Calendar

Join us for the upcoming T4EU Transforming Heritage Conference “Spatial Dimensions of Heritage | Creative Research Capacities”, organized by EKA on 27–28 January 2026 in Tallinn. This convergent event delves into the complexities of heritage preservation and embodied knowledge, from the tangible layers of paint on walls and canvases to the intangible realms of conceptual techniques or digital multidimensionality enriched with metadata.

The conference itinerary is available as a PDF below (3 pages).

The conference aims to bridge diverse disciplines, encouraging contributions from architecture, art, design, digital humanities, history and beyond. It will explore how ephemeral site-element-context relationships impact cultural heritage and emerging technologies—like AR, VR, and 3D modeling—can enhance preservation efforts.

The conference welcomes diverse perspectives with sessions to address participants across disciplines, including the arts, humanities, and sciences, with an emphasis on two main topics: spatial and artistic research in the context of heritage. The topics are meant to connect advanced research concepts with practice-based conceptual applications aiming to foster interdisciplinary dialogue. Inviting insights from varied academic and professional backgrounds to deepen our understanding of both cultural heritage and artistic research.

Register as a listener HERE. Join the live stream via this link.

More information and inquiries: hanna-britt.augasmagi@artun.ee

The event will take place under the auspices of the Transform4Europe Alliance — a collaborative network of 11 European universities focused on climate change, digitalisation, and social challenges — and is co-funded by the Erasmus+ Programme of the European Union.

The UNESCO Chair at the Estonian Academy of Arts is opening the exhibition “Estonian Heritage on the World Map” at Valga Railway Station.

We are proud of our heritage and confident that it also speaks to the wider world. Yet we know surprisingly little about what from Estonia is actually considered remarkable internationally, and what opportunities the presentation of our heritage together with others in shared networks can offer.
The exhibition by the Estonian Academy of Arts presents what from Estonia has been included on UNESCO’s World Heritage List, the Intangible Cultural Heritage List, and the Memory of the World Register. It also highlights which places have been awarded the European Heritage Label. Several European Cultural Routes run through Estonia. Over the years, Estonian works have also been recognized with Europa Nostra awards. We usually talk about such places one by one. With this exhibition, EKA aims to create a bigger picture, to inspire owners and local governments, and to remind everyone that by working together we can achieve more. Cultural heritage offers endless opportunities for presenting ourselves and for finding like-minded partners.
EKA will open the exhibition on “Heritage Sunday,” 7 December at 12:15 at Valga Railway Station, in cooperation with the Valga Museum and ICOMOS Estonia. The exhibition will be introduced by Riin Alatalu, holder of the EKA UNESCO Chair and vice-president of the international expert organization for heritage conservation.

For more information, please contact:

Riin Alatalu
riin.alatalu@artun.ee
+372 511 9439

Starting from the first week of January 2026, an exhibition of ideas for renewing standard school buildings will be on display in the lobby of the Estonian Academy of Arts.

The exhibition features works completed by 2nd and 3rd year architecture and urban design students in the 2025 autumn semester, illustrated by school models.

“The studio looked for ways to design an H-shaped Soviet-era standard school building into a modern school space. Five H-type school buildings were considered, located in locations with different population densities, environments, and spatial needs.
All solutions are diverse, but they also share similar features, which, when compared, can be used to establish more general architectural principles to modernize H-type school buildings.”

Supervisors of the “School Studio”: Kertu Johanna Jõeste, Tristan Krevald, Ra Martin Puhkan, Siim Tanel Tõnisson (studio TÄNA); Mart Kalm (theory, history)

WE NEED MORE INDOOR SPACES
Ground floor of EKA Gallery 9.01.–15.02.2026
Open Tue–Sat 12–6 pm Sun 12–4 pm, free entry
Opening: Thursday, January 8 at 6 pm

The group exhibition “We Need More Indoor Spaces” is catalysed by the moving process of Krulli Skate Hall, bringing together local and international artists from Tallinn’s skateboard scene, framing skateboarding as an art form. The makers of the exhibition want to draw attention to the availability of indoor skate parks in the inner city, in the hopes of opening more spaces for skaters.

