New media is a contemporary art discipline that is focused on technological experimentation and digital technologies that fall outside the traditional concept of fine arts. This spectre, which covers interactive, sound and audiovisual art, is present, as an interdisciplinary mix, in the professional practice of the department graduates. Our graduates work as artists, television producers, multimedia designers, entrepreneurs and technological artists. The list of our alumni includes Piibe Piirma, Mart Normet, Eve Arpo, Taavi Suisalu, Juhan Soomets, Tõnis Jürgens and Hannes Aasamets.


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Sound and Video Installation during Tallinn Music Week 2017

During Tallinn Music Week our new media students Sten Saarits, Liisi Küla and Aivar Tõnso participate with the sound and video installation “Otse” (Direct), which is opened from March. 30th until April. 2nd. The installation is situated at Reisijate street nearby the Tallinn Baltic Train Station.

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Karl Saks won the Estonian Theatre Dance Price

New media student Karl Saks won the Estonian Theatre Dance Price of the year 2016. The Estonian Theatre Prize Gala took place a March, 27th 2017 at the new renovated Ugala Theatre in Viljandi (Southern Estonia).

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Kaarel Kurismaa, Raul Keller, Mari-Liis Rebane and Karl Saks “TAIMER”

At this exhibition, there are quite a few timers that tick, hum, sing or otherwise sound the time, along with four artists of various ages that measure different temporal and spatial experiences. Not that any of them are demented by youth, or infirmed by age but none of them plays their role in society in a dignified or safe way, or by dismissing challenges.

It could be said that the precondition for the existence of all four is a maximum state of openness, self-consciously keeping themselves in the developmental stage of a student rather than a professional artist. The intensity of their feelers, the purity of emotion and thought are much greater values for them than certified knowledge. In summary the four of them, despite their age differences, have achieved quite a bit: word, sound, film, dance, installation and fine art. And they have considered and held many occupations, such as caregiver, volunteer, producer, designer, instructor and musician. This all despite the belief “… that art as we know it, is over, finished. … But why worry if you can continue and go on from here. Simply take a step out into the unknown.”… (Andres Lõo, Fantoomplatvorm. Paranoia Publishing Ltd pp 35).

Raul Keller (1973) focuses primarily on site-specific sound installations, sound performance, musical improvisation, and radiophonic experiments (Andreas Trossek). He passionately indicates the limitations of physical space compared to acoustical space (Ragne Nukk) and seems somehow large and benevolent when moving toward the light making and world-creating sound, while actually hiding in the shadows.

Mari-Liis Rebane (1988) is adept at many means of self-expression, she strives to transcend genre, style and medium, by creating post-internet art counterparts to sound. Using the third person, she says the following about her video-sound installation, which is based on the rhythm of fingering prayer beads: “The author uses the motif of counting beads as a means of concentration based initially on religious cognition, which creates a hypnotic space around itself and plays with time mythology.” She seems to be somewhat complicated; she exudes restlessness and talent.

Karl Saks (1984) is an artist who does not draw a line between the crazy world and the gestures that precisely define it. He is one of the performers on the contemporary dance stage that has the most interesting bodily expression, although he himself says that “movement doesn’t engender anything in me — no good feelings at any emotional level. The only emotional bonus of movement is that it initiates thinking, and one’s thought activity and process change when one discovers oneself moving.” He is extremely sensitive; someone that accepts responsibility and resounds only as much as the situation requires.

Kaarel Kurismaa (1939) works with immobile and mobile, silent and vocal sculptural objects. He is rightly considered to be the pioneer of Estonian kinetic and sound art. In addition, he writes short stories with dislocated evolvement that excite reader´s fantasy. His enjoyment of the quiet ticking of small machines, which somewhat shyly but persistently confirms to the world “I love you!”, unexpectedly radiate warmth and trust.

We thank: Cultural Endowment of Estonia, Ministry of Culture, Cultural Endowment of Estonia, Tallinn Department of Culture, Veinisõber, Kanuti Gildi Saal, Hello Upan, Revo Koplus, Mari Kurismaa, Taavet Jansen, Madlen Hirtentreu.

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At Saturday December, 12th 2016 takes place the master student’s semester exhibition MIMIKRI at the Waiting Hall of the Tallinn Baltic Train Station. Amongst others also the first year students Liisi Küla, Roman-Sten Tõnissoo, Martin Rästa, Aivar Tõnso ja Sten Saarits participate with an audio-visual installation. You are welcome!

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Kontsert Teistmoodi Harmooniad II

Estonian Academy of Music and Theatre presents:

Different Harmonies II

Hans-Gunter Lock

Concerto for solo violin and chamber ensemble (World Premiere)

composed in the microtonal Bohlen-Pierce tone system

Gerhard Lock – solo violin
Ensemble Projekt 7

conductor Andrus Kallastu

Tallinn Metodist Church
, 7 PM

Supporters: Estonian Cultural Endowment, Estonian Academy of Arts, European Regional Development Fund, BFM – Tallinn University
Admission free

On November, 28th another concert of the series “Different Harmonies” will take place at Tallinn Methodist Church. There will be the world premiere of Hans-Gunter Lock’s Concerto for solo violin and chamber ensemble. Composer Hans-Gunter Lock owns teaching positions at the Estonian Academy of Music and Theatre as well as at the Estonian Academy of Arts. The concerto is peculiar due to the use of the so called Bohlen-Pierce tone system, which contains of a number on unusual intervals. The traditionally most consonant intervals of the fifth and the octave don’t exist in this system, but the interval of the tritone, the traditionally very dissonant “diabolo in musica” appears as very pleasently sounding instead. Based on this the composer has developed a special harmonic system, which has structural similarities to the traditional system of functional harmony, but the sounding result is surprisingly different, new and fresh.
The premiered piece contains partly of serially constructed material. For some textures, the pitch and the rhythm are developed from mathematical combinatorics and chance operations. Hence there can be found also elements similar to classical solo concertos, e.g. concerto grosso-like solo-tutti contrasts, ostinato technique and soloistic playing-techniques known from classic-romantic solo concertos.
The solo violin part will be performed by Gerhard Lock, lecturer at Tallinn University Baltic Film, Media, Arts and Communication School. Ensemble Projekt 7 especially established for this cncert is conducted by Andrus Kallastu known for his experiences in contemporary music.

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