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Piirilinn Cidade Fronteiriça Border City PIIRILINN CIDADE FRONTEIRIÇA BORDER CITY EXHIBITION “BORDER CITY: TALLINN - LISbon” “ARRIVal”: TALLINN ART HALL GALLERY 31.08. - 18.09.2011 “DEPARture”: TALLINN CITY GALLERY 31.08. - 25.09.2011 LISBON, INSTITUTE CAMOES 6.02. - 16.03.2012 Catalogue complied and edited by Harry Liivrand Co-edited by Kadri Mälk Assistendid / Assistance: Kadri Mälk, Eero Kangor, Cristina Filipe, Paula Crespo Exhibition design: Taso Mähar Catalogue design: Jaanus Samma Photographers Tanel Veenre, Sulev Keedus, Harry Liivrand, C.B. Aragao. Translations into Estonian: Dea Martinjonis Translations into English: Juta Ristsoo, Riina Kindlam, Kristopher Rikken, Eero Kangor, Frederica Bastide Duarte Translations into Portugees: Tiago Marques ESIKAANEL: Cristina Filipe, C. B. Aragão, Rui Chafes TAGAKAANEL ... WE THANK: Eesti Kultuurkapital, Hotell Telegraaf, Eesti Kunstnike Liit, Institute Camões, Eesti Suursaatkond Lissabonis Published by Tallinna Kunstihoone / Tallinn Art Hall Printed at Tallinna Raamatutrükikoda ISBN .... Tallinn 2011 TALLINN Katrin Amos Piret Hirv Katarina Kotsalainen Tiina Käesel Urve Küttner Leonhard Lapin Laurentsius Kristiina Laurits Eve Margus-Villems Kadri Mälk Maarja Niinemägi Villu Plink Jaanus Samma Rait Siska − Risto Tali Ketli Tiitsar Tanel Veenre LISBON Ana Albuquerque Madalena Avellar Miguel Branco Sónia Brum Miriam Castro Rui Chafes Paula Crespo Catarina Dias Cristina Filipe Hugo Madureira João Martins Teresa Milheiro Marilia Maria Mira Typhaine Le Monnier Inês Nunes Tereza Seabra Curator Harry Liivrand Vastavalt kontseptsioonile toimub Tallinnas näitus samaaegselt kahes galeriis, ühes alateemaga NÄITUS “Saabumine”, teises “Lahkumine”. Siin osaleb kummastki linnast 17 kunstnikku, kellest „PiiriLINN: TALLINN – LiSSABON” enamus on juveliirid ja oma maa ehtekunsti rahvusvahelised suursaadikud. Mul on ütlemata hea meel, et nad otsustasid projektis osaleda. Nad ühendavad soola ja kulla, hõbeda ja toorteemandid, raudpleki ja soolakristallid, soola ja kudumi ... Nad tunnetavad ehte maagilist Harry Liivrand väge, objektikunsti kodeeritud tähendusi, materjalide müstilist mõju, sümbolismi suurust. Tulemine piirilinnast annab neile lisajõudu ja enesekindlust. Lisaks interpreteerivad teemat veel paar Lissaboni ja Tallinna kujutavat kunstnikku, kes samuti suurepäraselt valitsevad 2011. aastal Tallinnas ja 2012. aastal Lissabonis toimuv ehtenäitus „Piirilinn“ on Eesti ja piiriloleku kummastava tunde ilu, meediumiks lõuend, akrüül, lehtkuld, foto ja pronks. Portugali ehtekunstnike esimene ühisprojekt, mis mõtestab kujundlikult kahe Vana-Euroopa piire sümboliseerinud pealinna identiteeti. Geograafilises mõõtkavas määratlevad Tallinn ja Ütlen Kadri, mõtlen Cristina, ütlen Laurentsius, mõtlen Rui, ütlen Tanel, mõtlen Hugo, ütlen Lissabon teineteisest ülimalt erinevat ja mentaliteedihoiakulises mõttes isegi vastandlikku Katarina, mõtlen Paula ... äärealalist kultuuriruumi, kuid just merele avatud piirilinna staatus ja asukoha saatuslik lõppjaama kontekst on need lähtepunktid, millest käesolev projekt tõukub. Mõlemal linnal Aitäh! tuleb meri vastu, jääb üle kas tagasi pöörduda või seilata minema, minna üle piiri ... või Obrigado! vaimustuda. 