VÄLTIGE ODAVAID KOOPIAID JA TULGE TÕELISELE EKA JÕULUPEOLE

VÄLTIGE ODAVAID KOOPIAID JA TULGE TÕELISELE EKA JÕULUPEOLE
KUS KINGITUSI EI JAGATA, JÕULUVANA EI
TÜLITA JA KUUSK EI SÄRA AGA MUUSIKA TEEB PEO.

22. detsember 2010. a. kell 22:00 - 23. detsember kell 7:00

22.00-7.00
eka ja bfm 40.-/teised 70.-/alates kella 3.00st 35.-

CHUNGIN & THE STRAP ON FAGGOTS
http://www.myspace.com/chungin

MIIP
http://www.myspace.com/miipmusic

DJ:

SS FABRIQUE -experimental/ hardcore/ J-POP/ http://www.myspace.com/vabrik

TÕNIS HIIESALU - acid house/ electro

KERSTEN KÕRGE

JAIDO MUSS - electro trash/filth/dubstep + visuaalid

TAAVI KÜBAR - random electro

NAME Readymade

EKKMi klubi esitleb:

Janez Janša, Janez Janša, Janez Janša

NAME Readymade

Janez Janša loeng - performance EKKM II. korrusel TEISIPÄEVAL 2. novembril kell 21.00
Üritus on inglise keeles ja TASUTA!


LECTURE PRESENTATION ABSTRACT:



Can you imagine three established American artists joining the Republican Party and then legally changing their names to George Bush a few years ago? And bringing the US President’s name (or that of any other head of state) to museums, festivals, galleries, theaters…

The NAME Readymade shift has been conceived as a presentation of the “name changing” act performed by three Slovenian artists who, in 2007, with all the required paperwork and stamps, officially took the name of Slovenia’s then Prime Minister, the conservative economic liberal Janez Janša.

“When the three artists changed their names to Janez Janša, they, in fact, took a critical stand towards the state. Towards the Slovenian government, in which, until recently, all positions seemed to be held by a single person – Janez Janša. (…) Through the multiplication of Janez Janša’s name, the primeministerial function assumed, in this specific artistic action, a role similar to that of the Campbell Soup cans in Andy Warhol’s works.” (Zdenka Badovinac, Name Readymade, October 2008)

All Janez Janšas’ work, their private and public affairs – in a word, their whole life – has been conducted under this name ever since.

“(…) the gesture is – from now on – in constant process: it will be semiotized in connection with their every new work of art and public appearance; therefore it will take some turns unprecedented in other known forms of subversive affirmation.” (Rok Vevar, Večer, September 1st 2007)

Janez Janša, Janez Janša and Janez Janša will take you through a series of artistic, political, administrative and mediatic actions they have performed, with a particular focus on their latest solo exhibition entitled NAME Readymade.

Works exhibited in this show (valid ID cards, passports, credit and bank cards, driving licenses, birth and marriage certificates etc.) have been generated by reality itself. Art history has no record of similar readymades. Personal documents such as identification cards, passports, health insurance cards, credit cards and the like cannot “simply” be bought in shops, recontextualized, turned around, exhibited and produced as readymades. To obtain them, one needs to initiate an administrative process.

“The use of personal documents as exhibition items is certainly a liminal case; it probes certain boundaries. It is liminal in that it is not clear whether or not such a use of personal documents respects the rights that you acquired when you were issued these documents. You cannot burn documents as this is a criminal offence, but what about the use of documents for artistic purposes? To be sure, this is not something that serious people would use to justify persecution in the name of the state; yet, this does mean that everybody knows that you do not have your documents on you, that is, that you are not using them in compliance with the conditions under which they have been issued to you. Even a bank can cancel your cards if they find out that you are using them in an inappropriate way. You are walking a line that I would not go as far as to call “dangerous”, but I do, however, consider it suspicious. This is precisely part of the risk that I mentioned before. This can give rise to a number of possible developments. After all, you have to make a special effort to find out how security is going work at the exhibition. It is an entirely different thing if you exhibit graphics numbered 1 to 100 that are insured through an insurance company. I doubt that any insurance company would issue an insurance policy for the everyday functional value of the exhibited documents in the same way as they would issue tourist insurance – such insurance would entail the issuance of new documents. Furthermore, it is also interesting that these documents are art works, readymades. The original “Fountain” had been lost, nicked, so Duchamp made new ones and signed them anew; he even made a miniature version for his little suitcase; you, however, cannot make new documents, they can only be made by an authorized organization called the state and its Ministry of Interior. Yet the Ministry itself cannot function illegally and, for example, reproduce these documents as art works. Now what? These are works of art only insofar as they are also authentic documents. Here we reach a contradiction – the very contradiction of the world of art. A readymade as a work of art is something inauthentic; it is the very proof of inauthenticity: with a readymade, the “aura” disappears. In your case, however, the precondition for this readymade is its authenticity in everyday life – its credibility and authenticity. If somebody bought this work of art, they would be buying it as an authentic piece, together with its functional ‘readymade’ value.” (Lev Kreft, Name as Readymade, An interview with Janez Janša, Janez Janša and Janez Janša, NAME Readymade, October 2008)