Jaagup Mägi and Éric-Olivier Thériault, two artists studying installation and sculpture at the Estonian Academy of Arts, came together with the idea of temporarily transforming the gallery space into a gathering hub in honour of the perseverant local skateboarding culture. Working within the constraints of the gallery, their aim is to demonstrate how skateboarding, as an artistic practice, parallels contemporary art in many ways: through experimentation, resilience, and a strong DIY ethos. The exhibition seeks to channel that energy into a broader conversation: What could happen if greater awareness of indoor skateparks was fostered? If these creative environments built by skateboarders for skateboarders were more actively supported?

As part of the exhibition, in collaboration with the interactive video game museum LVLup! and Camille Laurelli, there will be an opportunity to play skateboarding-themed video games in the video box area of ​​the EKA Gallery during the opening times of the gallery.

You are welcome to ride the course with your personal skateboard at your own risk until February 11 on Wednesdays from 6 to 9 pm and Sundays from 4 to 8 pm.

Artists: Frank Abner, Nicolas Bouvy, Maik Grüner, Daniil Južaninov, Andrew Kuus-Hill, Kaisa Maasik, Jaagup Mägi, Reigo Nahksepp, Éric-Olivier Thériault, Raul Ulberg
Curators: Jaagup Mägi & Éric-Olivier Thériault
Graphic design: Sunny Lei
Technical support: Ats Kruusing
The exhibition is supported by the Cultural Endowment of Estonia and Sadolin Estonia.
Opening drinks from mirai™ and Põhjala Brewery.

“How to Reframe Monuments”
EKA Billboard Gallery 1.12.2025–15.02.2026
Open 24/7, free admission

The Past as Artistic Material
We live in a time when monuments cannot be ignored. Around the world, debates rage over their meaning and over whether – and how – contested monuments should be displayed in public space. Russia’s full-scale war in Ukraine has brought one of the epicentres of monumental conflict to Eastern Europe. To date, a large number of Soviet-era monuments in Estonia, particularly World War II memorials, have been removed. 

The project “How to Reframe Monuments” is based on the premise that removing a monument does not resolve the problem – complex heritage cannot simply be bypassed, but must be worked through. By bringing together knowledge and expertise from multiple fields, we have developed solutions that, through academic research, heritage conservation and digitisation practices, as well as artistic interventions, enable dissonant heritage not to be demolished but to be reframed within a new critical context. 

At the heart of the outdoor exhibition is the potential of art in addressing memory conflicts in public space – and, through this, the social role of contemporary art. Three design competitions carried out in the frame- work of this project illustrate ways of reframing different types of dissonant heritage – memori- als, paintings and sculptures. To date, already one of the artistic interventions has been realised: the reframing of the Tehumardi memorial by Neeme Külm. 

Between 2024 and 2025, a total of 17 artists took part in the art competitions. The conceptualisation of the Tehumardi memorial complex on Saaremaa—now partially dismantled—involved Kirke Kangro, Neeme Külm, Anna Mari Liivrand, Johannes Säre, Kristina Norman, and Taavi Piibemann.

Anna Škodenko, Hanna Piksarv, Jevgeni Zolotko, Kati Saarits, and Sigrid Viir proposed their own solutions for redesigning the monumental paintings, completed in 1955, in the old passenger terminal of Tallinn Airport.

Trevor Kinna, Bob Bicknell-Knight, Hasso Krull, Camille Laurelli, Samuel Lehikoinen, Ülo Pikkov, and Yiyang Sun created digital artworks based on the monument “Vyatchko and Meelis Defending Tartu” (1950/1956) located in Tartu. These works are shown as part of the exhibition “The Monument and the Fairy Tale” in the EKA foyer during 1.–12.12.2025.

Exhibition team: Linda Kaljundi, Kirke Kangro, Annika Tiko, Maris Veeremäe
Design: Kristjan Mändmaa
Language editing: Hille Saluäär, Jason Finch
“How to reframe monuments” is a collaborative project between the Estonian Academy of Arts and Tallinn University, funded by the Estonian Ministry of Culture. 

