Laura Põld Born in 1984 in Tallinn, USSR. Currently Based in Tallinn, Seasonally in Vienna

Total Page:16

File Type:pdf, Size:1020Kb

Laura Põld Born in 1984 in Tallinn, USSR. Currently Based in Tallinn, Seasonally in Vienna C V Laura Põld Born in 1984 in Tallinn, USSR. Currently based in Tallinn, seasonally in Vienna. Laura Põld is an artist mainly working with poetics of 'place'. The combination on mediums such as painting, installation, ceramics, video, and text become staged landscapes in symbiosis with the gallery space, and sometmes environments for interactive performative experimentation. Contact Address Lõokese 8, Tallinn 11311, Estonia E-mail [email protected] Mobile +372 58081531 Website www.laurapold.com Education 2007 – 2010 MA, University of Tartu, Department of Painting 2003 – 2007 BA, Estonian Academy of Arts, Department of Ceramics Selected Solo and Duo-Exhibitions 2017 So small it could be mine, Atelierhaus Höherweg e. V., Düsseldorf, Germany 2016 Laura Põld / Johna Hansen. Serving Makes Place. Maebashi Works, Japan Laura Põld / Johna Hansen. Awilda on a drift. Tripitaka, Christianshavn, Copenhagen, Denmark; Hundreds of Illusions Charted as Land, Tartu Art Museum, Estonia, curated by Peeter Talvistu 2015 Road To Silver Mine, Gallery Chemin du Bonheur, Hokuto-shi, Yamanashi, Japan 2014 The Night Your Mate Danced Like A Tree, Gallery Hobusepea, Tallinn; Laura Põld / Titania Seidl. a walk, a wall, some mountains, Showroom Galerie Hrobsky, Vienna; Ruins, Tartu Art House, Monumental gallery; To go to bed by day, Kunstkabinett Kunstverein Bayreuth; Castle, Gallery Vaal, Tallinn 2013 Sigita Daugule / Laura Põld, Galerie Ulrike Hrobsky, Vienna; Attempts to stage a landscape, Tallinn Art Hall Gallery 2012 Carolina Cyclone, Showroom for Young Art, Galerie Ulrike Hrobsky, Vienna; 2011 Lost & Found, Tallinn City Gallery, Estonia; 2010 Conversations with the Curtain, Tartu Art House, Estonia; Adrijana Gvozdenovič / Laura Põld, Hope You Dance , bm:ukk exhibition space, Vienna; Selected Group Exhibitions 2017 Structured Frustrations, curated by Samira Hashemi. CC. art space Isfahan, Esfahan, Iran 2016 Shiro Oni Studio, group IV 2016, Onishi Brewery, Gunma, Japan; The Great Painter, curated by Liisa Kaljula. Evald Okas Museum, Haapsalu, Estonia; Köler Prize 2016. Exhibition of Nominees, Contemporary Art Museum of Estonia; Sense of Place, Tallinn Art Hall gallery 2015 Art Market Budapest, represented by Gallery Vaal (Estonia); New building, Tartu Art Museum, Estonia; Fucking Andy, Eden, Techno, Disco. Mo.ë, Vienna, Austria 2014 New Material, The Museum of Contemporary Art of Estonia; Väljasõit rohelisse. Tartu 1860 - 2014, Tallinn Art Hall; Tallinn - Carcassonne, Jesuit College and Chapel, France 2013 Kunst in der Landschaft 9, Gut Gasteil, Prigglitz; 7. ICA, Art Without Borders, Kulmbach; CHA-2013. The Central House of Artists, Moscow 2012 Archaeology and the Future of Estonian Art Scenes, KUMU Art Museum, Tallinn; Collection of Desires. Contemporary Estonian Art From Private Collections. Museum of Contemporary Art of Estonia; Reproduktionen, Künstraum Zögernitz, Vienna; 7-Ateliers: exhibition and open studios, Showroom Ulrike Hrobsky, Vienna; NordArt2012, Büdelsdorf, Germany; NOT ONLY, Factory-Art Gallery, Berlin; Collective Video Bohai @ Luminale Frankfurt 2012; TALLINZ, Atelierhaus Salzamt, Linz; 2011 Young Painter Prize finalists 2011, Titanikas, Vilnius; Estonian painting. Laura Põld, Maarit Murka, Sirja-Liisa Eelma. Old Town Art Gallery, Vilnius, Lithuania; The family, März Project Space, Tallinn, Estonia; Confrontations and Provocations. An Insight into Estonian Contemporary Art, National Museum of Warsaw, Poland and Contemporary Art Museum, Szczecin, Poland; Selected art-related employment 2014 - 2016 Estonian Photo Magazine “Positiiv”, co-editor (contemporary art). Writing of around 15 interviews and articles about camera based contempoirary art practices, both in Estonia and about notable Estonian artists abroad. 