Calendar

A joint exhibition by the EKA Textile Department and Kreenholm textile artists on the process of printed-fabric making

Opening at Narva Art Residency on September 5th 16:00, From Sketch to Printed Fabric brings together archival materials by Kreenholm textile artists and contemporary printed fabrics by students of the Estonian Academy of Arts.

The exhibition looks at the process behind printed textiles: how a repeat is constructed, how a sketch develops into a printable fabric, and how colour separation and registration shape the final result.

The exhibition presents works and archival materials by Kreenholm textile artists from 1960–2000, including sketches, repeats, colour studies, print proofs and fabrics. Alongside them are large-scale digital prints by EKA Textile Department students, designed in relation to Kreenholm’s historical repeat dimensions of 640 and 914 mm and bringing contemporary themes and perspectives into the exhibition.

An installative printing table with technical samples introduces the screen-printing process from idea to printed fabric. Visitors can also experiment with creating their own patterns and immediately see how they work in repetition.

Opening: 5 September 2026
Exhibition: 6 September 2026–10 January 2027
Location: Narva Art Residency (NART)

Curator: Alyona Movko-Mägi
Exhibition design: Eva Reiska

Works and archival materials by Kreenholm textile artists, 1960–2000

Estonian Academy of Arts, Department of Textile Design
Artists: Rosena Marju Melvin, Annabel Mustasaar, Ethel Noortoots, Karin Sarv, Hannah Parman, Katriin Tammoja, Getlin Tammoja, Eliisa Leppik, Marta Velda Loos, Freia Mugra, Lisandra Murumets, Helena-Mai Posti

Tutors: Krista Leesi and Piret Valk

Supporters and partners: Estonian Academy of Arts, EKA Textile Design, Cultural Endowment of Estonia / Eesti Kultuurkapital, Narva Art Residency (NART)

Permalink

On Tuesday, 22 September, an exhibition titled Loose Knots by the Estonian architecture practice LLRRLLRR opens at the architecture gallery VI PER in Prague.

Laura Linsi and Roland Reemaa (LLRRLLRR) present three projects that draw inspiration from traditional practices of reuse and adaptation, the robustness characteristic of the Baltic landscape, and collectively emerging pedagogies. The exhibition explores alternative paths to the norms established within the architectural profession. Through their projects, LLRRLLRR seek to question prevailing tastes, funding models, and established practices of architectural competitions and commissioning processes, which have become central to shaping architectural practice.

In addition to the duo’s projects, the exhibition presents the works produced during Paraply, an architecture summer workshop that Laura and Roland led in Copenhagen. The exhibition features works by Estonian textile artist Johanna Ulfsak and English-Belgian artist Chris Evans, with whom the architects collaborate closely on numerous projects.

Laura Linsi and Roland Reemaa teach diploma studios at the Estonian Academy of Arts and at Central Saint Martins, University of the Arts London. Roland is a visiting professor at the Estonian Academy of Arts, while Laura is editor-in-chief of the Estonian architecture magazine MAJA. Both practise as architects and work across the expanded field of spatial practice.

The exhibition is supported by the Cultural Endowment of Estonia and the Embassy of Estonia in Prague.

Web:

https://www.vipergallery.org/en/exhibition/llrrllrr-loose-knots

https://llrrllrr.com

Instagram:

@llrrllrr_studio

@vipergallery

Permalink

On Thursday, 1 October, at 6:00 PM, the international group exhibition The Motorway is Clearly Audible Even with the Curtains Drawn will open at the FOKU Gallery, featuring artists Miklos Gaál (FI/NL), Katja Mater (BE/NL), and Mirjam Varik (EE). The curator of the exhibition is Tuukka Kaila (FI/EE).

The exhibition proposes an understanding of space as actively produced by those who experience it. Both intentionally and unconsciously, space is shaped through individual acts as well as shared patterns of behaviour. Rather than an empty container or passive stage, space is regarded here as an ever-changing social construct, a negotiation between its physical characteristics and their subjective interpretation.

The title of the show The motorway is clearly audible even with the curtains drawn quotes an Airbnb user review. On the platform, users share their experiences of the listed spaces with the purpose of helping others imagine what it’s like to spend time in them.

The exhibition will remain open at the FOKU Gallery until 28 November 2026.

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

Supporters:
Cultural Endowment of Estonia
Alfred Kordelin foundation

Partner:
Rüki galerii

Opening drinks by:
Mikkeller

Permalink

EKKM’s new exhibition explores the poetic and personal as a counterforce to political reality. 

On 9 October at 7 pm, the Contemporary Art Museum of Estonia (EKKM) will open the group exhibition We Have a Land of Words [1]. Making a long-distance call to Southwest Asia, the exhibition approaches a complex subject by moving from generalised media narratives and ideological frameworks to the stories and lived experiences of individuals. Curator Evelyn Raudsepp shaped the exhibition through video interviews with Palestinian curators, drawing on the observations, experiences and reflections that emerge through personal conversations.

The exhibition brings together works by several internationally acclaimed artists whose relationships to the region are inseparable from their artistic practices. In Mona Hatoum’s work, intimate correspondence with her mother reveals how political conflict permeates even the most private domestic spheres of everyday life. Larissa Sansour’s film, which shows her family gathered around the dinner table, demonstrates just how short the distance from soup to politics can be.

Writing, storytelling, singing, and cooking can become everyday practices of resistance, sustaining connections with a land torn apart. In the hypnotic video installation by Basel Abbas and Ruanne Abou-Rahme, songs and dances carry intergenerational memory while offering ways of coping, both mentally and physically, with colonial violence. Jumana Manna’s quilted and embroidered flags weave together different forms of collective resistance, holding within it the Palestinian spirit of defiance.

Across the exhibition, words also bring lost places back into view. Forensic Architecture uses digital 3D modelling and architectural analysis to reconstruct a Palestinian historian’s home village, destroyed in 1948, from his memories and testimony. Dahaleez Collective’s sound work reimagines a street in Gaza through field recordings and local descriptions, tracing a place that has been transformed beyond recognition, both visually and sonically.

Stories from the Southwest Asia reach Estonia largely through mediated forms: conflicting news reports, statistics, and a relentless audiovisual stream of violence. The exhibition seeks to interrupt this distance by foregrounding human experience and creating possibilities for more direct forms of contact. Through the intimate act of shaping clay, a connection is forged between two artists separated by distance – one in Gaza, the other in Tallinn. Due to restrictions on the movement of both materials and people, Yasmeen Al Daya’s sculpture has been recreated in local clay by Keithy Kuuspu, in close collaboration with the artist.

