Category: Graphic Art

On June 15th at 6pm we invite you to EKA Graphic Art students exhibition “Wälljapanek” opening at Aparaaditehas Balcony Gallery.

“Dear compatriots! Let us travel back 150 years in time. One might think that it no longer concerns us in any way, but how we tell history TODAY and what we tell about it affects us more than we might think. This is not a museum, but an exhibition. The display of the works of eight artists introduces those lands of the Estonian national awakening that have not been nurtured since then. The awakened flowers of the meadow can confidently raise their heads towards the sun and sing themselves visible through their creativity!”

Participating artists: Johanna Rannu, Kärt Heinvere, Eleri Muhkel, Nils J. Rammo, Lily Tilk, Nana Schilf, Pavel Dodatko, Helena Pass.

The exhibition will be on display at Aparaaditehas Balcony Gallery (rõdugalerii) from 15.06.23-09.

07.23 and open from Wed-Sun from 12pm – 6pm.
Visiting the gallery is free of charge.

The Balcony Gallery (rõdugalerii) is located above the Aparaat restaurant. The gallery can be accessed from door no. 7 both through the Fahrenheit 451 book room and directly from the second floor.

Contemporary Drawing: Worlding in Layers
Triin Anijalg, Maria Hindreko, Sander Karjus, Kassandra Laur, Rebecca Norman, Helena Pass, Mia Rulli, Nana Schilf, Sirel Tammisto
Curator and supervisor: Britta Benno
23.05–17.06.2023
Opening: 22.05 kell 17.00

Join us for the opening of the exhibition “Contemporary Drawing: Worlding in Layers” on May 22 at 5 pm at EKA Gallery!

The openness and liminality, being in between, on the threshold, of drawing contain the immense potential of transformation, the inherent non-being and hybridisation. Becoming something or somebody feels like flowing or writing: it is a place that requires common construction; it is a time which does not flow in a linear manner. Instead of being complete, there is becoming, the endless unrolling of materials and gestures, limitless potential. The technical processes of making art are very similar to the descriptions of the becoming of a Land(scape). When printing, painting, drawing or building installations, one is adding new layers of traces from materials, colours, (conceptual) motions and other means of depiction to a base structure. In printing, one uses different methods and mechanisms of transfer to create imagery. When drawing directly onto the canvas or on paper, a new layer is created with a pencil or the tip of a brush leaving its trace. Sometimes, however, the layers are also removed: erased, washed off with water or by tearing the textile into shreds.[2]

The exhibition displays the works of students, which were completed as part of the elective course. The aim of the course was a critical analysis or rethinking of contemporary drawing art by looking at various examples, reading texts and experimental tasks. The use of the layered work method applied in the art practice of the participants: the layered combination of experimental materials and forms in the art of drawing.

[1] Britta Benno, Saamisest maa(stiku)ks. Materjalid, teadus, utoopia. ­– Leida, 25.11.22 (https://leida.artun.ee/et/issues/tehnokriitika/saamisest-maa-stiku-ks-materjalid-teadus-utoopia vaadatud: 09.05.23).

[2] Britta Benno maa, Of Becoming a Land(Scape). Material, Science, Utopia. ­– Leida, 25.11.22 (https://leida.artun.ee/en/issues/technocriticism/of-becoming-a-land-scape-material-science-utopia accessed: 09.05.23).

May brings an opportunity to experience, in an exhibition format, works produced by students in the Faculty of Fine Arts as their term projects: every day there will be a fresh crop of university students’ works on display in the gallery.

Works in contemporary art, prints, installation, sculpture and painting curricula will be on display. On each morning of the marathon, a new exhibition will be installed and in the evening the exhibit will give way to the next one. Hopefully, viewers will be able to keep up with the pace of the young artists.