The project’s follow-up exhibition will open in February 2026 at EKA Gallery.

Liisa Nurklik
WANDERING
Second floor of EKA Gallery 9.01.–15.02.2026
Open Tue–Sat 12–6 pm Sun 12–4 pm, free entry
Opening: Thursday, January 8 at 6 pm

Liisa Nurklik’s solo exhibition “Wandering” reflects on abstract painting and the accompanying desire to wander over a prolonged period of time. Explorations of color and surface allow one tone to smoothly shift into another; directions moving one way meet those moving oppositely. Playing with the boring of simplicity evokes a possibility for the painting to be longer looked at, lost and gradually rediscovered.

Liisa Nurklik is currently a third-year student of painting at the Estonian Academy of Arts. Her first solo exhibition “If I Were-a-Person” took place in the Showcase Gallery of the EKA library in the fall of 2025 and presented the viewer with a series of drawings made with charcoal, pastel and pencil, depicting various creatures and objects, skin and hair, and focused primarily on evoking a sense of the uncanny.

Exhibition texts by: Kirke Kits
Graphic design by: Sunny Lei
Technical support by: Ats Kruusing
The exhibitions at EKA Gallery are supported by the Sadolin Estonia.
Opening drinks from mirai™ and Põhjala Brewery.

12 Jan – 28 Feb 2026

In the exhibition “Gouaches and Other Graphic Notes,” animator-trained artist Francesco Rosso translates the technological world into a dreamlike, deeply self-reflective inner universe. The world he depicts is guided by disciplined meditation, manual control, and a far-reaching perspective that traces paths laid down by both his predecessors and future generations.

The Estonian Academy of Arts Library, with its atmosphere dense with thought, provides a safe and fitting environment for materials that are intimate by nature. The exhibition’s miniature format is introduced by an electromechanics study cheat sheet from the artist’s personal archive, dating back to his secondary school years. As a coping mechanism while obtaining the field of study, Rosso cultivated meticulous graphic models and writings to break through the curriculum.

Building on this experience, he developed a refined visual handwriting which, across twenty years of diary entries, forms a kind of knitted fabric. Alongside drawings depicting metaphysical matter on the pages of his diaries, he transforms the mental and physical notes of everyday life into visual material that becomes the seed for new techniques.

The gouache paintings in this exhibition serve as a means of testing ideas and developing seriality. Working with material for an animation film currently in progress, Rosso depicts environments gathered during expeditions through human-shaped landscapes. In these paintings, he addresses the accountability in transforming our living environment, the new sensations that accompany it, and its impact on our perception of the world.

Francesco Rosso’s solo exhibition “Gouaches and Other Graphic Notes” at the Estonian Academy of Arts Library presents works created since 2023 that have not previously been publicly exhibited. It is an exhibition that places time-resistant manual skills at its centre, within a context increasingly saturated with automated means of production. The exhibition is curated by Marika Agu from the Estonian Centre for Contemporary Art.

More information:


Rene Mäe


EKA Library

Francesco Rosso (b. 1987) is an animator and artist living and working in Tallinn. His practice explores the mental and physical aspects of everyday life, transforming them into visual material. Rosso devotes a great deal of time to hand-made animation and detailed drawing. He merges animated material with filmed footage collected during exploratory journeys in urban and natural environments. Over the past decade, Rosso has worked across numerous artistic fields, including illustration, film, analogue photography, painting, printmaking, poetry, video art, and various animation techniques. His short animated films have been shown to international audiences, including at festivals in Clermont-Ferrand, Hiroshima, L’Étrange, Hamburg, Seoul, Interfilm, and the Encounters Short Film Festival.

Marika Agu (b. 1989) is a curator and archive project manager at the Estonian Centre for Contemporary Art. Having studied semiotics, art theory, and library and information science, her curatorial practice focuses on creative work with archives, emphasising site- and time-specificity, interdisciplinarity, and symbolic as well as material shifts in the creation and perception of contemporary art. In addition to her curatorial work, Agu publishes articles in both Estonian and international outlets and works as a lecturer at the Estonian Academy of Arts.

