Detail of the work by Jevgeni Zolotko

Last Saturday Jevgeni Zolotko, young artist, sculptor received the first Köler Prize, Award of Estonian Contemporary Artist. The winner was chosen by especially invited prominent jury from the five nominees selected by the board of  EKKM. Also the visitors of the exhibition chose their winner – Tõnis Saadoja.

Small ring-hand objects made by me and Anneli Tammik accompanied quite generous monetary prizes. We used obsidian, quartz, silver and gold.

This time Dénes did not win.

No, no it is not me, I am not sleeping, eventhough the weather in Estonia is horrible and hibernating would be just wisest thing to do until spring comes. Well, instead I am too busy with many different tasks, all at the same time. I will be reveling them to you after some time.

After my own short and mild glass case experience I found from my notebook project which moved me long time ago, and was mentioned last year in Mexico in Caroline Broadhead’s lecture. CORNELIA PARKER’s installation at the Serpentine Gallery, The Maybe, 1995. An actress TILDA SWINTON layed eyes closed for seven days, eight hours a day in the glass casket.

According to Caroline Broadhead there was 22000 visitors during these seven days and it took six month for Tilda to recover from the experiment.

Image from here

Today from 7-8 p.m. I was in Objekt 2011. Even though I expected to feel super uncomfortable, it was quite an opposite. The “bulb” was spacious and smelled like midsummer. The temperature outside the “bulb” was around 0 but inside, just perfect around +25. Luckily I had only one noisy and devoted fan till the end, all the other people were just sweet. To complete the whole  experience, there was a man waiting me outside to get my autograph.

When I walked back home I heard birds singing despite of darkness and cold – is it a sign that spring will come also this year, any way?

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“Object no 2011″ was inspired by two dreams: firstly, to bring into focus of attention not art but its creator – as a human, a person – during one event of the European Capital of Culture Tallinn 2011. Secondly, by the seemingly utopian aim to gather in one space (be it physical, temporal or spiritual) the largest possible amount of our most important creative people. We could say: the aim is to take a deep bow to those, thanks to whom we have the honest right to wear the title of the European Capital of Culture.

The shape of the installation that shines on the Freedom Square is the result of many discussions and conversations. It has been greatly contributed to by many of those, who between February 27th and March 20th will give life to the installation by spending an hour in it. Thank you! It is important that regarding the two dreams no compromises have been made.

Object no 2011 is part of the programme of European Capital of Culture Tallinn 2011.

The creators of “Object no 2011″ are Mart Koldits, Kaarel Oja, Iir Hermeliin, Indrek Tiigi, Kadri Tamre, Kadri Tikerpuu and Sirli Bergström.

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PS! The tall cross-shape “ice-sculpture” and Object 2011 are not related, this is Estonian so called high tech Liberty Statue.

Kolmapäeval, 16.02.2011 kell 17.00 avatakse Draakoni galeriis BERIT TEEÄÄR´e (1970) isikunäitus „FREE BELGIUM!“

Elin Kard: Kas „Belgia vabaks!“ või „Vaba Belgia!“ ?

Berit Teeäär: Vaatajal on muidugi õigus valida oma tõlge(ndus), või teha nägu, et kõik on selge ning skandeerida pikemalt mõtlemata lööklausega kaasa. Samas kui küsida, millest tuleks Belgia vabastada või miks peaks selle riigi vabadust eriliselt rõhutama, siis mina lähtusin pigem vabastamise vajadusest. Aga enne kui asume Belgiat vabastama, peame muidugi teadma miks ja mõtlema, kas ta seda üldse vajab.

E.K: Ajaloost lähtudes sai ju Belgia vabaks juba 1830. aastal. Millest ja miks peaks siis Belgia vabastama?

B.T: Kolme ja poole aasta vältel, mil ma selles riigis “euroimmigrandina” elasin, püüdsin aru saada sellest, mida Belgia Kuningriik endast tegelikult kujutab. Brüssel kui Euroopa Liidu pealinn (mitte kui Belgia pealinn), on varjutanud täiesti selle riigi, mille keskmes ta asub. Brüsselist on kujunenud mõnedes aukartust, teistes pigem kriitikat esile kutsuv märk, millel pole kuningriigiga mingit seost. Väljastpoolt vaadatuna polekski Belgial justkui muud identiteeti kui olla “Euroopa Liidu süda”. Samas vaevleb Belgia siseriiklikus kriisis – uudised pidevatest raskustest valitsuse moodustamisel jõuavad aeg-ajalt meedia vahendusel ka meieni. See poliitiline aspekt on aga vaid tagajärg. Riik on tegelikult nii keeleliselt kui kultuuriliselt ammu jagunenud.

