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  • Tallinna 5. joonistustriennaal/ Tallinn 5th Drawing Triennial | BLACK and WHITE
    is not always material and each trace is not permanent The movement may also occur via the movement of the viewer Sometimes it is actually the viewer that creates the trace or the surface on which the trace develops The speed and controllability of the movement is affected among other things by the friction the resistance of the material This contact connection to the material creates a creative dialogue provides feedback sharpens one s attention and opens new possibilities The artist holds onto one end the pencil or brush and the picture to the other A drawing can be like a point a starting point the end of a path How little is needed for an image to form in the viewer s eye or consciousness Paul Klee has said A drawing is simply a line going for a walk The movement described by Klee occurred without a specific aim objective for the movement Based thereon every drawing expresses a freedom of movement A joy of possibilities A fresh lively line that expresses movement and the rhythm of life DRAWING AS OBSERVATION A drawing can be groundbreaking relating to observation and recording To the recording of significant discoveries Substantially a rambling exploratory and experimental drawing is the trace of looking or the imitation of observation and thinking To trace to observe follow imitate Observing as well as tracing represents investigation succession and the imitation of observance fusion and identification In Estonian two verb that sound similar are associated with traces jäljendama imitate and järele aimama emulate The first defines a physical and expressive activity related to copying the other an aspiration to empathically adapt The drawer s attention is directed by and follows thought the hand imitates that movement the viewer observes and anticipates or emulates The drawing embodies time Firstly the time already accommodated therein the time spent with it the dedication persistence introspection searching and experimentation as well as the human dimension Secondly an opportunity to look think comprehend A fleeting or sparse drawing accommodates time slightly differently than the more time consuming ones The density is different it can be revealed by the lack of information by silence the unsaid The sparser the image the more important that which is unseen Looking at a drawing one can feel as if at a crossroads Moving one way one could arrive at the first point of contact with the paper going the other way with something dense and opulent maybe with a precise illusion In order to arrive at the depicted object the viewer must conceptually move through the paper by discontinuing its surface tension or the depicted object emerges from the surface of the paper becoming three dimensional revealing itself One way or another the paper under inside or behind the drawing disappears CHIAROSCUORO FROM WHITE TO BLACK BLACK TO WHITE The equivalent of the Italian term chiaroscuoro in Estonian is light darkness A transition breaking or bending from black into white from black to white Transferred from external phenomena to internal ones chiaroscuoro arrives at the act of consciousness through the ability to contrast distinguish and isolate More narrowly within the context of image creation a black and white solution marks the narrowing of possibilities as well as clarity The opposite is grey as the vagueness of the intermediary The ability to distinguish shades of gray to notice the slightly lighter or darker presumes an attentiveness that could be called sensory clarity The abundance of perceivable shades makes the experienced picture more colourful Empathy and sympathy accompany sensitivity and based thereon all kinds of contrasts contradictions and differences become tolerable This means that with the help of retuning we become more flexible adaptable and changeable Thereby transitions in surface and space lead to transitions in time Black needs white and white needs black As a counterbalance It s as if they were sitting on a long swing Depending on their location in regard to the conceptual centre to the support point their weights can have a different effect Usually the whole is slanted in some direction The slant seems to point in some direction and the shift that the viewer makes by moving in that direction leaves a trace in him or her Before electricity came into use illustrated books were said to be illuminated The first insertions into the black text were red But on the first drawings which were made in the ground or on the side of a hill the dark lines may have been on the lighter background as is also more common today since the surface revealed by scraping and the line of the fissure was darker due to the shadow or moisture DRAWING AS WRITING AND STORYTELLING Drawing can be simultaneously reproductive and searching just like writing When learning to write one first learns to recognise and then depict the letters one by one According to the phenomenologist Tim Ingold the latter resembles drawing since one s attention is focused on executing the visible That is when writing one is actually drawing the letters one by one This may occur imperceptibly but in some sense it is still drawing It only becomes writing when the goal becomes to communicate the meaning behind the characters In Old Estonian the word kirjamine mottling is used to define the organisation of a surface with visual rhythms and colours Kirjamine is related to knitting embroidering and crocheting all kinds of interlacing Ingold calls fabric the historical equivalent of drawings since from time to time the threads emerge from the surface and then disappear again always existing but it turn becoming visible and then disappearing again When weaving fabric the warp and woof is differentiated i e one forms the basis in the vertical direction and the other is horizontally woven into in a zigzag pattern Ingold grouped these meanings more generally as outlines and gridlines as well as structural lines for instance as the main line or fundamental line of narration Alexander Rodchenko the Russian constructivist from the early 20th century divided the lines of a drawing more exactly into outlines and structural lines also calling the latter constructive lines and named the skeleton as an example among other things In the context of academic drawing the main line of a structure is called the axis and in the case of a figure the main axis in the spine Textural lines that depict the pattern of the surface are also structural lines In Estonian there is an interesting world juhtlõng lead thread the meaning of which may have become blurred in time and by shifting between fields of activity For example Adriadne s thread may be depicted as a