Open Lectures

On November 16 at 6 p.m Philipp Teufel from Düsseldorf will explore the questions of exhibiting design with the lecture “Exhibition Design. Exhibiting Design. Exhibiting Happiness”

The lecture gives a visual insight into the Master’s programme Exhibition design – EDI and a first glimpse of the latest project together with the Estonian Academy of Arts – a concept for the traveling exhibition ”Japanese Happiness”.

EDI, the Exhibition Design Institute of the Düsseldorf University of Applied Sciences, is a joint institute of the departments of architecture and design that bundles research foci and academic work on the topics of exhibition design, scenic design and museum design. The Exhibition Design programme deals with the broad panorama of design in relation to communication in space in the context of exhibitions.

One focus of the institute is on the history of exhibitions and their design, especially in a socio-cultural context. The second focus is on the exhibiting of design. Questions in exhibiting design are: How does one deal with the decontextualisation of the exhibited? What conflicts arise when exhibiting design, when concepts meet concepts and design meets design? How can design objects communicate with the exhibition visitor? Are design exhibitions only elitist events by designers for designers? What are the objectives, ideas, concepts of design exhibitions? How to make sensual and haptic qualities of design objects accessible?

Professor Philipp Teufel studied visual communication and scenography at the HfG Gmünd University of Applied Sciences in Schwäbisch Gmünd. From 1985 to 1995, he was a partner at the conceptdesign agency in Frankfurt am Main. Until 2007, Teufel was a partner at the nowakteufelknyrim design studio, and from 2008 to 2017, he was managing director of the malsyteufel studio. As artistic consultant for scenography, he supported the Humboldt Forum in the Berlin Palace from 2010 to 2015. Philipp Teufel has been teaching and researching in the field of 3D communication at Hochschule Düsseldorf – University of Applied Sciences for more than 25 years and is currently a member of the Federal

Ministry of Finance’s Art Advisory Board. He has also been a jury member of Red Dot since 2015 and currently curates and designs exhibitions on the Anthropocene and on green urban living (“Grüntopia” and “Transition Now”).

Everyone from the fields of architecture, design, art, media and art research interested in the questions of exhibition design and exhibiting design are welcome to join! The lecture will be in English and is free of charge.

Further information:

Gregor Taul
gregor.taul@artun.ee
Lecturer
Department of Interior Architecture
Faculty of Architecture
Estonian Academy of Arts

In the fall of 2023, international artists from NART will be giving three lectures at the Estonian Academy of Arts, and the second event in this series is coming soon. The artists will talk about what everyday life is like in an art residency and present their work. The lecture will take place on Thursday, November 9th at 17:45 in room A-101. The event will be in English and is free of charge.

The November lecture will be delivered by Polish ceramicist Ola Lewczyk and Helsinki-based textile artist Sasha Rotts. During her art residency, Ola plans to explore the memory of Neolithic-era Narva ceramics and build a temporary ceramics kiln. Sasha, who was at the residency for the first time in May 2022, co-created a pop-up exhibition titled “Solid Plot” at the Kreenholm factory this summer, in collaboration with Hilda Karha.

On Monday, October 30, 18.00, Rotterdam-based curator, writer and artist Isabelle Sully will introduce her practice in room A302.

Working with feminist histories in mind, Isabelle Sully works across curating, writing and art-making, taking the mechanisms and materiality of administration as the main focus within her work to develop conceptual projects that span experimental writing, performance, exhibition-making and publishing. Through drawing on her work as founding editor of the publication series Unbidden Tongues as well as founder and co-curator of the event platform Playbill, Sully will present a series of projects that take writing as a primary mode of thinking. Given that language and its handling are central to her work, she will also focus on the realisation of these projects as they relate to graphic design and techniques of distribution—approaches developed through learning from methods of information circulation used within various feminist movements.

