Rubriik: Doktorikool

Üks sotsiaalse disaini kesksetest küsimustest on, kuidas mõõta läbi uurimusliku lähenemise saavutatud ühiskondlikku väärtust.

Sageli samastatakse sotsiaalset disaini ekslikult lähedaste valdkondadega, näiteks sotsiaalse ettevõtluse või sotsiaalset innovatsiooni edendava disainiga. Tõsi, kõiki neid ühendab kodanike kaasatus protsessidesse, mis taotlevad sotsiaalseid muutusi või suuremat võrdsust. Ehkki sotsiaalsel disainil on mõningaid sarnaseid jooni ülalnimetatud lähenemistega, eksisteerib nende vahel ka rida olulisi erinevusi. Oma loengus “Sotsiaalne disain – kui väikestest muutustest piisab” toob Thomas Markussen need erinevused selgelt välja näidates ühtlasi, kuidas sotsiaalse disaini protsessid võivad tegelikult ühiskondlikke muutusi toetada.

Lisaks tutvustab ta Lõuna-Taani Ülikoolis läbiviidavat 3-aastast arendusprojekti “Sotsiaalsed mängud kuritegevuse vastu”. Projekti käigus on disainiuurijad välja arendanud innovatiivse lauamängu, mis on mõeldud mängimiseks lastele ja nende isadele, kes on mõistetud vangi Taani kõrgeima turvalisusega kinnipidamisasutustesse. Lauamäng on loodud tihedas koostöös noorte, vangide ja vanglatöötajatega ning see pakub platvormi üksteisemõistmiseks ja kommunikatsiooniks. Mängu eesmärgiks on aidata alaealistel paremini toime tulla probleemidega, mida lapsevanemate vanglas viibimine kaasa toob.

Thomas Markussen on Lõuna-Taani Ülikooli sotsiaalse disaini uurimisüksuse kaasasutaja ja dotsent. Oma töös keskendub Markussen sellele, kuidas saaks disaini rakendada poliitilise ja kriitilise esteetilise praktikana; eelkõige just sotsiaalse disaini, disainifiktsiooni ja -aktivismi valdkondades. Ta on ka viljakas autor; publikatsioonidest võiks esile tuua näiteks “The disruptive aesthetics of design activism: enacting design between art and politics” (Design Issues); “Disentangling the ‘social’ in social design’s engagement with the public realm” (CoDesign); and “The politics of design activism – from impure politics to parapolitics” appearing in Routledge’s forthcoming book Design and Dissent.

EKAs viibib Thomas Markussen disainiteaduskonna ja doktorikooli kutsel viies siin läbi rea seminare ja vestlusringe disainiuurimuse teemadel.

Date: November 7-8, 2018

Venue: Estonian Academy of Arts, Põhja pst 7

Lecturer: Thomas Markussen

Research through design is about understanding how processes of designing and creating artworks can serve as the primary method of inquiry into questions relevant for art and design. Originally, the method was described by Christopher Frayling (1993) and Bruce Archer (1995), and since then many different suggestions for what the characteristics of research through design have been presented. This 2-day seminar offers PhD students visual sketching techniques and methodological tools that can be used to clarify how they practice research through design. Based on readings and the students’ position papers, we will be using visual models and diagrams to map out the role played by designerly and artistic experiments in the students’ own projects? Questions that will be addressed are: How can experiments in art and design serve as means for inquiry? How do we account for knowledge produced by these experiments? Each day will be framed by a talk that will set up a conceptual space for collective work.

Thomas Markussen is associate professor and co-founder of the Social Design Research Unit, at the University of Southern Denmark. In his work, Markussen focuses on how design can be used as a political and critical aesthetic practice, notably in the fields of social design, design activism and design fiction. He is one of the contributors to the recently published book Practice-based Design Research, edited by Laurene Vaughan, and has previously been head of phd education at Kolding School of Design. His other publications include journal articles such as “The disruptive aesthetics of design activism: enacting design between art and politics” (Design Issues); “Disentangling the ‘social’ in social design’s engagement with the public realm” (CoDesign); and “The politics of design activism – from impure politics to parapolitics” appearing in Routledge’s forthcoming book Design and Dissent.

Registration

Theseminar is open to PhD and MA students and researchers with ongoing research projects. Registration is open until 26.10.

Registration form.

Requirements

Particpants must submit a position paper (max 1 page) that describe their PhD project. The paper should provide understanding of the aim of the project, primary research questions, methods and the students training and background. Please send your paper to elika.kiilo@artun.eeby 30.10

As preparation for the seminar, participants will be asked to read:

Bang., A-L; Ludvigsen, M; Krogh P-G & Markussen, T. (2012):The Role of Hypothesis in Constructive Design Research. The Art of Research Conference, Aalto University, Helsinki.

Krogh, P-G; Markussen, T & Bang, A-L (2015): ICord’15 – International Conference on Research into Design, Springer Verlag.

The text will be made available upon registration.

Students can earn 2 credit points (ECTS) for participation.

Preliminary Program

Wednesday, Nov 7

13:00-14:00Introduction to Research through Design – a murky concept or expanding methodology?, talk by Thomas Markussen

Break

14:15-15:30 Group work – understanding the basic elements of research through design PhD projects

Break

15:45-16:30 PhD Poster exhibition

Thursday, Nov 8

9:30-10:30Ways of drifting – 5 methods for experimenting in research through design, talk by Thomas Markussen

Break

10:45-11:45 Group work on the role of designerly and artistic experiments in research through design PhD projects

Lunch

12:30:-13:15 Group work on the role of designerly and artistic experiments in research through design PhD projects

13:15-14:30 Collective sharing and presenting

This event is organised by the Graduate School of Culture Studies and Arts, supported by the ASTRA project of the Estonian Academy of Arts – EKA LOOVKÄRG (European Union, European Regional Development Fund).

Konverents Koostööpööre kunstis: uurimisprotsess kunstipraktikas tegeleb loomeuurimusega laiendatud tähenduses ja koostöö küsimustega loomingulises praktikas.

