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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)


From art criticism to the art of criticism: of an expressive opportunity to make creative mistakes

Jaak Tomberg (3-4/2010)

Jaak Tomberg sums up his thoughts on art criticism as inherent false interpretation
From September 2 to 11 this year, I attended the second Artishok art and criticism biennale (art biennale? biennale of the art of criticism?) at the Tartu Art Hall, where I also participated as a critic. On each of those ten days I focused on one work of art made specifically for this biennale, and every day I also read ten critical texts placed in the work’s immediate surroundings. While walking around the biennale, I inevitably saw how many mistakes I have made as a critic and how collectively all those texts had flaws, despite all being the results of the best intentions. But noticing such problems is not being overly judgmental on my part, but descriptively neutral, and this leads to the most meaningful conclusion I personally made from the experience of Artishok – that any (critical) interpretation is in any case a misinterpretation and at best an imaginative misreading of the work.
Foto: Indrek Grigor < back

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