Category: Faculty of Art and Culture

On 1 July at 11:00 Gregor Taul will defend his thesis “Monumentality Trouble. Monumental-Decorative Art in Late Soviet Estonia, Latvia and Lithuania” (“Sekeldused monumentaalsusega. Monumentaal-dekoratiivkunst hilisnõukogude Eestis, Lätis ja Leedus”)

The public defence will be held in EKA (Põhja pst 7), room A501.
The defense will be broadcast on EKA TV.
The defence is in English.

Supervisor: Dr. Anu Allas (Estonian Academy of Arts)
External reviewers: Dr. Lolita Jablonskienė (Vilnius Academy of Arts), Dr. Liisa Kaljula (Art Museum of Estonia)
Opponent: Dr. Lolita Jablonskienė

The thesis examines the theme of public art in late Soviet Estonia, Latvia and Lithuania. From its early days, the Soviet Union considered monumental art to be an important part of its ideological propaganda and, more broadly, of the modernisation of society. The concept of monumental-decorative art became commonplace in the Thaw era when Nikita Khrushchev deplored the excesses of Stalinist neoclassical architecture and paved the way for the construction of industrially produced apartment buildings. In the process of mechanising the construction of micro-neighbourhoods, Soviet urban planners and architects developed a methodology for synthesising the arts in new neighbourhoods: standard-design apartment buildings created a backdrop against which public buildings of more unique architecture stood out. These landmark buildings were embellished by a synthesis of the arts in the form of monumental-decorative art – using mural painting, ceramics, textiles, stained glass and metalwork.

To a certain extent, monumental decorative art embodied the authoritarian position of state power, linked to top officials who had the power to semioticise reality. On the other hand, monumental decorative art also offered artists the opportunity to distance themselves from ideological messages and focus on aesthetic and architectural details. Several were associated with the more critical practitioners of the art field, and some artists succeeded in conveying messages directly critical of power in their monumental works. In most cases, however, it was commissioning officials who succeeded in freeing art from direct ideological demands and giving artists access to the wide range of possibilities offered by monumental art. Thus, monumental-decorative art is an interesting phenomenon against the background of which to discuss the blurred boundaries between the official politics of the late Soviets and a somewhat transgressive artistic culture.

In the thesis, the author discusses how monumental-decorative art contributed to the creation of a period-specific socialist spatial atmosphere. To what extent did this aesthetic phenomenon express the ideals and realities of socialism? What visual and spatial aspirations did artists invest in this monumental urge? The thesis concludes that the Baltic artists’ contacts with the rest of the Soviet Union were stronger than previously thought. In addition to opening up the institutional background, the dissertation speaks about the artists’ choices and individual practices of adaptation during the Soviet period. The final chapter of the thesis focuses on the question of the agency of works of art in their valorisation and preservation. Taul seeks answers to the questions of what aspects have contributed to the preservation and conservation of Soviet-era public artworks, what is the meaning of this heritage, and how do these works contribute to making sense of the Soviet period in the Baltic States.

The thesis is available HERE.

Defence Committee: Prof. Andres Kurg (Head of the Committee), Prof. Virve Sarapik, Dr. Anneli Randla, Prof. Krista Kodres, Prof. Marek Tamm, Prof. Eneken Laanes

Russia’s full-scale invasion of Ukraine has sparked debates and conflicts over Russian and Soviet monuments in the former Eastern Bloc and has also revitalized global discussions about dissonant heritage. This has created a new need and a new framework for comparisons – for comparing monuments, as well as their toppling and rebuilding in different parts of the world and historical contexts.

This event is primarily about learning from cases of reframing. The lectures, seminars and workshops will bring together expertise and knowledge from different fields and contexts to explore solutions that aim not to dismantle dissonant heritage but to place it in a new, critical framework. During the three days, we will discuss the broader conceptualizations and histories of reframing monuments and heritage, as well as focus on concrete cases. The cases will include various artistic interventions as well as other means of reframing, ranging from educational programs and museology to community engagement.

We believe that there is an urgent need to bring together knowledge of existing cases also to develop future practices for reinterpreting heritage through cross-disciplinary collaboration: artistic research and memory studies, heritage conservation and digitization, and spatial interventions. Thus, this event aims to generate new knowledge and skills for dealing with complex heritage at different levels.

The event will consist of lectures, seminars, tours and group work. Students are divided into interdisciplinary groups to develop a reframing project, each of which will focus on a case study representing dissonant heritage from Narva and the neighbouring industrial regions of northeastern Estonia.