SCHEDULE

02.05. Painting, supervisors Merike Estna, Alice Kask, Kristi Kongi, Holger Loodus
03.05. Photography, supervisor Madis Kurss
04.05. Drawing, supervisors Maiu Rõõmus, Matti Pärk
05.05. Drawing, supervisors Tõnis Saadoja
08.05. Drawing, supervisor Ulvi Haagensen
9.05. Drawing, supervisor Lilli-Krõõt Repnau
10.05. Drawing, supervisor Tõnis Saadoja
11.05. Graphic Art, supervisors Charlotte Biszewski, Eve Kask, Rene Haljasmäe, Viktor Gurov
12.05. Graphic Art, supervisors Kadi Kurema, Maria Erikson, Charlotte Biszewski, Britta Benno
15.05. Photography, supervisors Marge Monko, Paul Kuimet
16.—17.05. Scenography, supervisors Ene-Liis Semper, Mark Raidpere
18.—19.05. Contemporary Art, supervisors Marge Monko, Kirke Kangro, Merike Estna, Taavi Talve, Anu Vahtra, John Grzinich, Paul Kuimet, Taavi Piibemann, Sirja-Liisa Eelma, Eve Kask, David K. Ross

Sidney Lepp residency exhibition “Leave the keys outside..I know these doors, I know these windows..doors, windows..day of open doors..open doors day..window closed – door open, door closed – window open..each window is a door?”

Kanal gallery is attended by interdisciplinary artist Sidney Lepp, who started a month-long residency in the Liiva-ATE in early April. To experience the exhibition process, everyone interested will be able to meet the artist in Kanal gallery in April. The exhibition exhibits behind-the-scenes of the art field and opens to viewers how the production of the exhibition or project takes place – why and based on what are choices made; how to get the exhibition to the gallery and how the artist developes during the process.

The artist considers it to be the most important part to show an otherwise invisible fragment of the exhibition – process, preparations, production. Usually the audience is directed to consume the artist’s final work, and without context and numerous co-texts it is difficult to read it. This time, the window is opened right in the middle of the creative process. It is possible to see how ideas and nuances that influence the result arise. By becoming part of the process, it is possible to interact with the work of the gallery as well as the activities of the artist.

The exhibition focuses on the artist’s ideas, discussions, activities of installers and the gallerist, and their interpersonal dynamics. The exhibition exhibits opinions that influence the process. The project gives the participants the opportunity to see the exhibition in the special stages of its emergence, becoming aware of a possible lack of motivation or, on the other hand, a creative outbreak. In any case, the situation may be interfered with if desired. The aim is to show sincerely and honestly how much work, failures and successes accompany the production of one exhibition.

The documentation of the two-month process contains topics that have proved to be current in society during this period, later serving as a time capsule as a reminder of this moment.

The idea is inspired by William Grieve’s cult (documentary) film series “Symbiopsychotaxiplasm 1-3.”

Visual introduction to the exhibition.

Sidney Lepp (1994) is a fluidum that adapts very quickly to the (art) scene. Most of the time, he handles the space in an installation and grafts onto the works such features as to be as interactive as possible. Sidney is a graduate of the EAA in fine arts with a BA and a MA in contemporary art. His current playing field has been Tallinn, Riga, Berlin, Kiev and Brussels.

http://sidneylepp.com/

8.04 Kunstiministeerium

https://cca.ee/ajakiri/mida-motlevad-noored-kunstnikud

The exhibition will be open until 3 June 2023.

Graphic design: Henri Kutsar

The exhibition is supported by the Cultural Endowment of Estonia and Võru linn

Kanal gallery

Liiva 11a, Võru, 65609

Mon-Fri 12-17 Sat 12-15

FB: Kanal galerii

IG: Kanal galerii

Additional information:

Mari Škerin / gallerist

mariskerin@gmail.com

+372 53449447

Maria Izabella Lehtsaar & Sarah Nõmm open their duo exhibition Beauty in the Belly of the Beast in Draakon gallery at 18:00 on Wednesday, March 8th, 2023. Curators of the exhibition are Anita Kodanik and Brigit Arop. Exhibition will be open until April 1st, 2023.

With their duo exhibition Beauty in the Belly of the Beast, Maria Izabella Lehtsaar & Sarah Nõmm focus on their shared interests towards intimacy, sexual self-expression and various representations of love and violence between people. Current exhibition is based on the concept of bedroom as a place where one can rest, dream, feel pleasure and fear. It is also a place where one reads texts that shape us as human beings and creators and the place where meetings for this collaboration have taken place. The “bedroom activities” form a socially controversial subject. This place is intimate and reveals the nuances about us that are private and make us vulnerable. It is something that entirely belongs to oneself and at the same time is completely shared with the dearest ones. And yet, not all bedrooms are safe – besides softness, there could also be violence experienced under the roof of love.

