Events

Date: September 9-12 / 5 pm–8 pm

Venue: Estonian Academy of Arts, Põhja pst 7, room A301

Lecturer: Ewa Domanska

This series of seminars is based on the assumption that today art can offer the historian (as well as anthropologists, archaeologists, literary scholar, etc.) theoretical inspiration, and even an epistemological paradigm and a research program of knowledge building. Interesting cognitive models, research categories, and representations of reality can be derived from the analysis of works of art. Following Susan Sontag’s statement that “each work of art gives us a form or paradigm or model of knowing something, an epistemology,” I would claim that analysis of various types of art objects, performances and activities might help us to build an inclusive knowledge of the past.  Such knowledge would be more appropriate for the planetary condition than offered, for example, by history understood as a specific approach to the past that emerged within the Greco-Judeo-Christian tradition and carries a stigma as a colonial enterprise. Thus art participates in the struggle for the epistemic justice, commenting on the problem of “epistemological dependency” of non-western scholars, and criticizing Western cognitive (artistic) imperialism. It is an important force in the development of an emergent paradigm that is post-anthropocentric, post-Western, post-secular and post-global (planetary/ cosmic).

Contemporary art is a great laboratory for the testing of various kinds of future. If indeed there is a need for realistic, responsible (local or micro) utopias in the world today, they might be developed with the help of various ways of knowing (the world). This would include not only humanities, social sciences as well as life sciences and Earth Sciences (“radical interdisciplinarity”) – which is to say, Western type of knowledge, but also include indigenous ways of knowing. The question arises as to whether the historian and the artist can offer a more positive (affirmative) scenario of the future?

Registration

The seminar is open to PhD students.

Registration is open until 01.09.2019. Max group size is 15.

Registration form

Readings (readings will be sent after registration)

• Doris Bachmann-Medick, Cultural Turns. New Orientations in the Study of Culture, trans. Adam Blauhut, Berlin: De Gruyter, 2016.
• Bruno Latour and Timothy M. Lenton, “Extending the Domain of Freedom, or Why Gaia Is So Hard to Understand.” Critical Inquiry, vol. 45, no. 3, Spring 2019: 659-680.
• Ariella Azoulay, “Potential History: Thinking through Violence”.Critical Inquiry, vol. 39, no. 3, Spring 2013.
• Rosi Braidotti Rosi, “Powers of Affirmation: Response to Lisa Baraitser, Patrick Hanafin and Clare Hemmings.” Subjectivity, vol. 3, no 2, 2010: 140–148.
• Ewa Domańska, “Affirmative Humanities”. Dějiny – teorie – kritika [Czech Republic], no. 1, 2018: 9-26.
• Ruth Lipschitz, Skin/ned Politics: Species Discourse and the Limits of “The Human” in Nandipha Mntambo’s Art. Hypatia, vol. 27, no. 3, August 2012: 546–566.
• Ann-Marie Tully, Becoming Animal: Liminal Rhetorical Strategies in Contemporary South African Art. Image & Text, vol. 17, 2011: 64-84.
• Kathy Charmaz, Constructing Grounded Theory: A Practical Guide Through Qualitative Analysis. Sage, 2006.

Program

 Monday, September 9

1. Paradigm shift in the contemporary humanities and social sciences

Tuesday, September 10

2. Prefigurative Art/Humanities

 Wednesday, September 11

3. Contemporary Art and the Future of History

Thursday, September 12

4. How to build a theory? [workshop]

his year’s Graduation Ceremonies will be held on June 20th in the EKA hall (room A101, Põhja puiestee 7, Tallinn).

12.00 o’clock – graduates of Faculties of Design and Art Culture

3 o’clock pm – graduates of Doctoral School and the faculties of Architecture and Fine Art

NB! Dear graduate, please come to the EKA gallery 15 minutes earlier, so we can lead you to your place.

Exhibition „iTouch Store” Darja Popolitova

Vault Room of A-Gallery, Hobusepea 2, Tallinn

The exhibition can be visited from 31 Mayto 1 July 2019.
The opening will take place on 7 June at 6 p.m.

Darja Popolitova’s exhibition examines touch as a part of digital culture: the tactility of digitally transmitted jewellery images, given the excessive focus on the phone and the screen.

The audience can also see the works in their representations —in the form of a video ad where the author attempts to find answers to the following questions: can the digital representation of the jewellery have tactile features?, how does the digital representation of jewellery affect real jewellery on a tactile level? and, how does the use of digital media change the relationship between jewellery and tactility?.