Experts: Riin Alatalu, Kirke Kangro, Gregor Taul, Anu Soojärv and Triinu Väikmeri (Estonian Academy of Arts), Kristo Nurmis (Tallinn University), Victoria Donovan (University of St. Andrews), Oksana Denisenko and Linara Dovydaitytė (Vytautas Magnus University), Egle Grebliauskaite (Vilnius University), Olha Honchar (Territory of Terror Museum, Ukraine)

More info:
Triinu Väikmeri (triinu.vaikmeri@artun.ee)

We welcome you at the presentation of the book “History of Estonian Urban Planning 1918–2020” on Thursday, April 25 at 4 p.m. in the lobby of the Estonian Academy of Arts.

The voluminous and richly illustrated book provides an overview of the last hundred years of Estonian urban planning. At that time, cities became the main residences of the population living here, and rapid urbanization made it necessary to start systematically planning cities. During the politically volatile century, land ownership and land use, the organization and financing of urban construction were shaped several times, the principles of urban construction as well as the role of the architect-planner changed.

The authors of the book deal with these changes primarily in an architectural-historical, but also in a broader cultural framework, presenting the plans that were realized as well as those left on paper, the ideas that shaped them, and the social and economic factors. Housing construction, i.e. the need to provide decent housing for an ever-increasing population, and post-war reconstruction, which was supposed to make cities better than ever, stand out as the most important topics. The book helps to understand the reasons for urban planning changes that have shaped Estonian cities in the past century into what we know them as today.

The book was compiled by Epp Lankots and Triin Ojari. Authors: Mart Kalm, Karin Hallas-Murula, Lilian Hansar, Henry Kuningas, Epp Lankots, Madis Tuuder, Triin Ojari, Riin Alatalu, Kaja Pae, Toomas Tammis, Keiti Kljavin, Maroš Krivý, Kaija-Luisa Kurik. The book was designed by Andres Tali.

Publisher: Estonian Academy of Arts
Supporters: Estonian Cultural Capital, Ministry of Education and Research, Estonian Language Institute, Estonian Association of Art Scientists and Curators, Estonian Architecture Museum, Estonian Science Agency (research grant no. PSG530).

At the presentation, the book can be purchased at a discounted price of 35 EUR.

Presenters: Jaana Kokko, Andris Brinkmanis
Respondents: Anu Allas, Airi Triisberg 
Moderators: Margaret Tali, Ieva Astahovska

The political past, like the present, is often uncomfortable. In this public seminar we will revisit the lives and artistic work of two politically active women in order to rethink how we could open the discomfort their lives introduce and unpack it by focusing on two herstories, those of Hella Wuolijoki (1886–1954) and Asja Lācis (1891–1979). Our aim is to think through how we could turn this discomfort into a starting point. We will inquire whether a comparative perspective on these artists’ lives and works could help shift the view of their left-wing ideas and related engagements, asking how can we reengage with their uncomfortable and marginalized intellectual and creative legacies, allowing for a richer and more complex view of the circumstances and transnational connections. How can we understand and contextualize the discomfort and threats they faced during their careers? Could understanding the connections between their lives and art offer more nuanced and connected ways of grasping, on the one hand, the long and porous 20th century, and on the other, new ways of understanding artistic practice today? 

Hella Wuolijoki (born Ella Murrik) was an active figure in Finnish cultural, economic, and political life. Born in Helme in Estonia into an upper-class family in 1886, she moved to Finland in 1904 to study at the University of Helsinki, which had enabled university education for women from 1901. Internationally, Wuolijoki’s most well-known literary work is the play Mr. Puntila and his Man Matti, which she co-authored with Berthold Brecht in 1940. Her autobiographical trilogy, which includes Schoolgirl in Tartu and Student Years in Helsinki, which were written at Katajanokka prison in 1944, where she was held as a traitor. In these texts, Wuolijoki describes violent moments in her parents’ garden in Valga after the 1905 revolution; witnessing the purge that followed sparked her interest in class equality and historical materialism. As an artist Jaana Kokko is particularly interested in this change and the related intense personal experiences. 

