Nordic-Baltic Academy of Architecture meeting

From October 23 – 26, 2019, Estonian Academy of Arts will be hosting Nordic-Baltic Academy of Architecture meeting. Welcome!

Programme
Registration

List of participants

Taxi from the airport: 10 – 15 EUR. Tram No 4 connects from the airport to the hotel, station “Hobujaama”. Ticket purchased from the driver costs 2 EUR. Passenger port is within a walking distance from the hotel.

Organising committee:
Andres Ojari
Ole Gustavsen
Ugis Bratuskins
Pille Epner
Jüri Soolep
Sandra Mell

October 9, at 16.00, room A101

Open Lecture by Jan van Boeckel
Art and Sustainability Education in an Age of Uncertainty and Climate Fear

Jan van Boeckel will give a presentation on fostering attention through arts-based open-ended approaches in an age of ecological emergency and radical uncertainty. If we are to respond adequately to the rapid and deep changes taking place in the world in our current times, we may need to envisage a very different type of education. Not one that is predominantly based on knowledge transfer, but a kind of teaching and learning that foregrounds engaging with radical uncertainty. In more open-ended modalities of education, learners tend not to know on forehand what the outcomes and expected deliverables will be. Such approaches may cause a sense of unease because of a presumed lack of control, of missing framing guidelines and clear target objectives. It is exactly in this space of vulnerability that it is essential that learners feel that their educational experience is safely contained and held by teachers and facilitators. A way of achieving this may be through employing arts-based approaches. Through such practices of artful exploring (for example together with a group of students) a sense of excitement, of curiosity and wonder may be prompted.

One of Van Boeckel’s key areas of interest is in educational activity as primarily and fundamentally an open-ended process. The outcome is not given, though the participants follow certain sequential steps which frame the process. Through teaching and hands-on doing, it aims to promote understanding of interconnected systems – both biological and cultural. Van Boeckel contextualizes this form of arts-based environmental education by valuing it as a form of ‘poor pedagogy’, as articulated by Jan Masschelein. Such practice is expressive of a view on education that is not about the transmission of knowledge but rather is a way of attending to things (Tim Ingold). It is also ‘weak pedagogy’, in which is foregrounded what Gert Biesta regards as ‘the educational imperative’: to arouse in another human being the desire to exist as subject, in dialogue with the world. For him this means being ‘in the world without occupying the centre of the world’, trying to exist in dialogue with what and who is other.

Exactly because artistic activities and research, as part of this kind of education, aren’t prima facie linked to urgent themes such as climate change – that they may lend possibilities, affordances, to take up such subjects in new ways. For, on a meta-level, they can also be seen as exercises in facing complexity, uncertainty, not-knowing, and of discovering and forging new relationships between phenomena and processes, in ways that are often far from obvious. Van Boeckel suggests that it is precisely this element of sustainable education (Stephen Sterling) we need, if we are aiming to equip new generations with skills to live in ‘postnormal times.’

Jan van Boeckel is an artist and art educator who has worked for many years on the intersections of art, education and ecology. He was professor in art pedagogy at EKA from 2015 until 2018. Before he was a teacher at the Iceland University of the Arts and other places. In academic year 2018-2019 Jan worked as senior lecturer in art education at the University of Gothenburg in Sweden and as visiting lecturer and teacher on the themes of art, sustainability and climate leadership at the Centre for Environment and Development Studies (CEMUS) in Uppsala, also in Sweden.
More info: www.janvanboeckel.wordpress.com

The lecture is in English, attendance free.

The display of design and architecture schools introduces graduation works and various school projects. In addition to the design schools in Estonia who offer higher education in Tallinn, Tartu and Haapsalu our guests from Kolding Design School, European University in Madrid and Falmouth University are presenting their most successful student projects.

