Exhibition “Abandoned Landscapes: Joaveski Paper Factory”

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.

Merike Estna’s solo exhibition “Ocean” in the large gallery of the Tartu Art House. The curator of the exhibition is Maria Arusoo.

At the core of the exhibition “Ocean” lies the existential coexistence of life and death, as seen through the perspective of motherhood. Merike Estna looks at the experience of motherhood in a complex and sensitive way. Alongside oceanic happiness and love, pain and loss are equally present, themes that are often brushed aside when talking about birth and motherhood but are very much present regardless. 

“Birth as a theme appeared in Estna’s work after her son was born and over the last four years it has become a central axis in her work. At first, it appeared as a prophetic ghost in a painting, created while the artist herself was not yet aware of her pregnancy and from there, it has grown and expanded. Estna is equally interested in the art historical view on the experience of motherhood. Another significant thematic thread running through the exhibition is the question of living painting – how to awaken painting, a rather static and hierarchical object, and make it communicate with the viewer – something Estna has been focusing on for more than a decade by now. At the Tartu Art House exhibition, visitors can witness the process of painting the five-part monumental work “Ocean” as the artist works on it every Tuesday. The painting is not intended to be completed but will be continuously added to during future exhibitions until the artist’s death, as Estna herself claims,” the curator explains.

Merike Estna (b. 1980) studied painting at the Estonian Academy of Arts (BA, 2005) and at Goldsmiths, University of London (MFA, 2009). She also graduated from the Tartu Art School (2000). Since 2025, she is the visiting professor in Contemporary Art MA at the Estonian Academy of Arts. Estna has received several prestigious Estonian art awards, including the Hansapank Art Award (2004), the Eduard Wiiralt Scholarship (2005) and the Konrad Mägi Award (2014). From 2017 to 2023, she was an Associate Professor at the Painting Department at the Estonian Academy of Arts. Between 2020 and 2022, Estna was one of the recipients of the Estonian artist’s salary. In 2026, Merike Estna will represent Estonia at the 61st Venice Biennale.

Estna has participated in international exhibitions across Europe, the United States and Latin America, including at the Museo de Arte Contemporaneo Querétaro in Mexico, Fundación Casa Wabi in Mexico, Publics in Helsinki, Kiasma Museum of Contemporary Art in Helsinki, Galería Karen Huber in Mexico, Bosse & Baum in London, Kunstraum in London, Galerie Georg Kargl in Vienna and Temnikova & Kasela Gallery in Tallinn. Her most notable solo exhibitions have taken place at Kai Art Center in Tallinn (2022), Moderna Museet Malmö (2019–2020), Kim? Contemporary Art Centre in Riga (2018) and KUMU Art Museum in Tallinn (2014).

Graphic designer: Martina Gofman
Translator: Keiu Krikmann

Support: Cultural Endowment of Estonia, Estonian Ministry of Culture, Estonian Centre for Contemporary Art

Thank you: Evelyn Raudsepp, Jaime Lobato, Aime Estna, Kõu Fortino Lobato Estna, Lumi Marisol Lobato Estna, Alma Cardoso, Jaime L. Hernández, Aleksander Tsapov

COMPOSE◠DECOMPOSE
EKA Gallery 31.10.–30.11.2025
Open Tue–Sat 12–6 pm Sun 12–4 pm
Opening: Thursday, October 30 at 6 pm
Performance by Albertina Tevajärvi: Thursday, October 30 at 6.30 pm
Tour guided by the curators and artists: Friday, October 31 at 5 pm

The exhibition “compose◠decompose” submerges deep into a cyclical narrative of growth, decay, and renewal. Through the works of thirteen artists, the exhibition traces along the fragile balance of care and control.

The exhibition brings to light the hidden and often overlooked elements of our ecosystem— microscopic creatures, plant matter and organic systems that thrive beneath the surface of our mundane. Here Composition and decomposition do not appear as opposites, but rather as entangled acts of shaping and unshaping, of tending and of letting go.

The participating artists work with various ways to either mimic- or closely collaborate with the processes of the natural world. In this exhibition the artists dream about composing and decomposing. They dream about listening to, remembering and reimagining narratives that collaborate with insects, animals, plants, and microorganisms.