New works by Estonian artists draw connections with their earlier encounters with the region. Laura Põld brings together experiences from artist residencies in Iran with discoveries from her family archive. Dénes Farkas presents photographs taken before he became an artist, including images of places in Israel and the occupied Palestinian territories that are now inaccessible, alongside more recent works that have circulated internationally. The exhibition’s archival layer traces the fragmented history of knowledge and perceptions of Palestine in Estonia, asking what has shaped them at different times.

The exhibition design by artist Anu Vahtra works with the historical layers embedded in EKKM’s spaces, continuing, in the museum’s anniversary year, to foreground its raw and flexible backbone – a space willing to engage with society’s uncomfortable pressure points.

We Have a Land of Words is grounded in the idea that when political reality reaches an impasse, collective imagination can act as a poetic counterforce and an active process through which we can envision both the past and the future differently – rewriting historical narratives, preserving cultural memory, and means of imagining social relationships beyond the limits imposed by political reality. If we have the possibility to create a land out of words, what kind of world do we want to build together?

Opening night programme on 9 October

18:00 Exhibition opens
18:00–20:00 Music selected by the curator
19:00 Opening remarks and an introduction to the exhibition by the curator
20:00–22:00 DJ Shah Rud b2b Dharma Doom (Shelter)

Artists: Basel Abbas ja Ruanne Abou-Rahme, Dahaleez Collective, Dénes Farkas, Forensic Architecture, Jumana Manna, Keithy Kuuspu, Larissa Sansour, Laura Põld, Mona Hatoum, Yasmeen Al Daya

Curator: Evelyn Raudsepp

Consultants: Ahmad Alaqra, Amer Shomaly, Lara Khaldi, Noor Abed, Yasmin Huleileh, Yazan Khalili,

Exhibition designer: Anu Vahtra

Public programme curators: Anita Kodanik, Sanna Kartau and Evelyn Raudsepp
Curated book corner in collaboration with the Estonian Academy of Arts Library.
Special thanks to: Ahmad Hussein, Aline Khoury, Daniel Vaarik, Linda Kaljundi, Maria-Kristiina Soomre, OTO Museum, Paul O’Neill, Meelis Oidsalu, Sif Lindblad and others
Supported by: Cultural Endowment of Estonia, Estonian Ministry of Culture, City of Tallinn

[1] The title is taken from the Estonian-language poetry collection of the same name by Mahmoud Darwish, one of Palestine’s best-known poets. It is also the only book by a Palestinian author published in Estonian. Compiled and translated by Amar Annus; published by the Estonian Language Foundation / EKSA, 2011.

Permalink

“Sild/Silta”
Kuva/Tila, Helsinki, Finland
23.10.–15.11.2026
Open Tue–Sun 11–18, free entry
Opening: Thu, 22.10. at 5 pm

The exhibition, “Sild/Silta” (Bridge), brings together twenty two students from the Estonian Academy of Arts (EKA) and Uniarts Helsinki’s Academy of Fine Arts (KuvA), creating connections between artistic practices and learning environments across the Gulf of Finland.

The exhibition explores the idea of a bridge as both a physical structure and a metaphor for encounter. Through shared exhibition-making, students build relationships between two neighbouring countries and two academies. The process encourages dialogue, mutual learning, and an exchange of experiences that extend beyond individual artworks. By learning how another academy presents and discusses contemporary art, students gain insight into the wider cultural contexts that shape artistic production and public engagement.

In October 2026, students from both academies come together at Kuva/Tila to present the first half of a collaboration in a shared exhibition space. The collaboration will continue in January 2027, when the same group of students presents a second exhibition at the EKA Gallery in Tallinn. Together, these two exhibitions form a living bridge (Silta, Sild) between Finland and Estonia, allowing artistic ideas, working methods, and cultural experiences to travel in both directions.

Participating artists: Eeva-Liisa Anttila, Cecilia Ebbe Belinskij, Vita Edvards, Denis Kudrjašov, ,Anetta Lukjanova, Sandra Marins, Daniel Niittymäki, Liisa Nurklik, Anna Ovtšinnikova, Jaakko Pennanen, Viljamaria Raittila, Ella Rahkonen, Paul Rannik, Kertu Rannula, Mahmood Salim, Kertu-Liisa Sarap, Marc Léger Sauvageot, Nora Schmelter, Kati Silo, Yiyang Sun, Hanna Vinter, Maria Wrang-Rasmussen
Curators: Merike Estna, Kristi Kongi, Kaisa Maasik, Päivi Takala, Salla Tykkä, Toni Vallasjoki, Laura Wesamaa

The exhibition is supported by the Estonian Embassy in Helsinki and Nordplus.

Permalink

“Beyond the Veil”
EKA Billboard Gallery 24.10.–24.12.2026
Open 24/7, free admission
Opening: Friday, October 23 at 6 pm

Who is haunting the school walls, lurking beyond the veil? Hidden in the basement of the EKA library lies an archive of ghosts and restless spirits who are asking to be released. Using the archive as a starting point, the graphic design students have developed an exhibition for the EKA Billboard Gallery, which also became a publication and, finally, an exorcism. This, of course, meant that all working materials were haunted: everything was spooky.

Andrew Kuus-Hill, the curator of the exhibition, described the process: “We have enchanted 250 A3-sized prints, pasted them on the billboard, and with the phantoms by our side, performed an exorcism to set them free. Sorcerer hats will be provided on site.”

Supervisors: Andrew Kuus-Hill, Ethan Anthony Read
Workshop participants (Bachelor’s students of the Graphic Design department of the Estonian Academy of Arts): Saskia Algma, Helen Forsel, Art Kruus, Stella Maris Liiva, Deisi Anelle Poska, Anna Elisabeth Remmelg, Ann Aotäht Sarv, Ariana Sigin, Eva Ševtšenko
Graphic design: Andrew Kuus-Hill, Ethan Anthony Read

The exhibition is supported by the Cultural Endowment of Estonia and Tallinn City.
Opening drinks provided by Põhjala Brewery.