Isabelle Sully (1991, AU) practices across art-making, curating, editing and writing. Originally from Melbourne, she now lives in Rotterdam where she is the founding editor of Unbidden Tongues and co-curator of Playbill. Her involvement with the administrative sphere of institutional practice also plays out in her current role as assistant director-curator at Kunstverein, Amsterdam.

Isabelle Sully’s lecture is co-organized by Graphic Design and Contemporary Art MA programs.

Everyone is welcome to join!

10 November 6 p.m. in EKA auditorium A101

Sara Gunnarsdóttir “Making Independent Animation Art Within The American Film Industry”

Sara Gunnarsdóttir was born and raised in Iceland where she studied fine art. She went to The United States in her late twenties to study Experimental Animation at The California Institute of the Arts, where she lived and worked for fourteen years before turning back to her home country. During the decade and a half in the States, Sara managed to establish her own voice as an independent animator within the American industry.

In her lecture, she will talk about how remaining true to her own voice and way of approaching animation has helped open doors to various meaningful collaborations within different types of filmmaking, such as live action features, documentaries and TV series.

Q&A will follow after the event.

PÖFF Shorts events

Article on Cartoon Brew: https://www.cartoonbrew.com/know-your-indie-filmmaker/know-your-indie-filmmaker-sara-gunnarsdottir-227855.html

Photography artists Peter Fraser and Esther Hovers will hold their artist talks at 18:00 on Tuesday, October in A-501 at the Estonian Academy of Arts. Both artists are in Tallinn to hold a week-long masterclasses in the department of photography, Estonian Academy of Arts.

Peter Fraser is a fine art photographer who has been at the forefront of colour photography as artistic enquiry since the early 1980s. His works involve an intense philosophical focus on the matter and materials encountered in the everyday, frequently addressing the question ‘What is Real?’ in conjunction with changing societal preoccupations.

Born in 1953 in Cardiff, Wales, Fraser graduated in photography from Manchester Polytechnic in 1976. He began working with a Plaubel Makina camera in 1982, which led to an exhibition with William Eggleston at the Arnolfini in Bristol in 1984. Fraser went on to travel to the USA in the same year, spending nearly two months with William Eggleston. It was during this time that he decided to commit his life’s energies to exploring the expressive possibilities of colour photography.

Fraser was shortlisted for the International Citibank Photography Prize in 2004, and in 2014 awarded an Honorary Fellowship by the Royal Photographic Society. He has exhibited internationally for nearly 40 years, with notable solo exhibitions held at the Photographers’ Gallery, London in 2002, PhotoEspana 2017, Camden Art Centre 2018, and Tate St Ives, which was the first Tate Retrospective for a living British Photographer in 2013 accompanied by a major Tate Monograph.

Recent major exhibitions include Mathematics, Photo Espana, Madrid 2017, and at Camden Arts Centre, London in 2018. In 2021 he received a Pollock Krasner Foundation Award to make new work across Europe in a time of increasing anxiety and apprehension for the future, and has been photographing in Germany, France, Spain, Portugal, Crete and Estonia for this series. He has had 12 books of his work published since 1988, referenced on his website. His works are held in many public collections including the Arts Council of England, Tate, London, the British Council, Fondation A Stichting, Bruxelles, Mast Foundation, Bologna, Yale Centre for British Art, USA and Private Collections worldwide.

https://www.peterfraser.net
INSTAGRAM peter_fraser9

Esther Hovers investigates how power, politics and control and exercised through urban planning and the use of public space in her artistic practice. She was trained as a photographer but creates installations in which photographs, drawings, text and film play an equal part.

Esther Hovers has exhibited at Aperture Foundation in New York City; Lianzhou Photo Festival in China; and Foam Photography Museum of Amsterdam, et al. Her work has been published in The New York Times; The Washington Post; M – Le Magazine du Monde and Wired, among other publications.

In 2019 Hovers was an artist-in-residence at NARS Foundation (The New York Art Residency and Studios) in Brooklyn, New York. She is currently based in the Netherlands.

https://estherhovers.com
INSTAGRAM estherhovers

David K. Ross and Rebecca Duclos (EKA Visiting Lecturers, MACA, Museum Studies) recently travelled across northern Ukraine to visit 8 arts schools in Lviv, Kharkiv and Kyiv. 

