Konverents Koostööpööre kunstis: uurimisprotsess kunstipraktikas tegeleb loomeuurimusega laiendatud tähenduses ja koostöö küsimustega loomingulises praktikas.
Mõiste “loomeuurimus” (artistic research) on aktiivses rahvusvahelises kasutuses 2000. aastate algusest. Esimene loomeuurimuslik doktoritöö õppekaval “Kunst ja disain” kaitsti Eesti Kunstiakadeemias 2011. aastal.
“Looming” on seostatav eelteadmiseta sündiva, inspiratsioonilise ja mitteratsionaalse praktikaga ning “uurimus” on mõistetav kui “teaduslik tegevus” — ratsionaalne ja mõistuslik, põhineb eelneval info ja teadmistel. Kuid loomeuurimuse termini ja praktika levik iseloomustab muutunud olukorda.
Kollektiivne uurimispraktika on teaduses tavapärane, kollektiivsus on omane ka teostusprotsessidele disainis. Kaasaegses kujutavas kunstis on kollektiivsus haruldasem, kuid siin on näha põhimõttelisi muutusi: kunstnikud loovad interdistsiplinaarsetes kollektiivides, tellivad oma projektide osi professionaalsetelt teostajatelt, kunstiteosed leiavad aset erinevate meediate, tehnoloogiate ja lokaalsuste koostöös. Varasem individualistlik, introvertne ja heroiline kunstnik on asendumas kommunikaatori ja projektijuhiga, kes on paindlik suhtluses teostajate ja kunsti vastuvõtjatega.
Konverentsi eesmärgiks on kaardistada uurimuslikku ja kollektiivset loomingut kunstis.
Kutsutud esinejad: Malin Arnell, Varvara Guljajeva, Chris Hales, Andi Hektor, Taavet Jansen, Marianne Jõgi, Jan Kaila, Raul Keller, Arne Maasik, Tuula Närhinen, Piibe Piirma, Taavi Talve, Pia Tikka, Julijonas Urbonas ja teised.
Konverentsi korraldajad: Raivo Kelomees (EKA), Chris Hales (Liepaja Ülikool), EKA vabade kunstide teaduskond.
Registreerumine kuni 15. oktoobrini.
Konverents toimub EKA ruumis A501.