Mõiste “loomeuurimus” (artistic research) on aktiivses rahvusvahelises kasutuses 2000. aastate algusest. Esimene loomeuurimuslik doktoritöö õppekaval “Kunst ja disain” kaitsti Eesti Kunstiakadeemias 2011. aastal.

“Looming” on seostatav eelteadmiseta sündiva, inspiratsioonilise ja mitteratsionaalse praktikaga ning “uurimus” on mõistetav kui “teaduslik tegevus” — ratsionaalne ja mõistuslik, põhineb eelneval info ja teadmistel. Kuid loomeuurimuse termini ja praktika levik iseloomustab muutunud olukorda.

Kollektiivne uurimispraktika on teaduses tavapärane, kollektiivsus on omane ka teostusprotsessidele disainis. Kaasaegses kujutavas kunstis on kollektiivsus haruldasem, kuid siin on näha põhimõttelisi muutusi: kunstnikud loovad interdistsiplinaarsetes kollektiivides, tellivad oma projektide osi professionaalsetelt teostajatelt, kunstiteosed leiavad aset erinevate meediate, tehnoloogiate ja lokaalsuste koostöös. Varasem individualistlik, introvertne ja heroiline kunstnik on asendumas kommunikaatori ja projektijuhiga, kes on paindlik suhtluses teostajate ja kunsti vastuvõtjatega.

Konverentsi eesmärgiks on kaardistada uurimuslikku ja kollektiivset loomingut kunstis.

Kutsutud esinejad: Malin Arnell, Varvara Guljajeva, Chris Hales, Andi Hektor, Taavet Jansen, Marianne Jõgi, Jan Kaila, Raul Keller, Arne Maasik, Tuula Närhinen, Piibe Piirma, Taavi Talve, Pia Tikka, Julijonas Urbonas ja teised.

Konverentsi korraldajad: Raivo Kelomees (EKA), Chris Hales (Liepaja Ülikool), EKA vabade kunstide teaduskond.

Registreerumine kuni 15. oktoobrini.

Konverents toimub EKA ruumis A501.

Kontakt: raivo.kelomees@artun.ee

Conference programme

Estonian Academy of Arts, Põhja pst 7, room A501

Day 1

Friday, October 19, 2018

9.30 Coffee

10.00 Welcome words by prof. Epp Lankots, Vice Rector for Research, Estonian Academy of Arts

10.10 Introduction and moderation: Raivo Kelomees (EAA)

10.25 Pia Tikka. Neurocinematics & Art-Science Collaboration

10.50 Piibe Piirma. Inter- and Transdisciplinarity in Artistic Research

11.15 Chris Hales. From Tacit Knowledge to Academic Knowledge

11.35 Arne Maasik. On Geometry in Architecture of Louis Kahn

12.00 Lunch break

13.00 Taavi Talve. Paldiski Project, Case Study

13.30 Raul Keller. Process

14.00 Andi Hektor. What is a Research Paper?

14.30 BREAK (a tour in the building)

15.30 Tuula Närhinen. Phenomenotechnics in Visual Art Practice – a hands-on approach

16.00 Julijonas Urbonas. Gravitational Aesthetics and Exodisciplinary Art

16.30 Questions and discussion

Day 2

Saturday, October 20, 2018

Estonian Academy of Arts, Põhja pst 7, room A501

10.00 Morning coffee

10.20 Summary of the previous day and moderation: Chris Hales

10.30 Varvara Guljajeva. From Interaction to Postparticipation: The Disappearing Role of the Active Participant

11.00 Malin Arnell. The Word for Research is Action – engaging a live dissertation.

11.30 Jan Kaila. 20 Years of Artistic Research – what has been lost and what has been found? (45 min)

12.20 Questions and discussion

12.30 Lunch break (45 min)

13.15 Chris Hales. Creating and Running a Practice-led Doctorate in Latvia, 2009 – 2018

13.35 Marianne Jõgi. Spatio-temporal self-similarity in the creative process

14.00 Taavet Jansen. NEUROTHEATER as an interdisciplinary collaboration form: example from New Stage of Alexandrinsky Theatre

14.30 Break (15 min)

14.45 Doctoral students presentations ca 15 min each

14.45 Tze Yeung Ho

15.00 Rait Rosin

15.15 Hirohisa Koike

15.30 Conclusion

18.00 and later. Options in the city:

• NU Performance Festival: avaõhtu / opening night

Koht/location: Sveta Baar (Telliskivi 62, Tallinn)

• VI Artishok Biennial

From 20 to 28 October, the passenger terminal of the Baltic railway station in Tallinn will host the VI Artishok Biennial (VI AB) which will use the format of a fashion exhibition. Starts 18.00

/Summary of speakers’ biographies and presentations see below/

Short bios:

Malin Arnell (SE) PhD, interdisciplinary artist, researcher and educator is a frequent collaborator with other artists, activists and writers. http://www.malinarnell.org/

Varvara Guljajeva (EE) MA, is an artist and a researcher. Varvara is a PhD candidate at Estonian Academy of Arts. http://www.varvarag.info/

Taavet Jansen (EE) has been working on the field of performing art for more than 20 year – as a dancer, choreographer, director, sound-designer, light-designer, video-designer, interactivity programmer etc. http://taavetjansen.mimproject.org/

Marianne Jõgi (EE) MA, is an artist based in Tallinn. She graduated from the Georg Ots Music School where she majored in music theory. She holds an MA in sculpture and installation from the Estonian Academy of Arts. http://www.mariannejogi.com/

Jan Kaila (FI) DFA, Dean of the Academy of Fine Arts/Art University Helsinki. He was one of the founding members of the European Artistic Research Network in 2004 and in 2010 he was nominated as a member of the executive board of the Society of Artistic Research. Between 2011-2013 he was a member of ELIA´s executive board. https://www.uniarts.fi/en/jan-kaila-0

