9 771406 354004 Top Ten Books Books Ten Top The “Photographic”The Lingua Franca as The Forgotten Garden Forgotten The A Space for Experimental Film Garden Exile. AStudy of the Sense of Nature 62 60 54 44 36 28 20 12 2 Art Fair in Estonia in Fair Art Foto Tallinn –the Only (Contemporary) and Kadriand Laas of Tallinn Photomonth with Laura Toots Complexities the Discussing – Photographic is Everything Fotografiska – Home for for Fotografiska– Home World Photography

Marge Monko Monko Marge Piret Karro Karro Piret Aap TepperAap Exhibitions Paul Kuimet Anneli Porri Porri Anneli Triin Metsla Paulius Petraitis Paulius Petraitis Brigita Reinert Reinert Brigita

of photographic as ameans art of therapy. There are many different ways in and has the ability to create ASPACE FOR HEALING In avisually overabundant world, photography can still have asoothing effect ourselves and the environment around us, our bodies and methods of recovery. Photomonth, which, among other issues, focus on the relationship between andart therapy also reveals itself in some of the exhibitions that make up Tallinn couple during their forced exile. The strong connection between photographic in which the artist draws attention to the garden as arefuge for the married appear in Tanja Muravskaja’s work about the garden of Elo and Friedebert Tuglas, capture something that is lost forever. The therapeutic qualities of photography into childhood terrains, an obeisance to his grandparents and also an attempt to pages in several different forms. The visual essay by Aap Tepper is apilgrimage traumatic events in our lives. organizing,of materializing control, some working taking or through fleeting, the can therapeutic be –capturing and archiving images can give us the satisfaction frustrate us, bridge the past and the future. In addition, the act of photographing family albums can used be in therapy sessions to evoke suppressed feelings and which photography and therapy are interrelated. For example, photographs from established world-renowned Fotografiska museum in Tallinn, among others. by looking at the Tallinn Photomonth contemporary biennial art and the recently aims to highlight these different views on the current state of photography Estonia, in photography on focuses which issue, This movements. photography exists. Yet, at the same time, there are still strong very and powerful classical longer discipline no distinct a as photography and photographic is everything films andbooks. According to some, we live in thepost-photography era in which for We depend on photography as amedium of and memory also use it as atool mediums, but it has also found its way into almost every corner of our daily lives. has taken many forms, and not only has it become one of the popular most art suspicion for their intricate relation to reality and time. Since then, photography seemed like pure magic, causing bewilderment and in some cases even Photography Issue The Art Estonian memories. The flat surface of an image has thepower to move us, ignite and contemporary visual culture visual in general, involving experimental on contemporary discussions the current state of photographic and art, with that photography’s role in constructing our (social) identity. The therapeutic properties of photography reveal themselves between these EVERYWHERE IS PHOTOGRAPHY ENIGMATIC IS PHOTOGRAPHY PHOTOGRAPHY IS THERAPEUTIC IS PHOTOGRAPHY . The first photographs ever developed . This issue of Estonian analyses Art . This issue will also examine the role .

1 Estonian Art 2019/2 Aap Tepper is an Estonian visual artist who is interested in subjectivity within visual culture.

Exhibition view. Kumu Art Museum, 2019. Photo: Tanja Photo: Muravskaja 2019. Museum, Kumu Art view. Exhibition

12 Anneli Porri Nature Nature of Sense the of Study A Exile. Garden curator and critic, as well as a lecturer alecturer as well as critic, and curator at the Estonian Academy of Arts. of Academy Estonian the at Anneli Porri identity. and nationalism of issues the with dealing and in portraiture working mainly is she Tanja Muravskaja

is an Estonian art historian, historian, art an is Estonian

is an Estonian photographer, photographer, an is Estonian

13 Estonian Art 2019/2 of black and white photographs compiled by the Tuglases only afew years later the tide had turned. He was expelled Republic and received the honorary title of national writer, been appointed an academic of the Estonian Soviet Socialist early stages of Soviet-era Estonia: although, in he had 1946, suddenly became the target of controversial opinions in the public figure in the Republic of Estonia and public speaker, in exile here, in his homeland. The active left-wing writer, Tuglas was not driven out of the country, he simply lived acquaintances. The writer, editor and translator Friedebert it might like be to ostracized be from one’s country and words. We know what exile means and we can imagine what these images as the starting point. Muravskaja entered the Tuglas’ garden with her camera, taking probably with similar questions in mind that in 2016 Tanja for inspirational quotes using simple design programs? It was media platforms and turn into greeting cards and backgrounds the digital images happy amateur gardeners share on social do they differ from contemporary vernacular photography and this rich collection of images; why were they taken? And how and lush colourful summer flowers? What was the aimbehind geometry. architecture follows an organic model rather than strict garden nature, the of concept impressionist romantic and a by and arock garden under the pine trees of Nõmme. Influenced composed natural and abundant garden with walkways, arbors probably looked better this way. The photos present adiligently a picture of ayoung maple tree positioned upside down –it based on aesthetic judgement, so, for example, there is also The arrangement of the photographs in the albums was mostly the grayscale dynamics in black and white photographs. a good selection of the polychrome frame that preserves One can distinguish agood balance between light and shadow, the aspiration of delivering adetailed and objective overview. natural to the human eye all refer to anatural way of seeing, documentary language, use of astandard lens and aviewpoint to images of randomly growing semi-weeds. The classical in the middle of nature, from close-ups of the few rare species general views and portraits of both the plants and the writers carefully matched side by side. The pictures varied between arrangement of the photos was also well thought through, being they focused solely on the garden and it could seen be that the and 1961 at the request of the owners. The albums stood out as themselves of their garden taken by Paul Horma between 1959 Taidre. artist Tanja Muravskaja and the curator of the exhibition Elnara of Nõmme in Tallinn, the strong and charismatic photographic belonging to writers Elo and Friedebert Tuglas in the suburb photographer Paul Horma, who documented the garden Drawings at Kumu Museum Art brings together three parties: Tanja Muravskaja’s Camera Lens” in the Cabinet of Prints and The exhibition “Garden Exile: The Tuglas’ Home Garden Through The title of the exhibition, “Garden Exile”, is aplay on And yet, why black and white photographs of garden plants The starting point for the exhibition was three albums

14 Garden Exile. A Study of the Sense of Nature Marie Under and Artur Adson, the Estonian literary classics who that might want to tempt you. The oasis is also afertile area in the garden, harbouring afruit that cannot eaten be and asnake a wild and barbaric world. At the same time, danger also lurks in the field is an obligation. The garden also refers to monastery not wear one out with work. The garden is apossibility, while and offers an aesthetic experience, relief from stress, it does strangers can enter only by permission. The garden is cultivated of Tuglases were all at once the rulers, masters and prisoners neither condemned nor abandoned them. In this way, the channelled their energy and attention to the only place that to their garden, creating their own world out of it. They physically and they did not have any correspondence, the writers turned could not publish, their friends were too afraid to visit them and Adson who fled Swedento in 1944.) At a time when they that Tuglas’ house and garden were originally owned by Under had emigrated to Sweden. (It is also important to keep in mind writeszest” Friedebert Tuglas on the 26th of December 1970 to spirits up, we to started take care of the garden with aspecial when our living conditions improved significantly. To keep our and creative endeavour: “It over started ayear and ahalf ago, to do it) and creating albums of photographs is atherapeutic Gardening, photographing the garden (or arranging someone Tanja Photo: Muravskaja 2019. Museum, Kumu Art view. Exhibition others the portraits of Elo and Friedebert Tuglas. created many sculptural portraits of Estonian writers, among time, he worked as arestorer. Before and after that period, he expelled from the Artists’ Union from 1950 to 1963. During that who took the photos, was also in aform of exile, having been death. During that same period, sculptor Paul Horma, the artist title of national writer, which he regained in 1956 after Stalin’s Soviet of the Estonian SSR, he was deprived of the honorary of July 1950, by the decision of the Presidium of the Supreme on the title pages of books was covered with ink. On the 16th was removed from circulation and his name as atranslator from the Writers’ Union of the Estonian SSR, his earlier work paradise –asafe confined area, familiar andpersonal, where as well as science and creation as viable values in the midst of gardens, alluding to culture and cultivation, sustainability, care, their own garden. their own The garden as asymbol makes one think of oases and

15 Estonian Art 2019/2 Anneli Porri of an earlier collaboration between Muravskaja and the curator works –the poster “Positions, Self-Portrait” (2007), where entire female body, which also appeared in one of her earlier cape turn the black square into an Islamic burka covering the The nose and cheekbones emerging from the black hooded common working method –but also an unexpected allegory. manner. It is aportrait in the studio –Muravskaja’s most albeit not straightforward but rather atwisting and turning reveals itself, like good most works art tend to do, in asimple, “I as Malevich’s Black Square” is aclever composition that becoming invisible against the black background. Muravskaja’s a threatening figure on a white background, and blending in and studio background, wearing ablack cape or cloth, emerging as presents herself as the black square on both awhite and black graphic pair “Untitled /Self-portrait I, II” (2015) Muravskaja consisted of adialogue with another work In of art. the photo Elnara Taidre, which was also almost monochrome and dig out Paul Horma’s photographs from the sand. greenery, and where, by the rock garden, one can find and white photograph of agarden stands out from the lush continues in Kumu’s garden where alarge-scale black and eye glancing light reflections onto the walls. The exhibition floor of the exhibition space referring to the garden’s watery light box in “Garden Exile”, there is areflective pane on the installation by Marge Monko. The artist has also used a transparent net makes one think of aconceptual photographic Maasik, the gardens with Eve Kiiler, and the use of asemi- Black and white nature prints can associated be with Arne work are different very from Muravskaja’s practice to date. floor. This is surprising, as the formal characteristics of the black and white photographic prints hanging from ceiling to transparent partly overlapping curtains or panes with large installation of nature photography, consisting of semi- what is surprising: most the work is ablack and white To talk about Tanja Muravskaja’s “Garden Exile”, with Istart Tanja Photo: Muravskaja 2019. Museum, Kumu Art view. Exhibition lives. everyday layered metaphoric qualities of the garden and nature in their such semiotic simplifications but lived and witnessed the multi- the Ibelieve desert. that the Tuglases did not think in terms of The exceptional character of the work makes me think

