Works by:
Poster by:
Linnea Lindgren
Official schedule:
19:00-20:00 Performance “UPON CLARIFICATION” by Kunstiryhmitus (registration is necessary)
20:00-21:00 The Lunacy of Flowers
21:00:42 04.04.2024 the regulations are canceled (party).
21:00 – 22:00 uqq
22:00 – … Upon Clarification
Official information about the event: https://fb.me/e/1LVGJE86p
Official schedule:
19:00-20:00 Performance “UPON CLARIFICATION” by Kunstiryhmitus (registration is necessary)
20:00-21:00 The Lunacy of Flowers
21:00:42 04.04.2024 the regulations are canceled (party).
21:00 – 22:00 uqq
22:00 – … Upon Clarification
Official information about the event: https://fb.me/e/1LVGJE86p
“EKA in Kenya. Implementing the Upmade System”
EKA Gallery 5.–26.04.2024
Open Tue–Sun 12–6 pm, free entry
Opening: 4.04.2024 at 6 pm
Supervisors: Reet Aus, Maria Pukk
Participants: Marta Konovalov, Susanna-Belinda Kõgel, Eva-Liis Lidenburg, Kaisa Moora, Anu Muiste, Doreen Mägi, Maria Rojko Nisu, Eva Reiska, Katrin Lepa-Ruben, Lisandra Türkson, Maris Vahter
The exhibition “EKA in Kenya. Implementing the Upmade System” focuses on the effort to reduce and recycle waste from the textile industry. The students of circular design of the Estonian Academy of Arts spent the month of February in 2024 in Kenya, in the city of Eldoret. On site, they learned about the production at the Rivatex factory, followed the product development process, performed analyzes and applied upcycling principles. Twelve different product concepts created by students will be displayed in EKA Gallery, including accessories, clothes, lampshades and a modular tent.
The international project “Transferring Upmade Know-How to Kenya” is part of a longer cooperation between Moi University and DiMa, the Sustainable Design and Materials Lab at the Estonian Academy of Arts. DiMa has contributed to reducing the environmental impact of the fashion and textile industry through various international projects. The aim of the project is to increase the circulation of Kenya’s textile industry by introducing the UPMADE method at the Rivatex factory. The approach enables the recycling of textile waste generated during manufacturing, thus supporting more environmentally friendly production.
The project has been made in cooperation with the Stockholm Environment Institute Tallinn Center (SEI Tallinn) and Moi University, with the support of the Erasmus+ study mobility program and the Environmental Investment Centre (KIK).
Opening drinks from Punch Club.
More info:
Transferring Upmade Know-How to Kenya
“EKA in Kenya. Implementing the Upmade System”
EKA Gallery 5.–26.04.2024
Open Tue–Sun 12–6 pm, free entry
Opening: 4.04.2024 at 6 pm
Supervisors: Reet Aus, Maria Pukk
Participants: Marta Konovalov, Susanna-Belinda Kõgel, Eva-Liis Lidenburg, Kaisa Moora, Anu Muiste, Doreen Mägi, Maria Rojko Nisu, Eva Reiska, Katrin Lepa-Ruben, Lisandra Türkson, Maris Vahter
The exhibition “EKA in Kenya. Implementing the Upmade System” focuses on the effort to reduce and recycle waste from the textile industry. The students of circular design of the Estonian Academy of Arts spent the month of February in 2024 in Kenya, in the city of Eldoret. On site, they learned about the production at the Rivatex factory, followed the product development process, performed analyzes and applied upcycling principles. Twelve different product concepts created by students will be displayed in EKA Gallery, including accessories, clothes, lampshades and a modular tent.
The international project “Transferring Upmade Know-How to Kenya” is part of a longer cooperation between Moi University and DiMa, the Sustainable Design and Materials Lab at the Estonian Academy of Arts. DiMa has contributed to reducing the environmental impact of the fashion and textile industry through various international projects. The aim of the project is to increase the circulation of Kenya’s textile industry by introducing the UPMADE method at the Rivatex factory. The approach enables the recycling of textile waste generated during manufacturing, thus supporting more environmentally friendly production.