We are opening the exhibition “Abandoned Landscapes. Joaveski Paper Factory” on October 31st at 3:00 PM at the Joaveski Community Center, at Lahemaa.

The exhibition presents projects and models by students of the EKA Architecture and Urban Design curriculum, which explore how to value and revitalize the historic Joaveski paper factory.

 

The Estonian Academy of Arts’ Faculty of Architecture and the Department of Heritage Protection and Conservation organized the interdisciplinary “Abandoned Landscapes” workshop for the fourteenth time at the beginning of this year, where efforts are being made to find modern solutions for disused building complexes. This year’s workshop, professional studio and exhibition were created in collaboration with the Joaveski Village NPO, which has taken it upon itself to value the abandoned paper factory as a landmark.

 

The authors of the completed projects are now 3rd year architecture and urban design students: Maria Johanna Ahtijainen, Oskar Toomet-Björck, Elisabeth Ersling, Nele Lisette Hera, Heidi Jagus, Katariina Klammer, Eliis Kurvits, Lilian Källo, Lisandra Lipp, Marie Elle Melioranski, Mark Metsa, Mart Nael, Joonas Ott, Elenor Pihlak, Harriet Piirmets, Robin Pints, Elisabeth Tomingas, Katariina Vaher, Aliis Vatku, Martin Vatku.

The projects were supervised by architects Joel Kopli, Koit Ojaliiv and Juhan Rohtla from the architectural office KUU, advised by LCA consultant Anni Oviir, and the landscape architecture section was supervised by Katrin Koov and Arvi Anderson. Andres Õis welcomed and introduced the history of Joaveski.

The exhibition is supported by MTÜ Joaveski küla and AS Maru.

 

The exhibition will remain open at the Joaveski community center during library opening hours until April 1, 2026. Open Monday and Friday 9:00 – 16:00 and Wednesday 11:00 – 15:00.

 

About the history of the Joaveski factory

The construction of the Joaveski cardboard factory began in 1899 and is a vivid example of how the feudal Loobu manor adapted to the new capitalist economic environment at the end of the 19th century, which resulted in the establishment of an industrial enterprise. Joaveski developed into a small industrial village in a place of natural beauty. Today, a hydroelectric power plant operates at the heart of the factory, but most of the rooms have lost their purpose.

You are warmly invited to the opening of the exhibition Imprint of Vulnerability on Friday, 16 January at 6 pm at Tallinn City Gallery.
 
The joint exhibition by Mari Männa and Maria Erikson approaches material as an active participant. Fragility and delicacy operate here as working methods: form emerges through cracking, breaking, and acts of care. Drying, deformation, and the formation of imprints are not deviations or failures, but part of a process through which material remembers, transforms, and shapes its own rhythm. The exhibition is curated by Madli Ljutjuk.
 
“Imprint of Vulnerability approaches fertility beyond biological or gender-defined terms. Here, fertility is understood as an existential condition: the capacity to change, to be receptive, and to remain within uncertainty. The exhibition invites viewers to experience fragility and delicacy not as weakness, but as sources of vitality and renewal, fostering a sense of connection to a bodily, cyclical understanding of life,” explains curator Madli Ljutjuk.
Working together for the first time, the artists approach the same question from different angles. In Männa’s works, a logic of emergence unfolds: the world is born from disintegration and transitional states in which life has not yet settled into its final form. Erikson begins with the wound – the moment when a surface is opened and forced to remember. For both artists, form is not an end point but a temporary condition, something still in the process of becoming.
 
Through sculptural and printmaking processes, the exhibition reveals how form emerges where something is broken or unfinished. Cracking, drying, imprinting, and deformation do not signify rupture, but a generative dynamic. The exhibition speaks of two modes of becoming – emergence and the wound – as different manifestations of the same process.
 
The exhibition is set against a world in which fixed boundaries are dissolving. The human no longer stands at the centre, but exists as one participant among bodies and materials in an entangled network. In such a world, fertility becomes receptivity – the ability to remain open even when the outcome is uncertain. Imprint of Vulnerability invites us to slow down and notice how life emerges precisely through interruption.
 
The exhibition will remain open until 5 April 2026.