2014 - 2016 Estonian Academy or Arts, Department of Fine Arts, guest lecturer („Painiting”) 2013 University of Tartu, guest lecturer (“Painting and Installation”) 2010-2011 University of Tartu Viljandi Culture Academy, Department o Performing Arts, lecturer (“Interdiciplinary Arts”) Grants and Awards 2016 Köler Prize 2016 grand prix 2014 Annual award of Cultural Endowment of Estonia, Foundation of Fine and Applied Arts 2013 Ado Vabbe prize 2011 Young Painter’s Prize, 3rd place 2008 Eduard Wiiralt’ Stipend Kalmus scholarship for a young artist Residencies / Stays 2017 eu-art-network Symposium 2017, Cselley Mühle, Oslip, Austria (August); Treignac Project, Limousin region, France (July); CC. art space, Isfahan, Iran (April); Ateliers Höherweg e.V., Düsseldorf, Germany (Jan. - March) 2016 Maebashi Works, Gunma, Japan (Nov. – Dec.) Shiro Oni Studio, Gunma, Japan (Oct. - Nov.) 2015 AIR Chemin du Bonheur, Hokuto-shi, Japan (May) 2015 Artist-in-Residence Yamanashi, Japan (March – April) 2014 International Ceramics Symposion, Kohila, Estonia (July) 2013 Kunst in der Landschaft 9, Gut Gasteil, Austria (March) 2011 Salzburg International Summer Academy of Fine Arts 2011 AiR Atelierhaus Salzamt, Linz, Austria (Nov. - Dec.) 2010 AiR Schloss Laudon, Vienna, Austria (Oct. - Dec.) Works in public collections 2014 Art Museum Bayreuth, Germany 2011 Tartu Art Museum, Estonia Books 2016 Laura Põld and Hundreds of Illusions Charted as Land, edited by Peeter Talvistu. Tartu Art Museum, 2016. 264 pages, Estonian/English Google Drive link to the pdf-file: https://drive.google.com/file/d/0B15-v4wvsY8wYzFzNkVRWGZKTDg/view?usp=sharing Selected recent media and publications in English 2017 Six Questions: Laura Põld, Tique art paper. Link: http://www.tique.art/paper/six-questions/laura-pold/ ; Artists' Spaces. 16 studio visits. Interviewed and edited by Annika Toots and Merilin Talumaa. Published by the Estonian Academy of Arts. 328 pages. 2016 Means of Reaching a Destination, Maris Karjatse. Kunst.ee Magazine. Link: http://ajakirikunst.ee/?c=magazine&l=en&t=means-of-reaching-a-destination&id=1591 ; Köler Prize 2016. Tique art paper. Link: http://www.tique.art/paper/exhibitions/köler-prize-2016/ ; Photo reportage from Johna Hansen, Katrine Gram Sloth and Laura Põld’s joint exhibition at the Art Hall Gallery, Tallinn. Echo Gone Wrong. Link: http://echogonewrong.com/johna-hansen-katrine-gram-sloth-laura-pold/ ; Baltic Art Superstar, Where Are You?, Agnese Čivle, Odrija Fišere, Art Territory. Link: http://arterritory.com/en/texts/articles/5494-baltic_art_superstar,_where_are_you/ ; Looking at Painting Volume 2. Created and Published by Jessie Churchill. Published in Leeds. 208 pages. 2014 Artist Mobility and the Baltic Cities: Revealing a Transnational Art World, Emma Duester. Echo Gone Wrong magazine. http://echogonewrong.com/artist-mobility-and-the-baltic-cities-revealing-a-transnational-art-world/ An Education – Laura Põld. Estonian Art magazine. Link: http://www.estonianart.ee/art/an-education/ .
