est eng

 

3-4/2010 3-4/2010

I

FOCUS  
finance  
creativity (industries)
biennial(ization)
musealization

Moneypulations

Heie Treier speaks of the umbilical cord between finance and the art world
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Following an invisible hand

Anneli Porri interviews Visible Solutions who, since opening an office in Tallinn (see KUNST.EE 2010, no 1–2, page 90) have already extended their regional grasp to Latvia.
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Biennale as an event, biennale as a statement

Margaret Tali offers a critical visitor’s report from the Berlin and Poznán biennales
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From art criticism to the art of criticism: of an expressive opportunity to make creative mistakes

Jaak Tomberg sums up his thoughts on art criticism as inherent false interpretation
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CAME is not afraid of ‘getting ready’

Hanno Soans gives an overview of this season’s exhibitions at the Contemporary Art Museum of Estonia (CAME) on Põhja puiestee in Tallinn

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Through crises

The curator Maria-Kristiina Soomre answers questions for KUNST.EE (Andreas Trossek) in relation to this year’s video art exhibition Everything Is Going to Be Alright organized by Kumu.
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Painters speak!

Maria Arusoo offers an overview of a seminar organized in conjunction with the exhibition Painting in Process curated by Eha Komissarov
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II

THEORY AND PRACTICE  
experiment
power
work
grand tour: London
grand tour: Helsinki
grand tour: Paris
Kiwa vs Kant
Elken vs Peirce

Petri dish of art criticism

Based on the Artishok biennale, where each art project was pre-viewed via ten critical texts, Liisa Kaljula offers an essay on the state of art criticism.
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London diary

Maria Juur goes west
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Saving Wiiralt for art history

Heie Treier interviews Finnish composer and art collector Juhani Komulainen
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Kiwa und das Sublime

Indrek Grigor approaches the art of Kiwa from the Kantian concept of the sublime
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Visual semiotic approach to Jaan Elken’s Poem for mattress, no 1

Jaan Elken has led the Estonian Artists’ Association since 1999, but what is so phenomenal about his paintings? KUNST.EE ordered a semiotic assessment from Rauno Thomas Moss.
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III

REVIEWS

A machine that walks in the corridors of memory

Andreas W vs.Timo Toots and MEMOПOЛ-I
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From money to art

Harry Liivrand discusses Siim-Tanel Annus’s solo exhibition Money and Poetry against the background of art history.
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Making the invisible visible

Eero Kangor speaks of Enno Hallek’s solo exhibition Fractal Marriage with a Shadow at Tallinn Art Hall Gallery
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Bookmarks

Airi Triisberg analyzes Taavi Talve’s first solo exhibition
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Man killed in Vilde Road, Tallinn

Liina Siib pieces together the exhibition The Case of Vilde Road by Karel Koplimets
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Symphony of incapacity, or The time of small people

Andreas Trossek writes about the solo exhibition Let’s play, the game is over by Dénes Farkas
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Personal is political at Tallinn Art Hall

Rebeka Põldsam offers a critique of Reet Varblane’s curatorial project: Personal is Political – Hannah Höch and the interpretation of her art
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Double-anti

Taavi Talve visits Ivar Veermäe’s exhibition Autonomy
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Concert cancelled because the band broke up

Kadri Veermäe writes of the exhibition Better Felt than Said alias Besser Gefühlt als Gesagt alias Parim soojalt by artist group JIM
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