Events
22.03.2022 — 31.03.2022
Guide Tours at the Jubilee Exhibition “Perspectives” in the gallery at Põhjala Factory
Guided tours at the Jubilee Exhibition of the Department of Accessory Design “Perspectives” in the gallery of Põhjala Factory with Stella Runnel.
22.03 Tuesday 5.30–7 pm
24.03 Thursday 4.30–6 pm
25.03 Friday 5 –7 pm
30.03 Wednesday 6–7 pm
31.03 Thursday 5–7 pm
Please register first
Guide Tours at the Jubilee Exhibition “Perspectives” in the gallery at Põhjala Factory
Tuesday 22 March, 2022 — Thursday 31 March, 2022
Guided tours at the Jubilee Exhibition of the Department of Accessory Design “Perspectives” in the gallery of Põhjala Factory with Stella Runnel.
22.03 Tuesday 5.30–7 pm
24.03 Thursday 4.30–6 pm
25.03 Friday 5 –7 pm
30.03 Wednesday 6–7 pm
31.03 Thursday 5–7 pm
Please register first
23.03.2022
Fine Arts Movie Night 1
and suddenly it all blossoms | Synopsis
The film “and suddenly it all blossoms” is a journey through the complexities of our time, shifting between hopes, desires, and doubts around our present moment. It follows a voice whose perspective on our disconcerting global situation unfolds as a meditation, guided and prompted by the exhibition’s artworks. The set itself – a Tarkovskian ecosystem of a decommissioned power station, an abandoned paintball field, warehouses, bird colonies, cruise ships and railway lines amongst empty lots and wastelands – exists as a metaphor for the ruptures of Soviet ideals and capitalist hopes. Presented as one continuous shot, the film is a reflection of standing on thresholds in a world suspended between old and new times. The drifting narrative remains tied closely to its setting, learning and growing from the Latvian and Baltic context, where ‘worlds have ended’ many times over through centuries of occupations, wars and economical upheavals, rebirths, and reinventions.
and suddenly it all blossoms, 2021, Latvia, 1 h 14 min
Directors: Rebecca Lamarche-Vadel, Dāvis Sīmanis
Director of photography: Andrejs Rudzāts
Script: Rebecca Lamarche-Vadel
Sound: LAFAWNDAH
Language: English (with English, Latvian, Russian, French or German subtitles)
Produced by Riga International Biennial of Contemporary Art.
Fine Arts Movie Night 1
Wednesday 23 March, 2022
and suddenly it all blossoms | Synopsis
The film “and suddenly it all blossoms” is a journey through the complexities of our time, shifting between hopes, desires, and doubts around our present moment. It follows a voice whose perspective on our disconcerting global situation unfolds as a meditation, guided and prompted by the exhibition’s artworks. The set itself – a Tarkovskian ecosystem of a decommissioned power station, an abandoned paintball field, warehouses, bird colonies, cruise ships and railway lines amongst empty lots and wastelands – exists as a metaphor for the ruptures of Soviet ideals and capitalist hopes. Presented as one continuous shot, the film is a reflection of standing on thresholds in a world suspended between old and new times. The drifting narrative remains tied closely to its setting, learning and growing from the Latvian and Baltic context, where ‘worlds have ended’ many times over through centuries of occupations, wars and economical upheavals, rebirths, and reinventions.
and suddenly it all blossoms, 2021, Latvia, 1 h 14 min
Directors: Rebecca Lamarche-Vadel, Dāvis Sīmanis
Director of photography: Andrejs Rudzāts
Script: Rebecca Lamarche-Vadel
Sound: LAFAWNDAH
Language: English (with English, Latvian, Russian, French or German subtitles)
Produced by Riga International Biennial of Contemporary Art.
16.03.2022
Online discussion: Political emancipation of artistic practices in Ukraine
Online discussion “Political emancipation of artistic practices in Ukraine”
On 16 March at 18:00—20:00 EEST
The discussion will be live streamed on Facebook.
Join us for an online discussion, where artists, curators and researchers from Ukraine will talk about their works dealing with the entanglements of past and present, memory and cultural decolonization.
Participants: Svitlana Biedarieva, Lia Dostlieva and Andrii Dostliev, Nikolay Karabinovich, Olia Mykhailiuk, Lada Nakonechna, Kateryna Botanova.