Chris Hales (GB) PhD, is a long-time specialist of the interactive moving image, as artist-practitioner, educator (Bachelors, Masters, Doctoral) and researcher. http://smartlab-ie.com/faculty/dr-chris-hales/

Andi Hektor (EE) PhD, is a Senior Researcher at the National Institute of Chemical Physics and Biophysics, Tallinn. https://www.etis.ee/CV/Andi_Hektor/est?lang=ENG

Raul Keller (EE) MA, is a professor and head of the New Media chair at the Estonian Academy of Arts. Based in Tallinn. http://raul.kuuratsanikud.ee/index.php/en/

Arne Maasik (EE) is a photographer and artist with an education in architecture. http://arnemaasik.org/

Tuula Närhinen (FI) PhD, is a visual artist based in Helsinki, Finland. http://www.tuulanarhinen.net/

Piibe Piirma (EE) PhD, is an artist and researcher based in Tallinn. http://www.piibepiirma.com/

Taavi Talve (EE) earned MA from the Estonian Academy of Arts (2008). Member of the artist collective Johnson and Johnson (2005). Docent of Sculpture and Installation department at the Estonian Academy of Arts.

Pia Tikka (FI) PhD, is a professional filmmaker and EU Mobilitas Research Professor at the Baltic Film, Media, Arts and Communication School (BFM) and MEDIT Centre of Excellence, Tallinn University. http://enactivevirtuality.tlu.ee

Julijonas Urbonas (LT) is an artist, designer, researcher, engineer, Vice-Rector for Art at the Vilnius Academy of Arts in Vilnius, and PhD student in Design Interactions at the Royal College of Art, London. http://julijonasurbonas.lt/

Raivo Kelomees (EE) PhD, is an artist, critic and new media researcher, holding a Senior Researcher position at the Estonian Academy of Arts. Lives and works in Tallinn. www.kelomees.net

Summary of speakers’ biographies and presentations:

Malin Arnell

The Word for Research is Action – engaging a live dissertation

Avhandling / Av_handling (Dissertation / Through_action)* was articulated / manifested over the course of 72 hours, situating itself within and proceeding from KTH R1 Experimental Performance Space, a decommissioned nuclear reactor hall 25 meters below ground on the campus of Royal Institute of Technology (KTH), May 27-29, 2016. The opponents and the examining committee were invited to become part for 42 hours; so was the audience—as agentially intra-acting components.

http://dissertationthroughaction.space/

* The English word dissertation translated to Swedish makes “avhandling.” When you break the word into its composite parts (“av” and “handling”), “av” can be translated to of, by, for, from, with. I chose to translate it to “through,” because I have pursued my research through the actions of my practice. “Handling” can be translated to action, document, or deed. I chose “action” to emphasize the continually unfurling and shifting nature of this research, and to echo Hannah Arendt, who maintained that actions have no end.

Biography:

Interdisciplinary artist, researcher and educator Malin Arnell, PhD, is a frequent collaborator with other artists, activists and writers. Through these collaborative practices, Malin works with key issues for participating in (social) domains by emphasising the porous intimacy between environments and actions. In doing so, Malin focuses on the experiences around/in/through/of the body (my body, their body, our body) by incorporating the affectivity between relationalities, territories, and power.

Longer bio: http://www.malinarnell.org/bio/bio/

Varvara Guljajeva

From Interaction to Postparticipation: The Disappearing Role of the Active Participant

The presentation introduces my practice-based dissertation which analyses and contextualises passive audience interaction, in the form of post-participation. The research explores the paradoxical situation in interactive art, where the artworks that demonstrate no direct audience interaction are addressed as interactive ones. It is argued that the concept of post-participation helps to address the shift from an active to a passive spectator in the complex age of dataveillance—an age where humans are continuously tracked, traced, monitored, and surveilled without their consent.

Biography:

Varvara Guljajeva is an artist and a researcher and currently a PhD candidate at the Estonian Academy of Arts. She has been invited as a visiting researcher to IAMAS (Ogaki, Japan),  LJMU (Liverpool, UK), and Interface Cultures (Linz University of Art and Design).

Varvara unites with Mar Canet in the form of the artist duo Varvara & Mar. The duo has been exhibiting in international shows since 2009. Their works have been shown at MAD in New York, FACT in Liverpool, Santa Monica in Barcelona, Barbican in London, Onassis Cultural Centre in Athens, Ars Electronica museum in Linz, ZKM in Karlsruhe, etc. The duo’s work is frequently inspired by the digital age and in their practice they confront social change and the impact of the technological era.

http://www.varvarag.info

Taavet Jansen

NEUROTHEATER as a interdisciplinary collaboration form: an example from the New Stage of Alexandrinsky Theatre

In my short presentation, I will talk about the TLU summer school “Experimental Interaction Design: physiological computing technologies for performative arts ” held in ITMO University in St.Petersburg: how artists and scientists met in this one-week laboratory; what were the main concepts we discussed; how was the whole process held; and what are the final thoughts.

Biography:

Taavet Jansen has been working in the field of performance art for more than 20 years—as a dancer, choreographer, director, sound-designer, light-designer, video-designer, interactivity programmer etc. Studied Art and Science at Den Haag Art Academy and Dance and New Technologies at the Amsterdam Theatre school. Taavet is one of the founders of the technological art network MIMproject, and head of the performing arts department at TÜ Viljandi Cultural Academy.

http://taavetjansen.mimproject.org/

http://www.mimproject.org/

Marianne Jõgi

Spatio-temporal self-similarity in the creative process

Neurological evidence suggests a specialisation of the cerebral hemispheres when processing temporal and spatial information from the sound field. Further studies have revealed optimal geometric principles as well as digital technologies for creating sustainable sound fields. The presentation will focus on links between the concepts of physiological and cultural sustainability.