Janez Janša, Janez Janša and Janez Janša have cut right into the midst of their own realities and the reality of the space and time in which they work. For this purpose they have used procedures typical for art – transformation, translation, representation and mimicry. They have upturned the classic relational scheme between art and life as developed in the 20th century. In the previous century, art was redefined by way of reality entering into artistic contexts without mediation (Badiou could therefore define the 20th century as a “passion for the real”), while Janša, Janša and Janša want to achieve the opposite; by consequence, their methods cut deeply into their material lives and affect the life of their immediate surroundings.

Produced by Aksioma – Institute for Contemporary Art

Supported by the Ministry of Culture of the Republic of Slovenia and the Municipality of Ljubljana.

MORE ABOUT THE PROJECT:

NAME Readymade - THE EXHIBITION
Curator: Zdenka Badovinac
http://www.aksioma.org/name

Name as Readymade
An interview with Janez Janša, Janez Janša and Janez Janša by Lev Kreft
www.aksioma.org/interview_kreft.html

NAME Readymade - THE BOOK
Museum of Modern Art Ljubljana, Oct. 2008
www.aksioma.org/name_book


BIOGRAPHY OF THE LECTURER

Janez Janša (b. 1970, Bergamo, Italy) is a conceptual artist, performer, and producer who graduated from the Academy of Fine Arts of Milan, Italy. His work has strong social connotations and is characterized by an intermedia approach. He is co-founder and director of Aksioma, Institute for Contemporary Art in Ljubljana. His first public artistic project was the urban installation I Need Money to Be an Artist, which was presented first in Ljubljana, Slovenia (1996) and then in Venice, Italy (1997). In 2001, he established (with I. Štromajer) Problemarket.com – the Problem Stock Exchange, a virtual platform on which shares of companies dealing with problems are floated. The following year, Janša produced machinaZOIS, an electro-mechanical patron that financially supports contemporary artists and artistic productions. He then started development of DemoKino – Virtual Biopolitical Agora, a virtual parliament that, through topical filmic parables, provides the voters with the opportunity to decide on issues that are becoming the essence of modern politics – the questions of life. In 2005, Janša established the platform RE:akt!, which examines the media’s role in manipulating perceptions and creating (post)modern historical myths and contemporary mythology. A part of this platform is the project Mount Triglav on Mount Triglav by Janez Janša, Janez Janša, and Janez Janša. Parallel to these socio-political projects, Janša investigated the field of virtual reality and neurofeedback technologies, and from 2000 to 2002, he developed and performed (with Darij Kreuh) Brainscore – Incorporeal Communication, a performance for two operators acting in a virtual reality environment through their avatars. Between 2004 and 2007, he lead the project Brainloop, an interactive performance platform that allows the subject to navigate a virtual space merely by imagining specific motor commands. Janez Janša is also co-editor (with Ivana Ivkovic) of the textual and pictorial reader DemoKino – Virtual Biopolitical Agora, published by Maska and Aksioma in 2005.

EKKM KLUBI VOL. 1

MISSION OF DEAD SOULS – ansambel Throbbing Gristle 35



EKKMi klubis
Põhja pst. 35
Neljapäeval, 30. septembril kell 20.00

Kunstikriitik Anders Härm ja muusikakriitik Tõnis Kahu otsustasid sügava sisemise meeleliigutuse ja nostalgiaseguse uudishimuga tähistada Briti avangardrocki ühe salapärasema, ambitsioonikama ja ilmselt amoraalsema bändi kogunemist 1975. aasta septembris. Osalised teevad juttu nii Throbbing Gristle’i muusikast ja visuaalsest esteetikast kui ka TG-le eelnenud kunsti, muusika-ja performance`irühmitusest COUM Transmissions (1969-1976) tegevusest ning pakuvad vaatamiseks haruldasi videokatkeid neliku kontsertide ja intervjuudega. Kõigile, kes soovivad neljapäeva, 30. septembri õhtul kell 20.00 EKKM-is oma huvi ja respekti ilmutada, on juubeliõhtu tasuta.

täname: Tallinna Kunstihoone

Welcome to the Machine!