EKA Graphic Design MA program invites prospective students to join the online info session on Thursday, January 29, 2026 at 17:00 EET (local Estonian time).

This will be an opportunity to hear more about the program, to meet and ask questions directly from the faculty.

The online info session will be hosted on Zoom, the link will be e-mailed to all registrants 2 hours before the start of the event.

Please register by Wednesday, 28 January 2026, 15:00h EET. A zoom-link will be e-mailed out to all registrants a few hours before the event starts.

Register HERE

More information about the Graphic Design MA programme:

• https://eka-gd-ma.ee/
• https://www.artun.ee/ma-gd/
• https://www.instagram.com/ekagd_ma/

Admissions period starts on the 1st of February 2026 and application deadline is 2nd of March 2026 at 3pm EET (local Estonian time).

Admissions information here

On February 3rd, 2026 at 19:00 Azeem Hamid’s doctoral study second peer-review “Participation as Relation: Designing Relations of Care” will take place online on zoom.
The peer-reviewers are Dr. Oscar Tomico Plasencia (Eindhoven University of Technology, The Netherlands) and Dr. Jesper Falck Legaard (Designskolen Kolding, Denmark).
The thesis supervisors are Dr. Kristi Kuusk (EKA, Estonia) and Dr. Nithikul Nimkulrat (OCAD U, Canada).

Azeem Hamid invites attendees to engage with analysis and reflections from the Remote Grandparents project, the second case study of his ongoing doctoral research. The study explores participation as a relational and care-led design practice in remote, intergenerational contexts, focusing on sensorial play co-designed by children and their geographically distant grandparents.
Grounded in research-through-design, relational sensitivities, and autoethnographic practice, the inquiry challenges participation as co-presence by attending to distance, domestic settings, and family relations. The research identifies affective distance, sensory touchpoints, and improvised mutual shaping as key constructs through which relations are formed across people, materials, and places.
The research contributes to ethical and reflexive approaches to participatory and intergenerational design, by proposing vocabulary and methods for sensorial co-presence in distributed, care-centred contexts.
Azeem Hamid, originally from Lahore, Pakistan and now based in Tallinn, is a design researcher, educator, and facilitator focusing on transition design, placemaking, and design pedagogy. He is a doctoral student at the Estonian Academy of Arts, and holds a MSc. in Design and Technology Futures alongwith MPhil. in Art & Design Education (Research).

EKA Doctoral School will be hosting an online info session about doctoral studies at EKA on February 11, 2026, at 15:00-16:30 EET (local Estonian time). 

Info session provides a good opportunity to hear more about doctoral studies at EKA, available programmes, admission requirements and procedure, etc; also meet and ask questions directly from people behind the Doctoral School and the programmes. The info session will be hosted online over Zoom. A link to attend will be e-mailed to registered participants shortly before the event begins.

REGISTER HERE

The Estonian Academy of Arts offers following PhD level programmes for international applicants:

• Architecture and Urban Planning
• Art and Design
• Art History and Visual Culture
• Cultural Heritage and Conservation

Admission period for international PhD applicants for 2026/2027 starts on February 1st, 2026. Deadline for submitting application is March 31st, 2026, at 3pm (EET).

Admission requirements for PhD programmes can be found HERE.

More information:
Irene Hütsi
Doctoral School coordinator
irene.hutsi@artun.ee

From 3rd to 27th of February contemporary painter Brenda Purtsak’s solo exhibition “One day I shall be an abstract” will open for visit at ARS Art Factory showroom.

The self-portrait exhibition combines fragments of the artists selected family photos and and images of humans biological body collected into her mobile phone over the past years.

The artist and the concept of the exhibition has been influenced by the anatomical wax Venuses created by an Italian neurologist and wax artist Clemente Susini and Brenda’s personal complex challenges in recent years related to her physical health. The beautiful and adorned females internal organs created in the 18th century have been “cut open” in detail layer by layer for educational purposes. Ian Shank has written that such Venuses at the time were viewed as a microcosm of the Universe.