Recommended publications
  • Die Brücke Der Blaue Reiter Expressionists
    THE SAVAGES OF GERMANY DIE BRÜCKE DER BLAUE REITER EXPRESSIONISTS 22.09.2017– 14.01.2018 The exhibition The Savages of Germany. Die Brücke and Der DIE BRÜCKE (“The Bridge” in English) was a German artistic group founded in Blaue Reiter Expressionists offers a unique chance to view the most outstanding works of art of two pivotal art groups of 1905 in Dresden. The artists of Die Brücke abandoned visual impressions and the early 20th century. Through the oeuvre of Ernst Ludwig idyllic subject matter (typical of impressionism), wishing to describe the human Kirchner, Emil Nolde, Wassily Kandinsky, August Macke, Franz Marc, Alexej von Jawlensky and others, the exhibition inner world, full of controversies, fears and hopes. Colours in their paintings tend focuses on the innovations introduced to the art scene by to be contrastive and intense, the shapes deformed, and the details enlarged. expressionists. Expressionists dedicated themselves to the Besides the various scenes of city life, another common theme in Die Brücke’s study of major universal themes, such as the relationship between man and the universe, via various deeply personal oeuvre was scenery: when travelling through the countryside, the artists saw an artistic means. opportunity to depict man’s emotional states through nature. The group disbanded In addition to showing the works of the main authors of German expressionism, the exhibition attempts to shed light in 1913. on expressionism as an influential artistic movement of the early 20th century which left its imprint on the Estonian art DER BLAUE REITER (“The Blue Rider” in English) was another expressionist of the post-World War I era.
    [Show full text]
  • Wiiralti Kataloog 0.Pdf
    Eduard Wiiralti galerii Eesti Rahvusraamatukogus The Eduard Wiiralt Gallery in the National Library of Estonia Tallinn 2015 Koostaja / Compile by Mai Levin Teksti autor / Text by Mai Levin Kujundaja / Designed by Tuuli Aule Toimetaja / Edited by Inna Saaret Tõlkija / Translated by Refiner Translations OÜ Endel Kõks. Eduard Wiiralti portree. Foto / Photograph: Teet Malsroos Esikaanel / On the front cover Tagakaanel / On the back cover Kataloogis esitatud teosed on digiteeritud Eesti Rahvusraamatukogu digiteerimiskeskuses. Works published in the Catalogue have been digitized by the National Library of Estonia. ISBN Autoriõigus / Copyright: Eesti Rahvusraamatukogu, 2015 National Library of Estonia, 2015 Eesti Autoriteühing, 2015 Estonian Authors’ Society, 2015 Trükkinud / Printed by Saateks FOREWORd Kristus pidulaua ääres, palvetava naise even started discussing this work as a pre- Mai Levin Mai Levin vari jt.), ent eelkõige haarab stseeni monition of war. Cabaret (initially titled dünaamilisus, ennastunustava naudingu The Dance of Life) was completed in 1931 1996. a. septembris avati Eesti Rahvus- In September 1996, the National Library ja iharuse atmosfäär. in Strasbourg, executed in the same tech- raamatukogus Eduard Wiiralti galerii – of Estonia opened the Eduard Wiiralt Eduard Wiiralt (1898–1954) sündis nique as its twin Inferno. The leading motif suure eesti graafiku teoste alaline ekspo- Gallery in the building – an extensive dis- Peterburi kubermangus Tsarskoje Seloo of Cabaret is sensuousness, triumphing sitsioon. See sai võimalikuks tänu Harry play of the great Estonian graphic artist. kreisis Gubanitsa vallas Robidetsi mõisas over everything intellectual. Here we can Männili ja Henry Radevalli Tallinna linnale This was made possible thanks to dona- mõisateenijate pojana. 1909. a. naases also notice symbolic details (the sleeping tehtud kingitusele, mis sisaldas 62 tions by Harry Männil and Henry Radevall perekond Eestisse, kus kunstniku isa sai Christ at the table, the shadow of a pray- E.