The project has been made in cooperation with the Stockholm Environment Institute Tallinn Center (SEI Tallinn) and Moi University, with the support of the Erasmus+ study mobility program and the Environmental Investment Centre (KIK).
Opening drinks from Punch Club.
More info:
Transferring Upmade Know-How to Kenya
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.
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.
We invite you to a panel discussion inspired by the article “From Past to Present: The Journey of Technological Theatre” by R. Kelomees, T. Jansen, and P. Hoppu. The article discusses how technological innovation has been essential in developing theater and the visual arts since the “beginning of time.” Moderated by digital theater researcher Katie Hawthorne, the event promises to be an engaging discussion about the potential and shortcomings of digital technologies in the contemporary world and how this might affect theater and contemporary art more extensively. A moderated panel discussion will follow short presentations by Raivo Kelomees, Taavet Jansen and Liina Keevallik.
This mini-conference is part of the project Acute, Culture Testbeds for Performing Arts and New Technology, which focuses on the development of performing arts and new technologies and is also part of the satellite program of the New European Bauhaus Festival. Together, we will rethink the role of theater and art in our shared space, discuss how technology and art can connect people in these challenging times, and question the important issues that surround us.
The event take place at Estonian Academy of Arts on April 19th at 4pm(EET), room A101 and will be livestreamed in EKA Youtube.
Link: https://www.youtube.com/watch?v=4EYJ93CEUaw
SPEAKERS
Taavet Jansen is an artist and researcher at the intersection of performing arts and technology. He has a rich background in theatre, creative coding, digital arts, and teaching. Taavet studied at Tallinn University and completed a Master’s in Choreography and New Media at the Theater School in Amsterdam. He is a doctoral student at the Estonian Academy of Arts in Art and Design and a multimedia lecturer at the University of Tartu Viljandi Cultural Academy. In recent years, Taavet has focused on digitally mediated performance art as a researcher and creator. He is one of the founders of the interdisciplinary art platform e⁻lektron and the technological art network MIMproject. As a researcher, he has been involved as PI in research projects such as “INDEX—Reconnecting the digital audience with the creative team in the online events” and “Online theatre as a research tool,” both of which focus on online theatre through the development of interaction tools that allow real-time audience feedback. His creative work spans a range of theatrical performances, installations, and media design projects where he has been blending his artistic expression with technological innovations. Recent works include “Held in Human,” “Memento,” and “Wolves,” all of which explore interactive digital performances. Taavet’s academic publications explore the confluence of technology and the performing arts, underscoring his commitment to advancing the field through research and interdisciplinary collaboration. Taavet Jansen’s career embodies a dedication to enhancing the performing arts through technological innovation and research to understand and improve audience engagement in digital spaces.
Raivo Kelomees, PhD (art history), is an artist, art historian and new media researcher. He
studied psychology, art history and design in Tartu University and the Academy of Arts in
Tallinn. He is senior researcher at the Fine Arts Faculty at the Estonian Academy of Arts and
professor at the Pallas University of Applied Sciences. Kelomees is author of Surrealism
(Kunst Publishers, 1993) and article collections Screen as a Membrane (Tartu Art College
proceedings, 2007) and Social Games in Art Space (EAA, 2013). His doctoral thesis is
Postmateriality in Art. Indeterministic Art Practices and Non-Material Art (Dissertationes
Academiae Artium Estoniae 3, 2009). Together with Chris Hales he edited the collection of
articles Constructing Narrative in Interactive Documentaries (Cambridge Scholars
Publishing, 2014). In collaboration with Varvara Guljajeva and Oliver Laas he edited the
collection of articles The Meaning of Creativity in the Age of AI (EKA Press, 2022).