The artworks at the present duo exhibition have been inspired by the contradictions related to the intimacy of a bedroom where the expressive means of tenderness and harshness are intertwined. For instance, Nõmm’s artwork “Little Switch” refers to a whip as an object with the purpose of hurting, that can be read in several ways. On one hand, it is an object of power and violence that is used for punishing disobedient bodies; on the other hand, the whip has its place in sexual practices where harshness, care and pleasure are combined. Lehtsaar’s new linocut works “Pillow Princess” and “Unknown Pleasures” continue expanding the artist’s visual queer vocabulary. “Loveless V” is their final addition to the series on the subject of boxing as self-defense and self-love, while also referring to their attempt to challenge gendered stigmatization of extreme or violent sports. Nõmm’s installation “Untie My Ribbons” is inspired by non-normative romantic relationships that won’t classify under the seemingly obligatory relationship form of monogamy. Through the cuddly weapons from the series “The Softest Touch” and the pictures completed by manual typesetting titled “Queer Scissors I II III”, Lehtsaar observes the world of signs related to lesbianism while in some cases using it for self-empowerment and in other cases ironically repeating uniform stereotypes to absurdity.

The stories of the interwoven destinies of a beauty and a beast are as old as our civilization. These usually begin with the imprisoned princess and end with marrying the prince who has killed the dragon. Sometimes these stories have also been told from the point of view of a princess with a higher agency, revealing for instance that the prince might be even more monstrous than the dragon, or that the princess could save herself on her own, or will choose another partner in life. Yet these stories won’t tell us anything about the daily life of the new couple nor the fact that there are beasts sleeping underneath their bed. Beauty in the Belly of the Beast attempts to offer more diverse narratives about intimacy and to enrich the common ground for mutual understanding while emphasizing the importance of safe experiences to people’s welfare.

Maria Izabella Lehtsaar (they/them) is an artist based in Tallinn who combines textiles, graphics, drawing, installation and text in their work. Their works deal mainly with the themes of queer experience and mental health, often playing on the fragile border between reality and fantasy. Lehtsaar graduated from the Estonian Academy of Arts with a bachelor’s degree in Graphic Art and is currently studying in the Contemporary Art MA programme. In 2021, they were awarded the Edmund Valtman scholarship and in 2022, they were nominated for the AkzoNobel Art Prize with Sarah Nõmm.

Sarah Nõmm (she/her) is an artist based in Tallinn who works primarily with sculpture, installation, video and performance. Her work deals with the female body and the spaces surrounding it. Nõmm’s works are often based on personal experiences and look at themes of the body through popular beliefs, myths, taboos and everyday rituals. She has a bachelor’s degree in Sculpture and Installation from the Estonian Academy of Arts. In 2021, she was awarded the Young Sculptor Prize, in 2022 she was nominated for the AkzoNobel Art Prize with Maria Izabella Lehtsaar, and won the Eduard Wiiralt scholarship.

Anita Kodanik (she/her) is an Estonian-Ukrainian freelance art worker based in Tallinn. Her research and curatorial practice focus on the visual cultural expressions of collective and personal identity politics. Kodanik graduated from the Estonian Academy of Arts with a bachelor’s degree in art history and is currently doing her master’s in curatorial studies. Her recent curatorial projects include exhibitions Imageries in Blanks (2022) at Maardu Decennial and Exercises for Dreamkeeping (2022) organised together with roam Berlin residency program.

Brigit Arop (she/her) is a freelance art worker based in Tallinn with a background in semiotics, who mainly curates and writes. She is interested in artistic practices that use poetry, material-sensitive approaches and humour to shift stale values. Arop has a bachelor’s degree in Semiotics and Cultural Theory from the University of Tartu, and is currently studying for a master’s degree in Curatorial Studies at the Estonian Academy of Arts. Her last curatorial project was the group exhibition Greetings, and Whatever Customarily Restores a Bond About to Break in Kogo Gallery, Tartu (2023).

Graphic design: Kertu Klementi

Supporters: Cultural Endowment of Estonia, Student Council of Estonian Academy of Arts
Special gratitude goes to: Anton Serdjukov, Karl-Christoph Rebane, department of graphic art at the Estonian Academy of Arts, Eda Urmet, Kristi Kongi, Marge Monko.

Exhibitions in Draakon gallery are supported by the Cultural Endowment of Estonia, Estonian Ministry of Culture and Liviko Ltd.

Maria Erikson’s solo exhibition Soft Touch on the Deckle opens in Draakoni Gallery. 

