Conference of Doctoral School

The annual Conference of EKA Doctoral School will take place on April 7th, 2022.

Please register by April 4th at the latest.

The conference will also be broadcast on EKA TV https://tv.artun.ee/eka

Conference is supported by European Regional Development Fund

TIMETABLE

09.45 Registration

10.00 Opening words, Dr. Anu Allas, Vice-Rector for Research, Head of Doctoral School

10.15 Lecture, EKA visiting Prof. Maarit Mäkelä (Aalto University) „In dialogue with the environment: creativity, materials and making“

11.05 Coffee break

Cultural Heritage and Conservation
Moderator Dr. Anneli Randla

11.20 Ulla Kadakas  „About protection of archaeological heritage in Estonia from 1945 to 1965“ (supervisors Dr. Riin Alatalu, Dr. Erki Russow). Discussant Kristiina Ribelus.

12.00 Kadri Kallast „Heritage Values in Urban Planning: the Authorized Heritage Discourse and Community Engagement“ (supervisors Dr. Anneli Randla, Prof. Kurmo Konsa). Discussant Sean Tyler.

12.40 Kristiina Ribelus  „Digitizing cultural heritage by citizen participation: creating a historic interior finishes and features database in Estonia“ (supervisors Prof. Hilkka Hiiop, Dr. Epi Tohvri). Discussant Ulla Kadakas.

13.20 Break

Architecture and Urban Planning
Moderator Dr Jüri Soolep

14.20 Sean Thomas Tyler „Revisiting Landscape Architecture’s relationship to Stewardship: British Woodlands, Forests and Estates“ (supervisor Prof. Maroš Krivy). Discussant Kadri Kallast. 

Art history and visual culture
Moderator Prof. Krista Kodres

15.00 Hanno Soans  „On the „Zarathustra-Cycle“ by Raoul Kurvits’’ (supervisor Dr. Katrin Kivimaa). Discussant Liisa-Helena Lumberg.

15.40 Mariliis Elizabeth Holzmann „Monstrous Ideas: The Repression and Obsession with Traumatic Experiences in Horror Films Directed by Women“ (supervisors Dr. Barbi Pilvre-Storgard, Dr. Regina-Nino Mion). Discussant Tõnis Jürgens.

16.20 Liisa-Helena Lumberg „Immediate and mediated experiences. Baltic German writings on art in the first decades of the 19th century“ (supervisor Prof. Krista Kodres). Discussant Hanno Soans. 

17.00 Coffee break

Art and Design
Moderator Dr. Jaana Päeva 

17.20 Gytis Dovydaitis „What is Space in Cyberspace? An Integrative Literature Analysis“ (new media art, exchange PhD student from Vytautas Magnus University). Discussant Mariliis Elizabeth Holzmann.

18.00 Tõnis Jürgens  „Contours of Sleep“ (supervisor Dr. Rolf Hughes). Discussant Gytis Dovydaitis. 

18.40 Katrin Kabun  „Application possibilities of sheep wool according to the requirements of the circular economy system“ (supervisors Dr. Jüri Kermik, Prof. Andres Krumme). Discussant Dila Demir.

19.20 Arife Dila Demir „„Squeaky/Pain“: Cultivating Bodily Disturbing Experiences and Perspective Transition for Somaesthetic Interactions“ (supervisors Dr Kristi Kuusk, Dr Nithikul Nimkulrat). Discussant Katrin Kabun.

20.00 Conclusive comments, Dr. Anu Allas

For more information:
Kadri Kallast kadri.kallast@artun.ee
Janika Turu janika.turu@artun.ee

Conference is supported by European Regional Development Fund

On Friday, March 25 at 17.00, a pre-review of Art and Design programme PhD student Matthias Sildnik’s exhibition „Development Fever“ will take place at EKA Gallery. Exhibition is part of the doctoral thesis of Matthias Sildnik.
The exhibition is open until 26 March, 2022.

