humanities
Wednesday, September 11
- Contemporary Art and the Future of History
Thursday, September 12
- How to build a theory? [workshop]
20.06.2019
2019 Graduation Ceremonies
his year’s Graduation Ceremonies will be held on June 20th in the EKA hall (room A101, Põhja puiestee 7, Tallinn).
12.00 o’clock – graduates of Faculties of Design and Art Culture
3 o’clock pm – graduates of Doctoral School and the faculties of Architecture and Fine Art
NB! Dear graduate, please come to the EKA gallery 15 minutes earlier, so we can lead you to your place.
2019 Graduation Ceremonies
Thursday 20 June, 2019
his year’s Graduation Ceremonies will be held on June 20th in the EKA hall (room A101, Põhja puiestee 7, Tallinn).
12.00 o’clock – graduates of Faculties of Design and Art Culture
3 o’clock pm – graduates of Doctoral School and the faculties of Architecture and Fine Art
NB! Dear graduate, please come to the EKA gallery 15 minutes earlier, so we can lead you to your place.
04.06.2019
Exhibition „iTouch Store” Darja Popolitova
Exhibition „iTouch Store” Darja Popolitova
Vault Room of A-Gallery, Hobusepea 2, Tallinn
The exhibition can be visited from 31 Mayto 1 July 2019.
The opening will take place on 7 June at 6 p.m.
Darja Popolitova’s exhibition examines touch as a part of digital culture: the tactility of digitally transmitted jewellery images, given the excessive focus on the phone and the screen.
The audience can also see the works in their representations —in the form of a video ad where the author attempts to find answers to the following questions: can the digital representation of the jewellery have tactile features?, how does the digital representation of jewellery affect real jewellery on a tactile level? and, how does the use of digital media change the relationship between jewellery and tactility?.
The jewellery and objects at the exhibition are meant to solve the potential problems of the digital age. The titles of the work speak for themselves: “Hot Not Only Online Phone Case”, “Silicon Nail for Touching Screen”, “Digital Detox Brush”, etc.
The exhibition is laid out as a shop and this is not accidental. Media critic Erkki Huhtamo brings a parallel between a museum and a shop, the tradition of which is related to “tactiloclasms” — tactile rules and prohibitions in public places. Similarly to the old days where you could have access to the product in a shop only with the help of a shop assistant, in the exhibition room touching the jewellery is not permitted due to security requirements. Namita Gupta Wiggers, the jewellery historian, spoke of the fact that jewellery perception in the museum is limited to the vision, while the potential destination of the jewellery is the body.
Replacing the sense of touch with the vision continues in the Internet age. Darja Popolitova notes that she has been inspired by AliExpress e-shop ads. “Reviewing products —even without buying them —offers me certain pleasure,” commented the artist. “As I read a book by the media theorist Laura U. Marks, I went deeper into the meaning of the term “tactile visuality offered by Laura U. Marks. At one moment everything came together in my head: I treat the images of the products with a certain plasticity — my eyes do not see, but “touch” these images.That is why I decided to explore the tactile properties of the images of jewellery with my exhibition.”
Darja Popolitova was born in 1989 in Sillamäe and lives and works in Tallinn. She is currently doing a PhD at Estonian Academy of Arts. Darja designs jewellery using innovative technologies and mixed media. Recently, Darja Popolitova has participated in exhibitions at the Art and Design Museum in New York (2019), the Kunstnerforbundet gallery in Oslo (2018) and the fourth biennial of contemporary jewellery, METALLOphone in Vilnius (2018). Darja Popolitova is represented by the following galleries: Marzee in Nijmegen, Beyond in Antwerp, and Door in Mariaheide. Her work is included in the collection of the Estonian Museum of Applied Art and Design and also in private collections. The work of Darja Popolitova was awarded the scholarships of the Ministry of Culture and Adamson-Eric in 2018. She also received the scholarship of Young Jewellery in 2015.
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Video: Ando Naulainen
Sound Design: Andres Nõlvak
Graphic Design: Johanna Ruukholm
Artist’s gratitude goes to 3DKoda OÜ, A-Gallery, Adamson-Eric Museum,
Anastassia Dratšova, Benjamin Lignel, Daniil Popov, Doctoral School of Estonian Academy of Arts, Estonian Ministry of Culture, Kadri Mälk, Keiu Krikmann,
MakerLab Tallinn, Martina Gofman, Olesja Kulikova, Orbital Vox Stuudiod, Pire Sova,
Raivo Kelomees, Sarah Elizabeth Johnston, Shapeways Inc., Varvara Guljajeva, Vladimir Ljadov
The exhibition is supported by the Cultural Endowment of Estonia.