Kontakt: raivo.kelomees@artun.ee
Conference programme
Estonian Academy of Arts, Põhja pst 7, room A501
Day 1
Friday, October 19, 2018
9.30 Coffee
10.00 Welcome words by prof. Epp Lankots, Vice Rector for Research, Estonian Academy of Arts
10.10 Introduction and moderation: Raivo Kelomees (EAA)
10.25 Pia Tikka. Neurocinematics & Art-Science Collaboration
10.50 Piibe Piirma. Inter- and Transdisciplinarity in Artistic Research
11.15 Chris Hales. From Tacit Knowledge to Academic Knowledge
11.35 Arne Maasik. On Geometry in Architecture of Louis Kahn
12.00 Lunch break
13.00 Taavi Talve. Paldiski Project, Case Study
13.30 Raul Keller. Process
14.00 Andi Hektor. What is a Research Paper?
14.30 BREAK (a tour in the building)
15.30 Tuula Närhinen. Phenomenotechnics in Visual Art Practice – a hands-on approach
16.00 Julijonas Urbonas. Gravitational Aesthetics and Exodisciplinary Art
16.30 Questions and discussion
Day 2
Saturday, October 20, 2018
Estonian Academy of Arts, Põhja pst 7, room A501
10.00 Morning coffee
10.20 Summary of the previous day and moderation: Chris Hales
10.30 Varvara Guljajeva. From Interaction to Postparticipation: The Disappearing Role of the Active Participant
11.00 Malin Arnell. The Word for Research is Action – engaging a live dissertation.
11.30 Jan Kaila. 20 Years of Artistic Research – what has been lost and what has been found? (45 min)
12.20 Questions and discussion
12.30 Lunch break (45 min)
13.15 Chris Hales. Creating and Running a Practice-led Doctorate in Latvia, 2009 – 2018
13.35 Marianne Jõgi. Spatio-temporal self-similarity in the creative process
14.00 Taavet Jansen. NEUROTHEATER as an interdisciplinary collaboration form: example from New Stage of Alexandrinsky Theatre
14.30 Break (15 min)
14.45 Doctoral students presentations ca 15 min each
14.45 Tze Yeung Ho
15.00 Rait Rosin
15.15 Hirohisa Koike
15.30 Conclusion
18.00 and later. Options in the city:
- NU Performance Festival: avaõhtu / opening night
Koht/location: Sveta Baar (Telliskivi 62, Tallinn)
From 20 to 28 October, the passenger terminal of the Baltic railway station in Tallinn will host the VI Artishok Biennial (VI AB) which will use the format of a fashion exhibition. Starts 18.00
/Summary of speakers’ biographies and presentations see below/
Short bios:
Malin Arnell (SE) PhD, interdisciplinary artist, researcher and educator is a frequent collaborator with other artists, activists and writers. http://www.malinarnell.org/
Varvara Guljajeva (EE) MA, is an artist and a researcher. Varvara is a PhD candidate at Estonian Academy of Arts. http://www.varvarag.info/
Taavet Jansen (EE) has been working on the field of performing art for more than 20 year – as a dancer, choreographer, director, sound-designer, light-designer, video-designer, interactivity programmer etc. http://taavetjansen.mimproject.org/
Marianne Jõgi (EE) MA, is an artist based in Tallinn. She graduated from the Georg Ots Music School where she majored in music theory. She holds an MA in sculpture and installation from the Estonian Academy of Arts. http://www.mariannejogi.com/
Jan Kaila (FI) DFA, Dean of the Academy of Fine Arts/Art University Helsinki. He was one of the founding members of the European Artistic Research Network in 2004 and in 2010 he was nominated as a member of the executive board of the Society of Artistic Research. Between 2011-2013 he was a member of ELIA´s executive board. https://www.uniarts.fi/en/jan-kaila-0
Chris Hales (GB) PhD, is a long-time specialist of the interactive moving image, as artist-practitioner, educator (Bachelors, Masters, Doctoral) and researcher. http://smartlab-ie.com/faculty/dr-chris-hales/
Andi Hektor (EE) PhD, is a Senior Researcher at the National Institute of Chemical Physics and Biophysics, Tallinn. https://www.etis.ee/CV/Andi_Hektor/est?lang=ENG
Raul Keller (EE) MA, is a professor and head of the New Media chair at the Estonian Academy of Arts. Based in Tallinn. http://raul.kuuratsanikud.ee/index.php/en/
Arne Maasik (EE) is a photographer and artist with an education in architecture. http://arnemaasik.org/
Tuula Närhinen (FI) PhD, is a visual artist based in Helsinki, Finland. http://www.tuulanarhinen.net/
Piibe Piirma (EE) PhD, is an artist and researcher based in Tallinn. http://www.piibepiirma.com/
Taavi Talve (EE) earned MA from the Estonian Academy of Arts (2008). Member of the artist collective Johnson and Johnson (2005). Docent of Sculpture and Installation department at the Estonian Academy of Arts.
Pia Tikka (FI) PhD, is a professional filmmaker and EU Mobilitas Research Professor at the Baltic Film, Media, Arts and Communication School (BFM) and MEDIT Centre of Excellence, Tallinn University. http://enactivevirtuality.tlu.ee
Julijonas Urbonas (LT) is an artist, designer, researcher, engineer, Vice-Rector for Art at the Vilnius Academy of Arts in Vilnius, and PhD student in Design Interactions at the Royal College of Art, London. http://julijonasurbonas.lt/
Raivo Kelomees (EE) PhD, is an artist, critic and new media researcher, holding a Senior Researcher position at the Estonian Academy of Arts. Lives and works in Tallinn. www.kelomees.net
Summary of speakers’ biographies and presentations:
Malin Arnell
The Word for Research is Action – engaging a live dissertation
Avhandling / Av_handling (Dissertation / Through_action)* was articulated / manifested over the course of 72 hours, situating itself within and proceeding from KTH R1 Experimental Performance Space, a decommissioned nuclear reactor hall 25 meters below ground on the campus of Royal Institute of Technology (KTH), May 27-29, 2016. The opponents and the examining committee were invited to become part for 42 hours; so was the audience—as agentially intra-acting components.
http://dissertationthroughaction.space/
* The English word dissertation translated to Swedish makes “avhandling.” When you break the word into its composite parts (“av” and “handling”), “av” can be translated to of, by, for, from, with. I chose to translate it to “through,” because I have pursued my research through the actions of my practice. “Handling” can be translated to action, document, or deed. I chose “action” to emphasize the continually unfurling and shifting nature of this research, and to echo Hannah Arendt, who maintained that actions have no end.