Supervisor: Dr. Margus Ott
Pre-reviewers of the exhibition: Dr. Raivo Kelomees, Andrus Laansalu

About the exhibition: https://www.artun.ee/en/calendar/matthias-sildnik-development-fever-04-26-03-at-eka-gallery-2/

Previous projects and methodological overview can be further explored here: https://www.researchcatalogue.net/view/721404/800739

Artists Sophie Thun and Karel Koplimets will hold an open artist talk at 17:00 on Tuesday, March 22, 2022 in Estonian Academy of Arts, room A-501. Karel Koplimets introduces his artistic practice; Sophie Thun will have a conversation with Marge Monko, professor of the department of photography in EKA.

On the same week, Sophie Thun and Karel Koplimets lead masterclasses in the department of photography.

Talk will be held in English.

Sophie Thun (b. 1985) works primarily with techniques of analogue photography, its spaces, processes as well as conditions of production and exhibition.

In her artistic practice, Thun is primarily concerned with the spaces and physicality of photography, more precisely with me as the technician and operator of the apparatus. The places and the process itself are made visible in the work, the work and exhibition space become part of each other. In her artistic work, Sophie pursues the question of how work can be created for a specific spatial situation, which decisions (can/must) be made regarding the location, format, process, and production.

https://www.sophietappeiner.com/artist/sophie-thun/

Raised in Warsaw, Sophie Thun lives and works in Vienna. She completed her master’s degrees at the Academies of Fine Art in Vienna (2017, Martin Guttmann and Daniel Richter) and Cracow (2010). Solo and duo exhibitions include: I Don’t Remember a Thing: Entering the Elusive Archive of Zenta Dzividzinska, Kim? Contemporary Art Center, Riga; Merge Layers at Galerie Sophie Tappeiner, Vienna (both 2021); Stolberggasse, Secession Vienna (2020). Group exhibitions include: FRIEDL KUBELKA VOM GRÖLLER Songs of Experience, Museo MACRO, Rome; Smart to the Core: Medium / Image, SMART Museum, Chicago; Homesick, Shivers Only, Paris (all 2021); Elisabeth Wild, curated by Adam Szymczyk, Karma International, Zurich; Borderlinking, High Art, Paris (both 2020).

Her work is part of the permanent collections of the Verbund Collection Vienna, the SMART Museum Chicago, Museum der Moderne Salzburg, Lentos Kunstmuseum Linz, and the OÖ Landesmuseum Linz.

Karel Koplimets (b. 1986) is a photo, video and installation artist based in Tallinn, Estonia. The main keywords in his artistic practice are urban space, fear, paranoia, prejudice and criminality. With his recent projects, Koplimets has been observing the themes related to traveling and migration under various economical and geopolitical conditions, including shopping tourism and commuting. One of the most common features in Koplimets’ artwork is the psychological aspect – his large-scale installations influence the viewers’ spatial experience and perception.

He has an MA degree in Photography (Estonian Academy of Arts, 2013) and has finished two year postgraduate programme at HISK (Higher Institute for Fine Arts, Belgium, 2021). He has received the Estonian Artist Laureate Salary (2020) and he was nominated for the main art prize in Estonia (Köler Prize, 2013). Koplimets has participated in various exhibitions in Estonia and abroad. Recent exhibition projects include: Belonging (Hunt Museum, Ireland, 2022), Art in the Comfort Zone? The 2000s in Estonian Art (Kumu Art Museum, Estonia, 2021) and Sonsbeek´s Conjunctions programme (Park Sonsbeek, Netherlands, 2021). His works are included in various collections in Europe, e.g., Museum of Contemporary Art Kiasma, Musée de l’Elysée and Art Museum of Estonia. Koplimets has also participated in different art residency programmes, e.g., EIB Institute’s Artists Development Programme (Luxembourg, 2019) and Helsinki International Artist Programme (Finland, 2015).

www.karelkoplimets.com

Today, on March 14, at 5 pm, a tour of the jubilee exhibition “Perspectives” of the Department of Accessory Design of EKA will take place with the artistic director of the exhibition, Helen Sirp, at Põhjala Factory Gallery.

