Fatamorgaana / Fata Morgana
solo exhibition (2022)
Draakon gallery, Tallinn
(EST)
Fatamorgaana ehk kompleksne miraaž on fenomen, mis lavastab reaalsust ning seejärel haihtub äkk-ootamatult. Tavaliselt juhtub see külmale ööle järgneval hommikul, kui kõrbe külm asendub koidupuna saabudes kõrbe kuumusega. Suure kauguse taha luuakse näiline kujutelm – kättesaamatult terendab horisondil müstiline viirastus, illusioonidest pungil reaalsus, mis õgib omaenda sisu. Kujundlikult tõlgendades loob fatamorgaana, nii mõiste kui nähtusena, paralleele aktuaalse päevakaja ning kaasaegse tõejärgse ühiskonna vahel. Tegemist on jutustavalt mitmemõttelise ning märgiliselt laetud manipulatsiooniga, millel on pikemad- või lühiajalisemad tagajärjed.
Amorfsete(kujutute/vormitute) tõdede manifestatsioonid lavastuvad virtuaalses infovoos. Informatsioon neeldub vastastikku, iga sooritus on performatiivselt laetud, iga käidud rada analüüsitakse. Misläbi kujundatakse tehislikult unikaalne reaalsus, mille indiviid on justkui ise oma huvide perspektiivist lähtuvalt loonud. Ent samas on tegemist ikkagist painutatud ja nihestatud virtuaalruumi peegeldatud kogemusega – simulatsiooniga reaalsusest, mis on sageli palju reaalsem kui reaalsus ise. Toimub entroopiline implosioon (süsteemitu kaose sissepoole plahvatus), mis on mikroskoopiliste tähenduste makroskoopiline avardumine – lakkamatu kiirus, milles miski ei sünni, ilma et ta seejärel vahetult ei kaoks. See pole kaduvik, vaid virtuaalne igavik, mis on kõikide võimalike võimaluste summa, mis tekib ja kaob üheaegselt.
Uskuda või mitte uskuda?!
(ENG)
Fata Morgana is a phenomenon presenting a complex mirage that stages reality and then will unexpectedly disappear. It usually happens in early morning following a cold night when frozen temperatures will be replaced by the desert heat at dawn of day. A deceptive apparition is created at a far distance – a mystical vision, reality full of illusions, chowing down its own content, is appearing beyond reach on the horizon. Figuratively speaking, fata morgana creates, both as a concept and a phenomenon, parallels between daily news and contemporary post-truth society. What we are dealing here is a manipulation charged with symbols and narrative ambiguity, leading to either short-term or long-term consequences.
Manifestations of amorphous (formless, shapeless) truths are staged in the virtual flow of information. Information is mutually absorbed, every act is performatively charged, every path that is taken is analyzed. Therefore, an artificially unique reality is being designed, created by an individual based on his or her personal interests. And yet, it is still an experience mirrored by a warped and shifted virtual space – a simulation of reality that is often far more real than reality itself. An entropic implosion (that is an inwardly explosion of unsystematic chaos) takes place, an act of macroscopical broadening of microscopical meanings – an infinite speed where everything will disappear immediately after being born. This is not the past but the virtual eternity that is the sum of all possible possibilities, emerging and disappearing at the same moment.
To believe or not to believe?!
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*⁽𝗺𝗲𝘁𝗮⁾𝗺𝗼𝗿𝗽𝗵𝗼𝘀𝗶𝘀
solo exhibition (2021)
ARS Art Factory's Projectspace, Tallinn
*(meta)morphosis is a project on the process of change. Abstractions concerning the integration of performing and visual arts, hyperlink~choreography, atmospheric activation, hybrid-level platforms, the manifestation of amorphous truths, and other meta-level vibrations.
In-depth, I will be focusing mainly on two phenomena: liminality and chaos. Both subjects are considered as mental affects of ambiguity and disorientation that occur in the middle of witnessing a particular state (such as in concert, theatre, art exhibition): when participants no longer hold their pre-conceptual prejudice but have not yet begun the transition to the position they’ll hold when the experience is complete. The research is a qualitative analysis of a mental phase where one perceives himself between previous ways of structuring one’s identity, time, and a new way, which he/she establishes his new agenda.