Biography:
Interdisciplinary artist, researcher and educator Malin Arnell, PhD, is a frequent collaborator with other artists, activists and writers. Through these collaborative practices, Malin works with key issues for participating in (social) domains by emphasising the porous intimacy between environments and actions. In doing so, Malin focuses on the experiences around/in/through/of the body (my body, their body, our body) by incorporating the affectivity between relationalities, territories, and power.
Longer bio: http://www.malinarnell.org/bio/bio/
Varvara Guljajeva
From Interaction to Postparticipation: The Disappearing Role of the Active Participant
The presentation introduces my practice-based dissertation which analyses and contextualises passive audience interaction, in the form of post-participation. The research explores the paradoxical situation in interactive art, where the artworks that demonstrate no direct audience interaction are addressed as interactive ones. It is argued that the concept of post-participation helps to address the shift from an active to a passive spectator in the complex age of dataveillance—an age where humans are continuously tracked, traced, monitored, and surveilled without their consent.
Biography:
Varvara Guljajeva is an artist and a researcher and currently a PhD candidate at the Estonian Academy of Arts. She has been invited as a visiting researcher to IAMAS (Ogaki, Japan), LJMU (Liverpool, UK), and Interface Cultures (Linz University of Art and Design).
Varvara unites with Mar Canet in the form of the artist duo Varvara & Mar. The duo has been exhibiting in international shows since 2009. Their works have been shown at MAD in New York, FACT in Liverpool, Santa Monica in Barcelona, Barbican in London, Onassis Cultural Centre in Athens, Ars Electronica museum in Linz, ZKM in Karlsruhe, etc. The duo’s work is frequently inspired by the digital age and in their practice they confront social change and the impact of the technological era.
http://www.varvarag.info
Taavet Jansen
NEUROTHEATER as a interdisciplinary collaboration form: an example from the New Stage of Alexandrinsky Theatre
In my short presentation, I will talk about the TLU summer school “Experimental Interaction Design: physiological computing technologies for performative arts ” held in ITMO University in St.Petersburg: how artists and scientists met in this one-week laboratory; what were the main concepts we discussed; how was the whole process held; and what are the final thoughts.
Biography:
Taavet Jansen has been working in the field of performance art for more than 20 years—as a dancer, choreographer, director, sound-designer, light-designer, video-designer, interactivity programmer etc. Studied Art and Science at Den Haag Art Academy and Dance and New Technologies at the Amsterdam Theatre school. Taavet is one of the founders of the technological art network MIMproject, and head of the performing arts department at TÜ Viljandi Cultural Academy.
http://taavetjansen.mimproject.org/
http://www.mimproject.org/
Marianne Jõgi
Spatio-temporal self-similarity in the creative process
Neurological evidence suggests a specialisation of the cerebral hemispheres when processing temporal and spatial information from the sound field. Further studies have revealed optimal geometric principles as well as digital technologies for creating sustainable sound fields. The presentation will focus on links between the concepts of physiological and cultural sustainability.
Biography:
Marianne Jõgi (b.1983 in Tallinn, Estonia) is an artist based in Tallinn. She graduated from the Georg Ots Music School where she majored in music theory. She holds an MA in sculpture and installation from the Estonian Academy of Arts. Her postgraduate research and practice involves investigations at the intersection of architectural acoustics and art, with the aim of integrating sensory environmental technologies with spatial forms. She has been exhibiting work since 2005. In 2013, Jõgi was awarded the Young Artist Award (Estonia) for her installation Inaudibles.
Jan Kaila
20 Years of Artistic Research – what has been lost and what has been found?
I will talk about the situation within Artistic Research (AR) in 2005 or so, in comparison with how it looks today. My questions are: Do arts need fundamental research (like in the sciences)? Is the PhD in the arts educating “better” artists or is it educating researchers that have a completely different context than for example MA-students? Is AR a new player in the “hierarchy of the art world ? if it is – what are the consequences?
Biography:
Jan Kaila (born 1957) studied at the Doctoral Studies Program at the Finnish Academy of Fine Arts from 1997 to 2002. The subject of his doctorate, completed in 2002, was Photographicality and Representation in Contemporary Art.
Kaila worked in the 1980s and 1990s as a teacher and lecturer in several Nordic photography schools, including the University of Art and Design Helsinki and the School of Photography at Gothenburg University. In 2001, he was elected Professor of Photography at the Estonian Academy of Arts, and, in 2004, he was appointed Professor of Artistic Research at the Finnish Academy of Fine Arts. In 2008, he was elected Vice Rector of the Academy.