Triin Tamm

EKKM korraldab pühapäeval, 26. septembril kell 15.00 – 18.00 kunstnike vestlusringi seoses käesoleva hooaja viimase näitusega „Welcome to the Machine!“ Vestlusringist võtavad osa kunstnikud: Sigrid Viir, Maido Juss, Jarmo Nagel, Anna Tuvike, Alver Linnamägi, Tõnu Tunnel, Reginleif Trubetsky, Johannes Säre. Vestlust juhatab näituse kuraator Marco Laimre.

http://www.youtube.com/watch?v=ah2hi8ihVyo

1. septembril, kolmapäeval kell 18.00 avatakse Eesti Kaasaegse Kunsti Muuseumis (Põhja pst. 35, Tallinn) käesoleva hooaja viimane näitus „Welcome to the Machine!“.

Tõnu Tunnel


Näitusel osalevad kunstnikud: Paul Kuimet, Sigrid Viir, Maido Juss, Jarmo Nagel, Anna Tuvike, Alver Linnamägi, Tõnu Tunnel, Reginleif Trubetsky, Johannes Säre, Triin Tamm, Mattias Malk ja August Sai.
„Welcome to the Machine!“ kuraator on Marco Laimre.
Näitus on avatud 1. septembrist 1. oktoobrini 2010.

http://klassikaraadio.err.ee/helid?main_id=1104713

Kadri Veermäe. Mistunne on olla Trubetsky? Sirp, 01.10.2010

Sigrid Viir

„Welcome to the Machine!“ on fotodest, videotest, maalidest ja installatsioonidest koosnev kaasaegse kunsti näitus, mis käsitab ümbritsevat läbi masina mõiste.

Johannes Säre

Reginleif Trubetsky

Kunstnikud vaatlevad, analüüsivad ja suhestuvad kriitiliselt aktuaalset tegelikkust sedastavatesse lepingutesse.

Maido Juss

Nad asetuvad energiliselt erinevatesse masinatesse nagu Charley Chaplin filmis „Moodsad Ajad“ (1936) või jälgivad skeptilisel pilgul industrialiseeritud ühiskonda nagu Pink Floyd 1975. aasta LP-l „Wish You Were Here“.

August Sai

Mattias Malk

Masina mõistet sel näitusel võetakse metafoorina kõige laiemas mõttes – igasuguse eelantuse ja kaasahaaratuse tähenduses. Näituse logol on kujutatud arvutimängust Pac-Man (1980) tuntud karakterit Oikaket hõljumas Läänemere lainete kohal.

Anna Tuvike

pressiteate koostas:
Marco Laimre
+372 562 171 06
laimre@gmail.com

Johannes Säre

Näitusetegevust Eesti Kaaasaegse Kunsti Muuseumis toetavad:
Eesti Kultuurkapitali Kujutava- ja Rakenduskunsti Sihtkapital ja Sihtasutus Tallinn 2011.


Alver Linnamägi

Paul Kuimet

NEXT TO NOTHING

Tallinn 2011 - Euroopa Kultuuripealinn esitleb
Näitus on avatud 24.07.- 22.08.2010

Tõnis Saadoja

kunstnikud: Ēriks Božis (LAT), Martin Creed (GBR), Dénes Farkas, Kiwa, Fred Kotkas, Neeme Külm, Kaido Ole, Taavi Piibemann, Johanna Reich (GER), Tõnis Saadoja, Tarmo Salin, Hanno Soans, Triin Tamm, Toomas Thetloff, Laura Toots
kuraator: Anders Härm

But I say, we are next to nothing!
We are nothing, next to nothing, we are nothing
Darkseed Next To Nothing, 2005

Triin Tamm

Võibolla tõesti ei ole sellel saksa gootirockibändil näitusega ”Next To Nothing” mitte miskit pistmist, seos ise on sama hea kui olematu, next to nothing. Kuid võibolla seob seda massiivselt ekspressiivset eneseeitust näitusel osalevate kunstnike autoripositsioonidega siiski selle sama eituse kaudu toimiv enesemanifestatsioon – meid peaaegu ei ole aga me oleme siiski.

