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"Huupi's treatment of colour reveals her source of inspiration in creating this series – the Mexican architect Luis Barragán (1902–1988), whose few completed buildings in Mexico are undoubtedly architectural gems. The design of his own home has been widely recognised and the building currently functions as the architect's house museum." – Mary-Ann Talvistu "Without light, there would be no colours" (KUNST.EE 4/2021)

 

(Je vous présente) Konrad Maegui, artiste-peintre

Liisa Kaljula (1-2/2011)

Liisa Kaljula views Konrad Mägi’s artistic development and three excellent monographs of the artist, putting on Tiit Hennoste’s spectacles of self-colonisation.
 
Konrad Mägi. Artist. Work. Time, the long-awaited opus magnum by Maie Raitar, the best expert on Konrad Mägi of recent times, who passed away in 2008, was finally published in March this year. In view of this, I would like to take up a subject that has fascinated me for some time already: Konrad Mägi’s connection with the aspiration of the Noor-Eesti (Young Estonia) literary movement to become Europeans, as well as his association with Tiit Hennoste’s model of self-colonisation. In a narrower sense, Hennoste defines self-colonisation as the adoption of European values by the Estonian elite, which culminated in the Young Estonia movement. Writing about Young Estonia, Hennoste, who is primarily a linguist and literary researcher, has naturally neglected to include visual artists associated with the group. At the same time, artists contributing to the various publications of Young Estonia included Ants Laikmaa, Kristjan Raud, Jaan Koort, Konrad Mägi, Aleksander Tassa, Nikolai Triik, Aleksander Uurits and others.
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