Category: Departments

On November 3 at 3 pm, the results of the three-year Unfinished City research project will be presented in the form of a thorough 400-page publication of articles, interviews, maps and projects, titled “Unfinished City. Tallinn’s urban visions”. The parties who have contributed to the completion of both the research project and the book, will gather for event at the lobby of EKA, where you will also see a selection of scaled models and an animation which were prepared for the Unfinished City exhibition at the Estonian Museum of Architecture this spring. Both the research project and the book were completed with the support of the real estate company Kapitel.

The publication summarizes the discussions held during the three-year research project and is intended for everyone interested in thinking about Tallinn’s potential as a city of the future – what we expect from Tallinn in the future, what the city needs and what problems it has to overcome in order to be attractive both as a place to live and work.

25 authors from Estonia and elsewhere look at Tallinn’s potential from the perspective of architects and urban planners, dissecting the city as a whole and paying attention to key places. Separate chapters deal with the spatial future of Lasnamäe and other similar residential areas of the Soviet era, the potential of the bastion belt area surrounding the Old Town, the green areas of Tallinn and the blue/water network. In more detail, it is examined in which background system of rules, permits and statistics urban planning in Tallinn takes place, in comparison with other cities in Europe with a similar profile and size – Vilnius, Helsinki, Zurich, Copenhagen, Prague and Riga. In addition, it is asked how we could plan a better Tallinn using all the numerical data that can be collected about the city today with the help of technology.

In cooperation with Garage48, EAA, TSENTER and the Estonian Science Council, the fifth Garage48 Future of Wood will take place in 2021. It calls for the development of innovative and climate-friendly solutions in architecture, wood processing and forestry.

In November 26-28, FoW will take place again in Väimela, TSENTER competence center, where Garage48 Future of Wood started.

The prize fund is over 10,000 €. In addition, catering, TSENTRI fleet and materials, mentor support and spacious workspaces that support intensive creative teamwork and prototyping for 48 hours. All this with the aim of bringing together the Estonian wood industry in one room and looking to the future. How to manage forests more sustainably? How to use production residues and value wood?

More information on the event website

Facebook event

Register HERE

See you in Väimela!

As part of the design theory course at the Faculty of Design, professor Alison J. Clarke will give a public lecture The Politics of Design on Tuesday, 19 October at 9:30AM at the EKA hall.

This lecture draws on the themes of the speaker’s recent publication Victor Papanek: Designer for the Real World (MIT Press 2021) and the co-curated exhibition The Politics of Design (with Vitra Design Museum, Germany) exploring the origins of the social design movement and its attempts to consciously decolonise design. Unpicking the contradictions of designers’ gestures to transform the material and social worlds of the ‘excluded’ and ‘under-represented’ – the talk casts a critical eye on how attempts have been made, with varying degrees of success, to build cultural difference into design practice and theory.

The lecture will be held at the EKA hall. EKA students and staff are asked to follow the general EKA COVID-19 safety rules. Guests are kindly asked to follow all COVID-19 rules and prove their infection safety. There is no on-site testing. The lecture will be held in English, and it will be streamed on EKA TV platform live, however, the lecture will not be recorded.

Professor Alison J. Clarke, author of Victor Papanek: The Politics of Design (MIT Press 2021) and Design Anthropology: Object Cultures in Transition (Bloomsbury 2018), explores the intersection of design, material culture and anthropology. A design historian (Royal College of Art London) and trained social anthropologist (University College London), she joined the University of Applied Arts Vienna from the Royal College of Art, London to become chair of the department of Design History and Theory and founding director of the Papanek Foundation: she is convener of the biennial Papanek Symposium exploring the ethics and futures of contemporary design. Recipient of major international grants and fellowships (including the Smithsonian; Arts and Humanities Research Council; Austrian Science Fund; Graham Foundation), she acts as an expert advisor and jury member for numerous academic bodies including the Danish Independent Research Council and the German Research Foundation (DfG) program, Clusters of Excellence.

Clarke is a regular media broadcaster, curator and international speaker in the field of design; her monograph Tupperware: The Promise of Plastic in 1950s American was optioned for an Emmy-nominated documentary. She is co-editor of the anthology Émigré Cultures in Design and Architecture and co-founder of the leading academic journal Home Cultures: The Journal of Architecture, Design and Domestic Space. She has recently curated, with Vitra Design Museum, Germany, the international travelling exhibition Victor Papanek: The Politics of Design (2017-2020). Her latest book project, for MIT Press, explores the historical origins and legacies of the intertwining of social science and industrial design.

Presentation of workshop results and talk on the potential of urban interventions.

“Reports from the field” is a presentation of the workshop results of the MA Urban Studies students from the Estonian Academy of Arts and a talk on creating urban interventions as a research method, but also as a civic exercise and public right.