Permalink

“A chair, a door, a rose, a spoon”
Ground floor of EKA Gallery 27.10.–22.11.2026
Open Tue–Sat 12–6 pm Sun 12–4 pm, free entry
Opening: Thu, 29.10. at 6 pm
Curatorial tours: Fri 30.10. at 6.30 pm (in Estonian) and Wed 11.11. at 6 pm (in English)

The group exhibition “A chair, a door, a rose, a spoon”, curated by Kati Saarits and Hannah Segerkrantz, stems from their shared interest in practices that move between craft, applied arts and design. Gathering works from artists, designers and makers based in the Baltics and Finland, the exhibition places contemporary pieces in relationships with selected objects from local museum collections.

Functional objects tend to need bodies around them. A chair expects weight, a door ought to be opened, a rose longs for a vase, a spoon needs a hand. These things have been made to be used, looked at, lived with, inherited, displayed, collected, owned. Their functions accumulate and recede. And sometimes use remains only as a memory of use, or as a possibility.

Decorative objects have historically existed to attract, to impress, to seduce, be adorned, touched and possessed. Their beauty has never been supplementary to function, sometimes beauty was the function. Such objects were made by hands that also thought of them as pictures. Objects that served a purpose and, at the same time, refused to be reduced to it.

The exhibition “A chair, a door, a rose, a spoon” begins somewhere inside these distinctions focusing on applied arts, as if application were a compromise rather than a form of thought. These are not contradictions to be resolved, they are how the objects argue their existence. Rather than approaching craft through heritage or technique alone, this exhibition brings together designers, artists and makers whose works exist in the overlap of these practices, carrying both use-value and decorative autonomy, and asking to be read on both terms simultaneously.

A chair is hung on the peg rail, a door is opened, roses are brought inside, a spoon is placed on the table.

Participating artists and designers: Anna Larionova, Aleš Rezler, Artek, Brit Pavelson, Bruno Tomberg Studio, Carlo Raymann, Carmen Kremm, Claudia Lepik, Darja Popolitova, Garbage Kids, Hannah Segerkrantz, Helena Keskküla, Heli Juuti, Helle Gans, Hertta Kiiski & Janne Punkari, Johanna Adojaan, Juss Heinsalu, Kaisa Sööt, Katahana, Kati Saarits, Katrin Kask, Kay Shek, Kirsikka Tuuli, Kärt Ojavee, Maarja Mäemets, Maile Grünberg, Mariam Mestvirishvili, Marite Kuus-Hill, Mona Sofia Tahk, Muusa Stuudio, Paul Flanders, Rait Lõhmus, Rita Vaali, Santeri Mortti, Tatu Laakso, Tea Tammelaan, Teresa RA, Veera Gontsugova, Viieline, Vilius Dringelis, Ville Aakula and Yrjö Kukkapuro (Artek 2nd Cycle)
Curators: Kati Saarits, Hannah Segerkrantz
Exhibition design: Kadri Villand
Technical support: Ats Kruusing, Asmus Soodla
Graphic design: Simon Janson
Exhibition team: Kaisa Maasik-Koplimets, Aleksander Metsamärt, Valve Saarma, Marily Simenson-Plasko, Andreas Vrettos, Hanna Õunapuu

Thanks to: Estonian Museum of Architecture, Estonian Museum of Applied Art and Design, EKA Museum
The exhibition is supported by Cultural Endowment of Estonia, Embassy of Finland, Tallinn City and Sadolin Estonia.
Opening drinks from mirai™ and Põhjala Brewery.

Permalink

This exhibition looks back at sixty years of design education at the Estonian Academy of Arts. Sixty years ago, Professor Bruno Tomberg began teaching design under the name of industrial art at the then State Art Institute of the Estonian SSR.

The present-day departments of Product Design and Graphic Design both grew out of that programme. The exhibition brings together student works, photographs and other material from different periods. Together, they offer a fragmentary view of how design education has changed over time.

On 5 November at 16.00, there will be a curator-led tour of the exhibition with Triin Jerlei.

DH60 was organised in collaboration with EKA Museum.

Exhibition organised by: Design Faculty of EKA
Curators: Triin Jerlei & Raido-Riho Laasi
Exhibition design: Maria Pukk
Graphic design: Georg-Ander Sild
Typefaces: Trafarett (Aimur Takk) & Tallinn Grotesk (Tiit Jürna / Tüpokompanii)
Exhibition elements: Oliver Kanniste
Research: Birgit Tohter & Kai Vallikivi

Thanks to: Aili Ermel, Aleksander Metsamärt, Anne Pikkov, Arvo Pärenson, Björn Koop, Carol Tikerperi, Heikki Zoova, Ionel Lehari, Ivar Sakk, Jüri Kass, Kaspar Torn, Kristjan Mändmaa, Kätlin Kangur, Kätlin Leokin, Lauri Hirvesaar, Marite Kuus-Hill, Martin Pärn, Masayo Ave, Matti Õunapuu, Mihkel Masso, Mihkel Mäll, Ott Kagovere, Pent Talvet, Piret-Klea Velleste, Pärtel Eelmere, BTO26 students, Estonian Museum of Applied Art and Design

Permalink

Vitor Pascale
“We Play by Different Rules”
EKA Gallery 4.–22.11.2026
Open Tue–Sat 12–6pm Sun 12–4pm, free entry
Opening: Wed, 4.11. at 6 pm
Artist-led tour: Wed 11.11 at 5.30 pm (in English)

Fight and touch. Game and refusal. Bodies meet, resist, and hold on to one another. Here, wrestling becomes a space where strength gives way to vulnerability, where touch is not only an action, but an act of offering.

“We Play by Different Rules” takes inspiration from the history of wrestling, in which oil-covered bodies, physical strength, and athletic performance have transformed male-to-male contact into a public spectacle with homoerotic dimensions, alongside the erotic carvings of Khajuraho’s 10th and 11th century temples in India, whose intimate encounters appear alongside religious imagery. Bringing these references into dialogue, the installation translates these gestures into sculptural forms, reflecting on the connections between queer histories, religion, sport, and play while also exploring the intersections of masculine ideals, intimacy, and desire.

In 2025, Vitor Pascale collaborated with Oskar Suurorg on “Ritual”, a video installation developed during a residency in Barcelona and Paris that examined the symbolic dimensions of wrestling. The current installation traces a continuous interest in this subject, extending this research into sculpture, translating movement into a collection of forms.