Kaila was one of the founding members of the European Artistic Research Network in 2004 and in 2010 he was nominated as a member of the executive board of the Society of Artistic Research. Between 2011-2013 he was a member of ELIA´s executive board.
Kaila has worked as an evaluator of fine art educations and artistic research in Estonia, Sweden, Norway, Germany, Austria and Ireland and he has lectured about research in United States, France, Germany, Hungary and Latvia.
Since 1980, Kaila has held one-man exhibitions and participated in group shows in many Nordic and Central European countries, Russia, the United States, Japan, South Korea and China. Kaila has also worked as a curator and has published writings about visual art and photography.
Since 2014 Kaila worked as Scientific Advisor of Artistic Research at the Swedish Research Council and as a Senior Researcher at the Art University Helsinki being in charge of the by Swedish Research Council funded project Poetic Archaeology. In 2018 Kaila started working as the Dean of the Academy of Fine Arts/Art University Helsinki.
Chris Hales
From Tacit Knowledge & Collaborative Practice to Academic Knowledge & Individual Practice
This short talk will present a personal journey starting from the enthusiasm of making interactive artworks in an intuitive manner to the drudgery of a more informed and methodologic approach for doctoral purposes. The willing collaborator transforms into an individualistic academic researcher. Let’s discuss!
Creating and Running a Practice-led Doctorate in Latvia, 2009—2018
A short presentation about how a new doctoral course was developed at Liepaja University, the first practice-led arts degree in Latvia. Some conclusions will be drawn from the experiences and outcomes of creating the course and actually delivering it.
Biography:
Long-time specialist of the interactive moving image, as artist-practitioner, educator (Bachelors, Masters, Doctoral) and researcher. PhD in 2006: ‘Rethinking the Interactive Movie’. Currently working independently and as a visiting lecturer in various educational institutions. Associate Professor (Docent) at the Liepaja University ‘New Media Art’ programme and Director of Studies of its doctoral course. Exhibitions of interactive film installations date from ARTEC’95 in Japan, to ZKM’s Future Cinema (2003), the Prague Triennale of 2008, the X111 Media Forum in Moscow in 2012 and most recently the premiere of You·Who? at the Madeira Film Festival 2018.
Andi Hektor
What is a Research Paper?
What is a research paper? A research paper is an academic work that is published in an academic journal and follows a rather standardised structure, e.g. IMRAD (introduction, methods, results, and discussion). The paper has usually multiple authors with (or without) special roles. A new trend is that the data presented by a paper should follow FAIR (findability, accessibility, interoperability, and reusability) principles. But what is the content of a paper? Is it some new knowledge and data? In the talk I will point out similarities between a research paper and a story, a work of art and an arbiter of fashion.
Andi Hektor
is a Senior Researcher at the National Institute of Chemical Physics and Biophysics, Tallinn.
https://www.etis.ee/CV/Andi_Hektor/est?lang=ENG
Raul Keller
Process is a piece which documents a technological and somewhat mediaarcheological approach to a process of physically inscribing sound into material, of homebrewed vinyl/plastic scribing with the emphasis on the emerging artefacts and outcomes of the process. It begins with a research into online DIY cultures and history of lofi sound reproduction on X-ray film sheets and continues into revisiting/revamping the historical professional devices. Perhaps the process will evolve into new and alternative physical reproduction devices that are technologically set back from the current state-of-the-art by decades but are lead by a different mindset.
Bio
Since end of 90s has been engaged in a multitude of contemporary art practices, focusing on site-specific sound installation, performance, improvisation, DIY culture, video- and radiophonic art. Sonic performances and radio art with LokaalRaadio (with Katrin Essenson, Hello Upan). Member of Eesti Elekter, experimental electronics performance group (Kerikmäe, Leemets, Lond, Tikas, Tikas). Free impro noise duo Post Horn (with Hello Upan). Performed as Paul Cole with his group The Great Outdoors in burlesque americana rock genre. Founding member of MKDK, A Dynamic Collective of Music and Arts. Founder of radio art festival Radiaator (with Katrin Essenson). Member of artist collective MIMproject. Works commissioned / performances in Great Britain, France, Germany, The Netherlands, Iceland, Brazil, India, Poland, Russia and The Baltic States. Since 2014 professor and head of New Media chair in the Estonian Academy of Arts. Residing in Tallinn, Estonia.
