Open lecture: Soundscape in animated short-films

Voices, noises, music and sounds are the element that make up the soundscape of any existing place. Those responsible for creating a soundtrack for an animated short film have the task of collecting sounds, capturing them from their original sources, removing them from their context and putting them back in the game in a new context: that of the film. In this way, a composer of a soundtrack for an animated film gives new souls to sounds.

Contrary to what happens in live action film where, in general, the voices and dialogue of actors, in the flesh, take center stage in the soundscape of a film, the animated short is filled with sounds often disconnected to speech.

This happens not only because animation is predisposed to communicate and tell stories through moving images, but also because, in general, the animated film is born without sounds: it sometimes adapts of pre-existing music, but more often it is born mute, and therefore requires sound to be constructed around the images, requires a soundscape built specially for the film.

Everything is permitted in a complex electroacoustic composition, made up of sounds of instruments mixed with sounds captured from the real world, electronic processing and sampling of all kinds, sounds of voices and resonant bodies, but always at the exclusive service of the film.

In the Masterclass, Andrea Martignoni will talk his own experience in that field, the collaboration with street artist Blu, with plenty of important artists-animators all over the world, showing and talk about the films he has working on as well as some other animations that touched him a lot for the use of the sound.

Andrea Martignoni was born in Bologna (Italy) in 1961, graduate in Musicology with a thesis on soundtrack in animation and in Geography with a thesis on soundscape. He is a performer, sound designer, historian in Animation. He has created soundtracks for several short animated films by Blu, Saul Saguatti, Michele Bernardi, Pierre Hébert, Virgilio Villoresi, Roberto Catani, Petra Zlonoga, Vessela Dantcheva, Boris Pramatarov, Soetkin Verstegen, Izabela Plucinska, Ülo Pikkov among others. He teached history of animation in Fine Arts Palermo, and in IULM University in Milan. He works closely with several international festivals all over the world with master classes, workshops, lectures on topics related to animation and soundtrack. He is often invited to international juries and selection committees throughout the world.

Exhibition of the EKA Museum
INVISIBLE MONUMENTAL PAINTING
Monumental art by students at the Painting Department of EKA 1962–1995

8.10.–5.11.2020 at the EKA Gallery

The opening of the exhibition and presentation of the catalogue will take place at 5pm on the 7th October at the EKA Gallery. Entrance from Kotzebue Street. Please wear a mask!

The exhibition introduces the fascinating collection of monumental painting designs from 1962–1995 stored in EKA Museum including design proposals for various works in all classical techniques of monumental painting: fresco, sgraffito, mosaic, and stained glass. In order to highlight the technical singularity of monumental painting, 12 completed works are displayed at the exhibition, including stained glasses and mosaics made as student works (and graduation projects) as well as two works removed from the former EKA building on Tartu Road before its demolition: a circus-themed fresco by Valentin Vaher and fragments from Urve Dzidzaria’s remarkable sgraffito which covered the walls of the canteen. Screened at the exhibition will be a video by Kai Kaljo, introducing the fate and stories of destruction of monumental paintings through interviews with artists.

The exhibition features 46 artists (and also a few anonymous authors) totalling 138 works. Most of the works at the exhibition come from the collection of the Museum of EKA, with added works from the private collections of the artists themselves. The oldest exhibit is a fragment of the fresco mural by Dolores Hoffmann removed from Rahu Cinema before its demolition (1962–1963); the most recent work displayed is a part of Ivika Luisk’s graduation project in mosaic technique (1995).

The exhibition is accompanied by a 160-page catalogue which provides an overview to the teaching of monumental painting at the EKA in 1962–1995 illustrated with documentary photographs and reproductions. It also sheds light on the fortunate occasions when students were able to realise their ideas in buildings. Worth mentioning here is Dolores Hoffmann’s collaboration with Aate-Heli Õun, lecturer of interior architecture. The catalogue also includes the list of artists who graduated in the specialty of monumental painting, and their graduation works, and provides information on student works which cannot be brought to the exhibition hall. Monumental paintings finished as integral part of architecture are introduced through photographs. During our research we managed to identify 44 works of which only half are available today. The catalogue and its lists of monumental paintings are compiled by Reeli Kõiv. She is also the author of the overview article printed the catalogue.