Vitor Pascale is an artist born in São Paulo, Brazil, and based in Tallinn, Estonia. He holds an MA in contemporary art (2025) from the Estonian Academy of Arts, where he is also currently pursuing a second Master’s degree in Craft Studies. Working across sculpture, installation, and printmaking, his practice engages with queer experiences, historical representations of the body, and the relationship between play and power. Through gestures, objects, and spatial arrangements, he reimagines playgrounds, domestic spaces, and rituals as sites where masculinity, intimacy, and desire take shape.

Graphic design: Vitor Pascale
Exhibition team: Kaisa Maasik-Koplimets, Valve Saarma, Marily Simenson-Plasko, Andreas Vrettos, Hanna Õunapuu
Production assistant: Oskar Suurorg
Technical support: Eugenio Marini
The exhibition is supported by the Estonian Theatre for Young Audiences, City of Tallinn, Sadolin Estonia and Tallinn Black Nights Film Festival.
Opening drinks from Põhjala Brewery.
We would also like to thank Triinu Arula, Simon Janson, Saara Mildeberg and Taavi Teevet.

Permalink

In My Own Skin
4 November – 30 November 2027
Wed–Fri 12:00–18:00, Sat 12:00–16:00
ARS Showroom Gallery

In Lisette Lepik’s solo exhibition at ARS Showroom, beeswax casts of the faces and body parts of living people acquire the appearance of skin in a range of colours through oil paint blended into the wax. The casts were made with the participation of people of different ages who responded to the artist’s open call on social media and came to her studio to have moulds taken of their bodies. The exhibition thus brings together people connected by an encounter facilitated by the artist and a willingness to share their bodily presence. A cast of a living person raises questions of trust, touch, intimacy and personal boundaries. This time, the artist focuses above all on the experience of inhabiting one’s own skin and on how bodily self-perception changes over time.

Lisette Lepik (b. 1999, Tallinn, EE) is an artist working primarily with painting and installation. Her practice examines the body as a site where intimacy, memory, family structures, and social roles intersect. Through painting, installation, and sound-based collaborations, she explores how relationships are inscribed in bodies and negotiated through space. Her exhibitions often approach painting as an expanded medium, activating dialogues between image, sound, and movement.

Lepik is currently pursuing a Master’s degree in Contemporary Art at the Estonian Academy of Arts, where she completed a Bachelor’s degree in Painting in 2022, and studied installation and sculpture at the Iceland University of the Arts in 2019. She has exhibited in Estonia, Iceland, Austria, and Lithuania, including duo exhibitions with Brenda Purtsak at Tartu Art House and Hobusepea Gallery (2024), and a collaborative exhibition with Kristina Kuzemko at Club Virgin, a strip club in Tallinn (2025). Her most recent solo exhibitions took place at Artrovert Gallery (2026) and Haapsalu City Gallery (2026). She received the Estonian Academy of Arts’ “Õpi ja sära” scholarship in 2024 and the Helju Rossmann Scholarship in 2025.

Text: Liisi Kõuhkna
Graphic Design: Villem Sarapuu
Technical Support: Erik Liiv

With thanks to: Karl Joonas Alamaa, Gerda Hansen, Kristin Kalam, Ketlin Kuusing, Adeele Lepik, Siim-Robin Noorem, Sarah Ann Riley, Sirel Soans, Mats Johan Soosaar, Anette-Aleksandra Tamm, Mesike Tõrv and Riin Kristin Velsvebel.

The exhibition is supported by: ARS Art Factory, Estonian Artists’ Association and Cultural Endowment of Estonia.

Permalink

Opening on 5 November at 6pm at Draakon Gallery, Scaffolding brings together a selection of new and recent works by British artist Bob Bicknell-Knight, currently based in Tallinn. At the centre of the exhibition is the artist’s largest, most labour-intensive and technically ambitious sculpture to date, which is still somewhat a work in progress.

There is something strangely familiar about Bicknell-Knight’s sculptures. One might recognise an organ console, a wall clock or a chandelier, yet they could just as easily be architectural models, fragments removed from the façade of an unknown building, or mysterious supporting structures whose actual purpose remains elusive. These are objects that seem to belong somewhere else, although exactly where is difficult to say. Their forms evoke both sacred architecture and industrial structures, a distant, speculative past as much as the future of some dystopian parallel reality.

In Bicknell-Knight’s practice, the virtual and physical worlds intertwine. His works may take their starting point from objects found in video games, or borrowed from their visual language, which in turn imitate elements extracted from the real world. These are objects whose original purpose have been altered or lost entirely within the virtual environment. Clocks that do not tell the time, or objects whose sole reason for existing is to make an imaginary world more believable. Brought out of the virtual realm, they acquire a new physical presence, but not necessarily a clearer meaning. Quite the opposite: familiar forms become even more alien, as though they have passed through several different realities, losing something of their original nature along the way while acquiring something new.

The surfaces of these objects appear to bear the traces of time. In places, they suggest wear and erosion; elsewhere, the gradual accumulation of dust and detritus. Yet it is difficult to tell whether these are traces of a past existence or whether they have been part of the objects from the very moment of their creation. A strange temporal contradiction emerges: objects that may have no actual past appear to originate from a time that has never existed.

Time is a recurring, though not always immediately perceptible, theme in Bicknell-Knight’s work. It manifests itself in stopped clocks, burning candles and the seemingly weathered surfaces of his objects. Equally important are questions of control and functionality. What happens when an object that is supposed to do something no longer does? When a light fixture itself needs to be illuminated, or a clock exists in a world where time does not move?

Scaffolding presents objects whose origins, purposes and place in time remain unresolved. They might be remnants of something long since vanished, fragments of a future yet to come, or perhaps objects from a world that has never existed at all.

Bob Bicknell-Knight (b. 1996, Ipswich, United Kingdom) is a British artist and curator based in Tallinn, whose practice moves between the boundaries of digital and physical worlds. Working across sculpture, installation, painting, video and digital environments, he explores questions surrounding time, control and decay. Video game worlds, their underlying mechanics, and the ways in which virtual environments reflect and distort our understanding of reality play a central role in his practice.

Bicknell-Knight graduated from Chelsea College of Arts in London (2018) and is currently pursuing a Master’s degree in Contemporary Art at the Estonian Academy of Arts (2024–2027). His solo exhibitions have taken place in London, Berlin, Paris, Copenhagen, Klaipėda, Sofia, Brno and Kassel. Alongside his artistic practice, he is the founder and director of isthisit?, a platform dedicated primarily to digital art, established in 2016. Through the platform, he has collaborated with hundreds of artists and curated exhibitions across Europe and the United States.