1219 Tallinna vallutanud Taani kuninga Waldemar II abikaasa Berengaria oli sünnilt Portugali printsess. Ajalooliselt on Tallinna ja Lissaboni ühendanud sool, mis oli keskaegse Tallinna üheks tähtsamaks sisseveoartikliks. Selle vahendamisel põhines suuresti linna rikkus ja õitseng, nii et võib öelda, et Tallinn on ehitatud soolale. Peamiselt imporditi soola Portugali ajaloolisest Setubali piirkonnast. Sealset valget soola nimetati ka lissaboni soolaks ja transporditi lahtiselt laevaruumis. Nii jõudis lissaboni sool Eesti hansalinna Tallinna. See soolamaiguline iidne side on inspireerinud käesoleva näituse kunstnikke. 16. sajandil rööviti Tallinnas Portugali kaupmees. Piir ühendab ja lahutab. Piiriületamine on psühholoogiliselt alati seotud hirmu, aja ja kontekstiga. Piirilinn seostub võimaluse ja võimatuga, lahkumise ja naasmisega, ootusärevuse ja meeleheitega. Sadamalinnade intensiivses tähendustekkelises alas kujunevad kergesti tuhanded mereäärsed lood, mida kohalikud hoiavad nagu püha saladust. Need lood moodustavad piirilinna alateadvuse, mis on ühtaegu paradoksaalne ja maagiline. Piirilinnades kuhjuv korratu ürgjõuline materjal muundatakse kultuuriliseks. Ehteseppade maagilises pajas antakse sellele juveliirne – metatähenduses amuletilik - kuju. Eerik Haamer maalis 1960.aastal Portugali reisimuljete põhjal suuri dekoratiivseid kompositsioone. Piirilinnadest lähtuvad avastusretked. 15. sajandil purjetasid Lissabonist merele karavellid prints Henrique Meresõitja ja Vasco da Gama juhtimisel uut maailma avastama - Tallinn piirdus siis koduse Soome lahe isanda positsiooniga. Olukord muutus, kui 19. sajandil alustasid Tallinnast maadeavastaja karjääri Adam Johann von Krusenstern ja Fabian Gottlieb von Bellingshausen. Kui piirilinn kaob silmapiiri taha, jääb tahavaatajale vaid nostalgiline mälestus, mida tundelisema iseloomu puhul niisutavad soolased pisarad. Kuid ka mahajääja nukrutseb … Piir on kakskeelne mehhanism, mis tõlgib välisteateid ja uut infot sisekeelde. Sellepärast on loov konflikt ja harmoonia piirilinna sisse kodeeritud. ... 10 11 LÄvelt LÄVELE meid palvepaikadesse, kus me juurdume. Tihti ongi see eesmärk, see otsing mis meid ühest kohast teise viib. Juured, mis meid mõne kohaga seovad, on olulised mõistmaks Ajalugu, Teoseid, Sõna. Cristina Filipe Puu olla tähendab, et me püsime kohas, kuhu me kuulume. Ajamaks alla juured. Ning asumaks paralleelselt Jõega, mis voolab Ookeani. Siin saab Juveelist kood, Kehast sõiduk, Skulptuurist olend, Maalist maastik. Iga Teos KUULSIN RÄÄGITAVAT tõlgendab oma arusaama Sõnast. Ent siiski, nagu Celani luules “see ei vii meid uute radadeni, Kuulsin räägitavat, et kusagil vaid pelgalt lakub haavu, mis ei parane iial.” vees on kivi ja ring ja veepinnal üks sõna Celan on piiri-poeet – läve ja limiidi-poeet. Ja, nagu tedagi, huvitab meid “maailma puhtuse, mis ringi ümber kivi laotab. tõe ja muutumatuse tasandini tõstmine.” Sa loed, ütleb luuletus. Et lugeda nii nagu Tummas raamatus: lege, lege, relege...Hoolikast, Nägin oma paplit veeni kummardumas kannatlikust meditatsioonist tuleb Kivi, teeraja märk. Või tuleb päästev päeva Sõna. Või siis Nägin ta käsivart põhja puudutamas vaikus.””4 Nägin ta juuri taevalt ööd palumas. “Koos