Sirja-Liisa Eelma & Tiina Sarapu “Black Mirror”

Sirja-Liisa Eelma and Tiina Sarapu will open their co-exhibition Black Mirror in Draakon gallery at 5pm on Tuesday, May 31st 2022.

Exhibition will be open until June 25, 2022.
Black surface absorbs light and colours; while looking at black surface, one can see info infinity, unknowing, solitude and protective tenderness. Mirror gives you the honest truth. The danger to get stuck in reflections and in the reflections of reflections is as big as the temptation to touch the snoozing screen of a smartphone in order to open completely different kind of worlds.

Landscape painter of 17th century Claude Lorrain made use of black mirror as an optical aid. Compared to a clear mirror, the details are more subtle and the reflection of black mirror is more simplified. The black reflection brings forth the tonal range as well as reduces the intensity of tones.

The encounter of the reflecting and painted worlds refers to the multilayeredness of existence. The layer of glass in front of the painting is protecting the artwork but also creating the distance between the painting and the viewer. This way, the viewer misses the opportunity of directly experiencing the materiality, fragrance and smell of the paint. The reflections, flickers of light and shadows of the glass function either as disturbance or as an unstable and captivating finesse on the surface of painting.

Sirja-Liisa Eelma (b. 1973) is a conceptual painter whose visual language is characterized by visually minimalistic structures. Her painting series, based on the slow transformation of a repetitive image, focus on the themes of emptiness, ambivalence of meanings as well as defining the visible and the invisible.

Sirja-Liisa Eelma has graduated from the department of painting at the Estonian Academy of Arts (MA, 1996). Since 2018, she has been studying in the doctoral school of the Estonian Academy of Arts. In 2016, her artistic practice was recognized with Konrad Mägi Award. Eelma’s artworks belong both to private collections as well as the collection of the Art Museum of Estonia. She has held numerous personal exhibitions as well as participated in group and curatorial exhibitions both in Estonia and abroad.

Tiina Sarapu‘s (b. 1971) artistic practice can be characterized by minimalistic approach towards form. The perfectly composed form is almost always extremely simple and well interpreted. While having been exhibiting her artwork mainly as an installation artist during the past few years, Sarapu has often transferred the meanings of an initial idea to various contexts (several installations with music stands and mirrors), created illusory spaces, visualized sounds, extended the borders of perception. As an conceptual artist, Tiina Sarapu is using glass in order to express the idea of the multilayeredness of life while working with the oppositions present in glass as a material. (Reeli Kõiv)

Tiina Sarapu has obtained MA degree in the department of glass art at the Estonian Academy of Arts in 1996. In 1996–2017, she was teaching in the same department and in 2003-2017 worked there as an associate professor. Sarapu has participated in numerous exhibitions, symposiums and workshops both in Estonia and abroad. She has received acknowledgement in international competitions of glass art. Sarapu’s artwork belongs to the collections of several museums and private collectors. She received the honorary title of Acknowledged Glass Artist 2005–2005 and Acknowledged Glass Artist 2018–2019; in 2007, Sarapu received Kristjan Raud Art Award, in 2019 she deserved the Annual Award of the Cultural Endowment of Estonia and was awarded the Artist Laureate Salary in 2021–2023.

Exhibitions in Draakon gallery are supported by the Cultural Endowment of Estonia, Estonian

On Facebook

Sandra Nuut, Urmas Lüüs, Karin Vicente and Jüri Kermik talk about writing about design.

The conversation will be moderated by Taavi Hallimäe.

The discussion will be held in Estonian.

What approaches to design do we need, what do the designer need?
Who is the reader we should keep in mind when writing about design?
What kind of design should we write about at all?
What can be done with design writing, but what the design itself is not always capable of?
Do we need descriptive, evaluative, experiential, or interpretive design criticism?

The event will also introduce the new journal of the Faculty of Design of EKA, Leida the first issue of which will be published in the autumn.

TRANSMISSION

the process of passing something from one person or place to another
(Oxford English Dictionary)

Last decades have brought significant changes to the consciousness. We encounter more messages and the images are ever faster. The series „Transmission“ on the other hand consists of very slow images. These are layered allover abstract paintings, which open themselves gradually and form bridges to the unconscious space of experience.

