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Download .Pdf Estonian 2/2011Art 1 1 APT*: Misreading gives the correct answer Anneli Porri 4 A Month of Photography, without going Beyond Ats Parve 9 Beyond with Agamben and without Agamben Ragne Nukk 14 Occupy Wall Street Tarmo Jüristo 17 28 clear sentences Tõnis Saadoja Insert: 17 pictures of Paris in spring Marko Mäetamm 23 Conservatism appeals to people’s emotions György Szabó interviewed by Eero Epner 25 Tracing Bosch and Bruegel: Four Paintings Magnified Merike Kurisoo 29 Resurrecting past futures Thomas Cubbin 33 LIFT11 – lessons in public space Epp Lankots 36 Kalarand, the sea and the public interest Conversation with the architect Toomas Paaver 40 The (un)compromising nature of politics and art, or aestheticised human suffering Piret Lindpere 44 Exhibitions 43 New books Estonian Art is included All issues of Estonian Art are also available on the Internet: http://www.estinst.ee/eng/estonian-art-eng/ in Art and Architecture Complete (EBSCO). Front cover: Dénes Farkas & Taavi Talve. Footnotes 2. Draakoni Gallery, Tallinn, 2011. Back cover: Lev Nussberg. Design of the Lenin square, sound and light composition 1917. Leningrad, 1967. Detail. From the exhibition Our Metamorphic Futures. Design, technical aesthetics and experimental architecture in the Soviet Union 1960–1980 Estonian Art 2/2011 (29). Published by the Estonian Institute 2011. ISSN 1406-3549 (online version ISSN 1406-5711) Editorial board: Tiina Abel, Kati Ilves, Andres Kurg, Piret Lindpere, Mart Meri, Johannes Saar Editors: Liina Siib, Eero Epner Graphic design: Angelika Schneider Those wishing to obtain a copy of Estonian Art, Translator: Tiina Randviir please send the Estonian Language editor: Richard Adang Institute an International We thank: Cultural Endowment of Estonia, Estonian Ministry of Culture, Kunst.ee magazine, Andreas Trossek, Marge Monko, Reply Coupon to cover the Margit Aule, Andres Kurg, Hilkka Hiiop, Indrek Sirkel and Reio Avaste. postal expenses. Photo credits: Dénes Farkas: front cover, pp 1–3, 17; Karel Koplimets: pp 4–8; Laura Toots: p 7; Paul Kuimet: pp 9–11, 13; Henri Laupmaa: pp 14–16; Stanislav Stepaško: pp 18–21, 26–27; Marko Mäetamm: insert; Villu Plink: pp 25–28; KAOS Arhitektid: Estonian Institute p 33; Reio Avaste: pp 33–35, 37–39; Kadri Klementi: p 33; Aap Kaur Suvi: p 34; Siiri Vallner and Indrek Peil: p 34; Margit Aule: p 34; Suur-Karja 14 Peeter Paaver: p 36; Toomas Paaver: p 37; Ministry of Culture: pp 40–42. 10140 Tallinn, Estonia http://www.estinst.ee Printed at Aktaprint email:[email protected] phone: (372) 631 43 55 fax: (372) 631 43 56 APT*: Misreading gives the correct answer Anneli Porri You probably know the duck-rabbit picture Taavi and Dénes displayed their instal- through which Ernst Gombrich described lation Footnotes 2 in the Draakoni gallery in the necessary ambivalence of art and how the Tallinn, a rather compact exhibition space viewer’s perception functioned. Gombrich with a big Jugendstil window and patterned claimed that we cannot see the image apart floor right across the road from the Russian from its interpretation, and that we can- embassy. The white sculptural and massive not see two images at the same time, i.e. we letters APT, in Helvetica typeface, were not see either a duck or a rabbit, but not both placed on the floor as representatives of dem- simultaneously. On the basis of ambivalence, ocratic sculpture, but were instead placed on Taavi Talve and Dénes Farkas easily overturn a veneer podium resembling scaffolding or a the simultaneity claim: Footnotes 2 is a work work desk. The asterisk at the end of the word where the simultaneity of the interpretation hung from the ceiling and a text in Russian of images and signs in viewers’ consciousness behind it on the wall imitated the footnote leads to misreading the word, and erroneous comment: “All the letters in this word are reading leads to the philosophically correct familiar to me, but the meaning still remains answer. unclear. It is not in the dictionary.” Dénes Farkas & Taavi Talve. Joonealused (Footnotes). Monumental Gallery, Tartu Art House. 19 August–11 September 2011 APT*: MISREADING GIVES THE CORRECT ANSWER 1 The white letters in a white gallery cube seem simultaneously declarative and slo- gan-like, as well as extremely delicate and non-material, although it is still the language which establishes the rhetoric of the power of minimalism. How do the artists behave, and are they helping the viewer in any way? Even in the traditional paratextual para- graphs that supplement the exhibition, the artists remain as curt as possible. They also extend the atmosphere of the display into the emailed press release, repeating the footnote’s text on the wall, the footnote’s definition and its graphological formatting. Taavi Talve and Dénes Fakas place any- one wishing to talk about Footnotes in a dif- ficult situation, because the art criticism