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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)


Man killed in Vilde Road, Tallinn

Liina Siib (3-4/2010)

Liina Siib pieces together the exhibition The Case of Vilde Road by Karel Koplimets
A criminal investigator/ photographer (C/P) works at two places: the office/ film set, which in this case has been installed in Draakon gallery, and on a temporary site near the Vilde road in the Mustamäe district – and that is what the C/P’s diary talks about. The field work consists of gathering evidence and photographing suspects. The field work is fresh and the murders will be solved in the exhibition. Newspaper cuttings are glued onto the map of Tallinn and give an overview of locations where most of the crimes against individuals are committed in Tallinn. Among the ‘hot’ and yet unsolved cases on the wall the focus is on the Vilde road case that occurred in June 2010. The newspaper headlines from 21 June read: Man beaten and stabbed at Mustamäe bus stop, resulting in death on the spot at 17.45. And here the C/P pauses the film. According to Roland Barthes, the moving image turns film-like paradoxically only when it is stopped – that is, when the stop frame is more film-like than the film itself. But in which contexts do photographs of suspects and evidence appear?
Karel Koplimets < back

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