Participating artists: Alexis Brancaz, Albertina Tevajärvi, Alma Bektas, Augustas Lapinskas & Ditiya Ferdous, Freyja Tralla & Kassandra Laur, Janne Schipper & Andreas Andersen, Johanna Rotko, Julie Sjöfn Gasiglia, Kamilė Pikelytė, Paula Zvane
Curated by artists Inessa Saarits and Victoria Björk
Graphic design: Daria Titova
Technical support: Karel Koplimets and Karmo Migur
Supported by the Cultural Endowment of Estonia, the Icelandic Visual Arts Fund, Sadolin Estonia and Tallinn City.
Opening drinks from mirai™ and Põhjala Brewery.

Download the leaflet here.

CANCELLED!

The 2025/2026 academic year open lecture series will be held in collaboration with the Institute of Art History and Visual Culture and the Faculty of Architecture. The theme of this academic year is “Architecture and the Ethics of Care” and the lectures will be curated by KVI Senior Researcher Dr. Ingrid Ruudi.

Architecture will be addressed from the perspective of the ethics of care: how does architecture take care of people’s physical, emotional and social needs, both today and in a historical perspective?

On November 13 at 6 pm Dr Emma Cheatle will give a lecture “Lying in the Dark Room: Architectures of British Maternity”.

This research, and my book of the same name, studies the spatial, architectural experience of childbirth, through both a critical history of maternity (lying in) spaces and buildings and a creative exploration of those that we use today.

Where conventional architectural histories objectify buildings (in parallel with the objectification of the maternal body), the book presents a creative-critical autotheory of the architecture of lying-in. It uses feminist, subjective modes of thinking, which travel across disciplines, registers and arguments. The research assesses the transformation of maternity spaces—from the female bedchamber of the eighteenth-century marital home, to the lying-in hospitals of the eighteenth and nineteenth centuries purpose built by man-midwives, to the late-twentieth-century spaces of home and the modern hospital maternity wing—and the parallel shifts in maternal practices. The spaces are not treated as mute or neutral backdrops to maternal history, but as a series of vital, entangled atmospheres, materials, practices and objects that are produced by, and, in turn, produce particular social and political conditions, gendered structures and experiences.

Moving across spaces, systems, protagonists and their subjectivities, I show how historic hospital design and protocol altered ordinary birth at home and continues to shape maternal spatial experience today.

Dr Emma Cheatle is Senior Lecturer in Architecture at University of Sheffield. She trained as an architect in the UK and has a PhD in Architecture from the Bartlett, UCL which was awarded RIBA President’s Award for Outstanding PhD Thesis, 2014. Her research is interdisciplinary and examines the political, cultural and social implications of architecture, art and urban space, with a particular interest in addressing health, gender, race and disability inequalities. Her monograph Part-Architecture: The Maison de Verre, Duchamp, Domesticity and Desire in 1930s Paris (Routledge 2017) is a complex architectural humanities project, which engages critical and creative writing and drawing to analyse the building the Maison de Verre and the artwork “the Large Glass”, placing new primary and archival material in the context of social, sexual and medical histories of 1920s and 30s Paris. Her second book, Lying in the Dark Room: the Architectures of British Maternity (Routledge 2024), examines how the spatial histories of lying-in and maternal practices continue to shape the maternal body today. Emma is the UK Editor for the Bloomsbury Global Encyclopaedia of Women in Architecture 1960–2015 (Bloomsbury 2025), and part of several feminist projects including the Feminist Art and Architecture Collaborative (FAAC). Her collaboration with Hélène Frichot, University of Melbourne, led to a major edited collection of articles on the feminist theorist Jennifer Bloomer, for the Journal of Architecture (2024).

The lectures are intended for all disciplines, not only for students and professionals in the field of architecture.

All lectures are held on Thursdays at 6 pm in the EKA main auditorium. All lectures are in English and free of charge.

Lecture schedule 2025 autumn

• Sept 25 Elke Krasny (Vienna Academy of Arts) “Architecture and the Right to Care”
• Oct 16 Leslie Kern (Toronto) “Towards a Feminist City.”
• Nov 13 Emma Cheatle (University of Sheffield) “Lying in the Dark Room: Architectures of British Maternity”
• Nov 27 Robert Mull (London) “The Free World”

The lecture series is supported by the Cultural Endowment of Estonia.

