Exhibitions

On Tuesday 7.05 at 19:00, the exhibition “Ruhig Dimma” by Charlotte Gisele Chapuis and Clio Pavlidis Andersson will open in Lainurga Gallery.

Location: on the 4th floor in front of the photography department, B-405
Start of the exhibition: 07.05 19:00
End of the exhibition: 21.05

Two artists from two different countries exhibit works from their personal archives, resulting in a blend of intimate portraits and still landscapes. They might have different backgrounds, but their two narratives meet in a longing for home and an appreciation for the connections created around them. “Ruhig Dimma” exhibits intimacy and symbolism, by using close to heart-photographies and found objects complementing the pictures.

Clio Pavlidis Andersson (b. 1998) is currently on exchange at Estonian Academy of Arts and is studying her second year at the BFA programme in photography, at HDK-Valand. Her practice often features family and close friends as central figures, allowing her to delve into the soreness and fragility that inevitably comes with long and deep relationships.

Charlotte Giséle Chapuis (b. 1998) is studying her fourth year at the BFA programme in photography at Folkwang University of Arts and is also currently on exchange at Estonian Academy of Arts. Rooted in closeness and vulnerability, she’s working a lot with her own archive material, trying to find and show patterns that tell an intimate story.

Supported by Cultural Endowment of Estonian and Estonian Academy of Arts

Our group of students studying Urban Studies, Architecture, and Urban Planning warmly invites you to join us on this journey of collectively curated exhibition.

SAVE THE DATE! 3rd OF MAY at 16:00 at the Sea terrace of EKA. The final grading of Urban Studies Urban Models course is tutored by Kristi Grišakov & Keiti Kljavin.

If you dig a new hole in a degraded landscape, you can see the excavated trench. If you open the door of an apartment that has stood empty for years, the room is full of stories. The reference to excavation in the title sums up our task of relating to what has already left, to find in the traces of past activity the material for understanding larger regional changes. 

Five different creative experiments aim to reflect the sense of displacement, longing and disempowerment of a region on the edge of Estonia to resist change. We will look at the districts of Ahtme and Järve and the city of Kiviõli, where the monofunctionality of extractive manufacturing has challenged the response to the housing surplus caused by emigration. Exploring different issues related to (non)material aspects of Ida-Viru County settlements, our projects are based on field analysis and research, market analysis of housing conditions, reinterpretation of individual challenges of adaptation to depopulation. There is always a mist of hope in the air, a bit toxic and perhaps greenwashed, but full of the power of re-launching structural funds and the limits of the social adaptability of the population. 

Students: Marta Bodnar; Ayse Betul Gesen; Mariana Gomes Pedro; Lion Herrmann; Sofia Ignateva; Maria Kazlovskaya; Madita Laura Kümmeringer; Ella Nikulina; Henry Rikk; Piret Saar; Annika Ülejõe; Anneli Virts; Clara-Marlen Wilke.

On Thursday, April 25, at 6 p.m., the exhibition “Allow Yourself to Change” will be opened in the ARS Project Space on the intersection of painting and artificial branches.

At the center of painting has always been humanity with its special flaws and virtues – the uniqueness and imperfection of the human hand, the inability to perform movements quickly and flawlessly and to repeat them identically has been the core of painting throughout the centuries-long history of the medium. While today’s artificial intelligence can create flawless forms at lightning speed, repeat them an infinite number of times, and draw images from the entire stock of human visual culture.

But what happens when the slow processuality of painting meets a working method that quickly and efficiently involves machine art instances and global data arrays? What role could an art oriented to deceleration have in the era of total acceleration, when people trust themselves more and more in the care of such technological systems, the working mechanisms of which they do not know, for the sake of efficiency, competitiveness and economic growth?