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16 Garden Exile. A Study of the Sense of Nature politically calmer times. � in contemplating how and why we need gardens also during by means of contemporary photography, and astep closer of nature, agreat attempt to reconstruct asense of nature as if in exile. Without doubt, “Garden Exile” is anice study it does not transform into an oasis, nor does the viewer feel attitude to nature in general. Yet, the gallery remains agallery, communicating the writers’ relationship with their garden and clearly work, literary from quotes and Tuglas’ letters journals, The atmosphere is well supported by Elo and Friedebert gallery, well balanced between poetic and informative content. as tree trunk, staircase or rose bush, but rather recognizing it experience nature as awhole, not conceiving it as aseparate The motif of translucent curtains or drapes invites us to drifting, having perspective and moving towards something. another way to emphasize looking through, being in the moment, hanging in the foreground becomes slightly blurred. This is yet the gaze into the distance so that, for example, atree branch from the background, using ashallow depth of field, using main stylistic approach has been to distinguish the foreground photography at the service of asubjective point of view. The aim of objective photography, she has tried to find ways to put with her camera –instead of surrendering to the modernist monochrome but style, sought amuch more natural vision and documentary approach, Muravskaja has taken over his curtains fluttering in the wind. Compared to Horma’s objective while sitting in his office, looking out on the garden through the She has tried to capture the feelings the writer might have had writer, after the political conditions have completely changed. of the Tuglas’ garden 60years later, after the death of the attempting to create and present the supposable experience Muravskaja has taken upon herself the difficulttask of inward-looking. and contemplative a veil. As in “Garden Exile”, the varieties of the black square are involved in covering herself up, hiding the physical body behind and authoritative, which is again nullified by the submission a black square on awhite background appears intimidating embodying assimilating,conforming and while artist the square on ablack background evokes thoughts of merging, Muravskaja’s to common element interventionist black A work. of another nation. This brings us to the important political and origin of both artists and apositioning of oneself in the context ground. The dialogue with Malevich points to the Ukrainian the artist stands in ablack burka on ablue and white back an intertwined and blended phenomenological process. The whole setup creates apleasant environment in the What is Muravskaja doing that Horma hasn’t already done?

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17 Estonian Art 2019/2 Anneli Porri Exhibition view. Kumu Art Museum, 2019. Photo: Tanja Photo: Muravskaja 2019. Museum, Kumu Art view. Exhibition

18 Garden Exile. A Study of the Sense of Nature

19 Estonian Art 2019/2 The curators of Tallinn Photomonth 2019 main programme: Ingel Vaikla, Hanna Laura Kaljo, Post Brothers, Heidi Ballet. Photo: Helen Melesk Helen Photo: Ballet. Heidi Brothers, Post Kaljo, Laura Hanna Vaikla, Ingel programme: main 2019 Tallinn of curators Photomonth The

20 Piret Karro The “Photographic” as the Lingua Franca in the face of the current climate urgency. visuality of phenomenon the discussing processes behind the exhibitions by by the curators, we will open up the thought artist Simon Dybbroe Møller. Joined here essay created in collaboration with the project at Tallinn Hall, Art Mercury materiality of photography in the group has taken amore direct approach to the opened Kai Center. Art And Post Brothers tion…. soften and spread out at the newly Let in the field surroundings of your atten presence in the tides and shifts of the Laura Kaljo focuses on the body and its MuseumArt of Estonia (EKKM). Hanna Belong to the Thunder Contemporary the at When You Say We Belong to the Light We mental change in the group exhibition surrounding environ­ questions navigates main programme: curator Heidi Ballet Tallinn in projects curator Photomonth’s the enfleshed. There are three international visuality, and its relationship with the body, photography, of theme the around revolving overrun with exhibitions and events In early September, Tallinn will become Post Brothers Post Brussels. and in Berlin Ballet Heidi Tallinn. and in London abase with Kaljo Laura Hanna author. Piret Karro Bialystok, Poland. Bialystok, Koplany, near avillage in Kolonia lives and world the around projects and exhibitions is an Estonian cultural critic and and critic cultural Estonian an is is an independent curator based based curator independent an is

has curated numerous is an independent curator , avisual

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21 Estonian Art 2019/2 nature, in plants for example, we how see hidden, whilst maintaining its relationship relationship its maintaining whilst hidden, a sense of something always remaining it it material practice has disappeared, or how address how photography as aspecific screens, and images.” But rather than just and society in aworld mediated by cameras, look “more broadly at developments in art literally takes the claim by Photomonth to Post Brothers: In many ways, our exhibition to the whole. experienced to accessed be as awhole at once but mances and so on, does not allow the project perfor­ workshops, objects, screenings, of the shifting sunlight. The choreography is in one way or another in dialogue with by Tõnu Narro, and instead. The design of the exhibition, created tangibility of registers throughmoving different from this pressure to perpetually be visible, an opportunity to frame the project as recovery the gradual decrease in daylight, Iperceived the autumn equinox and winter solstice, with show takes place at the interval between we embody this through an exhibition? As the from the point of view of the and arts could of creative life. Iwondered what this means of the Earth, is acrucial phase in the process depths the within quietly unfolding dormancy, hidden. the fearing valuing, whilst not visible even or productions, and culture favouring as brightness western to psychoanalyst Luce Irigaray when she points I resonate with feminist cultural theorist and produce within an individual or awhole society. alienation disorientation and of this that may perpetually visible –and the subsequent states compulsion to perform and publicise –to be out field of your attention…. soften and spread Hanna Laura Kaljo: The weaving the of Let has become omnipresent, we are looking at began from considering the neoliberal Looking further into creative cycles in find? you did restrictions which avenues did it open up, and which work, your previous from Departing your curatorial projects in Photomonth? of visuality and visual mediation for How did you conceptualise the criteria sense than just through photography. biennial dealing with visuality in abroader Tallinn art contemporary a Photomonthis over time. Hopefully, time. evokes this over the programme of events, events, of programme the

how the criteria very of visuality has become that we are experiencing, the fact that our Heidi Ballet: Ithink that the existential crisis is now mediated and organized. become the terms very in which all information before any of us. The “photographic” has even if it is an object that’s been around long qualities, its affinity with a degraded negative, of black marble, we marvel at its photographic the past through this logic, when we aslab see We encounter even intointerpolated everything. The epistemology of photography has been about apainting, abus ride, or aconversation. photographic, no matter if we are talking

on environmental change?on available to us in realising our own impact visuality in carry terms of perspectives specific burden the artists operating with influence on climate warming. Is therea context of the current realization the of human of context Heidi Ballet, your project is situated in the

), 2016. Courtesy of the artist and Galeria Vermelho, São Paolo São Vermelho, Galeria and artist the of Courtesy 2016. ), Fish The ( Peixe O video the from still Andrade, de Jonathas

22 catastrophe when we think about natural emergency, imagination lack the we of writer who wrote abook on the climate of us looks like. I think that these images don’t imagine what the catastrophe that is ahead in creating images so that we can at least and quaint. He says artists have arole to play way it has been portrayed in as peaceful art, disasters, since we think about nature in the information. of evaluation based solely on the dissemination the role of being acommunications office, its stay in art and by itself, without having to fulfil I support that view, Ithink should art able be to usedbe as atool for raising awareness. While idea in the scientific community that can art what art’s responsibility is in this. There is the to define how it shouldbe influencingart, and humanities today, not only For art. me it is hard is influencing all fields of humanities and non the planet will sustained be in the long term, generation will decide whether livelihood on According to Amitav Ghosh, an Indian

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on to the fact that it ‘will not so be bad’, or forsee example, denial, people who hold psychology of the climate emergency. You consciousness. It’s not an easy exercise. as small as possible, to not allow adouble between what one says and what one does, This is to make the psychological alienation use recycled materials as much as possible. not allowed to take aeroplanes and that we exhibition. This means that the artists are possible to the practice of making the catastrophe psychologically as close as I were to keep the worry about the climate is atest case to how see it would work if this exhibition this For reason, reason. some as if their flight is an exceptional case for lifestyle, living in some kind of hypocrisy people who are worried but don’t adapt their nature. with other species and with other forms of positive images of new ways of living together, need to only be dystopian but can also be Personally, Iam interested very in the

23 Estonian Art 2019/2 Piret Karro is the ground from which all our knowing of the to true be from my own experience: body “the for the Kai exhibition, write something Iknow Imagination book and installation artist Chris Crickmay, whose and craniosacral therapist Miranda Tufnell HLK: Dancer, teacher of the Alexander technique project around the notion of recovery Laura Kaljo, you’re building your curator the body located in this equation? Hanna myself us from our bodies, Imean the feeling that being overwhelmed with visuality alienated is where – situatedness and representation Reflecting further on the question of visual A Widening Field: Journeys in Body and is located in the body? was one of the key reference points points key the reference of one was . Has Has .

perception and the body. Danish artist Marie work with visual and art with afocus on inner who exhibition Kai practitioners The presents awaken. may action conscious for energy new landscape of feeling and dreaming where ourselves and others –it is within this inner a way of living consciously in relationship to ecosystem collapse and acall to recover Connecting this with the theme of our time – of feeling, memory, impulse and dream.” landscape a awareness, everyday of surface also to aslower, deeper landscape beneath the body awakens us not only to sensation but our heads and into the world sensory of the cut from off our bodies. (…) To move out of our everyday lives we easily become numbed, world begins. (…) In the rush and pressure of

Antique Camera Dolly from Nordisk Film

24 The “Photographic” as the Lingua Franca and draws from therapeutic methods to create Kosorotova works with the theme of burnout of different interconnected forces. The “body” “body” The forces. interconnected different of its apprehension, and afragmented collectivity the muscular most and artificially chiselled incessantly to temporarily mould his body into upper body. Apparently, the singer worked out looped single long shot of the singer’s naked song video for the American RnB singer D’Angelo’s one of the evenings, we will screen the music As acontrast, in both the exhibition and during between the self and the flesh that we inhabit. of her own body and to explore the relationship she used extreme closeups to scrutinize parts by the Canadian video artist Kate Craig, where body. For instance, we will show an iconic work human the considering by tropes photographic Now we are continuing his exploration of on animals in photography and moving images. series before in Copenhagen, where he focused body in particular. Simon recently did this the parameters and problems with the human the photographic has allowed us to examine the camera and the body and considers how specifically addresses the relationship between fandom. Each of the videos we are presenting them, of casual asort form of education and to share video and film works and speak about Film Club”, which, like abook club, is achance show is an event programme called “Lifeblood consider directly. Another integral of part our we’ve all experienced as bodies, but rarely education, and also makes visible amoment intraditions sex photographic of representation a birth by Heji Shin, which points to certain logic. Our opening image is aphotograph of today is organized through this photographic bodies our of understanding and apprehension and control. Our exhibition considers how this photographic of representation outcrop an that you are speaking about, and certainly alienation very the of function a concept, new as would most perceive it, is arelatively understand us closer to our bodies, or at least to PB: Ithink in many ways visuality has brought activity. creative communal shared,be held and transformed through the conditions where difficult emotions can or reacting to these experiences, while Sandra vernacular and shamanist methods of coping different and trauma, fright, of experiences Kølbæk Iversen, for example, is researching Untitled (How does it feel) the body as such is contingent on , which is a