    [Show full text]
  • Collecting Art in the Turmoil of War: Lithuania in 1939–1944 Collecting Art in the Turmoil of War: Lithuania in 1939–1944
    Art History & Criticism / Meno istorija ir kritika 16 ISSN 1822-4555 (Print), ISSN 1822-4547 (Online) https://doi.org/10.2478/mik-2020-0003 Giedrė JANKEVIČIŪTĖ Vilnius Academy of Arts, Vilnius, Lithuania Osvaldas DAUGELIS M. K. Čiurlionis National Museum of Art, Kaunas, Lithuania 35 COLLECTING ART IN THE TURMOIL OF WAR: LITHUANIA IN 1939–1944 COLLECTING ART IN THE TURMOIL OF WAR: LITHUANIA IN 1939–1944 IN LITHUANIA WAR: OF TURMOIL THE IN ART COLLECTING Summary. The article deals with the growth of the art collections of the Lithuanian national and municipal museums during WWII, a period traditionally seen as particularly unfavourable for cultural activities. During this period, the dynamics of Lithuanian museum art collections were maintained by two main sources. The first was caused by nationalist politics, or, more precisely, one of its priorities to support Lithuanian art by acquiring artworks from contemporaries. The exception to this strategy is the attention given to the multicultural art scene of Vilnius, partly Jewish, but especially Polish art, which led to the purchase of Polish artists’ works for the Vilnius Municipal Museum and the Vytautas the Great Museum of Culture in Kaunas, which had the status of a national art collection. The second important source was the nationalisation of private property during the Soviet occupation of 1940–1941. This process enabled the Lithuanian museums to enrich their collections with valuable objets d’art first of all, but also with paintings, sculptures and graphic prints. Due to the nationalisation of manor property, the collections of provincial museums, primarily Šiauliai Aušra and Samogitian Museum Alka in Telšiai, significantly increased.
    [Show full text]
  • Estonian Art 1/2013 (32)
    Estonian 1/2013Art 1 Evident in Advance: the maze of translations Merilin Talumaa, Marie Vellevoog 4 Evident in Advance, or lost (and gained) in translation(s)? Daniele Monticelli 7 Neeme Külm in abstract autarchic ambience Johannes Saar 9 Encyclopaedia of Erki Kasemets Andreas Trossek 12 Portrait of a woman in the post-socialist era (and some thoughts about nationalism) Jaana Kokko 15 An aristocrat’s desires are always pretty Eero Epner 18 Collecting that reassesses value at the 6th Tallinn Applied Art Triennial Ketli Tiitsar 20 Comments on The Art of Collecting Katarina Meister, Lylian Meister, Tiina Sarapu, Marit Ilison, Kaido Ole, Krista Leesi, Jaanus Samma 24 “Anu, you have Estonian eyes”: textile artist Anu Raud and the art of generalisation Elo-Hanna Seljamaa Insert: An Education Veronika Valk 27 Authentic deceleration – smart textiles at an exhibition Thomas Hollstein 29 Fear of architecture Karli Luik 31 When the EU grants are distributed, the muses are silent Piret Lindpere 34 Great expectations Eero Epner’s interview with Mart Laidmets 35 Thoughts on a road about roads Margit Mutso 39 The meaning of crossroads in Estonian folk belief Ülo Valk 42 Between the cult of speed and scenery Katrin Koov 44 The seer meets the maker Giuseppe Provenzano, Arne Maasik 47 The art of living Jan Kaus 49 Endel Kõks against the background of art-historical anti-fantasies Kädi Talvoja 52 Exhibitions 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.