The catalogue also addresses the fate and status of monumental painting today. In addition to the essay based on Kai Kaljo’s memories, various opinions emerge in a discussion group of painters moderated by Gregor Taul, where artists from different generations talk about monumental painting, its possibilities and future place, drawing on their personal experience.The catalogue is designed by Tiina Sildre, edited by Kristi Metste and translated into English by Epp Aareleid.

Curator of the exhibition: Reeli Kõiv

Exhibition design: Kristi Kongi

Graphic design: Pärtel Eelmere

Exhibition team: Heldur Lassi, Mihkel Ilus, Karmo Migur, Hilkka Hiiop, Taavi Tiidor

Many thanks to: Cultural Endowment of Estonia, OÜ JÄRSI, OÜ Grano Digital, EAA Gallery, Dolores Hoffmann, Kai Kaljo, Epp Kubu, Gregor Taul, Tiina Sildre, Kristi Metste, Epp Aareleid, Enn Põldroos, Tiit Pääsuke, Urve Dzidzaria, Eva Jänes, Mari Roosvalt, Uno Roosvalt, Kaarel Kurismaa, Jüri Kask, Heldur Lassi, Hilja Nairis-Piliste, Saima Vaitmaa, Robert Suvi, Üüve Vahur, Heli Tuksam, Valentin Vaher, Andrei Lobanov, Valev Sein, Kalli Sein, Tiina Tammetalu, Inga Aru, Ivika Luisk, Rene Aua, Kaido Ole, Kai Kallas, Heinart Puhkim, Ilmar Köök, Tiina Meeri, Heie Marie Treier, Aate-Heli Õun, Epp Maria Kokamägi, Iris Uuk, Reet Reidak, Hilkka Hiiop, Solveig Jahnke, Sirli Aavik, Pire Sova, Pärtel Eelmere

On September 30th, in A101, Paul O’Neill will be giving a lecture on the subject “The Exhibition as Multiple Forms, Models, and Constellations”. 

It’s been said that “the group exhibition-form has become the primary site for curatorial experimentation and, as such, represents a relatively new discursive space around artistic practice.”

Paul O’Neill will look back at some of his exhibitions, and describe how cumulative and expanding exhibition-forms can constitute an investigation into how the curatorial role is made manifest through cohesive and co-operative exhibition-making structures applied during all stages of the exhibition production.

This talk will demonstrate how exhibitions create spatial relations between different planes of interaction for the viewer, and how multiple agencies and actors are necessary for an understanding of the curatorial as a constellation of activities that can be represented by the final exhibition-form.

O’Neill is an Irish curator, artist, writer, educator and the Artistic
Director of PUBLICS in Helsinki.

On Tuesday, 15 September at 14.20, pre-reviewing of Art and Design programme PhD student Ulvi Haagensen’s exhibition „ Thea Koristaja Museum” will take place at Hobusepea Gallery. Exhibition is part of the artistic (practice-based) doctoral thesis of Ulvi Haagensen.
Please registrate your participation at the pre-reviewing irene.hutsi@artun.ee.

The exhibition is open until 21 September, 2020.

Supervisors: Dr Liina Unt, Jan Guy (The University of Sidney).
Pre-reviewers of the exhibition: artist Urmas Lüüs and dr Ester Bardone, dr Anu Kannike.

Ulvi Haagensen’s solo exhibition “Thea Koristaja Museum” at Hobusepea Gallery

“Welcome to our place”, says Thea Koristaja, as she opens the door and indicates for us to enter an exhibition that explores the connections between art and everyday life. Thea Koristaja is an imaginary person, an artist, and a cleaner and this is her museum. Together with two other imaginary artists, known as Olive Puuvill and Loome Uurija, she works with Ulvi Haagensen, who is quite real, to explore how art and life can meet, converge, overlap and sometimes clash.

The exhibition uses the upstairs and downstairs of the gallery to present two different contexts – the exhibition space and the studio. Upstairs is clean and tidy, not dissimilar to a living room or hallway in a home – after all, we want to make a good impression, don’t we? But the real action of everyday life may in fact take place somewhere else, in the kitchen, the laundry, in front of the telly, in the everyday, when the visitors aren’t visiting. Downstairs is the cluttered, untidy workspace. This is where Haagensen and her imaginary team discover the unexpected as they push the familiar into new territory. A discarded greeny-blue Värska mineral water bottle, new and recycled timber, a length of rusted steel, wool and cotton yarns in a myriad of colours – all start to find a persona or a potential they never knew they had. Is it possible, here in the studio, to see the most exciting part, the magic of making, the moment when the thing emerges as a thing? Or is that something that takes place in the artist’s mind and can’t be shared?