Previous open architecture lectures can be viewed at www.avatudloengud.ee

21.10 16.00 

https://events.teams.microsoft.com/event/7259da59-2f6c-4ba2-97c8-348e6b5a6666@6d356317-0d04-4abc-b6b6-8c9773885bb0

Riikka Räisanen (Professor, University of Helsinki, Colour4CRAFTS consortium leader)

“From Tradition to the future: Chemistry behind natural Colour Palette” (In English, online)

Societies are stretching towards greater sustainability and textile colouration has been in discussion as it is one of the industries which uses vast amounts of energy and water resources and pollutes environment through poor control of colouration processes. Also, the aim to pull away from fossil resources has driven research to studies of natural and bio-based solutions in materials and dyeing.  Before the mid 19th century, and the revolution of colour chemistry designing synthetic dyes, natural sources offered the only colourants in use. Currently natural dyes have become more popular among designers and craft practitioners. In my lecture I will showcase some of the recent research done in the area of bio-based colourants and novel solutions how to apply them in different materials and final products. Focus is especially laid in proceedings of the EU-Horizon funded Colour4CRAFTS project and its multidisciplinary teams which include researchers from archaeology, history, textile technology and craft, chemistry, design and futures studies.

Riikka Räisanen, University of Helsinki, Professor. Riikka Räisänen is a professor in craft science and craft pedagogy in the University of Helsinki. Her background is in chemistry and natural sciences, craft studies and education. She has over twenty years of experience in research of natural colourants and textiles, and has published numerous articles and books on the topic. In 2016 she was awarded with the Silver Medal of the Society of Dyers and Colourists (UK) for the research in the field of natural colourants. She is the Colour4CRAFTS consortium leader.

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The lecture is part of a series “Textile Dyes of the Past and Future: sharing the Colour4CRAFTS Experience” begins, initiated by the EU Horizon project Colour4CRAFTS.

The webinar series brings together EU Horizon project Colour4CRAFTS members and important guests to discuss and share their knowledge on textile dyes of the past and future. The series is brought together by the University of Tartu and Viljandi Culture Academy in collaboration with the Estonian Academy of Arts.

EU Horizon project Colour4CRAFTS combines a multidisciplinary team of experts from research institutes and R&D companies to carry out studies of bio-based textile colouration in traditional historic perspective and in combination with cutting-edge technologies of colourants biosynthesis and waterless applications techniques. Colour4CRAFTS members are the University of Helsinki, University of Lapland, University of Tartu, KIK-IRPA, University of Leeds and PILI Bio.

Julia Maria Künnap, “Travelling Light. A Study on the Movement of Light in Experimentally Cut Gemstones”

EKA Library 21.10-4.11.2025

This artistic research explores the fundamental principle of gemstone faceting — the refraction and reflection of light – in the combination of faceted and freeform elements. The aim of the exhibition is to demonstrate how individual reflective elements, through their mutual interaction, create the brilliance of a gemstone. To illustrate this theory, the exhibition presents both work in process and finished gems set in jewelry. The Exhibition is the First Creative Project of Doctoral Thesis “Playing with fire. Possibilities for designing four-dimensional gemstones by combining traditional faceting and free-form engraving. Time as a design element.” Supervisor Prof Krista Kodres

Julia Maria Künnap is a PhD student and junior researcher in Art and Design.

PhD Seminar “Socially Engaged Art as a Subject of Study and its Potential for Higher Arts Education’s Third Mission – Contributing to Society” will take place on 21 November 10.00-14.00 at Estonian Academy of Art. Lecturer Kai Lehikoinen (Uniarts Helsinki).

Seminar is open to PhD and MA students.
Please register HERE by 14 November.

What do we mean by socially engaged art, and why does it matter in higher arts education today? This seminar explores socially engaged art as a dynamic and interdisciplinary field of study that fosters creativity, collaboration, and societal transformation. In this theoretical and practical seminar conducted by Kai Lehikoinen we will get familiar with socially engaged art, its interests, central organising concepts, principles of practice, skills and competences, and criteria of success.

In this session, drawing from his new book Creativity, Society, and the Role of Socially Engaged Art in Higher Arts Education (Routledge, 2025), Kai Lehikoinen introduces case examples and invites participants to imagine how socially engaged arts practices can contribute to the Third Mission of higher arts education—engagement with society—by creating “third spaces” for dialogue, co-creation, and innovation. Through a lecture presentation, followed by group discussions and sharing, participants will reflect on how these practices can enrich research, pedagogy, and institutional impact across diverse cultural contexts.

This seminar is relevant for artists in all art forms, researchers, practitioners, and educators who are curious about how to expand their work and share it further, regardless of their previous experience with the field of socially engaged art.

Kai Lehikoinen is a Finnish scholar of dance pedagogy and socially engaged arts, currently serving as a University Researcher at the Research Institute of Uniarts Helsinki. His research spans socially engaged arts practices, masculinities in dance education, and the evolving professionalism of artists. He actively contributes to discourse on the futures of higher arts education, as well as equity and well-being in and through the arts.