J. L. Borges has pointed out that the labyrinth is a metaphor for man and the universe, associated on a macro level with the center of the world and on a micro level with the human heart. The better you know the anatomy of the human body, the better you understand God’s own thoughts and his world. As if the eternity has been written into the human soul – every atom of oxygen in our lungs, carbon in our muscles, calcium in our bones, and iron in our blood was created in the stars before Mother Earth was born.

The main piece of the exhibition is a large-scale fragmented painting showing parts of the artist’s body, which describe the processes of healing and decay of the human body. The theme was born after years of battling physical illness and thoughts that arose after several operations. The paintings in the exhibition encourage viewers to think about what is the essence of a soul and what remains of us in the physical world after we pass. Within the paintings the environmental and physical landscapes that have surrounded us and will continue to do so will be at display. This provides input for creating connections between the two that are inevitable in our lives.

Brenda Purtsak (1994) has graduated her Master of Contemporary Art program in 2022 and a Bachelor’s degree in Painting (2020) both at the Estonian Academy of Arts (EKA).

The central point of her creation is human and playfulness between the borders of abstraction and reality. Purtsak mainly uses painting as a medium of self-expression, and in this exhibition also uses oil pastels.

At the end of 2023, a large-scale personal exhibition “Birth” was held in the Project Room of the ARS Art Factory and an overview exhibition of of works in four years called “Incision” in Haapsalu City Gallery (2024). The last major solo exhibition took place in September 2025 at Artrovert gallery under the title “Distant veils”. Purtsak’s works have been featured in various exhibitions abroad, and her paintings and stained glass windows have been exhibited in the premises of the Estonian Embassy in Hague several times.

The exhibition team

Location: ARS Art Factory showroom, Pärnu mnt. 154

Open for visit 3.02-27.02.2026, Mon-Fri from 12am–6pm

Curator: Liisi Kõuhkna

Graphic design: Rainer Kasekivi

Support and thanks to: Cultural Endowment of Estonia, Estonian Artists Association, Indrek Köster, Ian Simon Märjama

Lisette Lepik’s solo exhibition “Firm & soft. Soft & firm” will open at Haapsalu City Gallery on 5th of February at 7pm.

Inspired by autobiographical material the exhibition deals with themes of gender roles in intimate relationships. Visitors will see emotionally charged paintings accompanied by a soundscape created for the exhibition, representing Lepik’s personal reflections and conversations with her mother and grandmother about their experiences within relationships and general family life.

The paintings are supported floor to ceiling by iron chains handcrafted by Lepik, representing the strongly held cultural and social baggage passed down between generations. The artworks within the exhibition act as a time machine through which one can observe the atmosphere of a 1990s city home in Mustamäe district or perhaps smell freshly cut grass from a recently mowed 1970s lawn in Rapla city.

*

“When you think about that era, showing your feelings wasn’t a normal thing to do. Especially for men. My mother showed her feelings more and respected her husband deeply.”

“He had to be obeyed at all times. When getting older, he became very strict.”

“We always had to do everything together with our parents. My mother knew how to properly preserve edibles for the winter. Those who did not have land to tend for lived a different life.”

“It was so nice to live together with my family.”

“I was impressed that he paid attention to me. He brought me flowers.”

“I had come to realize that I could only rely on myself.”

*

Gender roles in post-Soviet Estonia were heavily influenced by the Soviet era, where women were expected to be responsible for and maintain their household’s psychological and physical space. Men tended to fulfill active and successful roles outside of the home. However, thought and behavioural patterns within a society transform over time. In response to the rather narrow range of gender roles that were common during the Soviet era, new, more contemporary and free forms have emerged in today’s Estonia, such as the BDSM community. Within this framework individuals can choose a role with a specific character for themselves in a curated context.

Lisette Lepik: “I explore changes in gender roles and power dynamics through personal stories and photos of my family. Throughout the exhibition process I was inspired by BDSM communities. They provide an opportunity to reverse the roles and rethink expectations on different genders. Within this context power relations happen by mutual agreement. Roles — dominant or submissive, firm or soft — are chosen consciously and voluntarily, with prior communication regarding boundaries and desires being the norm. Power, control and submission does not mean oppression here, but rather trust.”