to the standards of the photogenic. In many specimen, an example of the body conforming how the things that Iam thinking about live HB: Ilove to dive into the local context to see intuitive perceiving. How might we evoke of Tallinn has been guided by listening and layered, formerly closed exhibition at Kai and this historically HLK: The curatorial process for the first studying dynamics. its and maybe we could learn something from how climate care has been politicized before, the 80s forms an interesting precedent to see movements, Ithink this moment at the end of global environmental of current rise the With movement. independence covert a or that is now labelled as eco Estonia known as The Phosphorite War Phosphorite The as known Estonia against the mining of phosphorite in eastern the end of the 1980s ( of environmental the also movement is There ecologically because of this identification. this means that people are also more aware The question myself Ipose then is whether religion. identificationan pagan forest a with to an be interesting link to trees based on mythology is built. In Estonia there seems optimal conditions. a Russian population is living under less than Estonia where you that see in the of city Narva in the polluted most areas. This is also true in minorities, and the not native population, live environmental racism, the fact that globally ofpart the exhibition. One such example is Rander ( in collaboration with Estonian researchers team Imanaged to do quite abit of research place. With the help of the Photomonth in the place where the exhibition is taking on how the body is seen and understood. influence profound a had have photographic we are addressing how the camera and the cross of amoving and still image. here, So ways, he rendered himself into the perfect globally and locally is how the nation state Francisco Martínez, Marika Agu, Tanel Agu, Marika Martínez, Francisco Another dynamic that Ilike to compare into your curator projects? biennial? How did this location work itself and political location of the Photomonth account the physical, environmental How important was it for you to take into –P.K.), and this research is an essential Public demonstrations demonstrations Public - off coastaloff part - nationalism, – P.K.) P.K.) –

25 Estonian Art 2019/2 Piret Karro and similar countries and their histories. Estonia for emblematic somehow is and Curtain also shows this of trading type across the Iron to the logic of the copy in the photographic, but West respectively, which has anice reference the same but were produced in the East and exactly morphologically and technologically will lend us apair of cameras that are almost technology through Tallinn. We are hoping they a regular clandestine exchange of photographic at the Museum of Photography that there was experiences here. For example, we learned to do research on certain traditions and collective. the and individuality,identity, style invoking thoughts about standardized bodies, while also being of part agenre, thereby pieces can experienced be in their own right to and use of photographic desire, the single adherence its capitalism and of demonstration the mannequin and window displays as a them in of “group asort photo”. Addressing selection of mannequins by other artists to join artistic and intellectual labour) by enlisting a facade of the building (classic figures of also decided to parody the statues on the would familiar be to everyone visiting. We important for us to use apopulist logic that of the public sphere and the state, it was visualization of culture within the context square” and has an important role in the PB: Given that the Hall Art is at “Freedom flood. and ebb is invited to gather and disperse in of asort public the where movement a works creates of disappearing exhibition and appearing the – to tidal movement in the choreography of the by the sea also has an as Ireferred effect, days and months. Being positioned directly attention to how light moves throughout the of the space is acollaborator, whilst we pay of the exhibition is one where the architecture it to understand where we meet. The design the submarine and the in season which the dormancy, suggested by the metaphor of an atmosphere of openness to depth and many walks in the area and dialogued with show and the biennial is taking place? Itook principles you stay true to in the field how, and where to work? Are there of making choices about with whom, professional work as curators –in terms What would your be golden rules in your We’ve also used this exhibition as achance

Sam Smith, still from the video Lithic Choreographies video the from still Smith, Sam rule has always been about assisting artists to golden My engagement. of terms previous to as that allows for defamiliarization and ashock always have acertain humour or absurdity to it, that political or aesthetic engagement should knowledge within the public sphere. Ialso feel of forms different of critique assertion an and PB: Curating above all is aform of ideological moment. the whilst also remaining open to what in serves I think it’s important to have inner principles, survey into embodiment and transformation. projects where we move beyond critique or out and spread for itbe an artist or aplace. These days, as is true to dive deep and really get to know someone, that I’ve worked curatorially, Ihave tended about relationships. Over the past eight years or acollaboration wants to grow or change. It’s to take time and attentive be to how an idea HLK: Agolden rule would to be not rush, rather Let the field of your attention.... soften of of true to any principles? contemporary is art; it possible to stay , I’m drawn to practitioners and , 2018 ,

26 the idea that is art afield to borders, test and HB: Ithink as acurator you should stay true to new readings into the artists’ practices. this only one way to read the works and inspire outrageous way, we hope to make it clear that But by playing with this cliché in such an artworks within acontrived overriding frame. curatorially,avoided instrumentalize to is which We are also doing something I’ve always provide. artists production unique knowledge with him directly, thereby emphasizing the by following Simon’s research and collaborating curator/artist with standardized messing roles ofpart this language. In this exhibition, Iam every decision made within the project is and exaggerating that to the extreme, so that the logic of an artist’s work or motivations trying to illustrate aconcept or theme, to taking years, my projects have moved from simply the artist, objects, and the public. Over the secondary information that mediates between as acollaborator, and to critically consider the things support them such provide to before, in places or contexts where they haven’t done do things they could or would not do otherwise, there should no be limitations at all. What I think in terms of choosing artists and themes that there are no rules, with this Imean that turn out to too be heavy. � this so well, part Ihope the exhibition doesn’t that Iam not sure whether this time Imanaged seriousness abit, but let me tell you honestly that is performative or humorous to break the nationality. And to often Itry add one element mix of artists when it comes to gender and work. Ialso to try work with abalanced don’t recommend it; it creates alot of extra think everyone should do that and Ialso about works in the local context. But Idon’t it, and understand how the issue that I talk thoroughly without understanding me interests that exhibition something talking and about I personally have ahard time making athematic I think everyone makes their own set of rules. possibilities of the budget. Apart from this, for the artists to create the work, within the to create the possible best circumstances seriously and Ithink it is my responsibility professional. Itake my role as afacilitator very is to respect the people you invite, and to be I think is important as aprinciple for everyone

27 Estonian Art 2019/2 Piret Karro Sanni Seppo. Martin Tiigiaed. Tartu, 2017 Tiigiaed. Martin Seppo. Sanni Twilight II, Salix Mölder. Krista , 2019 ,

28 Laura Toots and Kadri Laas. Photo: Kulla Laas Photo: Laas. Toots Kadri and Laura Paulius Petraitis Kadri Laas and TootsLaura with Photomonth Tallinn of Complexities the Discussing Photographic Everything is is Everything

focus focus down with with down today. image-making of conditions to thinking about the global and other questions pertaining to legacy of the event, the need Laas. We talked about the Kadri director managing and artistic director Laura Toots Tallinn Photomonth: upcoming In the context Tallinn June. in this heat during record-breaking the place took This interview and reflect, fluid identities, numbing constantly re-evaluate its its re-evaluate constantly as well as to slow down temperatures, Isat the team the of and works in Vilnius, London and online. and London in Vilnius, works and photography) who lives (after photographer Petraitis Paulius in 2019. art of Tallinn Photomonth biennial of contemporary Laas Toots Kadri and Laura of these brain- these of is a curator and a a and acurator is

are the directors

29 Estonian Art 2019/2 European Capitals of Culture then, the idea as art wasas art still necessary. so that it would more be widely recognised that. At that time promoting photography The name has also been retained to reflect national event in 2011. This is its pedigree. was to join energies and minds for an inter art-making. Tallinn being one of the upcoming and sculpture –more acknowledged ways of photographic to next art printmaking, painting, colleagues, and their idea was to promote (EAA).Arts It was alike-minded group of Photography at the Estonian Academy of were mainly linked to the Department of was founded in 2007 by ten members who (Foku), Tallinn behind is which Photomonth, Laura Toots: The Union of Photography Artists of photography? of it is important to have an open definition you speak to this relationship, and why defined as photography is shown. Could how little of what was traditionally exhibitions is that of asurprise –seeing Photomonth’s of visiting on one reaction someone from outside, quite anormal avenues it opens, and closes. Ithink for from what the word defines, which come to seems tension The inception. the word “Photo” in its title since its relationship strenuous a with had has Photomonth, first organized in 2011, our recent interview to the fact that biennial, Marge in Monko referred director of the first Tallinn Photomonth a long-winded question. As artist and Paulius Petraitis: Iwould like with to start

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Tallinn Photomonthbiennial. since Therefore, passed on from this organising body to the into their work –an interest that was also film, video, sculpture and spatial interventions LT: The members of Foku also incorporated thought regarding these definitions. exemplary situation providing us with food for framed photographs on the wall, we had an to escape the set categories. Not having only the space, and maybe importantly most –made placed in an experimental and spatial way in for local audiences: works in new formations, could photography see in away that was new Visitors expression. of forms lines between the use(s) of photography, but also blurred the brought forth artistic positions concerned with that show art international contemporary 2011 at Kumu Museum Art in Tallinn was an this attitude. The first main exhibition in Tallinn Photomonth biennials have promoted that photography is aform of visual All arts. that Western Europe had already decades ago, Kadri Laas: It was also related to discussions sometimes more adiscussion formed by an it’s amore clearly expressed reaction, else –you are right, that is there. Sometimes KL: For visitors hoping to something see photographic. is Everything in, which is mediated by screens and cameras. become more inevitable in the world we live broadly about the term “photography” has of photographic The need art. to think more need to broaden the boundaries and rules artists and curators behind it have felt the the first edition of the biennial in 2011, the Hans Jakob Väär. Sun Jakob the In Hans , 2018 ,

30 Everything is Photographic curriculum has said at the EAA, similar one of the people behind the photography LT: Iagree. Artist Eve Kiiler, who was society? capabilities, or jpegs as an integral of part cameras and scanners with unimaginable talking about screens in the wider sense, received proposals have interesting been very – is something we ask them to consider. The them to propose projects for the biennial, this approach international curators and invite understanding of why it is like this. When we what is photography nowadays when we are fabric. fabric. is more strongly ingrained in our cultural photography classical of idea the Estonia, forms our thinking. Ithink, compared to of ahumanistic photography school. It still different, since we have astrong tradition For us in Lithuania the situation is slightly ways we have to talk about it, to open it up. photography’s legacy is in 2019 and what an anchor, but it is important to ask what The “Photo” in the name feels a bit like to tackle these rather difficult questions. valuable, is that Tallinn Photomonth tries What’s interesting for me, and what Ifind where its limits and boundaries stand. of what photography is, what it entails, We need to constantly update the idea also changing and will continue to change. that photography has changed, but it is understood and functions. We acknowledge the global shift in how photography is PP: This is perhaps symptomatic to