The exhibition features five Estonian artists, who in recent years have devoted themselves to the study of the relationship between painting and the artificial branch and cross traditional painting techniques with various digital technologies. Vano Allsalu feeds the artificial forest with paintings in his signature style and maps its capabilities in an abstract way of expression; Gerda Hansen plays with the idea of whether a painter of the era of machine art can step into the same river twice; Siiri Jüris allows his figural abstract paintings to mutate with the help of digital technology; Carl-Robert Kagge uses Photoshop’s generative fill feature to create painting screens, and Mart Vainre has developed an ouroboros analog-digital-analog color transformer. The curator of the exhibition is Liisa Kaljula, who works in the painting collection of the Estonian Art Museum and has curated several art exhibitions.

The preparation process of the exhibition is different from the usual curated group exhibition – the curator and the artists have met regularly in the studios of the participating artists to discuss the new situation in which art has been placed by the powerful appearance of the artificial branch: could painting, with its celebration of slowness, physical work and human error, be a counterculture of the age of digital acceleration? The temporary community created between the participants has helped to make sense of this moment in time, when the paths of painting and artificial branches inevitably cross and human and machine intertwine.

Artists: Vano Allsalu, Gerda Hansen, Siiri Jüris, Carl-Robert Kagge, Mart Vainre
Curator: Liisa Kaljula
Graphic design: Carl-Robert Kagge
Exhibition project manager: Mart Vainre
Installation: Johannes Säre

The exhibition “Allow yourself to change.” From painting in the age of machine art” will remain open in the ARS Projektiruumi until May 18, 2024.

The exhibition is supported by the Estonian Cultural Foundation and the Estonian Artists’ Union, the opening is supported by Põhjala.

In connection with the ARS Open Ateliers Day, on May 17th, tours conducted by the exhibition participants will take place, the finale of the exhibition will end with a discussion about the relationship between painting and new technologies.

ARS Projektiruum, Pärnu mnt 154, Tallinn

Open Mon-Sat 12-6pm

Free entrance

arsfactory.ee

Singular Inner Worlds

Marju Mutsu and Reti Saks (Laanemäe) 

This exhibition presents the graduation projects of two notably distinct female print artists: Marju Mutsu (1941–1980), who graduated in 1969, and Reti Saks, formerly Laanemäe (1960), who obtained her diploma in print art in 1987. From the outset, both artists displayed a unique and unmistakable style. They both engrave their visions with a sharp needle onto the acid resistant layer of a metal plate using intaglio printing, specifically etching. Their interpretations of the world are profound and characterised by a strong sense of generalisation – albeit expressed in entirely different ways.

Marju Mutsu’s vibrant series Youth comprises six prints, each titled thematically: Wind, Truth, Tenderness, Song, School and Earth. On one hand, we observe the spirit of the 1960s reflected here, capturing the fast-paced rhythms of contemporary life, alongside determined-looking men with strong jawlines. On the other hand, we encounter unprecedented forms in Estonian printmaking, witty suggestions, fragmentation of the pictorial space, as well as emotional experiences, mental states, and the beauty of nature’s fragments. The uniqueness of Mutsu’s print art lies not only in its dynamic expression and Astrid Lindgren-like humour, but also in its exploration of all the possibilities of intaglio printing and bold experimentation: at times, the plate is not completely wiped clean of printing ink, the outlines of recognisable figures blend into abstraction, and the surface of the printing plate itself becomes a character.

The joyful print artist departed from us prematurely, at the young age of just 39.

Reti Saks’ series of seven images Games exudes a more subdued and static tone. From the outset, the artist has been on a quest for answers to life’s profound mysteries, delving into the enigma of life and death. The depth of exploration, sometimes even penetrating the surface of the image itself, is evident in the sheet titled Deep Print. Other prints, like Stairs, Ribbon and Walker, signify human choices, whereas works such as Eye to Eye, Hand and Picture illustrate the enigmatic ways in which the world can be perceived. The artist reflects the world through herself, with her images literally bearing her own visage. In a metaphysical expanse of imagery, a semi-frozen figure of a child-woman emerges, often in repetitive iterations, reminiscent of the artist herself. This deeply introspective exploration of the world is both painful and melancholic, yet it is also rich and multi-layered.