Kaido Ole

Kui pisut “kiwaloogilise” bravuuriga väljenduda, siis toovad näitusel osalevad kunstnikud meile teateid ühe ja nulli, “olemise ja ei miski” vahemaastikelt, kus sel moel aktualiseeruvad küsimused on oma iseloomult pigem eksistentsiaalset kui mingit muud laadi. Ent välistada ei saa ka poliitilisi, psühhoanalüütilisi ja fenomenoloogilisi tõlgendushorisonte, mis siit diskreetselt avaneda võivad.

Dénes Farkas

Näitusel on eksponeeritud viieteistkümne kunstniku teosed (videod, installatsioonid, fotod, maalid, objektid) mis testivad EKKM-i vaimset ja füüsilist vastupidavust ”valge-kuubi kunsti” rünnakutele ja vastupidi. Suur osa teoseid on valminud spetsiaalselt selle näituse tarbeks, teine osa on selleks näituseks kohandatud, väga paljusid teoseid eksponeeritakse Eestis esmakordselt. Kaasa teevad kolm väliskunstnikku, kelle hulgas kõige tähelepanuväärsem nimi on kahtlemata Martin Creed, sajandivahetuse üks olulisemaid briti kunstnikke.

Martin Creed

Kui valgel kuubil on maagiline võime muuta kunstiks ükskõik mida, siis endistel tööstushoonetel on kalduvus kunsti endas hoopis ära kaotada, tasalülitada. Näitus mingis mõttes katsetabki, kuidas selline väljenduselt hüperminimalistlik, kohati laushermeetiline kunst selle kõike muud kui teost pühitseva ruumilise olukorraga toime tuleb.

Eriks Boźis

Kuna EKKM saab näitusetegevust harrastada üksnes suvekuudel, on võibolla imelik kutsuda seda väljapanekut EKKM-i suvenäituseks, aga seda ta kahtlemata on. Kergekaalulisus, mis sedasorti ettevõtmisi iseloomustama kipub, on antud juhul siiski pigem kontseptuaalset laadi ning tuleneb sellest, et osalevad kunstnikud väljenduvad lakooniliselt ning suhestuvad ruumiga kontekstuaalselt. Nende personaalset kunstiajalugu silmas pidades on siin vältimatuks taagaks pigem Duchamp, Baldessari ja isegi Rothko kui Dali, Picasso, või isegi Warhol.

pressiteate koostas Anders Härm

Lisainfo tel +372 5084570
anders@kunstihoone.ee

Janar Ala. Värske kunst rokib Eesti Kaasaegse Kunsti Muuseumis. Postimees 28.07.2010

Janar Ala. Pühitsusega ja pühitsuseta. Postimees 28.07.2010

Peaaegu mitte millegi avamine EKKM-is. Artishok 03.08.2010

Martin Rünk. Kõik on nii nagu enne, aga miski pole enam endine. Sirp, 06.08.2010

Mariliis. Next to Nothing at CAME
Neeme Külm: esmakordselt on kunstnikud seljatanud meie muuseumi maja. EPL, 14.08.2010

Näitust toetab Eesti Kultuurkapital

Eriline tänu Maria Arusoo, Solvita Krese, Kaarina Ormio, Rowena Chiu ja Hauser & Wirth Gallery, Zürich & London

Tallinn 2011 – European Capital of Culture presents:

NEXT TO NOTHING

The exhibition will be open from July 24th to August 22nd

Laura Toots

artists: Ēriks Božis (LAT), Martin Creed (GBR), Dénes Farkas, Kiwa, Fred Kotkas, Neeme Külm, Kaido Ole, Taavi Piibemann, Johanna Reich (GER), Tõnis Saadoja, Tarmo Salin, Hanno Soans, Triin Tamm, Toomas Thetloff, Laura Toots
curator: Anders Härm

But I say, we are next to nothing!
We are nothing, next to nothing, we are nothing
Darkseed Next To Nothing, 2005

Perhaps this German gothic metal band really has nothing to do with this exhibition, which is entitled Next to Nothing, the connection itself is as good as nonexistent – next to nothing. However, maybe this massively expressive self-denial is related to the positions of the exhibiting artists through the selfmanifestation that takes places through this denial – we almost don’t exist, but we still do.