Georgs Avetisjans, from the series Homeland series the from Avetisjans, Georgs Baalbek #0002 Baalbek Farkas. Dénes , 2016 , 2017 ,

31 Estonian Art 2019/2 Paulius Petraitis feel comfortable in this relationship. relationship. this in comfortable feel working with this interconnectedness and same department, I’m also keen to continue of Contemporary Art”. As Istudied in the he would have called it the “Department departments in the academy, otherwise name was mainly to distinguish it from other has said that having “photography” in the ran this department through 2005–2017, project managers, etc. Marco Laimre, who but also as curators, programme directors, the contemporary field. art Not only as artists, has trained alot of people currently active in LT: The Department of Photography at EAA present. be kept the main title so the discussion could still biennial” as asubtitle for clarity. But we also word “Photo”, we added “Contemporary art KL: When we discussed whether to keep the old. Estonian Academy –it’s of Arts only 20 years as adegree –at Tartu College Art and at the photography education existed before, but of not having traditional teachers. Applied was possible due to the adventurous attitude conceptual photography in the early 1990s thing. The move towards amore critical and contemporary art. art. contemporary and positioning itself within the field of but also that it is consciously reflecting photographic discourse and image-making, only in its expanded approach to the graphy event in the Baltic context, not PP: Tallinn Photomonth is aspecial photo

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discarding labels like “photography” artist present.very It also seems to awave be of need to expand one’s world and practice is painters with no paintings to show. The in that regard sculptureless sculptors and without making any photographs at all, or graduating from the photography department KL: It is triggering to think about artists the development of technology discussing discussing technology of development the Møller with work together with Dybbroe Simon LT: We seem to have accepted the situation programmes. seems to to be open more general visual art divisions in the academies art where the trend and “installation” artist as well as the specific is on environmental issues. Matthew Post Post Matthew environmental issues. on is of the opening exhibition at EKKM, the focus strategies. For Heidi Ballet, who is the curator year’s programme brings forth some of these related policy making on various levels. This and surviving in this abundance, as well as and are now thinking about navigating moving on to other issues? we live in aworld full of images and are to an extent accepted the situation that is the focus? Do you feel that we have this year’s programme, what do you sense 2017 called “Image Drain”. Working with reflected in your opening exhibition in abundance of images, which was also strand was the unprecedented influx and manipulation. Afew years ago aprominent photography was its malleability and around discussion critical of focus PP: Twenty or even ten years ago the Kai Kaljo. Invisible Kaljo. Kai , 2018 ,

32 Everything is Photographic a break or slow down, we should listen. feet. If nature and our bodies tell us to take each other. And for the ground under our that now we are looking for closeness with for such along time and to such adegree, information has alienated us from each other our bodies and our surroundings. The flood of Kaljo and analysing her focus on receptivity, to attention to this much more since working with around us, to more be us. Ihave to started pay in connection with the natural processes hibernate during the winters to more be LT: Maybe we should slow down or even navigate, to cope and survive? the question is what to do with that? How to and everyone expects us to do so much, winters are dark, information so abundant, medicinal knowledge. As our lives are so busy, contemporary dance, writing, and traditional whose practices span visual meditation, art, from that intense world by presenting artists curated by Hanna Laura Kaljo, offers arecovery main exhibition at the new Kai Center, Art and not existing at the same time. The third are still important topics –information existing abundance The at. of images and other data that are continuously taken but never looked about photos being sleeping data on phones KL: The latter exhibition, for example, also talks photography are photography-like. but images and objects and routines that are not this Photomonth and its programme? time in arow. How are you approaching running the biennial together for the second PP: That’s an important point. You are

would come out more in the exhibition and its periods. The goal is that this local knowledge aspects of Estonia in different historical dealing with economic, social and geographical Francisco Martínez and Tanel Rander –who are researchers based in Tallinn –Linda Kaljundi, extent. We have provided her with three engagement with local community to agreater EKKM curated by Heidi Ballet we are planning LT: Also, this year, for the opening exhibition at Tallinn. in place events, varying in size and duration, taking a satellite programme, with 18 independent will emphasized. be On top of that we have October, the public and educational programme at Sõprus cinema in Tallinn’s Old Town. In Ingel Vaikla and Jesse Cumming, takes place three screenings of artist’s films, curated by networking events take place. Aseries of fair Foto Tallinn and specially programmed Week, when all the shows will open, be art The last week of the month is the Professional on consecutive Fridays throughout September. gradually this of Photomonthopens programme by the abovementioned curators. The main in Tallinnexhibitions venues different three at KL: In 2019, we have three international other’s each for events exhibitions. aware what others are working on and propose would already cross-pollinate each other –be first site-visit in January we hoped that they is to have more dialogue. With the curators’ closely with institutions we work with. The goal and curators, as well as collaborate more artists with discussions thorough have to order LT: This year, we aim to more be compact in Architectonics XII Architectonics Maasik. Arne , 2019 ,

33 Estonian Art 2019/2 Paulius Petraitis among other areas of life. of areas other among processes that have shaped the field, art local scene art but also learn about the wider of working with advisors to not only know the These revisions have helped the Photomonth makes it simpler to react to current times. LT: Ialso think rotation of people and ideas stimulating. to pass it on now when everything is still Photomonth but Iconsider it ahealthy decision At the moment we have ideas for the next definitely needs fresh ideas at somepoint. event repeatedly has pros and cons; but it Photomonths. Ithink organising any big no director(s) have taken on more than two in itself. But until now it has happened that KL: The rotation is not an established principle multiplicity of perspectives and the importance for all involved. The curator has highlighted the publication, as well as on the level of research / Afterlife Failure led, but also that its leaders change. After is that not only is it artist-initiated and PP: What is interesting about Photomonth how this process affects the programme? What do you think this rotation does and the upcoming 2019 edition, stopping there. and 2015, it was you for 2017 and also for Kristel Raesaar led the biennial in 2013 Marge Monko was the director in 2011, . Sigrid Viir. Melesk 2017. Tallinn. Sigrid Helen Photo: Photomonth

Photomonth has always invited guest curators changing, constantly approaches and standing KL: Yes. And in addition to the team’s under biennial in many ways. It adds flexibility, and Tallinn Hall Art respectively), in 2013 it was the main exhibitions (at Kumu Museum Art Budak and Michelkevičius Vytautas curated with fresh blood and ideas. In 2011, Adam isn’t.it intimacy –it is an organization, but then again the Tallinn Photomonth biennial. Tallinnthe biennial. Photomonth polyphonic, which for me is a strength of like adialogue. the So approach becomes Photomonth, making it pluralist and more of the definition of photography that team adds something to this understanding or person each Center. perhaps Therefore, Development Art Estonian Contemporary as acurator at EKKM and Kadri at the and other jobs –Laura you are working profile. And haveyou your own background toolbox, while Kristel has her own different is still an important of part Marge’s artistic them. Photography as atraditional medium or team brings adifferent background with thinking pattern to set in, as each person maybe there is less of ahabit for acertain of photography. As people are changing to the expanded approach to the notion PP: Yes, I’m thinking if that also contributes ­

34 Everything is Photographic � approaches the biennial next in 2021 will take. biennial to. We are also excited to which see about finding new candidates to pass on the has been important. We are currently thinking Enjoying ourselves in the constructive process and other collaborators –to enter the dialogue. constantly inviting new “playmates”– curators LT: For us it is like aplayground, where we are (EKKM). Hessler Stefanie in 2017 Anthea Buys (Tallinn Hall) Art and Hall), in 2015 David Raymond Conroy (EKKM), Niekolaas Johannes Lekkerkerk (Tallinn Art

Photo: Kulla Laas

35 Estonian Art 2019/2 Paulius Petraitis (Andres Sööt,1968, Estonia, 14 min) /Film video on Estonia, Sööt,1968, (Andres Mars of Photographs 511 Best

36 Paul Kuimet Paul for Experimental Experimental for A Space Space A Film Artist Paul Kuimet spoke with films. films. artist’s distributing to approach and what constitutes an ethical funding for experimental cinema of artist’s films, the question of they discussed the definition topics other Among cinema. to 16 October 2019 at Sõprus taking place 25 September film 2019 month programme curators of the Tallinn Photo Cumming, Jesse researcher and Vaikla Ingel filmmaker installations. spatial filmand 16mm photography, with Kuimet Paul from Toronto, Canada. Cumming Jesse Estonia. from Vaikla Ingel

is a visual artist and a filmmaker afilmmaker and artist avisual is is an Estonian artist who works works who artist anis Estonian is a film curator and author author and curator a filmis

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37 Estonian Art 2019/2 as artists or as filmmakers. And I feel this is discussion on how they define themselves– Jane Arthur and there was interesting avery filmmakers ChristinaStuhlberger and Rebecca programme, there with was aQ&A artists and with the term “artist’s film”. It’s more common Jesse Cumming: Ihave amixed relationship experimental film. Christina was saying that she also aquestion about the terms artist film and themselves. works much on these classifications and not on the the end, we are making judgements based too maybe are not necessarily definable. And in we are constantly trying to define things that still have the urgent need to label everything so same time, Ithink we are living at I think it’s agood question, Paul, but at the thing can pushed be under this one somehow. I feel that it’s such an open term that every a problem with the term “experimental film”– you elaborate on it. I, on the other hand, have term “artist’s film”, and I do agree with the way say that you have abit of aproblem with the Ingel Vaikla: Ithink it is interesting how you produced by artists from across disciplines. places and different contexts, while being that is fluid very and can exist in different it as away to talk about moving image work its own distinct identity; I’ve grown to embrace the past several years it has kind of taken on museums. That said, it is ahandy term, and in work produced and exhibited in galleries or several cases is considered as artistic as mainstream or narrative cinema, which in to suggest that there is nothing artistic about against it to some degree because it seems America. And Ithink I’ve always pushed back in the UK and Europe than it is in North everything is kind of blending into one, but we During the 2017 Tallinn Photomonth film classic cinema setting. in exhibition spaces as opposed to a works that are meant to shown be primarily and film installations, or moving image would the be dividing line between video classic documentaries. And the other mainstream cinema, feature films and of criteria –one is as distinct from Obviously, there are main two kinds a classification how would we do it? film? If we were forced to create such is basic –what do you think is artist’s Paul Kuimet: The first question I have a time when ­

Lili Horizon (An van Dienderen, 2015, Belgium, 12 min) / 16mm film on video filmon 12 min) /16mm Belgium, 2015, Dienderen, van (An (Sid Iandovka, Anya Tsyrlina, 2019, Russia, 7min) /Film video on Russia, Tsyrlina, 2019, Anya Iandovka, (Sid