Reeli Kõiv
curator of the exhibition

Graphic design: Pärtel Eelmere

Nature and Abstraction
Designs for Monumental Paintings from the 1970–1980s

Monumental painting emerged as a significant medium in Estonian art during the 1960s. However, formal instruction in this area gained momentum at the art academy over the subsequent two decades. During this period, the ideas of several painting students progressed from concept to completion in various materials. Examples include the stained glass works of Urve Dzidzaria and Heli Tuksam, which originated from their diploma projects. The preliminary work of these projects is also displayed at the current exhibition.

While Soviet official art typically featured propagandistic content in works intended for public spaces, neither our professional monumental painting nor the students’ works adhere to this approach. Guided by the enthusiastic mentorship of Dolores Hoffmann, students developed universally human and aesthetic solutions in monumental painting. One noticeable trend is the oscillation between nature-inspired, realistic design creation and the abstract style, where recognisable figures have been lost. This selection presents various personal approaches, ranging from a slightly stylised manner to completely abstract expression. In each case, the artists have carefully considered the future technique of execution, whether it be fresco, sgraffito, mosaic or stained glass.

Several artworks that were removed from the old EKA building on Tartu Road before its demolition have been subsequently reinstalled and showcased in the new academy building. Furthermore, contemporary pieces have been introduced, as instruction in monumental painting continues under the guidance of Heldur Lassi at the Estonian Academy of Arts, albeit on a more modest scale today. Present-day students are not constrained by traditional boundaries – they do employ classical techniques but boldly blend them together as dictated by the content. This exhibition provides viewers with the opportunity to establish conceptual links between different approaches from various periods, prompting them to seek out the completed monumental paintings, both old and new, within the public spaces of the EKA.

The artworks showcased in the exhibition were initially featured at the comprehensive exhibition Invisible Monumental Painting at the EKA Gallery in 2020, offering a vibrant display designed by Kristi Kongi.

Reeli Kõiv
curator of the exhibition

Passepartouts: Kristi Kongi
Graphic design: Pärtel Eelmere

Performance “What if there is no place called home” by Melina Unterhauser in Keskpuur on 20th of April from 12.00 to 15.30.

“This I will only tell myself in confidence because it comes from a little part where I don’t go often and there is still a place for you. Come and sit next to my kitchen to hear a story of our past. Follow the unheard story of my grandfather.”

The performance takes place at Keskpuur activating the installation of Inessa Saarits and Liisa-Lota Jõeleht. Melina Unterhauser transforms the installation by inviting audience to have a homemade meal together, the performance explores and questions the overlapping and contradictions of the culture heritage in different countries. Where are the intersections and what isolate us from each other? How to live as a nomad in a new country with a different cultural background?

Unterhauser is interested in involvements of the individuals and groups in society, specifically  in rituals, social movements and political systems. For that she works mostly in installation and performance to combine haptic materials with body movement.

Melina Unterhauser is a German artist based in Karlsruhe and Tallinn. She is currently studying in the installation and sculpture department at the Estonia Academy of Arts for an exchange semester. In Germany she is a student of Ulla von Brandenburg in the Fine Arts Academy of Karlsruhe. She has participated in several group exhibitions in Germany and Italy.

12:00-14:30 Sound installation and preparation of the meal
15:00 Eating together

Maria Erikson‘s solo exhibition Hazy Gardens opens in GÜ gallery at 5pm on Tuesday, April 16, 2024. Exhibition is open until May 3, 2024.

You will find me if you want me in the garden.
Unless it’s pouring down with rain.(Einstürzende Neubauten, The Garden. Album Ende Neu, 1996.)

Trees stand for growth and life but also for stability and roots. People spend time amongst the trees to seek knowledge and integrity because this is where the spiritual and mundane are intertwined. I visit the trees to ask for advice or tell them about my grief.
(M. E.)