Reimo Võsa-Tangsoo (b. 1976) earned his Master’s degree from the Department of Photography at the Estonian Academy of Arts in 2011 and has been working in the department since 2003. His artistic work explores photographic perception, politics and interaction. From these interests has grown a focus on augmented and virtual reality, as well as the digital afterlife of exhibitions in physical space. He has been a member of the Estonian Artists’ Association since 2010.

Supported by the Cultural Endowment of Estonia.

The gallery is supported by the Estonian Ministry of Culture, the Cultural Endowment of Estonia, AS Liviko and the City of Tallinn. The gallery’s activities are managed by the Estonian Artists’ Association.

Special thanks to: Rosa-Maria Nuutinen, Les Bicknell, Jayne Knight, Reimo Võsa-Tangsoo, Elliott Burns, Tuukka Kaila, Lilian Hiob-Küttis, Theresa Roth, Catinca Malaimare, Estonian Artists’ Association and Estonian Academy of Arts.

Permalink

On 5 November at 5.00 pm, the exhibition ‘Holy Darkroom’ will open at the HOP Gallery. Jewellery artist Kristiina Laurits will present her work from the past year to the public. The exhibition will feature both jewellery and art objects.

The materials used by Kristiina Laurits have always been unusual, unexpected and thought-provoking, and this is no exception. In the jewellery installation being created at the Hop Gallery, the artist leaves culture behind and, quite literally, buries herself beneath a tree root. Her jewellery – formed from a mixture of earth – kisses and golden fingerprints hover at the edge of the earth’s surface, sometimes revealing themselves, sometimes concealing themselves. Nature has reclaimed what is hers – the earth is genuine and the darkroom is sacred, and nothing else matters at all.

A joint guided tour of the Artists’ Union galleries exhibitions will take place on 19 November at 5.00 pm.

The exhibition has been designed by film production designer Katrin Sipelgas.

The exhibition is supported by the Estonian Cultural Endowment. Exhibitions at the Hop Gallery are supported by the Estonian Ministry of Culture, the Estonian Cultural Endowment and Liviko AS.

Kristiina Laurits studied at the Department of Jewellery and Metalwork at the Estonian Academy of Arts (BA 1997, MA 2003). In 2000, she undertook further studies at the jewellery department of Escola Massana in Barcelona, and in 2023 at the University of Tartu, completing the micro-degree programme ‘Museums and Future Heritage’.

Since 1995, Laurits has taken part in numerous jewellery exhibitions across Europe, China and the United States. Her works are held in public collections at the Estonian Museum of Applied Art and Design, the Cooper Hewitt, Smithsonian Design Museum in New York, and in many private collections around the world. In 2017, Laurits published a book on her own work entitled ‘THE HAPPY FEW. Jewellery and Objects’. Since 1999, she has been a member of the jewellery art collective ‘õhuLoss’, whose exhibition ‘Goodbye, Gravity’ in the attic of the University of Tartu Museum won the 2024 annual award from the Estonian Cultural Endowment’s Fund for Fine and Applied Arts. Laurits currently works as a freelance artist in Tallinn.

Permalink

The exhibition is based on amateur footage captured by Ülo Keedus during a trip to Amsterdam in the mid-1970s. The selected scenes become a shared space with the viewers, with street choreography and micro-scenes emerging from the moving images. Its conceptual axis and the title that sets its direction is the introductory remark to the second act of Samuel Beckett’s famous play, which can be alluded to on stage by convention but not shown directly. Now it is a future disconnected from the past and the present—a timeform rushing toward the audience, ceaselessly affirming its own becoming.

The work is framed by composer Kitty Xiao’s *tendons of transformation* (2023), a composition that incorporates improvisational elements, tactile electronics, and classical instruments as a live performance. At the exhibition, a recorded version of this piece creates a soundscape that glides asynchronously over a moving image. Kitty Xiao adds: “Electronic sounds and video interest me because of their ability to convey movement, timbre, and textural information that can not only be perceived in different ways but also interpreted in very different ways.”

The exhibition concludes with the third part of Beckett’s thematic mini-trilogy, *Unnamable* (2026), whose recurring themes include fragmented subjectivity, the endless hum of the self and the non-self, and the fluidity of definitions.

Thank Yous: Eesti Kultuurkapital, EKL, ARS Kunstilinnak, EKA, Kitty Xiao, Sulev Keedus, Albert Kerstna, Karel Koplimets, Indrek Köster, Riin Maide, Reigo Nahksepp, Sten Saarits, Taavi Suisalu, Johannes Säre, Tiina Vahter, Tarvo Hanno Varres, Sergo Vares jpt.

—

Taavi Talve (1970) is an artist who lives and works in Tallinn. His work focuses on the moving image as a medium for creating space and presence. Through the reworking of analog material, he explores the connections between past events and the present, as well as between the documented and the imagined.

Ülo Keedus (1929–1991) — Estonian amateur cinematographer and director. Instructor at the Tallinn Amateur Film Club (1975–91). Author of the 34-part handbook for amateur filmmakers, *Kodukino ABC*, published in the magazine *Tehnika ja Tootmine* from 1988 to 1991.

Kitty Xiao (1989) is an Australian composer and sound artist living in New York. Her work is inspired by the social landscape and its influence on the body through movement, language, and production. Her compositions explore performance, electronic media and synthesis, ranging from solo, small to large ensemble acoustic and electroacoustic works, and collaborations with performers, choreographers, writers, and filmmakers. In her music she investigates timbral gesture, corporeality, and reimaginings of space, often exploring relations between artificial and human structures. In 2026, Xiao was awarded the prestigious Ernst von Siemens Composer Prize, given to emerging young talents.

Permalink

The exhibition is based on amateur footage captured by Ülo Keedus during a trip to Amsterdam in the mid-1970s. The selected scenes become a shared space with the viewers, with street choreography and micro-scenes emerging from the moving images. Its conceptual axis and the title that sets its direction is the introductory remark to the second act of Samuel Beckett’s famous play, which can be alluded to on stage by convention but not shown directly. Now it is a future disconnected from the past and the present—a timeform rushing toward the audience, ceaselessly affirming its own becoming.