David will be showing images from this trip and discussing some of the pressing issues facing arts eduction in Ukraine at this moment.

On October 25, as part of the EKA Ceramics 100, the lecture From Hand to Hand by professor Yukinori Yamamura, a multidisciplinary artist with Japanese ceramics education, will be held for a wider audience in room A-501.

The lecture is held in English.

Yukinori Yamamura is an artist born in Kobe, Japan in 1972 and a professor at the Osaka University of Art, who has gained fame and recognition both in Japan and on the international art scene with his prolific exhibition activities.

Yukinori Yamamura: “Up until now, I have visited and created works in various countries and regions, Norway, Finland, Estonia, America, Thailand, Iran, Kenya, Germany, South Korea, China. I have searched for matreials and expression methods based on the history and culture of the land, and through encounters and exhanges with people and with the help of many people, he have realized my works. I value the process and the diverse relationships and connections that are created through my works.”

On Thursday, October 19 at 18.00 Eva Weinmayr will talk about her practice and the social and political agency of artists’ publishing. Speaking from an intersectional feminist perspective the talk’s focus is not on the commodity genre “art publication”, but on the collective processes, exchanges, and relationships such critical publishing practices can enable.

The lecture will take place at the Contemporary Art Museum of Estonia (EKKM).

Eva Weinmayr conducts practice based research at the intersection of art, critical pedagogy and institutional analysis. In 2020 she published her doctoral thesis, titled Noun to Verb, on a MediaWiki. This research is concerned with the micro-politics of publishing and entangled notions of authorship from an intersectional, feminist perspective. (HDK-Valand, University of Gothenburg, SE)

As interims chair of faculty Art and Education at Munich Art Academy (2022-23) she co-initiated together with students kritilab, an open source platform for discrimination-critical teaching in the arts. From 2019 to 22 she co-led the EU-funded collective research and study programme “Teaching to Transgress Toolbox” inspired by US activist, teacher and theorist bell hooks (with erg, Brussels, BE). She is currently Visiting Fellow at the Centre for Postdigital Cultures, Coventry University (UK) with Ecologies of Dissemination​​​​​​, a collaboration with artist Femke Snelting seeking strategies for dissemination and a politics of re-use that acknowledge the tensions between feminist methodologies, decolonial knowledge practices and principles of Open Access (HDK-Valand, 2023-24).

Eva Weinmayr lectures widely and works with art and activist spaces (SALT Research Istanbul, MayDay Rooms London, Showroom London, Kunstverein München, Steirischer Herbst Graz) as well as established art institutions (National Art Gallery Warsaw, Contemporary Art Museum Saint Louis, Museo Nacional Centro de Arte Reina Sofia Madrid, Biennale di Venezia).

Recent artistic research-based projects include “Teaching the Radical Catalog – a Syllabus” (2021-22, with Lucie Kolb), “Library of Inclusions and Omissions” (2016-20), “The Piracy Project” (2010-15, with Andrea Francke), AND Publishing (2010-ongoing, with Rosalie Schweiker).

Eva Weinmayr’s lecture is co-organized by MA Graphic Design and MA Contemporary Art programs.

In autumn 2023, the open architectural lectures will take place under the title Mobile Masters. The theme brings architects and theorists to Tallinn, who analyse architecture’s flexibility and the mobile practices of architects, spatial designers and artists.

On October 26, at 6 pm Berlin-based architect, designer and carpenter Alexander Römer will be on the EKA main hall stage in Tallinn with the lecture Convivial Ground.

Alexander Römer initiated the international design-build network ConstructLab in 2012 as a member of the former EXYZT collective (2005–2013). ConstructLab is a laboratory for action research, constructive experimentation and interdisciplinary creation.