Asja Lācis (or Anna Lāce) was a Latvian theater director, actress, pedagogue, theorist, tireless seeker, and experimenter who went on to become an intermediary between the German, Latvian, and Russian avant-garde cultures. The topography of her life connects all the focal points of early 20th-century Europe. With her experience, vivid personality, and broad knowledge, she collaborated with and inspired Brecht and Walter Benjamin, among many others. Almost forgotten and sometimes deliberately omitted, the work of Lācis became better known in the west in the 1960s. She is recognized internationally for her innovative work with homeless children as well as for her approach to and methods for working with children’s film and theater, proletarian theater, and amateur actors. She has published German Revolutionary Theater (1935) and Children & Cinema (1928, in collaboration). Lācis’ archival materials, curated by Andris Brinkmanis, were exhibited in Documenta 14 (2017) in Kassel, Germany. 

Everyone is welcome to join us and contribute to the discussion!

Jaana Kokko is an artist, filmmaker, and teacher based in Helsinki, whose background is in arts and economics. She is interested in the languages and places/spaces of individuals in which the singularity of experience opens onto the collective and its historicity in ways that allow us to reflect on the ethical, political, and aesthetic dimensions of not only self-representation but also life itself as something shared. Currently, she is working on two films, both located on the peripheries, where she is trying to shift the gaze to the outskirts of the seen and heard. 

Andris Brinkmanis is an art critic and curator, born in Riga and based in Brunate and Milan. He is a Senior Lecturer and the Course Leader of the BA in Painting and Visual Arts at NABA in Milan and Visiting Professor for the Art Academy of Latvia Curatorial Course. In 2021, he curated and edited the book Asja Lācis. L’agitatrice rossa. Teatro, femminismo, arte e rivoluzione (Meltemi, 2021).

The seminar and workshop take place in the framework of Communicating Difficult Pasts (2019–2024) and are organized in collaboration of MACA and Institute of Art History and Visual Culture.

On March 15 at 14.30-15.30 the peer review event of Triin Reidla’s exhibition “Bold and Beautiful. Estonian private houses from the 1980s” will take place in Estonian Museum of Architecture (seminar room). Triin Reidla is a PhD student in cultural heritage and conservation. The exhibition is part of her doctoral thesis that investigates postmodern residential architecture.

Supervisors: Dr. Maris Mändel (EKA) and Dr. Ingrid Ruudi (EKA)
Reviewers: Prof. Andres Kurg (EKA) and Prof. Marija Dremaite (Vilnius University)

The exhibition is open at the Museum of Architecture (Ahtri 1, Tallinn) from November 29, 2023 to May 12, 2024.
The exhibition “Bold and Beautiful: Estonian private houses from the 1980s” offers insights into the stories of private houses from the 1980s. The exhibition seeks answers to the following questions:
● In which (architectural) historical context do these houses fit?
● Where were postmodern residential buildings planned?
● How did historical peculiarities influence the construction of these buildings?
● What does a postmodernist home look like? What are the floor plans of these houses?
● What has become of these houses today?
● What do architects and owners think of postmodernist houses in the present day?

Triin Reidla is a cultural heritage specialist, architectural historian, editor, and lector, currently pursuing her doctoral studies at the Estonian Academy of Arts. Her research focuses on architecture in the 1980s.

The exhibition brings together three different, yet equally sensitive artistic visions. Through the lens of a camera, the photographers Peeter Tooming (1939–1997) and Endel Veliste (1930–2001) and the visual artist Hedi Jaansoo (b 1989) recorded points of intersection between human beings and nature.

Their photographic series exemplify how the camera may amplify the distance from the surrounding environment, lend voices to stones, plants and water, and make the intrinsic interlacing of natural and artificial environments visible.

In the context of current environmental issues, this exhibition creates a poetic dialogue between photographic series by two Soviet-era photographers and a modern-day visual artist. It urges viewers to think about the relationship between nature and people and about the mediating role of technology in that relationship.

“You, River” is the exhibition that reopens the Project Room, which is part of the permanent Soviet Estonian art display. The purpose of Project Room exhibitions is to expand and complement the range of topics and artists included in the permanent exhibition, to contribute to creating trans-temporal and transnational dialogues, and to correlate with the primary research and exhibition projects of Kumu.
Curator Annika Toots on the exhibition:
The title of the exhibition You, River has been borrowed from Peeter Tooming’s photo series devoted to a body of water and its surrounding natural environment. Created in the 1970s, it stands out as being poetic and fragile, and is associated with the environmental topics that entered Estonian art in those days. Endel Veliste’s series View Through the Car Window dates from the same decade. Veliste’s eye follows and captures the surrounding environment through a double barrier: the camera lens and the car window.