“This course focuses on research of interactions between an individuality and tangible reality being sufficiently modern, to indicate on the immanent presence of the creative spirit, as a condition for all imaginable arts that may rely on their future.” – A. Jakovlev

Students showing their works: Anni Kivisto, Erle Nemvalts , Johanna Tamm, Kaisa Krusenberg, Oliver Kanniste, Anna-Liisa Hanni, Terje Meisterson, Ketlin Kuusing, Greete Rüütmann, Henri Kaarel Luht, Mart Vaarpuu, Aleksandra Kazanina, Andres Mäekallas, Rünno Kulver, Katrin Aasmaa, Kerttu Rannik, Anna Roomet, Siim Simmermann, Cathy Saarm, Maarika Karm, Kristiina Jeromans, Cärol Ott, Triin Tint, Vitali Valtanen, Anna Viik Archanjo

Tutors: Marta Moorats, Aleksander Jakovlev

TOO MUCH / LIIGA PALJU
Triin Kukk and Erinn M. Cox
We always want more. We are constantly overwhelmed and filled with confusion and excitement of
how to think, feel and react to what happens to us and around us. We conjure images and words that
blur the edges of reality, often falling into obsessions where we can’t seem to get enough, to express
enough. We crave reckless love, endless joy, unbounding truths, and fantastical experiences; all the
while unsuccessfully fighting the temptation to fully follow our wants and wishes. But when do we say
something is too much? Where is the line between what is sufficient and what is excessive when our
hearts and guts beg for an endless more?

Triin Kukk is an Estonian jewellery artist, currently obsessed with stones. She finished her MA
studies in the department of jewellery and blacksmithing at the Estonian Academy of Arts this spring. Recently, Triin was awarded with one of the Galerie Marzee Graduate Prizes.
For more about the artist, visit: www.triinkukk.com

Erinn M. Cox is a jewellery artist from the United States, currently residing in Tallinn, Estonia. She
holds a BFA in sculpture and photography from Florida State University, an MFA in sculpture and
installation from the Memphis College of Art, and a MA degree in Jewellery from the Estonian
Academy of Arts. Erinn has exhibited her work internationally, highlighted by her selection for
Schmuck 2018 and recently being awarded one of the Galerie Marzee Graduate Prizes in 2019.
For more about the artist, visit: www.erinnmcox.com

Over the course of two months, the artists will present a transforming exhibition of contemporary
jewellery and objects to contrast their perspectives of what may, indeed, be too much.

Join us for two special events:
Vernissage: Friday, September 13 at 6 pm
Finissage: Friday, November 15 at 6 pm
The exhibition is open until November 18, 2019

A-galerii
Hobusepea 2, Tallinn

The exhibition is supported by the Cultural Endowment of Estonia.

Join us for the opening of ”Terribly Beautiful” on September 11 at 6 PM at EKA Gallery! The exhibition, curated by EKA architecture students Merilin Kaup, Margus Tammik and Ulla Alla, is part of Tallinn Architecture Biennale TAB 2019 and is open until October 9.

Where lies the beauty of a school project? We propose that the most beautiful thing about school project is the venturing, vulnerability and complexity of the process, the notion of getting lost. In the facility for learning, failure is beautiful and ugly matters too! We are shifting focus from the outcome to the process in order to start an in-depth discussion about motives that drive us, values that we believe in, work methods that have served us and bizarre places our mind has taken us when possessed by the project. We want to bring this liminal period into the spotlight because beautiful representations and elaborated briefs can be found all over the internet!

The exhibition brings together master theses, first-year experiments and self-initiated side projects. All projects are essentially critical, either succeeded or failed explorations that are experimental in their approach or rather explore experimentation and play itself as a creative method and a way of learning.

Authors exhibited:
Aleksandr Delev
Alexander Angelov
Aleksandra Lilovska
Marin Markovski
Teodora Todorova
Ralitsa Timeva
Aspasia Strani
Campbell Taylor
Charles Curtin
Miguel Gilarte
Diana Carrillo Silva
Eleonore Devolder
Eugenio Superchi
Maja Piechwiak
Raya Dimitrova
Sara Garcia Santi
Viliam Fedorko

Curators: Merilin Kaup, Margus Tammik and Ulla Alla

The exhibition is part of Tallinn Architecture Biennale TAB 2019 program, which is produced by Estonian Center of Architecture.

Anna Tamm’s solo exhibition “Puppet Warp” will be opened in the Showcase Gallery of the department of photography at the Estonian Academy of Arts since September 4, 2019. 