38 just go to acinema to an see experimental film IV: That’s agood point. Nowadays, you cannot shown, discussed and so on. experimental and/or artist’s films couldbe than the film scene, in having a space where Estonia, Ithink the scene art is more interested specific audience and specificvery target.In context of afestival. And then it has avery Experimental films are always shown in the programme at any random moment you want. work as areal, valid practice. beneficialbe in a way to establish thistype of continued use of it in different contexts can the embrace of the term artist’s film and the isn’t fine in art the traditional sense. And I think of work, that maybe isn’t exactly cinema and lenges that exist around funding in this type JC: Earlier, we were speaking about the chal way. different completely a in work giving the audience achance to experience the their initial context of an exhibition, for example, programme), which often bring works out of (IFFR, Courtisane, even our Photomonth film there are festivals dedicated to artist’s films a white cube or a“black box”. Nevertheless, the space the works are being shown in –either opposite. And Ithink it often comes down to a filmmaker. And Rebecca was saying the exact term is somehow too grand, and she is purely would never call herself an artist because the would have still taken place in smaller other large city, I’m sure these screenings she was talking about New York or some by adistribution system, but even if cinema”. would have been screened as experimental is there find some funding for itself. And then to filmmaking could happen and could approach experimental which more a And Ifeel that this could an be area in the community art and the film community. doesn’t seem to an be overlap between it’s the same in many countries, there PK: I’m not sure exactly what Kraus meant PK: Yes, because in Estonia, and probably venues for works that decades two ago that “museums and galleries have become system in place for non-narrative film and writes how there is no longer adistribution Kraus “Indelible Chris video” 2011 essay the question of distribution. of In question the her

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39 Estonian Art 2019/2 Paul Kuimet IV: We don’t even have that kind of acinema isn’t the environment best for what they’re in acontemporary context, art which maybe work in narrative film that have shown work there have occasionally been filmmakers who doing in spaces. art But Ithink in recent years conceptuallyvery about the work they were and I’m not; they were artists and thinking mean to sound callous or cynical about this, is simply more money in the world. art Idon’t the world art was guided by the funding. There Chantal Akerman. And alot of this move to filmmakersbefore – like Harun Farocki or We are calling them artists now, but they were cinemas to started show their work in galleries. big shift where filmmakers who made work for JC: Ithink about 15 years ago there was the first houseJC: cinema. …Art all. at “experimental” from European cinema which is not that the experimental most work they show is but alternative Sõprus, Cinema is cinema that would show these films.Our most video 8min) /Screencap Estonia, 2015, Monko, D(Marge Dear plex on Times Square. programming and certainly not at amulti and more specific cinemas that have such PK, IV: Yes, exactly. ­ IV: Yeah, exactly. That’s an interesting topic – as much as anything. beginning. This is often aquestion of curation fashion –sitting down and watching it from the they would better be experienced in alinear doing, to have films looped in a gallery when on what your work needs. do not have that restriction. It really depends a single screen, whereas in agallery space you apply –in acinema you can only work with rules different spaces aware in that different gallery space as one wishes. course, Of we are the liberty to enter, move around and leave the could become almost aco-author by having a passive observer and in the gallery space one cinema the audience is more in aposition of different ways of experiencing it –in the the whole question of the narrative and available in the context, art it’s not that image work as an artist with the funding in the film industry, whereas making moving around –that there would more be money Generally, Iwould think it’s the other way I haven’t really thought of it in that way. and Ifind that very interestingbecause more money in the for arts that kind of work, world to the world art because there was Farocki and Akerman moved from the film PK: Jesse, you mentioned that people like

40 A Space for Experimental Film

film festival, which is one of the biggest and are more aware of. We were both at Rotterdam IV: It depends on which the of part the world you not for the same amount. and collectors, but not in the same way and of course you could sell to some institutions was less likely with individual film prints, which these pieces to museums for huge sums. This artists and filmmakers are actually able to sell to do with the emergence of editioning, where work), but the move to the world art also has and execution (particularly with multi-channel conceptualization of in terms freedom artistic as the fine context art of course affords great JC: Not to make this entirely about money, video filmon 2017, 8min) /16mm USA, Cwynar, (Sara Gold Rose and screenings, and artists’ studios? are the trends that you at see festivals What filmmakingexperimental now? right PK: What do you think would describe produced more easily in the context. art I can how see they would get their work and Akerman, as film makers of suchstature, a totally different system. But for Farocki for each job. Ifeel like the film industry has the film industry you would have someone three, if not more, jobs at once, whereas in edit the work themselves. They are doing uncommon for artists to produce, film and

to this expensive equipment. Everything is IV: Indeed, and Ithink everyone has access against these slicker, bigger-budget artist films. texture that these have, and which sets them I think it’s because of the fidelity and the definition video popular is very these days. a lot of lo-fi video, Hi8 and standardSD – materials, 8mm, Super 8mm, 16mm, but also against that, whether it’s working with analogue slick film. One thing we see is a push back really easy to make areally good-looking, really JC: Ithink in the past few years it has become the filmmaker more presentbehind the camera. which brings in more of apersonal layer, making in working with ahand-held camera, an aesthetic with Jesse that there is acertain kind of atrend some kind of yearning. And we also discussed everyone ends up. There is aneed for that, or lot of filmmakers, I feel like that pointis a where that direction. In Belgium, being surrounded by a always been like that, but Ifeel like it is going in was alot of analogue film. I don’t know if it has going back to analogue film. In Rotterdam, there nostalgic direction with personal very films. And same time, there is aparallel line going more in a technology, post-internet aesthetics. At the with colonialization, gender issues, but also I feel that there were quite alot of films dealing importantmost festivals for experimental film.

41 Estonian Art 2019/2 Paul Kuimet (Beatrice Gibson, 2018, UK, 20 min) 20 /HD video UK, 2018, Gibson, (Beatrice I’m When Dead I’m Loud I hope them. with do actual images, it’s more aquestion of what you important to the be person who produced the found footage, and archival images. It’s not so of these images. So, people often work with the ownership –of wanting to own the making possible now. Ifeel artists are also letting go of 20 plus years has been considered ugly as the JC: Absolutely. And also one that for the past aesthetic quality. way to record moving images than for its years earlier was used more as acheaper happened to 16mm film in the 1990s. People aesthetic reasons. Isuppose the same thing to make images, but are now being used for that earlier were just the cheapest means miniDV and Hi8, the kinds of video formats interesting how we’ve come full circle from I’ve been thinking about this, but Ifind it in England between 1984 and 1992, and Deller documentary about rave culture because Ijust saw atrailer for aJeremy rave-look90s in clothing. And maybe it’s fashion for example. You alot see of the thing and that is also present now in street the revival of this aesthetic is agenerational and other lo-fi video formats and I feel like PK: Jesse, you mentioned the revival of Hi8 for something and found amedium that 20 were “over” video and to started look back

practice. The creative process of making films research on the topics Ideal with in my own programmes is somehow acontinuation of processes of making films. Curating the completely in parallel with my own creative IV: Creating these film programmes runs I imagine she would in be praise of Hi8 video. image” –to do acrude job citing Hito Steyerl. and sharper. The lo-fi, low resolution – it’s a “poor that there is also aneed for that in Estonia. these film programmes for myself, but I feel I really enjoy that. It’s not really about curating the filmmakers and finally with the audience. of communication, constant dialogue with programmes is basically the opposite –alot the sensitivity of the topic. Curating the way in terms of time, money, flexibility and to do this –but often it’s the only possible on my films alone. It’s not so much a principle can extremely be lonely, as Ilike to work part ofpart the whole process. Another important with the audience. That is the rewarding most and the dialogue has continued here and have had achance to come over to Tallinn It all comes together when the filmmakers desire has always been for something cleaner of your own. programmes and making actual work film curating between activities PK: Ingel, how do you balance your

42 A Space for Experimental Film enthusiast. an I’mJC: just is often completely out. left at the festival, but unfortunately the filmmaker for the public show” –“the which is provided festival side. They focus more on the visibles unfortunately, to but try rectify any of those JC: Sure. Imean Ialways bring my own biases, there is atendency of not really caring from the festival, if you are invited, but more and more You’re lucky if you have achance to attend the Not to mention the non-existing artist fees. any audience, you don’t get much feedback. and you never hear how it went –was there work gets shown on the other side of the world how filmmakers arebeing treated. Often your lot at film festivals, it makes me extremely sad filmmaker myself who shows her work quitea an ethical distribution of artist’s films.a As motivation lies in aneed to contribute to how did you approach curating aprogramme the context of the upcoming programme – make? And this would also relevant be in influences you in the choices that you PK: Do you have aspecific ethos or what or filmmaker yourself? filmmaker yourself? or you. As Iunderstand, you are not an artist PK: Well said. Jesse, asimilar question to that will presented be in Tallinn? (Stephanie Beroes, 1978, USA, 20 min) / 16mm film on video filmon min) 20 /16mm USA, 1978, Beroes, (Stephanie Recital

biases in the cinema programmes Icurate. a good challenge. � Tallinn Photomonth, is really enriching and something like context, art contemporary a Working ethics. and in representation about including discussions meaningful concerns, come up they are grounded in real-world very and when the questions of aesthetics do much more grounded in questions of politics, and formats and the conversations are really world, where artists move between mediums context. Ifind that in the contemporary art urgent, it’s nice to work in an interdisciplinary that Idon’t think are relevant very or very of medium specificity or other dialogues conversations can still circle back to questions filmwhere experimental an from background, that both Ingel and Ihave done. Having come and build from there. Ithink this is something from particular films that have inspired me, an idea, from things I’ve been reading, or quite open, and there is room from to start the case with Tallinn Photomonth –which is programme, it’s nice to have aspace –as is When it comes to developing an individual and that’s something Itake seriously. very choices of what is shown and what circulates, gatekeeper, as someone who is able to make in this position of privilege and power, as a an awareness of the spaces that Ioccupy, includes which programming, in principles and I try to conscioustry very be of my personal morals