Katie Hawthorne is a researcher based in Scotland. She is an alumna of the Academy for Theatre and Digitality’s fellowship programme and became a member of staff at the Academy in 2022, with a role focussed on the documentation and dissemination of research. Katie is the author of the first cross-European study Digital Theatre: Digital Strategies and Business Models in European Theatre (2023), commissioned by the European Theatre Convention and first presented at the European Theatre Forum in Opole, Poland. The study drew on her Ph.D research, completed at the University of Edinburgh in 2022, which explored how ‘liveness’ in theatre and performance is evolving through the use of digital tools and technologies. She has given papers at a host of international conferences and institutions, including the IFTR in Shanghai and TaPRA in Exeter, and authored a chapter on the Berliner Theatertreffen in the Edinburgh German Yearbook in 2021. Katie is also an accomplished freelance journalist, and regularly contributes to publications including The Guardian and The Scotsman.
Liina Keevallik, PhD, has studied scenography at Estonian Academy of Arts and holds a PhD from the University Paris 8. She has done set and costume designs in Estonian theatres as well as abroad (France, Belgium, Spain, Norway, Lithuania), her works ranging from big operas to underground avant-garde. She has also written and directed visual performances. Her latest creations merging art and scientific research are Cloud Opera (2019), juxtaposing data clouds and atmospheric clouds; and It’s Time to Fight Reality Once More. Sentimental Education for Robots (2021), a play written by AI, performed and improvised by robots. She has also designed feature and puppet films and directed short films and documentaries; written texts for theatre, song lyrics and film scripts. She currently works as a freelance scenographer in Paris and Tallinn, pursues her research at BFM (University of Tallinn) and teaches scenography at Estonian Academy of Arts. She has participated in the international media archaeological research project Deceptive Arts (Les Arts Trompeurs); an artistic research project collaborating with AI Machine Acts and she has created the pre-cinema department of the Estonian Film Museum.
We invite you to a panel discussion inspired by the article “From Past to Present: The Journey of Technological Theatre” by R. Kelomees, T. Jansen, and P. Hoppu. The article discusses how technological innovation has been essential in developing theater and the visual arts since the “beginning of time.” Moderated by digital theater researcher Katie Hawthorne, the event promises to be an engaging discussion about the potential and shortcomings of digital technologies in the contemporary world and how this might affect theater and contemporary art more extensively. A moderated panel discussion will follow short presentations by Raivo Kelomees, Taavet Jansen and Liina Keevallik.
This mini-conference is part of the project Acute, Culture Testbeds for Performing Arts and New Technology, which focuses on the development of performing arts and new technologies and is also part of the satellite program of the New European Bauhaus Festival. Together, we will rethink the role of theater and art in our shared space, discuss how technology and art can connect people in these challenging times, and question the important issues that surround us.
The event take place at Estonian Academy of Arts on April 19th at 4pm(EET), room A101 and will be livestreamed in EKA Youtube.
Link: https://www.youtube.com/watch?v=4EYJ93CEUaw
SPEAKERS
Taavet Jansen is an artist and researcher at the intersection of performing arts and technology. He has a rich background in theatre, creative coding, digital arts, and teaching. Taavet studied at Tallinn University and completed a Master’s in Choreography and New Media at the Theater School in Amsterdam. He is a doctoral student at the Estonian Academy of Arts in Art and Design and a multimedia lecturer at the University of Tartu Viljandi Cultural Academy. In recent years, Taavet has focused on digitally mediated performance art as a researcher and creator. He is one of the founders of the interdisciplinary art platform e⁻lektron and the technological art network MIMproject. As a researcher, he has been involved as PI in research projects such as “INDEX—Reconnecting the digital audience with the creative team in the online events” and “Online theatre as a research tool,” both of which focus on online theatre through the development of interaction tools that allow real-time audience feedback. His creative work spans a range of theatrical performances, installations, and media design projects where he has been blending his artistic expression with technological innovations. Recent works include “Held in Human,” “Memento,” and “Wolves,” all of which explore interactive digital performances. Taavet’s academic publications explore the confluence of technology and the performing arts, underscoring his commitment to advancing the field through research and interdisciplinary collaboration. Taavet Jansen’s career embodies a dedication to enhancing the performing arts through technological innovation and research to understand and improve audience engagement in digital spaces.