Lisette Lepik (b. 1999, Tallinn, EE) is an artist who creates paintings and installations. She is currently pursuing a master’s degree in Contemporary Art at the Estonian Academy of Arts and graduated with a bachelor’s degree in Painting at the same university in 2022. She has also studied installation and sculpture at the Iceland Academy of the Arts (2019). Her work focuses on topics related to being a woman within contemporary society.

Lisette Lepik has actively participated in group exhibitions in Estonia, Iceland, Austria, and Lithuania. In 2025 she co-organised a duo exhibition with artist Kristina Kuzemko and curator Kaidi Ojasoo at Club Virgin, a strip club in Tallinn. In 2024 she held two duo exhibitions with painter Brenda Purtsak at the Monumental Gallery of Tartu Art House in Tartu and Hobusepea Gallery in Tallinn. She received the Estonian Academy of Arts’ “Õpi ja sära” scholarship in 2024 and the Helju Rossmann scholarship in 2025.

The exhibition team

Location: Haapsalu City Gallery, Posti street 3

Opening: 5.02.2026 at 7pm

Open: 6.02.2026–01.03.2026,Wed-Sun 12am–6pm

Curator: Liisi Kõuhkna

Soundscape for the exhibition: Rene Manivald Tamm

Graphic design: Cristopher Siniväli

Tech support: Agur Kruusing, Mattias Veller

Special thanks to: Virve Lepik, Liana Lepik, Nora Schmelter, Gerda Hansen, Bob Bicknell-Knight, Estonian Academy of Arts metalworking shop, Cultural Endowment of Estonia, Põhjala Brewery

Doctoral School invites candidates interested in applying to the creative research PhD at EKA to participate in a preparatory course.
Creative research (artistic and practice-based research) is rooted in the professional practice of artists, designers, and/or architects, generating new knowledge that takes shape both in creative practice (artwork, creative process, product, service, etc.) and in a written dissertation.
The course focuses on designing and developing a creative research project, introducing completed and ongoing doctoral dissertations. It also helps participants clarify how to connect their research problem, methods, and creative practice.

The course consists of four seminars and consultations. Seminars are led by Dr. Jaana Päeva, head of the art and design PhD program, and Dr. Liina Unt. In addition to the theoretical part, doctoral students with a background in art and design will present their ongoing research. In the consultation, applicants will receive individual feedback on their research project proposal.

NB! The course takes place on-site at EKA.

 

Preparatory course schedule:

17.02   17:45-19:15 A-302
Introduction to artistic and practice-based research.

18.02   17:45-19:15 A-301
Research problem and framework. Example of a practice-based research (Katrin Kabun).

25.02   17:45-19:15 A-301
Integrating theory and practice through research question and methods. Example of a practice-based research (Sofja Hallik).

26.02   17:45-19:15 A-202
Example of a practice-based research. Practitioner´s viewpoint (Jane Remm).

08.03   Deadline 08:00
Submitting research proposal drafts for consultations.

12.03   Individual consultations (Jaana Päeva, Liina Unt, Kristi Kuusk).

To participate, please send a short introduction (max 1.5 pages) to irene.hutsi@artun.ee by 10.02.2026. The text should address your motivation, previous experience and the potential topic of your research. The number of places is limited, the acceptance will be confirmed by 13.02.2026.

The course will be held in English.

On Thursday, 29 January at 6 PM, we will open the exhibition Greetings from Kanepi! Wish u were here by Birgit Kaleva, Keiu Maasik and Mark Raidpere at FOKU gallery.

A father’s diary from the 60s, postcards from Kanepi, Colin McRae Rally 2.0. Abstracted movements, run down household appliances, a ghost car. Driftwood Songs, a spider plant, a life stored in virtuality.

The works of Birgit Kaleva, Keiu Maasik and Mark Raidpere open up insights into the stories of family lines, or rather into fragments or excerpts of these stories. The (auto)biographical is intertwined with fiction, perhaps we cannot know for certain what is based on real life and what is imaginary – and maybe it doesn’t matter either.