nar- rative is temporal and consists of sentences and references, but the work of Dénes and Taavi is a whole that stands still in time and in the viewer’s gaze. All meanings and mean- ingful associations are simultaneously open and important, so that this work cannot be described as a sequence of thoughts or asso- ciations, where the next develops from the previous. No, all thoughts are there at the same time. As a viewer I feel that I am fully subjected to the footnote’s form, which also contains simultaneous information. The word to which the footnote explanation is added does not actually lead to the explanation, but at that moment the word itself has the meaning indicated in the footnote; except, the reader does not (yet) know it. Reading the text the installation as an example of classical with footnotes also means constantly return- Western minimalism and conceptualism, ing to the main text; after a brief break from which we know from art museums and art the text’s narrative, we carry on, as if there history reproductions. At the same time, with had not been any disruption, but now we are minimalism and conceptualism, the Soviet a bit more informed, instructed, perhaps even Union used similar forms and aesthetics out- enough to really understand the discursively side art halls, in monumental propaganda, corrected text. writing various ideological slogans on roofs The series Footnotes inevitably, directly and and friezes, and it marked city borders with physically brings us to the concept of cultural such sculptural signs. space. This work only addresses the viewer The viewer can enjoy the exhibition even who possesses the bilingual or two-mode more if he is aware of what Dénes Farkas and reading skills of the transition era; a viewer Taavi Talve have achieved individually. The whose cultural memory includes both Soviet characteristic interests of both artists, their and contemporary Western codes of language handwriting and methods, have deliciously and art. First, we need to know Russian – if not blended in the new joint project. The latter enough to read the footnote on the wall, then contains Dénes’s recognisable white interior we should certainly be able to read the alpha- and architectural models made for his pho- bet. At the same time, the viewer needs some tographic performances and his passion for knowledge of the English language, at least various linguistic and translation issues. The to understand the word ‘art’. The form and project also clearly shows Taavi’s background aesthetics of the work also originate in two as a sculptor, his experience of ideological places: the first link is inside art and regards discursive speech and of analysing different 2 APT*: MISREADING GIVES THE CORRECT ANSWER Dénes Farkas & Taavi Talve. Footnotes 2. Draakoni Gallery, Tallinn. 31 October–12 November 2011 (analogue and digital) methods of conveying ages the viewer to read the middle letter of information. The viewer might also notice the word in Cyrillic. However, a chat with art that the letter combination APT is simulta- students who were born in the early 1990s neously a new independent work, as well as and thus have no overwhelming experience part of the exhibition Joonealused (Footnotes), of the Russian language, confirmed that, in which took place in Tartu and presented the their case, such association did not arise. No word TAPTY, i.e. the name of the town in the illusion emerged. I thus think that Footnotes 2 Cyrillic alphabet. produces simultaneous illusions, and does Finally, I would like to describe the ‘duck- not demand an alternative switch from one rabbit’ effect of Dénes and Taavi’s work and code to another. show where Gombrich made a mistake. With The semiotic language and reception game the first glance at the sculpture, the viewer is finished off with the wall text, which – if Anneli Porri immediately pronounces in his mind the word understood – does not allow any dispute. (1980), art historian and a ‘art’ and understands it. At the next, more Indeed, all of the letters of this word are famil- freelance critic. Graduated thorough look, comes the ‘tongue-in-cheek’ iar to me and the word cannot be found in from the Institute of Art History at the Estonian realisation that ‘art’ is written in Cyrillic, the Estonian, English or Russian dictionaries. The Academy of Arts and works Latin ‘P’ is the Russian ‘R’. The brain or past only thing to be argued about is the compre- as a guest docent at the Academy’s Department experience chooses a more logical pronuncia- hensibility of meaning, but there actually is no of Photography. She is tion instead of the nonsense-word ‘apt’, at the argument, as we have to agree with the views currently writing her MA thesis at the Estonian same time mixing up the experience of the of many authors that if art or an artistic text is Institute of Humanities two ‘first foreign languages’.
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