Flandria ja Valloonia suhet võiks lihtlabaselt võrrelda Eestist  ja jupikesest Venemaast (näiteks Pihkva oblastist) moodustatud riigiga. Valloonias kõneldav prantsuse keel on kõrval asuva suurriigi keel, Flandrias kõneldav hollandi keel oli ajaloo jooksul kaua tõrjutud. Tänapäevased vastuolud on muidugi seotud riigi toimimisega palju laiemalt kui keel ja kultuur – majanduslike, sotsiaalsete ja poliitiliste küsimustega. Kakskeelne Brüssel koos belglaste kuninga Albert II-ga on ehk tõepoolest ainus ühendav lüli kogukondade vahel, nagu minu sealsed tuttavad räägivad.

Niisiis – Belgia vabaks nii Brüsseli kõike varjutavast märgist kui ka siseriiklikust konfrontatsioonist. Kui kaugele selleks tuleb minna, teavad Belgia kodanikud ise paremini. Tuleb siiski tunnistada, et olen ja jään Belgia jaoks outsideriks ning mul on sama vähe õigust tema vabastamist nõuda kui näiteks mõnel Lääne-Eurooplasel vene keele positsiooni suurendamist Eesti Vabariigis. Seda viimast tuleks tegelikult ridade vahelt lugeda.

E.K: Viitad oma näituseprojektis distantsi puudumisele, tavapäraselt on välisriiki elama asunu peamiseks probleemiks liigne distantseeritus ning kohaliku kogukonna ja kultuurikoodide mittemõistmine.

B.T: Füüsilise distantsi puudumine ongi tegelikult see, mis emotsionaalse ja/või kultuurilise distantseerituse tunnet võimendab. Vähemalt minu jaoks – kui ma mingeid protsesse eemalt vaatlen, häirib mind nende mittemõistmine oluliselt vähem. Mõnikord piisab “mõistmiseks” vaid kellegi poolt vahendatud stereotüüpsetest üldistustest. Kuskil võõras keskkonnas igapäevaelu elades näeme aga enda ümber tohutul hulgal detaile – neist ei ole võimalik mööda vaadata. Ja mida lähemalt vaatad, seda hägusam on tervikpilt. Brüsselis kummastas kõige rohkem see, et tahtsin kohe näha ja mõista Belgiat, aga seda takistas justkui mingi võrk – kunstlikult loodud Euroopa-keskkond ja veel mitmete erinevate kultuuride kihid.

E.K: Kasutad erinevaid, sisserännanule algselt ilmselt mõistetamatuks jäävaid, viiteid Belgia ajaloole ja sellele viitavaid märke ümbritsevas keskkonnas, nagu Belgia seos endise asumaa Kongoga, Vallooniat ja Flandriat ühendav jalgpall, ajutiselt sisserännanuile omane pealiskaudsus ning ükskõiksus jne. Soovid sa siinkohal mõnel neist põhjalikumalt peatuda?

B.T: Püüdes oma Belgia-kogemust visuaalselt loetavaks muuta, valisin välja märgid, mis iseloomustavad erinevaid tasandeid. Märgid, millega põgusal külaskäigul kokku ei puutu, või mis esmapilgul tekitavad hoopis erinevaid reaktsioone.

Sport on rahvusliku identiteedi määratlemisel oluline indikaator ning jalgpall Belgia populaarseim spordiala. Kui eelpool mainisin Belgia keelekogukondade ja regioonide vahelisi vastuolusid, siis pildil mängivad Punased Kuradid (Belgia rahvus-meeskond) Liège’i staadionil Eesti rahvusmeeskonna vastu – seal on kohale sõitnud flaamid, valloonid ning algupäraselt mõnest teisestki kultuuriruumist pärit toetajad tohutu riigilipu alla koondunud. Kõrvalolevalt pildilt vaatab eestlase kaamerasse mustaks värvitud näoga fänn – jalgpallistaadionil belglane, “õhtul kodus” taas flaam või valloon.

E.K: Räägime nüüd lõpetuseks veel unenägudest. Belgia riigipiiri unes näed veel?

B.T: Enam ei näe. See oligi tegelikult ainus kord – 2009. aasta jaanipäeva paiku. Mulle tundub, et just peale seda veidrat unenägu, mis andis ka näitusele pealkirja, algas mingi selginemine suunas, kuidas oma Belgia-kogemust loomingus väljendada. Seetõttu ei suutnud ma vastu panna kiusatusele ka unenäo-episoodi rekonstruktsiooni näitusel esitada. Nüüd on Belgia vähemalt ühes mõttes vaba – vaba minust.