The work is framed by composer Kitty Xiao’s *tendons of transformation* (2023), a composition that incorporates improvisational elements, tactile electronics, and classical instruments as a live performance. At the exhibition, a recorded version of this piece creates a soundscape that glides asynchronously over a moving image. Kitty Xiao adds: “Electronic sounds and video interest me because of their ability to convey movement, timbre, and textural information that can not only be perceived in different ways but also interpreted in very different ways.”

The exhibition concludes with the third part of Beckett’s thematic mini-trilogy, *Unnamable* (2026), whose recurring themes include fragmented subjectivity, the endless hum of the self and the non-self, and the fluidity of definitions.

Thank Yous: Eesti Kultuurkapital, EKL, ARS Kunstilinnak, EKA, Kitty Xiao, Sulev Keedus, Albert Kerstna, Karel Koplimets, Indrek Köster, Riin Maide, Reigo Nahksepp, Sten Saarits, Taavi Suisalu, Johannes Säre, Tiina Vahter, Tarvo Hanno Varres, Sergo Vares jpt.

—

Taavi Talve (1970) is an artist who lives and works in Tallinn. His work focuses on the moving image as a medium for creating space and presence. Through the reworking of analog material, he explores the connections between past events and the present, as well as between the documented and the imagined.

Ülo Keedus (1929–1991) — Estonian amateur cinematographer and director. Instructor at the Tallinn Amateur Film Club (1975–91). Author of the 34-part handbook for amateur filmmakers, *Kodukino ABC*, published in the magazine *Tehnika ja Tootmine* from 1988 to 1991.

Kitty Xiao (1989) is an Australian composer and sound artist living in New York. Her work is inspired by the social landscape and its influence on the body through movement, language, and production. Her compositions explore performance, electronic media and synthesis, ranging from solo, small to large ensemble acoustic and electroacoustic works, and collaborations with performers, choreographers, writers, and filmmakers. In her music she investigates timbral gesture, corporeality, and reimaginings of space, often exploring relations between artificial and human structures. In 2026, Xiao was awarded the prestigious Ernst von Siemens Composer Prize, given to emerging young talents.

Permalink

Following the Second World War, an increase in leisure time led to the extensive construction of summer houses on the outskirts of major European cities. The construction of small cabins became especially widespread in socialist countries, where the proliferation of second homes was closely linked to the development of large-scale housing estates. These modest, architect-designed but often self-built structures demonstrate how urbanised societies combined progressive, future-oriented aspirations with a nostalgic attachment to rural life, retaining traces of traditional ways of living, land use, and community life. Over time, summer house areas have become a distinctive layer of the peri-urban landscape, where historical patterns of seasonal living are increasingly transformed by suburbanisation.

Bringing together perspectives from architectural history, cultural studies and museum studies from the Baltic and Nordic regions, this symposium will explore the architecture, spatial practices and cultural meanings of summer houses and garden plots throughout the 20th century and beyond. It will examine how these practices and meanings were created, and how they have evolved or are being reinterpreted as lived heritage and within museums and other curated contexts.

The symposium is part of the joint research project “Urbanites in the Country: A Spatio-Cultural Analysis of the Summer House”, conducted by the Estonian Academy of Arts, the Estonian National Museum, and the Estonian Open Air Museum. The project is funded by the Estonian Ministry of Culture (research grant KUM-TA64).

PROGRAMME

11:00 Epp Lankots. Introduction

11:15 Mart Kalm. Searching for Weekend Houses in Interwar Estonia

11:45 Epp Lankots. Separately Together: Holidaying in a Row House

12:15 Tiina Tammet. Landscape Architects Shaping the Gardens of Soviet ‘Summurbia’

12:45 Lunch

13:30 Anu Kannike, Anu Järs. Making Do, Making Space: Creativity and Constraint in Soviet Estonian Summer Houses

14:00 Matas Šiupšinskas. 600 Square Meters of Care: Collective Gardening in Lithuania

14:30 Piia Tammpuu. Approaching the Soviet-Era Summer House Through the ‘Archive’

15:00 Mikko Teräsvirta. Step Inside a Finnish Summer Cottage: The Making of the New Exhibit in Seurasaari Open-Air Museum

15:30 Discussion and closing remarks

Symposium is free to participate, but please register HERE.

FB event.

Permalink

In the 1930s, German-style folk fashion, especially the dirndl dress, became a worldwide sensation. Interchangeably called “fashion á la Tyrolienne” and “dirndl- style,” the dress, with a tight bodice, a flowing skirt, and a white blouse, was understood as a fashion version of folk dress from German-speaking Central Europe, considered to be particularly suitable in an era that embraced femininity following the androgynous lines of the 1920s. At the same time, the dirndl, in both its fashionable and traditional variations, attracted the attention of German nationalists, who sought to preserve it and reinvent it as a contemporary folk costume representing national (socialist) politics. Yet while those involved in the renewal and standardisation of folk dress were adamant that there ought to be a clear distinction between fashion and folk sartorial practices, popular responses, especially among young designers and wearers of the dirndl, show that the line was much more blurred. Taking this point of departure, my paper focuses on dirndl-wearing, – preservation, and -making practices in a region where German-style dress was particularly contested: the German-speaking areas of 1930s Czechoslovakia. By considering the interplay between ethnography and fashion, and their contestations at a time when many Sudeten Germans sought to join the Third Reich, this paper positions the dirndl as a contested form of heritage that became a highly visible form of public political participation in local and transnational contexts. Rather than treating this aspect separately from the dirndl’s presence as “fashion”, the paper argues that the two must be understood alongside each other: ultimately, it is in the space between these poles that the dirndl comes to the fore as a garment that popularly represented some of the core debates of modernity in 1930s Central Europe.

Julia Secklehner is a cultural historian specialising in modernist art, design and visual culture, with a focus on non-urban spaces, gender, and minority identities. She is a Visiting Associate Professor at the Institute of Art History and Visual Culture (KVI). She currently researches handicraft and textile production in Central Europe, the role of folk culture, and the history of fashion and textiles in the region in the twentieth century. She is also interested in social documentary photography, particularly activist youth groups in rural Czechoslovakia and Hungary.

Permalink

Join us for guided tours on Wednesday, November 11 at EKA Gallery:
– At 5.30–6 pm artist-led tour at Vitor Pascale’s solo exhibition “We Play by Different Rules” on the second floor
– At 6–7 pm tour at the exhibition “A chair, a door, a rose, a spoon” led by curators Kati Saarits and Hannah Segerkrantz on the ground floor

Both tours will be carried out in English. Participation is free of charge.