Such works are in essence a veil between dreams and the material world, inspiring connection with deeper, daily untouched inner world. Minimalist in form, from distance even monochrome meditative rectangles allow the meaning to be born only in accordance with the input from the viewer. Thereby these paintings are about the very same person that is standing in front of them, creating a personal and unique stage for their thoughts and feelings. The meaning is born when the content of the painting and the content of the viewer meet.

When an explosion explodes hard enough,
dust wakes up and thinks about itself.

@JarodAnderson

The exhibition is open on 27.05—09.06 daily 11—19

The exhibition is a part of Estonian Academy of Arts’ graduation show TASE ’22

The artist would like to thank the EKA painting department and Estmak Capital.

olevkuma.xyz

Invitation to the opening of the exhibition of Kaia Ansip and Yufang Hu, MA students of Jewelery and Blacksmithing, May 27, 6 pm at Rotermanni 7

The exhibition is part of the TASE’22 Grad Show. 

The exhibition is open until June 9. 

TASE FILM on June 4 at 5 pm at EKA auditorium (A101) once again.

TASE FILM is an event which happens every year in the context of EKA’s graduate student exhibition, TASE. It offers a programme full of different videos and short films made by students of EKA.

TASE FILM 2022 explores the dream world and reality. The programme consists of two chapters, the first of which takes a look at socially relevant topics such as overconsumption and the tireless construction of shopping malls, and an insight into the work of food couriers. In addition, there are video pieces that look at everyday life around us. In the second part, surreal and abstract videos are presented, including documentaries of performances, dream landscapes and questions of identity.

The programme lasts about 2 hours.

Participating artists:
Aap Kaur Suvi | Potato, Seagulls, Reeds and cars
Camilla Prey | Blaue Stunde
Ditiya Ferdous | Family 1
Ivor Lõõbas | Tradition
Jamie Avis | The Wave
John Quirk | HIDE
Kadri Joala | Autoportree
Karl Joonas Alamaa, Lisette Sivard, Andreas Kübar | ONLY BASIC FASHION SHOW
Kush, Paul Simon, Timothee | TXMALL
Lauri Lest | Moulded
Maria Naulainen | KIHA
Martina Maria Semenzato | ALBAIONES
Moritz Simon | Sand, Stone
Paulina Schroeder, Christian Horner, Nabeel Imtiaz | Looking of Action
Santiago Ordoñez | The station´s seat
Xingpei Shen | Lotus Lantern

Event is free of charge!

Film programme curators: Johanna Kuzmenko, Lígia Fernandes

Location: Estonian Academy of Arts (Põhja pst 7), A-101 

TASE FILM on Facebook

You are welcome to the BA graduation exhibition of the department of photography of Estonian Academy of Arts in ARS Art Factory (Pärnu Road 154) at 18:00 on May 27th. 

This year, a record number of BA students will graduate from the department of photography. Their graduate exhibition presents diverse artist statements and formats – from music videos and staged photographs to charcoal drawings and sculptures. 

Exhibition is open from May 28 – June 9, 2022, every day 12:00–18:00 in ARS Art Factory.

Website: tase.artun.ee 

FB event

Participating artists: Andra Junalainen, Elo Vahtrik, Imbi Sõber, Ivor Lõõbas, Jana Mätas, Joosep Kivimäe, Kertu Rannula, Laura Maala, Laura Ruuder, Markus Mikk, Meel Paliale 

Supervisors: Marge Monko, Laura Kuusk, Reimo Võsa-Tangsoo 

Public defence of the graduation works will take place at 10:00 on June 3rd in ARS Art Factory.

Assessment jury:
Kristi Kongi, associate professor and head of curriculum of the painting department of Estonian Academy of Arts (Tallinn, Estonia);
Liina Siib, professor and head of curriculum of the department of graphic art of Estonian Academy of Arts (Tallinn, Estonia);
Taavi Talve, head of curriculum and head of the department of sculpture and installation of Estonian Academy of Arts (Tallinn, Estonia);
Tuukka Kaila, artist, lecturer (Helsinki, Finland)

Exhibition is supported by: Cultural Endowment of Estonia, Punch Drinks, Põhjala Brewery, Tiks Wine Bar (cheaper drinks with EKA student card in the bar), Kuma Kombucha, Anora. 