Conceptually – an artwork as a border between the inner and outer world of an artist carries an important task as a buffer, between the material and the conceptual. Realizing divine ideas in mundane, physical space: creating associations between the perceived presence and the conquered space. The threshold of ambiguity or disorientation is a quality that occurs in the middle of witnessing: when participants no longer hold their pre- conceptual prejudice but have not yet begun the transition to the position they’ll hold when the experience is complete.
*For more in depth material concerning the background and specifics of the project - 4/2021 KUNST.EE magazine reflects Henri Hütt's analytical article "On Process and Change" about this project.
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Tuleviku ootamatu ilmumine /
The Unexpected Presence of the Future
duo-solo exhibition with Laivi (2020)
Tartu Kunstimaja Monumentaalgalerii, Tallinn
(EST)
Näituse eesmärgiks on inimolemuse ja inimkonna võimaluste poeetiline lahkamine seistes silmitsi määramatu tulevikuga. Aluseks on fiktiivne, ent reaalsust peegeldav situatsioon, mis sunnib tasahilju eemalduma senistest väärtustest ja märkamatult uusi norme aktsepteerima. Süsteemis tekkinud ebakõla, ootamatu „error” või nihe on muutnud maailma tasakaalu nii füüsiliselt kui mentaalselt. Tagajärjeks on tavapärase, iseenesest mõistetava kokkuvarisemine. Ilmneb, et antropotseenile iseloomulik inimese ülemvõim on tasakaalunihke tagajärjel ootamatult kergesti kõigutatav.
Sundolukord on kasvulava loomaks kujuteldamatuid situatsioone ja enneolematuid kombinatsioone. Varem teadvustamata võimalused saavad uueks reaalsuseks. Looduse kujutlusvõime pulbitseb ja valdab suutmatus uusi sensatsioone üheselt mõistetavalt kommunikeerida. Unistused, hirmud ja reaalsus kohtuvad. Uues keskkonnas saavad vastupanu ja vastupidavus uue iseloomu. Ökosüsteemi ülesehitus muutub, hierarhiad kujunevad ümber, sümbiondid ja parasiidid vahetavad rolle. Uued alged juurduvad. Paradiislik idee võrdsusest on hukutav utoopia.
Näitus on argise reaalsusega dialoogi astuv fiktsioon, tulevikku tunnetav poeetiline ja esteetiline jutustus. Lähenemine on spekulatiivne, mitmeti interpreteeritav ja määratlemata, lahtise lõpptulemusega.
Näituse eesmärgiks on inimolemuse ja inimkonna võimaluste poeetiline lahkamine seistes silmitsi määramatu tulevikuga. Aluseks on fiktiivne, ent reaalsust peegeldav situatsioon, mis sunnib tasahilju eemalduma senistest väärtustest ja märkamatult uusi norme aktsepteerima. Süsteemis tekkinud ebakõla, ootamatu „error” või nihe on muutnud maailma tasakaalu nii füüsiliselt kui mentaalselt. Tagajärjeks on tavapärase, iseenesest mõistetava kokkuvarisemine. Ilmneb, et antropotseenile iseloomulik inimese ülemvõim on tasakaalunihke tagajärjel ootamatult kergesti kõigutatav.
Sundolukord on kasvulava loomaks kujuteldamatuid situatsioone ja enneolematuid kombinatsioone. Varem teadvustamata võimalused saavad uueks reaalsuseks. Looduse kujutlusvõime pulbitseb ja valdab suutmatus uusi sensatsioone üheselt mõistetavalt kommunikeerida. Unistused, hirmud ja reaalsus kohtuvad. Uues keskkonnas saavad vastupanu ja vastupidavus uue iseloomu. Ökosüsteemi ülesehitus muutub, hierarhiad kujunevad ümber, sümbiondid ja parasiidid vahetavad rolle. Uued alged juurduvad. Paradiislik idee võrdsusest on hukutav utoopia.