Moderators: Ieva Astahovska and Linda Kaljundi
Since 24 February, the world has desparately followed the war started by Russian president Putin in Ukraine justifying his aggressive invasion of the neighboring country with the need to “defend itself”, “denazify” Ukraine and “protect people who have been subject to abuse and genocide by the regime in Kyiv”. In his hour-long televised speech announcing the attack, Putin manipulated notions of 20th century and especially WWII history, denied that Ukraine has ever had “real statehood,” and stated that the country was an integral part of Russia’s “own history, culture, and spiritual space.” The falsification of history used to invade an independent state, assert power, and justify his imperial megalomania, has suddenly transformed war in Europe from a thing of the past into an urgent catastrophe of unprecedented scale for millions of people in the 21st century.
The war in Ukraine began in 2014 with Russia’s illegal annexation of Crimea, and subsequent invasion of eastern Ukraine. Already at that time, cultural resistance played an essential role alongside political protests. “What the artists did next to the barricades, sandwiches, hospitals, and Molotov cocktails was also a form of survival art, careful and scrupulous, often anonymous documentation of day-to-day activities. It was the art of action, of intervention in the physical and political reality to affect the symbolic one,” writes Ukrainian cultural critic, curator, and writer Kateryna Botanova. “Artistic practices engaged and laid the ground for a different kind of society based on a common fight and, at the same time, care and solidarity.”
After the Maidan Uprising (2013), many contemporary Ukrainian artists continued to work with difficult, debated and traumatic issues, among them searches for identity, memory wars, changing geopolitical affiliations, “documenting and empowering the voices of the other, telling the stories of those unseen and disempowered, articulating history not as a politically curated linear narrative serving the purpose of nation-building but as a layered and conflicting array of forgotten stories.” Collecting, accumulating, and articulating these issues of society’s blind spots, these artists have been building a critical mass of knowledge that are essential in building “a political nation capable of embracing multiple identities, on the foundations of traumatic experiences of the Soviet collectivity and post-Soviet aggressive individuality, colonial recasting of identities and post-colonial national take-over, Soviet totalitarianism and post-Soviet authoritarianism,” as Kateryna Botanova sums up.
The discussion is part of the project “Reflecting Post-Socialism through Postcolonialism in the Baltics”, which analyses the imprints of post-socialism and post-colonialism in the region. The programme is organized by the Latvian Center for Contemporary Art in Riga in collaboration with Kumu Art Museum, and it is curated by Ieva Astahovska and Linda Kaljundi.
The event is supported by the Nep4Dissent Research Network, an EU COST Action Association.
ABSTRACTS AND PRESENTER BIOS
Olia Mykhailiuk, “rememberMINT”
“rememberMINT” is a subjective multidimensional collage of poetic lines, documentary interviews, and photo/video essays from Donechchyna and Luhanshchyna, and performance. It is an attempt to explore the mechanisms of memory. When there are no more words, movements remain. When movements stop — smell remains. When people die — grass sprouts.
Many people find it difficult to forget times of hardship. But my memory, with no effort made, does not return me to where it was scary. In August 2014, I happened to be in the occupied Alchevsk for a while. There grew a lot of mint in the yard. When the world narrowed down to one backyard… we brewed mint tea. Sometimes a sunbeam fell through the window in the ceiling into the glass cup. Mint helps some to calm down and reconcile with their own memories, while it helps others, those who tend to forget, to recall. But I do not aim to cure everyone. Everyone has his own grass.
Olia Mykhailiuk lives and works in Kyiv. In 2007, teamed up with other like-minded people and founded ArtPole Agency in order to unite artists working in various areas—painters, musicians, performers, writers. Developed the concepts and initiated several notable multidisciplinary projects, both Ukrainian and international. She continues to work on the development of interaction between various art disciplines, particularly performance, music, literature and video art. In performance, she often tries to study the primal senses of words by referring to her own system of emotional signs and symbols.
Lia Dostlieva and Andrii Dostliev
Cultural decolonisation in our practice
In our practice, we have been consistently working on establishing a discursive space that would enable the recontextualisation of cultural and historical processes in the context of the decolonisation of Ukrainian culture from the dominant external imperial narrative. We will show several examples of our works that use these optics while looking at the Ukrainian past and present.
Lia Dostlieva and Andrii Dostliev are artists from Ukraine, currently based in Poznań, Poland.
Lia is also cultural anthropologist and essayist. The primary areas of her research are trauma, post-memory and agency of vulnerable groups. She works in a wide range of media, including photography, installations and textile sculptures, and has exhibited her works in Germany, Italy, Ukraine, Poland, Austria and elsewhere.
Andrii is also photography researcher and curator. He has degrees in IT and Graphic Design. His primary areas of interest are memory, trauma and identity—both personal and collective. He works in various media and has exhibited his works in Ukraine, Poland, Austria, the Czech Republic and elsewhere.