    [Show full text]
  • Schools of Estonian Graphic Art in Journalism in the 1930S
    SCHOOLS OF ESTONIAN GRAPHIC ART IN JOURNALISM IN THE 1930S Merle Talvik Abstract: The basis for the development and spread of graphic design in the 1920s and 30s in Estonia was the rapid progress of the country’s economy and commerce. The rise in the number of publications led to a greater need for designers. The need for local staff arose in all fields of applied graphics. In the 1930s, graphic artists were trained at two professional art schools – the State Applied Art School (Riigi Kunsttööstuskool) in Tallinn and the Higher Art School (Kõrgem Kunstikool) Pallas in Tartu. The present article focuses on the analyses of the creative work of the graphic artists of both schools, trying to mark the differences and similarities. The State Applied Art School was established in 1914. In 1920, Günther Reindorff started working as a drawing teacher. His teaching methods and the distinguished style of his creative work became an inspiration for an entire generation of Estonian graphic designers. The three well-known students and followers of G. Reindorff were Johann Naha, Paul Luhtein and Hugo Lepik. The teachers and students of the State Applied Art School shaped greatly the appearance of magazines printed in Tallinn. Of modern art movements, art deco found most followers. National ornament became a source for creative work. Distinct composition and beautifully designed legible script are also the features that resulted from the systematic education of the State School of Applied Art. The curriculum of the Higher Art School Pallas, established in 1919, was based on western European art experience.
    [Show full text]
  • Download File
    Eastern European Modernism: Works on Paper at the Columbia University Libraries and The Cornell University Library Compiled by Robert H. Davis Columbia University Libraries and Cornell University Library With a Foreword by Steven Mansbach University of Maryland, College Park With an Introduction by Irina Denischenko Georgetown University New York 2021 Cover Illustration: No. 266. Dvacáté století co dalo lidstvu. Výsledky práce lidstva XX. Věku. (Praha, 1931-1934). Part 5: Prokroky průmyslu. Photomontage wrappers by Vojtěch Tittelbach. To John and Katya, for their love and ever-patient indulgence of their quirky old Dad. Foreword ©Steven A. Mansbach Compiler’s Introduction ©Robert H. Davis Introduction ©Irina Denischenko Checklist ©Robert H. Davis Published in Academic Commons, January 2021 Photography credits: Avery Classics Library: p. vi (no. 900), p. xxxvi (no. 1031). Columbia University Libraries, Preservation Reformatting: Cover (No. 266), p.xiii (no. 430), p. xiv (no. 299, 711), p. xvi (no. 1020), p. xxvi (no. 1047), p. xxvii (no. 1060), p. xxix (no. 679), p. xxxiv (no. 605), p. xxxvi (no. 118), p. xxxix (nos. 600, 616). Cornell Division of Rare Books & Manuscripts: p. xv (no. 1069), p. xxvii (no. 718), p. xxxii (no. 619), p. xxxvii (nos. 803, 721), p. xl (nos. 210, 221), p. xli (no. 203). Compiler: p. vi (nos. 1009, 975), p. x, p. xiii (nos. 573, 773, 829, 985), p. xiv (nos. 103, 392, 470, 911), p. xv (nos. 1021, 1087), p. xvi (nos. 960, 964), p. xix (no. 615), p. xx (no. 733), p. xxviii (no. 108, 1060). F.A. Bernett Rare Books: p. xii (nos. 5, 28, 82), p.