fine thread but it indicates the main path through a labyrinth and in the context of space is a solutional main line A story thread also indicates continuity but characteristically it resembles a weave of fabric fibres that go here and there The warp is often neutral and almost colourless and the woven part twists around it giving it character In Latin the word for line is linea and besides being defined as a line or connection its other meanings include flax or more generally fibre which is the strong core of this seemingly delicate plant that can be made into a durable fabric Linen fabric is always somewhat transparent so that its fibres can be differentiated and it wears thin rather than consolidating into felt Therefore it is always a lineated rather than a solid surface Both Adriane s thread and a plant s veins combine the characteristics of fibre and a pathway both of which are the historical basis of the line DRAWING AS CONCEPTUAL BUILDING In Dutch the word for drawing is tekening which is derived from the Greek word techne and is associated with knowledge acquired by practice The derivatives of the same source word in the Romance languages Italian disegno Spanish dibujo French dessin and Portuguese desenho are related to construction optimization and moulding in the design context On the other hand drawings allows initially unrealised ideas to become visible hanging gardens floating houses which may someday in seconds or centuries turn out to be executable In conclusion structural lines are internal and boundaries are external both form the structural basis for a composition at the conceptual level In more laconic drawings the whole develops from these lines however in the richer ones they are overshadowed by the networks of line depicting various surfaces Therefore a simplifying unfinished open and immediate drawing that leaves the train of thought visible is in some sense an intellectual concession to the viewer Unlike a drawing densely shaded with structural lines or a text in a fabric all the fibres are immediately perceivable like the rhythms and divisions that are the basis of a musical composition The weave of a fabric and musical rhythm are characteristically abstract and clear In the case of a dense visual finding and following the most general structure principle or main task can become more complicated Therefore a simplifying unfinished open and immediate drawing that leaves the train of thought visible is in some sense an intellectual concession to the viewer Margot Kask Postitatud 2015 08 19 2015 08 26 Rubriigid uudised news 2015 Sildid Building Drawing Margot Kask Observation text Writing KAASNÄITUS Sisemised linnad Inside Cities 19 augustist 17 septembrini T R kell 12 18 Polymeris Sisemised linnad Inside Cities Polymeri Kultuuritehase 3 korruse Valges saalis 19 augustist 17 septembrini T R kell 12 18 Triennaali üks satelliitnäitusi Sisemised linnad Inside Cities eksponeerib TTÜ üliõpilaste ja õppejõudude arhitektuurijoonistusi ja installatsioone Näitus toimub Polymeri Kultuuritehase Valges saalis kus on tekkimisjärgus arhitektuuri ning visuaalkunstide kokkupuutealadele orienteeruv galerii Osalevad kunstnikud Anu Juurak ja Raoul Kurvitz ning arhitektuuritudengid Helen Aaver Maria Buhharova Ristjan Johanson Signe Kits Johanna Kordemets Katarina Koroljova Karina Krestinov Annika Laidroo Brita Porovarde Sofia Smirnova Maria Soboleva Noorte arhitektide tööde märgusõnad nagu Positsioonid Geomeetriline panoraam Minu teekond koju ja Jäljed kõnelevad iseenda eest Joonistuslikke eksperimente on mitmesuguseid ja näha saab nii perfomance ite käigus sündinud abstraktseid söejoonistusi mis sarnanevad futuristlike liiklussõlmedega kui privaatseid linnapanoraame torudes kuhu külastaja saab sisse pugeda Lähem info Anu Juurak anu juurak ttu ee 56682455 TTÜ Arhitektuuri ja urbanistikainstituut visuaalkunsti õppetool Postitatud 2015 08 18 2015 08 26 Rubriigid uudised news 2015 Sildid Inside Cities Polymeri Kultuuritehas satelliitnäitus Sisemised linnad Kommenteeri postitust KAASNÄITUS Sisemised linnad Inside Cities 19 augustist 17 septembrini T R kell 12 18 Polymeris PRESSITEADE Tallinna V Rahvusvaheline Joonistustriennaali näitus Must ja valge Tallinna Kunstihoones PRESSITEADE 17 08 2015 Tallinna Kunstihoone Tallinna V Rahvusvaheline Joonistustriennaali näitus Must ja valge Tallinna Kunstihoones Tallinna V Rahvusvaheline Joonistustriennaal Must ja valge näitab viimase kolme aasta joonistusi üle maailma Näitus on Tallinna Kunstihoones avatud kuni 27 septembrini 2015 Olete oodatud näituse avamisele 21 augustil kell 18 00 Ainult joonistamisele pühendatud suurnäituse eesmärk on fikseerida joonistamise kui kunstipraktika seis teha kokkuvõte möödunud kolmest aastast ja leida ka teid valdkonna edasi arendamiseks Joonistamine on märkamatult muutunud kaasaegse kunsti lahutamatuks osaks ja tõsiseltvõetavaks väljendusvahendiks mis liigub paindlikult meid saatvate muutuste kõrval ütleb joonistustriennaali vedaja Loit Jõekalda Ta rõhutab et joonistusel kui esmasel kujutava kunsti liigil on võime toimida kaasaegse elu sünkroontõlkena mis pidevalt kohaneb hetkel olulisema keelekasutusega Jõekalda võrdleb joonistamist visuaalse keelega mille abil saab edastada sõnumeid ja mis suunavad vaatama kuulama ja mõistma Joonistamine on liikunud 2000 aastatel kontseptuaalseks protsessipõhiseks kunstiks saades kuraatorinäituste rahvusvaheliste suurnäituste pärisosaks ja olles ka mõistmise sillaks vana ning uue vahel Seekordse triennaali teema on must ja valge Itaaliakeelne termin chiaroscuro tähendab kontrasti tumeduse ja heleduse valguse ja varju vahel ning see annab lamedale pinnale vormi ja fookuse selgitab kunstnik Britta Benno joonistustriennaali teema lähtepunkte Kutsusime kunstnikke mängima erinevaid stsenaariume musta ja valge elu ja surma ning nende kõikvõimalike kromaatiliste ja akromaatiliste vaheakordidega Tallinna Rahvusvaheline Joonistustriennaal toimub sel suvel viiendat korda autoreid on 26 riigist Näitused toimuvad augustis septembris Tallinna Kunstihoones Vabaduse galeriis EKA galeriis Disaini ja Arhitektuuri galeriis ning Viinistu kunstimuuseumi galeriides Triennaali rahvusvaheline seminar toimub Viinistu kunstimuusemis Triennaali toimkond Britta Benno Kaarel Eelma Sirja Liisa Eelma Inga Heamägi Loit Jõekalda Elin Kard Merike Sule Trubert Maria Kristiina Ulas Näitusel osalevad Dieter Josef Josefien Cornette Judith Duchêne Philippe Briade Fxstg Madeline Deriaz Mirjam Aimla Jüri Arrak Britta Benno Evelyn Grzinich Albert Gulk Ulvi Haagensen Hannah Harkes Inga Heamägi Gudrun Heamägi Maie Helm Jarõna Ilo Anna Litvinova Anu Juurak Virge Jõekalda Jüri Kask Nestor Ljutjuk Kaili Angela Konno Kuzja Zverev Kreeta Käeri Tarrvi Laamann Laurentsius Heikki Leis Ülle Marks Raul Meel Mall Nukke Maarja Nurk Enno Ootsing Tauno Ostra Jaanika Peerna