Neeme Külm

To use a bit of bravura, the artists participating in the exhibition bring us messages from the landscapes between one and zero, “being and nothingness”, where the questions that are thereby actualized are more existential in nature than anything else. However, one cannot rule out political, psychoanalytical or phenomenological interpretive horizons that may discretely unfold from here.

Hanno Soans

The works (videos, installations, photos, paintings and objects) of fifteen artists are on display, which test the EKKM spiritual and physical endurance against the attacks of “white-cube art” and vice versa. A large number of the works have been completed especially for this exhibition; others have been adapted for this exhibition; and many are being displayed in Estonia for the first time. Three foreign artists are participating, of whom the most notable is undoubtedly Martin Creed – one of the most important contemporary British artists.

Tarmo Salin

If white cubes have the magical ability to make anything into art, then former industrial spaces have the tendency to swallow the art – overpower it. In some sense, the exhibition is an experiment to see how expressively hyper-minimalistic art, that is sometimes totally hermetic, can cope with a spatial situation that is anything but commemorative of the works.

Since the EKKM can only organize exhibitions during the summer months, it may seem strange to call this EKKM’s summer exhibition, although it undoubtedly is. In this case, the lightweightness, which tends to characterize these types of undertakings, is more conceptual in nature and is based on the fact that the participating artists express themselves laconically and relate to space contextually. Keeping their personal artistic histories in mind, the emphasis is inevitably on Duchamp, Baldessari and even Rothko rather than Dali, Picasso or even Warhol.

Press release prepared by Anders Härm

Additional information: tel +372 5084570
anders@kunstihoone.ee

The exhibition is supported by the Cultural Endowment of Estonia

Special thanks to Maria Arusoo, Solvita Krese, Kaarina Ormio, Rowena Chiu and Hauser & Wirth Gallery, Zürich & London

EKKM - EEMIL KARILA KUNSTI MUUSEUM / CAME - CONTEMPORARY ART MUSEUM of EEMIL

Avamine REEDEL, 18. juunil kell 18.00
Näitus on avatud 19. juunist - 18. juulini

http://www.youtube.com/watch?v=Fx17jwmqKsE

Vastuolulised primaadid / Conflicted Primates

(Isegi) Kunstnik tahab olla vaba. Kunstimaailmas jääb ta aga sageli muuseumide, kuraatorite, kunstiajaloolaste ja ajakirjanike mängukanniks. Kunstniku ja tema kunsti positsioon sõltub nende esitõlgendajate ja kontekstualiseerijate arvamustest kes sageli sõnastavad ka tõeseks peetava tõlgenduse tema kunsti kohta. Kuidas on kunstnikul võimalik emantsipeeruda? Asutades iseenda muuseumi. Olles vabanenud kunstimaailma pealisehitisest, saab ta tõepoolest keskenduda oma teemade ja ideedega maadlemisele. Ja kui ta kaotab ka iseenda muuseumiuniversumis, võib ta süüdistada üksnes iseennast. Kindluse mõttes on võibolla hea süüdistadagi. Sellega võidab sümpaatiat ning märtrioreooli.


Vastuolulised primaadid / Conflicted Primates

Ideoloogia mõistel on mitu tähendust. Vahest kõige tavalisem käsitlus on selline, kus ideoloogia on paha, see on mingit inimeste gruppi ühendav suletud maailmavaade või veendumus, mida ei kritiseerita. Kritiseerimiskeeluga kaasneb teadvustamatus: ideoloogia tegelik struktuur, eesmärk ja see kelle huve ta kaitseb, jääb ideoloogia pooldajatele varjatuks. Väga väheseid inimesi orjastatakse püssiga ähvardades, päris paljusid toidunappusega, aga peaaegu kõiki orjastavad ideed, mille nad on omaks võtnud neid mõistmata, aga mida nad innukalt toetavad.

Ideoloogia ei pea aga ilmtingimata olema sellise pimedusel ja eelarvamustel põhineva grupiidentiteedi vormiks. Kas ei võiks öelda neutraalselt ja lihtsalt, et ideoloogia on sama mis korrastatud ideede süsteem? Neid on häid ja halbu, loogilisi ja ebaloogilisi, samuti tegelikkust varjavaid ja seda valgustavaid.