Lada Nakonechna,
“Disciplined Vision”
“Disciplined Vision” is the title of an exhibition of Lada Nakonechna in the National Art Museum of Ukraine (NAMU). Looking at artifacts of the Socialist Realist tradition from the NAMU’s archives, library, and collection as testimony, it proposes examining the role of art in shaping judgments about history. For they are the shared aspect of culture that determines the present.
The paradox of the visual culture of the Soviet Union lies in the implicit violence in the affirmative, positive images that spring from general humanist values (emancipation, mutual respect, love for one’s native land, etc.). Expositions of Ukrainian Museums mainly continue chronological unfolding of the history of art that played a role in constructing unyielding logic of history. Disciplined Vision examines how the representation of Ukraine in Socialist Realist tradition still forms the consciousness of people.
Lada Nakonechna is an artist and researcher. In addition to her personal practice, she is involved in a number of group projects and collectives. She is a member of the R.E.P. group (since 2005), part of the curatorial and activist union Hudrada (since 2008), cofounder of Method Fund (2015) and co-curator of its educational and research programs. In 2016 she also joined the new editorial board of the Internet journal of art, literature and politics Prostory.net.ua. Nakonechna’s artworks, which often take the form of installations incorporating drawing, photographs and text, call attention to methods of recognition and reveal the internal aspects of visual and verbal structures. Her latest artistic investigations are based on artistic and archival materials related to the art of Socialist Realism—understood as a “method” and institutional and educational system. In 2014 she received the Kazimir Malevich Art Award.
Nikolay Karabinovych, “In the beginning there was the rhythm”
Brief history of Ukraine 1991–2021.
A few stories, few videos and 3 artworks.
Nikolay Karabinovych lives and works in Kyiv and Brussels. The artist works in a variety of media, including video, sound, text, and performance. In 2020 and 2018, he was awarded the first PinchukArtCentre Special Prize. From 2019 he is studying at the Higher Institute for Fine Arts (HISK) in Ghent. In 2017, Karabinovych was an assistant curator of the 5th Odessa Biennale. His work has been shown at M HKA, Antwerp, PinchukArtCentre Kyiv, Jewish Museum and Tolerance Center Moscow, Museum of Modern Art, Odessa.
Svitlana Biedarieva
Viewing postcolonial entanglements in Ukraine through Latin American lens: Beyond “At the Front Line”
My presentation will focus on linking points between Ukrainian and Mexican art scenes. It will explore the notions of ambiguity and hybridity in the two regional contexts and will take on two different models of colonial and decolonial processes. I will compare the questions of (post)memory, memory wars, violence, and historical trauma in the discussion of art projects.
Svitlana Biedarieva is an art historian, artist, and curator with an interest in Eastern European and Latin American art. Her edited books include “Contemporary Ukrainian and Baltic Art: Political and Social Perspectives, 1991–2021” (ibidem Press 2021), “At the Front Line. Ukrainian Art, 2013–2019 (Mexico City: Editorial 17, 2020, co-edited with Hanna Deikun). Biedarieva’s papers have been published by, among other outlets, Space and Culture (SAGE), Art Margins Online (MIT Press), and Revue Critique d’Art (University of Rennes 2). She obtained her PhD in History of Art from the Courtauld Institute of Art, University of London, in 2020.
Kateryna Botanova is a Ukrainian cultural critic, curator, and writer based in Basel. She is a co-curator of CULTURESCAPES, Swiss multidisciplinary biennial, and is an editor of the critical anthologies that accompany each festival. She was a director of CSM/Foundation Center for Contemporary Art, in Kyiv, where, in 2010, she launched and edited Korydor, the online journal on contemporary culture. She has worked extensively with EU Eastern Partnership Culture Program and EUNIC Global as a consultant and expert. A member of PEN Ukraine, she publishes widely on art and culture.
Online discussion: Political emancipation of artistic practices in Ukraine
Wednesday 16 March, 2022
Online discussion “Political emancipation of artistic practices in Ukraine”
On 16 March at 18:00—20:00 EEST
The discussion will be live streamed on Facebook.
Join us for an online discussion, where artists, curators and researchers from Ukraine will talk about their works dealing with the entanglements of past and present, memory and cultural decolonization.
Participants: Svitlana Biedarieva, Lia Dostlieva and Andrii Dostliev, Nikolay Karabinovich, Olia Mykhailiuk, Lada Nakonechna, Kateryna Botanova.
Moderators: Ieva Astahovska and Linda Kaljundi
Since 24 February, the world has desparately followed the war started by Russian president Putin in Ukraine justifying his aggressive invasion of the neighboring country with the need to “defend itself”, “denazify” Ukraine and “protect people who have been subject to abuse and genocide by the regime in Kyiv”. In his hour-long televised speech announcing the attack, Putin manipulated notions of 20th century and especially WWII history, denied that Ukraine has ever had “real statehood,” and stated that the country was an integral part of Russia’s “own history, culture, and spiritual space.” The falsification of history used to invade an independent state, assert power, and justify his imperial megalomania, has suddenly transformed war in Europe from a thing of the past into an urgent catastrophe of unprecedented scale for millions of people in the 21st century.