Throughout his career, Lehikoinen has held several leadership roles, including Vice Director of ArtsEqual Research Initiative and Director of the CERADA research centre. He currently serves as a member of ELIA’s Representative Board, contributing to international dialogue on arts education and policy.

Estonian Doctoral School for the Humanities and Arts

Project “Cooperation between universities to promote doctoral studies” (2021-2027.4.04.24-0003) is co-funded by the European Union.

“Carmen Electra” – like a bolt from the blue!

On October 24 at 7 pm, the band ants1 will premiere their musical “Carmen Electra” at EKA Gallery. The act combines contemporary dance, colorful costumes, disturbing music, and scandalous statements into its magical world. The libretto was collaboratively written by members of ants1, with the lead role performed by the eternally young and immortal Anumai Raska.

“Carmen Electra explores themes that feel both familiar and melancholic to a generation coming of age in a time when Europe is once again at war. It is a time when leaders of great nations won’t acknowledge climate change, when carrots cost more in Estonian grocery stores than in Belgium – even though the average income here is three times lower,” says a rabbit who wished to remain anonymous, commenting on the background of the production. “What will become of us like this?”

The band ants1 is a collective that emerged from the Estonian Academy of Arts, whose members work in various fields of contemporary art. When they come together, the collective is called ants1, whose music connects contemporary social problems with the painful yet fun language of punk music.

The musical “Carmen Electra” is not recommended for children under 12.

Performers: Ekke Janisk, Ats Kruusing, Andreas Kübar, Eke Ao Nettan, Anumai Raska, Henri Särekanno, Mattias Veller

Costumes by: Lisette Sivard

Light design by: Leon Allik

Sound design by: Roman Belov

Co-producer: elektron.art

Supported by: Estonian Cultural Endowment, City of Tallinn

Performances will take place on October 24, 25 and 26 at the EKA Gallery (Põhja pst 7, Tallinn). The performance is in Estonian with English subtitles. Entrance through the EKA lobby (from Põhja puiestee).

Tickets are available at Fienta:

https://fienta.com/s/ants1-muusikal-carmen-electra-esietendus 

More info: https://elektron.art/projects/carmen 

CARMEN ELECTRA

Musical by ants1 at EKA Gallery

Performances:

24.10.25 19.00–20.30

25.10.25 19.00–20.30

26.10.25 17.00–18.30

“Carmen Electra” is a completely ordinary musical with a classical structure, a very beautiful stage design, and where the main character overcomes difficulties from the beginning until the end. The libretto was written by the band ants1. The lead role is played by the eternally young and immortal Anumai Raska.

The magical world of the musical combines modern dance, colorful costumes, disturbing music and scandalous statements. Since the musical deals with death in essence, it is not possible to summarize it briefly. We hope for your understanding!

“We build our own workshop of non-existent tools from week to week, we rent two-room apartments to sleep in alone, we are accepted for jobs that we have never applied for in the first place, we are specialists in matters that we have never studied. Damn it… or are we canceling life ourselves before we even live it?”

– Unknown elk from the Estonian Forest, 2025

The ants1 band is a collective that emerged from the Estonian Academy of Arts, whose members work in various fields of contemporary art. When they come together, the collective goes by the name ants1, whose music connects contemporary social problems with the painful yet fun language of punk music.

On October 16, Narva Art Residency will host the largest international fashion exhibition in Narva to date, “Hõimulõim (Tribal Thread),” led by the Fashion Design Department. The exhibition will open as part of the official program of “Narva Finno-Ugric Capital of Culture 2025” and will take place during the most important week of the tribal peoples’ calendar year, Tribal Week.

“Hõimulõim” is an exhibition that weaves Finno-Ugric tradition into contemporary fashion design. It is a tribute to a rich heritage, the survival of which depends on how skillfully we can bring it into our lives today. Tradition does not remain in a closet or archive – it only lives if we let it grow with time, wear it and love it.

The exhibition features the work of designers from nine Finno-Ugric peoples. The works of Sami, Khanty, Udmurt, Mari, Komi, Hungarian, Karelian, Finnish (including Ingrian) and Estonian (including Seto and Võro) creators highlight that clothing can be both a practical object and a carrier of identity and collective memory. Each author asks in their own way what it means to be a Finno-Ugric designer in the 21st century – how to weave one’s tradition into a modern form and what to tell the world about its multi-layered field of meaning. These works also open up ethical choices: what material to use, how to preserve local skills and how to tell the story of one’s people in a way that creates a dialogue even for those who were not born into this cultural space.