http://raul.kuuratsanikud.ee/index.php/en/biocv-eng
Arne Maasik
On Geometry in the Architecture of Louis Kahn
The Louis Kahn project: Louis Kahn (1901-1974) is considered one of the greatest architects of the 20th century, and he has a direct link with Estonia—Kahn lived in Kuressaare until he was five years old and visited his home island again in 1928, when he was a young architect. The Louis Kahn Estonia Foundation, the art historian Heie Treier and Estonia’s most recognized architectural photographer Arne Maasik have looked at the striking similarities between the architecture of Louis Kahn and the sacral architecture found on Saaremaa. In his lecture Arne Maasik will give a brief overview of his journeys to Kahn-related locations in the US, India, Bangladesh and Saaremaa, Estonia.
Arne Maasik is a photographer and artist with an education in architecture. He has participated in long-term projects involving large-scale research and had numerous solo exhibitions at home and abroad. Arne Maasik’s work is characterised by an awareness of metaphysical undercurrents and muted poetry. As an artist his focus is on metropolises as well as their outskirts, old houses and scrublands, as well as other peripheral living environments that become animated and alive in his photos.
He has worked as a faculty member in the Photography Department of the Tartu Higher Art School, Estonian Academy of Arts. Contributed to many architectural and art publications in Estonia and abroad. Member of the Estonian Artists’ Association since 2003.
http://arnemaasik.org/
Tuula Närhinen
Phenomenotechnique in Visual Art Practice
My projects examine the inherent visual potential in naturally occurring events. I have constructed visual interfaces that enable us to move beyond the explicit and to grasp the unfurling of a world invisible to the naked eye. Empiric and experimental methods are at the core of the inquiry. This talk focuses on tracings and (photo)graphic recordings. I consider the role of various inscribing apparatuses in a process that allows natural phenomena to manifest themselves. The installations showcase the DIY instruments implicated, encouraging the spectator to participate in the re-presentation of an event.
Biography:
Tuula Närhinen is a visual artist based in Helsinki, Finland.
Her works explore the pictorial agency of natural phenomena such as water and wind. Re-adapting instruments derived from natural sciences, Närhinen has developed methods for letting trees trace the shape of wind on their branches and found techniques that the enable the waves of the sea to inscribe themselves on paper.
Närhinen holds a Doctorate of Fine Arts (DFA) from the University of the Arts Helsinki. She is a graduate of the Finnish Academy of Fine Arts (MFA), and the Helsinki University of Technology (M.Sc. in Architecture). Find her at www.tuulanarhinen.net
Piibe Piirma
Inter- and Transdisciplinarity in Artistic Research
Interdisciplinarity as the combining of academic disciplines into a single study is a concept increasingly used in all instances where the finding of something new and unique and the crossing of boundaries between fields is considered important. This concept in more general terms is linked to the 20th century but its historical roots lie within Greek philosophy. In short, the interdisciplinary approach is related to the aim to create more perfect knowledge because in order to resolve important problems, staying within specific disciplines in a traditional or conventional manner is not enough.
Collaboration between art and science permits highly specific characteristics to be discovered that do not fit into the boundaries of conventional scientific research or the practice-based study of an artist. In what way is it important and novel both in terms of the focus on disciplines as well as the greater inclusion than before – in terms of collaboration in which the lines of thought of the scientific, societal, political, ethical and aesthetic world views are in harmony? The diversity of lines of thought and potential solutions, as well as the fact that engaging in science can involve many intuitive ideas and – until now – uninvolved groups of society leads us to analyse the term of transdisciplinarity.
Biography:
Piibe Piirma is media artist, curator and teacher based in Tallinn, Estonia. She has worked as designer and visual artist since 2002 and curated several new media art exhibitions since 2006. Piibe’s latest activities were related with PhD studies at Estonian Academy of Arts since 2009. She graduated on 2015, the title of her thesis was “Hybrid Practice. Art and Science in Artistic Research”. In her research she were focusing on her artistic experience by collaborating different Science labs in Estonia – TUT Centre of Biorobotics, TUT Department of Chemistry, UT Institute of Molecular and Cell Biology, TUT Institute of Marine Systems etc.
http://www.piibepiirma.com/
Taavi Talve
Paldiski Project, Case Study
The Paldiski Project. This case study focuses on communal art practices in Paldiski by the artist group Johnson and Johnson in terms of artistic collaboration and collectively elaborated meaning.