The war in Ukraine began in 2014 with Russia’s illegal annexation of Crimea, and subsequent invasion of eastern Ukraine. Already at that time, cultural resistance played an essential role alongside political protests. “What the artists did next to the barricades, sandwiches, hospitals, and Molotov cocktails was also a form of survival art, careful and scrupulous, often anonymous documentation of day-to-day activities. It was the art of action, of intervention in the physical and political reality to affect the symbolic one,” writes Ukrainian cultural critic, curator, and writer Kateryna Botanova. “Artistic practices engaged and laid the ground for a different kind of society based on a common fight and, at the same time, care and solidarity.”
After the Maidan Uprising (2013), many contemporary Ukrainian artists continued to work with difficult, debated and traumatic issues, among them searches for identity, memory wars, changing geopolitical affiliations, “documenting and empowering the voices of the other, telling the stories of those unseen and disempowered, articulating history not as a politically curated linear narrative serving the purpose of nation-building but as a layered and conflicting array of forgotten stories.” Collecting, accumulating, and articulating these issues of society’s blind spots, these artists have been building a critical mass of knowledge that are essential in building “a political nation capable of embracing multiple identities, on the foundations of traumatic experiences of the Soviet collectivity and post-Soviet aggressive individuality, colonial recasting of identities and post-colonial national take-over, Soviet totalitarianism and post-Soviet authoritarianism,” as Kateryna Botanova sums up.
The discussion is part of the project “Reflecting Post-Socialism through Postcolonialism in the Baltics”, which analyses the imprints of post-socialism and post-colonialism in the region. The programme is organized by the Latvian Center for Contemporary Art in Riga in collaboration with Kumu Art Museum, and it is curated by Ieva Astahovska and Linda Kaljundi.
The event is supported by the Nep4Dissent Research Network, an EU COST Action Association.
ABSTRACTS AND PRESENTER BIOS
Olia Mykhailiuk, “rememberMINT”
“rememberMINT” is a subjective multidimensional collage of poetic lines, documentary interviews, and photo/video essays from Donechchyna and Luhanshchyna, and performance. It is an attempt to explore the mechanisms of memory. When there are no more words, movements remain. When movements stop — smell remains. When people die — grass sprouts.
Many people find it difficult to forget times of hardship. But my memory, with no effort made, does not return me to where it was scary. In August 2014, I happened to be in the occupied Alchevsk for a while. There grew a lot of mint in the yard. When the world narrowed down to one backyard… we brewed mint tea. Sometimes a sunbeam fell through the window in the ceiling into the glass cup. Mint helps some to calm down and reconcile with their own memories, while it helps others, those who tend to forget, to recall. But I do not aim to cure everyone. Everyone has his own grass.
Olia Mykhailiuk lives and works in Kyiv. In 2007, teamed up with other like-minded people and founded ArtPole Agency in order to unite artists working in various areas—painters, musicians, performers, writers. Developed the concepts and initiated several notable multidisciplinary projects, both Ukrainian and international. She continues to work on the development of interaction between various art disciplines, particularly performance, music, literature and video art. In performance, she often tries to study the primal senses of words by referring to her own system of emotional signs and symbols.
Lia Dostlieva and Andrii Dostliev
Cultural decolonisation in our practice
In our practice, we have been consistently working on establishing a discursive space that would enable the recontextualisation of cultural and historical processes in the context of the decolonisation of Ukrainian culture from the dominant external imperial narrative. We will show several examples of our works that use these optics while looking at the Ukrainian past and present.
Lia Dostlieva and Andrii Dostliev are artists from Ukraine, currently based in Poznań, Poland.
Lia is also cultural anthropologist and essayist. The primary areas of her research are trauma, post-memory and agency of vulnerable groups. She works in a wide range of media, including photography, installations and textile sculptures, and has exhibited her works in Germany, Italy, Ukraine, Poland, Austria and elsewhere.
Andrii is also photography researcher and curator. He has degrees in IT and Graphic Design. His primary areas of interest are memory, trauma and identity—both personal and collective. He works in various media and has exhibited his works in Ukraine, Poland, Austria, the Czech Republic and elsewhere.
Lada Nakonechna,
“Disciplined Vision”
“Disciplined Vision” is the title of an exhibition of Lada Nakonechna in the National Art Museum of Ukraine (NAMU). Looking at artifacts of the Socialist Realist tradition from the NAMU’s archives, library, and collection as testimony, it proposes examining the role of art in shaping judgments about history. For they are the shared aspect of culture that determines the present.
