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  • Video | Vorming | Tallinna 5. joonistustriennaal/ Tallinn 5th Drawing Triennial
    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 Videod JOONISTUSTRIENNAALI

    Original URL path: http://tallinndrawingtriennial.ee/type/video/ (2016-02-16)
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  • joonistamine | Tallinna 5. joonistustriennaal/ Tallinn 5th Drawing Triennial
    sellesse juba mahutatud sellega veedetud aega pühendumist püsimist mõtisklust otsinguid ja katsetusi inimlikku mõõdet Teiseks võimalusi 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

    Original URL path: http://tallinndrawingtriennial.ee/tag/joonistamine/ (2016-02-16)
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  • Margot Kask | Tallinna 5. joonistustriennaal/ Tallinn 5th Drawing Triennial
    vaatajale Margot Kask Postitatud 2015 08 19 2015 08 26 Rubriigid uudised news 2015 Sildid joonistamine Margot Kask MARGOT KASK Drawing as Observation Writing and Building Drawing as Observation Writing and Building In the Germanic languages zeichnen is the word for to draw which is etymologically derived from the word for stroke der Streich When explaining drawing as a process it is emphasised that the first necessary thing is movement the trajectory or trace of the movement and the surface that forms the base for the latter i e a background that seems immovable However the base 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

    Original URL path: http://tallinndrawingtriennial.ee/tag/margot-kask/ (2016-02-16)
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  • Building | Tallinna 5. joonistustriennaal/ Tallinn 5th Drawing Triennial
    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

    Original URL path: http://tallinndrawingtriennial.ee/tag/building/ (2016-02-16)
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  • Drawing | Tallinna 5. joonistustriennaal/ Tallinn 5th Drawing Triennial
    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

    Original URL path: http://tallinndrawingtriennial.ee/tag/drawing/ (2016-02-16)
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  • Observation | Tallinna 5. joonistustriennaal/ Tallinn 5th Drawing Triennial
    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

    Original URL path: http://tallinndrawingtriennial.ee/tag/observation/ (2016-02-16)
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  • text | Tallinna 5. joonistustriennaal/ Tallinn 5th Drawing Triennial
    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

    Original URL path: http://tallinndrawingtriennial.ee/tag/text/ (2016-02-16)
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  • Writing | Tallinna 5. joonistustriennaal/ Tallinn 5th Drawing Triennial
    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

    Original URL path: http://tallinndrawingtriennial.ee/tag/writing/ (2016-02-16)
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