Biography:

Marianne Jõgi (b.1983 in Tallinn, Estonia) is an artist based in Tallinn. She graduated from the Georg Ots Music School where she majored in music theory. She holds an MA in sculpture and installation from the Estonian Academy of Arts. Her postgraduate research and practice involves investigations at the intersection of architectural acoustics and art, with the aim of integrating sensory environmental technologies with spatial forms. She has been exhibiting work since 2005. In 2013, Jõgi was awarded the Young Artist Award (Estonia) for her installation Inaudibles.

Jan Kaila

20 Years of Artistic Research – what has been lost and what has been found?

I will talk about the situation within Artistic Research (AR) in 2005 or so, in comparison with how it looks today. My questions are: Do arts need fundamental research (like in the sciences)? Is the PhD in the arts educating “better” artists or is it educating researchers that  have a completely different context than for example MA-students? Is AR a new player in the “hierarchy of the art world ? if it is – what are the consequences?

Biography:

Jan Kaila (born 1957) studied at the Doctoral Studies Program at the Finnish Academy of Fine Arts from 1997 to 2002. The subject of his doctorate, completed in 2002, was Photographicality and Representation in Contemporary Art.

Kaila worked in the 1980s and 1990s as a teacher and lecturer in several Nordic photography schools, including the University of Art and Design Helsinki and the School of Photography at Gothenburg University. In 2001, he was elected Professor of Photography at the Estonian Academy of Arts, and, in 2004, he was appointed Professor of Artistic Research at the Finnish Academy of Fine Arts. In 2008, he was elected Vice Rector of the Academy.

Kaila was one of the founding members of the European Artistic Research Network in 2004 and in 2010 he was nominated as a member of the executive board of the Society of Artistic Research. Between 2011-2013 he was a member of ELIA´s executive board.

Kaila has worked as an evaluator of fine art educations and artistic research in Estonia, Sweden, Norway, Germany, Austria and Ireland and he has lectured about research in United States, France, Germany, Hungary and Latvia.

Since 1980, Kaila has held one-man exhibitions and participated in group shows in many Nordic and Central European countries, Russia, the United States, Japan, South Korea and China. Kaila has also worked as a curator and has published writings about visual art and photography.

Since 2014 Kaila worked as Scientific Advisor of Artistic Research at the Swedish Research Council and as a Senior Researcher at the Art University Helsinki being in charge of the by Swedish Research Council funded project Poetic Archaeology. In 2018 Kaila started working as the Dean of the Academy of Fine Arts/Art University Helsinki.

Chris Hales

From Tacit Knowledge & Collaborative Practice to Academic Knowledge & Individual Practice

This short talk will present a personal journey starting from the enthusiasm of making interactive artworks in an intuitive manner to the drudgery of a more informed and methodologic approach for doctoral purposes. The willing collaborator transforms into an individualistic academic researcher. Let’s discuss!

Creating and Running a Practice-led Doctorate in Latvia, 2009—2018

A short presentation about how a new doctoral course was developed at Liepaja University, the first practice-led arts degree in Latvia. Some conclusions will be drawn from the experiences and outcomes of creating the course and actually delivering it.

Biography:

Long-time specialist of the interactive moving image, as artist-practitioner, educator (Bachelors, Masters, Doctoral) and researcher. PhD in 2006: ‘Rethinking the Interactive Movie’. Currently working independently and as a visiting lecturer in various educational institutions. Associate Professor (Docent) at the Liepaja University ‘New Media Art’ programme and Director of Studies of its doctoral course. Exhibitions of interactive film installations date from ARTEC’95 in Japan, to ZKM’s Future Cinema (2003), the Prague Triennale of 2008, the X111 Media Forum in Moscow in 2012 and most recently the premiere of You·Who? at the Madeira Film Festival 2018.

Andi Hektor

What is a Research Paper?

What is a research paper? A research paper is an academic work that is published in an academic journal and follows a rather standardised structure, e.g. IMRAD (introduction, methods, results, and discussion). The paper has usually multiple authors with (or without) special roles. A new trend is that the data presented by a paper should follow FAIR (findability, accessibility, interoperability, and reusability) principles. But what is the content of a paper? Is it some new knowledge and data? In the talk I will point out similarities between a research paper and a story, a work of art and an arbiter of fashion.

Andi Hektor

is a Senior Researcher at the National Institute of Chemical Physics and Biophysics, Tallinn.

https://www.etis.ee/CV/Andi_Hektor/est?lang=ENG

Raul Keller

Process is a piece which documents a technological and somewhat mediaarcheological approach to a process of physically inscribing sound into material, of homebrewed vinyl/plastic scribing with the emphasis on the emerging artefacts and outcomes of the process. It begins with a research into online DIY cultures and history of lofi sound reproduction on X-ray film sheets and continues into revisiting/revamping the historical professional devices. Perhaps the process will evolve into new and alternative physical reproduction devices that are technologically set back from the current state-of-the-art by decades but are lead by a different mindset.

Bio
Since end of 90s has been engaged in a multitude of contemporary art practices, focusing on site-specific sound installation, performance, improvisation, DIY culture, video- and radiophonic art. Sonic performances and radio art with LokaalRaadio (with Katrin Essenson, Hello Upan). Member of Eesti Elekter, experimental electronics performance group (Kerikmäe, Leemets, Lond, Tikas, Tikas). Free impro noise duo Post Horn (with Hello Upan). Performed as Paul Cole with his group The Great Outdoors in burlesque americana rock genre. Founding member of MKDK, A Dynamic Collective of Music and Arts. Founder of radio art festival Radiaator (with Katrin Essenson). Member of artist collective MIMproject. Works commissioned / performances in Great Britain, France, Germany, The Netherlands, Iceland, Brazil, India, Poland, Russia and The Baltic States. Since 2014 professor and head of New Media chair in the Estonian Academy of Arts. Residing in Tallinn, Estonia.

http://raul.kuuratsanikud.ee/index.php/en/biocv-eng

Arne Maasik

On Geometry in the Architecture of Louis Kahn

The Louis Kahn project: Louis Kahn (1901-1974) is considered one of the greatest architects of the 20th century, and he has a direct link with Estonia—Kahn lived in Kuressaare until he was five years old and visited his home island again in 1928, when he was a young architect. The Louis Kahn Estonia Foundation, the art historian Heie Treier and Estonia’s most recognized architectural photographer Arne Maasik have looked at the striking similarities between the architecture of Louis Kahn and the sacral architecture found on Saaremaa. In his lecture Arne Maasik will give a brief overview of his journeys to Kahn-related locations in the US, India, Bangladesh and Saaremaa, Estonia.