The paradox of the visual culture of the Soviet Union lies in the implicit violence in the affirmative, positive images that spring from general humanist values (emancipation, mutual respect, love for one’s native land, etc.). Expositions of Ukrainian Museums mainly continue chronological unfolding of the history of art that played a role in constructing unyielding logic of history. Disciplined Vision examines how the representation of Ukraine in Socialist Realist tradition still forms the consciousness of people.
Lada Nakonechna is an artist and researcher. In addition to her personal practice, she is involved in a number of group projects and collectives. She is a member of the R.E.P. group (since 2005), part of the curatorial and activist union Hudrada (since 2008), cofounder of Method Fund (2015) and co-curator of its educational and research programs. In 2016 she also joined the new editorial board of the Internet journal of art, literature and politics Prostory.net.ua. Nakonechna’s artworks, which often take the form of installations incorporating drawing, photographs and text, call attention to methods of recognition and reveal the internal aspects of visual and verbal structures. Her latest artistic investigations are based on artistic and archival materials related to the art of Socialist Realism—understood as a “method” and institutional and educational system. In 2014 she received the Kazimir Malevich Art Award.
Nikolay Karabinovych, “In the beginning there was the rhythm”
Brief history of Ukraine 1991–2021.
A few stories, few videos and 3 artworks.
Nikolay Karabinovych lives and works in Kyiv and Brussels. The artist works in a variety of media, including video, sound, text, and performance. In 2020 and 2018, he was awarded the first PinchukArtCentre Special Prize. From 2019 he is studying at the Higher Institute for Fine Arts (HISK) in Ghent. In 2017, Karabinovych was an assistant curator of the 5th Odessa Biennale. His work has been shown at M HKA, Antwerp, PinchukArtCentre Kyiv, Jewish Museum and Tolerance Center Moscow, Museum of Modern Art, Odessa.
Svitlana Biedarieva
Viewing postcolonial entanglements in Ukraine through Latin American lens: Beyond “At the Front Line”
My presentation will focus on linking points between Ukrainian and Mexican art scenes. It will explore the notions of ambiguity and hybridity in the two regional contexts and will take on two different models of colonial and decolonial processes. I will compare the questions of (post)memory, memory wars, violence, and historical trauma in the discussion of art projects.
Svitlana Biedarieva is an art historian, artist, and curator with an interest in Eastern European and Latin American art. Her edited books include “Contemporary Ukrainian and Baltic Art: Political and Social Perspectives, 1991–2021” (ibidem Press 2021), “At the Front Line. Ukrainian Art, 2013–2019 (Mexico City: Editorial 17, 2020, co-edited with Hanna Deikun). Biedarieva’s papers have been published by, among other outlets, Space and Culture (SAGE), Art Margins Online (MIT Press), and Revue Critique d’Art (University of Rennes 2). She obtained her PhD in History of Art from the Courtauld Institute of Art, University of London, in 2020.
Kateryna Botanova is a Ukrainian cultural critic, curator, and writer based in Basel. She is a co-curator of CULTURESCAPES, Swiss multidisciplinary biennial, and is an editor of the critical anthologies that accompany each festival. She was a director of CSM/Foundation Center for Contemporary Art, in Kyiv, where, in 2010, she launched and edited Korydor, the online journal on contemporary culture. She has worked extensively with EU Eastern Partnership Culture Program and EUNIC Global as a consultant and expert. A member of PEN Ukraine, she publishes widely on art and culture.
11.03.2022
Vibmory: Touching Memories
The upcoming Friday at 18hs, in an online event, Yulia Zhiglova and Claudia Diaz Reyes will present “Vibmory: Touching Memories”
Time travel is possible! We do it every day by recollecting past experiences in our minds. Can we also relive those moments and create new forms in the now to represent the past?
It is the outcome of the start.ee arts & science residency, organized by the HCI group at Tallinn University in collaboration with starts.eu.
–
Vibmory: Touching Memories
Friday 11 March, 2022
The upcoming Friday at 18hs, in an online event, Yulia Zhiglova and Claudia Diaz Reyes will present “Vibmory: Touching Memories”
Time travel is possible! We do it every day by recollecting past experiences in our minds. Can we also relive those moments and create new forms in the now to represent the past?
It is the outcome of the start.ee arts & science residency, organized by the HCI group at Tallinn University in collaboration with starts.eu.
–
28.02.2022 — 06.03.2022
International master class “Expedition to Narva”
Between 28.02–6.3 an international master class “Expedition to Narva” will take place under the leadership of Ene-Liis Semper, Professor of Scenography at EKA, which will end with a pop-up exhibition on March 4.