The jewellery and objects at the exhibition are meant to solve the potential problems of the digital age. The titles of the work speak for themselves: “Hot Not Only Online Phone Case”, “Silicon Nail for Touching Screen”, “Digital Detox Brush”, etc.

The exhibition is laid out as a shop and this is not accidental. Media critic Erkki Huhtamo brings a parallel between a museum and a shop, the tradition of which is related to “tactiloclasms” — tactile rules and prohibitions in public places. Similarly to the old days where you could have access to the product in a shop only with the help of a shop assistant, in the exhibition room touching the jewellery is not permitted due to security requirements. Namita Gupta Wiggers, the jewellery historian, spoke of the fact that jewellery perception in the museum is limited to the vision, while the potential destination of the jewellery is the body.

Replacing the sense of touch with the vision continues in the Internet age. Darja Popolitova notes that she has been inspired by AliExpress e-shop ads. “Reviewing products —even without buying them —offers me certain pleasure,” commented the artist. “As I read a book by the media theorist Laura U. Marks, I went deeper into the meaning of the term “tactile visuality offered by Laura U. Marks. At one moment everything came together in my head: I treat the images of the products with a certain plasticity — my eyes do not see, but “touch” these images.That is why I decided to explore the tactile properties of the images of jewellery with my exhibition.”

Darja Popolitova was born in 1989 in Sillamäe and lives and works in Tallinn. She is currently doing a PhD at Estonian Academy of Arts. Darja designs jewellery using innovative technologies and mixed media. Recently, Darja Popolitova has participated in exhibitions at the Art and Design Museum in New York (2019), the Kunstnerforbundet gallery in Oslo (2018) and the fourth biennial of contemporary jewellery, METALLOphone in Vilnius (2018). Darja Popolitova is represented by the following galleries: Marzee in Nijmegen, Beyond in Antwerp, and Door in Mariaheide. Her work is included in the collection of the Estonian Museum of Applied Art and Design and also in private collections. The work of Darja Popolitova was awarded the scholarships of the Ministry of Culture and Adamson-Eric in 2018. She also received the scholarship of Young Jewellery in 2015.

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Video: Ando Naulainen

Sound Design: Andres Nõlvak

Graphic Design: Johanna Ruukholm

Artist’s gratitude goes to 3DKoda OÜ, A-Gallery, Adamson-Eric Museum,
Anastassia Dratšova, Benjamin Lignel, Daniil Popov, Doctoral School of Estonian Academy of Arts, Estonian Ministry of Culture, Kadri Mälk, Keiu Krikmann,
MakerLab Tallinn, Martina Gofman, Olesja Kulikova, Orbital Vox Stuudiod, Pire Sova,
Raivo Kelomees, Sarah Elizabeth Johnston, Shapeways Inc., Varvara Guljajeva, Vladimir Ljadov

The exhibition is supported by the Cultural Endowment of Estonia.

Join us for a performance evening “You’re not alone” on 30th of April, 6 PM at EKA Gallery.
Performances are made during an EKA course “You are not alone” mentored by Henri Hütt and Evelyn Raudsepp.

Artists: Andre Joosep Arming, Helena Lepik, Irmeli Terras, Heleliis Hõim, Ryan Galer, Angela Elizabeth Ramírez Fellowes, Mari-Liis Sõrg, Katrin Enni, Aksel Haagensen, Marianne Siilbaum, Sarah Johnston, Jose Aldemar Muñoz Ñustes

International Symposium of Interior Architecture and Spatial Use SISU takes place in Tallinn, Estonia. Highlight of the Estonian interior architecture calendar since 2014, SISU Symposium is organised by the Estonian Association of Interior Architects, with the concept and programme for each SISU Symposium developed by a curatorial team. This year, the curatorial team consists of members of the Interior Architecture Department of the Estonian Academy of Arts EKA led by Professor Hannes Praks.

Focus and format

This year, the focus of SISU will be on the physical presence of our craft. The symposium will investigate strategies for spatial intervention, making and production through educational practices that combine direct engagement and participation in the creation of physical space. We will look at the tactile-sensorial experience a space can provide, we will explore material design through the lense of interior architecture and we’ll be inspired by the words of a long-time professor of interior architecture department of EKA, Estonian interior architect and designer Vello Asi (1927-2016), who said that space should always be designed from inside out.

From 12 to 14 June 2019, we invite interior architects and students of the field as well as professionals and students from neighbouring fields – architects, designers, etc – to join us for a three-day exploration of the interior architecture and spatial design process at the Põhjala Factory on Marati St, Tallinn. We will start with an empty space and will together – in the form of workshops and lectures – build up SISU Symposium 2019. The working format of SISU 2019 will be split 50:50 between workshops and lectures.