Mari Prekup Mark Antonius Puhkan Aapo Pukk Anu Purre Matti Pärk Irma Isabella Raabe Lilli Krõõt Repnau Lembe Ruben Reti Saks Feliks Sarv Sofya Smirnova Krista Zimm Jaan Toomik Maria Kristiina Ulas Ragne Uutsalu Valeri Vinogradov Mare Vint Marje Üksine Pirkko Holm Gryta Radozlav Tarja Teräsvuori Joly Laurie Charlotte Barry Elodie Lemerle Frederic Messager Julien Morel Lorenz Louise Landoise Ludivine Venet Marie Courdavault Pascal Hugonet Quentin Arepo Remy Groussin Sean Fangous Stephanie Smalbeen Thomas Dussaix Susmar Pinango Yvonne Calsou Jessica Soueidi Eugenia Gortšakova Kumar Ankur Barbara Fragogna Pamela Radino Liena Bondare Kate Serzane Klavs Upaciers Dana Vasiljeva Greta Grendaite Jurgita Juodyte Lithuania Gintarė Marčiulynaitė Sol Kjøk Anna Nikiforova Olga Orel Sergei Pshizov Ljubov Serova Asya Sukmanova Blažej Baláž Mária Balážová Eliska Kovacikova Juan Perdiguero Jaak Poom Ahmed Modhir Sara Riesenmey Ann Pajuväli Näituse kujundus Kaarel Eelma Repro Jüri Arrak Piir Söejoonistus 2015 Lähemalt joonistustriennaalist http tallinndrawingtriennial ee https www facebook com Joonistustriennaal http joonistustriennaal blogspot com Must ja valge Tallinna V Rahvusvaheline Joonistustriennaal 22 08 27 09 2015 Tallinna Kunstihoone Vabaduse väljak 8 K P 12 18 kunstihoone ee Veel teavet Loit Jõekalda joonistustriennaali koordinaator 372 55 696086 loit joekalda gmail com Pressiteate koostas Anneli Porri anneli kunstihoone ee PDF plakat Postitatud 2015 08 17 2015 08 29 Rubriigid uudised news 2015 Sildid must ja valge PRESSITEADE Tallinna Kunstihoone Tallinna V Rahvusvaheline Joonistustriennaal Kommenteeri postitust PRESSITEADE Tallinna V Rahvusvaheline Joonistustriennaali näitus Must ja valge Tallinna Kunstihoones PRESS RELEASE 5th Tallinn International Drawing Triennial Black and White at the Tallinn Art Hall PRESS RELEASE 17 August 2015 Tallinn Art Hall 5th Tallinn International Drawing Triennial Black and White at the Tallinn Art Hall The 5th Tallinn International Drawing Triennial Black and White exhibits drawings from around the world made during the last three years The exhibition will be open at the Tallinn Art Hall until 27 September 2015 You are invited to the opening of the exhibition on August 21st at 6 p m The objective of this large exhibition dedicated exclusively to drawings is to determine the state of drawing as an artistic practice summarise the past three years and find ways for the continued development of the field Drawing has imperceptibly become an indivisible part of contemporary art and a means of expression to be taken serious and is flexibly moving alongside the changes that are accompanying us says Loit Jõekalda the coordinator of the triennial He emphasises that drawing as the first visual arts form has the ability to act as simultaneous translation for contemporary life which constantly adapts to the language use that is most important at the moment Jõekalda compares drawing to a visual language that helps to communicate messages and directs one to look listen and comprehend In the 2000s drawing has become a conceptual process based art a substantial part of curatorial exhibitions and large international exhibitions and a bridge of comprehension between old and new The theme of this triennial is Black and White The Italian term chiaroscuro means the contrast between darkness and brightness light and shadow and it gives a flat surface form and focus is how artist Britta Benno explains the point of departure for the triennial s theme We invited the artists to play out various scenarios with black and white life and death and all the intermediary chromatic and achromatic chords The Tallinn International Drawing Triennial will take place this summer for the fifth time with artists from 26 countries The exhibitions will take place in August and September at the Tallinn Art Hall Vabaduse Gallery Estonian Academy of Arts Gallery Design and Architecture Gallery and the galleries of the Viinistu Art Museum The triennial s international seminar will take place at the Viinistu Art Museum Triennial team Britta Benno Kaarel Eelma Sirja Liisa Eelma Inga Heamägi Loit Jõekalda Elin Kard Merike Sule Trubert and Maria Kristiina Ulas Participating artists Dieter Josef Josefien Cornette Judith Duchêne Philippe Briade Fxstg Madeline Deriaz Mirjam Aimla Jüri Arrak Britta Benno Evelyn Grzinich Albert Gulk Ulvi Haagensen Hannah Harkes Inga Heamägi Gudrun Heamägi Maie Helm Jarõna Ilo Anna Litvinova Anu Juurak Virge Jõekalda Jüri Kask Nestor Ljutjuk Kaili Angela Konno Kuzja Zverev Kreeta Käeri Tarrvi Laamann Laurentsius Heikki Leis Ülle Marks Raul Meel Mall Nukke Maarja Nurk Enno Ootsing Tauno Ostra Jaanika Peerna Mari Prekup Mark Antonius Puhkan Aapo Pukk Anu Purre Matti Pärk Irma Isabella Raabe Lilli Krõõt Repnau Lembe Ruben Reti Saks Feliks Sarv Sofya Smirnova Krista Zimm Jaan Toomik Maria Kristiina Ulas Ragne Uutsalu Valeri Vinogradov Mare Vint Marje Üksine Pirkko Holm Gryta Radozlav Tarja Teräsvuori Joly Laurie Charlotte Barry Elodie Lemerle Frederic Messager Julien Morel Lorenz Louise Landoise Ludivine Venet Marie Courdavault Pascal Hugonet Quentin Arepo Remy Groussin Sean Fangous Stephanie Smalbeen Thomas Dussaix Susmar Pinango Yvonne Calsou Jessica Soueidi Eugenia Gortšakova Kumar Ankur Barbara Fragogna Pamela Radino Liena Bondare Kate Serzane Klavs Upaciers Dana Vasiljeva Greta Grendaite Jurgita Juodyte Lithuania Gintarė Marčiulynaitė Sol Kjøk Anna Nikiforova Olga Orel Sergei Pshizov Ljubov Serova Asya Sukmanova Blažej Baláž Mária Balážová Eliska Kovacikova Juan Perdiguero Jaak Poom Ahmed Modhir Sara Riesenmey Design of the Exhibition Kaarel Eelma Repro Jüri Arrak Border Charcoal on paper 2015 For more about the triennial http joonistustriennaal blogspot com Black and White 5th Tallinn International Drawing Triennial 22 August 27 September 2015 Tallinn Art Hall Vabaduse väljak 8 Wednesday to Sunday 12 18 kunstihoone ee More information Loit Jõekalda Coordinator of the Drawing Triennial 372 55 696086 loit joekalda gmail com Press release prepared by Anneli Porri anneli kunstihoone

    Original URL path: http://tallinndrawingtriennial.ee/ (2016-02-16)
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  • MARGOT KASK: Joonistamine kui jälgimine, kirjutamine ja ehitamine | Tallinna 5. joonistustriennaal/ Tallinn 5th Drawing Triennial
