3-4/2010 
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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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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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Power in the field of art 2010: attempts to approach and define power based on the history of Estonian art
Raivo Kelomees on power
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London diary
Maria Juur goes west
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CREAM – Damien Hirst and the crème de la crème of YBA in Helsinki
Carl-Dag Lige visits Kiasma
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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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