The 21st-century visual artist Hedi Jaansoo enters into dialogue with Tooming’s and Veliste’s photos from the second half of the 20th century. She does not set up an opposition between the natural environment and the artificial environment, but rather tries to capture points of intersection between the two realms. Jaansoo’s photos feature carefully composed human-made and natural compositions located in areas where borders are blurred and personal and public environments blend into one.

The display is part of the permanent exhibition “Conflicts and Adaptations: Estonian Art of the Soviet Era (1940–1991) ” on the 4th floor of the Kumu Art Museum.

Team
Curator: Annika Toots
Artists: Hedi Jaansoo, Peeter Tooming and Endel Veliste
Exhibition design: Villu Plink
Graphic design: Tuuli Aule
Coordinator: Anastassia Langinen

On 21 December Mariann Raisma, a PhD candidate at Estonian Academy of Arts, curriculum of Cultural Heritage and Conservation, will defend the thesis „The Power of the Museum. Shaping Collective Memory in Estonia during the Turning Points of the 20th Century“ („Muuseumi võim. Muuseum kollektiivse mälu kujundajana Eestis 20. sajandi murranguperioodidel“).

Public defence will be held on 21st of December 2023 at 11.00 at EKA (Põhja pst 7), room A101.

Supervisors: Prof. Linda Kaljundi (Estonian Academy of Arts), Dr. Anneli Randla (Estonian Academy of Arts)

External reviewers: Dr. Anu Kannike (Estonian National Museum), Dr. Marleen Metslaid (Estonian National Museum)

Opponent: Dr. Anu Kannike (Estonian National Museum)

The defense will be held in Estonian.

Over the past two centuries, museums have played a pivotal role in shaping societies’ understanding of the past. They guide our perceptions of history, determine the delicate balance between forgetting and remembering, and influence the hierarchy of values associated with heritage.

This dissertation critically examines the power and influence of museums as mediums of cultural memory, with a focus on the Estonian museum field. Given that our identity is intricately tied to what we remember and what we choose to forget, it is crucial to understand the reasons and processes behind the shaping and shifting of collective memory throughout historical periods. This research focuses on the history of the Estonian museum in the 20th century, examining three periods which saw significant historical turning points: 1919–1925, 1940–1941/1944–1953 and 1987–1994.

The history of Estonian museums offers insights into how the core principles, values and canons for constructing cultural memory changed during these periods of social and political upheaval. These changes encompassed the nature and interpretation of ideologies, themes and how they were represented, museums as institutions, their hierarchy and nomenclature, the dynamics of the relationship between power and the institution, and the capacity, intent and ability of museums to shape society’s collective memory.

The identity and institutions of the Estonian museum field underwent significant changes throughout the 19th and 20th centuries. Beginning with self-definition rooted in European culture, museums transitioned to embracing ‘Heimat’ before evolving to value ethnicity. This evolution culminated in ideas for large national museums, which eventually diversified into various specialised museums during the 20th century. The regional discourse of the early 20th century gave way to a national narrative, followed by a Soviet-Marxist perspective. In the final decade of the century, national cultural memory underwent a revival. This sequence of ideas was also reflected in history-themed permanent exhibitions: the 1920s witnessed the legitimisation of popular culture as elite; the 1940s established a normative approach to historical materialism; and from the late 1980s, nationalism triumphed once again, ushering in new museological approaches. While analysing all these changes, this dissertation emphasises the hybridity of Estonian museum history and its interweaving with different cultural spaces and paradigms.

Throughout the three periods of upheaval discussed, museums were at the forefront of the shaping of a new cultural memory canon. Correspondingly, these turning points have contributed to the formation of Estonia’s own unique museum field.

The thesis is available HERE.

Members of the Defence Committee: Prof. Krista Kodres (Head of the Committee), Dr. Anu Allas, Prof. Hilkka Hiiop, Prof. Juhan Maiste, Prof. Kurmo Konsa

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.

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.

The 17th conference from the series Studies in Contemporary Culture, dedicated to one of the key Estonian literary works from the transition era, Emil Tode’s groundbreaking novel Border State, will take place on October 16th, 2023, at the Writers’ House in Tallinn (Harju 1).

The conference is organized by the Research Group of Contemporary Estonian Culture (EKA KVI, TLÜ TÜHI and TÜ) in collaboration with the Estonian Writers’ Union, and funded by Estonian Research Council (grant PRG636), Cultural Endowment of Estonia and EKA’s Research Foundation.