Ulvi Haagensen was born in Sydney, Australia, but has been living, working and teaching in Tallinn for many years. She studied at City Art Institute in Sydney (BA) and College of Fine Art, University of New South Wales (MFA) and is currently doing her PhD at the Estonian Academy of Arts researching the connections and overlap between art and everyday life, as seen through the eyes of an artist, for whom art, work and everyday life are closely interwoven. 2018–2019 she spent a year as Artist-in-Residence and Visiting Research Fellow at the University of Sydney. She has had solo exhibitions in Estonia, Australia, Sweden and Lithuania.

Jane Jacobs
“Behind the Curtain”
Vitriingalerii, Tallinn, Põhja pst 35
Open September 9 through October 5, 2020

There is a pensioner quietly living “Behind the Curtain”. The data of Statistics Estonia shows that 25.1% of the population are pensioners. Sometimes we visit them behind the curtain; however, we do not live there, where you have to make both ends meet it with very limited resources. Estonian pensioners have the highest poverty risk in the EU. Pensioners are not marching the streets after Eurostat published surveys in February 2020 according to which Estonian pensioners are the poorest compared to other pensioners in developed countries. We do not shift the curtain in order to see how the older generation survives. Will we step quietly behind the curtain? What will happen with the pension funds? “Behind the Curtain” is an installation in Vitriingalerii by Jane Jacobs to emphasize this paradoxical normality.

REF: Eurostat, ERR news

Jane Jacobs is an independent collective with the aim of highlighting environmental and community issues. The collective was founded in New York in 2016 by Sandra Nuut. Jane Jacobs uses and chooses mediums that possibly best express and convey problems and questions that need to be addressed.
janejacobs.co

The installation is on view around the clock until October 5, 2020.

Location of Vitriingalerii: On the facade wall of the Estonian Museum of Contemporary Art (EKKM), Põhja pst 35.

Each year, the Estonian Academy of Arts Research and Development Office, in conjunction with the Tallinn City Enterprise Department, holds an applied research and development projects competition to motivate the Academy’s members to apply their academic and research activity in the public and business sectors and to highlight successful collaborative projects.
This year the competition welcomes research and development projects and students’ graduation works with a clear applied output – projects benefitting a company or an institution or with potential to better social well-being in a broader sense.
The works must be completed between 01.09.2019–31.08.2020.
The author(s) of the best project are awarded 1000€, the author(s) of the second best work a prize of 800€.

To submit a project to the competition a completed form together with additional materials must be sent to tao@artun.ee no later than 14 September 2020. The e-mail addresses of all authors of the work must be included among the e-mail recipients.

More info

On Friday, 4th of September at 4 pm, the workshop “Looking for a Common Space” will open.
Estonian Academy of Arts students are collectively in a search for a communal space where they can socialize, relax and get inspired. Various workshops will take place throughout a two week period and are open to all EKA students. The workshop poses the question, now that we all share a building again, where has the inspiring atmosphere, collective and feeling of belonging gone that was so characteristic to EKA before? Contemporary art students look at these concerns and transform a classroom into a comfortable space meant for students. The workshop explores academic boundaries. Because the university building is struggling with a lack of space, the only possibility of having a student area is to approach the need through academic matter, applying for
a room under the guise of holding a workshop. To make the workshop appear genuine, an ironic program has been put together that encompasses workshop tasks such as 5 minutes of staring at the ceiling or 1 hour of just being. The project raises the question, what measures need to be taken in order to get a space for students where we can relax, meet new people, share experiences and let loose of the academic atmosphere?
The aim of this project is to get the attention of the university board members. To raise their awareness once more that a space for students is needed in order to fulfill the purpose of this shared building and to rebuild the sense of community.
Participating artists: Sindey Lepp, Johannes Luik, Nusrat Jahan, Ott Lemsaar, Tõnis Laurson , Grete Remmel.