Näitus on argise reaalsusega dialoogi astuv fiktsioon, tulevikku tunnetav poeetiline ja esteetiline jutustus. Lähenemine on spekulatiivne, mitmeti interpreteeritav ja määratlemata, lahtise lõpptulemusega.
(ENG)
The aim of the exhibition is the poetic analysis of human nature and the possibilities of humanity while facing an indefinite future. It is based on a fictitious situation mirroring reality that forces us to gradually withdraw from our existing values and imperceptible accept new norms. The dissonance in the system, an unexpected error or dislocation has changed the balance of the world both physically and mentally. This has resulted in the collapse of the usual self-evident status quo. It appears, that the dominance of humans that is characteristic of the Anthropocene is surprisingly easy to upset as a result of this offset in balance.
The unwelcome circumstances have been the basis of inconceivable situations and unprecedented combinations. Previously unheard-of possibilities become the new reality. The imagination of nature is boiling over and we are overcome by our incapability to unambiguously communicate the new sensations. Dreams, fears and realities intersect. Resistance and endurance are transformed into a new environment. The structure of the ecosystem changes, the hierarchies are reshaped, symbionts and parasites exchange their roles. New beginnings are taking root. The paradisical idea of equality is a fatal utopia.
The aim of the exhibition is the poetic analysis of human nature and the possibilities of humanity while facing an indefinite future. It is based on a fictitious situation mirroring reality that forces us to gradually withdraw from our existing values and imperceptible accept new norms. The dissonance in the system, an unexpected error or dislocation has changed the balance of the world both physically and mentally. This has resulted in the collapse of the usual self-evident status quo. It appears, that the dominance of humans that is characteristic of the Anthropocene is surprisingly easy to upset as a result of this offset in balance.
The unwelcome circumstances have been the basis of inconceivable situations and unprecedented combinations. Previously unheard-of possibilities become the new reality. The imagination of nature is boiling over and we are overcome by our incapability to unambiguously communicate the new sensations. Dreams, fears and realities intersect. Resistance and endurance are transformed into a new environment. The structure of the ecosystem changes, the hierarchies are reshaped, symbionts and parasites exchange their roles. New beginnings are taking root. The paradisical idea of equality is a fatal utopia.
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Ex Nihilo
solo exhibition (2019)
Hobusepea gallery, Tallinn
(EST)
Näitus "Ex Nihilo" käsitleb tehnoloogia adapteerumist argiteadvusega (ka vastupidi), mõjutades seeläbi kaasaegse visuaalkeele kujunemist. Esitatakse väljakutse aktuaalselt ootuspärastele ja kehtivatele printsiipidele, tõstes esile olulisi küsimusi tehnoloogia ja inimese vahelistest suhetest, arengu potentsiaalidest, originaalsusest ja anonüümsusest ning sellega kaasnevast eksistentsiaalsest olemusest. Juhtides tähelepanu digitaalselt genereeritud piltidele, pidurdades nende harjumuspäraselt kaootilist kulgemist tajuväljas, et analüüsida nende tähendust ja mõju kaasaegsel kunstiväljal.
Näitus on jätk varasematele projektidele, kus uurimusalusteks teemadeks on olnud post-interneti olemus kaasaegses kunstis, neo-materjalism ja muud subkultuurilised ilmingud ning digitaalajastu omapärad, mis on mõjutanud kaasaegse visuaalkeele kujunemist.
(ENG)
Exhibition "Ex Nihilo" is a continuation of previous researches and artistic practices. Concerning the adaption of technology to everyday consciousness (also vice versa), thus managing the formation of modern visual language. Challenging timely and valid principles, highlighting important issues between technology and human relationships, development potentials, originality vs anonymity and existential nature. Leading attention to digitally generated images, slowing down their habitually chaotic progression in the field of perception, to analyze their meaning and influence in the contemporary art field.
The exhibition is a continuation of earlier projects, where research-related topics have been the nature of post-Internet in contemporary art, neo-materialism and other subcultural manifestations, and the peculiarities of the digital age that have influenced the development of modern visual language.