Arne Maasik is a photographer and artist with an education in architecture.  He has participated in long-term projects involving large-scale research and had numerous solo exhibitions at home and abroad. Arne Maasik’s work is characterised by an awareness of metaphysical undercurrents and muted poetry. As an artist his focus is on metropolises as well as their outskirts, old houses and scrublands, as well as other peripheral living environments that become animated and alive in his photos.

He has worked as a faculty member in the Photography Department of the Tartu Higher Art School, Estonian Academy of Arts. Contributed to many architectural and art publications in Estonia and abroad. Member of the Estonian Artists’ Association since 2003.

http://arnemaasik.org/

Tuula Närhinen

Phenomenotechnique in Visual Art Practice 

My projects examine the inherent visual potential in naturally occurring events. I have constructed visual interfaces that enable us to move beyond the explicit and to grasp the unfurling of a world invisible to the naked eye. Empiric and experimental methods are at the core of the inquiry. This talk focuses on tracings and (photo)graphic recordings. I consider the role of various inscribing apparatuses in a process that allows natural phenomena to manifest themselves. The installations showcase the DIY instruments implicated, encouraging the spectator to participate in the re-presentation of an event.

Biography:

Tuula Närhinen is a visual artist based in Helsinki, Finland.

Her works explore the pictorial agency of natural phenomena such as water and wind. Re-adapting instruments derived from natural sciences, Närhinen has developed methods for letting trees trace the shape of wind on their branches and found techniques that the enable the waves of the sea to inscribe themselves on paper.

Närhinen holds a Doctorate of Fine Arts (DFA) from the University of the Arts Helsinki. She is a graduate of the Finnish Academy of Fine Arts (MFA), and the Helsinki University of Technology (M.Sc. in Architecture). Find her at www.tuulanarhinen.net

Piibe Piirma

Inter- and Transdisciplinarity in Artistic Research

Interdisciplinarity as the combining of academic disciplines into a single study is a concept increasingly used in all instances where the finding of something new and unique and the crossing of boundaries between fields is considered important. This concept in more general terms is linked to the 20th century but its historical roots lie within Greek philosophy. In short, the interdisciplinary approach is related to the aim to create more perfect knowledge because in order to resolve important problems, staying within specific disciplines in a traditional or conventional manner is not enough.

Collaboration between art and science permits highly specific characteristics to be discovered that do not fit into the boundaries of conventional scientific research or the practice-based study of an artist. In what way is it important and novel both in terms of the focus on disciplines as well as the greater inclusion than before – in terms of collaboration in which the lines of thought of the scientific, societal, political, ethical and aesthetic world views are in harmony? The diversity of lines of thought and potential solutions, as well as the fact that engaging in science can involve many intuitive ideas and – until now – uninvolved groups of society leads us to analyse the term of transdisciplinarity.

Biography:

Piibe Piirma is media artist, curator and teacher based in Tallinn, Estonia. She has worked as designer and visual artist since 2002 and curated several new media art exhibitions since 2006. Piibe’s latest activities were related with PhD studies at Estonian Academy of Arts since 2009. She graduated on 2015, the title of her thesis was “Hybrid Practice. Art and Science in Artistic Research”. In her research she were focusing on her artistic experience by collaborating different Science labs in Estonia – TUT Centre of Biorobotics, TUT Department of Chemistry, UT Institute of Molecular and Cell Biology, TUT Institute of Marine Systems etc.

http://www.piibepiirma.com/

Taavi Talve

Paldiski Project, Case Study

The Paldiski Project. This case study focuses on communal art practices in Paldiski by the artist group Johnson and Johnson in terms of artistic collaboration and collectively elaborated meaning.

Biography:

Born 1970, Tartu. Earned MA from the Estonian Academy of Arts (2008). Member of the artist collective Johnson and Johnson (2005). Docent of Sculpture and Installation department at the Estonian Academy of Arts.

Pia Tikka 

Neurocinematics & Art-Science Collaboration 

I will discuss the first hand knowledge gained from several collaborative projects in which I have worked as a consulting film expert, and my own neurocinematic projects in which I have functioned as the principal investigator. I will highlight the diversity of issues one faces in collaborations between artists and scientists. Especially interesting will be to reflect conceptual, technological and methodological differences between arts and sciences. The discussion will range from conceptual to technological issues, however the focus will be on challenges such as finding shared language, working methods, best division of labor and responsibilities and authorship.

Biography:

Dr. Pia Tikka is a professional filmmaker and EU Mobilitas Research Professor at the Baltic Film, Media, Arts and Communication School (BFM) and MEDIT Centre of Excellence, Tallinn University. She has directed fiction films “Daughters of Yemanjá”, “Sand Bride”, and the Möbius Prix Nordic winning cinematic installation “Obsession”. As the leader of the research groups NeuroCine and Enactive Cinema, she has published on the topics of neurocinematics and enactive media, and written the book “Enactive Cinema: Simulatorium Eisensteinense.” She has been honoured with titles of Adjunct Professor of New Narrative Media at the University of Lapland and Fellow of Life in the Society for Cognitive Studies of the Moving Image. Currently her ENACTIVE VIRTUALITY research group studies the viewer’s experience of co-presence emerging in facial encounters with an enactive screen character. http://enactivevirtuality.tlu.ee

Julijonas Urbonas

Gravitational Aesthetics and Exodisciplinary Art

For almost a decade, working between amusement park design, space medicine, choreography, sci-fi and robotics, the artist Julijonas Urbonas has been developing various creative tools of negotiating gravity: from a killer rollercoaster to an artificial planet made up entirely of human bodies. In these projects he coins the term gravitational aesthetics, an artistic approach exploiting the means of manipulating gravity to create experiences that push the body and imagination to its extremes. In this lecture he will introduce his creative methodology by surveying a selection of his projects.