    [Show full text]
  • Laura Põld Education Selected Solo and Duo-Exhibitions
    CV Laura Põld Artist, b. Oct. 25, 1984 in Tallinn, Estonia, currently living and working in Tallinn and Vienna. Education 2018 – 2019 The University of Art and Design Linz, Department of Sculptural Conceptions / Ceramics 2007 – 2010 University of Tartu, Department of Painting, MA 2003 – 2007 Estonian Academy of Arts, Department of Ceramics, BA Selected Solo and Duo-Exhibitions 2019 Laura Põld / Katrin Väli. Burrows. An Elegy, Gallery Hobusepea, Tallinn, Estonia (upcoming) 2018 Artists in Collections: Laura Põld x Kunda Cement Museum, Kunda, Estonia, curated by Maarin Ektermann and Mary Talvistu 2017 So small it could be mine, Atelierhaus Höherweg e. V., Düsseldorf, Germany 2016 Laura Põld / Johna Hansen. Serving Makes Place. Gallery Maebashi Works, Japan; Laura Põld / Johna Hansen. Awilda on a drift. Fireboat Tripitaka, Christianshavn, Copenhagen, Denmark; Hundreds of Illusions Charted as Land, Tartu Art Museum, Estonia, curated by Peeter Talvistu 2015 Road To Silver Mine, Gallery Chemin du Bonheur, Hokuto-shi, Yamanashi, Japan 2014 The Night Your Mate Danced Like A Tree, Gallery Hobusepea, Tallinn, Estonia; Laura Põld / Titania Seidl. a walk, a wall, some mountains, Showroom Galerie Hrobsky, Vienna, Austria; Ruins, Tartu Art House, Monumental gallery, Tartu, Estonia; To go to bed by day, Kunstkabinett Kunstverein Bayreuth, Germany; Castle, Gallery Vaal, Tallinn, Estonia 2013 Sigita Daugule / Laura Põld, Galerie Ulrike Hrobsky, Vienna, Austria; Attempts to stage a landscape, Tallinn Art Hall Gallery 2012 Carolina Cyclone, Showroom for Young Art, Galerie Ulrike Hrobsky, Vienna, Austria 2011 Lost & Found, Tallinn City Gallery, Estonia 2010 Conversations with the Curtain, Tartu Art House, Estonia; Adrijana Gvozdenovič / Laura Põld, Hope You Dance, bm:ukk exhibition space, Vienna, Austria Selected Group Exhibitions 2019 Fiskars Village Art & Design Biennale, exhibition “Beings with”, curated by Jenni Nurmenniemi, Fiskars, Finland 2018 Ascending from the Liquid Horizon, Le Lieu Unique, Nantes, France, curator Kati Ilves; How to: Live.
    [Show full text]
  • Newsweek the INTERNATIONAL NEWSMAGAZINE SPECIAL ADVERTISING SECTION
    Newsweek THE INTERNATIONAL NEWSMAGAZINE SPECIAL ADVERTISING SECTION ESTONIA Forging a Path to Prosperity SPECIAL ADVERTISING SECTION Estonia: Forging a Path to Prosperity "EESTI ^ JSRAAMATUKOGU AR J A Return to Independence ™5^?^ - ^5T~" Estonia leads the Baltics in its economic transformation stonia is the new powerhouse of the merce," he says. "The commercial well-educated labor force, Baltics, outstripping the other deve­ instincts are returning rapidly. Trade a liberal market economy loping economies of the former Soviet with the West is more important and an excellent geo­ republics. That transformation is built on a tra­ than aid. Aid can create dependency, graphic position." dition of business and trade closer to that found but trade sustains long-term growth." A number of large multi- in the Nordic countries to its north than to its The evidence of Estonia's rapid nationals have already former comrades in the U.S.S.R. transition to a free-market economy | staked their claims in Estonia re-established its independence in a is visible even to the most casual ~ Estonia, including the bloodless revolution on Aug. 20, 1991, after half observer. Shipping traffic is 1 Coca-Cola Company, a century as part of the Soviet Union. Since then, booming off the Estonian coast. I' Swiss-Swedish engineering it has emerged as a leader among the Baltic Some 11 million tons of cargo were i giant ABB Group and states—becoming the first "former Soviet republic shipped in and out of Estonia in 1 Swedish appliance manu- to issue its own currency, doubling exports, more 1992; Peeter Palu, the general 5 facturer Electrolux.