The “Perspectives” exhibition focuses on works from the last 5 years, focusing on footwear, bags, gloves, headgear, artifacts, material experiments, bindings and mini-installations. In addition to the students and alumni of the Estonian Academy of Arts, students from three visiting universities: London College of Fashion, Kolding Design School and Detroit College for Creative Studies also play with the concept of paths and the idea of traveling.

The three-dimensional abstract accessory landscape of the competition-exhibition “Perspectives” of the students and alumni of the department has been created by internationally renowned creative designer and stylist Helen Sirp.

EAA accessory and volume

EAA accessory on Instagram

Tallinn Art Hall welcomes you to a cheerful last exhibition before the extensive renovation works of its main building. We’ll Be Right Back, You Just Keep Playing! brings together different generations of artists based in Estonia.

You are welcome to the opening of the exhibition on Friday, 18 March at 6 pm!

“While the renovation of its main building is taking place, Tallinn Art Hall will move from Freedom Square to Lasnamäe. We thought that the last show before we left should be a cheerful “See you soon!”. That is why the title We’ll Be Right Back is supplemented with You Just Keep Playing. No matter how crazy the world is around us, our children and the children within us need to be able to play; otherwise, they will not grow,” says Tamara Luuk, curator of the exhibition. 
 
Having a child means dedicating a large part of your life to them. And, if you happen to be an artist, the inner child sneaks into your creation in every possible way: as a co-creator, entrusting their fantasies to you or sublimating your own tenderness and care. But not only that. Although Estonian art usually tends to be rather serious, you can indeed find joyful play in it – not only in the subject matter of the works of art, but also in their structure and development, their lines, colours and volumes. It is also found in the artist’s idea, to which the viewer adds their own experience, because it is very important for an art lover to be willing to play along! Only then can we join Raul Meel, the most venerable and one of the oldest artists in this exhibition, in saying that “the precondition for eternal life is noticing the beauty in playing”. Before awaiting a happy reunion, we will play one last round in our good old Art Hall building, after which we will welcome you in the Lindakivi pavilion in Lasnamäe. Please keep playing! We’ll just be away for a little while.
 
Participating artists are Art Allmägi, Dénes Farkas and Neeme Külm, Edith Karlson, Jass Kaselaan, Alice Kask, Kaarel Kurismaa, August Künnapu, Camille Laurelli, Kris Lemsalu, Raul Meel, Marko Mäetamm, Robin Nõgisto, Kaido Ole, Villu Plink and Silja Saarepuu, Mark Raidpere, Taave Tuutma and Maria-Kristiina Ulas. The designer of the exhibition is Neeme Külm.

Curator’s tour with Tamara Luuk will take place on 19 March at 2 pm. The exhibition We’ll Be Right Back, You Just Keep Playing! will be open until 5 June 2022.

We would like to thank: Art Museum of Estonia, Tartu Art Museum, Temnikova & Kasela Gallery, AS Vunder, PLATO gallery, Linda Looga, Einar Maarits, Aap Tepper, Kristina Õllek, Alexandra Galkina, Sveta Shuvaeva, David Ter-Oganyan, Ivars Gravlejs, private collectors.

Tallinn Art Hall (Vabaduse väljak 8, Tallinn) is open Wednesday to Sunday 11-6 pm, entrance fee €4 / €8 / €12.