Raivo Kelomees, PhD (art history), is an artist, art historian and new media researcher. He
studied psychology, art history and design in Tartu University and the Academy of Arts in
Tallinn. He is senior researcher at the Fine Arts Faculty at the Estonian Academy of Arts and
professor at the Pallas University of Applied Sciences. Kelomees is author of Surrealism
(Kunst Publishers, 1993) and article collections Screen as a Membrane (Tartu Art College
proceedings, 2007) and Social Games in Art Space (EAA, 2013). His doctoral thesis is
Postmateriality in Art. Indeterministic Art Practices and Non-Material Art (Dissertationes
Academiae Artium Estoniae 3, 2009). Together with Chris Hales he edited the collection of
articles Constructing Narrative in Interactive Documentaries (Cambridge Scholars
Publishing, 2014). In collaboration with Varvara Guljajeva and Oliver Laas he edited the
collection of articles The Meaning of Creativity in the Age of AI (EKA Press, 2022).
Katie Hawthorne is a researcher based in Scotland. She is an alumna of the Academy for Theatre and Digitality’s fellowship programme and became a member of staff at the Academy in 2022, with a role focussed on the documentation and dissemination of research. Katie is the author of the first cross-European study Digital Theatre: Digital Strategies and Business Models in European Theatre (2023), commissioned by the European Theatre Convention and first presented at the European Theatre Forum in Opole, Poland. The study drew on her Ph.D research, completed at the University of Edinburgh in 2022, which explored how ‘liveness’ in theatre and performance is evolving through the use of digital tools and technologies. She has given papers at a host of international conferences and institutions, including the IFTR in Shanghai and TaPRA in Exeter, and authored a chapter on the Berliner Theatertreffen in the Edinburgh German Yearbook in 2021. Katie is also an accomplished freelance journalist, and regularly contributes to publications including The Guardian and The Scotsman.
Liina Keevallik, PhD, has studied scenography at Estonian Academy of Arts and holds a PhD from the University Paris 8. She has done set and costume designs in Estonian theatres as well as abroad (France, Belgium, Spain, Norway, Lithuania), her works ranging from big operas to underground avant-garde. She has also written and directed visual performances. Her latest creations merging art and scientific research are Cloud Opera (2019), juxtaposing data clouds and atmospheric clouds; and It’s Time to Fight Reality Once More. Sentimental Education for Robots (2021), a play written by AI, performed and improvised by robots. She has also designed feature and puppet films and directed short films and documentaries; written texts for theatre, song lyrics and film scripts. She currently works as a freelance scenographer in Paris and Tallinn, pursues her research at BFM (University of Tallinn) and teaches scenography at Estonian Academy of Arts. She has participated in the international media archaeological research project Deceptive Arts (Les Arts Trompeurs); an artistic research project collaborating with AI Machine Acts and she has created the pre-cinema department of the Estonian Film Museum.
If 2023 was the year in which AI entered our life through our browsers, the future will see more and more AI entering our machines ! This year’s Tangible Design exhibition investigates what can be done when using tools like ChatGPT to animate interactive installations.
Students of the IxD.ma master went on building devices that listen, watch and talk, offering entertainment in ways that were unimaginable just a few years ago:
Join us on Saturday 23rd in Telliskivi Creative City, next to Nihe Kohvik, to immerse yourself in a future where public installations use an additional layer of intelligence.
More info on Facebook: https://fb.me/e/3Az7S6gU3
——
IxD.ma is an international masters at EKA focused on humanity centred innovation. This Tangible Design course was led by Ottavio Cambieri and Anna Jõgi, with participating students YaChuan Chen, Rainer Pits, Tunahan Zilyas, Iie-Mall Püüa, Alisa Butenko, Carol Alice Tõniste, Rain Jaaksoo, Janeli Pelska, Helena Väinmaa, Marianna Zvereva, Jon Tastad and Monika Juríková.