Exhibition „iTouch Store” Darja Popolitova
Tuesday 04 June, 2019
Exhibition „iTouch Store” Darja Popolitova
Vault Room of A-Gallery, Hobusepea 2, Tallinn
The exhibition can be visited from 31 Mayto 1 July 2019.
The opening will take place on 7 June at 6 p.m.
Darja Popolitova’s exhibition examines touch as a part of digital culture: the tactility of digitally transmitted jewellery images, given the excessive focus on the phone and the screen.
The audience can also see the works in their representations —in the form of a video ad where the author attempts to find answers to the following questions: can the digital representation of the jewellery have tactile features?, how does the digital representation of jewellery affect real jewellery on a tactile level? and, how does the use of digital media change the relationship between jewellery and tactility?.
The jewellery and objects at the exhibition are meant to solve the potential problems of the digital age. The titles of the work speak for themselves: “Hot Not Only Online Phone Case”, “Silicon Nail for Touching Screen”, “Digital Detox Brush”, etc.
The exhibition is laid out as a shop and this is not accidental. Media critic Erkki Huhtamo brings a parallel between a museum and a shop, the tradition of which is related to “tactiloclasms” — tactile rules and prohibitions in public places. Similarly to the old days where you could have access to the product in a shop only with the help of a shop assistant, in the exhibition room touching the jewellery is not permitted due to security requirements. Namita Gupta Wiggers, the jewellery historian, spoke of the fact that jewellery perception in the museum is limited to the vision, while the potential destination of the jewellery is the body.
Replacing the sense of touch with the vision continues in the Internet age. Darja Popolitova notes that she has been inspired by AliExpress e-shop ads. “Reviewing products —even without buying them —offers me certain pleasure,” commented the artist. “As I read a book by the media theorist Laura U. Marks, I went deeper into the meaning of the term “tactile visuality offered by Laura U. Marks. At one moment everything came together in my head: I treat the images of the products with a certain plasticity — my eyes do not see, but “touch” these images.That is why I decided to explore the tactile properties of the images of jewellery with my exhibition.”
Darja Popolitova was born in 1989 in Sillamäe and lives and works in Tallinn. She is currently doing a PhD at Estonian Academy of Arts. Darja designs jewellery using innovative technologies and mixed media. Recently, Darja Popolitova has participated in exhibitions at the Art and Design Museum in New York (2019), the Kunstnerforbundet gallery in Oslo (2018) and the fourth biennial of contemporary jewellery, METALLOphone in Vilnius (2018). Darja Popolitova is represented by the following galleries: Marzee in Nijmegen, Beyond in Antwerp, and Door in Mariaheide. Her work is included in the collection of the Estonian Museum of Applied Art and Design and also in private collections. The work of Darja Popolitova was awarded the scholarships of the Ministry of Culture and Adamson-Eric in 2018. She also received the scholarship of Young Jewellery in 2015.
__
Video: Ando Naulainen
Sound Design: Andres Nõlvak
Graphic Design: Johanna Ruukholm
Artist’s gratitude goes to 3DKoda OÜ, A-Gallery, Adamson-Eric Museum,
Anastassia Dratšova, Benjamin Lignel, Daniil Popov, Doctoral School of Estonian Academy of Arts, Estonian Ministry of Culture, Kadri Mälk, Keiu Krikmann,
MakerLab Tallinn, Martina Gofman, Olesja Kulikova, Orbital Vox Stuudiod, Pire Sova,
Raivo Kelomees, Sarah Elizabeth Johnston, Shapeways Inc., Varvara Guljajeva, Vladimir Ljadov
The exhibition is supported by the Cultural Endowment of Estonia.
30.04.2019
Performance “You’re not alone” at EKA Gallery 30.04.2019 at 6 pm
Join us for a performance evening “You’re not alone” on 30th of April, 6 PM at EKA Gallery.
Performances are made during an EKA course “You are not alone” mentored by Henri Hütt and Evelyn Raudsepp.
Artists: Andre Joosep Arming, Helena Lepik, Irmeli Terras, Heleliis Hõim, Ryan Galer, Angela Elizabeth Ramírez Fellowes, Mari-Liis Sõrg, Katrin Enni, Aksel Haagensen, Marianne Siilbaum, Sarah Johnston, Jose Aldemar Muñoz Ñustes
Performance “You’re not alone” at EKA Gallery 30.04.2019 at 6 pm
Tuesday 30 April, 2019
Join us for a performance evening “You’re not alone” on 30th of April, 6 PM at EKA Gallery.