The exhibitions will remain open until November 22.

Read more about the exhibition here:
https://www.artun.ee/en/calendar/vitor-pascale-we-play-by-different-rules-at-eka-gallery/
https://www.artun.ee/en/calendar/a-chair-a-door-a-rose-a-spoon-at-eka-gallery/

Permalink

Filmscreening and Roundtable 
Wednesday, 11 November · 18:00–20h00 · EKA A202  Põhja puiestee 7, 10412 Tallinn, Estonia. and online (register at ligia.fernandes@artun.ee to receive the zoom link)

The evening begins with a screening and discussion of Laura Liventaal’s film “29”, developed at the Lisbon Psychiatric Hospital. Lígia Fernandes will present a retrospect on the Art, Love and Repair initiatives, and we will finish with a roundtable discussion, where members of Haabersti Klubimaja, participants from the previous events, invited guests and you can reflect on art, love and repair. 

You can also participate in the event online.

The event is free.

ART, LOVE & REPAIR  initiatives are part of an ongoing PhD research of Lígia Fernandes, examining artists working within mental healthcare organizations. Beyond asking how art can support well-being, the project opens to a broader question: what can we all—artists, participants, and the public—learn about repair through artistic collaboration with mental healthcare spaces?

The events are organised in collaboration with Laura Liventaal and Mari-Liis Kupri.

If you you you are curious, you are very welcome to join the last two events of the series!

About Haabersti Klubimaja (Clubhouse): A Clubhouse is a community-based space where people with mental illness come together through shared activities, work, and social life—supporting a sense of belonging, dignity, and mutual support.

Permalink

On November 12th at 16:00 (EET), Azeem Hamid’s third doctoral peer review, Participation as Relation: Negotiating agency within, upon, and without a site, will take place online via Zoom.

Zoom link (Meeting ID: 698 5473 4970, Passcode: 184004).

The peer reviewers are Dr. Sofie Kinch (Design School Kolding, Denmark) and Dr. Oscar Tomico (Eindhoven University of Technology, the Netherlands). The thesis supervisors are Dr. Kristi Kuusk (Estonian Academy of Arts, Estonia) and Dr. Nithikul Nimkulrat (OCAD University, Canada).

Azeem Hamid invites attendees to engage with the analysis and reflections arising from a site-responsive participatory design workshop conducted in Kopli, Tallinn. As the third case study of his ongoing doctoral research, the study examines how agency is shaped through relations among participants, place, materials, and more-than-human conditions.

Through playful and speculative prompts, participants explored how the neighbourhood might be perceived, inhabited, or influenced beyond an exclusively human point of reference. The study identifies perceptual reorientation, infrastructures of control, and material interruption as ways in which place shaped participation. It further examines three overlapping modes—being with-in, acting upon, and continuing without a site, through which relations and responsibilities changed across and beyond the workshop.

The research proposes site-based interruption as a lens for reflecting on moments when place redirects intended design activity and makes habits of control perceptible. It contributes to relational and more-than-human participatory design by considering how agency is negotiated through situated encounters rather than simply assigned to human or nonhuman participants.

Azeem Hamid, originally from Lahore, Pakistan and now based in Tallinn, is a design researcher, educator, and facilitator focusing on transition design, placemaking, and design pedagogy. He is a doctoral student at the Estonian Academy of Arts and holds an MSc in Design and Technology Futures and an MPhil in Art and Design Education (Research).

Permalink

The Estonian Academy of Arts (EKA) celebrates 20 years of animation education with a two-day conference titled “EKA ANIMA 20: Animating Knowledge.”

The word animation originates from the Latin anima, meaning soul and life, and animare, meaning to give life or breathe life into something. These are the two ideas we wish to bring together at this conference.

Twenty years of animation education at EKA may seem like a relatively short time, yet these years encompass countless people, ideas, experiments, films and stories. It is time to come together, reflect, celebrate and imagine the future!

Over two days, our alumni and invited guests Mari Koff, Taavi Varm, Léo Mourey, Christopher Galinos, Lyza Jarvis, Zane Oborenko and Mikk Mägi will share their ideas, creative experiences and knowledge through presentations.

The programme also includes the EKA Anima 20 seminar, led by John F. Quirk and Lilli-Krõõt Repnau, as well as discussions, T-shirt printing (bring your own T-shirt!), an Unreal Engine presentation and a few surprises.

We warmly invite all students, alumni, faculty members and friends of animation to come together, exchange ideas, reconnect with old friends and meet new ones, and celebrate 20 years of animation education at the Estonian Academy of Arts!

The conference is organised in collaboration with PÖFF Shorts.

Programme and venues

12 November
10.00–17.00 | EKA, room A-101

13 November
10.00–18.00 | EKA, room A-501

Visuals: Kadi Rebane @kadirebane
@eka.anima

Permalink

Opening: Friday, November 13, 2026, at 6 PM

A body that blends with its surroundings and is inseparable from the rest of the world. Here it is born—from the water, into the water—covered in mud that conceals only deeper mud. Mud in the lungs, the eyes, the limbs. Its insides hang on the outside: two glass wombs, dragged along. Again and again—each time anew—Nuutinen’s strokes materialize into characters: parts of an open body that yearns for its own birth.

lungless is Rosa-Maria Nuutinen’s first solo exhibition in Estonia. It will be on view at the Uus Rada Gallery in Tallinn from November 14 to 24, 2026.

Rosa-Maria Nuutinen (born in Hämeenlinna, Finland) is a Tallinn-based artist working in drawing and sculpture. In her work, she explores the parallels between the physical and digital worlds, questioning our collective attitude toward technology.

Nuutinen holds a BA in Fine Art from the Chelsea College of Arts in London and is currently pursuing a Master’s degree in Contemporary Art at the Estonian Academy of Arts (EKA). Her work has been exhibited at Annka Kultys and SEAGER galleries in London, Vaal Gallery in Tallinn, and various other galleries across the United Kingdom and the European Union. Graphic design and copywriting: Theresa Roth

Glassblowing: Rait Lõhmus

The artist would like to thank: Bob Bicknell-Knight, Rait Lõhmus, Theresa Roth, and Lotta Räsänen

Exhibition supported by: Cultural Endowment of Estonia

Uus Rada Gallery
Thu–Sat 12:00–18:00

Permalink

Katrín Jakobsdóttir, former Prime Minister of Iceland will deliver the lecture “Value-Based Governance in a Polarized World” on Wednesday, November 18th at 18:30 in the EKA hall A-101.

