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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)


Personal is political at Tallinn Art Hall

Rebeka Põldsam (3-4/2010)

Rebeka Põldsam offers a critique of Reet Varblane’s curatorial project: Personal is Political – Hannah Höch and the interpretation of her art
In September and October 2010 an exhibition including photomontages by German Dadaist Hannah Höch (1889–1978) was displayed at the Tallinn Art Hall; thus, focusing attention on the whole feminist tradition of art history starting with the works of Höch herself, who was most active in the 1920’s, and ending with the feminists of the 21st century. ‘The Personal is Political’ is by now an old slogan, but one of an ongoing feminist struggle calling for equal rights. The notion that women are too emotional and therefore irrational and unreasonable (in contrast to men) is still widespread in Estonia in 2010. However, as this summer saw a media debate over equality between the sexes and the rights of couples of the same sex, Reet Varblane’s exhibition fits like a glove. The war of the sexes in the news media is, however, the beginning of positive developments: people have started to think about the expectations set for the different sexes – and though this means contradictions and paradoxes, it also means increased emancipation.
Hannah Höch. Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919 < back

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