“Puppet Warp” is an artwork inspired by the today’s situation in domestic policy, illustrating the simple method used for influencing the appearance and form of freely selected object/subject, thus transforming its purpose according to the artist’s needs. However, the radical use of the Puppet Warp tool may turn the original image into something new and unrecognizable.

The title of the exhibition is a direct reference to the digital image manipulation tool in Adobe Photoshop.

Exhibition can be viewed 24/7 and it will be open until October 26th.

Location: facade wall of the Contemporary Art Museum of Estonia (EKKM), Põhja pst. 35.

Open lecture „becoming [in]determinate: from specificity to responsiveness, from site to situation” by JAMES CAREY, artist and lecturer in Interior Design, School of Architecture and Urban Design, RMIT University on Monday, 9 September 4 pm (A300). 

James Carey’s creative research practice explores process-based interventions within decommissioned buildings and gallery spaces. This presentation will discuss James’ practice and how it shifted during his PhD candidature; from one that was defined by himself and others as site-specific and spatial practice, to one that explores and manifests the concept of duration through a practice that is temporal, material and spatial. Furthermore, James will also discuss his ongoing creative research practice, particularly in the cities of Detroit and Hamtramck, USA and his project as part of the Oslo Architecture Triennale 2019.

Biography:

James Carey is an artist and a Lecturer in Interior Design, School of Architecture and Urban Design, RMIT University. James is also an artistic director at BLINDSIDE gallery, and he lives and works in Melbourne, Australia. 

James has an inherent curiosity to notions of process, time and duration. His practice is one of mark making, marking time, making time, and time making; foregrounding duration and marking an occurrence. His technique is one of working responsively, allowing particular temporal conditions to surface within specific situations. His marks materialise immateriality and allow the residue of particular processes to be assembled as collections of materialised and spatialised time. 

Recent projects and exhibitions include interruptions Stockroom Gallery, Kyneton 2018, future interior with staff and PhD candidates Interior Design, School of Architecture & Urban Design, RMIT as part of Melbourne Design Week 2019, and ! 金! curated by Dr Kent Wilson and La Trobe Art Institute, as part of the Castlemaine State Festival, Australia 2019. In June and July 2019, James returned to Detroit, USA for continuing research, and he will also participate in the Oslo Architecture Triennale, whose provocation explores the concept of degrowth within contemporary cities and cultures.

Welcome to the Estonian Academy of Arts!

The 2019/2020 academic year begins on August 27 with an introductory week, the schedule of which can be found HERE. The translation of the lecture by Mart Kalm is supported from European Regional Development Fund.

The timetable is available in the study information system (ÕIS) on artun.ois.ee/en/ from August 27. Initially, the student will not have a personal timetable and you will need to look at your group timetable.

Group code:

• Media Graphics BA (in Russian) – BMGV19
• Contemporary Art MA  – MACA19
• Design and Crafts MA – MDC19
• Animation MA – MAN19
• Interaction Design MA  – MIxD19
• Urban Studies MA – MUR19
• Design and Technology Futures MSc (joint programme with Tallinn University of Technology) – MADM19
• Literature, Visual Culture and Film Studies MA (joint programme with Tallinn University) – HIKVM19
• Architecture and Urban Design PhD – DAU19
• Art and Design PhD – DKD19

ÕIS user account and your @artun.ee e-mail account (a mandatory academy communication channel) will be created for each student. Email addresses are created by firstname.lastname@artun.ee.

ISIC = Door card
The ISIC card proves your student status and acts as a door card in the EKA building. You can apply for the card at the 1st floor information desk at the main entrance.

Solveig Lill is opening her solo exhibition “In the Nearest Distances” at Vent Space project room on Thursday, August 22 at 6 p.m. The exhibition will be open until Saturday, August 31 from 12–5 p.m.

“The human body consists of around thirty-seven trillion cells. The complicated sequence of biological processes that takes place between them and within them determines every aspect of an organism’s state. We perceive the environment mediated by the cells through the energy they produce. Despite this, people tend to think of themselves as a single whole form, not as a collection of actively living particles.

To somehow position oneself with regard to the surrounding world, to designate one’s position in a system, it is necessary to acknowledge other scales in addition to one’s own comparative size. It is necessary to cast one’s eyes closer as well as further from oneself.