Omavahel / Between You and Me

Üks kunstniku eesmärke on närida läbi võimul olevate ideoloogiate soosingu põhjused, kaevata välja nende ridade vahele kirjutatud väärtused ja eesmärgid – ja luua neile vajadusel alternatiive mõeldes välja omi ideoloogiaid. Hambad irevil, südames hirm, keel põses, rebasesaba kaenlas… aga siiski otsekoheselt.

Oma väikeses ideoloogiatehases on kunstnik oma ideeliste uurimuste laboratoorium ja laborirott. Seetõttu on iga teos ka sellel näitusel kunstniku autoportree. Loodetavasti ei ole see pelk nartsissism, vaid pragmatism. Et mõista ühiskonda, on üksikisikul vaja kõigepealt mõista enda rolli ja kohta. Ilma seda mõistmata jääb ta kuni surmani ja selle järelgi teiste mängukanniks.

Berliinis 31.5.2010

Eemil Karila

Näitusel on eksponeeritud videod, installatsioonid, fotod, kollaažid ja objektid. Kõik teosed on aastatest 2009-2010

http://alastonkriitikko.blogspot.com/2010/06/nayttelykuvia-144-virossa-23.html

Martin Rünk. Kunstnik kohtub jõuluvanaga. Sirp, 22.07.2010

EEMIL KARILA (sündinud Rovaniemis 1978) on soome kunstnik, kes elab ja töötab Berliinis. Ta on õppinud Eesti Kunstiakadeemias (1997-2002), vahepeal aasta Venezuelas Instituto de Artes Plasticas de Armando Reveron, Caracases (1999-2000) ning Helsinki Kunstiakadeemias (2006-2008). Tema viimatised isiknäitused toimusid Program gallerys Berliinis, Vartai gallerys Vilniuses mõlemad 2009 ning Rovaniemi Kunstimuuseumis (2008). Aastal 2009. aastal osales ta Ban-Parentsi kunstibiennaalil; tegemist oli rändnäitusega mida eksponeeriti Oslos, Tråmsos, Rovaniemis, Murmanskis, Moskvas ja Helsinkis. 2009. aastal osales Karila Neeme Külma kureeritud näitusel "TDK" EKKMis ning 2003. aastal toimus tema isiknäitus Tallinna Linnagaleriis. Koos Kalle Lampelaga moodustavad nad Contemporary Santa Claus Artist Associationi.

Täname: Eesti Kultuurkapital

Lisainfo: Anders Härm (5084570) või Neeme Külm (56636623)


CAME, Contemporary Art Museum of Eemil

Opening: FRIDAY, June 18th at 6 pm
Exhibition is open from June 19th to July 18th

CAME (Contemporary Art Museum of Estonia)
Põhja pst. 35
Wed-Sun 1 to 7 pm

Hotell Tallinn / Hotel Tallinn

(Even) Artists want to be free. However, in the art work they are often the playthings of museums, curators, art historians and journalists. The position of artists and their art depends on the opinions of the initial interpreters and contextualizers, who often formulate interpretations about their art, which are accepted as the truth. How can artists be emancipated? By establishing their own museum. Having been freed from the superstructure of the art world, they can concentrate on wrestling with their themes and ideas. And if they lose themselves in the museum universe, they can only blame themselves. Just to be sure, maybe it is good to blame oneself. One can gain sympathy and acquire the aura of a martyr.


Hotell Tallinn / Hotel Tallinn

Ideology has many meanings. The most usual is that ideology is bad; it is a closed worldview or conviction, which unites a group of people and is never criticized. The ban on criticism is accompanied by unawareness: the actual structure, objective and those whose interests are being protected are hidden from the adherents of the ideology. Very few people are enslaved by threats of force, many are enslaved by the lack of food, but almost everyone is enslaved by ideas that they accept without really understanding what they are enthusiastically supporting.

However, ideologies need not be a form of group identity that is based on blind faith and preconceptions. Couldn’t one neutrally and simply say that ideology is the same as an organized system of ideas? It can be good or bad, logical or illogical, and it can conceal or reveal reality.
One objective for artists is to get a grasp on the reasons for favoring the ideologies in power, to unearth the values and goals hidden between the lines – and to create alternatives if necessary by formulating their own ideologies. With teeth grinning, fear in one’s heart, tongue in cheek, with an ace up one’s sleeve, but still candidly.