The workshop will take place in cooperation with the good partners of EKA: Paris ENSAD, Helsinki Uniarts and Vilnius Academy of Arts. In addition to Ene-Liis Semper, the course will be supervised by Patrick Laffont de Lojo from ENSAD, in addition, the workshop will also be assisted by Maria Hansar, PhD students at EKA and Madlen Hirtentreu.
Ene-Liis Semper has commented the upcoming workshop as follows: “Narva is a town with a strange time shift. We are going to Narva, we are researching local conditions, we are working on site-specific installations or videos, we are making summaries and a pop-up exhibition at the Narva Estonian House.
The work includes an excursion to the history of the border town of Narva, a seminar on figurative thought, site-specific work in the former Kreenholm and Baltijets factories and a pop-up exhibition at the end of the master class.”
The course takes place within the framework of the ERASMUS program, is will be the first blended international project (BIP) carried out by EKA.
International master class “Expedition to Narva”
Monday 28 February, 2022 — Sunday 06 March, 2022
Between 28.02–6.3 an international master class “Expedition to Narva” will take place under the leadership of Ene-Liis Semper, Professor of Scenography at EKA, which will end with a pop-up exhibition on March 4.
The workshop will take place in cooperation with the good partners of EKA: Paris ENSAD, Helsinki Uniarts and Vilnius Academy of Arts. In addition to Ene-Liis Semper, the course will be supervised by Patrick Laffont de Lojo from ENSAD, in addition, the workshop will also be assisted by Maria Hansar, PhD students at EKA and Madlen Hirtentreu.
Ene-Liis Semper has commented the upcoming workshop as follows: “Narva is a town with a strange time shift. We are going to Narva, we are researching local conditions, we are working on site-specific installations or videos, we are making summaries and a pop-up exhibition at the Narva Estonian House.
The work includes an excursion to the history of the border town of Narva, a seminar on figurative thought, site-specific work in the former Kreenholm and Baltijets factories and a pop-up exhibition at the end of the master class.”
The course takes place within the framework of the ERASMUS program, is will be the first blended international project (BIP) carried out by EKA.
22.02.2022
Public innovation lecture: Adrià Carbonell
On Tuesday, February 22, at 6 pm, Adrià Carbonell will give a public lecture “Contra Naturam: The Emergence of Modern Urbanism in Barcelona” in the hall of EKA (A-101)
Adrià Carbonell is an architect and urbanist. He is a lecturer in architecture at KTH Royal Institute of Technology in Stockholm, and has previously lectured at KU Leuven, Tallinn University of Technology, Umeå Universitet, and the American University of Sharjah. He is co-founder of the research collaborative Aside, where he writes on the interplay between architecture, territory, politics and the environment. He has co-edited the book Infrastructural Love: Caring for Our Architectural Support Systems (Birkhäuser, 2022). His writings have been published in PLAN, ACE: Architecture, City and Environment, ZARCH Journal of Interdisciplinary Studies in Architecture and Urbanism, San Rocco, MONU, Cartha, among others. His current research addresses two guiding questions in innovative urbanism: how to reframe cosmopolitical spatial practices and how to challenge existing urban inequalities through processes of territorial redistribution.
Lecture is in English and open to the public.
The lecture will also be broadcast on EKA TV
The lecture is organized by the Faculty of Architecture of EKA together with the Estonian Association of Architects.
The lecture is supported by European Regional Development Fund.
Public innovation lecture: Adrià Carbonell
Tuesday 22 February, 2022
On Tuesday, February 22, at 6 pm, Adrià Carbonell will give a public lecture “Contra Naturam: The Emergence of Modern Urbanism in Barcelona” in the hall of EKA (A-101)
Adrià Carbonell is an architect and urbanist. He is a lecturer in architecture at KTH Royal Institute of Technology in Stockholm, and has previously lectured at KU Leuven, Tallinn University of Technology, Umeå Universitet, and the American University of Sharjah. He is co-founder of the research collaborative Aside, where he writes on the interplay between architecture, territory, politics and the environment. He has co-edited the book Infrastructural Love: Caring for Our Architectural Support Systems (Birkhäuser, 2022). His writings have been published in PLAN, ACE: Architecture, City and Environment, ZARCH Journal of Interdisciplinary Studies in Architecture and Urbanism, San Rocco, MONU, Cartha, among others. His current research addresses two guiding questions in innovative urbanism: how to reframe cosmopolitical spatial practices and how to challenge existing urban inequalities through processes of territorial redistribution.
Lecture is in English and open to the public.