Performances are made during an EKA course “You are not alone” mentored by Henri Hütt and Evelyn Raudsepp.
Artists: Andre Joosep Arming, Helena Lepik, Irmeli Terras, Heleliis Hõim, Ryan Galer, Angela Elizabeth Ramírez Fellowes, Mari-Liis Sõrg, Katrin Enni, Aksel Haagensen, Marianne Siilbaum, Sarah Johnston, Jose Aldemar Muñoz Ñustes
12.06.2019 — 14.06.2019
SISU 2019 “TEGELIK / ACTUAL”
International Symposium of Interior Architecture and Spatial Use SISU takes place in Tallinn, Estonia. Highlight of the Estonian interior architecture calendar since 2014, SISU Symposium is organised by the Estonian Association of Interior Architects, with the concept and programme for each SISU Symposium developed by a curatorial team. This year, the curatorial team consists of members of the Interior Architecture Department of the Estonian Academy of Arts EKA led by Professor Hannes Praks.
Focus and format
This year, the focus of SISU will be on the physical presence of our craft. The symposium will investigate strategies for spatial intervention, making and production through educational practices that combine direct engagement and participation in the creation of physical space. We will look at the tactile-sensorial experience a space can provide, we will explore material design through the lense of interior architecture and we’ll be inspired by the words of a long-time professor of interior architecture department of EKA, Estonian interior architect and designer Vello Asi (1927-2016), who said that space should always be designed from inside out.
From 12 to 14 June 2019, we invite interior architects and students of the field as well as professionals and students from neighbouring fields – architects, designers, etc – to join us for a three-day exploration of the interior architecture and spatial design process at the Põhjala Factory on Marati St, Tallinn. We will start with an empty space and will together – in the form of workshops and lectures – build up SISU Symposium 2019. The working format of SISU 2019 will be split 50:50 between workshops and lectures.
Location
SISU 2019 will be set up at the Põhjala Factory located on the Kopli peninsula of Tallinn – a 15 minute tram ride from the centre of the city. At present, this former ship-building area is weighing its options for the future, with many of the choices to be made being spatial, thus making Põhjala an excellent partner and location for our three-day investigation into the current space-making strategies interior architects employ. The spacious, inspiring quarters of Põhjala will also allow us to not only speak of practices, but also show, engage, make and produce space, showcasing interior architecture educational practices.
Presenters, performers and workshop tutors
Veiko Liis (Tallinn)
b210 architects and Pavle Stamenovic (Tallinn / Belgrade)
Laura Linsi and Roland Reemaa (Tallinn / London)
Daniel Zamarbide (Geneva / Lisbon)
Prof Masayo Ave (Berlin)
Jimi Tenor & Trashchestra (Helsinki)
Karsten Födinger (Karlsruhe)
Kärt Ojavee (Tallinn)
Elena Khurtova ja Marie Ilse Bourlanges (Amsterdam)
Eik Hermann (Tallinn)
Damon Taylor (London)
and many more
Practicalities
The working language of the symposium is English.
SISU is free of charge and open to everyone interested in the topic, but we require participants to register for SISU workshops – registration will open in the beginning of May!
SISU 2019 supporters
The Cultural Endowment of Estonia and the Ministry of Culture of Estonia.
Additional information
Project Manager Silja Kukk silja@esl.ee
Curatorial team contact Andrea Tamm andrea.tamm@artun.ee
SISU 2019 “TEGELIK / ACTUAL”
Wednesday 12 June, 2019 — Friday 14 June, 2019
International Symposium of Interior Architecture and Spatial Use SISU takes place in Tallinn, Estonia. Highlight of the Estonian interior architecture calendar since 2014, SISU Symposium is organised by the Estonian Association of Interior Architects, with the concept and programme for each SISU Symposium developed by a curatorial team. This year, the curatorial team consists of members of the Interior Architecture Department of the Estonian Academy of Arts EKA led by Professor Hannes Praks.
Focus and format
This year, the focus of SISU will be on the physical presence of our craft. The symposium will investigate strategies for spatial intervention, making and production through educational practices that combine direct engagement and participation in the creation of physical space. We will look at the tactile-sensorial experience a space can provide, we will explore material design through the lense of interior architecture and we’ll be inspired by the words of a long-time professor of interior architecture department of EKA, Estonian interior architect and designer Vello Asi (1927-2016), who said that space should always be designed from inside out.