The Tallinn Art Hall Foundation is a contemporary art establishment that presents exhibitions in three galleries on the central square of Tallinn – at Tallinn Art Hall and nearby at Tallinn City Gallery and the Art Hall Gallery. The exhibitions of Tallinn Art Hall are installed by Valge Kuup.

www.kunstihoone.ee
www.facebook.com/TallinnaKunstihoone/
www.instagram.com/tallinnarthall/ 

Exhibition “The Divergence From a Predefined Outline”
17.03–20.03.2022
Opening at March 16, 6 pm
ARS Art Factory, Studio 112

The art exhibition “The Divergence From a Predefined Outline” by Estonian Academy of Arts Graphic Design and Product Design 2nd year students will be opened on Wednesday, March 16 at 6 pm.

The joint exhibition of the two departments presents a series of works that were initially intended to be exhibited without any common theme or curation in mind. However, accompanied by the abrupt diversion from the European political timeline during the semester, a theme of mapping current temporal and spacial conditions became a perceivable focus point. Keywords such as information warfare, misinterpretation, indeterminacy and artificiality came to the fore. The planned cacophony leans toward a sense of wholeness or a palpable new understanding of the present time, which is represented by 11 artworks.

Participating artists: Ane Laande, Anita Elina Mürisep, Anna Kisseljova, Brigite Helena Sarapuu, Elisabeth Järve, Emma Reim, Gerli Tamm, Hanna Samantha Raidma, Helen Bender, Henry Markus Gregory, Ingrid Tärk, Katariina Kesküla, Katrin Kannu, Kaur Joonas Karu, Kelly Heleen Kaldra, Kertu Liisa Lepik, Laura Tursk, Lauren Teimann, Linda-Maria Varris, Magnus Harjak, Martin McLean, Nicole Winona Mikli, Rasmus Jurkatam, Steven Pikas

Graphic design by Emma Reim, Laura Tursk
Supervised by Sten Saarits

The exhibition is open on four days only (17.03–20.03)

Opening times 1pm – 6pm

Location: ARS Art Factory, Pärnu mnt 154, Tallinn

Special thanks: EKKM, Siim Sander Saar
Supported by Estonian Artists’ Association, Estonian Academy of Arts Faculty of Design

More info about events at ARS Art Factory: www.arsfactory.ee

Online discussion “Political emancipation of artistic practices in Ukraine” 

On 16 March at 18:00—20:00 EEST

The discussion will be live streamed on Facebook.

Join us for an online discussion, where artists, curators and researchers from Ukraine will talk about their works dealing with the entanglements of past and present, memory and cultural decolonization.

Participants: Svitlana Biedarieva, Lia Dostlieva and Andrii Dostliev, Nikolay Karabinovich, Olia Mykhailiuk, Lada Nakonechna, Kateryna Botanova.

Moderators: Ieva Astahovska and Linda Kaljundi

Since 24 February, the world has desparately followed the war started by Russian president Putin in Ukraine justifying his aggressive invasion of the neighboring country with the need to “defend itself”, “denazify” Ukraine and “protect people who have been subject to abuse and genocide by the regime in Kyiv”. In his hour-long televised speech announcing the attack, Putin manipulated notions of 20th century and especially WWII history, denied that Ukraine has ever had “real statehood,” and stated that the country was an integral part of Russia’s “own history, culture, and spiritual space.” The falsification of history used to invade an independent state, assert power, and justify his imperial megalomania, has suddenly transformed war in Europe from a thing of the past into an urgent catastrophe of unprecedented scale for millions of people in the 21st century.

The war in Ukraine began in 2014 with Russia’s illegal annexation of Crimea, and subsequent invasion of eastern Ukraine. Already at that time, cultural resistance played an essential role alongside political protests. “What the artists did next to the barricades, sandwiches, hospitals, and Molotov cocktails was also a form of survival art, careful and scrupulous, often anonymous documentation of day-to-day activities. It was the art of action, of intervention in the physical and political reality to affect the symbolic one,” writes Ukrainian cultural critic, curator, and writer Kateryna Botanova. “Artistic practices engaged and laid the ground for a different kind of society based on a common fight and, at the same time, care and solidarity.”