10:00-10:10 Introductions

10:10-11:10 (EEST)

Luisa Fernanda Ayla Torres

Precariousness in the Transformation of Labour: Through Working Class Identity in the city of Turin

Between the 1960s and 1980s, nine million Italians migrated from the agricultural regions of Italy to the productive areas of Turin, shaping the periphery of the city from a rural to an industrial area. The Post-War economic boom provided jobs in the northern plants, giving life to a workers’ hegemony and demographic, social, and cultural transformation. This socioeconomic transformation that affected the organisation of workers, labour, political activity, and society in general, was manifested in two cases. The Palace of Labour, an avant-garde building intended to celebrate the struggles of the working class with an exhibition focused on “man and his progress”, and the case of Mirafiori Sud, a working class neighbourhood symbolising the association of workers. In this way, this thesis explores the identity of the working class in the contemporary city of Turin, where security in neoliberal times no longer needs the scope of the protective techniques of the liberal social State, and as a consequence precarization is now the norm. This is reflected in the transformation of labour manifesting itsel through productive connection with others, where labour is not purely characterised by the increasing capitalization of social life but is effectively reflected with others, producing new social relations.

Examined by Alberto Vanolo (University of Turin) and Aro Velmet (University of Southern California)

11.15-12:15 (EEST)

Mira Samonig

the matter of right-wing populism in Polish LGBT-free zones; towards a with-standing xenourbanism?

Almost a third of Poland had been declared an ‘LGBT-free zone’ in 2020, stigmatizing the LGBTIQP+ community as a threat to Polish identity; this labeling remains a reality for many Polish towns. In this thesis, I am turning towards the concept of the ‘LGBT-free zones’ as a case to investigate the material reality of right-wing populism. I seek to develop a third position to a historical or new materialist understanding in order to investigate such material reality. By that, the ways values find physical expression and thus possibly mobilize oppressive attitudes into ever new futures ahead are traced. It becomes quite evident that the way structures of oppression are advanced and maintained within the public realm exists quite dominantly in everyday narratives. In a bottom-up manner, right-wing populism is advanced on the street; yet, it is by far not perceived by everyone. This marks the entry point for sketching out a possible approach to how the discipline of urbanism could position itself in social struggles. Drawing on Helen Hester’s Xenofeminism, the thesis introduces the concept of xenourbanism describing urbanism based on the conceptual notion of solidarity without sameness. I argue that the notion of xeno- as a prefix attached to urbanism focuses on an inherent transformational potential within the current, rendering a perceived unarming reality into a weapon of contestation and by that suggesting trajectories away from paralyzing no-alternative narratives.

Examined by Piotr Plucienniczak (Warsaw Academy of Fine Arts) and Helen Runting (Secretary)

12:25-13:35 (EEST)

Zahaan Khan

Tourism-Led Gentrification: The Case of Dal Lake in Kashmir

The dissertation explores tourism-led gentrification, its causes and the impact on the communities living in and around the ecologically-sensitive region of Dal Lake in Kashmir. The dissertation employs methodological triangulation using interviews, survey and policy document analysis, as methods. The policy document in question is the Srinagar Master Plan 2035 issued by the Srinagar Development Authority. Analysing the correlation between tourism and gentrification in a conflict-torn region and using displacement as a conceptual lens, the thesis maps the socio-cultural and economic aspects of touristification especially in relation to the everyday lives of the communities. The dissertation employs a two-pronged analytical approach by using two categories – land milieu and water milieu – to foreground the patterns and impact of gentrification in and around the lake. The analysis of the land milieu concerns itself with a detailed exploration into Boulevard, the long promenade along the lake’s periphery. It further discusses holiday rentals and issues of mobility and maps the city’s land-use patterns particularly in relation to expansion along the lake’s periphery. The study of the water milieu, on the other hand, is an exploration into the historical houseboats of Kashmir and the local hanji (or haenz) community; foregrounding the issues concerning policies of renovation and relocation of

houseboats. The dissertation also delves into the government’s land use and tourism-driven development plans around the lake, especially post abrogation of

Article 370 of the Indian constitution that gave ‘special status’ to the region.