The presented projects will review and reflect the process of constructing vernacular interventions and their reception in Tallinn. Topics included in the presentation concentrate on infrastructure, public space, care, maintenance and social responsibility on the examples of the T1 mall, unpaid female labor in Majaka, private security in public space and new cycling lanes among others. There will also be a presentation about EKKM’s role in public space and a display of the interventions. 

You are very welcome to take part in this talk and contribute to the discussion on the role and responsibility of urban intervention. The event is in English.

The authors are: Kush Badhwar, Yu-Li Anne Boonen, Khadeeja Farrukh, Timothée Girault, Christian Hörner, Nabeel Imtiaz, Marie Lucet,  Agota Maziliauskaitė, Dorothea Müller, Luca Liese Ritter, Zeno Schnelle, Paul Simon, Nora Soo, Akvilė Stundytė, Katrin Tomiste, Paula Kristiāna Veidenbauma, Friederike Zängl.

Studio lead: Mattias Malk

As part of the Open Lectures series of the Department of Architecture and Urban Design of EKA, architectural critic and urbanist Konstantin Budarin will take the stage in the hall of EKA on October 14, 6 pm with a lecture “Infrastructure of Care: The Past, Present, and Future of Soviet Leisure Heritage”.

This fall, all the lectures in the series revolve around the issue of healing in one way or another. Let’s look at whether architecture as a process can be therapeutic and in what way inhabiting space could be restorative, Simultaneously, whether and how architects can contribute to the healing of the construction world. However, some of the lectures in the series – as well as the October 14 lecture – look directly at the architecture created especially for landscape of care.

Konstantin Budarin is a member of the architectural collective Kultura and one of the initiators of the research project Sanatorium Premium – the focus of the latter is on the Soviet-era recreational infrastructure and the development of its possible uses today. The sanatorium architecture of the so-called Eastern Bloc has become a social media hit in recent years, viewed as an archaic curiosity with aesthetic pleasure, without delving into the role of sanatoriums in the operation of large-scale industry, or how a recreational machine worked to oil the human cogs of a production machine. The spatial programme of any sanatorium was led by prescription procedures, and Budarin asks – what procedures and what space would we need today to stimulate exhausted bodies and burned out minds? Do we have anything to learn from the sanatorium system in the Eastern Bloc?

Konstantin Budarin is the author of numerous publications on architecture and urbanism published in Strelka Mag, Calvert Journal, Project Baltia, and others. He is an alumnus of Strelka Institute for Media, Architecture and Design 2014/15.

In order to minimize the risk of the virus spreading, we will broadcast the lecture on EKA TV and it can be viewed along with all previous lectures at www.avatudloengud.ee. However, the lecture can also be attended in-person – we do ask you to carry your COVID vaccination certificate or proof of having had COVID; there will be no on-site testing. Academy students are subject to the usual in-house rules. NB! You can’t ask questions via EKA TV, so it’s worth coming to the hall to participate in the discussion! The lecture is free and in English.

This lecture takes place in cooperation with the Estonian Museum of Architecture and is part of the Future Architecture programme 2021. Future Architecture is the first pan-European platform uniting architectural museums, festivals and other development organisations in the field, bringing the public closer to both the cities and the future of architecture. The lecture is supported by the European Union’s Creative Europe Programme.

Curators: Sille Pihlak and Johan Tali.

The season of open lectures is supported by the Estonian Cultural Endowment.

Event in Facebook

Read more about the project: https://futurearchitectureplatform.org/projects/fb47b9a7-2d22-44fb-ae41-c292af573953/
Instagram: https://www.instagram.com/sanatorium_premium/?igshid=2vsox2u8jewe

Soft Negotiations
Exhibition of the Department of Textile Design of EKA in the EKA Gallery.

Exhibition is opened 16.10–13.11.202. Põhja puiestee 7, Tallinn. Opening hours Tue–Sat, 12–18
Opening of the exhibition on the 15th of October at 4 p.m.
The performance of Inês Rodrigues Neves “Drawing the Line” will take place at the exhibition opening. Entrance with covid pass.

Just as the warp threads connect the weft, serving as a bridge for each other, this exhibition by the Department of Textile Design invites audiences to ponder the role of textile in today’s and future society. At the exhibition, the department presents contemporary trends that often straddle or meld with the boundaries of other disciplines. That in turn creates a new, multidisciplinary approach where textile can take very different forms: it can convey structure, idea, protest, message, self-expression, pattern or simply colour combination.

The exhibition presents works by students and teaching staff of the Estonian Academy of Arts that investigate the all-encompassing role of textile design. Besides conventional roles, new hybrid forms emerge, presenting new knowledge in the context of artistic research. Emerging technological approaches are demonstrated, in which textile, interwoven with digital properties or technology at different levels, mediates collaborative processes in design of social interaction.