After the Maidan Uprising (2013), many contemporary Ukrainian artists continued to work with difficult, debated and traumatic issues, among them searches for identity, memory wars, changing geopolitical affiliations, “documenting and empowering the voices of the other, telling the stories of those unseen and disempowered, articulating history not as a politically curated linear narrative serving the purpose of nation-building but as a layered and conflicting array of forgotten stories.” Collecting, accumulating, and articulating these issues of society’s blind spots, these artists have been building a critical mass of knowledge that are essential in building “a political nation capable of embracing multiple identities, on the foundations of traumatic experiences of the Soviet collectivity and post-Soviet aggressive individuality, colonial recasting of identities and post-colonial national take-over, Soviet totalitarianism and post-Soviet authoritarianism,” as Kateryna Botanova sums up.

The discussion is part of the project “Reflecting Post-Socialism through Postcolonialism in the Baltics”, which analyses the imprints of post-socialism and post-colonialism in the region. The programme is organized by the Latvian Center for Contemporary Art in Riga in collaboration with Kumu Art Museum, and it is curated by Ieva Astahovska and Linda Kaljundi.

The event is supported by the Nep4Dissent Research Network, an EU COST Action Association.

 ABSTRACTS AND PRESENTER BIOS

Olia Mykhailiuk, “rememberMINT”

“rememberMINT” is a subjective multidimensional collage of poetic lines, documentary interviews, and photo/video essays from Donechchyna and Luhanshchyna, and performance. It is an attempt to explore the mechanisms of memory. When there are no more words, movements remain. When movements stop — smell remains. When people die — grass sprouts.

Many people find it difficult to forget times of hardship. But my memory, with no effort made, does not return me to where it was scary. In August 2014, I happened to be in the occupied Alchevsk for a while. There grew a lot of mint in the yard. When the world narrowed down to one backyard… we brewed mint tea. Sometimes a sunbeam fell through the window in the ceiling into the glass cup. Mint helps some to calm down and reconcile with their own memories, while it helps others, those who tend to forget, to recall. But I do not aim to cure everyone. Everyone has his own grass.

Olia Mykhailiuk lives and works in Kyiv. In 2007, teamed up with other like-minded people and founded ArtPole Agency in order to unite artists working in various areas—painters, musicians, performers, writers. Developed the concepts and initiated several notable multidisciplinary projects, both Ukrainian and international. She continues to work on the development of interaction between various art disciplines, particularly performance, music, literature and video art. In performance, she often tries to study the primal senses of words by referring to her own system of emotional signs and symbols.

Lia Dostlieva and Andrii Dostliev

Cultural decolonisation in our practice

In our practice, we have been consistently working on establishing a discursive space that would enable the recontextualisation of cultural and historical processes in the context of the decolonisation of Ukrainian culture from the dominant external imperial narrative. We will show several examples of our works that use these optics while looking at the Ukrainian past and present.

Lia Dostlieva and Andrii Dostliev are artists from Ukraine, currently based in Poznań, Poland.

Lia is also cultural anthropologist and essayist. The primary areas of her research are trauma, post-memory and agency of vulnerable groups. She works in a wide range of media, including photography, installations and textile sculptures, and has exhibited her works in Germany, Italy, Ukraine, Poland, Austria and elsewhere.

Andrii is also photography researcher and curator. He has degrees in IT and Graphic Design. His primary areas of interest are memory, trauma and identity—both personal and collective. He works in various media and has exhibited his works in Ukraine, Poland, Austria, the Czech Republic and elsewhere.

Lada Nakonechna,
“Disciplined Vision”

“Disciplined Vision” is the title of an exhibition of Lada Nakonechna in the National Art Museum of Ukraine (NAMU). Looking at artifacts of the Socialist Realist tradition from the NAMU’s archives, library, and collection as testimony, it proposes examining the role of art in shaping judgments about history. For they are the shared aspect of culture that determines the present.
The paradox of the visual culture of the Soviet Union lies in the implicit violence in the affirmative, positive images that spring from general humanist values (emancipation, mutual respect, love for one’s native land, etc.). Expositions of Ukrainian Museums mainly continue chronological unfolding of the history of art that played a role in constructing unyielding logic of history. Disciplined Vision examines how the representation of Ukraine in Socialist Realist tradition still forms the consciousness of people.