Examined by Dr Mathew Varghese (Mahatma Gandhi University) and Karlis Ratnieks (EKA)

13:35-14:25 Lunch

14:25-15:25 (EEST)

Egemen Mercanlioglu

THE WORK OF A RIFT: Kanal İstanbul and Turkey’s Authoritarian Neoliberalism

Turkey under the leadership of Recep Tayyip Erdoğan and his Adalet ve Kalkınma Partisi was touted as a paragon of neoliberalism and a burgeoning democracy until the late-2000s. Two decades later, the positive portrayals of the country have decidedly shifted. Turkey is now considered to have retreated from neoliberalism; an emblematic case of authoritarian turn. However, this thesis rethinks authoritarian governance as the kernel of the Erdoğan-led AKP’s brand of neoliberalism. It does so by focusing on a to-be-built urban megaproject, Kanal İstanbul—a 45-kilometer long man-made waterway, aiming to locate İstanbul as a signature node in the global web of flooding money and commodities. Using the megaproject as a lens, the thesis shows how neoliberal reforms in the early-2000s have propelled İstanbul and the construction sector as financial growth generating engines of the country. Subsequently, these

reforms have buttressed contemporary coercive governance structure and a megaproject spree in the city. Finally, the thesis briefly explores a recent but growing counter-hegemonic contestation against Erdoğan and his Kanal İstanbul, posed by the mayor of İstanbul. The thesis does not give a final verdict but explores whether or not this challenge proposes an alternative to authoritarian neoliberalism.

Examined by Dr Cemal Burak Tansel (Newcastle University) and Mattias Malk (EKA)

15:30-16:30 (EEST)

Deniz Taskin

Architecture as a Practice of Care: Case Studies of Women’s Care-Based Architecture Practices

Care as a concept is becoming more crucial in architecture and urban practice as a result of

the COVID-19 pandemic’s unpredictable spatial, social, and political circumstances. The

attitude of urbanized capitalism towards contemporary urban problems and its refusal to

acknowledge the urgency of the climate crisis result in uncaring urban practices. The

important position of architecture as a measure for assessing our place in the ecosystem and

the role of architects and related disciplines in determining with whom we live together

requires them to reconsider the values and priorities that drive their practice.

This thesis unpacks care as a concept and ethical practice through a feminist lens by

focusing on the notion of “configuration of care,” which refers to how architects express their

ethical and political objectives by arranging human and nonhuman materials to achieve

caring relationships in urban spaces. (Suchman 2012). It does so by focusing on the practices

of women from the field of architecture and related disciplines whose contemporary practice

foregrounds care and employs feminist care ethics: Careful Mapping by Spolka, Performing

Architherapy by Erika Henriksson, Mutfak (Kitchen) by Merve Bedir, The Blind Alley by

Elin Strand Ruin. The thesis explores certain commonalities and recurring patterns of thought

in how the practitioners’ encounter and apply feminist care ethics. Finally, it discusses the

potential and limits of incorporating feminist care ethics into architecture practice, as well as

the potential for architectural practice to become care practice.

Examined by Agata Marzecova (EKA) and Henriette Steiner (University of Copenhagen)

On the 6th of June at 10.00, the pre-reviewing of Art & Design doctoral student Tõnis Jürgens’ exhibition “Dreaming of Babylon” will take place via Zoom. Link HERE

“Dreaming of Babylon” is the first solo exhibition related to Jürgens’ artistic research doctoral thesis. The thesis is supervised by dr Rolf Hughes (KU Leuven, Belgium). The pre-reviewers of the exhibition are dr Eva Näripea and Taavi Talve.

The virtual exhibition was open during 28.02.–10.04.2022 at the post-gallery.online platform, and is archived here: https://www.post-gallery.online/archive/dreamingofbabylon/index.

“Dreaming of Babylon” is a nostalgic-satirical vision of the future whose central motifs are distraction and the materiality of data.

The film and online exhibition form one possible imagination of a post-human time, where the drive for better life, novelty and technological solipsism has led to the total melding of conscience into code, and digital ruins, around which the earthy nature keeps on perpetuating.

The title refers to a novel by American prose writer Richard Brautigan. In a parody of 1940s noir fiction, Brautigan’s protagonist is a private detective and hapless dreamer who, while trying to solve a case, incessantly becomes entangled in his own daydreams. As a response to the explicitly rapid and brief chapters of Brautigan’s novel, this film instead adheres to the lingering style of slow cinema, whilst tipping its hat to the romantic medium of 16mm film.