ConstructLab takes a dynamic approach to uniting concepts, realisation and activation of project situations. Breaking with traditional divisions of labour, the organisation engages a team of multitalented artists and designers – as well as sociologists, urban planners, graphic designers, film makers, photographers, curators, educators, and web developers – who carry the creative process from the drafting table into the field, enabling concept and design to respond to the possibilities and constraints posed by an environment, it’s people and utilisation.

Alexander introduces his lecture in the following words:

Construction is fundamentally a collaborative activity. In this talk, the collaborative aspects of construction processes are examined from different perspectives. In the design and planning process a lot of different expertise comes together, in the construction itself different trades are involved and during the construction there are situations where in sometimes very short moments, e.g. when straightening a roof truss, a lot of hands are needed. A planning and construction process is complex and can only succeed in teamwork. In addition, a broad community is created through participation processes in the building process, and through this participation, a community that cares about the building itself.

I would like to convey the community aspect of design-build processes by looking at our ConstructLab projects. In doing so, I draw on the content structure of the latest ConstructLab book Convivial Ground. Stories from a Spatial Practice (Jovis 2023, Editors: Joanne Pouzenc, Peter Zuiderwijk and Alexander Römer).

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The open lectures are intended for students and professionals of all disciplines, not just the field of architecture. All lectures take place in the large auditorium of EKA, are in English, free of charge and open to all interested parties. Be there!

Within the framework of a series of open lectures, the Department of Architecture and Urban Design of EKA brings to the audience in Tallinn every academic year about a dozen unique practitioners and valued theoreticians of the field. You can watch previous lectures  www.avatudloengud.ee

The lecture series is supported by the Cultural Endowment of Estonia.

Curator: Gregor Taul

English landscape design, landscape art and the Anthropo(s)cenic (1750–1850)

On October 26th, the Institute of Art History and Visual Culture is hosting an open lecture by Frédéric Ogée.

The growing importance of ecological concerns and its transcription into the new discipline of eco-criticism have identified the first half of the 19th century as a possible starting point for the Anthropocene, a period when the profound effects of the two Industrial Revolutions could be felt and seen, when man’s imprint upon Nature became primordial, essential and irreversible.

With their new ‘landscape garden’ and the subsequent rise of picturesque tourism and landscape painting, the British developed a new, empirical exploration of man’s frictional inscription within Nature. The natural world seemed no longer considered as man’s ‘environment’, something peripheral surrounding man’s central presence, in their works Nature IS the center, and is somehow restored as the source of knowledge and truth. Yet this revolution is ambivalent when we know that the main patrons of these English landscapists were also the main actors of the industrial revolution and colonial expansionism, which consisted primarily in commodifying and ‘exploiting’ both nature and man.

Frédéric Ogée is Professor of British Literature and Art History at Université Paris Cité. His main publications include two collections of essays on English artist William Hogarth, as well as ‘Better in France’? The circulation of ideas across the Channel in the 18th century (Lewisburg, 2005), Diderot and European Culture (Oxford, 2006), J.M.W. Turner, Les Paysages absolus (Paris, 2010) and Jardins et Civilisations (Valenciennes, 2019). In 2006-07, he curated the first-ever exhibition of Hogarth for the Louvre. He is currently working on a series of monographs on 18th and 19th-century British artists – Thomas Lawrence, J.M.W. Turner, Thomas Gainsborough and William Hogarth – to be published by Cohen & Cohen (Paris). The first one, Thomas Lawrence – Le génie du portrait anglais came out in December 2022. The next one, on Turner, will be published in the fall of 2024. From 2014 to 2017 he was a member of Tate Britain’s Advisory Council, and since 2014 of the City of Paris Scientific Council. In 2018-19 he was a Kress Fellow in the Literature of Art at the Clark Art Institute in Williamstown, Massachusetts, and also a Neilson Professor at Smith College, Massachusetts. Next summer he will be a visiting lecturer in Beijing, at the Central Academy of Fine Arts, and the University of International Business and Economics.