    vaatamiseks mõtlemiseks taipamiseks Põgus või hõre joonistus mahutab aega natuke teisiti kui pikaajaline Selle tihedus on teistsugune ja võib avalduda ka teabe puudumises vaikuses ütlemata jätmises Mida hõredam kujutis seda suurem osakaal on temas nähtamatul Vaadates joonistust võib tunda end olevat justkui poolel teel Ühele poole liikudes võiks jõuda esimese kokkupuutepunktini paberiga teisele poole minnes millegi tiheda ja küllase võib olla täpse illusioonini Kujutatud nähtuse või objektini jõudmiseks tuleb vaatajal mõtteliselt liikuda läbi paberi katkestades selle pindpinevuse või siis tõuseb kujutatud objekt paberi pinnalt esile muutudes ruumiliseks joonistub välja Nii või teisiti kaob joonistuse alt seest ja tagant paber CHIAROSCUORO VALGEST MUSTANI MUSTAST VALGENI Itaaliakeelse termini chiaroscuoro otsene vaste eesti keeles on heletumedus Üleminek murdumine või paindumine mustalt valgele mustast valgeni Ülekantuna välistelt nähtustelt sisemistele ulatub chiaroscuoro tähendusruum eristumise eristatavuse ning eristamisvõime kaudu teadvuse toimeni Kitsamalt kujutise loome kontekstis tähistab must valge lahendus võimaluste kitsendatust aga ka selgust Vastandiks on halli kui vahepealsuse ebamäärasus Suutlikkus eristada halltoone märgata et miski on pisut heledam või tumedam eeldab märkajalt tähelepanelikkust mida võib nimetada meeleselguseks Tajutavate varjundite rohkus muudab kogetava pildi niisiis värvilisemaks Tundlikkusega kaasneb empaatia osavõtlikkus mille mõjul omakorda muutuvad vastuolud ja erinevused kõiksugu kontrastid talutavamaks See tähendab et ümberhäälestumiste abil me muutume paindlikemaks kohastuvamaiks ja muutlikumaiks Seega üleminekud pinnal ja ruumis juhatavad üleminekuteni ajas Must vajab valget valge musta Vastukaaluks Nad istuksid justkui pikal kiigel Sõltuvalt asendist kompositsiooni mõttelise keskme toetuspunkti suhtes võivad nende raskused mõjuda erinevalt Enamasti on tervik kuhugipoole kaldu Kalle paistab osutavat mingis suunas ja nihe mille vaataja sinnapoole liikudes teeb jätab temasse jälje Raamatuillustratsioone on kunagi enne elektri kasutuselevõttu nimetatud helendavaiks Esimesed lisandid musta teksti vahel olid punased Kuid esimesed joonistused mis tehti maapinnale või mäeseinale võisid olla nagu praegugi tavalisim tumedad heledamal kuna kraapides avati pind ja praojoon jäi varju või niiskuse tõttu tumedam JOONISTAMINE KUI KIRJUTAMINE JA JUTUSTAMINE Joonistamine võib olla ühtaegu jäljendav ja otsiv nagu kirjutaminegi Kirjutama õppides õpitakse algul tähti ükshaaval kõigepealt ära tundma seejärel kujutama Viimane sarnaneb fenomenoloog Tim Ingoldi arvates joonistamisega kuna põhitähelepanu on nähtava vormistamisel Ehk kirjutades joonistatakse kõik tähed ükshaaval välja See võib toimuda märkamatult kuid on mingis mõttes ikkagi joonistamine Kirjutamiseks osutub see alles siis kui eesmärgiks saab märkide taga oleva tähenduse edastamine Vanas eesti keeles kasutatakse visuaalsete rütmide ja värvidega pinna korraldamise tähenduses sõna kirjamine Kirjamine on seotud kudumise tikkimise ja heelgeldamisega kõiksugu põimimistega Ingold nimetab joonistuse ajalooliseks paralleeliks kangast kuna selle pinnast tulevad lõngad aeg ajalt esile ja kaovad sinna taas olles pidevalt olemas vaheldumisi nähtaval ja peidus Kanga kudumisel eristatakse lõime ja põime ehk siis seda mis on vertikaalse suunaga aluseks ja seda millega tolle aluse vahele horisontaalses sik sakis põimitakse Ingold ühendas nende tähendused üldisemalt piir ja abijoonte ning struktuurijoonte nagu näiteks jutustuse peajoone või põhiliiniga Sajanditagune vene konstruktivist Aleksandr Rodtšenko jagas joonistuse jooned täpselt samuti piir ja struktuurijoonteks nimetades viimaseid ka konstruktsioonijoonteks ning tõi nende näiteks mh skeleti Akadeemilise joonistuse kontekstis kasutatakse struktuuri põhijoone tähenduses terminit telg figuuri puhul on põhiteljeks selgroog Faktuurijooned mis kujutavad pinnatekstuuri kuuluvad samuti struktuurijoonte hulka Eesti keeles on

    Original URL path: http://tallinndrawingtriennial.ee/2015/08/19/margot-kask-joonistamine-kui-jalgimine-kirjutamine-ja-ehitamine/ (2016-02-16)
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  • MARGOT KASK: Drawing as Observation, Writing and Building | Tallinna 5. joonistustriennaal/ Tallinn 5th Drawing Triennial
    TO WHITE The equivalent of the Italian term chiaroscuoro in Estonian is light darkness A transition breaking or bending from black into white from black to white Transferred from external phenomena to internal ones chiaroscuoro arrives at the act of consciousness through the ability to contrast distinguish and isolate More narrowly within the context of image creation a black and white solution marks the narrowing of possibilities as well as clarity The opposite is grey as the vagueness of the intermediary The ability to distinguish shades of gray to notice the slightly lighter or darker presumes an attentiveness that could be called sensory clarity The abundance of perceivable shades makes the experienced picture more colourful Empathy and sympathy accompany sensitivity and based thereon all kinds of contrasts contradictions and differences become tolerable This means that with the help of retuning we become more flexible adaptable and changeable Thereby transitions in surface and space lead to transitions in time Black needs white and white needs black As a counterbalance It s as if they were sitting on a long swing Depending on their location in regard to the conceptual centre to the support point their weights can have a different effect Usually the whole is slanted in some direction The slant seems to point in some direction and the shift that the viewer makes by moving in that direction leaves a trace in him or her Before electricity came into use illustrated books were said to be illuminated The first insertions into the black text were red But on the first drawings which were made in the ground or on the side of a hill the dark lines may have been on the lighter background as is also more common today since the surface revealed by scraping and the line of the fissure was darker due to the shadow or moisture DRAWING AS WRITING AND STORYTELLING Drawing can be simultaneously reproductive and searching just like writing When learning to write one first learns to recognise and then depict the letters one by one According to the phenomenologist Tim Ingold the latter resembles drawing since one s attention is focused on executing the visible That is when writing one is actually drawing the letters one by one This may occur imperceptibly but in some sense it is still drawing It only becomes writing when the goal becomes to communicate the meaning behind the characters In Old Estonian the word kirjamine mottling is used to define the organisation of a surface with visual rhythms and colours Kirjamine is related to knitting embroidering and crocheting all kinds of interlacing Ingold calls fabric the historical equivalent of drawings since from time to time the threads emerge from the surface and then disappear again always existing but it turn becoming visible and then disappearing again When weaving fabric the warp and woof is differentiated i e one forms the basis in the vertical direction and the other is horizontally woven into in a zigzag pattern Ingold