Biography:
Born 1970, Tartu. Earned MA from the Estonian Academy of Arts (2008). Member of the artist collective Johnson and Johnson (2005). Docent of Sculpture and Installation department at the Estonian Academy of Arts.
Pia Tikka
Neurocinematics & Art-Science Collaboration
I will discuss the first hand knowledge gained from several collaborative projects in which I have worked as a consulting film expert, and my own neurocinematic projects in which I have functioned as the principal investigator. I will highlight the diversity of issues one faces in collaborations between artists and scientists. Especially interesting will be to reflect conceptual, technological and methodological differences between arts and sciences. The discussion will range from conceptual to technological issues, however the focus will be on challenges such as finding shared language, working methods, best division of labor and responsibilities and authorship.
Biography:
Dr. Pia Tikka is a professional filmmaker and EU Mobilitas Research Professor at the Baltic Film, Media, Arts and Communication School (BFM) and MEDIT Centre of Excellence, Tallinn University. She has directed fiction films “Daughters of Yemanjá”, “Sand Bride”, and the Möbius Prix Nordic winning cinematic installation “Obsession”. As the leader of the research groups NeuroCine and Enactive Cinema, she has published on the topics of neurocinematics and enactive media, and written the book “Enactive Cinema: Simulatorium Eisensteinense.” She has been honoured with titles of Adjunct Professor of New Narrative Media at the University of Lapland and Fellow of Life in the Society for Cognitive Studies of the Moving Image. Currently her ENACTIVE VIRTUALITY research group studies the viewer’s experience of co-presence emerging in facial encounters with an enactive screen character. http://enactivevirtuality.tlu.ee
Julijonas Urbonas
Gravitational Aesthetics and Exodisciplinary Art
For almost a decade, working between amusement park design, space medicine, choreography, sci-fi and robotics, the artist Julijonas Urbonas has been developing various creative tools of negotiating gravity: from a killer rollercoaster to an artificial planet made up entirely of human bodies. In these projects he coins the term gravitational aesthetics, an artistic approach exploiting the means of manipulating gravity to create experiences that push the body and imagination to its extremes. In this lecture he will introduce his creative methodology by surveying a selection of his projects.
Biography:
Julijonas Urbonas is an artist, designer, researcher and engineer. He is Vice-Rector for Art at the Vilnius Academy of Arts in Vilnius, and a PhD student in Design Interactions at the Royal College of Art, London.
Before embarking on an artistic career, since childhood, Julijonas worked in amusement park development. In 2004, he became the head of an amusement park in Klaipeda, Lithuania, and ran it for three years. Having worked in this field — also as a designer and engineer — he became fascinated with what in his research he calls ‘gravitational aesthetics.’ This experience is unavailable elsewhere, and he became intrigued by this under-developed topic. Since then the topic has been at the core of his artistic research, intermingling such fields as critical design, speculative engineering, social sci-fi, performative architecture, choreographic heuristics, medicine, theatre and dance.
His work has been exhibited internationally and received many awards, including the Award of Distinction in Interactive Art, Prix Ars Electronica 2010. His projects can be found in private and museum collections such as the permanent collection of the Centre for Art and Media Karlsruhe (ZKM).
http://julijonasurbonas.lt/
Raivo Kelomees
PhD (art history), artist, critic and new media researcher. Presently working as senior researcher at the Estonian Academy of Arts, Tallinn. He studied psychology, art history, and design at Tartu University and the Academy of Arts in Tallinn. He has published articles in the main Estonian cultural and art magazines and newspapers since 1985. His works include the book “Surrealism” (Kunst Publishers, 1993) and an article collection “Screen as a Membrane” (Tartu Art College proceedings, 2007), “Social Games in Art Space” (EAA, 2013). His Doctoral thesis was “Postmateriality in Art. Indeterministic Art Practices and Non-Material Art” (Dissertationes Academiae Artium Estoniae 3, 2009).
In recent years he has been participating on conferences dedicated to new media, digital humanities, theatre and visual art in São Paulo, Manizales, Plymouth, Krems, Riga, Shanghai, Göteborg, Hong Kong, Dubai and other places.
www.kelomees.net
This event is organised by the Graduate School of Culture Studies and Arts, supported by the ASTRA project of the Estonian Academy of Arts – EKA LOOVKÄRG (European Union, European Regional Development Fund).
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