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Näitus jääb avatuks kuni 26. veebruarini 2011.

Photo by Berit Teeäär

The last picture is view from under the sculpture, all the pieces are exposed on the glass cubes in order to allow visitors to enjoy this view as well.

Sergei Isupov JALAD MAAS (FIRMLY STANDING) in the Estonian Museum of Applied Art and Design, Tallinn Lai Str 17, Estonia until 17.10.2010

A lecture by the artist on 14 October at 5pm at the Estonian Museum of Applied Art and Design

Sergei Isupov was born in Stavropol, Russia, but was raised in Ukraine. His parents are artists– his father paints and draws, his mother is a ceramic artist. After graduating from art school in Ukraine, Isupov entered the Estonian Academy of Arts (then the State Art Institute) ceramics department. Already during his student days, Isupov developed the bold, eclectic signature that would become his trademark. Innovative, and iconoclastic on the local level, it was a source of inspiration to his fellow students as well. Alongside work in a more traditional applied art vein, his forays into monumental, sculptural type work took him to the periphery between fine art and applied art while still at the outset of his career as an artist. Isupov graduated from the Academy of Arts in 1990. Five years later, he emigrated to America, where he lives and works to this day. In the last couple years, Estonia has once again become an important place in Isupov’s life and he makes a point of spending as much time as possible here along with his family.

It is hard to name just one specific influence on Isupov’s work. As a cosmopolite, he is equally at home anywhere he can work – and work he does, constantly. Isupov is typified by his ability to fuse three-dimensional treatment of form with imaginative themes, often bordering from the realism to the absurd and the arcane, all supported by a sprightly and awe-inspiring sensibility for material – his understanding of the possibilities of ceramics, porcelain and glazes is nonpareil. Isupov manipulates materials like an illusionist who conjures up captivating contrasts and unexpected perspectives. His sculptures invite viewers to peruse them from all sides – even from beneath – in order to realize the grand scale of the artist’s vision. Isupov’s work is like an endless quest for perfection that continues, right up to some big change in his life that introduces a new theme into his art. For years, he has been inspired by people’s multifaceted nature, their surroundings, by history, politics and culture. Creating art is Isupov’s lifestyle – everything that surrounds him, all that he experiences and all that inspires him… it is all expressed in his work.

The Estonian Museum of Applied Art and Design Gallery presents Isupov’s latest work, recently completed in Estonia. After the end of the exhibition, the works will travel to New York for his solo show held there in November. Sergei Isupov’s work can also be seen in the collections of over 20 museums worldwide. He is represented in the US by Ferrin Gallery.

Ketli Tiitsar

Translation by Kristopher Rikken

Xochimilco – today it is the only part of Mexico City still to have the canals and semi-floating flower and vegetable gardens. Popular place to spend the weekend with your family on one of the rented punts, which have a roof and a table down the middle.

On the first pictures there are children toys found from the canals and nailed to the trees. There was one man who collected them this way, which reminds me Polish contemporary art exhibition I saw in Tallinn Art Hall twenty years ago, although the installation was kind of spooky I was deeply impressed.

As July is endless birthday-season in our family, then in between of arranging parties I will post about Mexico City.

“The big problem when you’re an artist is that the times of creation don’t come often. Most of the time I stay here in my studio and groan, and after that I go to my room, look at the TV.
‘One of the beauties of my life is that I never work. I’m lazy and I have no other way to work. I teach this to my students: you must wait and hope – there’s nothing else you can do. And when you have an idea, you can do it in ten minutes.”

Christian Boltanski

Can it get any better, from a man working with very dramatic issues? He is one of my long term favorites.

Image from: ser urbano

Tonight was an opening of the exhibition TDK in EKKM (an alternative Museum of Contemporary Arts, Estonia). Among mostly sound specific installations, full size bar with a wonderful ambience, long list of drinks and color lights and music was created by Hillar, bar tender we all remember from NOKU club. Regardless the fact that it is already truly cold and damp inside of this amazing building the exhibition was very good. Excellent job Neeme, Dénes and Eemil and all the other artists!

Today I attended the opening of Alice Kask exhibition in the Bank of Estonia. Very secure place, you have to take your ID card along in order to get in. Mr George W Busch had his press conference in there while visiting Estonia .

Well, Alice presented her older works this time. She is just very good!

Later on I went to the Central Library and there, on the stairs her painting looked back to me as well.

Yesterday I walked by Kultuuritehas Polymer, there is festival going on. I tried to visit design market, but I was a bit too early. Well, I saw something, and there is always something else going on. Like this sauna, made out of old windows by Artconteiner.