    [Show full text]
  • Estonian Academy of Sciences Yearbook 2016 XXII (49)
    Facta non solum verba ESTONIAN ACADEMY OF SCIENCES YEAR BOOK ANNALES ACADEMIAE SCIENTIARUM ESTONICAE XXII (49) 2016 TA LLINN 2017 Editor in chief: Jaak Järv Editor: Anne Pöitel Translation: Ülle Rebo, Ants Pihlak Editorial team: Helle-Liis Help, Siiri Jakobson, Ebe Pilt, Marika Pärn, Tiina Rahkama Maquette: Kaspar Ehlvest Layout: Erje Hakman Photos: Reti Kokk: pp. 57, 58; Maris Krünvald: p. 77; Hanna Odras: pp. 74, 78, 80; Anni Õnneleid/Ekspress Meedia: pp. 75, 76; photograph collection of the Estonian Academy of Sciences. Thanks to all authors for their contributions: Jaak Aaviksoo, Madis Arukask, Toomas Asser, Arvi Freiberg, Arvi Hamburg, Sirje Helme, Jelena Kallas, Maarja Kalmet, Tarmo Kiik, Meelis Kitsing, Andres Kollist, Mati Koppel, Kerri Kotta, Ants Kurg, Maarja Kõiv, Urmas Kõljalg, Jakob Kübarsepp, Marju Luts-Sootak, Olga Mazina, Andres Metspalu, Peeter Müürsepp, Ülo Niine, Ivar Ojaste, Anne Ostrak, Killu Paldrok, Jüri Plado, Katre Pärn, Anu Reinart, Kaido Reivelt, Andrus Ristkok, Pille Runnel, Tarmo Soomere, Evelin Tamm, Urmas Tartes, Jaana Tõnisson, Jaan Undusk, Marja Unt, Tiit Vaasma, Urmas Varblane, Eero Vasar, Richard Villems. Printed in Printing House Paar ISSN 1406-1503 © EESTI TEADUSTE AKADEEMIA CONTENTS FOREWORD ......................................................................................................... 5 CHRONICLE 2016 ................................................................................................ 8 MEMBERSHIP OF THE ACADEMY ..............................................................19
    [Show full text]
  • Results Eclectic, Stockholm S193
    Results Eclectic, Stockholm S193 No. Item Hammer price 1 John-E Franzén, Interior. 1 600 SEK 2 John-E Franzén, Self portrait. Unsold 3 Evert Lundquist, Girl. 2 000 SEK 4 A pair of late Gustavian chairs. 6 800 SEK 5 A Swedish Rococo armchair. 14 000 SEK 6 A pair of Swedish 19th cent silver wedding beakers, marks of Johan Petter Hedman, Unsold Norrköping 1840. 7 Wilhelm von Gegerfelt, Ships in moonlight. Unsold 8 Still life with pheasant. Unsold 9 The death bed of Senecas. Unsold 10 A Märta Måås Fjetterström weaving. Unsold 11 A chinese silk jacket from the time around 1900. 1 200 SEK 12 Lennart Rodhe, The star. 5 500 SEK 13 Johnny Oppenheimer, Still life. 4 000 SEK 14 Renato Guttuso, Still life with lemons. 31 000 SEK 15 Pietro Bello, Neapolitan cost. 2 000 SEK 16 Axel Olson, Study with models. 7 000 SEK 17 Axel Olson, Sitting model. 11 000 SEK 18 Rey Urban, A Ray Urban silver bird made in Stockholm 1997. 1 800 SEK 19 Wilhelm von Gegerfelt, Ship in canal. Unsold 20 Harald Wiberg, Crows. 5 500 SEK 21 A blue and white serving dish, Qing dynasty. 11 500 SEK 22 A chinese vase. 8 500 SEK 24 An armorial cream jug, Qing dynastin, Qianlong (1736-95). 1 600 SEK 25 A large famille rose punch bowl, Qing dynasty, Qianlong (1736-95). 3 500 SEK 26 A set of six Hans J Wegner CH-30 oak and teak chairs by Carl Hansen, Denmark. 6 000 SEK 27 A pair of 19th century silvered candlesticks.
