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KUNST.EE SPRING ISSUE STILL ON SALE: "The fact that the artist is a beggar who essentially pays the state for art – for the opportunity to make art – was articulated very clearly in Estonia in the noughties by female artists in particular." – Eha Komissarov: "The noughties are a very difficult theme to brand.(KUNST.EE 2/2021)


Concert cancelled because the band broke up

Kadri Veermäe (3-4/2010)

Kadri Veermäe writes of the exhibition Better Felt than Said alias Besser Gefühlt als Gesagt alias Parim soojalt by artist group JIM
Art historian Anu Allas divides the possible forms of artist co-operation into two types: first – relatively young people combine their strengths in order to step into the art world; second – artists unite because of an idea or an ideology that they could not quite carry out alone. She adds that the groups tend to break up after the initial goal is reached or the idea is more or less depleted, so that the best way to approach groups would be to look at them as something conditioned by context and as (mostly) having a specific reason for existence, a certain content, beginning and end. JIM (Johannes Säre, Iti Kasser, Maido Juss) however, is a somewhat exceptional group in contemporary Estonian art. Though their co-operation can be seen both as a spearhead of young people as well as an ideological union, neither of those approaches would be well-founded in their case. JIM is an alter ego, a brand and a product at the same time, but none of its facets is more important than the others because they are all just outer layers. The framework for this artist group does not have content, a filling inside, but another framework. The simulation creates an everlasting distance; it is impossible to see what is behind the curtain because first of all the curtain is made of concrete, and second, you do not need to know what is there in the first place.
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