Biography:

Julijonas Urbonas is an artist, designer, researcher and engineer. He is Vice-Rector for Art at the Vilnius Academy of Arts in Vilnius, and a PhD student in Design Interactions at the Royal College of Art, London.

Before embarking on an artistic career, since childhood, Julijonas worked in amusement park development. In 2004, he became the head of an amusement park in Klaipeda, Lithuania, and ran it for three years. Having worked in this field — also as a designer and engineer — he became fascinated with what in his research he calls ‘gravitational aesthetics.’ This experience is unavailable elsewhere, and he became intrigued by this under-developed topic. Since then the topic has been at the core of his artistic research, intermingling such fields as critical design, speculative engineering, social sci-fi, performative architecture, choreographic heuristics, medicine, theatre and dance.

His work has been exhibited internationally and received many awards, including the Award of Distinction in Interactive Art, Prix Ars Electronica 2010. His projects can be found in private and museum collections such as the permanent collection of the Centre for Art and Media Karlsruhe (ZKM).

http://julijonasurbonas.lt/

Raivo Kelomees 

PhD (art history), artist, critic and new media researcher. Presently working as senior researcher at the Estonian Academy of Arts, Tallinn. He studied psychology, art history, and design at Tartu University and the Academy of Arts in Tallinn. He has published articles in the main Estonian cultural and art magazines and newspapers since 1985. His works include the book “Surrealism” (Kunst Publishers, 1993) and an article collection “Screen as a Membrane” (Tartu Art College proceedings, 2007), “Social Games in Art Space” (EAA, 2013). His Doctoral thesis was “Postmateriality in Art. Indeterministic Art Practices and Non-Material Art” (Dissertationes Academiae Artium Estoniae 3, 2009).

In recent years he has been participating on conferences dedicated to new media, digital humanities, theatre and visual art in São Paulo, Manizales, Plymouth, Krems, Riga, Shanghai, Göteborg, Hong Kong, Dubai and other places.

www.kelomees.net

This event is organised by the Graduate School of Culture Studies and Arts, supported by the ASTRA project of the Estonian Academy of Arts – EKA LOOVKÄRG (European Union, European Regional Development Fund).

Neljapäeval, 14. aprillil avatakse Okupatsioonide muuseumis Eesti Kunstiakadeemia doktorandi, kunstniku Jaanus Samma näitus „NSFW. Esimehe lugu”. Näituse kuraator on Eugenio Viola. Videod on valminud koostöös režissöör Marko Raadiga. Eelmisel aastal 56. Veneetsia kunstibiennaalil Eestit esindanud näitus jutustab ajalookäsitluses seni jutustamata jäänud loo Nõukogude Liidu okupatsiooni perioodi repressioonidest geidele.

Jaanus Samma projekt jutustab fiktiivse ooperi vormis loo edukast kolhoosiesimehest hüüdnimega Esimees, kes mõisteti 1960. aastate keskpaigas homoseksuaalse tegevuse tõttu vangi. Videotest, fotodest, ruumi-installatsioonist ja arhiivimaterjalidest koosnev näitus toob esile Nõukogude perioodi tagakiusamiste grotesksuse, kus riigivõim kontrollis ka inimeste intiimsfääri. Uhke ooperivorm loob mõtestatud distantsi, mis aitab keerukat minevikulugu tänapäeva perspektiivist paremini mõista.

Näitust saadab Sternberg Pressi ja Kaasaegse Kunsti Eesti Keskuse kirjastatud sisu selgitav kaheosaline ingliskeelne kataloog „NSFW. A Chairman’s Tale”, mille on kujundanud Brit Pavelson. Kataloogi koostajad on Rebeka Põldsam, Martin Rünk ja Eugenio Viola, kaastööd tegid Maria Arusoo, Maarja Kangro, Slava Mogutin, Kevin Moss ja Riikka Taavetti.

Jaanus Samma (1982) on õppinud Eesti Kunstiakadeemias graafikat ja õpib hetkel Eesti Kunstiakadeemia doktoriõppes kunsti ja disaini õppekaval. 2013. aastal võitis Jaanus Samma Köler Prize’i grand prix’ ja publikupreemia. Samma kunst on mitmekülgne ja käsitleb muuhulgas queer- ja sooteemasid. Ta on osalenud mitmetel grupinäitustel ja korraldanud isiknäitusi Eestis ning rahvusvaheliselt alates 2005. aastast. Jaanus Samma loomingust saab rohkem teada ETV2 saatest „Meie aja kunst“ (2014).

Eugenio Viola (1975) on Napoli Madre muuseumi peakuraator, kes on Eestis varem kureerinud Mark Raidpere näituse EKKMis (2013) ja prantsuse kunstniku Orlani näituse koos Reet Varblasega Tallinna Kunstihoones (2008). Viola on töötanud maailmanimedega nagu Marina Abramović, Teresa Margolles ja Tanja Bruguera. Lisaks kuraatoritööle peab Viola õppejõu ja kunstiteadlase ametit, olles koostanud hulgaliselt kunstnike monograafiaid, sh Hermann Nitschist (2013), Marina Abramovićist (2012) ja Orlanist (2007).

Näituse paneb üles ja kujundab Valge Kuup.

Näitus on publikule avatud 15. aprillist 9. oktoobrini 2016.

Näitust Okupatsioonide muuseumis toetavad: Eesti Kultuurkapital, Hasartmängumaksu Nõukogu, SA Unitas, Selver, Gurmee catering, Liviko, SA Unitas, Eesti Filmiarhiiv.