In her lecture, Jakobsdóttir will discuss the practice of value-based governance in an increasingly polarized world, focusing on long-term challenges such as the climate transition and social equality. The lecture will take place in English and be followed by a discussion.

Katrín Jakobsdóttir served as Prime Minister of Iceland from 2017 to 2024 and led a three-party coalition government known for its progressive gender equality and climate policies, as well as its welfare-focused governance. Iceland’s first artificial intelligence policy was also developed during her tenure. She served in the Icelandic Parliament from 2007 to 2024, served as Minister of Education, Science, and Culture, and led the Left-Green Movement. She finished second in the 2024 presidential election. She is currently a Senior Ambassador for the Arctic Circle and Chair of the Pan-European Commission on Climate and Health.

This open lecture is part of the EKA lecture series “Focal Points in Contemporary Culture” (“Kaasaja Kultuuri Sõlmpunktid”) which aims to explore key contemporary issues that affect us both as creative individuals and as citizens through guest speakers. Previous guests in the series have included, among others, Kersti Kaljulaid, Toomas Hendrik Ilves, Ülle Madise, Marju Lauristin and Jonatan Vseviov.

The lecture series is led by Kadi-Ell Tähiste, executive director of the Association of Art Institutions (KAEL) and Annika Üprus, director of the Von Krahl Theater.

Permalink

Although the artists’ and musicians’ collective Nebijušu Sajūtu Restaurēšanas Darbnīca (Workshop for the Restoration of Unfelt Feelings) gained wider popular recognition in Latvia already in the mid-1980s, historicization of its activities on the basis of artists’ archives began around 2005. Since then, there has been a growing volume of research publications and
exhibitions featuring the collective’s work in visual art, music and architecture. The talk will address different aspects of the process of canonization of NSRD – from expanding the geographical and disciplinary canons of art to questions regarding the “unofficial” status of NSRD, from tools used to mediate the group’s practice through exhibitions to the grassroots contributions of its followers and the preservation of its legacy. What brings a legend into a canon and what can get lost along the way?

Māra Traumane is an art historian, curator and researcher at Art Academy of Latvia. Her research focuses on artistic practices in Eastern Europe after WWII. From 2014 till 2017 she was a research fellow of the project Literatur und Kunst vor Gericht: Fokus Osteuropa (Art and Literature on Trial: Focus Eastern Europe) at the University of Zürich and co-editor
(with Sandra Frimmel) of the anthology Kunst vor Gericht: Ästhetische Debatten im Gerichtssaal (Matthes&Seitz 2018). Her articles on interdisciplinary art and performance in Eastern Europe, feminist reading of legacies of women artists and Socialist Realism in Latvia had been published in several international volumes as well as in the journal ARTMargins.

Permalink

EKA Urban Studies MSc programme invites prospective master’s students to join the programme’s online info session on Tuesday, January 12, 2027 at 17:00 EET (local Estonian time).

This online info session will be a good opportunity to hear more about the curriculum, and to meet and ask questions directly from people behind the Urban Studies programme. The info session will be hosted online over Zoom.

If you would like to attend, please register online through the form below. A link to attend will be e-mailed shortly before the event begins.

REGISTER HERE

More information about Urban Studies MSc programme:

• https://www.artun.ee/urban-studies
• https://www.facebook.com/urbantallinn
• https://www.instagram.com/ekaurbanstudies

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

Admissions information here

Permalink

EKA Animation MA programme invites prospective master’s students to join the programme’s online info session on Tuesday, January 19, 2027 at 17:00 EET (local Estonian time).

This will be a good opportunity to hear more about the programme and to meet and ask questions directly from the people of animation department – both the teaching staff and the current students.

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

If you would like to attend, please register online through the form below.

Register HERE

More information about the Animation MA programme:

• https://www.artun.ee/animation
• https://www.facebook.com/EKAanimatsioon
• https://vimeo.com/ekaanima

Admissions period starts on the 1st of February 2027.

Admissions information here

Permalink

EKA Interaction Design MA programme invites prospective Master’s students to join the online info session on Monday, February 8, 2027 at 17:00 EET (local Estonian time).

You’ll have an opportunity to hear about the mission and philosophy of the programme, learn about student experiences and see their projects, take a virtual tour in our studios, and meet and ask questions directly from the faculty, students and alumni.

The info session will be hosted online over Zoom. If you would like to attend, please register online through the form below. A link to attend will be e-mailed shortly before the event begins.

Register HERE

More information about the Interaction Design MA (IxD.ma) programme:

• https://www.ixd.ma
• https://www.artun.ee/ixd
• https://www.facebook.com/IxD.ma
• https://www.instagram.com/ixd.ma/

Admissions period starts on the 1st of February 2027.

Admissions information here

Permalink

The next EKA Doctoral School Conference will take place on 7 April 2027. Join us to find out about the many exciting research topics our PhD researchers are exploring!

The conference will be held in English. Registration will open in 2027. Stay tuned for more details!

The 2027 conference is organised by EKA doctoral researchers Maria Yudina (Art History and Visual Culture) and Triin Jürgens (Art and Design).

Important deadlines:

• 7 February 2027 Submission of presentation titles and abstracts
• 2 April 2027 Submission of full presentation texts

Permalink

Communities in Practice: Art, Language and Culture
Physical part in Estonia: May 24 – 28, 2027

Organised by: Estonian Academy of Arts (EKA)
Location: Tallinn and Narva, Estonia
Duration: 5 days (physical programme) + virtual component June 15, 2027

Target group: International relations staff, academic staff, student support specialists and community engagement coordinators from European higher education institutions.
Working language: English

Programme Overview

How can art, language and cultural experiences help build inclusive and connected academic communities?

This Blended Intensive Programme explores different approaches to community building in higher education through artistic practice, intercultural learning and shared experiences.

Participants will discover the Estonian Academy of Arts’ approaches to international student integration, language learning and community engagement, while exchanging experiences and developing new ideas with colleagues from European partner institutions.

Express your interest in participating here, we will get in touch with you in January 2027 for more details. 

More info about the programm is available HERE.

Permalink