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"I have used the comparison of [---] perforated skin, which does not cover, hide or adorn but rather hints at the internal." – Reet Varblane answers Hedi Rosma's questions about Anu Põder, whose works have been included in "The Milk of Dreams", the main exhibition of the ongoing 59th International Venice Art Biennale. "Untold backstories: Anu Põder (1947–2013) and her posthumous rise to international fame" (KUNST.EE 3/2022)

 

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METHODOLOGIES OF ART HISTORY

What is a masterpiece? (2000/1)

Mai Levin is convinced that the painting "Village Landscape" by an unknown Flemish artist can also be a masterpiece.

To assist future Wiiralt researchers (2000/1)

Ants Juske proposes new methods for analyzing Eduard Wiiralt’s works.

Vera Mukhina's "Worker and Collective Farmer" (1936). Paradigmatic masterpiece of Soviet art (2002/1)

Linnar Priimägi.

Lost (hyper?) reality: concerning Elken from an anthropologist’s point of view (2002/1)

Anders Härm.

Sooster, in a slumber and awake (2002/1)

Vaino Vahing.

DISSECTING THE AUTHOR(S)

The return to Toomik (2002/3)

Hanno Soans.

Ene-Liis Semper and the beauty of the play (2003/1)

Anu Allas.

About a bloody trauma (2004/2)

Eero Epner’s thoughts on Marko Mäetamm’s recent paintings.

Five questions to Peeter Allik (2005/1)

Heie Treier.

PITTURA METAFISICA

Fernand Léger in Tallinn (2005/2)

Jüri Hain reconstructs one of the days of December, 1937.

Venice Biennale: 110 years of politics, to say nothing of art (2005/2)

Maria-Kristiina Soomre.

Life space (2005/3)

Ando Keskküla gave an interview to Kaire Nurk.

Giorgio de Chirico’s TV set (2006/1)

Heie Treier.

A purely objective idea / Ten years later (2006/3)

Kaido Ole.

COMPLETED AND UNCOMPLETED PROJECTS

documenta 12 magazines (2007/2)

Heie Treier.

Fictional cover designs of the kunst.ee book series on criticism (2008/1)

Tõnu Kaalep.

INTRODUCTION TO GENDER STUDIES

The return of a working woman (2009/1–2)

Katrin Kivimaa shares her thoughts on Liina Siib’s photo exhibition "A Woman Takes Little Space".

You, me and everyone we don’t know (2010/1–2)

Airi Triisberg analyzes Anna-Stina Treumund’s debut exhibition.

POLITICAL AND/OR PERSONAL

Time glorifies everything (2011/3–4)

Kristiina Davidjants reviews Kristina Norman’s documentary "A Monument to Please Everyone".

The chaos and order of being together (2012/3)

Kirke Kangro shares her impressions of the joint exhibition "Being Together" by Edith Karlson and Kris Lemsalu.

Discreet "Damage" – political is personal! (2013/4)

Hanno Soans writes about Mark Raidpere’s solo exhibition "Damage".

Almost legal (2014/4)

Johannes Saar contextualizes Jaanus Samma’s solo exhibition "Sweater shop Hair Sucks".

Malle Leis’ daughter (2015/1)

Sandra Jõgeva shares her thoughts on Malle Leis’ retrospective exhibition "Yellow Summer".

EXPORT COMPLEX INC.

A new photogenic Köler Prize (2016/2)

Liisa Kaljula visited this year’s Köler Prize show at the Contemporary Art Museum Estonia.

More human than human (2017/2)

Stacey Koosel reviews Katja Novitskova’s solo show, which represents Estonia this year at the Venice Biennale.

Raise your hand who... (2018/1)

Maarin Mürk went to see Marge Monko’s solo show "Stones Against Diamonds, Diamonds Against Stones".

Ex machina (2019/1)

Indrek Grigor analyzes the exhibition "Alice, Neeme & Jass" at Kunsthalle Helsinki.

LESSONS FROM THE CORONARY CRISIS

VARIA

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