The exhibition has three conceptual threads, which intersect each other:

Textile as STATE(MENT)

#critical and conceptual practices

Textile as LAB

#experimental practice #flirting with science #biotextiles #new materials and structures

Textile as WELLBEING

#design that values the environment and well-being #sustainability #recycling #healthcare #social responsibility #therapy

Participants:

Frank Abner, Arife Dila Demir, Katrin Kabun, Liisbet, Karjel, Kadi Kibbermann, Mari-Triin Kirs, Kristi Kuusk + Ana Tajadura-Jiménez (Madriidi Carlos III Ülikool) + Aleksander Väljamäe (Tartu Ülikool), Krista Leesi, Kille- Ingeri Liivoja + Juulia Aleksandra Mikson, Greth-Ann Loog + Riina Samelselg + Anete Vihm, Inês Rodrigues Neves, Nithikul Nimkulrat (OCAD UNIVERSITY), Marin Nooni, Kärt Ojavee + Johanna Ulfsak, Ingrid Helena Pajo, Maria Kristiin Peterson, Piret Roos + Liisa Torsus, Zane Shumeiko, Marie Vihmar + Sirje Sasi (TLU), Piret Valk, Varvara & Mar + Sebastian Mealla, Carl-Rasmus Õunaste

Curators: Varvara Guljajeva (HKUST(GZ)), Kristel Laurits, EKA Department of Textile Design

Exhibition design: Varvara Guljajeva
Exhibition technical support: Tehniline Direktor
Graphic design: Jesus Rodriguez Santos
Translation and proofreading: Gepard OÜ
Exhibition team: Kristi Kuusk, Varvara Guljajeva, Krista Leesi, Kadi Kibbermann, Eelike Virve, Frank Abner, Juulia Aleksandra Mikson, Johannes Luik, Piret Valk

Supporter: Cultural Endowment of Estonia

Exhibition Catalogue: https://issuu.com/artun/docs/softnegotiations_catalogue_lowres

Online discussion “Working with the Post-Cold War Heritages in the Baltics and Beyond”

The discussion will take place on Facebook

Participants: Eglė Rindzevičiūtė, Hilkka Hiiop, Kati Lindström, Raitis Šmits, Linara Dovydaitytė, Ele Carpenter

Moderators: Ieva Astahovska, Linda Kaljundi

The visible traces of the Soviet period in the Baltic landscapes include diverse and numerous technologically political infrastructures, including remnants of abandoned, collapsed or destroyed military buildings. This online discussion addresses the ways of working with the post-cold war heritages from the perspective of environmental history, technology studies, as well as contemporary heritage conservation and art.

More info 

Facebook

This is the fourth discussion of the research and exhibition project “Reflecting Post-Socialism through Post-Colonialism in the Baltics,” organised by the Latvian Center for Contemporary Art in Riga in collaboration with Kumu Art Museum and the research project “Estonian Environmentalism in the 20th Century” (both Tallinn). The project analyses the imprints of post-socialism and post-colonialism in the Baltic region, here exploring them through the prism of environmental history and the current ecological crisis.

As a part of Tallinn Photomonth The Institute of Art History and Visual Culture’s Research Secretary and lecturer, Annika Toots, is curating the exhibition “Tierras malas”, which examines the representation of landscape in photography, emphasizing two aspects related to the landscape.

Artists: Bleda y Rosa (ES), Aap Tepper (EE), Paco Ulman (EE), Dovilė Dagienė (LT)

First of all, the exhibition focuses on landscape as a way of seeing, examining how landscapes are constructed through the gaze and looking. The exhibited works point out how some parts of the surrounding environment are seen in aesthetic terms, while others are seen as useless. Second, the exhibition looks into the traces of cultural memory hidden in the landscape, focusing on what is not visible or what is left out of the frame.

Tierras malas refers to a type of landscape characterized by a lack of vegetation and the erosion caused by water and wind; it is considered poor, useless or dull. The exhibition takes a look at how such “useless landscapes” are defined in different contexts and how they are represented in photography. The title also refers to invisible traces of gloomy past events that the landscape might conceal.