In their small ideological factories, artists are the laboratory and lab rats for their visionary research. Therefore, every work in this exhibition is an artist’s self-portrait. Hopefully, it is not narcissism, but pragmatism. In order to understand society, an individual must first understand his or her own role and place in it. Without understanding this, he or she will be the plaything of others until death and even thereafter.

Berlin 31 May 2010

Eemil Karila

The exhibition includes videos, installations, photos, collages and objects. All the works date from 2009-2010

http://alastonkriitikko.blogspot.com/2010/06/nayttelykuvia-144-virossa-23.html

Eemil Karila (born in Rovaniemi in 1978) is a Finnish artist who lives and works in Berlin. He studied at the Estonian Academy of Arts (1997-2002), in Venezuela at the Instituto de Artes Plasticas de Armando Reveron in Caracas (1999-2000) and at the Helsinki Art Academy (2006-2008). His recent solo shows took place at the Program Gallery in Berlin, at the Vartai gallery in Vilnius ( both in 2009) and at the Rovaniemi Art Museum (2008). In 2009 he participated at the Ban-Parents Art Biennial, which was a travelling show that was exhibited in Oslo, Tråmso, Rovaniemi, Murmansk, Moscow and Helsinki. In 2009. Karila participated at the exhibition “TDK” (curated by Neeme Külm) at the EKKM and in 2003 held a solo show at Tallinn City gallery Together with Kalle Lampela they form Contemporary Santa Claus Artist Association.

Thanks to the Cultural Endowment of Estonia

Additional information: Anders Härm (+372 50 84 570) or Neeme Külm (+372 56 636 623)

MARCO LAIMRE - SEDASI! Kütkestuse kultuur

ERITEADE!

Eesti Kaasaegse Kunsti Muuseum annab teada, et homme, st. 09.juunil on Marco Laimre näitus "Sedasi! Kütkestuse kultuur" avatud kella 13.00-4.00.
Grillivalmidus ja 107,2 Mhz.



14.05.–09.06.2010

PRESSITEADE 12.05.2010

Eesti Kaasaegse Kunsti Muuseum avab 2010. aasta kunstinäituste hooaja reedel, 14. mail, kell 18.00 MARCO LAIMRE isikunäitusega “Sedasi! Kütkestuse kultuur”.
Pärast kaheaastast moratooriumi teeb Marco Laimre kunstnikuna comeback-i kütkestuse kultuuri lipu all. Näitus on eksperimentaalne, erinevatest installatsioonidest koosnev keskkond, kus oluline ja võimalik avaldub läbi poeetiliste ning analüütiliste tehnikate.
EKKM-i ruumides saab näha foto-, video-, skulptuuri- ja heliteoseid, mis käsitlevad ihamasinate tööpõhimõtteid provokatiivsel viisil. Näidatavad teosed kokku moodustavad kunstniku arvates sümbolisatsiooni, mille omapäraks on kunsti objekti ja subjekti suhte asendumine perversiooni ja materjaliga. Laimre ütleb: „Kütkestuse kultuur baseerub teataval, erilisel vaatamis- ja lugemisrežiimil ning ei ole tõenäoliselt universaalne.“

26. mail kell 15.00 toimub näituse raames artist talk, vestlevad Anders Härm, Marco Laimre ja Bill Offrights. Kõik huvilised on oodatud!

Marco Laimre on sündinud 1968. aastal. Alates 1994. aastast on ta tegutsenud kunstniku ja kuraatorina. 2005. aastast töötab Eesti Kunstiakadeemias fotograafia professorina. Ta on esindanud Eestit kaks korda Veneetsia biennaalil, 2001. aastal kunstnikuna ja 2009. aastal kuraatorina. 2007. aastal võttis Laimre vastu moratooriumi isiklike kunstiprojektide suhtes.

Näituse avamisel mängivad muusikat Paul Cole & Ring My Bell, DJ Miss Lynx ja Hate/Hate Relationship.

Eesti Kaasaegse Kunsti Muuseum on avatud kell 12.00 kuni 19.00 kolmapäevast pühapäevani, esmaspäeval ja teisipäeval on muuseum suletud.

Eesti Kaasaegse Kunsti Muuseumi näituseprogrammi toetab Eesti Kultuurkapitali Kujutava- ja Rakenduskunsti Sihtkapital ja Tallinn 2011.

Lisa: Marco Laimre
e-mail: laimre@gmail.com
gsm: +372 562 171 06