It is possible to view the cellular level as a model for larger communities. Communication, conflicts, influence and vibrations, collaboration and competition between particles have similar parallels on a human as well as a universal level.

The drawings presented at the exhibition depict hypothetical situations in the cellular world. The works do not draw on scientific sources, instead they speak of the microscape through the artist’s interpretation. The exhibition invites the viewer to make a conceptual leap with regard to scale, directs attention away from people and towards cells and asks whether there can be anything fundamentally similar between the two.”

Solveig Lill (b. 1994) is studying in the Contemporary Art programme at the Estonian Academy of Arts and will defend her master’s thesis next spring. During the previous academic year, she studied on exchange in Germany at the Berlin University of the Arts, in professor Mark Lammert’s class. Lill acquired her bachelor’s degree in 2016 from the painting department at the University of Tartu. Having previously participated in group exhibitions in Tallinn, Tartu, Vilnius and Berlin, this exhibition is her first solo show. Lill’s creative practice includes a variety of media. She has worked with painting, installation and photography and is currently focusing on drawing.

The artist thanks: Cultural Endowment of Estonia, Estonian Academy of Arts, Vent Space, Aksel Haagensen, Mark Lammert, Hanna-Liisa Lavonen, Iren Lill, Kaisa Maasik, Maria Muuk, Kati Ots, Mihkel Raev

The rescue from destruction of Dolores Hoffmann’s fresco ’Morning’ at the Cinema ’Rahu’ (’Peace’) in Kopli, Tallinn.

The exhibition is open from August 6 at the Gallery of the Estonian Academy of Arts at Põhja pst 7. The theme of the exhibition is a 74 m² fresco by Dolores Hoffmann that she completed as her graduation project – no longer in one piece today.

In 1963 Dolores Hoffmann, a future renowned monumentalist, professor and famous stained glass artist, painted an enormous mural ’Hommik’ (’Morning’) at the newly opened cinema ’Rahu’ (’Peace’). The earliest known Soviet era monumental fresco was painted on the basis of a draft graduation project from the ESSR State Art Institute. The artist used her friends and peers as models, the brothers Arrak, Jüri Palm, Evi Sepp and many others. She also included Ernest Hemingway, an idol writer for the youth of that era.

In 2019 the dilapidated cinema building was demolished to be replaced by a modern shopping centre. The 74 m² monumental work of art by Dolores Hoffmann would have been demolished in the process had the Department of Cultural Heritage and Conservation of the Estonian Academy of Arts not made it its mission to rescue at least parts of the fresco – about half of the painting was dismantled and preserved and pieces of it are kept in the Estonian Academy of Arts Museum.

This exhibition in the Estonian Academy of Arts Gallery on 6.8.–7.9.2019 tells the story of the rescue of the fresco ‘Hommik’. The monumental mural will be shown as a projection with the rescued fragments ‘planted’ into it. The exposition gives another chance to look at the artwork as a conditional whole – something that no longer exists and to contemplate the preservation and appreciation of cultural heritage.

Exhibition team: Hilkka Hiiop, Reeli Kõiv, Frank Lukk, Andres Uueni, Taavi Tiidor, Maris Veeremäe

The exhibition is accompanied by a book under the same title, compiled by the Estonian Academy of Arts Cultural Heritage and Conservation Department and the Estonian Academy of Arts Museum.
The book gives a detailed and abundantly illustrated insight into the dismantling process of the giant fresco by Dolores Hoffmann in all its complexity. It also tells the story of this monumental painting including its historical context, the process of creation, an analysis of the painting, its critical reception, its afterlife etc, as well as the philosophy of conservation and the history of the dismantling of frescos. The book is supplemented by direct quotations from an interview with Dolores Hoffmann.

The texts were written by Hilkka Hiiop, Reeli Kõiv, Andrus Laansalu and Frank Lukk, and edited by Anneli Randla and Maris Veeremäe, designed by Villu Plink. Published in Estonian and in English by Tallinna Raamatutrükikoda, 64 pages.

For more information contact: Hilkka Hiiop – hilkka.hiiop@artun.ee, tel 56 577980