Conference is a part of  the Ars Electronica 2020 programme: “In Kepler’s Garden”

Ars Electronica Garden Tallinn

https://ars.electronica.art/keplersgardens/en/new-technologies/

Direct streaming in Youtube (starts at 11.00 UTC+2): https://youtu.be/jeX-NjwJBwA

Visible also there: https://tv.artun.ee/eka

Varvara Guljajeva keynote: https://ars.electronica.art/keplersgardens/potentials-and-risks-of-ai/

REGISTRATION!

Short description

The conference discusses the role of technology in creative practices. On one hand, we aim to underline what kind of changes, new ideas, trends, and methodologies, technology has introduced into art and design. And on the other hand, the conference offers a space and time for unraveling new concepts, ideas, and dangers that the technological age introduces today and in the future. Especially, we would like to take a closer look at the topics as AI and machine learning. What can offer AI for creative communities? Is it here for boosting creativity and innovation or replacing human creativity with a machine one? And what kind of impact all these computationally expensive processes have on our environment, design, and art?

The conference invites local experts and practitioners to debate and share their ideas over these topics. We will also invite one or two presenters from abroad to talk about their research and practice over video conference.

This event we see as a seed for a future workshop at the art academy and also a publication.

Local experts and practitioners:

• dr Raivo Kelomees
• dr Varvara Guljajeva
• Oliver Laas
• Mar Canet
• Dr Andi Hektor
• Jon Karvinen
• Dr Maximilian Schich

Schedule: (Tallinn time)

1. 12.00 – 12.55 keynote dr Varvara Guljajeva, “Exploring Potentials and Risks of AI Technology from a Perspective of Creatives.”
2. 13.00 – 13.30: dr Raivo Kelomees “Creativity Algorithms from Surrealist Techniques to AI”
3. 13.30 – 14.00: Mar Canet, “Latent space – a wonderland to discover”
4. 14.00 – 14.15 Coffee break
5. 14.15 – 14.45: dr Maximilian Schich, “Cultural Data Analytics: Art, Design, and/or Science?”
6. 14.45 – 15.15: Andi Hektor ‘AI in art, tech & science: dream/hope/hype/fear?’
7. 15.15 – 15.45: Oliver Laas “Are We Witnessing the Dawn of AI-Artists?”
8. 15.45 – 16.15 Coffee break
9. 16.15 – 16.45: Jon Karvinen “AI and Garfield: The Future of Creativity”
10. 16.45 – 17.30 Panel discussion with dr Raivo Kelomees, dr Varvara Guljajeva, Oliver Laas, Mar Canet, Andi Hektor, Jon Karvinen, dr Maximilian Schich

Schedule: CEST time

1. 11.00 – 11.55 keynote dr Varvara Guljajeva “Exploring Potentials and Risks of AI Technology from a Perspective of Creatives.”
2. 12.00 – 12.30: dr Raivo Kelomees “Creativity Algorithms from Surrealist Techniques to AI”
3. 12.30 – 13.00: Mar Canet “Latent space – a wonderland to discover”
4. 13.00 – 13.15 Coffee break
5. 13.15 – 13.45: dr Maximilian Schich “Cultural Data Analytics: Art, Design, and/or Science?”
6. 13.45 – 14.15: Andi Hektor ‘AI in art, tech & science: dream/hope/hype/fear?’
7. 14.15 – 14.45: Oliver Laas “Are We Witnessing the Dawn of AI-Artists?”
8. 14.45 – 15.15 Coffee break
9. 15.15 – 15.45: Jon Karvinen “AI and Garfield: The Future of Creativity”
10. 15.45 – 16.30 Panel discussion with dr Raivo Kelomees, dr Varvara Guljajeva, Oliver Laas, Mar Canet, Andi Hektor, Jon Karvinen, dr Maximilian Schich

Contact: Raivo Kelomees, raivo.kelomees@artun.ee

EKA clips:

• https://youtu.be/rIEOF3WMnmw
• https://www.instagram.com/p/Bw8-DT3DVm9/?utm_source=ig_web_copy_link

Participants and abstracts

Dr Varvara Guljajeva

“Exploring Potentials and Risks of AI Technology from a Perspective of Creatives”

Abstract:

It seems that AI is the ultimate solution, but also the biggest concern nowadays. In the beginning of AI technology development in the late 50s, the field did not reach set goals because the machines were not smart and fast enough. Today, when it is spoken about the third wave of AI and quantum computing, the dream is very close to come true – reaching the human-level of intelligence. However, what kind of consequences could bring these technological achievements?