    Original URL path: http://tallinndrawingtriennial.ee/2015/08/19/margot-kask-drawing-as-observation-writing-and-building/ (2016-02-16)
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  • Osalejad/Participants | Tallinna 5. joonistustriennaal/ Tallinn 5th Drawing Triennial
    Estonia Jüri Kask Estonia Sol Kjøk USA Norway Kaili Angela Konno Estonia Eliska Kovacikova Slovakia Ankur Kumar India Kreeta Käeri Estonia Tarrvi Laamann Estonia Laurence Landois France Laurentsius Estonia Heikki Leis Estonia Elodie Lemerle France Anna Litvinova Estonia Nestor Ljutjuk Estonia Gintarė Marčiulynaitė Lithuania Ülle Marks Estonia Raul Meel Estonia Frédéric Messager France Susmar Pinango de Meyssignac France Venezuela Ahmed Modhir Sweden Iraq Julien Morel France Anna Nikiforova Russia Mall Nukke Estonia Maarja Nurk Estonia Enno Ootsing Estonia Olga Orel Russia Tauno Ostra Estonia Ann Pajuväli Estonia Jaanika Peerna Estonia Juan Perdiguero Spain Jaak Poom Sweden Estonia Mari Prekup Estonia Sergei Pshizov Russia Mark Antonius Puhkan Estonia Aapo Pukk Estonia Anu Purre Estonia Matti Pärk Estonia Pamela Radino Italy Irma Isabella Raabe Estonia Lilli Krõõt Repnau Estonia Sara Riesenmey Switzerland Lembe Ruben Estonia Reti Saks Estonia Feliks Sarv Estonia Ljubov Serova Russia Kate Serzane Latvia Stephanie Smalbeen France Sofya Smirnova Estonia Jessica Soueidi France Asya Sukmanova Russia Krista Zimm Estonia Kuzja Zverev Estonia Tarja Teräsvuori Finland Jaan Toomik Estonia Maria Kristiina Ulas Estonia Klavs Upaciers Latvia Ragne Uutsalu Estonia Dana Vasiljeva Latvia Ludivine Venet France Valeri Vinogradov Estonia Mare Vint Estonia Marje Üksine Estonia Näituse kujundus Design of the exhibition Kaarel Eelma Jaani kiriku lõunasaal ja kelder Jaani church Vabaduse väljak 1 Maara Vint Aime Jürjo Uno Roosvalt Maarja Undusk Arhitektuuri ja Disainigalerii Gallery of Architecture and Design Pärnu maantee 6 17 VIII 2 IX 2015 Amandine Facquer France Jenny Grönholm Finland Vladimir Jakobtchuk Russia Romina Remmo Belgium Luis Filipe Rodrigues Portugal Aksel Haagensen Estonia Jüri Kask Estonia Tiiu Kirsipuu Estonia Ilmar Kruusamäe Estonia Liisa Kruusmägi Estonia Vilen Künnapu Estonia Tõnis Laanemaa Estonia Urmas Muru Estonia Naima Neidre Estonia Vabaduse galerii Vabaduse gallery Vabaduse väljak 6 13 VIII 1 IX 2015 E L Mon Sat 12 00 18 00 laureaadid

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  • Meediakajastused / Media | Tallinna 5. joonistustriennaal/ Tallinn 5th Drawing Triennial
    facebook page kunstihoone ee Rubriigid pressiteade press release 2015 uudised news 2015 videod videos 2015 Otsi Otsi Meediakajastused Media 11 08 15 KULTUUR POSTIMEES EE Joonistustriennaal saab avalöögi 12 08 15 KULTUUR ERR EE Neljapäeval saab joonistustriennaal avalöögi 13 08 15 KULTUUR ERR EE Rahvusvahelisel joonistustriennaalil osalevad kunstnikud 26 riigist 13 08 15 SIRP EE Joonistustriennaali avapauk Vabaduse galeriis 18 08 15 SIRP EE Tallinna V Rahvusvaheline Joonistustriennaali näitus Must

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  • Kontakt/Contact | Tallinna 5. joonistustriennaal/ Tallinn 5th Drawing Triennial
    MARGOT KASK Joonistamine kui jälgimine kirjutamine ja ehitamine MARGOT KASK Drawing as Observation Writing and Building Osalejad Participants Meediakajastused Media Kontakt Contact Uudised News Osalejad Participants Meediakajastused Media Kontakt Contact viited lingid facebook page kunstihoone ee Rubriigid pressiteade press release 2015 uudised news 2015 videod videos 2015 Otsi Otsi Kontakt Contact Loit Jõekalda 37255696086 loit joekalda gmail com Joonistustriennaali facebooki kanal https www facebook com Joonistustriennaal Joonistustriennaali 2013 algne blogi

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  • pressiteade/press release: 2015 | Tallinna 5. joonistustriennaal/ Tallinn 5th Drawing Triennial
    Merike Sule Trubert and Maria Kristiina Ulas Participating artists Dieter Josef Josefien Cornette Judith Duchêne Philippe Briade Fxstg Madeline Deriaz Mirjam Aimla Jüri Arrak Britta Benno Evelyn Grzinich Albert Gulk Ulvi Haagensen Hannah Harkes Inga Heamägi Gudrun Heamägi Maie Helm Jarõna Ilo Anna Litvinova Anu Juurak Virge Jõekalda Jüri Kask Nestor Ljutjuk Kaili Angela Konno Kuzja Zverev Kreeta Käeri Tarrvi Laamann Laurentsius Heikki Leis Ülle Marks Raul Meel Mall Nukke Maarja Nurk Enno Ootsing Tauno Ostra Jaanika Peerna Mari Prekup Mark Antonius Puhkan Aapo Pukk Anu Purre Matti Pärk Irma Isabella Raabe Lilli Krõõt Repnau Lembe Ruben Reti Saks Feliks Sarv Sofya Smirnova Krista Zimm Jaan Toomik Maria Kristiina Ulas Ragne Uutsalu Valeri Vinogradov Mare Vint Marje Üksine Pirkko Holm Gryta Radozlav Tarja Teräsvuori Joly Laurie Charlotte Barry Elodie Lemerle Frederic Messager Julien Morel Lorenz Louise Landoise Ludivine Venet Marie Courdavault Pascal Hugonet Quentin Arepo Remy Groussin Sean Fangous Stephanie Smalbeen Thomas Dussaix Susmar Pinango Yvonne Calsou Jessica Soueidi Eugenia Gortšakova Kumar Ankur Barbara Fragogna Pamela Radino Liena Bondare Kate Serzane Klavs Upaciers Dana Vasiljeva Greta Grendaite Jurgita Juodyte Lithuania Gintarė Marčiulynaitė Sol Kjøk Anna Nikiforova Olga Orel Sergei Pshizov Ljubov Serova Asya Sukmanova Blažej Baláž Mária Balážová Eliska Kovacikova Juan Perdiguero Jaak Poom Ahmed Modhir Sara Riesenmey Design of the Exhibition Kaarel Eelma Repro Jüri Arrak Border Charcoal on paper 2015 For more about the triennial http joonistustriennaal blogspot com Black and White 5th Tallinn International Drawing Triennial 22 August 27 September 2015 Tallinn Art Hall Vabaduse väljak 8 Wednesday to Sunday 12 18 kunstihoone ee More information Loit Jõekalda Coordinator of the Drawing Triennial 372 55 696086 loit joekalda gmail com Press release prepared by Anneli Porri anneli kunstihoone ee PDF poster Postitatud 2015 08 17 2015 08 29 Rubriigid pressiteade press release 2015 uudised news 2015 Sildid 5th Tallinn International Drawing Triennial black and white PRESS RELEASE Tallinn Art Hall Kommenteeri postitust PRESS RELEASE 5th Tallinn International Drawing Triennial Black and White at the Tallinn Art Hall ПРЕСС РЕЛИЗ Выставка Черное и белое V Таллиннской Международной триеннале рисунка в Таллиннском доме искусства ПРЕСС РЕЛИЗ 17 08 2015 Таллиннский Дом искусства Выставка Черное и белое V Таллиннской Международной триеннале рисунка в Таллиннском доме искусства На V Таллиннской Международной триеннале рисунка Черное и белое будут представлены рисунки со всего мира сделанные в течение последних трех лет Выставка в Таллиннском Доме искусства открыта до 27 сентября 2015 года Ждем вас на открытии выставки 21 августа в 18 00 Цель посвященной исключительно рисунку крупной выставки зафиксировать состояние рисунка как художественной практики подвести итог прошедших трех лет и найти пути дальнейшего развития данной области Рисунок незаметно превратился в неотъемлемую часть современного искусства и серьезно воспринимаемое средство выражения которое гибко движется вместе с сопровождающими нас переменами говорит руководитель триеннале рисунка Лойт Йыэкалда Он подчеркивает что рисунок как первичный вид изобразительного искусства способен выступать в качестве синхронного переводчика современной жизни который постоянно адаптируется к наиболее важному в данный момент словоупотреблению Йыэкалда сравнивает рисунок с визуальным языком посредством которого можно передавать сообщения призывающие смотреть слушать