From 12 to 14 June 2019, we invite interior architects and students of the field as well as professionals and students from neighbouring fields – architects, designers, etc – to join us for a three-day exploration of the interior architecture and spatial design process at the Põhjala Factory on Marati St, Tallinn. We will start with an empty space and will together – in the form of workshops and lectures – build up SISU Symposium 2019. The working format of SISU 2019 will be split 50:50 between workshops and lectures.
Location
SISU 2019 will be set up at the Põhjala Factory located on the Kopli peninsula of Tallinn – a 15 minute tram ride from the centre of the city. At present, this former ship-building area is weighing its options for the future, with many of the choices to be made being spatial, thus making Põhjala an excellent partner and location for our three-day investigation into the current space-making strategies interior architects employ. The spacious, inspiring quarters of Põhjala will also allow us to not only speak of practices, but also show, engage, make and produce space, showcasing interior architecture educational practices.
Presenters, performers and workshop tutors
Veiko Liis (Tallinn)
b210 architects and Pavle Stamenovic (Tallinn / Belgrade)
Laura Linsi and Roland Reemaa (Tallinn / London)
Daniel Zamarbide (Geneva / Lisbon)
Prof Masayo Ave (Berlin)
Jimi Tenor & Trashchestra (Helsinki)
Karsten Födinger (Karlsruhe)
Kärt Ojavee (Tallinn)
Elena Khurtova ja Marie Ilse Bourlanges (Amsterdam)
Eik Hermann (Tallinn)
Damon Taylor (London)
and many more
Practicalities
The working language of the symposium is English.
SISU is free of charge and open to everyone interested in the topic, but we require participants to register for SISU workshops – registration will open in the beginning of May!
SISU 2019 supporters
The Cultural Endowment of Estonia and the Ministry of Culture of Estonia.
Additional information
Project Manager Silja Kukk silja@esl.ee
Curatorial team contact Andrea Tamm andrea.tamm@artun.ee
06.05.2019 — 08.05.2019
Seminar: Utilizing Art and Design Practice as a Method for Research Inquiry
Date:6–8 May 2019 at 10.00 – 15.30
Venue:Estonian Academy of Arts, Põhja pst 7, room A402 (6-7 May), A301 (8 May)
Lecturer:Nithikul Nimkulrat
Practice-based research[1]has been adopted by creative practitioners in various art and design disciplines for over three decades. Its basic proposition is that “not only is practice embedded in the research process but research questions arise from the process of practice, the answers to which are directed toward enlightening and enhancing practice” (Candy and Edmonds 2018, p. 63). An emphasis on the contribution of research outcomes from practice-based research is that new knowledge is generated to inform creative practice and such knowledge may at times only be obtainable by means of practice.
Whilst artifacts created from within a research project is viewed as an integral part of the practice-based research process, they are expected to be placed in context through written theses and/or disseminated in published papers. By the necessity of written theses in academic research, reflection and documentation of the creative process and the overall research process is unavoidable (Nimkulart 2007).
This seminar aims to assist art and design students in situating their creative artifacts in research (Nimkulrat 2013) and in designing and structing their research conduct that involves their own practice as a research method based on their research questions initially set. This is not to understand practice as research. Practice is not research but can play a significant role in research.
The seminar will focus on the following research components:
- Research question– Why would art and design practice be necessary for answering it?
- Research process– How is it constructed based on the research question? Where is art and design practice located within the research process? How is documentation performed throughout the processes? How does reflection drive the process further and transform the research question initially set?
- Artifacts– Do they answer or support the written thesis to answer the research question?
In addition, the seminar will highlight how documentation functions as a research tool for capturing the practitioner-researcher’s reflection in- and on- action (Mäkelä and Nimkulrat 2018).
Requirement
To participate in the seminar, please send an abstract (250 words) that describes their PhD project and includes a few photos of artifacts and their processes, if any, to elika.kiilo@artun.eeby 1 May 2019. Please note that a primary research question must be clearly stated in the abstract.
In preparation for the seminar, participants will be asked to read
Candy, L. and Edmonds E. (2018). Practice-Based Research in the Creative Arts: Foundations and Futures from the Front Line. Leonardo 51(1), 63–69. https://www.mitpressjournals.org/doi/pdf/10.1162/LEON_a_01471
Mäkelä, M., & Nimkulrat, N. (2018). Documentation as Practice-Led Research Tools for Reflection on Experiential Knowledge. FORMakademisk 11(2).