In Birgit Kaleva’s photo series Weizenbergi 51 (2025), we see views of the artist’s birthplace in Kanepi – a parish in South Estonia – where she still lives with her parents. To work through the shame that stems from living with her parents, Kaleva directs her gaze to the space around her instead of hanging her head in embarassment. Keiu Maasik’s video work A Ghost Story (2022) tells the story of a son and father that took place in an old rally game. A story where after his father’s death, the son at some point found his father’s ghost car in the game – a seemingly living part of his father stored in virtuality. Mark Raidpere’s video Lachrimae/Driftwood Songs (2017) combines abstracted movements with the longing diaries of a young man written in the 1960s, Tõnu Kõrvits’s arrangement Driftwood Songs and seven tears, e.g John Dowland’s Lachrimae from the late 16th century.

The title of the exhibition is borrowed from the accompanying text of Birgit Kaleva’s work Weizenbergi 51 (2025).

The exhibition will remain open until 28 March 2026.


Birgit Kaleva (b. 1996), working under the artist name motoerotica, uses herself and her immediate surroundings as the basis of her artistic practice. Through a spontaneous and angular approach, she reframes autobiographical material, creating distance from personal experience and offering a clearer perspective on its underlying structures. Her work is informed by an interest in visual rawness and awkwardness in unexpected compositions. Kaleva graduated from the Pallas University of Applied Sciences with a degree in Photography (2024).

Keiu Maasik (b. 1992) has degrees in Photography (BA) and Contemporary Art (MA) from the Estonian Academy of Arts. In her work, she has explored themes such as the impact of documentation on memory, identity and interpersonal relationships. In her recent projects, Maasik has focused on the virtual world, using computer game recordings or similar aesthetics in her video works and installations to reveal the different aspects of virtual life. She is one of the nominees of the Köler Prize 2026. 

Mark Raidpere (b. 1975) is a photographer and video artist, exploring the dilemmas and fears of the human soul, insurmountable loneliness and the tragedy of fate with great sensitivity and insight. Raidpere’s research often draws on his family’s universe, but sometimes takes on a social dimension, focusing on the marginalized, urban violence and street life. In 2005, Raidpere represented Estonia at the 51st Venice Biennale. His works have been exhibited in numerous international group and solo exhibitions and he has received several prestigious awards both in Estonia and abroad.

FOKU Gallery is a gallery-showroom focused on contemporary lens-based art. FOKU Gallery is run by the Estonian Union of Photography Artists (FOKU).


Supporters:
Cultural Endowment of Estonia, Peenjoogivabrik Nudist

Partner:
Rüki galerii

Technical support:
Reigo Nahksepp

Thanks to:
Artproof, EKA Gallery, Estonian Artists’ Association, Karel Koplimets, Kaisa Maasik-Koplimets, Madis Kurss, Tõnu Kõrvits

The EKA Institute of Art History and Visual Culture is part of the Visual Arts in Europe: An Open History (EVA) project that brings together more than 150 art and heritage historians representing the 46 member countries of the Council of Europe. The project is led by an Editorial Board, composed of six European specialists, and supported by the International Association of Research Institutes in the History of Art (RIHA). Its scientific and operational coordination is provided by the Institut national d’histoire de l’art (INHA) in Paris.

Launched in 2019, this scientific and editorial project results in the publication of a digital platform, documenting the history of the visual arts on the European continent, from prehistory to the present day. This platform will be structured around a collection of 475 objects and images, selected in consultation with all of its institutional partners. It is developed within the framework of an international dialogue, remaining attentive to the plurality and richness of scholarly traditions, accessible to all audiences, and providing an account of current research in the discipline of art history.

This seminar will examine the principles that inspired the launch of this project, the methodology used both for the selection of objects and the attribution of associated texts, as well as the challenges encountered during the development of the digital platform. The presentation of the project and platform prototype will be followed by an open discussion with colleagues from the EKA Institute of Art History and Visual Culture, host of this seminar and Estonian project partner. With INHA director Anne-Solène Rolland and project coordinator Margot Sanitas present, the seminar will be an opportunity for all the Estonian representatives to share their reflections on the selection of objects and how the project contributes to reshaping our common history of European visual culture.