43 Estonian Art 2019/2 Paul Kuimet Photo: Tõnu Tunnel Tõnu Photo:

44 Triin Metsla Art Fair in Estonia in Fair Art (Contemporary) (Contemporary) Fo to TallinnFoto – the Only Only the Helen Melesk team: Kadi-Ell Tähiste and members of theFoto Tallinn Triin Metsla interviews Triin Metsla organisers Fair Foto of Art Tallinn in2019. Helen MeleskandKadi-Ell Tähiste is anEstonian historian. art

are the

45 Estonian Art 2019/2 has taken in part international fairs since 2017. FT: The Estonian Union of Photography Artists several curators. several international jury which this year also includes the participants are selected by aprofessional sense. The fair is not curated as such, but fair in wider the art contemporary a considered to the medium –therefore, the fair can be graphic artists are no longer strictly confined that contemporary photography and photo At the same time, it is also worth remembe of the Estonian Union of Photography Artists. due to the fact that it was born as an initiative FT: The fair’s focus on photography is primarily Considering foreign art fairs, priority will be will be priority fairs, Considering foreign art other projects in the field of contemporary art. members who are also actively involved with foreign fairs will selected be by Foku’s board in participating artists fair. The particular considering the profile and focus of the selected from among the members of Foku our national jury. When we take in part fairs and the participants are selected by an inter FT: For Foto Tallinn there is an open call The Others fair art in Turin in the fall of 2018. native fair art in Brussels in 2017, and at we participated at the POPPOSITIONS alter artists at the ArtVilnius fair in 2017 and 2018, Foku has introduced the work of the Union’s and we decided in favour of the fair art format. typical exhibition making and organizing – with an alternative outlet besides the more the fair was to provide members of the Union Photography Artists (Foku). The initial aim of been organized by the Estonian Union of graphic Fair, Art now called Foto Tallinn, has Foto Tallinn: Since 2010, the Estonian Photo ­selves, the artist to presented be will be yourself? TM: Which fairs have you participated in art? Is theart? fair curated? TM: Why afair focusing on photographic attending one)? attending (both when organizing the fair and What was the initial impulse behind it? Fair? Art Photographic Estonian the Triin Metsla: How did organizing you start TM: How do you choose what to show

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the focus is mostly on professional exchange. alternative fairs, where in the case of the latter more also commercial, but very are there as goingalso change through internationally, rapid ideas. We can that see the fair art format is for professionals to exchange contacts and could as ameeting serve place for all of them buyers/col art and professionals major target groups and trends: lovers, art art When thinking about the fair, we con emphasize this (at least in the Estonian con Screen” section in 2018. works was selected the in best the “Expanded fair,art Foku’s booth with Mari-Leen Kiipli’s of Female Best Artist in 2018. At The Others was represented by Foku, also received the title dis presen example, the exhibition jury selected Foku’s For audiences. professional of attention the nal fairs. The displays have mostly caught FT: As arule, Foku has done well at inter gallery. a by represented given to Foku members who are not actively way and introduce lovers art to local artists. our fair will to try fill this gap in possible thebest is still in its developmental phase in Estonia, tradition representation the as gallery long of as is managed by the gallerist, even at fairs, but for advice. In an ideal case, of course, this role discuss their ideas and thoughts with and ask with new ideas. People like to have someone to fair found asuitable work to buy or the left event sive use of this option –several visitors to the ested in buying and people made quite exten a personalized advisory service to people inter example, in 2017, for the first time, we offered es the option of buying and collecting For art. mercial course, aspect. Of the fair also introduc all parties, even without emphasizing the com in the broadest sense, useful and informative for ofpart the format, but one must not over FT: The sales aspect is of course an important ­plays in both years, and Laura Kuusk, who the buying of art? Or is it more about aiming to popularize relatively a commercial platform? works on and representing artists and selling their TM: What do you think of the fair art format successful? more been TM: Have you noticed which displays have It is also important to provide aplatform ­­tations at ArtVilnius among the best

lectors. The fair fair The ­lectors. ­sider three ­ ­natio ­text).

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46 Foto Tallinn – the Only (Contemporary) Art Fair in Estonia Estonian Photographic Art Fair 2013. Photos: Tõnu Tunnel Tõnu Photos: Fair 2013. Art Photographic Estonian

47 Estonian Art 2019/2 Triin Metsla Estonian Photographic Art Fair 2014. Photos: Tõnu Tunnel Tõnu Photos: Fair 2014. Art Photographic Estonian

48 Foto Tallinn – the Only (Contemporary) Art Fair in Estonia Estonian Photographic Art Fair 2015. Photos: Tõnu Tunnel Tõnu Photos: Fair 2015. Art Photographic Estonian

49 Estonian Art 2019/2 Triin Metsla Estonian Photographic Art Fair 2016. Photos: Kristina Õllek Kristina Photos: Fair 2016. Art Photographic Estonian

50 Foto Tallinn – the Only (Contemporary) Art Fair in Estonia Estonian Photographic Art Fair 2017. Armei Art Mari Photos: Photographic Estonian

51 Estonian Art 2019/2 Triin Metsla and their willingness to present exciting interest in the fair from gallerists and artists 1 reproduced is that there is market no art in or less. Another myth that is also quite actively transactions in Estonia is around 1,000 euros market, shows that the price related of art most Center,Development mapping Estonian the art by the statistics –the Index Art Database for people on average salaries. This is backed works on the market that are also affordable money to and buy art, that there are many art the idea that you don’t need to loaded be with market. For example, it is important to spread some of the myths associated with the art the scene, we think it is important to dispel col ment regarding the issue of buying and topic among journalists has risen. newspapers and the general awareness of the in international fairs have been published in about the participation of Estonian galleries general awareness has grown alot since stories people feel more familiar with the format, but there is still alot of work to done be to help ready for an fair art with each year. course, Of FT: In our opinion, Estonia is becoming more as amedium. opens up the many possibilities of photography solutions in the context of the fair, which in turn single weekend. a during multiplemanage contacts (professional) “passive” format) present one’s work and to and intensively (contrary to the more typical high different from an exhibition. It is important to hard at pointing out, for example, how afair is us, one of the main tasks is definitely to work to artists, gallerists audiences. or art So, for thatbe the fair as aformat is not so familiar FT: In Estonia, the biggest challenge might launched by the Estonian Contemporary Art ­lecting When art. it comes to enlivening ­light the fair as an opportunity to actively Of course,Of there is still room for improve Estonia? How can you encourage this? between selling-buying/collecting in art How do you estimate the relationship TM: How ready is Estonia for an fair? art What makes it easy is the substantial And what makes it easy? through with an fair art in Estonia difficult? TM: What makes organizing and following Online database transactions listing intheEstonian art market art since1998.kunstiindeks.ee

1

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­ Estonia. Yet again, according to the statistics, changed the fair’s name, redesigned the visual a thorough internal renewal process –we FT: For this year’s Foto Tallinn we went through FT: For example, the profile of the participants partici since 2015, we have also targeted international its doors to all Estonian photographers and of Photography Artists; since 2012, it opened aimed at the members of the Estonian Union At the beginning, the fair was exclusively has changed compared to earlier years. transactions made in Estonia. Index. And this is only aportion of all the art 1.7 million euros were registered in the Art in 2018 alone, over 700 transactions worth fair has brought about new arrangements for the of context The discussions. professional and cooperation boost and meaningful Foto Tallinn to diversify the local scene, art international more for even in and future the communications fair. the concerning developing and on content the more even time, and this will enable us to concentrate rebuildingto start things from scratch every as well as in the future, there is less need scenes. We hope that thanks to this, this time, reformed the processes of the fair behind the the application documents and thoroughly and Facebook page for the fair, updated identity, created anew separate webpage be exhibited. be that only works from the last three years will participating artists, so the criteria was added to focus on showing newer works by the the selection of works, this year we decided partici we now have galleries and project spaces people and make it more popular? the fair format (and buying closer art) to coming years? How do you mean to bring biggest challenges for Foto Tallinn in the TM: What are the future plans, perspectives, Fair? Art Photographic Estonian changes since the early years of the time this year. What have been the biggest Foto Tallinn will take place for the ninth TM: One can read on your webpage that We would happy be to the see fair become ­pants. Also, compared to the early years ­pating in addition to artists. In terms of

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52 Foto Tallinn – the Only (Contemporary) Art Fair in Estonia Photographic Fair, Art will held be this year for the ninth time. biennial. fair, The art Estonian the as known formerly Photomonth contemporary Noblessner area, as well as being of part the main programme of the Tallinn events associated with the opening of the Kai Center Art located in the Port Karin Laansoo (EE) and Niekolaas Johannes Lekkerkerk (NL). international jury consisting of Bruno Barsanti (IT), Evita Goze (LT), Kati Ilves (EE), Lithuania, the Netherlands, Singapore and the United Kingdom, selected by an and project spaces from Estonia, Finland, Georgia, Germany, Iceland, Latvia, or spatial installations. Thefair art will introduce works from artists, galleries varies from traditional photographic to art more experimental works using video Foto Tallinn presents works from over 30 different artists, the range of displays interested. fairart team offers special events and apersonalized advisory service to those get acquainted with the options for buying and collecting (photographic) the art: guided tours and curated excursions. Foto Tallinn is also agood opportunity to meetings with artists, panel discussions, lectures, seminars, book presentations, usual exhibition the fair from includes The environment different is that format. presented with an overview of the latest contemporary photographic in art an opportunity to present their work to adiverse audience. audiences Art are artists aplatform for collaboration, meetings and discussions, along with the As the only fair art in Estonia, Foto Tallinn offers professional photographic � thisof event. people and it is our job to inform the audience media, the fair might of be interest to many of photographic and art the accessibility of the in one take. Considering the relative popularity the contemporary (photographic) scene art all familiarize oneself with what is happening in to opportunity wonderful a presents indeed that the key is really communication –the fair will development this positive continue. hope We certainly artists. representing of role Documentary Photo Centre) will take on the the Residency Narva Art and the Juhan Kuus or other institutions art (for example this year few years, as well as this year –new galleries collaboration and in past the representation FAIR THE TO INTRODUCTION SHORT Foto Tallinn 2019 will take place from 27 to 29 September and is one of the When it comes to the audience, we believe

Photos: Kristina Õllek Kristina Photos:

53 Estonian Art 2019/2 Triin Metsla Photos: Tiina-Liina Uudam

54 Brigita Reinert Photography World for Home – Fotografiska and and Reinert Brigita Fotografiska Tallinn. Estonian entrepreneurs of and co-founders Loorents Maarja and Aasmäe Margit Margit Aasmäe and Loorents Maarja Tallinn: Foto­grafiska the founders of with Interview as as a curator of public programmes. programmes. public of a curator critic, and works at Kumu Art Museum Museum Kumu Art at works and critic, is an Estonian art historian historian art an is Estonian

are are

55 Estonian Art 2019/2 come toget engag and open-minded and design music, consumption, photography, sus class museum. It is ameeting place where world- typical Margita Fotografiska Aasmäe: not is it fill in the local cultural andfield? art born? And what is its role or what gap does the idea of bringing Fotografiska to Tallinn contemporary in art Estonia. How was has become anatural of part the field of Positiiv in Pelgulinn, and photography in the Telliskivi Creative City, Gallery the Juhan Kuus Documentary Photo Centre Museum of Photography in the old town, which has been held since 2011, the inter is quite active in Estonia. There is the Brigita Reinert: The field of photography ­national biennial Tallinn Photomonth, ing attitudes towards the world towards world the ­ing attitudes ­her. We are open practically all tainable cooking and and cooking ­tainable

audience. photographicbest artists available to the local we wanted to make the work of the world’s bringing Fotografiska to Tallinnstemmed from– our own little country. That’s where the idea of able to the see work of world-class artists in and Iwas saddened by the thought of not being museums and exhibitions around the world Maarja Loorents: Ihave visited many art experience. special music and context –turn the exhibition into a presented here –the special lighting solutions, experiences. The way that photo exhibitions our soul-stirring as described have embraced Fotografiska – some of the visitors have already shown that the audi stories in an engaging and understandable way. that photography is agood medium for telling where visitors feel com as possible and to create an environment audiences. pro to content attractive offer to engage the widest range of audiences and also appealing and inspiring for them. We want to with different interests can find something conceived following the idea that people ML: The exhibition programme has been or at amusic event. an exhibition or to spend time in the restaurant our building, whether they have come to see that every for these cities as well. It is important for us to the be number one place for photography probably neither in Helsinki –so, we would like There will no be Fotografiska in Riga and is to become aregionally signifi for both local and foreign visitors. Our ambition MA: We want to intelligible be and engaging in aspecial way. visitors, but it also addres was our initiative, mostly targeted at Finnish inclusive and open, to address as many people and sometimes also until 1am. Our aim is to be the time: seven days aweek, from 9am to 11pm For example, Pentti Sammallahti’s exhibition exhibition Sammallahti’s Pentti example, For the local audience and foreign visitors? How do you envision the ratio between would you consider your target audience? to engage with wider audiences. But who BR: You mentioned that Fotografiska aims Since the opening, the first months ­body feels good and comfortable in ­fortable. We think ­ses the local audience fessional art art ­fessional ­graphy is ­cant centre. ­ence has

56 Fotografiska – Home for World Photography MA: Building alocal community is defi and bring to Tallinn ourselves, but there are There are exhi say in what we feel is suited best to our market. colleagues, but the local team has the final We make the selection with our Stockholm yearstwo have been decided upon already. cycle and of most the exhibitions for the next ML: Our exhibition programme has atwo-year club. music the artists. In addition, there is also aweekly engaging with and meeting for formats different ML: We also have regular exhibition tours and groups. target educational programmes aimed at different exhibition programme, we plan to provide one of our key activities. Along with the and to what extent do you have asay in it? the selection determined from Stockholm exhibition programme? To what extent is BR: What is the criteria for deciding on your programmes do you plan to offer? with your audience and what kind of public BR: How important is it for you to engage ­bitions that we initiate locally ­nitely

at Fotografiska.at for Estonian or other regional artists to exhibit graphy to Tallinn, but also to keep an eye out MA: Our main mission is to bring world photo and design come together. photo world-class where is to avibrant be and organic meeting place Our ambition scientific research. conducts not amuseum. Amuseum stores, collects and ML: We are indeed aphotographic centre, art exhibition took place in our house. are grateful very that Anna-Stina Treumund’s exhibitions, of round opening we therefore wanted to have one local artist among the wide spectrum of our audience. We definitely theysynergy create taking into account the us is the combination of exhi artist on show. The important most thing for ML: There is no plan to always have one local photography.remain on taking place –however, the main focus will have one especially exciting video project art important to us, and in the autumn, we will ML: For example video is art also very not yet so well known. alongside emerging talent and artists who are con or historic either names, network. Fotografiska the through also imported exhibitions that arrive in Tallinn Fotografiska’s principle is to exhibit big institutional for Fotografiska model Tallinn? have acollection. What is your vision of the a museum, despite the fact that it does not BR: FotografiskaStockholm calls itself one local artist on show? Forlocal example, art? will you always have BR: What is your approach to presenting culture? moving images and the wider field of visual that can also lead to spatial installations, your basis or is it more like astarting point do you take photography as amedium as BR: When you decide upon exhibitions, minded visions come together”. This kind “art, good food, music, design and open- cultural where leisure modern centre and a BR: You have described Fotografiska as graphy, music, food ­graphy, food music, ­bitions and the temporary, ­temporary,

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57 Estonian Art 2019/2 Brigita Reinert it was akind of mutual recognition, like pieces owner from Sweden came to the see locations, atmosphere that suits Fotografiska. When the Telliskivi Creative City. This is the kind of on this location for the atmosphere of the the Rotermann quarters, but we finally decided ML: We also considered the Noblessner and service. this display, but we have not yet fully developed It is indeed possible to buy the works on and to showcase international exhibitions. us the opportunity to host this exciting hub franchise model: Fotografiska’s brand gives Swedes nor the state. It is based on a without any additional support from the Estonian private entrepreneurs, of support ML: The centre was initiated solely with the but sometimes painful topics. things up, to shed light on sometimes beautiful, of us to raise important subjects and to stir important role in society, where it is expec exhibition space, we also want it to play an ML: Fotografiska is not simplystunning a addresses difficult social issues. called Fotografiska for Life, which deliberately For example, we have an exhibition series provoking. discussion and thought stimulating, Fotografiska’s role is be to inclusive, but also emotionally moving stories that touch people. to exhibit world-class photography and question is about reaching people. We want “higher and everything art” else. The main MA: We do not adistinct see line between display? And is it possible to buy the works on you also seek support from public sources? operate entirely on private capital or do BR: How is the centre funded? Do you your venture? of side entertaining and higher artistic value and the com maintain acertain balance between the the widest audience possible. How will you Fotografiska’s main ambiti in global cities. It seems that one of a widespread model for cultural centres of amodern lifestyle centre has become alternatives? your location? Did you have any other BR: Why did you choose Telliskivi as ­ons is to reach ­mercial ­ted

this kind of tenant. Red House which had almost been waiting for also interested in bringing Fotografiska to the the Telliskivi Creative City themselves were right moment. What also played arole was that of the puzzle falling into the right place at the as authentically as possible, preserving the The main goal was to renovate the building rooftop restaurant also stemmed from there. inspirationindustrial The the environment. for environment has also been built in asimilar was Brooklyn, where afascinating creative MA: Agreat inspiration for the Salto Architects atmosphere at Fotografiska? at atmosphere vision for the architectural outcome and interior by Toomas Korb. What was your designed by Salto Architects and the BR: The renovation of the building was

58 Fotografiska – Home for World Photography industry field. industry model that was missing from the Tallinn leisure there was something in the Fotografiska cation for awhile, Icould probably sense that not, but having worked in the field of communi ML: Ido not know if this is an advantage or centre was really missing from the local field. engages with them and that this kind of a locals, which is an indication that Fotografiska the sum accepted us quickly, as visitors most during a rather positive surprise: the locals have well known there. Yet, the reception has been because Fotografiska Stockholmin was so was much bigger in Finland than in Estonia, news of the arrival of Fotografiska in Tallinn Estonia until now. For example, at first the as abrand has been relatively unknown in photography another and that is Fotografiska is indeed the attitude of the audience towards daily lives throughout the year. question One that engages people and provides value to their MA: Our main challenge is to create acentre the industrial architecture of the Soviet era. while retaining the retro touch typical to City atmosphere with aworld-class vibe sought to reconcile the Telliskivi Creative from recycled materials. Toomas Korb thus the restaurant features many products made these ideas into the space and therefore a sustainable attitude. We wanted to bring sustaina graphy and quality, and on the other hand world photo the represents it hand, one on Fotografiska’s brand itself is also a symbiosis– the surrounding environment is eclectic. very the interior design was quite achallenge, as industrial image. Finding agood solution for existing materials and construction and the in your opinion? your in feel about contemporary photography tution? And how do Estonian audi challenges in managing this kind of insti BR: What do you consider your greatest role in people’s lives? that contemporary plays art asecondary in Estonian society, where one could say ground in managing this kind of institution What are the advantages of your back working in the field of communications. BR: Maarja, you have alot of experience ­mer and the holiday season have been ­bility –the reuse of materials and ­ences ­

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MA: We do not expect people to have much already a great achievement. � achievement. great already a to theatre, cinema or –then sports that is as of part their leisure activities –in addition that people consider visiting an exhibition and lifestyle habits. When it becomes ahabit contribute to changing people’s behavioural power of photography. Hopefully, we will also an form, art introducing the artists and the raise local awareness of photography as of visitors we are having, we will definitely programme. But considering the large number our task to guarantee aworld-class exhibition selected to of part be our programme. It is standing of why an artist was or was not prior knowledge of photography nor an under graphic as such? art photo towards audiences Estonian among emerge might change in attitude What Fotografiska to have on local audiences? kind of acultural impact do you imagine BR: To sum up, Iwould like to ask what ­ ­

59 Estonian Art 2019/2 Brigita Reinert BooksTen Top timeread and time again. photography that Ileaf through and related to visual culture and following is alist of publications However, and art. the theory Ihaveas many favourites in fiction, that lists together, Icould put book likeI feel there are multiple Top 10 Picks Marge Monko’s female patients. by predominantly “performed” spectacle voyeuristic impressive washow hysteria turned into an of Didi-Huberman images, illustrates Backed byhysteria. the collection in with Paris of patientsdiagnosed inmade the Salpêtrière Hospital point the photographs starting its in the century. 19th It takes as psychiatry and photography between examines book theThe relationship Bourgeoisie of Studies on the photo series I discovered Iwas itwhen working a significant on my work. impact that had of the has books One Didi-Hubermanby George (2003) Invention of Hysteria Estonian. into translated all been now the since ithas more student, art reading list for every of the mandatory part should be This book experience. eye-opening is an and seeing representation of analysis of the social aspects visual culture Berger’s for me. Berger like is almost the bible of of the by BBC series book The by John Berger (1972) Ways of Seeing (2004 –2006). (2004

and translated into Estonian. into translated and Katrin Varblane Reet and Kivimaa together put by history art about A compilation of key feminist texts Varblane andKivimaa Reet (2000) Criticism and History of Feminist Art Pandora’s Key Some Box: Texts lifetime. singlea during photograph her until death, did her she publish not Maier was unknown to the public accidentally ago. ten years about in Chicago, was discovered mostly over several decades collection of images photographed are excellent!They just The Maier’s by Vivian amazed photos. graphy, to itis hard be not but I’m photo abig fan not of street Maierby Vivian (2011) Photographer Street , compiled, by Katrin ­