Location

SISU 2019 will be set up at the Põhjala Factory located on the Kopli peninsula of Tallinn – a 15 minute tram ride from the centre of the city. At present, this former ship-building area is weighing its options for the future, with many of the choices to be made being spatial, thus making Põhjala an excellent partner and location for our three-day investigation into the current space-making strategies interior architects employ. The spacious, inspiring quarters of Põhjala will also allow us to not only speak of practices, but also show, engage, make and produce space, showcasing interior architecture educational practices.

Presenters, performers and workshop tutors

Veiko Liis (Tallinn)
b210 architects and Pavle Stamenovic (Tallinn / Belgrade)
Laura Linsi and Roland Reemaa (Tallinn / London)
Daniel Zamarbide (Geneva / Lisbon)
Prof Masayo Ave (Berlin)
Jimi Tenor & Trashchestra (Helsinki)
Karsten Födinger (Karlsruhe)
Kärt Ojavee (Tallinn)
Elena Khurtova ja Marie Ilse Bourlanges (Amsterdam)
Eik Hermann (Tallinn)
Damon Taylor (London)
and many more

Practicalities

The working language of the symposium is English.
SISU is free of charge and open to everyone interested in the topic, but we require participants to register for SISU workshops – registration will open in the beginning of May!

SISU 2019 supporters

The Cultural Endowment of Estonia and the Ministry of Culture of Estonia.

Additional information

Project Manager Silja Kukk silja@esl.ee
Curatorial team contact Andrea Tamm andrea.tamm@artun.ee

Date:6–8 May 2019 at 10.00 – 15.30

Venue:Estonian Academy of Arts, Põhja pst 7, room A402 (6-7 May), A301 (8 May)

Lecturer:Nithikul Nimkulrat

Practice-based research[1]has been adopted by creative practitioners in various art and design disciplines for over three decades. Its basic proposition is that “not only is practice embedded in the research process but research questions arise from the process of practice, the answers to which are directed toward enlightening and enhancing practice” (Candy and Edmonds 2018, p. 63). An emphasis on the contribution of research outcomes from practice-based research is that new knowledge is generated to inform creative practice and such knowledge may at times only be obtainable by means of practice.

Whilst artifacts created from within a research project is viewed as an integral part of the practice-based research process, they are expected to be placed in context through written theses and/or disseminated in published papers. By the necessity of written theses in academic research, reflection and documentation of the creative process and the overall research process is unavoidable (Nimkulart 2007).

This seminar aims to assist art and design students in situating their creative artifacts in research (Nimkulrat 2013) and in designing and structing their research conduct that involves their own practice as a research method based on their research questions initially set. This is not to understand practice as research. Practice is not research but can play a significant role in research.

The seminar will focus on the following research components:

1. Research question– Why would art and design practice be necessary for answering it?
2. Research process– How is it constructed based on the research question? Where is art and design practice located within the research process? How is documentation performed throughout the processes? How does reflection drive the process further and transform the research question initially set?
3. Artifacts– Do they answer or support the written thesis to answer the research question?

In addition, the seminar will highlight how documentation functions as a research tool for capturing the practitioner-researcher’s reflection in- and on- action (Mäkelä and Nimkulrat 2018).

Requirement

To participate in the seminar, please send an abstract (250 words) that describes their PhD project and includes a few photos of artifacts and their processes, if any, to elika.kiilo@artun.eeby 1 May 2019. Please note that a primary research question must be clearly stated in the abstract.

In preparation for the seminar, participants will be asked to read

Candy, L. and Edmonds E. (2018). Practice-Based Research in the Creative Arts: Foundations and Futures from the Front Line. Leonardo 51(1), 63–69. https://www.mitpressjournals.org/doi/pdf/10.1162/LEON_a_01471

Mäkelä, M., & Nimkulrat, N. (2018). Documentation as Practice-Led Research Tools for Reflection on Experiential Knowledge. FORMakademisk 11(2).

DOI: https://doi.org/10.7577/formakademisk.1818

Nimkulrat, N. (2007). The Role of Documentation in Practice-Led Research. Journal of Research Practice, 3(1), Article M6. http://jrp.icaap.org/index.php/jrp/article/view/58/83

Nimkulrat, N. (2009). Paperness: Expressive Material in Textile Art from an Artist’s Viewpoint (pp. 34–38). Helsinki, Finland: University of Art and Design Helsinki. https://nithikul.com/PDF/Paperness.pdf

Nimkulrat, N. (2013). Situating Creative Artifacts in Art and Design Research. FORMakademisk, 6(2), Article 4. DOI: https://doi.org/10.7577/formakademisk.657

Registration

The seminar is open to PhD students. Registration is open until 30.04.2019.