    [Show full text]
  • Kulturhuset 35 Red.Pdf
    0861 JaQWa)das L - gnf t' I a~paAs ! Jf Sf ' - Hfli'IflX H30 ISNOX XSINIS~ Produktion: Stockholms Kulturförvaltning, konstavdelningen Utställningsansvarig: Co Derr Assistent: Kersti Wikström Arbetsgrupp för utställning och katalog: Co Derr, Kersti Wikström, Beate Sydhoff Konsulter: Ilmar Laaban, Otto Paju Översättningar: Ilmar Laaban Affisch: Enno Hallek Foto: Per Bergström Tekniskt ansvariga: Olle Noren, Tage Lundströmer Information: Kersti Wikström, Co Derr Layout: Otto Paju Tryckeri: AB Danagård Grafiska. Printed in Sweden. Copyright 0 Artikelförfattarna. För återgivning av text utöver citaträtten erfordras överenskommelse med varje enskild författare. Beträffande återgivning av bilder hänvisas till respektive innehavare av upphovsrätten. ISBN 91-7260-438-7 Adress: Kulturhuset, Sergels torg 12, Box 7653, 103 94 Stockholm. Tel. 08/14 11 20 Öppettider: Måndagar stängt Tisdag 11-22 Onsdag 11-18 (Fr. 1/9 11-20.30) Torsdag 11-18 (Fr. 1/9 11-20.30) Fredag 11-18 Lördag 11-17 (Fr. 1/9 11-18) Söndag 11-17 (Fr. 1/9 11-18) 2 Innehåll 4 Förord, Beate Sydhoff. 6 Sten Karlin g, Konst och konstnärer i 1930-talets Tartu. 12 Endel Köks, Som konststuderande i Tartu. 18 Hmar Laaban, Från målad utopi till vardag och vision. 26 Hmar Laaban, Andningshålet och äventyret. 34 Hain Rebas, Några aspekter på temat "Esterna i Sverige". 42 Konstnärsbiografier. 3 47 Litteraturförslag. Det är nu trettiofem år sedan den estniska invandringen till Sverige ägde rum. De estniskfödda svenska medborgarna är den första stora invandrargrupp under 1900-talet som tillfört Sverige sin kultur och sina seder. Deras bakgrund visar en samlad kulturbild som i dagens perspektiv framstår som en tidig förelöpare till de andra etniska grupper som i ett senare skede invandrat till vårt land.
    [Show full text]
  • The Neurobiology of Painting : Edited by F. Clifford Rose
    International REVIEW OF Neurobiology Volume 74 International REVIEW OF Neurobiology Volume 74 SERIES EDITORS RONALD J. BRADLEY Department of Psychiatry, College of Medicine The University of Tennessee Health Science Center Memphis, Tennessee, USA R. ADRON HARRIS Waggoner Center for Alcohol and Drug Addiction Research The University of Texas at Austin Austin, Texas, USA PETER JENNER Division of Pharmacology and Therapeutics GKT School of Biomedical Sciences King’s College, London, UK EDITORIAL BOARD ERIC AAMODT HUDA AKIL PHILIPPE ASCHER MATTHEW J. DURING DONARD DWYER DAVID FINK MARTIN GIURFA MICHAEL F. GLABUS PAUL GREENGARD BARRY HALLIWELL NOBU HATTORI JON KAAS DARCY KELLEY LEAH KRUBITZER BEAU LOTTO KEVIN MCNAUGHT MICAELA MORELLI JOSE´ A. OBESO JUDITH PRATT CATHY J. PRICE EVAN SNYDER SOLOMON H. SNYDER JOHN WADDINGTON STEPHEN G. WAXMAN The Neurobiology of Painting EDITED BY F. CLIFFORD ROSE Founding Director, Academic Unit of Neuroscience Charing Cross & Westminster (now Imperial College) Medical School Late Physician-in-Charge Department of Neurology Charing Cross Hospital London UK AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Academic Press is an imprint of Elsevier Academic Press is an imprint of Elsevier 525 B Street, Suite 1900, San Diego, California 92101-4495, USA 84 Theobald’s Road, London WC1X 8RR, UK This book is printed on acid-free paper. Copyright ß 2006, Elsevier Inc. All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the Publisher.
    [Show full text]