Hazy Gardens premises on an allegorical ambiguity of a garden as an archetypal image of the soul and happiness. A garden represents a spiritual headspace but also a physical space where to seek sanctuary and beauty. While it is an attempt to create nature in a constrained form, it can also be seen as an extension of a domestic space. It is a dimension that is purposefully cultivated in a need of comfort, freedom and escape. In a sense, nurturing a garden is nurturing oneself. It is an embodiment of human desire to care for and be cared for. The neglected, once lush garden becomes a symbol of decay and of a tenacious nature that eventually takes over the habitat.

With similar attentiveness and sensitivity, as if tending to a garden, gentle gestures are transferred to printing paper though the creative process of the artist, envisioning a dreamy garden space, and simultaneously representing the ephemeral nature of the dream itself. Artist’s attempt to grow and maintain both real and imaginary gardens becomes an allegory of the (human) nature, its permanence and impermanence.

Artist thanks: Association of Estonian Printmakers, Lembe Ruben-Kangur,
Liina Siib, Britta Benno, Kadri Toom, Naomi Nowak, Anna Viola Hallberg, Brynhild Seim, Jim Berggren, Marko Odar, Villem Säre, Mart Saarepuu,
Björkö Konstnod, EKA graafika

Exhibition is supported by the Cultural Endowment of Estonia.

Maria Erikson (1985) lives and works in Tallinn and Oslo. Her body of work is an exploration of personal identity and cultural narrative through the methodology of craft and the process of artmaking, the representation of the body and the ephemeral nature of material itself. With the focus on materiality and materials as sets of relationships, she investigates visible and non-visible relations that are produced by the gestures between them. In new structural arrangements she investigates their jointness and indifferences, bodiliness and ability to inhabit shared space.

Maria Erikson teaches graphic art at the Estonian Academy of Arts and the Oslo National Academy of Arts in Norway, previously also at the Academy of Fine Arts in Helsinki. Erikson holds a MFA degree in printmaking study area from the Academy of Fine Arts in Helsinki and a master printer certificate as a collaborative lithography printer from Tamarind Institute (NM, USA). Before that, she studied graphic arts in Sweden. Maria Erikson is a recipient of the Eduard Wiiralt grant (2021), The Swedish Printmakers´ Association Scholarship, (2017), Getfotsfonden Foundation Scholarship (2012), Eric Ericson Foundation Fellowship (2012), and has been on two occasions rewarded with Ann-Margret Lindell Grant for Printmaking (2021, 2008, Sweden). In 2023, Erikson was awarded the title of Printmaker of a Year by the Association of Estonian Printmakers.

Recent exhibitions: Perspektiv på trykk, Gallery Norske Grafikere, Norway (2024); Pindadest, piiridest, omaruumidest, The Rapla County Centre for Contemporary Art (2023). Solo exhibitions Soft Touch On The Deckle, The Museum of Lithography, Sweden; Gallery Ratamo, Finland; Gallery Draakon, Tallinn (2023) and Notes from Borderspace, ARS Project Space, Tallinn (2022).

On April 18, at 7:00 p.m., Denisa Štefanigová will open her personal exhibition “Look at the Clouds” at the Tütar gallery. The exhibition is designed by the artist Johannes Luik.

In the opening exhibition, Štefanigová’s recent works are on display, bringing to the viewers hybrid creatures and fantastic animals executed in an expressive-dynamic handwriting. It is an imaginative, dreamlike or subconscious world where creatures that have taken shape within a deeply personal and dynamic creative process have become the artist’s imaginary companions.

According to art historian Katrin Kivimaa, the hybrid imagery of Štefanigová’s works and the painting technique that emphasizes fluidity symbolize a way of seeing and interpreting the world, in which autonomous self-existence and placing the human being higher than the non-human (other living beings, nature) gives way to the ethics of coexistence and interdependence. “The field of meaning of the works connects with the problems of our world today. Reuse of old painting canvases in the creation of new works; the elimination of the boundaries between craft and so-called high art; the merging of human beings and other living beings – all these elements speak of the author’s ecological awareness and social nerve,” writes Kivimaa in the accompanying text of the exhibition.