DOI: https://doi.org/10.7577/formakademisk.1818
Nimkulrat, N. (2007). The Role of Documentation in Practice-Led Research. Journal of Research Practice, 3(1), Article M6. http://jrp.icaap.org/index.php/jrp/article/view/58/83
Nimkulrat, N. (2009). Paperness: Expressive Material in Textile Art from an Artist’s Viewpoint (pp. 34–38). Helsinki, Finland: University of Art and Design Helsinki. https://nithikul.com/PDF/Paperness.pdf
Nimkulrat, N. (2013). Situating Creative Artifacts in Art and Design Research. FORMakademisk, 6(2), Article 4. DOI: https://doi.org/10.7577/formakademisk.657
Registration
The seminar is open to PhD students. Registration is open until 30.04.2019.
Nithikul Nimkulrat is a practitioner-researcher who intertwines research with textile practice, focusing on experiential knowledge in craft processes in the context of design research. Prior to her current appointment as a Tenured Associate Professor at OCAD University in Canada in December 2018, Nithikul has worked at Estonian Academy of Arts, Loughborough University, and Aalto University, where she earned a doctorate in 2009. Nithikul is an elected council member of the Design Research Society (DRS), the convenor of the DRS Special Interest Group on Experiential Knowledge (EKSIG), and the leader of the Cumulus Association’s Fashion and Textile Working Group.
[1]The term “practice-based research” is chosen over “artistic research” and “practice-led research” to be used in the workshop in order to give practice a general role in scholarly research. For differentiation in meaning of different terms, see Nimkulrat (2009, pp. 34–38) and Candy and Edmonds (2018, pp. 64–65).
This event is organised by the Graduate School of Culture Studies and Arts, supported by the ASTRA project of the Estonian Academy of Arts – EKA LOOVKÄRG (European Union, European Regional Development Fund).
Seminar: Utilizing Art and Design Practice as a Method for Research Inquiry
Monday 06 May, 2019 — Wednesday 08 May, 2019
Date:6–8 May 2019 at 10.00 – 15.30
Venue:Estonian Academy of Arts, Põhja pst 7, room A402 (6-7 May), A301 (8 May)
Lecturer:Nithikul Nimkulrat
Practice-based research[1]has been adopted by creative practitioners in various art and design disciplines for over three decades. Its basic proposition is that “not only is practice embedded in the research process but research questions arise from the process of practice, the answers to which are directed toward enlightening and enhancing practice” (Candy and Edmonds 2018, p. 63). An emphasis on the contribution of research outcomes from practice-based research is that new knowledge is generated to inform creative practice and such knowledge may at times only be obtainable by means of practice.
Whilst artifacts created from within a research project is viewed as an integral part of the practice-based research process, they are expected to be placed in context through written theses and/or disseminated in published papers. By the necessity of written theses in academic research, reflection and documentation of the creative process and the overall research process is unavoidable (Nimkulart 2007).
This seminar aims to assist art and design students in situating their creative artifacts in research (Nimkulrat 2013) and in designing and structing their research conduct that involves their own practice as a research method based on their research questions initially set. This is not to understand practice as research. Practice is not research but can play a significant role in research.
The seminar will focus on the following research components:
- Research question– Why would art and design practice be necessary for answering it?
- Research process– How is it constructed based on the research question? Where is art and design practice located within the research process? How is documentation performed throughout the processes? How does reflection drive the process further and transform the research question initially set?
- Artifacts– Do they answer or support the written thesis to answer the research question?
In addition, the seminar will highlight how documentation functions as a research tool for capturing the practitioner-researcher’s reflection in- and on- action (Mäkelä and Nimkulrat 2018).
Requirement
To participate in the seminar, please send an abstract (250 words) that describes their PhD project and includes a few photos of artifacts and their processes, if any, to elika.kiilo@artun.eeby 1 May 2019. Please note that a primary research question must be clearly stated in the abstract.
In preparation for the seminar, participants will be asked to read
Candy, L. and Edmonds E. (2018). Practice-Based Research in the Creative Arts: Foundations and Futures from the Front Line. Leonardo 51(1), 63–69. https://www.mitpressjournals.org/doi/pdf/10.1162/LEON_a_01471
Mäkelä, M., & Nimkulrat, N. (2018). Documentation as Practice-Led Research Tools for Reflection on Experiential Knowledge. FORMakademisk 11(2).