The lecture will also be broadcast on EKA TV
The lecture is organized by the Faculty of Architecture of EKA together with the Estonian Association of Architects.
The lecture is supported by European Regional Development Fund.
18.02.2022
EKA Research Cafe: What do urbanists do?
EKA Research Cafe:
What do urbanists do? From urban research to practice
Urban Studies have been taught at the Estonian Academy of Arts for sixteen years, 48 students have altogether received a master’s degree. Urbanists educated in Estonia work in research, in public and private sectors, here and all over the world. We invite you to take part in an evening of discussions where we will explore expressions of this interdisciplinary speciality situated at the border of theory and practice and talk about what do urbanists do.
We ask, what are the most relevant research directions on the field today, is there anything specific about Estonian Urbanism and what is the role of the urban studies curriculum in understanding and developing the field.
The head of the curriculum, Prof. Maroš Krivý will talk about his own research, including Marie Skłodowska-Curie early stage researcher grant for contemporary urban history. Lecturers Keiti Kljavin and Kaija-Luisa Kurik will give an insight into their practices as educators and urbanists. Additionally, Mattias Malk and Sean Tyler, both PhD students of urban studies, will join the discussion.
We offer coffee and snacks!
The event is in English.
The event is supported by the European Regional Development Fund.
EKA Research Cafe: What do urbanists do?
Friday 18 February, 2022
EKA Research Cafe:
What do urbanists do? From urban research to practice
Urban Studies have been taught at the Estonian Academy of Arts for sixteen years, 48 students have altogether received a master’s degree. Urbanists educated in Estonia work in research, in public and private sectors, here and all over the world. We invite you to take part in an evening of discussions where we will explore expressions of this interdisciplinary speciality situated at the border of theory and practice and talk about what do urbanists do.
We ask, what are the most relevant research directions on the field today, is there anything specific about Estonian Urbanism and what is the role of the urban studies curriculum in understanding and developing the field.
The head of the curriculum, Prof. Maroš Krivý will talk about his own research, including Marie Skłodowska-Curie early stage researcher grant for contemporary urban history. Lecturers Keiti Kljavin and Kaija-Luisa Kurik will give an insight into their practices as educators and urbanists. Additionally, Mattias Malk and Sean Tyler, both PhD students of urban studies, will join the discussion.
We offer coffee and snacks!
The event is in English.
The event is supported by the European Regional Development Fund.
11.02.2022
“Displaced Time” book presentation in Lugemik
The presentation of the book “Displaced Time” on February 11 at 6 pm in Lugemik book shop.
Compiled by Aap Tepper and Annika Toots
Graphic design: Kert Viiart and Carl-Robert Kagge
Publisher: National Archives of Estonia
The book “Displaced Time” deals with the dark potential of archives, focusing on the restricted collections and classified archival materials that existed during the Soviet period. The book is based on Aap Tepper’s exhibition project “Displaced Time: 10 Photographs from Restricted Collections”, which was held at the Film Archives of the National Archives in 2018, and used nature and landscape photography to reveal how the Soviet authorities used archives as a repressive mechanism.
“Displaced Time” book presentation in Lugemik
Friday 11 February, 2022
The presentation of the book “Displaced Time” on February 11 at 6 pm in Lugemik book shop.
Compiled by Aap Tepper and Annika Toots
Graphic design: Kert Viiart and Carl-Robert Kagge
Publisher: National Archives of Estonia
The book “Displaced Time” deals with the dark potential of archives, focusing on the restricted collections and classified archival materials that existed during the Soviet period. The book is based on Aap Tepper’s exhibition project “Displaced Time: 10 Photographs from Restricted Collections”, which was held at the Film Archives of the National Archives in 2018, and used nature and landscape photography to reveal how the Soviet authorities used archives as a repressive mechanism.
26.01.2022 — 12.01.2022
HÕS. Graduates Feedback (2019–2021) Seminar
Students, academics, curriculum leaders, study support specialists and management are welcome to join the Feedback Seminar of EKA graduates (2019–2021) on Wednesday, January 26, 2022 from 1 to 3 pm in room A501.
What does the EAA graduates say in the feedback? What is valued and how can we get better? How and what do our current students want to say about this?
What to learn from it? How to?
Register (required for snack planning) by January 21st.
HÕS. Graduates Feedback (2019–2021) Seminar
Wednesday 26 January, 2022 — Wednesday 12 January, 2022
Students, academics, curriculum leaders, study support specialists and management are welcome to join the Feedback Seminar of EKA graduates (2019–2021) on Wednesday, January 26, 2022 from 1 to 3 pm in room A501.
What does the EAA graduates say in the feedback? What is valued and how can we get better? How and what do our current students want to say about this?