Denisa Štefanigová (1995) is a Czech artist specializing mainly in painting. The artist graduated from the Estonian Academy of Arts with a major in contemporary art and from the Faculty of Fine Arts of Brno University of Technology (FaVU). In 2023, personal exhibitions of Štefanigová took place in Prague gallery SVĚTOVA 1 and EKA Gallery in Tallinn. The artist has participated in group exhibitions at the Kadriorg Art Museum, the Brno Art House, the MO Museum in Vilnius and Hobusepea Gallery in Tallinn.

Denisa Štefanigová’s exhibition at the Tütar gallery will be open until June 2 and is free to the public.
The gallery is located in Noblessner harbor campus at Vesilennuki 24 and is open from Thursday to Friday 13:00-19:00, Saturday to Sunday 14:00-18:00.

Accompanying text of the exhibition: Katrin Kivimaa
Designer: Johannes Luik
Graphic design: Kert Viiart

The exhibition is supported by the Estonian Cultural Foundation, DSV Estonia and the Czech Embassy in Tallinn.

Maria Kapajeva’s solo exhibition “Listen To My Scream, Hear Their Dreams” at Draakon Gallery

Opening on Wednesday, April 17th at 18:00. The exhibition will be open until May 11, 2024.

Maria Kapajeva’s exhibition, “Listen To My Scream, Hear Their Dreams,” is profoundly influenced by Draakon Gallery’s location directly across from the Russian Embassy in Tallinn’s Old Town. Positioned in this manner, Kapajeva aims to foster a more nuanced dialogue regarding the ongoing war in Ukraine, which has led to a continual exposure to harrowing imagery. Consequently, a process of desensitization has transpired, rendering us less able to empathize with the enduring violence faced by real individuals still fighting for their lives in Ukraine. The intricate details, nuances, and personal narratives have been reduced to easily shareable content that briefly crosses our screens before fading into obscurity.

The artworks selected and created for this exhibition stem from the necessity to provide a platform for the personal accounts of those who have fled Ukraine, as well as the artist’s own imperative to express and scrutinize her suppressed anger regarding the ongoing conflict. In this exhibition, there are no images of war; instead, viewers are presented with works that demand time to engage with— to be read, listened to, and truly heard. These artworks compel us to scrutinize the language of the oppressor, where imperialist ambitions lurk behind ostensibly positive rhetoric. We encounter intimate tales of despair and devastation, yet also of hope and compassion. We are invited into a tumult of emotions, ultimately finding catharsis in releasing the anger buried deep within us.

Born in the Soviet Union, raised in independent Estonia, and educated in the UK, Maria Kapajeva has found herself in an involuntary position of ‘the other’. This position, which she has embraced and incorporated as a cornerstone of her artistic practice, propels her to investigate a diverse spectrum of cultural identity and gender issues within historical and contemporary contexts. Utilizing various mediums—including video, photography, textiles, and installations—she brings to the forefront elements that are frequently overlooked or relegated to the periphery of our vision. www.mariakapajeva.com

Designer: Kersti Heile
Installation: Hans-Otto Ojaste and Valge Kuup

The artist expresses her gratitude to Lena, Sasha and the whole their family, Polina Kuznietsova, Alena Kapajeva, Inese Strupule, Kateryna Popkova, Hilda Vaike, Gulya Sultanova, Nastassia, Alia, Elizaveta Klepikova, Aditi S Sharma, Jacobina de Rivera, Annika von Hausswolff, Redi Koobak, Irina Andrushko, Aljona Tubaleva, Mari Volens, Valge Kuup and Aksel Haagensen, Kersit Heile, Jake Sheperd and the team of Draakoni gallery

The exhibition is supported by the Cultural Endowment of Estonia.
Exhibitions in Draakon gallery are supported by the Cultural Endowment of Estonia, Estonian Ministry of Culture and AS Liviko.