Opening times: Tue–Fri 12–18, Sat 12–16
Vaal Gallery (Tartu maantee 82, Tallinn)
Accessible by wheelchair

Lecturer: Dan Karlholm, Professor of Art History, Department of Culture and Education, Södertörn University, Sweden
Dates: 22.–25. November 2021, 16.00-19.00
Level: PhD students

Please register  HERE
Registration deadline November 10

Abstract
This graduate course centers around the notions of time and temporality, which were always implicit in a historical discipline like art history, institutionalized in the nineteenth century. In the last couple of decades, however, the issue of time as something that not only grounds art history and many other human sciences has been found to complicate and challenge the normative chronologic of (art) history. The first theme of the course is Time and History, where different notions of time are addressed, and how these compare with or complicate the practice of history/historiography, which only came about with the so-called time revolution inaugurated on the basis of fossil finds disrupting the biblical creation narrative around 1800. Secondly, Chronology, Heterochrony and Anachrony will focus on the determining role of chronology in art history, and how this common-sensical structure has been challenged by other concepts and perspectives, which potentially impact the status we accord artworks. A third theme deals specifically with the complex of Contemporaneity [and contemporaneousness] and Presentism, which has been a problem of representation, power and definition related to various attempts at overcoming both modernism and postmodernism in art. The alluring idea of presentism, according to which the present seems to be expanding, absorbing the past as well as the future, is discussed. The final theme, arguably the biggest temporal conundrum in the history (and pre-history) of mankind, is The Anthropocene: Earth History and World History. Although not directly, only indirectly, relevant to art and art history, this perspective dwarfs many of our habitual quibbles on periodization, dating and attribution, but may also help us deal with the past that presently returns as our future. Throughout the course, we will discuss these themes in relation to our empirical materials of art and art history (and you are encouraged to bring your own examples to the table) as well as reflect upon how our discipline is to cope with all these temporal inflections and demands for what could perhaps be termed a post-anthropocentric and pro-geocentric art historiography.

Literature:
1. Thomas Da Costa Kaufmann, “Periodization and its Discontents”, Journal of Art Historiography, no. 2, June 2010, 1-6. Reinhart Koselleck, “Time and History”, in The Practice of Conceptual History: Timing History, Spacing Concepts, Stanford, 2002, 100-114. Daniela Bleichmar and Vanessa R. Schwartz, “Visual History: The Past in Pictures”, Representations 145, Winter 2019, 1-31.
2. Karlholm, “Is History to be Closed, Saved or Restarted? Considering Efficient Art History”; Keith Moxey, “What Time is it in the History of Art?”, Mary Roberts, “Artists, Amateurs, and the Pleated Time of Modernity”, from Time in the History of Art: Temporalty, Chronology, Anachrony, eds. Karlholm and Moxey, Routledge, 2018, 13-42, 79-100.
3. Georges Didi-Huberman, “Before the Image, Before Time: The Sovereignty of Anachronism”, in Compelling Visuality: The Work of Art in and out of History, eds. Claire Farago and Robert Zwijnenberg, Univ. of Minnesota Press, 2003, 31-44. Karlholm, “After Contemporary Art: Actualization and Anachrony”, The Nordic Journal of Aesthetics, no. 51 2016, 35-54. Chris Lorenz, “Out of Time? Some Critical Reflections on Francois Hartog’s Presentism”, Rethinking Historical Time: New Approaches to Presentism, eds. Marek Tamm and Laurent Olivier, Bloomsbury, 2019, 23-42.
4. Dipesh Chakrabarty, “Anthropocene Time”, History and Theory 57, no. 1 (March 2018), 5-32. Edward S. Casey, “Mapping the Earth in Works of Art”, in Rethinking Nature: Essays in Environmental Philosophy, eds. Bruce V. Foltz and Robert Frodeman, Indiana U.P., 2004, 260-269.

The course is supported by the ASTRA project of the Estonian Academy of Arts – EKA LOOVKÄRG (European Union, European Regional Development Fund).

The group exhibition “Pinefulness” will be opened in the City Gallery on September 30, with the participation of Eike Eplik (MA, EKA Sculpture and Installation), the legendary Olimar Kallas, Reet Kasesalu, Jan Lütjohann, EKA graphics alumna Mall Nukke and EKA photography alumni Hanna Samoson and Johannes Säre. The curator is Siim Preiman, an alumnus of the Institute of Art History of EKA.

The exhibition deals with Estonians’ relationship with the environment and is an attempt to raise awareness of the impact of today’s actions on the future of dreams through bitter humor and affordable gestures.

The exhibition is part of Tallinn Art Hall’s ongoing exhibition series, which pays special attention both to the possibility of being good and to ecological responsibility in conditions of certain destruction. The series is an institutional attempt to find an ethically suitable platform for dealing with burning issues. Therefore, we have excluded all single-use materials from the standard ‘toolkit’ of a contemporary art exhibition, using as few materials as possible – and only things found on site.

A curatorial tour with Siim Preiman will take place on October 2 at 12pm. The exhibition will remain open until 28 November.

Pine-fulness is part of the series of events organised by Goethe-Institut, entitled World Wild Wald. 

Tallinn City Gallery (Harju 13) is open from Wednesday to Sunday 11–6 pm, free entry.