At her present exhibition Soft Touch on the Deckle, the artist observes her relationship
with the process of graphic art involving the body of the artist and the lithographic limestone. Seeking parallels and contradictions between them a comparison is made between a body and its surface to the one of the stone. While attributing limestone with human skin-like ability to memorize, Erikson explores her personal artwork as a dialogue between the two bodies – the one of the artist and the one of the stone. Through material interactions and contact events new forms of co-existence and non-hierarchical ways of communication between them emerge. 

The surface of lithographic stone is smooth and porous. Similarly to skin it records the touch that stratifies over time. Lithographic liquid tusche is commonly used in Erikson’s artistic practice. Its dried coatings on the surface of the litho stone result in reticulation that can be seen as an abstract landscape. In this way the touch between the artist and the material as well as the stone´s geological strata are intertwined. 

Soft Touch on the Deckle is a three-part exhibition project – the first part is being
exhibited here in Draakoni gallery, the second one will be displayed in Ratamo gallery,
Jyväskylä in March 2023 and the third part will be held in the Museum of Lithography in Sweden in April 2023. 

Engagement and contact are central in Maria Erikson’s artistic practice. With the focus on materiality and materials as sets of relationships, she investigates visible and non-visible relations that are produced by the gestures between them. In new structural arrangements she investigates their jointness and indifferences, bodiliness and ability to
inhabit shared space. Maria Erikson has completed two-year studies as a collaborative lithography printer and holds a Master Printer certificate from Tamarind Institute (USA), obtained MA degree in the printmaking study area at the Academy of Fine Arts/Uniarts Helsinki (Finland). In 2019, Maria Erikson received the Eduard Wiiralt grant and in 2021
she was awarded with Ann-Margret Lindell Grant for Printmaking (Sweden). Among her recent exhibitions are Notes from Borderspace (ARS Project Space, 2022); Taidegrafiikan tapa olla – materiality, collaboration and agency (Exhibition Laboratory, Helsinki, 2021); Grafik (Gallery Sander, Norrköping, Sweden, 2021). 

Exhibition is supported by the Cultural Endowment of Estonia.

The artist expresses her gratitude to: Liina Siib, Paul Rannik, Mart Saarepuu, department of Graphic Art at the Estonian Academy of Arts. 

Exhibitions in Draakoni gallery are supported by the Cultural Endowment of Estonia, Estonian Ministry of Culture and Liviko Ltd.

December brings an opportunity to experience, in an exhibition format, works produced by students in the Faculty of Fine Arts as their term projects: every day there will be a fresh crop of university students’ works on display in the gallery.

Works in contemporary art, prints, installation, sculpture and painting curricula will be on display. On each morning of the marathon, a new exhibition will be installed and in the evening the exhibit will give way to the next one. Hopefully, viewers will be able to keep up with the pace of the young artists.

SCHEDULE

1.12. Drawing, supervisors Matti Pärk, Maiu Rõõmus

2.12. Drawing, supervisor Eero Alev

3.—4.12. Scenography, supervisor Mark Raidpere

5.12. Drawing, supervisors Tõnis Saadoja

6.12. Drawing, supervisor Britta Benno

7.12. Photography, supervisors Annika Haas, Kadri Otsiver

8.12. Photography, supervisor Taavi Piibemann

9.12. Photography, supervisor Kalle Veesaar

12.12. Graphic art, supervisors Liina Siib, Eve Kask, Maria Erikson, Len Murusalu, Martinus Daane Klemet, Viktor Gurov

13.12. Graphic art, supervisors Kadi Kurema, Mark Antonius Puhkan, Aarne Mesikäpp, Maria Izabella Lehtsaar

14.12. Painting, supervisors Tõnis Saadoja, Mart Vainre

15.12. Painting, supervisors Sirja-Liisa Eelma, Mihkel Maripuu, Jaan Toomik

16.12. Painting, supervisors Sirja-Liisa Eelma, Alice Kask, Mart Vainre

17.12. Sculpture and Installation, supervisors Taavi Talve, Laura Põld

19.—22.12. Contemporary Art, supervisors Anu Vahtra, Jaan Toomik, Liina Siib, Taavi Talve, John Grzinich, Reimo Võsa-Tangsoo, Marge Monko, Taavi Piibemann, Eve Kask, Maria Erikson, Kristi Kongi, Sirja-Liisa Eelma

“The Science of Freedom”
Third act of the 18th Tallinn Print Triennial main exhibition “Warm. Checking Temperature in Three Acts”
22.01—26.02.2022
Tue-Sat at 12—18 pm
Opening and curators’ tour: 21.01 at 3 pm.