    Original URL path: http://tallinndrawingtriennial.ee/category/pressiteadepress-release-2015/ (2016-02-16)
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  • uudised/news: 2015 | Tallinna 5. joonistustriennaal/ Tallinn 5th Drawing Triennial
    also occur via the movement of the viewer Sometimes it is actually the viewer that creates the trace or the surface on which the trace develops The speed and controllability of the movement is affected among other things by the friction the resistance of the material This contact connection to the material creates a creative dialogue provides feedback sharpens one s attention and opens new possibilities The artist holds onto one end the pencil or brush and the picture to the other A drawing can be like a point a starting point the end of a path How little is needed for an image to form in the viewer s eye or consciousness Paul Klee has said A drawing is simply a line going for a walk The movement described by Klee occurred without a specific aim objective for the movement Based thereon every drawing expresses a freedom of movement A joy of possibilities A fresh lively line that expresses movement and the rhythm of life DRAWING AS OBSERVATION A drawing can be groundbreaking relating to observation and recording To the recording of significant discoveries Substantially a rambling exploratory and experimental drawing is the trace of looking or the imitation of observation and thinking To trace to observe follow imitate Observing as well as tracing represents investigation succession and the imitation of observance fusion and identification In Estonian two verb that sound similar are associated with traces jäljendama imitate and järele aimama emulate The first defines a physical and expressive activity related to copying the other an aspiration to empathically adapt The drawer s attention is directed by and follows thought the hand imitates that movement the viewer observes and anticipates or emulates The drawing embodies time Firstly the time already accommodated therein the time spent with it the dedication persistence introspection searching and experimentation as well as the human dimension Secondly an opportunity to look think comprehend A fleeting or sparse drawing accommodates time slightly differently than the more time consuming ones The density is different it can be revealed by the lack of information by silence the unsaid The sparser the image the more important that which is unseen Looking at a drawing one can feel as if at a crossroads Moving one way one could arrive at the first point of contact with the paper going the other way with something dense and opulent maybe with a precise illusion In order to arrive at the depicted object the viewer must conceptually move through the paper by discontinuing its surface tension or the depicted object emerges from the surface of the paper becoming three dimensional revealing itself One way or another the paper under inside or behind the drawing disappears CHIAROSCUORO FROM WHITE TO BLACK BLACK TO WHITE The equivalent of the Italian term chiaroscuoro in Estonian is light darkness A transition breaking or bending from black into white from black to white Transferred from external phenomena to internal ones chiaroscuoro arrives at the act of consciousness through the ability to contrast distinguish and isolate More narrowly within the context of image creation a black and white solution marks the narrowing of possibilities as well as clarity The opposite is grey as the vagueness of the intermediary The ability to distinguish shades of gray to notice the slightly lighter or darker presumes an attentiveness that could be called sensory clarity The abundance of perceivable shades makes the experienced picture more colourful Empathy and sympathy accompany sensitivity and based thereon all kinds of contrasts contradictions and differences become tolerable This means that with the help of retuning we become more flexible adaptable and changeable Thereby transitions in surface and space lead to transitions in time Black needs white and white needs black As a counterbalance It s as if they were sitting on a long swing Depending on their location in regard to the conceptual centre to the support point their weights can have a different effect Usually the whole is slanted in some direction The slant seems to point in some direction and the shift that the viewer makes by moving in that direction leaves a trace in him or her Before electricity came into use illustrated books were said to be illuminated The first insertions into the black text were red But on the first drawings which were made in the ground or on the side of a hill the dark lines may have been on the lighter background as is also more common today since the surface revealed by scraping and the line of the fissure was darker due to the shadow or moisture DRAWING AS WRITING AND STORYTELLING Drawing can be simultaneously reproductive and searching just like writing When learning to write one first learns to recognise and then depict the letters one by one According to the phenomenologist Tim Ingold the latter resembles drawing since one s attention is focused on executing the visible That is when writing one is actually drawing the letters one by one This may occur imperceptibly but in some sense it is still drawing It only becomes writing when the goal becomes to communicate the meaning behind the characters In Old Estonian the word kirjamine mottling is used to define the organisation of a surface with visual rhythms and colours Kirjamine is related to knitting embroidering and crocheting all kinds of interlacing Ingold calls fabric the historical equivalent of drawings since from time to time the threads emerge from the surface and then disappear again always existing but it turn becoming visible and then disappearing again When weaving fabric the warp and woof is differentiated i e one forms the basis in the vertical direction and the other is horizontally woven into in a zigzag pattern Ingold grouped these meanings more generally as outlines and gridlines as well as structural lines for instance as the main line or fundamental line of narration Alexander Rodchenko the Russian constructivist