If 2023 was the year in which AI entered our life through our browsers, the future will see more and more AI entering our machines ! This year’s Tangible Design exhibition investigates what can be done when using tools like ChatGPT to animate interactive installations.
Students of the IxD.ma master went on building devices that listen, watch and talk, offering entertainment in ways that were unimaginable just a few years ago:
Join us on Saturday 23rd in Telliskivi Creative City, next to Nihe Kohvik, to immerse yourself in a future where public installations use an additional layer of intelligence.
More info on Facebook: https://fb.me/e/3Az7S6gU3
——
IxD.ma is an international masters at EKA focused on humanity centred innovation. This Tangible Design course was led by Ottavio Cambieri and Anna Jõgi, with participating students YaChuan Chen, Rainer Pits, Tunahan Zilyas, Iie-Mall Püüa, Alisa Butenko, Carol Alice Tõniste, Rain Jaaksoo, Janeli Pelska, Helena Väinmaa, Marianna Zvereva, Jon Tastad and Monika Juríková.
Thursday, March 21
17:30
etc., Niine 8
Opening of These Words Matter, an exhibition with MA Contemporary Art students from the course ‘Writing Practice 2’, supervised by Lieven Lahaye. The exhibition consists of new works about or conceived through writing. The title of the exhibition is lifted from Dodie Bellamy’s ‘Hoarding as écriture’.
Works by:
Poster by:
Linnea Lindgren
Thursday, March 21
17:30
etc., Niine 8
Opening of These Words Matter, an exhibition with MA Contemporary Art students from the course ‘Writing Practice 2’, supervised by Lieven Lahaye. The exhibition consists of new works about or conceived through writing. The title of the exhibition is lifted from Dodie Bellamy’s ‘Hoarding as écriture’.
Works by:
Poster by:
Linnea Lindgren
“When flying off-center, a new centerpoint shall be found to regain the balance”
The opening of Mart Talvar’s first solo exhibition Out of Center is taking place at 22 nd of March at HOP gallery from 6 PM and is talking about finding balance within the process of transformation.
The theme of the exhibition began to unfold during his studies in the jewellery and blacksmithing department at the Estonian Academy of Arts in 2022 and is still an ongoing process. During the metal spinning process, a copper object unexpectedly
jumped off-center, resulting in a unique object. The artist became interested in what lies behind an experience that we could perceive as failure. From that moment, a thorough practice of metal spinning began with the outcome to be shared with a wider audience.
At the gallery, the techniques of metal spinning and porcelain slip casting meet each othernas opposites in nature. The copper work refers to the occurrence of flying off-center as a possibility to redefine the concepts of being centered and off-center, failure, and balance. The porcelain objects demonstrate the transformation of traces, that have transferred on
from the copper material and have significantly reduced in size after the firing process.
The design method of material empathy offers symbolic meaning to the “dialogue” between the materials. This blurs boundaries between the public space and social context, and leaves the viewer plenty of room for personal interpretations.
Location HOP gallery
The opening 22.03.2024 kell 18:00
Opening times N-T 22.03-16.04 11:00-18:00
Curator Liisi Kõuhkna
Graphic design Cristopher Siniväli
Technical aid HOP gallery; Valge Kuup Studio
Support Estonian Academy of Arts, Cultural Endowment of Estonia, Shroomwell OÜ,
Põhjala Brewing AS, Tuulmet Holding OÜ
“When flying off-center, a new centerpoint shall be found to regain the balance”
The opening of Mart Talvar’s first solo exhibition Out of Center is taking place at 22 nd of March at HOP gallery from 6 PM and is talking about finding balance within the process of transformation.
The theme of the exhibition began to unfold during his studies in the jewellery and blacksmithing department at the Estonian Academy of Arts in 2022 and is still an ongoing process. During the metal spinning process, a copper object unexpectedly
jumped off-center, resulting in a unique object. The artist became interested in what lies behind an experience that we could perceive as failure. From that moment, a thorough practice of metal spinning began with the outcome to be shared with a wider audience.