Curator: Róna Kopeczky
Artists: Olson Lamaj, Igor Eškinja, Flo Kasearu, Nada Prlja, Katja Novitskova and Bojan Stojčić

Join us for the opening of the exhibition “The Science of Freedom” on January 21 at 3 pm at EKA Gallery! The curator will give an exhibition tour at the event. Entrance with Covid certificate.

“Warm. Checking Temperature in Three Acts” is a multi-part exhibition that primarily gives thought to the radical political, cultural and social turns that affect Central and Eastern Europe, and it also inscribes these changes in a global perspective through the lens of universal absurdity. The project gives voice to contemporary artists based in or originating from the Central and Eastern European region who reflect boldly and critically on burning issues such as the rise of far-right politics, globally misplaced priorities, the collapse of democracies, the shrinking of freedom – in both life and art – and the general sense of conditioned fear and hostility prevailing today.

Inviting artists from the regional contemporary art scene with existing works and new commissions, Warm comprises three intertwined cycles entitled The Nation Loves It, Pickle Politics and The Science of Freedom. The imaginary, conceptual theatre play that embraces these three acts is conceived as dramatic and intensifying narration. It articulates around the spectacles of absurdity with the intention to dissect, appropriate and distort them, but also to playfully propose humour and derision as an intellectual antidote or an imagined alternative that builds on visionary defiance and poetic escapism.

The third act entitled “The Science of Freedom” presents a variety of proposals to counteract the oppressing situations of present times by referring loosely to natural sciences, biological and mathematical systems that, sublimed by imagination and given unknown forms, allow to visualise alternative ways to exist, perceive and behave. Humour, poetics and absurdity are the main conceptual pillars of this section and are employed to playfully divert or lyrically distort reality through the gentle negation of fixed roles or functions. In this newly created situation, instincts prevail over order and discipline, and make space for rethinking the unquestionable rules of our existence, imagining and demanding the impossible, and ultimately freeing ourselves from existing and imposed frames.

18th Tallinn Print Triennial venues: KAI Art Center | Temnikova & Kasela Gallery | Põhjala Brewery and Tap Room | EKA Gallery | Liszt Institute Tallinn | Flo Kasearu House Museum | Kanuti Gildi Saal

“Kakuke frying onions aka the kitchen side of graphic art” is an exhibition about food, imprints, collaboration and yellow paint.

On the menu:
The appetizer  à laserigraphy
The main course  typesetting and paper from TYPA
And for dessert, lithography.

The process stems from Catherine Brooks’ text “Three Ways To Use Yellow”. The workshop is transformed into a kitchen, with pigments, spices, cloth pieces and wooden letter boiling away in a witches cauldron. The artist- witches play around with recipes and try to understand the mystery of graphic art.

Collective Kakuke:
Eva Eller
Lilles
Maria Pruuden
Johanna Rannu
Kärt Heinvere
Pavel Dodatko
Adam
Anna Petruželovà

Supervisors: Britta Benno, Charlotte Biszewski, Maria Erikson, Liina Siib

EKA Department of Graphic Art, class of 1st year BA studies

Exhibition is supported by Estonian Artists’ Association

Filling The Void
10. – 29.05.2021
Estonian National Library
6th floor gallery
An exhibition by 3rd year students of the Graphic Art Department of the Estonian Academy of Arts

Participating artists: Pille Alasi, Daana-Loreen Kägra, Frida Ritz, Adam, Elis Raud, Liisa Tammert, Liis Tedre
Supervisor: Kadri Toom

The theme of the exhibition “Filling the Void” derives from the potential of empty space. At the essence of the creative process is imagination, which requires space to emerge. Pause (silence) and time are important components of imagining, enabling new ideas to come forward.

The participants of the exhibition have drawn inspiration from the unexpected; empty urban spaces and landscapes, inner silence, ignorance, the presence of absence. The exhibition combines cyanotype technique invented in the 19th century with modern visual language, and offers insight into both miniature close-ups of personal experiences as well as monumental visuals, along with forms on socially critical topics.

The exhibition is open Mon – Fri 10–19, Sat 12–19