Search results for ""Lugemik""

[...] How to give structure to something that itself is lacking one? How to present something like that? This is a question of visibility and making visible. What are the means for making visible something that always remains invisible? More precisely: the thing that remains invisible in real life, but of which we can get a glimpse in Crystal Grid, is the structure of capitalism. But how to display something like that?Neeme Lopp Paul Kuimet's new book presents two series by the artist Crystal Grid (20202023) and an ensuing series of assemblages What It Is to Be What You Are Not (2022). The works are connected by a set of geometric shapes from a grid that is based on the roof structure of the central transept of the Crystal Palace, erected for the Great Exhibition in London in 1851. While the photographic material of the Crystal Grid collages has been photographed in different botanical gardens around the world, the assemblages of the What It Is to Be What You Are Not series use images

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Flawless, Seamless is the first monograph of Marge Monko, encompassing works from 2014 to 2021. The book presents nineteen works that explore what the artist calls the architecture of desire, drawing inspiration from public banners, print advertisements, shop displays, show windows, etc. These ubiquitous promotional strategies, designed to evoke an abiding, aspirational desire, suggest that the products they represent will fulfill the promise of luxury, romance, and happiness. Monko's interest in these inseparable elements of capitalist society can be traced back to her childhood in the 1980s, which in the context of the Soviet Union was marked by the shortage of commodities.The works are accompanied by an essay by curator and writer Moritz Scheper and three conversations with Monko's fellow artists and friends, Erika Hock, Maruša Sagadin, and Paul Kuimet. In his text, Scheper makes connections between Monko's earlier and more recent works, and elaborates on different femininities prev

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'The Voice that Remains' is a kind of retrospective; a looking back at material, digital and archival traces left behind within the physical and situated space of PUBLICS, and in the bodies, voices and memories of those who have worked with us in the past years. Each photo, mark and word collected in these pages reflects a collective happening and the labour undertaken to bring a work of art or a piece of research into PUBLICS to be shared with others. The Voice that Remains is a snapshot of PUBLICS' present, where we, who have only recently come to be part of its making, have gathered some of the traces of its programme, keepsakes and leftovers of the last half decade or so. What's left behind as reminders, remainders or rememberings of what once was, is what we have had to work with-to learn how to be PUBLICS, to decide on how to move next, to insert ourselves into the shapeshifting of a small cultural organisation. The publication includes artworks, traces and leftovers by Marja A

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Exploring Kristina Ollek's marine and coastal ecological interest, the publication Filter Feeders, Double Binds & Other Blooms invites us to think with her four year long working process, based on research and personal observations around anthropocentric influences on marine ecology. Focusing on the North Sea and its filter feeders: blue mussels, oysters and the expanding jellyfish population; as well as on the Baltic Sea and its cyanobacteria, blue green algal blooms and dead zones. The publication includes a letter correspondence between Kristina Õllek and curator Angeliki Tzortzakaki, as well a collaborative visual essay by Kristina Õllek, Angeliki Tzortzakaki and Kert Viiart, and an essay by theorist Jeff Diamanti. The publication includes a wide range of exhibition views from her three recent solo exhibitions at Draakon Gallery (Tallinn), A Tale of A Tub (Rotterdam) and ISSP gallery (Riga).

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Exploring Lene Baadsvig Ørmen's strong anthropological interestthe publication invites us to think about the conceptions we have about the natural and the artificial, and about the relationship between animals and humans as they have played out in different cultures and throughout history. Through a wide range of images, the almost sculptural monograph unveils the artist's works and exhibitions in dialogue with newly commissioned texts and interviews by Jan Verwoert, Milena Høgsberg, Leah Beeferman, Ki Nurmenniemi and Cecilie Løveid.

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The first comprehensive monograph of Tanja Muravskaja presents her work from 20052022. Several works exhibited in the book have acquired a new dimension after the war started by Russia in Ukraine. Among other works the book also reproduces the video Three Sisters' (2015), one of the most recognized works by Muravskaja where two cousins, one from Ukraine and the other from Russia, express their views on the Maidan revolution and the annexation of Crimea. The third sister (the title refers to a play on words, as in Ukrainian and Russian cousins are also called sisters) in the artwork is the artist herself, hidden behind the camera. Based in Estonia, located on the border of Europe, the Muravskaja has always witnessed the constant feeling of danger in her society. She has photographed the soldiers of the allied forces of NATO who sometimes gather for practice nearby the Russian border. Alongside them are Estonian boys and girls: the youth corps of the Estonian Defence League. Tanja Muravs

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Letters written by Alicia Ajayi, Stuart Bertolotti-Bailey, Claudia Doms, Nell Donkers, Maarin Ektermann, Rosen Eveleigh, Maryam Fanni, Saara Hannus, Eik Hermann, Paul John, Maria Juur, Ott Kagovere, Maarja Kangro, Arja Karhumaa, Kristina Ketola Bore, Nicole Killian, Rachel Kinbar, Tuomas Kortteinen, Keiu Krikmann, Kadri Laas, Else Lagerspetz, Lieven Lahaye, James Langdon, Jungmyung Lee, Kai Lobjakas, Michelle Millar Fisher, Maria Muuk, Sheere Ng, Sandra Nuut, Laura Pappa, Jack Self, Indrek Sirkel, Paul Soulellis, Triin Tamm, Laura Toots, Alice Twemlow, Loore Viires, Sean Yendrys, Justin Zhuang. Dear Friend(20192022), a monthly snail mail project was initiated by Sandra Nuut and Ott Kagovereat the Graphic Design Department of the Estonian Academy of Arts. The letters were born with the idea to cultivate design writing culture and connect with the community at home and abroad. The publishing project dedicated itself to covering ideas, events, and more in design and visual culture in a le

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