At the gallery, the techniques of metal spinning and porcelain slip casting meet each othernas opposites in nature. The copper work refers to the occurrence of flying off-center as a possibility to redefine the concepts of being centered and off-center, failure, and balance. The porcelain objects demonstrate the transformation of traces, that have transferred on
from the copper material and have significantly reduced in size after the firing process.
The design method of material empathy offers symbolic meaning to the “dialogue” between the materials. This blurs boundaries between the public space and social context, and leaves the viewer plenty of room for personal interpretations.
Location HOP gallery
The opening 22.03.2024 kell 18:00
Opening times N-T 22.03-16.04 11:00-18:00
Curator Liisi Kõuhkna
Graphic design Cristopher Siniväli
Technical aid HOP gallery; Valge Kuup Studio
Support Estonian Academy of Arts, Cultural Endowment of Estonia, Shroomwell OÜ,
Põhjala Brewing AS, Tuulmet Holding OÜ
Cloe Jancis & Ann Pajuväli
“beginners”
EKA Billboard Gallery 22.03.–02.06.2024
Open 24/7, free
Opening: 22.03.2024 at 6 pm
A beginner’s mindset means letting go of assumptions, expertise, or preconceived notions that might cloud our perception or limit our understanding. In this state, we cultivate curiosity, humility and willingness to learn, even with prior knowledge and experience on the subject. It means embracing a sense of astonishment and discovery by trying things for the first time, which can lead to new perspectives and foster creativity and personal growth.
The artists emphasise that the exhibition is about growing out of the ways of representation they have become accustomed to: “We are in a phase of transition – it is not clear-cut, but it is lively and honest. Going through it means letting go (of former habits) and trusting that work teaches the doer. At the exhibition, we share parallel quests that may have a result, but not necessarily. This is a stopover, one possible version; unfinished thoughts, half-baked ideas, new beginnings and loose ends. The most honest expression of the current situation.
Opening drinks from Punch Drinks.
More info:
eka.galerii@artun.ee
Cloe Jancis & Ann Pajuväli
“beginners”
EKA Billboard Gallery 22.03.–02.06.2024
Open 24/7, free
Opening: 22.03.2024 at 6 pm
A beginner’s mindset means letting go of assumptions, expertise, or preconceived notions that might cloud our perception or limit our understanding. In this state, we cultivate curiosity, humility and willingness to learn, even with prior knowledge and experience on the subject. It means embracing a sense of astonishment and discovery by trying things for the first time, which can lead to new perspectives and foster creativity and personal growth.
The artists emphasise that the exhibition is about growing out of the ways of representation they have become accustomed to: “We are in a phase of transition – it is not clear-cut, but it is lively and honest. Going through it means letting go (of former habits) and trusting that work teaches the doer. At the exhibition, we share parallel quests that may have a result, but not necessarily. This is a stopover, one possible version; unfinished thoughts, half-baked ideas, new beginnings and loose ends. The most honest expression of the current situation.
Opening drinks from Punch Drinks.
More info:
eka.galerii@artun.ee
The annual Conference of EKA Doctoral School will take place on April 5th, 2024.
Please register by 01.04.
TIMETABLE
09:50 Registration
10:00 Introduction: Dr. Kristina Jõekalda
Guest Speaker
Moderator: Dr. Kristina Jõekalda
10:10 Prof. Danielle Wilde (Umeå Institute of Design, Umeå University)
„Food(Design) as a Force for Change“
Art & Design
Moderator: Dr. Jaana Päeva
11:00 Marta Põldma (Konovalov), „Designer, the Resilient Gardener“ (supervised by Dr. Kristi Kuusk, Dr. Julia Valle Noronha). Discussant Paco-Ernest Ulman.
11:40 Jane Remm, „Interspecies Social Sculpture as a Platform for Multi-Perspective Co-Creation“ (supervised by Dr. Urve Sinijärv). Discussant Triin Metsla.