DOI: https://doi.org/10.7577/formakademisk.1818
Nimkulrat, N. (2007). The Role of Documentation in Practice-Led Research. Journal of Research Practice, 3(1), Article M6. http://jrp.icaap.org/index.php/jrp/article/view/58/83
Nimkulrat, N. (2009). Paperness: Expressive Material in Textile Art from an Artist’s Viewpoint (pp. 34–38). Helsinki, Finland: University of Art and Design Helsinki. https://nithikul.com/PDF/Paperness.pdf
Nimkulrat, N. (2013). Situating Creative Artifacts in Art and Design Research. FORMakademisk, 6(2), Article 4. DOI: https://doi.org/10.7577/formakademisk.657
Registration
The seminar is open to PhD students. Registration is open until 30.04.2019.
Nithikul Nimkulrat is a practitioner-researcher who intertwines research with textile practice, focusing on experiential knowledge in craft processes in the context of design research. Prior to her current appointment as a Tenured Associate Professor at OCAD University in Canada in December 2018, Nithikul has worked at Estonian Academy of Arts, Loughborough University, and Aalto University, where she earned a doctorate in 2009. Nithikul is an elected council member of the Design Research Society (DRS), the convenor of the DRS Special Interest Group on Experiential Knowledge (EKSIG), and the leader of the Cumulus Association’s Fashion and Textile Working Group.
[1]The term “practice-based research” is chosen over “artistic research” and “practice-led research” to be used in the workshop in order to give practice a general role in scholarly research. For differentiation in meaning of different terms, see Nimkulrat (2009, pp. 34–38) and Candy and Edmonds (2018, pp. 64–65).
This event is organised by the Graduate School of Culture Studies and Arts, supported by the ASTRA project of the Estonian Academy of Arts – EKA LOOVKÄRG (European Union, European Regional Development Fund).
04.06.2019 — 07.06.2019
Seminar: Unpacking “show and tell”
Date: June 4, 6, 7 at 10.00 to 17.00
Venue: Estonian Academy of Arts, Põhja pst 7, room A202
Lecturer: Benjamin Lignel
Artist, writer and curator Benjamin Lignel will conduct a 3-day seminar in June, focusing on the challenges and opportunities inherent to artistic research. We will be thinking through the temporalities of making, documenting, and argumenting, and the different sort of “proof” they invoke; we will attempt a 21st century autopsy of the author-function and look at subject-positions with the help of Italo Calvino, Joan Scott and Audre Lord; we will play at presenting an object (textual or physical) for public scrutiny with a view to understanding what “stewardship of ideas” might imply.
Students who sign up for the seminar will be required to read 3 texts in advance:
Audre Lord, the Use of Anger, Women responding to Racism (1981)
Joan Scott, The Evidence of Experience (1991)
Ulrike Müller, Herstory Inventory (2011)
You will also be required to write, in conversational/diaristic mode, how you first met an idea that subequently guided your current research (max. 500 words).
Registration
The seminar is open to PhD and MA students.
Registration is open until 28.05.2019.
This event is organised by the Graduate School of Culture Studies and Arts, supported by the ASTRA project of the Estonian Academy of Arts – EKA LOOVKÄRG (European Union, European Regional Development Fund).
Seminar: Unpacking “show and tell”
Tuesday 04 June, 2019 — Friday 07 June, 2019
Date: June 4, 6, 7 at 10.00 to 17.00
Venue: Estonian Academy of Arts, Põhja pst 7, room A202
Lecturer: Benjamin Lignel
Artist, writer and curator Benjamin Lignel will conduct a 3-day seminar in June, focusing on the challenges and opportunities inherent to artistic research. We will be thinking through the temporalities of making, documenting, and argumenting, and the different sort of “proof” they invoke; we will attempt a 21st century autopsy of the author-function and look at subject-positions with the help of Italo Calvino, Joan Scott and Audre Lord; we will play at presenting an object (textual or physical) for public scrutiny with a view to understanding what “stewardship of ideas” might imply.
Students who sign up for the seminar will be required to read 3 texts in advance:
Audre Lord, the Use of Anger, Women responding to Racism (1981)
Joan Scott, The Evidence of Experience (1991)
Ulrike Müller, Herstory Inventory (2011)
You will also be required to write, in conversational/diaristic mode, how you first met an idea that subequently guided your current research (max. 500 words).
Registration
The seminar is open to PhD and MA students.
Registration is open until 28.05.2019.
This event is organised by the Graduate School of Culture Studies and Arts, supported by the ASTRA project of the Estonian Academy of Arts – EKA LOOVKÄRG (European Union, European Regional Development Fund).