Starting from the invention of the first computer, artists have always been the catalysts for the development of technology from one hand, and offering a critical vision from another.

What is the state of the art of AI today? I am going to explore the new trends in the art world and emerging tools used by creatives. Moreover, the talk points out the devil aspect of AI from the political and ethical point of view, and looks into the creative cases that hack the smart algorithms and fight back the system of control.

Biography:

Dr Varvara Guljajeva is an artist and researcher. She holds a position of researcher at the Estonian Academy of Arts, and also at the ELISAVA Barcelona School of Design and Engineering. Varvara has been invited as a visiting researcher to XRL, Hong Kong City University, IAMAS (Ogaki, Japan), LJMU (Liverpool, UK), Interface Cultures in the Linz University of Art and Design, and Blekinge Institute of Technology (Karlshamn, Sweden).

As an artist she works together with Mar Canet forming an artist duo Varvara & Mar. In their practice art meets technology, and technology an artistic concept. 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, and more.www.var-mar.info

Dr Raivo Kelomees

“Creativity Algorithms from Surrealist Techniques to AI”

Abstract:

Creativity is frequently a romantically mystified phenomenon in non-professional literature, but in history there are plenty of attempts to find methods and machines to mechanize the creative process. I explore parallels between traditional creative practices and computerised methods.

Bio:

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 in 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

Dr Andi Hektor

‘AI in art, tech & science: dream/hope/hype/fear?’

Abstract:

AI is a mythological creature. Sometimes a beautiful dream, sometimes a nightmare. I will show and explain some limits of AI in art, technology and science. In the near future, the development of autonomous vehicles will be a test case of AI in technology. I will discuss the limitations there and draw some parallels in art and science.

Andi Hektor

Andi Hektor is a senior researcher working in astro-particle physics and cosmology at KBFI, Tallinn. He has worked at the Tartu, Uppsala, Helsinki and Cambridge University and at CERN in Geneva, Switzerland. He is a co-owner and a member of the boards of the companies GScan OÜ and Nosob OÜ. He is an active science communicator and a founder of the Estonian Chamber of Science. He is an enthusiast of hydrogen and nuclear energetics.

Oliver Laas

“Are We Witnessing the Dawn of AI-Artists?”

Abstract:

From the musical dice games popular in 18th century Europe to the mathematical literary experiments of Oulipo since the 1960s, there is a long history of using creativity aides in the arts. A relatively recent addition to the artist’s creative toolbox, artificial intelligence (AI), raises a number of questions about authorship, creativity and the nature of art. This paper applies a criterion for evaluating the creativity of recent prominent examples of AI creativity both within as well as outside the arts. After concluding that the evidence for AI creativity is inconclusive at present, it will be suggested that resistance to AI creativity, and the accompanying tendency toward moving the goalposts, is at least partly motivated by intuitions against artificial moral agents.

Bio:

Oliver Laas is an artist, cultural theorist and philosopher whose research interests include metaphysics, logic, philosophy of technology, and semiotics. He currently works as assistant professor and junior researcher at the Estonian Academy of Arts, visiting lecturer in philosophy at Tallinn University and the Estonian Business School, and visiting lecturer on the video game industry at the Estonian Entrepreneurship University of Applied Sciences. His artworks have been exhibited in the Impact International Printmaking Conference and the Tallinn Print Triennial. His recent publications include “Coordination Games and Disagreement” (in Controversies in the Modern World, eds. A. Fabris & G. Scarafile, 2019), “Instrumental Play” (in Jahrbuch Technikphilosohie: Arbeit und Spiel, eds. A. Friedrich, P. Gehring, C. Hubig, A. Kaminski & A. Nordmann, 2018), and “Questioning the Virtual Friendship Debate: Fuzzy Analogical Arguments from Classification and Definition” (Argumentation 32(1)).

Mar Canet Sola

“Latent space – a wonderland to discover”

Abstract:

In the latent space of the AI models that generate sound, image, text or other content are hidden all possibilities that can be used for creative purposes. The research explores novel methods to understand, characterise and navigate the latent space of cultural forms of meaning in the latest developments and products of machine learning – with an emphasis on Deep Learning. The presentation explores how Interactive art systems can be used to create meaningful and novel ways to navigate the latent space.