What to learn from it? How to?
Register (required for snack planning) by January 21st.
18.12.2021
Urban Studies exhibition-expedition@Paljassaare… through time capsules
Paljassaare time capsules: hiding, making, stalking, digging, hopping, skipping, crawling, barking, hawking, hoping, expecting, lingering, sludging, metabolizing, digesting, dismantling, defending, demolishing, augmenting, building, intending, archiving, recreating … (etc never-ending)
Paljassaare, a place of wonderment in the periphery of Tallinn’s imagination, a nature’s reserve, a utopian paradise, a blessing in disguise, a magic potion, a myth, a cradle of birds, so green, so much green and so much peace. On the other side, Paljassaare has a disturbing presence of a parallel reality of illusions of all kinds that makes this peninsula a multiplicity of time capsules. It invites us to break beyond the realms of past, present, and future, and to peel through its endless secrets and triumph over this highly contested land.
Armed with warm clothing and winter boots, we invite you to join the group of first-year Urban Studies Master students at the Estonian Academy of Arts for the final critique of their works developed in the framework of the Urbanization Studio, tutored by Keiti Kljavin and Andra Aaloe.
The exhibition-expedition will take place in situ all across Paljassaare and includes ten individual project stations (audio-walks and talks, immersive projections and installations, parties and screenings, exhibitions) approachable by foot. Be prepared for crispy cold temperatures, a lot of walking and long hours spent outside and bring along an extra pair of warm socks, snacks and a mug for tea refills along the way.
We kindly ask you to bring along your own earphones and devices with a data connection. If possible, take along a charger and/or a power bank to make sure your device can successfully endure this expedition.
Practicalities:
We will meet on Saturday, the 18th of December, at 10.45 (bus nr. 59 arrival time) at Pikakari bus stop, where, followed by a short introduction, we will collectively move towards the first project location of the day. The tour will end around 17.00. The event will be held in English.
The authors exposed: Kush Badhwar, Khadeeja Farrukh, Christian Hörner, Nabeel Imtiaz, Luca Liese Ritter, Paul Simon, Nora Soo, Katrin Tomiste, Paula Kristiāna Veidenbauma, Friederike Zängl.
Studio leads: Keiti Kljavin and Andra Aaloe
** FOR EMERGENCIES: if you get lost during the day you can call Paula Veidenbauma +37128642280**
More information and programme here!
Urban Studies exhibition-expedition@Paljassaare… through time capsules
Saturday 18 December, 2021
Paljassaare time capsules: hiding, making, stalking, digging, hopping, skipping, crawling, barking, hawking, hoping, expecting, lingering, sludging, metabolizing, digesting, dismantling, defending, demolishing, augmenting, building, intending, archiving, recreating … (etc never-ending)
Paljassaare, a place of wonderment in the periphery of Tallinn’s imagination, a nature’s reserve, a utopian paradise, a blessing in disguise, a magic potion, a myth, a cradle of birds, so green, so much green and so much peace. On the other side, Paljassaare has a disturbing presence of a parallel reality of illusions of all kinds that makes this peninsula a multiplicity of time capsules. It invites us to break beyond the realms of past, present, and future, and to peel through its endless secrets and triumph over this highly contested land.
Armed with warm clothing and winter boots, we invite you to join the group of first-year Urban Studies Master students at the Estonian Academy of Arts for the final critique of their works developed in the framework of the Urbanization Studio, tutored by Keiti Kljavin and Andra Aaloe.
The exhibition-expedition will take place in situ all across Paljassaare and includes ten individual project stations (audio-walks and talks, immersive projections and installations, parties and screenings, exhibitions) approachable by foot. Be prepared for crispy cold temperatures, a lot of walking and long hours spent outside and bring along an extra pair of warm socks, snacks and a mug for tea refills along the way.
We kindly ask you to bring along your own earphones and devices with a data connection. If possible, take along a charger and/or a power bank to make sure your device can successfully endure this expedition.
Practicalities:
We will meet on Saturday, the 18th of December, at 10.45 (bus nr. 59 arrival time) at Pikakari bus stop, where, followed by a short introduction, we will collectively move towards the first project location of the day. The tour will end around 17.00. The event will be held in English.
The authors exposed: Kush Badhwar, Khadeeja Farrukh, Christian Hörner, Nabeel Imtiaz, Luca Liese Ritter, Paul Simon, Nora Soo, Katrin Tomiste, Paula Kristiāna Veidenbauma, Friederike Zängl.
Studio leads: Keiti Kljavin and Andra Aaloe
** FOR EMERGENCIES: if you get lost during the day you can call Paula Veidenbauma +37128642280**
More information and programme here!