56. Veneetsia biennaali Eesti paviljoni valmimist toetasid: Eesti Kultuuriministeerium, Eesti Kultuurkapital, advokaadibüroo Borenius, Temnikova & Kasela galerii, DSV Transport ning metseenlusplatvorm OUTSET Eesti.

Näituse koostööpartnerid on Allfilm, ArtPrint, Eesti Kunstiakadeemia, Eesti Kunstimuuseum, Eesti Tervishoiu Muuseum, Eesti Ajalooarhiiv, Fagerhult, Fondazione Morra Greco, Frame Finland, FORM, Institute Français d’Estonie, Kuu Stuudio, Lahepuu, Laserstuudio, Signature House.

Näituse kodulehekülg on www.chairmanstale.com

Okupatsioonide muuseumi kodulehekülg www.okupatsioon.ee

KKEK kodulehekülg www.cca.ee

​

Lisainfo:

Maria Arusoo

Veneetsia biennaali Eesti paviljoni komissar

Kaasaegse Kunsti Eesti Keskuse juhataja

maria@cca.ee

tel 6314050

Sander Jürisson

Näituste juht

Okupatsioonide muuseum

Kistler-Ritso Eesti SA

Toompea 8, Tallinn

tel 668 0250, 5566 6691

sander@okupatsioon.ee

Kolmapäeval, 23. märtsil 2016. a kell 15:30 toimub Tallinna linnagaleriis (Harju 13) kunsti ja disaini eriala doktorandi Fideelia-Signe Roots’i doktoritöö loomingulise osa juurde kuuluva isikunäituse „Palju õnne naistepäevaks!“ eelretsenseerimine.

Näitus on avatud 26. veebruarist kuni 27. märtsini 2016. aastal.

Doktoritöö juhendajad on prof dr Katrin Kivimaa ja prof dr Tiina Ann Kirss; konsultant prof Marko Mäetamm.

Näituse eelretsensendid on Reet Varblane (Eesti kultuurileht SIRP) ja Barbi Pilvre (Tallinna Ülikool).

Fideelia-Signe Roots küsib, mis tunne on olla naiskangelane. Selleks toob ta Linnagaleriisse Eesti esimese naiskombaineri ja töökangelase Elmina Otsmani kombainipunkri ja viib vaataja videote, heli ja tekstide abil ajarännule läbi ühiskonnas tunnustatud ja ootuspäraste naiserollide.

„Oranž „Niva“ seisis töökoja juures, selle ümber oli kogunenud palju rahvast ja mängis kolhoosi väike orkester. Kui pillid vaikisid, astus ette „Rostselmaši“ tehase peakonstruktori asetäitja Ivan Voitov ja pidas lühikese kõne. Ta õnnitles kõiki majandi naisi 8. märtsi puhul, mulle aga andis kogu oma suurkäitise kollektiivilt üle õnnitlused. Sealsamas seisis „Niva“. Paremat naistepäevakinki ei saagi olla,“ kirjutas Elmina Otsman (1924—2012) oma päevikusse, kui sai kingiks endanimelise kombaini.

Näituse keskse kujundina pakub Roots välja subjektiivse tõlgenduse nimelise kombaini terapunkrist, millele loovad narratiivi videod ja tekstid. Punker on nagu ajamasin, mis viib meid ajastusse, kus ühele naisele oli võitlus vilja eest auküsimus, kus kive korjati põllult paljakäsi ja kus tegutsesid kõrgete elueesmärkidega töökangelased ning kosmonaudid. Mineviku ja kaasaja vahel moodustavad kõneka seose katkendid Elmina päevikust, mida loeb ette põllumeheks õppinud ja traktoriga mööda Eestit rännanud näitleja Tiina Tauraite.

Fideelia-Signe Roots teeb EKA doktorantuuris loomingulist uurimistööd teemal „Naine kui kangelane“, milles võtab fookusesse nõukogudeaegsed naismehhanisaatorid, kes said töökangelase aunimetuse. Üldisest kangelasnaise kuvandist on ta nüüdseks jõudnud mikroajaloolisele positsioonile ning uurib Eesti esimese naiskombaineri ja töökangelase Elmina Otsmani juhtumit, mis võimaldab laiemaid üldistusi: kuidas kangelast konstrueeritakse, mismoodi ta endast mõtleb, mis on talle tähtis ning kuidas mõjutavad teda nii bioloogiline kui sotsiaalne sugu ja keskkond. Ajalooliselt on kangelase rollis vaikimisi olnud mees. Naine ei pruugi samas kontekstis usutavalt mõjuda, neid on pigem ohvritena nähtud. Kas naistele peaks leiutama nende oma kangelaskuvandi, küsib Roots.

„Mu senise uurimistöö kõige üllatavam leid on, et veel elusolevad nõukogudeaegsed naismehhanisaatorid korraldavad igal aastal üleriigilisi kokkutulekuid, kuid laiem üldsus on selle ühiskonnagrupi unustanud,“ räägib autor. „Kollektiivse mälu uurija Halbwachs leiab, et suurte poliitiliste pöörete tulemusena muudetakse riiklikul tasemel minevikusündmuste rõhku ja osad sündmused määratakse unustamisele. Nõukogude Liidu kokkuvarisemisel mattis uus diskursus eelmise enda alla ja muutus ka naisekuvand. Kui varem poseerisid ajakirjade kaanel töökangelannad, siis nüüd pigem modellid ja meelelahutajad. Naisekuvand muutus aktiivsest passiivseks. Teema väärib uurimist, et anda panus naisajaloo- ja üldise ajalookirjutuse diskursusse. E. Otsmani päevikud on siinjuures uurijaile hindamatu materjal.“

Näitus kuulub LadyFesti 2016. aasta programmi.

Fideelia-Signe Roots (snd 1976) on lõpetanud Tartu Ülikoolis maalieriala 1999. aastal, Eesti Kunstiakadeemias interdistsiplinaarsete kunstide magistrantuuri 2007. aastal ja 2013. aastast õpib ta Eesti Kunstiakadeemia doktorantuuris, uurimisteemaks „Naine kui kangelane”. Roots on esinenud näitustel alates 1997. aastast ning pälvinud mitmeid filmiauhindu. Kuulub Eesti Kunstnike Liitu alates aastast 2007.