from the early 20th century divided the lines of a drawing more exactly into outlines and structural lines also calling the latter constructive lines and named the skeleton as an example among other things In the context of academic drawing the main line of a structure is called the axis and in the case of a figure the main axis in the spine Textural lines that depict the pattern of the surface are also structural lines In Estonian there is an interesting world juhtlõng lead thread the meaning of which may have become blurred in time and by shifting between fields of activity For example Adriadne s thread may be depicted as a fine thread but it indicates the main path through a labyrinth and in the context of space is a solutional main line A story thread also indicates continuity but characteristically it resembles a weave of fabric fibres that go here and there The warp is often neutral and almost colourless and the woven part twists around it giving it character In Latin the word for line is linea and besides being defined as a line or connection its other meanings include flax or more generally fibre which is the strong core of this seemingly delicate plant that can be made into a durable fabric Linen fabric is always somewhat transparent so that its fibres can be differentiated and it wears thin rather than consolidating into felt Therefore it is always a lineated rather than a solid surface Both Adriane s thread and a plant s veins combine the characteristics of fibre and a pathway both of which are the historical basis of the line DRAWING AS CONCEPTUAL BUILDING In Dutch the word for drawing is tekening which is derived from the Greek word techne and is associated with knowledge acquired by practice The derivatives of the same source word in the Romance languages Italian disegno Spanish dibujo French dessin and Portuguese desenho are related to construction optimization and moulding in the design context On the other hand drawings allows initially unrealised ideas to become visible hanging gardens floating houses which may someday in seconds or centuries turn out to be executable In conclusion structural lines are internal and boundaries are external both form the structural basis for a composition at the conceptual level In more laconic drawings the whole develops from these lines however in the richer ones they are overshadowed by the networks of line depicting various surfaces Therefore a simplifying unfinished open and immediate drawing that leaves the train of thought visible is in some sense an intellectual concession to the viewer Unlike a drawing densely shaded with structural lines or a text in a fabric all the fibres are immediately perceivable like the rhythms and divisions that are the basis of a musical composition The weave of a fabric and musical rhythm are characteristically abstract and clear In the case of a dense visual finding and following the most general structure principle or main task can become more complicated Therefore a simplifying unfinished open and immediate drawing that leaves the train of thought visible is in some sense an intellectual concession to the viewer Margot Kask Postitatud 2015 08 19 2015 08 26 Rubriigid uudised news 2015 Sildid Building Drawing Margot Kask Observation text Writing KAASNÄITUS Sisemised linnad Inside Cities 19 augustist 17 septembrini T R kell 12 18 Polymeris Sisemised linnad Inside Cities Polymeri Kultuuritehase 3 korruse Valges saalis 19 augustist 17 septembrini T R kell 12 18 Triennaali üks satelliitnäitusi Sisemised linnad Inside Cities eksponeerib TTÜ üliõpilaste ja õppejõudude arhitektuurijoonistusi ja installatsioone Näitus toimub Polymeri Kultuuritehase Valges saalis kus on tekkimisjärgus arhitektuuri ning visuaalkunstide kokkupuutealadele orienteeruv galerii Osalevad kunstnikud Anu Juurak ja Raoul Kurvitz ning arhitektuuritudengid Helen Aaver Maria Buhharova Ristjan Johanson Signe Kits Johanna Kordemets Katarina Koroljova Karina Krestinov Annika Laidroo Brita Porovarde Sofia Smirnova Maria Soboleva Noorte arhitektide tööde märgusõnad nagu Positsioonid Geomeetriline panoraam Minu teekond koju ja Jäljed kõnelevad iseenda eest Joonistuslikke eksperimente on mitmesuguseid ja näha saab nii perfomance ite käigus sündinud abstraktseid söejoonistusi mis sarnanevad futuristlike liiklussõlmedega kui privaatseid linnapanoraame torudes kuhu külastaja saab sisse pugeda Lähem info Anu Juurak anu juurak ttu ee 56682455 TTÜ Arhitektuuri ja urbanistikainstituut visuaalkunsti õppetool Postitatud 2015 08 18 2015 08 26 Rubriigid uudised news 2015 Sildid Inside Cities Polymeri Kultuuritehas satelliitnäitus Sisemised linnad Kommenteeri postitust KAASNÄITUS Sisemised linnad Inside Cities 19 augustist 17 septembrini T R kell 12 18 Polymeris PRESSITEADE Tallinna V Rahvusvaheline Joonistustriennaali näitus Must ja valge Tallinna Kunstihoones PRESSITEADE 17 08 2015 Tallinna Kunstihoone Tallinna V Rahvusvaheline Joonistustriennaali näitus Must ja valge Tallinna Kunstihoones Tallinna V Rahvusvaheline Joonistustriennaal Must ja valge näitab viimase kolme aasta joonistusi üle maailma Näitus on Tallinna Kunstihoones avatud kuni 27 septembrini 2015 Olete oodatud näituse avamisele 21 augustil kell 18 00 Ainult joonistamisele pühendatud suurnäituse eesmärk on fikseerida joonistamise kui kunstipraktika seis teha kokkuvõte möödunud kolmest aastast ja leida ka teid valdkonna edasi arendamiseks Joonistamine on märkamatult muutunud kaasaegse kunsti lahutamatuks osaks ja tõsiseltvõetavaks väljendusvahendiks mis liigub paindlikult meid saatvate muutuste kõrval ütleb joonistustriennaali vedaja Loit Jõekalda Ta rõhutab et joonistusel kui esmasel kujutava kunsti liigil on võime toimida kaasaegse elu sünkroontõlkena mis pidevalt kohaneb hetkel olulisema keelekasutusega Jõekalda võrdleb joonistamist visuaalse keelega mille abil saab edastada sõnumeid ja mis suunavad vaatama kuulama ja mõistma Joonistamine on liikunud 2000 aastatel kontseptuaalseks protsessipõhiseks kunstiks saades kuraatorinäituste rahvusvaheliste suurnäituste pärisosaks ja olles ka mõistmise sillaks vana ning uue vahel Seekordse triennaali teema on must ja valge Itaaliakeelne termin chiaroscuro tähendab kontrasti tumeduse ja heleduse valguse ja varju vahel ning see annab lamedale pinnale vormi ja fookuse selgitab kunstnik Britta Benno joonistustriennaali teema lähtepunkte Kutsusime kunstnikke mängima erinevaid stsenaariume musta ja valge elu ja surma ning nende kõikvõimalike kromaatiliste ja akromaatiliste vaheakordidega Tallinna Rahvusvaheline Joonistustriennaal toimub sel suvel viiendat korda autoreid on 26 riigist Näitused toimuvad augustis septembris Tallinna Kunstihoones Vabaduse galeriis EKA galeriis Disaini ja Arhitektuuri galeriis ning Viinistu kunstimuuseumi galeriides Triennaali rahvusvaheline seminar toimub Viinistu