Paul Celaniga majutame me vaikuse. Aja vaikuse, sõnadevahelise ruumi vaikuse. Ma ei jooksnud ta järel, Teadlikult valitud (elatud) sõnad ei soovi väljendada, vaid pigem tagasi tõmbuda (või läheneda) Haarasin vaid maast puru rääkimatu piirist, Universumi kujutisest ja inimesest, keda on raputatud tema juurte juurest: mil tema silmade kuju ja noobel olek ehk Verbi pulsist, mis armastuse nimel, avanes manifestatsioonis.”5 Võtsin vanasõnadest kee su kaelast ja palistasin sellega laua, millel puru nüüd lebab. Nagu Celan “haarame me valus radade järele, lahtiste haavade ajal”6 Ega enam kunagi näinud ma oma paplit. “See, kes enam ei räägi, räägib kõigiga, ta räägib, sest keegi ei kuula, keegi ega Keegi”7 Paul Celan1 Kuid “kohtumise müsteerium” püsib siiski (Der Meridia / The Meridian, 1960) soov jõuda teiseni ja see õõvastav vaikus. “8 “Celani teostes on luuletuse ruum ehitatud Lävelt lävele... Ja Celani jaoks ongi teekond lävelt lävele Iga teos, nagu Celani luule, “võib olla merre visatud pudel, mis on hüljatud lootuse – mis see, mis luuletuse loob, žestis, mis saab alguse sellest, mida kunagi öeldud sai ja mida tuleb uuesti vaieldamatult on tihtipeale õhkõrn – meelevalda, et see ühel päeval mõnel rannalt üles öelda – et see eksisteerida saaks – ja mis liigub kellegi teiseni, kes kuulab, et see, mida luuletajal on korjataks, võimalik, et südamerannalt, “ Celan ütleb siiski “Ses mõttes on ka luuletused öelda, saaks ühel päeval uuesti öeldud, võimaldades seeläbi elementaarsed eksiteerimise tingimused teekond: nad viivad sihtpunktini(...), avatud Kohani, puutumatu sinuni... “9 ja ellujäämisvõimaluse.”2 Ja meie autorid, kes meie oleme? Kunstnike teosed, nagu Celanigi omad, on üles ehitatud “poeetiliselt, nagu ühe suhte ruum, Maasoolaks olemise vastutus motiveerib kõiki meie liigutusi ja otsuseid. Mida me teeme ja või võimaliku kohtumise ruum, või katse dialoogi pidada.”3 kuidas me seda teeme. See õigustab kõike, mida esitletakse neis kahes näitusepaigas nimega Kuidas saab kunstniku, kes elab geograafiliselt kauges põhjas ja/või lõunas asuvas linnas, teos “Saabumine” ja “Lahkumine”. paljastada fakti, et ta elab kartograafilise joone lähedal, mis asetab ta ühe kontinendi servale ja ...”aga mis siis, kui sool oleks mage, millega me siis soolaksime?”10 terve ookeani, mida ujuda, äärde? Harry Liivrand esitab meile selle dilemma. Olles teadlikud sellest, kes me oleme, kohas, kuhu me oleme sündinud. Kohas, kus me elame. Cristina Filipe Lissabon, Juuni 2011 Aga kas me oleme lahkumas või saabumas? Kas me saabume sinna, kust lahkusime või lahkume sealt, kuhu saabusime? Saabumine ja lahkumine sulanduvad üheks. õrn joon, mis neid eristab, on piir, mis meid poolitab. Kuid kas me võime jaguneda kahe väga omanäolise koha vahel? Kas me teame, kust tuleme ja kuhu läheme? Palverännak viib meid pühapaikadesse, kus me otsime valgust ja pühadust. Kaitset. See viib 1 Tõlkinud Dea Martinjonis 4 Ibidem 2 CARDOZO, Maurício Mendonça, “Kaasaegse poeesia praktika ja ruum”, UFPR - Paraná Föderaalülikool– 5 Ibidem, XXV. Kaasaegsete võõrkeelte osakond–, Curitiba, Brasiilia, lk.149, 2008. 6 BARRENTO, João, Paul Celan: Verb ja Sõna, Seitse Roosi Hiljem, Luuleantoloogia, Cotovia,
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