60 as findingas his path.own marked by astruggle for life,as well years and hisin New first York, Mekas’ life in arefugee as Germany touchingA deeply memoir depicting Mekas (2017) by Jonas I Had Nowhere to Go gaze. flâneuse afemale the subject also proposes to the male stroller, Anne Friedberg with the term flaneur reality. and virtual video In contrast display cinema, such as windows, way forms of spectacle for modern wandering around the city, the paved and like diorama photography, visual of the formats century, 19th Friedbergwork. how the out points upon while conceptualizing my own of visual culture that Ihave relied A publication focusing on the history by Anne Friedberg (1994) Cinema and the Postmodern Shopping: Window to highlight the female female the highlight to

, which refers , which refers

science work in hand science hand. and astounding work poetry where It is an the 1920s to the 1940s. Mount near Fuji Abe Masanao from filmed physicist by Japanese the on the material and photographed Helmutdesigner Völter is based compiled by the book graphicThe by Helmut Völter (2016) and Filmed by Masanao Abe around Mount Fuji. Photographed MovementThe of Clouds interviewees. only among the 3women 26 thatmight the there fact were be only The criticism of Aitken1990s. compiled Aitken by Doug in the architects and artists makers, with conversations these film From time to time Ireturn to reread (2005) Conversations26 with Aitken Doug the Image, Breaking the Narrative: Broken Expanding Screen:

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in her artistic practice. practice. artistic in her installation and video photography, mainly uses She Arts. of Academy Estonian the at photography of department the of head Monko Marge audiences. target and meaning create how the in images advertising used understand me approach helped has and Judith Williamson’s semiotic photography time for some now, in interested advertising I have been by Judith Williamson (1978) and MeaningIdeology in Advertising Advertisements: Decoding world and social change. the nature illusory of the advertising and familythrough motherhood life, by confronting role awoman her as Lauren’s provoked crisis, existential main The is theme in the 1960s. the work agency of an advertising provides an insightLauren, into through the of the eyes protagonist images visual nor culture, which but A novel, which explicitly is not about by Simone de Beauvoir (1966) Les Belles Images is an Estonian artist and the the and artist an is Estonian

61 Estonian Art 2019/2 Cooper&Gorfer WeatherThe Curators Diaries. 28.09.2019–05.01.2020 Leesi Krista ROOM. 25.10.2019–05.1.2020 lighting design Contemporary 20.09.–20.10.2019 Kuud. Design and Estonian Museum of Applied Art Kaselaan Jass 16.12.2019–11.01.2020 25.11.–14.12.2019 Mari Roosvalt Maido Juss 04.11.–23.11.2019 Karel Koplimets & 14.10.–02.11.2019 Tõnis Saadoja 23.09.–12.10.2019 Allmägi Art Liivrand Mari Anna 02.09.–21.09.2019 Draakon Gallery title) 02.11.–15.12.2019 Tunnel (working To Thunder The We Belong To Light The We Belong 07.09.–20.10.2019 You When Say Estonia of Museum Art Contemporary and Pictures Performance Transition: Siim-Tanel Annus – The 13.12.2019–01.03.2020 Venny and Järnefelt Soldan-Brofeldt 16.08.–01.12.2019 Eero Visit: The (1902–1968) Adamson-Eric exhibition:Permanent Museum Adamson-Eric Exhibitions Wed–Sun 11–6pm etdm.ee 17,Lai Tallinn 11–5pmSat Mon–Fri 11–6pm eaa.ee/draakon Tallinn 18, Pikk Tue–Sun 12–7pm ekkm.ee Tallinn 35, Põhja adamson-eric.ekm.ee Tue–Sun 11–6pm Lühike jalg Tallinn 3,

out, curator Hannaout, Kaljo Laura and spread soften your attention…. 21.09.2019–1.12.2019 the field of Let Center Kai Art Collection Art Academica 02.11.2019–05.04.2020 of Danish Age Golden Art The The Flag That Fell from the Sky: FlagThe Fell That from the Sky: – Dannebrog 16.06.–13.10.2019 from the 18th centuries. –20th Russian and sculpture applied art Western European and masters. Russian and Italian German, Dutch, from the 16th –18th centuries. exhibition:Permanent Paintings Museum Kadriorg Art Kongi –Kristi December November –Imbi Kruuv –Cloe Jancis October –Tiiu RandmannSeptember Gallery Haapsalu City Keskküla Helena 18.12.2019–13.01.2020 LAURi Luik, Johannes 27.11.–16.12.2019 Maasalu Angela 06.11.–25.11.2019 Soans Hanno 16.10.–04.11.2019 Silvia Sosar, 25.09.–14.10.2019 Nurk Maarja Katrin Väli Põld, Laura 05.09.–22.09.2019 Gallery Hobusepea Tue–Sun 12–9pm wwww.kai.center 12,Peetri Noblessner, Tallinn Wed 10–8pm Tue, 10–6pm Thu–Sun kadriorumuuseum.ekm.ee Weizenbergi 37, Tallinn Wed–Sun 12–6pm galerii.kultuurimaja.ee Posti 3, Haapsalu Wed–Mon 11–6pm eaa.ee/hobusepea Tallinn 2, Hobusepea : The University of Tartu University : The Ars Ars

Rõude: Collector with aMission Alfred 31.08.2019–01.03.2020 16th to centuries. 20th Europe, Russia, and China from the Mikkel:Johannes of Western the Art exhibition:Permanent Collection of Museum Mikkel Art Finnish and Estonian Emancipatingthe Self: Women in Creating 06.12.2019–26.04.2020 Estland Kadi and 01.11.2019 –April 2020 Silvia Jõgever Eva Mustonen Reid KelleyKarlson, Mary and 11.10.2019 –March 2020 Edith Venus of Pursuit In Conqueror’s Eye: Reihana’s Lisa The 20.09.2019–26.01.2020 Männik: Estonian in Legend Paris Maire 23.08.2019–05.01.2020 Takes Artist The the Floor Estonia Collections: 100. Open 05.07.–10.11.2019 Museum of Art Tanja Muravs Tuglas’sThe Through Garden Home 17.05.–27.10.2019 Exile: Garden Re-Independence. Worldthe War Second Until from the End Estonian of Art (1940–1991). Era Soviet of the Adaptations. Estonian Art exhibition:Permanent Conflicts and Worldthe End of the War. Second Beginning until of the 18th Century from the of EstonianClassics Art exhibition:Permanent Treasury. Museum Art Kumu Krogan-Roley August Coats. 24.08.2019–05.10.2019 Empty Gallery Kogo Wed 10–8pm Tue, 10–6pm Thu–Sun mikkelimuuseum.ekm.ee Weizenbergi Tallinn 28, 10–8pm Thu Tue–Wed, Fri–Sun 10–6pm kumu.ekm.ee Weizenbergi /Valge 34 1 12–6pm Sat Wed–Fri 12–7pm kogogallery.ee Tartu 42, Kastani kaja’s Lens Camera

62 and Edith Karlson. Sisters Mall Paris 20.12.2019–16.02.2020 18.10.–15.12.2019 Vello Vinn. ∞&○ Throbwerk Maasalu. Angela 17.08.–13.10.2019 Kate Lyddon and Hall Gallery Art and Niels Van Tomme rupture, curators Christine Sun Kim disability,Language: communication, Disarming 14.12.2019–24.02.2020 curator Evelyn Raudsepp 27.11.–30.11.2019 Body Space(d), Photomonth 2019 14.09.–17.11.2019 Mercury. Tallinn Hall Tallinn Art Woman, Mother,Mary: Queen Virgin The 25.10.2019–26.04.2020 art. ecclesiastical of medieval and early modern Museum of Estonia’s collection exhibition:Permanent Art The Museum Niguliste in Individual Units 14.09.–17.11.2019 Individual Parts Curatorial Matters” Exhibition “Beauty TAB 12.09.2019–17.11.2019 2019 Architecture of Estonian Motion: ACentury exhibition:Permanent in Space Rotermann Salt Storage Architecture Estonian of Museum Wed–Sun 12–7pm kunstihoone.ee Tallinn 6, väljak Vabaduse Wed–Sun 12–7pm kunstihoone.ee Tallinn 8, väljak Vabaduse 10–6pm Mon–Sun nigulistemuuseum.ekm.ee Tallinn 3, Niguliste Tue–Sun 11–6pm arhitektuurimuuseum.ee Tallinn 2, Ahtri

About Dreams That Awaken That Dreams About You Farkas. Dénes 04.09.–09.11.2019 Temnikova Gallery &Kasela Eros and Mysticism 08.11.2019–12.04.2020 and Legend Its School Art The 100. 25.05.–27.10.2019 Pallas Homes 30.08.–27.10.2019 Pallas in Estonian Museum Tartu Art exhibition Annual 19.12.2019–12.01.2020 Suisalu Taavi 14.11.–15.12.2019 17.10.–10.11.2019 Kiipli Mari-Leen Johanson Pille 19.09.–13.10.2019 exhibition Annual 19.12.2019–12.01.2020 Kairo 14.11.–15.12.2010 17.10.–10.11.2019 Kaselaan Jass Tõnis Kriisa Peegel, Andrus 19.09.–13.10.2019 exhibition Annual 19.12.2019–12.01.2020 14.11.–15.12.2019 Marco Laimre 17.10.–10.11.2019 80 Vahersalu Helle Printmaking group exhibition 19.09.–13.10.2019 Matter. Dark Tartu House Art Tedresaar Saarits and Sten Edgar 20.12.2019–16.02.2020 on aLandscape Views 25.10.–15.12.2019 Jane Remm. Light Green 23.08.–20.10.2019 Jüri Arrak. Tallinn Gallery City Wed–Sat 3–7pmWed–Sat temnikova.ee 1, TallinnLastekodu 11–8pmThu Wed, Fri–Sun 11–6pm tartmus.ee Raekoja Square Tartu 18, Monument Gallery Hall Small Hall Big Wed–Mon 12–6pm kunstimaja.ee Vanemuise Tartu 26, Wed–Sun 12–7pm kunstihoone.ee Harju 13, Tallinn

“Black Hole” “Black Varblaneand Reet curatorial project Taska Marje 13.12.2019–01.01.2020 22.11.–11.12.2019 Andro Kööp 03.11.–20.11.2019 Kallas Mariann Kuusing Toomas 11.10.–01.11.2019 Kask Margot 20.09.–09.10.2019 Gallery Vabaduse Sat 11–5pmSat Mon–Fri 11–6pm eaa.ee/vabadusegallery Tallinn 6, Vabaduse

63 Estonian Art 2019/2 Estonian Art 2/2019 (43) estonianart.ee

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Back Cover Image Tanja Muravskaja. Exhibition view. Kumu Art Museum, 2019. Photo: Tanja Muravskaja

ISSN 1406-3549 2/2019 Estonian Art The Photography Issue