Olete oodatud vestlusele kunstnik Fideelia-Signe Rootsi ja kirjandusteadlaneTiina Kirsiga näitusel “Palju õnne naistepäevaks!”, mis toimub neljapäeval 10. märtsil kell 17.00 Linnagaleriis, Harju 13.

LadyFest 2016 soovitab!

Fideelia-Signe Roots teeb EKA doktorantuuris loomingulist uurimistööd teemal „Naine kui kangelane“, milles võtab fookusesse nõukogudeaegsed naismehhanisaatorid, kes said töökangelase aunimetuse. Üldisest kangelasnaise kuvandist on ta nüüdseks jõudnud mikroajaloolisele positsioonile ning uurib Eesti esimese naiskombaineri ja töökangelase Elmina Otsmani juhtumit, mis võimaldab laiemaid üldistusi: kuidas kangelast konstrueeritakse, mismoodi ta endast mõtleb, mis on talle tähtis ning kuidas mõjutavad teda nii bioloogiline kui sotsiaalne sugu ja keskkond. Ajalooliselt on kangelase rollis vaikimisi olnud mees. Kas naistele peaks leiutama nende oma kangelasekuvandi, küsib Roots.

Tiina Kirss on Tartu Ülikooli külalisprofessor, kes on pikalt uurinud väliseestlaste elulugusid ning olnud aktiivne naisuurimuse edendaja. Temaga koos vaatame, kuidas on võimalik öelda midagi ajaloo kohta, lugedes naiste päevikuid, vaadates naiste rollide avalikku ja ootuspärast kuvandit.

Vestlust juhib Tallinna Kunstihoone kuraator Anneli Porri.

Fideelia-Signe Rootsi näitus on Linnagaleriis lahti kuni 27. märtsini 2016.

Tallinna linnagalerii

26. veebruar – 27. märts 2016

Harju 13

K—P 12—18, tasuta

kunstihoone.ee

Esmaspäeval, 01.veebruaril 2016. a kell 17:00 toimub Tallinnas HOP galeriis kunsti ja disaini eriala doktorandi Jaana Päeva doktoritöö loomingulise osa juurde kuuluva isikunäituse KOTID. AINULT UNISTAJATELE / BAGS. FOR DREAMERS ONLY eelretsenseerimine.

Näitus on avatud 15. jaanuarist kuni 02. veebruarini 2016. a.

Doktoritöö juhendaja on prof dr Nithikul Nimkulrat.

Näituse eelretsensendid on Kai Lobjakas (Eesti Tarbekunsti- ja Disainimuuseum) ja Anu Kannike (Tallinna Ülikool).

Näitus on osa doktoritööst „Nähtav nähtamatu praktika. Kotidisain ja tootmine Eestis“. Uurimistöö keskseks küsimuseks on: millised kategooriad kujundavad käekoti kui tarbeeseme positsiooni visuaalse märgina ning mõjutavad representatsiooni relevantsust tulevikus?

Näituse märksõnadeks on vastandlikud „nähtav“ ja „nähtamatu“, esitlusele tulevad novelty kotid. Selle terminiga tähistatakse kontseptuaalselt, konstruktsiooniliselt/ tehnoloogiliselt või ka vormilt ning materjalivalikult uuendusliku lahendusega kotte. Et argisest eristuda on tegu mitte tänava-, vaid õhtukottidega. Eeskujuks 1920.-1930. sürrealistlikud uuendusliku vormi ja siluetiga novelty kotid.

Kotid on loodud kriitilise disaini positsioonilt ning esitavad väljakutse esemete eeldatavale tarberollile igapäevaelus. Need on küll funktsionaalsed ja kantavad prototüübid, kuid oma olemuselt post-optimaalsed.

Inspiratsiooniallikaks kottidele on igapäevased praktikad ja argiesemed, mille hulka kuuluvad ka kotid ise. Argitegevused on taandatud siluettidele ning loodud kotid jäljendavad või on kohandatavad vastavates tegevustes kasutatavate objektide siluettidele.

Näituse installatiivne ülesehitus toetub Edmund Husserli loodud fenomenoloogilisele meetodile. Husserl kirjeldab objekti tajumist keerulise protsessina, mida iseloomustavad eri tasandite sünteesid ja tunnetuslikud horisondid.

Nähtava tajumisel on oluline ruumiline süntees, mille tulemusena tajub vaataja mitte ainult objekti temapoolsete pindade värve ja kuju, vaid sama objekti ka teistest külgedest vaadatuna. Tänu võimele sünteesida nähtu sellega, mida inimene tegelikult ei näe, tekib taju objektist kui kolmemõõtmelisest tervikust. Vaataja kujutab ette tervikut, näeb asja ennast, mitte selle pinnalist peegeldust oma teadvuses.

Installatsiooni kontseptsioonis on oluline Husserli fenomenoloogilise meetodi kinesteetiline horisont. See on näituse kontekstis eelkõige vaatleja liikumine objektide suhtes. Kinesteetilise sünteesi puhul seob vaatleja liikudes ja sama eset erinevatest perspktiividest vaadeldes nähtud perspektiivid sama esemega ning loob samaaegselt ootushorisondi järgmiste perspektiivide suhtes. See tähendab, et ootushorisont seob etteruttavalt objekti nähtava külje veel nähtamatuga. Galerii seab piirangud vaatleja ja objektivahelistele liikumistele nii, et taustafotodel kujutatud siluettidel käes olevad objektid ning nendega sobituvad kolmemõõtmelised kotid ruumis loovad äraspidise erinevusüllatuse, ehk tekib vaatepunkt, kus siluettidel kujutatu ning ruumis nähtava siluetid kattuvad. Kottides seguneb reaalne ja illusoorne.