Lada Nakonechna is an artist and researcher. In addition to her personal practice, she is involved in a number of group projects and collectives. She is a member of the R.E.P. group (since 2005), part of the curatorial and activist union Hudrada (since 2008), cofounder of Method Fund (2015) and co-curator of its educational and research programs. In 2016 she also joined the new editorial board of the Internet journal of art, literature and politics Prostory.net.ua. Nakonechna’s artworks, which often take the form of installations incorporating drawing, photographs and text, call attention to methods of recognition and reveal the internal aspects of visual and verbal structures. Her latest artistic investigations are based on artistic and archival materials related to the art of Socialist Realism—understood as a “method” and institutional and educational system. In 2014 she received the Kazimir Malevich Art Award.

Nikolay Karabinovych, “In the beginning there was the rhythm”

Brief history of Ukraine 1991–2021.

A few stories, few videos and 3 artworks.

Nikolay Karabinovych lives and works in Kyiv and Brussels. The artist works in a variety of media, including video, sound, text, and performance. In 2020 and 2018, he was awarded the first PinchukArtCentre Special Prize. From 2019 he is studying at the Higher Institute for Fine Arts (HISK) in Ghent. In 2017, Karabinovych was an assistant curator of the 5th Odessa Biennale. His work has been shown at M HKA, Antwerp, PinchukArtCentre Kyiv, Jewish Museum and Tolerance Center Moscow, Museum of Modern Art, Odessa.

Svitlana Biedarieva

Viewing postcolonial entanglements in Ukraine through Latin American lens: Beyond “At the Front Line”

My presentation will focus on linking points between Ukrainian and Mexican art scenes. It will explore the notions of ambiguity and hybridity in the two regional contexts and will take on two different models of colonial and decolonial processes. I will compare the questions of (post)memory, memory wars, violence, and historical trauma in the discussion of art projects.

Svitlana Biedarieva is an art historian, artist, and curator with an interest in Eastern European and Latin American art. Her edited books include “Contemporary Ukrainian and Baltic Art: Political and Social Perspectives, 1991–2021” (ibidem Press 2021), “At the Front Line. Ukrainian Art, 2013–2019 (Mexico City: Editorial 17, 2020, co-edited with Hanna Deikun). Biedarieva’s papers have been published by, among other outlets, Space and Culture (SAGE), Art Margins Online (MIT Press), and Revue Critique d’Art (University of Rennes 2). She obtained her PhD in History of Art from the Courtauld Institute of Art, University of London, in 2020.

Kateryna Botanova is a Ukrainian cultural critic, curator, and writer based in Basel. She is a co-curator of CULTURESCAPES, Swiss multidisciplinary biennial, and is an editor of the critical anthologies that accompany each festival. She was a director of CSM/Foundation Center for Contemporary Art, in Kyiv, where, in 2010, she launched and edited Korydor, the online journal on contemporary culture. She has worked extensively with EU Eastern Partnership Culture Program and EUNIC Global as a consultant and expert. A member of PEN Ukraine, she publishes widely on art and culture.

Laura Kuusk on March 5 – 16 April in Kanal Gallery, Võru.

The first solo exhibition of Laura Kuusk in Võru consists of two of her recent works, with which the artist wishes to create a dialogue with people who are interested in food, clothes, technology and who ask questions about the origin and ways of being of the matter in our environment. She also puts the emphasis on the ways of composing by the nature and by the human. 

The installation “How to Move as a Slime Mold” (2021) is built up as a sound cocoon created by a female voice and an ambient sound, walking the visitor through his/her/ their bodies to suggest an experience of becoming an other-than-human organism. The participants are asked to find a comfortable way of interacting with the installation and build their personal experience through spatial and auditory elements. The installation emphasises the idea of reuse and growing through change, not accumulation.