kunstimuusemis Triennaali toimkond Britta Benno Kaarel Eelma Sirja Liisa Eelma Inga Heamägi Loit Jõekalda Elin Kard Merike Sule Trubert Maria Kristiina Ulas Näitusel osalevad Dieter Josef Josefien Cornette Judith Duchêne Philippe Briade Fxstg Madeline Deriaz Mirjam Aimla Jüri Arrak Britta Benno Evelyn Grzinich Albert Gulk Ulvi Haagensen Hannah Harkes Inga Heamägi Gudrun Heamägi Maie Helm Jarõna Ilo Anna Litvinova Anu Juurak Virge Jõekalda Jüri Kask Nestor Ljutjuk Kaili Angela Konno Kuzja Zverev Kreeta Käeri Tarrvi Laamann Laurentsius Heikki Leis Ülle Marks Raul Meel Mall Nukke Maarja Nurk Enno Ootsing Tauno Ostra Jaanika Peerna Mari Prekup Mark Antonius Puhkan Aapo Pukk Anu Purre Matti Pärk Irma Isabella Raabe Lilli Krõõt Repnau Lembe Ruben Reti Saks Feliks Sarv Sofya Smirnova Krista Zimm Jaan Toomik Maria Kristiina Ulas Ragne Uutsalu Valeri Vinogradov Mare Vint Marje Üksine Pirkko Holm Gryta Radozlav Tarja Teräsvuori Joly Laurie Charlotte Barry Elodie Lemerle Frederic Messager Julien Morel Lorenz Louise Landoise Ludivine Venet Marie Courdavault Pascal Hugonet Quentin Arepo Remy Groussin Sean Fangous Stephanie Smalbeen Thomas Dussaix Susmar Pinango Yvonne Calsou Jessica Soueidi Eugenia Gortšakova Kumar Ankur Barbara Fragogna Pamela Radino Liena Bondare Kate Serzane Klavs Upaciers Dana Vasiljeva Greta Grendaite Jurgita Juodyte Lithuania Gintarė Marčiulynaitė Sol Kjøk Anna Nikiforova Olga Orel Sergei Pshizov Ljubov Serova Asya Sukmanova Blažej Baláž Mária Balážová Eliska Kovacikova Juan Perdiguero Jaak Poom Ahmed Modhir Sara Riesenmey Ann Pajuväli Näituse kujundus Kaarel Eelma Repro Jüri Arrak Piir Söejoonistus 2015 Lähemalt joonistustriennaalist http tallinndrawingtriennial ee https www facebook com Joonistustriennaal http joonistustriennaal blogspot com Must ja valge Tallinna V Rahvusvaheline Joonistustriennaal 22 08 27 09 2015 Tallinna Kunstihoone Vabaduse väljak 8 K P 12 18 kunstihoone ee Veel teavet Loit Jõekalda joonistustriennaali koordinaator 372 55 696086 loit joekalda gmail com Pressiteate koostas Anneli Porri anneli kunstihoone ee PDF plakat Postitatud 2015 08 17 2015 08 29 Rubriigid uudised news 2015 Sildid must ja valge PRESSITEADE Tallinna Kunstihoone Tallinna V Rahvusvaheline Joonistustriennaal Kommenteeri postitust PRESSITEADE Tallinna V Rahvusvaheline Joonistustriennaali näitus Must ja valge Tallinna Kunstihoones PRESS RELEASE 5th Tallinn International Drawing Triennial Black and White at the Tallinn Art Hall PRESS RELEASE 17 August 2015 Tallinn Art Hall 5th Tallinn International Drawing Triennial Black and White at the Tallinn Art Hall The 5th Tallinn International Drawing Triennial Black and White exhibits drawings from around the world made during the last three years The exhibition will be open at the Tallinn Art Hall until 27 September 2015 You are invited to the opening of the exhibition on August 21st at 6 p m The objective of this large exhibition dedicated exclusively to drawings is to determine the state of drawing as an artistic practice summarise the past three years and find ways for the continued development of the field Drawing has imperceptibly become an indivisible part of contemporary art and a means of expression to be taken serious and is flexibly moving alongside the changes that are accompanying us says Loit Jõekalda the coordinator of the triennial He emphasises that drawing as the first visual arts form has the ability to act as simultaneous translation for contemporary life which constantly adapts to the language use that is most important at the moment Jõekalda compares drawing to a visual language that helps to communicate messages and directs one to look listen and comprehend In the 2000s drawing has become a conceptual process based art a substantial part of curatorial exhibitions and large international exhibitions and a bridge of comprehension between old and new The theme of this triennial is Black and White The Italian term chiaroscuro means the contrast between darkness and brightness light and shadow and it gives a flat surface form and focus is how artist Britta Benno explains the point of departure for the triennial s theme We invited the artists to play out various scenarios with black and white life and death and all the intermediary chromatic and achromatic chords The Tallinn International Drawing Triennial will take place this summer for the fifth time with artists from 26 countries The exhibitions will take place in August and September at the Tallinn Art Hall Vabaduse Gallery Estonian Academy of Arts Gallery Design and Architecture Gallery and the galleries of the Viinistu Art Museum The triennial s international seminar will take place at the Viinistu Art Museum Triennial team Britta Benno Kaarel Eelma Sirja Liisa Eelma Inga Heamägi Loit Jõekalda Elin Kard Merike Sule Trubert and Maria Kristiina Ulas Participating artists Dieter Josef Josefien Cornette Judith Duchêne Philippe Briade Fxstg Madeline Deriaz Mirjam Aimla Jüri Arrak Britta Benno Evelyn Grzinich Albert Gulk Ulvi Haagensen Hannah Harkes Inga Heamägi Gudrun Heamägi Maie Helm Jarõna Ilo Anna Litvinova Anu Juurak Virge Jõekalda Jüri Kask Nestor Ljutjuk Kaili Angela Konno Kuzja Zverev Kreeta Käeri Tarrvi Laamann Laurentsius Heikki Leis Ülle Marks Raul Meel Mall Nukke Maarja Nurk Enno Ootsing Tauno Ostra Jaanika Peerna Mari Prekup Mark Antonius Puhkan Aapo Pukk Anu Purre Matti Pärk Irma Isabella Raabe Lilli Krõõt Repnau Lembe Ruben Reti Saks Feliks Sarv Sofya Smirnova Krista Zimm Jaan Toomik Maria Kristiina Ulas Ragne Uutsalu Valeri Vinogradov Mare Vint Marje Üksine Pirkko Holm Gryta Radozlav Tarja Teräsvuori Joly Laurie Charlotte Barry Elodie Lemerle Frederic Messager Julien Morel Lorenz Louise Landoise Ludivine Venet Marie Courdavault Pascal Hugonet Quentin Arepo Remy Groussin Sean Fangous Stephanie Smalbeen Thomas Dussaix Susmar Pinango Yvonne Calsou Jessica Soueidi Eugenia Gortšakova Kumar Ankur Barbara Fragogna Pamela Radino Liena Bondare Kate Serzane Klavs Upaciers Dana Vasiljeva Greta Grendaite Jurgita Juodyte Lithuania Gintarė Marčiulynaitė Sol Kjøk Anna Nikiforova Olga Orel Sergei Pshizov Ljubov Serova Asya Sukmanova Blažej Baláž Mária Balážová Eliska Kovacikova Juan Perdiguero Jaak Poom Ahmed Modhir Sara Riesenmey Design of the Exhibition Kaarel Eelma Repro Jüri Arrak Border Charcoal on paper 2015 For more about the triennial http joonistustriennaal blogspot com Black and White 5th Tallinn International Drawing Triennial 22 August 27 September 2015 Tallinn Art Hall Vabaduse väljak 8 Wednesday to Sunday 12 18 kunstihoone ee More information Loit Jõekalda Coordinator of the Drawing Triennial 372 55 696086 loit joekalda gmail com Press release prepared by Anneli Porri anneli kunstihoone ee PDF poster Postitatud 2015 08 17 2015 08 29 Rubriigid pressiteade press

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