Bio:

Mar Canet Solà is an artist and researcher. He has two degrees: in art and design from ESDI in Barcelona and in computer game development from University Central Lancashire in the UK. Mar has gained a master’s degree from Interface Cultures at the University of Art and Design Linz. He is Phd candidate in the Cudan research group in BFM Tallinn university. He is a course instructor of the “Data visualization”course at MA of data science in Open University of Catalonia (UOC). Mar has been invited as a visiting researcher to XRL, Hong Kong City University, IAMAS (Ogaki, Japan), Blekinge Institute of Technology (Karlshamn, Sweden).

As an artist he works together with Varvara Guljajeva forming an artist duo Varvara & Mar. Often duo’s work is inspired by the information age. In their practice they confront social changes and impact of the technological era. In addition to that, Mar is fascinated by AI/ML, kinetics, participation, and digital fabrication, which are integral parts of her work.

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, and more.

Link: http://var-mar.info/

Jon Karvinen

AI AND GARFIELD: THE FUTURE OF CREATIVITY

Creativity is an aspect of culture that is explored by machine learning more and more. In my presentation, I will be discussing the possibilities of AI in studying and thus understanding comics and to understand their value in the art world. I will discuss how AI can have the means to be a viable tool: how it could have the tools to teach us about creativity and how AI could be used in analysis as networks, machine learning and algorithms are becoming more common in life. My presentation focuses on comics; exploring and discussing the steps of how analysing AI-generated visual narratives could bring out more from the study of comics and visual art and vice versa. For this, I analysed the current direction of the comics scholarship by focusing on the most elementary of comic strips. Here comes Garfield.

Bio:

Jon Karvinen is a recent graduate from Tallinn University, holding a BA in Culture and Arts and MA in Art in Humanities. He works as an illustrator and artist in Finland, focusing on comics and how they are perceived in society.

The exhibition focuses on printmaking as a process that is cultivated through contacts between forms and counterforms (negative space), and by the tension produced by these interactions. We are not so much interested in specific images, proofs, shapes or manners as in printed matter’s ability to introduce the new space that emerges between matrix and multiplicity. We focus on forms, and their dissemination through various statements and manifestations of printmaking in the post-disciplinary era. We define material as a subject, while the predicate denotes what the material does. We wish to return to the beginning of the functions of imprint and investigate its points of contacts with other disciplines. The exhibition takes its name from Georges Didi-Huberman’s book La ressemblance par contact: archéologie, anachronisme et modernité de l’empreinte, 2008.

The exhibition curated by Liina Siib and Maria Erikson from the Department of Graphic Art at the Estonian Academy of Arts features artists from Europe and the Americas and is accompanied by a film program.

Artists: Ann Pajuväli (EE), Ari Pelkonen (FI), Augustas Serapinas (LT), Cecilia Mandrile (US/UK), Claire Hannicq (FR), Elena Loson (AR), Dénes Kalev Farkas (EE/HU), Inka Bell (FI), Inma Herrera (ES/FI), Liis-Marleen Verilaskja (EE), Lina Nordenström (SE), Maria Erikson (EE/FI), Maria Izabella Lehtsaar (EE), Maria Valkeavuolle (FI), Riin Maide (EE), Tatu Tuominen (FI), Viktor Gurov (EE).

Curators: Liina Siib, Maria Erikson (Department of Graphic Art, EKA)
Exhibition design: Kaire Rannik
Graphic design: Viktor Gurov
Translators: Tiina Randviir, Richard Adang
Risograph printing: Pärtel Eelmere

We thank: Estonian Academy of Arts, Department of Graphic Art and Department of Graphic Design; Cultural Endowment of Estonia, Tartu Art House, EKA Gallery, Estonian Museum of Applied Art and Design, Tanel Asmer, Pire Sova, Kaido Kruusamets, Mart Saarepuu, Hans-Gunter Lock.

The Graduation Ceremonies of this year will take place on August 24th in the EKA hall (room A101, Põhja puiestee 7, Tallinn).

12.00 o’clock – graduates of Faculty of Design

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

Dear graduates,

Seating is reserved for You in the hall, congratulators can watch the ceremony from the screens placed in the open areas of the 1st floor or through tv.artun.ee