The photo series “Some Notes on Things Around and In” (2019) is taking everyday things and situations as the departure point for the series of still-lives. The main question the artist is asking herself is how to relate to the things and the environment around us at the current situation. How to relate our bodies to the materials that travel with, within or through our bodies? The artist wishes to comment and organise these thoughts visually through an essay in the still life genre. She would like to make the objects speak about the moment in time in which we live now. The idea that everything seems to be reachable within a few clicks is creating an alienation from real objects and the physical environment.

Laura Kuusk (b. 1982) lives and works in Tallinn. She studied semiotics and culture theory at the Tartu University in Estonia (BA in 2005), photography at the Estonian Academy of Arts (MA in 2008) and fine arts at the Annecy Higher School of Art, France (postgraduate diploma in 2014). Kuusk works as the Associate Professor at the Estonian Academy of Arts, in the Department of Photography. Kuusk’s fields of interest are the visual and cinematic grammar and the potentials of narrative, she often recycles anthropological visual (found) materials. Kuusk is interested in the decision-making mechanisms within the collective consciousness. Over the last years, she has worked with the experience of the human body in the surrounding environment – in homes, in clothes, in relation to technology. Kuusk mainly uses photography, video and installation mediums in her work. 

Graphic designer Henri Kutsar.

Thanks: Estonian Cultural Endowment, Säsi Pruulikoda, Anderson’s Craft Beer, Camille Laurelli, Renzo van Steenbergen, Madis Kurss, Sigrid Liira, Agur Seim, Indrek Kits, Eleriin Seim, Kristel Onno, Janika Solmann, Edina Csüllög, Ago Paabusk, Tiina Mõttus, Robert Kähr, Contemporary Art Museum of Estonia, Estonian Academy of Arts Photography Department.

KANAL GALLERY
Liiva 11a, Võru city, Estonia
Thu–Sat 12–18
www.liivaate.ee
Facebook, Instagram @kanalgalerii

The upcoming Friday at 18hs, in an  online event, Yulia Zhiglova and Claudia Diaz Reyes will present “Vibmory: Touching Memories” 

Time travel is possible! We do it every day by recollecting past experiences in our minds. Can we also relive those moments and create new forms in the now to represent the past?

It is the outcome of the start.ee arts & science residency, organized by the HCI group at Tallinn University in collaboration with starts.eu.

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The weekly EKA International Workshop for Art Students in Narva ends with a flash exhibition “On the Other Side” by young artists from France, Lithuania, Finland and Estonia.
The exhibition can be viewed at the Narva Incubator at Linda 2 on Friday, March 4 from 6 pm to 11 pm. The master class was conducted by professors Ene-Liis Semper and Patrick Laffont de Lojo.

The city of Narva, located on the Russian-EU border, suffered greatly in the hostilities of the Second World War, and from there Narva’s identity is based on the knowledge that there is an invisible, lost city behind, under and inside the visible city. The border identity of the city has been associated for centuries with a meeting of different cultures and stories from the past, which can be read from the urban space. Some stories are hidden inside the buildings, some echo us on the other side of the river, from Ivangorod.

Narva is a friendly and open city – come and see what it looks like over here!

The master class in Narva took place within the framework of the international project ERASMUS (BIP). The master class was organized by the Visual Thought Laboratory of EKA in cooperation with the EnsAD (École nationale supérieure des Arts Décoratifs) in Paris, the University of Helsinki Uniarts and the Dailes Academy in Vilnius.

The last train back to Tallinn will leave on March 4 at 8.27 pm.

Many thanks for the help: Narva Vaba Lava, OÜ Linda Kaks, OÜ Narva Gate, Innovation and Creative Center Objekt, Allan Kaldoya and Jaanus Mick.