film crew
executive producer: Fidelia Regina Randmäe
1st assistant camera: Erki Kase
2nd assistant camera: Aadu Lambot

post-gallery.online
programmer: Kelli Gedvil
management: Kristen Rästas

thanks
Joosep Ehasalu, Toomas Jürgens, Raul Keller, Kristo Kiis, Kalju Karl Kivi, Piibe Kolka, Paul Kuimet, Kulla Laas, Ian Simon Märjama, Allan Proos, Rene Tamm, Erko Valdmets

supported by
Balti Filmi- ja Meediakool, Eesti Kultuurkapital, Eesti Rahvuskultuuri Fond, Jõelähtme vald, Kino Sõprus, Kuusalu vald, Paekivitoodete Tehas OÜ, Rae vald, Rahvusarhiiv, Silikaat AS, Tallinna Strateegiakeskus, Telia Eesti AS

Graduating Bachelor’s students of the Department of Graphic Design kindly welcome you to the opening of their exhibition ASTE (“A Step” in English) at the Estonian Academy of Arts, room C-304 on Friday, May 27 at 18:00.

There is a variety of projects at the exhibition, which display the ideas and interests of the young designers. There are publications, installations, visual experiments, video works, and virtual environments with which visitors can get familiar.

The graduation show takes place in the students’ usual working space, a studio, which is commonly a place run by a buzzing and chaotic atmosphere. A new surface arises at the exhibition from stacked desks – the site-specific intervention brings the works and visitors to the next level.

Prior to the exhibition, the graduating class will present their graduation projects on 26 May starting at 10:00 at EKA in room A-501. Presentations will be in English.

Graduation projects will be assessed by a jury:
Ott Kagovere, Associate Professor at the Department of Graphic Design (Tallinn, Estonia);
Sandra Kosorotova, artist and designer (Tallinn, Estonia);
Sandra Nuut, Lecturer at the Department of Graphic Design (Tallinn, Estonia);
Agnes Ratas, graphic designer (Tallinn, Estonia);
Nerijus Rimkus, graphic designer (Vilnius, Lithuania & Amsterdam, The Netherlands).

Graduating designers:
Kristi Jaago, Rainer Kasekivi, Kertu Kibal, Martin Kipper, Jekaterina Kožemjatšenko, Uku Art Mikkin, Nora Pelsš, Urmet Piiling, Villem Sarapuu, Polina Zahharenkova, Ingel-Kristen Veevo.

Supervisors of the BA graduation projects:
Else Lagerspetz, Maria Muuk, Laura Pappa, Indrek Sirkel

Supervisor of the BA graduation show project:
Kaisa Maasik

Supported by
AS Merko Ehitus, Mistra-Autex AS, Peenjoogivabrik Nudist, Põhjala Pruulikoda, Valmiermuiža Pruulikoda

The exhibition is on view daily from 12:00 to 18:00 until June 9, 2022.

The visual identity of the exhibition is designed by Polina Zahharenkova.

Facebook event

Artists: Brit Kikas, Jakub Tulinger, Nora Schmelter, Viktor Kudriashov
Curator: Katarina Nyyssönen
Graphic Design: Oliver Long

On Thursday, May 26 at 6 pm EKA students invite you to join with a critical run, we take over and question the existence of a man-made mound of soil and look at what such a natural buffer zone in the middle of the city symbolizes. A critical run is an art format created by Thierry Geoffroy/Colonel and will be used to open a discussion, to reflect and debate during the run. We will end the run to enter an exhibition platform where traces already exist and can be actualized. To what extent of interaction do we see this platform still as a part of nature? This exhibit brings into interest human connections between nature and artificial.

“People’s natural need to spend time in nature has not disappeared: instead of being amused, they like to chill…” – Juhan Hint, Sirp 2019 

EXTENSION
Skoone bastion

Do you think differently when you run?
Is reconstruction constant?
Human shelter, a form of forgotten space?
Can we give structure to nature?
Do you leave traces?
Will traces become permanent?
Or permanent become nature?
Are we creating our own models of nature by leaving traces?
Do we perceive an intervention as artificial?
Or is it becoming part of the existing ecosystem?
With losing its functionality?
Artificial nature, a created image excluding reality?

A long forgotten green space in the middle of the city, shows the mankinds attitude towards the environment and what surrounds us. Even the protection that the underground tunnels have provided in the past has been forgotten, despite the current state of the world.

Start: Critical Run, 26.05.2022 at 18:00 (Meeting point in front of EKA) 

End: Skoone bastioni, Rannamäe tee, Entrance to the tunnels

Supported by: Estonian Academy of Arts, Sveta Bar

Additional information:
Katarina Nyyssönen
katarina.nyyssonen@artun.ee
+372 53021657