12:20 Lunch break
Architecture & Urban Planning
Moderator: Dr. Siim Tuksam
13:40 Paco-Ernest Ulman, „A Fixed View: Connection Between Architecture and Image“ (supervised by Dr. Jüri Soolep). Discussant Maija Rudovska.
14:20 Discussion: Danielle Wilde, Siim Tuksam, Jaana Päeva
14:50 Coffee break
Art History & Visual Culture
Moderator: Prof. Andres Kurg
15:10 Triin Metsla, „The Need for Decanonization and a Polyphonic Canon: Towards a More Horizontal Approach to Art History“ (supervised by Prof. Krista Kodres). Discussant Regne Soosalu.
15:50 Maija Rudovska, „The Fluctuations: Where Does an Artist as Curator Stand During the Transition Period of Late 1980s and Early 1990s in Latvia?“ (supervised Dr. Mari Laanemets). Discussant Marta Põldma (Konovalov).
16:30 Ragne Soosalu, „This is a Man’s World: on Humor, Women and Preservation of Art During the Interwar Era in Estonia“ (supervised by Dr. Katrin Kivimaa, Dr. Kristina Jõekalda). Discussant Hasso Krull.
17:10 Coffee Break
17:30 Hasso Krull, „Trickster on the Mythical Landscape“ (supervised by Prof. Virve Sarapik, Dr. Margus Ott). Discussant Jane Remm.
18:10 Discussion: Kristina Jõekalda, Andres Kurg, Anneli Randla
For more information: rahel.eslas@artun.ee
The annual Conference of EKA Doctoral School will take place on April 5th, 2024.
Please register by 01.04.
TIMETABLE
09:50 Registration
10:00 Introduction: Dr. Kristina Jõekalda
Guest Speaker
Moderator: Dr. Kristina Jõekalda
10:10 Prof. Danielle Wilde (Umeå Institute of Design, Umeå University)
„Food(Design) as a Force for Change“
Art & Design
Moderator: Dr. Jaana Päeva
11:00 Marta Põldma (Konovalov), „Designer, the Resilient Gardener“ (supervised by Dr. Kristi Kuusk, Dr. Julia Valle Noronha). Discussant Paco-Ernest Ulman.
11:40 Jane Remm, „Interspecies Social Sculpture as a Platform for Multi-Perspective Co-Creation“ (supervised by Dr. Urve Sinijärv). Discussant Triin Metsla.
12:20 Lunch break
Architecture & Urban Planning
Moderator: Dr. Siim Tuksam
13:40 Paco-Ernest Ulman, „A Fixed View: Connection Between Architecture and Image“ (supervised by Dr. Jüri Soolep). Discussant Maija Rudovska.
14:20 Discussion: Danielle Wilde, Siim Tuksam, Jaana Päeva
14:50 Coffee break
Art History & Visual Culture
Moderator: Prof. Andres Kurg
15:10 Triin Metsla, „The Need for Decanonization and a Polyphonic Canon: Towards a More Horizontal Approach to Art History“ (supervised by Prof. Krista Kodres). Discussant Regne Soosalu.
15:50 Maija Rudovska, „The Fluctuations: Where Does an Artist as Curator Stand During the Transition Period of Late 1980s and Early 1990s in Latvia?“ (supervised Dr. Mari Laanemets). Discussant Marta Põldma (Konovalov).
16:30 Ragne Soosalu, „This is a Man’s World: on Humor, Women and Preservation of Art During the Interwar Era in Estonia“ (supervised by Dr. Katrin Kivimaa, Dr. Kristina Jõekalda). Discussant Hasso Krull.
17:10 Coffee Break
17:30 Hasso Krull, „Trickster on the Mythical Landscape“ (supervised by Prof. Virve Sarapik, Dr. Margus Ott). Discussant Jane Remm.
18:10 Discussion: Kristina Jõekalda, Andres Kurg, Anneli Randla
For more information: rahel.eslas@artun.ee
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.
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.