The “tribal thread” (hõimulõim) is an invisible but tenacious bond between Finno-Ugric peoples. It does not ask for national borders or political sentiment, but runs deep in the undercurrents – in language, patterns, songs, dance and beliefs”, says the exhibition curator Piret Puppart and adds: “In today’s world, where the song of some peoples is quieter than ever before and the weavers of many patterns have become isolated, this thread between tribal peoples is particularly fragile.”

Various social tensions are increasingly testing the survival of traditions and forcing us to look for ways to keep them alive for future generations. “Hõimulõim” invites us to notice that preserving culture is not only about preserving the past, but also about creating the future. It is an invitation to wear our heritage on a daily basis – be it a piece of jewelry, an object or an ornament – ​​and to understand that every such choice strengthens the thread that connects us across borders and eras.

The exhibition’s interactive, technologically innovative experiences are also exciting. Visitors can discover patterns hidden in dresses created by Piret Puppart using magnets, as well as experience a hologram waterfall dedicated to the world of Votian patterns designed by artist Alyona Movko-Mägi. Hologram art is a little-known technique in the world of conjuring visual elements that cannot be touched with the hand, but can be touched virtually and with the eye. This is the first time this medium is coming to Narva in such a volume.

Finno-Ugric roots also have a wider international reach in the world of design and art than one might think. The Komi compass pattern has found its way into Kandinsky’s paintings, and Udmurt mannerisms into Tchaikovsky’s music. However, only recently was a designer with Karelian roots awarded the Diesel Design Award, while Izhor blood has dressed Estonian Olympic athletes in Athens. The representative of the Mari nationality was behind the knitting collections of the legendary Estonian brand Mosaic for years, and when wearing Adidas shoes, you can feel the Udmurt heart. The Diesel Design Award-winning collection and the best pieces from Helsinki Design Week are also coming to the exhibition that will open soon. The exhibition can be visited until January 11.

Curator: Piret Puppart

Artists: Antrea Kantakoski, vainio.seitonen (Johanna Vainio & Merja Seitsonen), Sigrid Kuusk, Ramona Salo, Dina Andreeva, Natalja Lill, Darali Leli, Eneken Johanson, Stella Tukia, Kaia Kuusmann, Zsófia Papp, Zsófia Papp, Maria Roosiaas, Hanna-Tiina Pekk, Anneliis Reili, Kertu Kivisik, Nadežda Kasatkina, Lana Vakhovska, Karl Joonas Alamaa, Piret Puppart and Alyona Movko-Mägi 

Graphic design: Eva Sepping

Many thanks: Anna Kuznetsova, Muš Nadii, Nikolai Anisimov, Nikolay Kuznetsov, Barbi Pilvre, Jaak Prozes, Žanna Toht, Ekaterina Kuznetsova, Helena Schilf, Natalia Ermakov

Supporters: Estonian Academy of Arts, Fashion Design Department, Tribal Peoples Program, Cultural Endowment, NGO Fenno-Ugria, NART, Narva Finno-Ugric Capital of Culture 2025

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Artist talks with James Prevett and Maarit Bau Mustonen on October 22 at 5:45 p.m. in room A501 at EKA

On October 22, 2025, at 5:45 p.m., artist talks with James Prevetti and Maarit Bau Mustonen will take place in room A-501 at EKA. The artists have been invited to conduct a master class for students in the EKA photography department. All interested parties are welcome to attend the talks!

James Prevett is a British artist and teacher living in Helsinki since 2013. His practice involves studio based making and social sculpture. Both explore the idea and experience of bodies, personal and/or collective, physical and/or metaphorical. He often works with other people to bring an open-ended poly-vocal approach to art making. This includes projects like the Nomadic Sculptures, Out of Office (OOO) Radio and The Organic Sound Society. His sees his teaching is a part of this process exploring practice-based and collective inquiries. He is a Lecturer in Sculpture at the Academy of Fine Arts of Uniarts Helsinki and spends his free time in radio, books and walking his dog Lulu.

https://jamesprevett.com/

Maarit Bau Mustonen is a visual artist and independent publisher based in Helsinki. Her practice encompasses text, installation, lens-based media, and performance, presented in the form of exhibitions and artist publications. With a background in literature and communication, she often explores themes of language, publishing and translation. By engaging with the materiality of text and its relation to image and body, her work enters into dialogue with poetry. Collaborations with other artists lead to multidisciplinary and polyphonic projects. She is the co-founder, together with graphic designer Arja Karhumaa, of Multipöly (2021–), a collective focused on experimental publishing.

https://maaritbaumustonen.com/