Registration form

Nithikul Nimkulrat is a practitioner-researcher who intertwines research with textile practice, focusing on experiential knowledge in craft processes in the context of design research. Prior to her current appointment as a Tenured Associate Professor at OCAD University in Canada in December 2018, Nithikul has worked at Estonian Academy of Arts, Loughborough University, and Aalto University, where she earned a doctorate in 2009. Nithikul is an elected council member of the Design Research Society (DRS), the convenor of the DRS Special Interest Group on Experiential Knowledge (EKSIG), and the leader of the Cumulus Association’s Fashion and Textile Working Group.

[1]The term “practice-based research” is chosen over “artistic research” and “practice-led research” to be used in the workshop in order to give practice a general role in scholarly research. For differentiation in meaning of different terms, see Nimkulrat (2009, pp. 34–38) and Candy and Edmonds (2018, pp. 64–65).

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).

Date: June 4, 6, 7 at 10.00 to 17.00

Venue: Estonian Academy of Arts, Põhja pst 7, room A202

Lecturer: Benjamin Lignel

Artist, writer and curator Benjamin Lignel will conduct a 3-day seminar in June, focusing on the challenges and opportunities inherent to artistic research. We will be thinking through the temporalities of making, documenting, and argumenting, and the different sort of “proof” they invoke; we will attempt a 21st century autopsy of the author-function and look at subject-positions with the help of Italo Calvino, Joan Scott and Audre Lord; we will play at presenting an object (textual or physical) for public scrutiny with a view to understanding what “stewardship of ideas” might imply.

Students who sign up for the seminar will be required to read 3 texts in advance:

Audre Lord, the Use of Anger, Women responding to Racism (1981)

Joan Scott, The Evidence of Experience (1991)

Ulrike Müller, Herstory Inventory (2011)

You will also be required to write, in conversational/diaristic mode, how you first met an idea that subequently guided your current research (max. 500 words).

Registration

The seminar is open to PhD and MA students.

Registration form

Registration is open until 28.05.2019.

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).

Thu, 28.03 – Sat, 30.03

Light and sound installations

The light and sound installations made by the students of EKA under the umbrella title “Time as Light” provide access to the lighted spaces uniting scenarios of the past and future. The students’ installations were created under the guidance of sculptor Elo Liiv. In addition to the scenic sunsets, in Noblessner one can enjoy a wonderful show of light and shadows at dawn during TMW.

Students: Silvia Ilves, Henri Kaarel Luht, Merilin Põldsam, Kati Masonry, Elis Rumma, Rebeka Vaino, Eliise Saar, Klarika Mäeots-Uustal, Mati Uust, Elisabeth Juusu, Joonas Timmi, Moonika Mällo, Johanna Põldemaa, Annika Ülejõe, Karl Kristian Kits.

There is opportunity to meet students and artists at the opening of the exhibition on March 28 at 21:00. The light installations remain open only on three nights, and on Sunday, Noblessner’s port city is all the same.

Join us for the opening on Friday, March 29, at 6 PM, with a special performance by the EKA Choir at 6:15 PM.

We are all born with a knowing pain in our soul, and this innate understanding is loneliness: a deep ache for another to fill the cavity we cannot otherwise fill, sincere desperation that seamlessly moves from the emotional and psychological to the physical.  It is an agonizing progression: painful in the utter dissection of the self with each invitation and rejection, each a beautiful and grounded humiliation where we no longer even recognize ourselves as we wholly long for someone to alleviate the paralyzing fear of dying alone.

When the other, it seems, is and has always been absent, the suffocation of loneliness becomes far more than a feeling – it becomes an insanity of our own making.  We are driven mad by an endless and relentless pursuit for a chosen other with a bittersweet and intoxicating need that is simultaneously exciting and devastating, loving and heartbreaking.  And it is this longing, this intense and unforgiving emotion, that will slowly and decidedly kill us.

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 is currently pursuing an MA degree in Jewellery at the Estonian Academy of Arts.  Erinn is a published writer on contemporary art and design, an adjunct professor of Fine Arts and Art History, and is the founder and writer for the online journal Louise & Maurice (www.louiseandmaurice.com) 

For more about the artist, visit www.erinnmcox.com

Erinn will give a personal tour of the exhibition on Tuesday, April 16 at 5:30 pm.