* * *
Killer Image: Shifting Modes of Desire /
Maine igatsus: leida ja kaotada
duo-solo exhibition with Laivi (2017)
Hobusepea Gallery, Tallinn
Maine igatsus: leida ja kaotada
duo-solo exhibition with Laivi (2017)
Hobusepea Gallery, Tallinn
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(EST)
„On kaks vahendit, millega eesmärgipäraselt manipuleerida: mõte ja materjal. Kõikide võimaluste summa on hoomamatu kaos, milles stiihiat eirates korda luua. Otsides, seletades ja hetkeks mõistes, tõlgime vaimseid ideid füüsilisse mateeriasse. Realiseerides ideid materjalis, on kunsti olemus püüdmatu tõe püüdlik tegu: äratuntavate seoste loomine hoomatud idee ja allutatud mateeria vahel. Kvalitatiivne analüüs. Täius on kättesaamatu, sest kontseptsioon realiseerub mateerias paratamatult ebamääraselt, üldiselt või mitmetimõistetavalt. Visuaalne tulemus sõltub seejuures abstraktsiooni viisist. Valikud on stilistilised. Side materjali ja sellest valmistatu vahel on üheti füüsiline ja immateriaalne. Tunnetades valitud materjalide loomupäraseid omadusi, tähendusi ja piire, kohandame ja rakendame kontseptsiooni vastavalt. Ilmalik teostus testib inimõõtmelise objekti võimekust. Mida on üldse võimalik pildis ja sõnas kujutada? Väljendada olemise olemust? Kas seda komplekse mõtte tõlkimise võimekust hindamegi? Esmamulje ja välise baasilt? Kas pilt kõneleb? Kas keel, olles konkreetsem, on võimekam kui mateeria? Ühised sõnad ei taga ühist mõistmist, ent aitavad väljendada seisukohti, pakuvad tuge ja kaitset. Püüd mõista on inimlik, ent iga tõlgendus paratamatult isiklik, kihiti teadlik ja alateadlik. Kunstiteos on piir kunstniku sise- ja välismaailma vahel. Lähtepositsioon ja valikud muutuvad ajas koos identiteediga: personaalsete veendumuste ja sotsiaalse kuuluvusega. Käesolev ajahetk on seotud nii mineviku kui tuleviku valikutega.“ |
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(ENG)
„There are two instruments for purposeful manipulating: material and idea. The sum of all possibilities is an imperceptible chaos where order should be created while ignoring disorder. We are interpreting mental ideas into physical matter while searching, defining and understanding for a moment. The essence of art is an assiduous act of an unattainable truth, realizing ideas in physical matter: creating identifiable associations between the perceived idea and the conquered matter. Qualitative analysis. Perfection is unattainable as it is inevitable that the result of a concept becoming matter will be equivocal, general or ambiguous. The visual outcome depends on the way abstraction works. Choices are stylistical. The connection between material and the created product is both physical and immaterial. While sensing the intrinsic characteristics, meanings and restrictions of chosen materials, we adjust and apply the concept accordingly. Mundane realization tests the amplitude of a human-size object. What can we depict as an image and a word after all? To express the essence of existence? Is it only the aptitude of translating the complex idea that we really value? According to the first impression and appearance? Does an image talk? Is language, being more explicit, more efficient than matter? The same words won't guarantee understanding, however, this helps to express viewpoints, offer support and protection. Trying to understand is human; yet, every interpretation is definitely personal, with the mixed layers of consciousness and subconsciousness. An artwork is a border between the inner and outer world of an artist. The starting point and choices change together with one's identity: personal convictions and social belonging. The present moment of time is connected to the choices of both the past and the future.“
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Liquefied Presence (of the Ubiquitous Content)
group exhibition "Can't Go On, Must Go On / Võimatu minna, kindlasti minna" (2014)
Tallinn Art Hall
Exhibition reviews:
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How to continue from a situation, where skills that are developed during a long period of time do not have much of a value anymore? How to approach the process of painting, without covering a certain surface using your own personal (therefore subjective) brush strokes? Is it possible to turn the process of making a painting more objective/ universal if we eliminate one's personal touch, which in general is the point of contact between human and the physical reality of painting? How to interpret anonymous content being a mediator and an originator at the same time?
These and many other problems characterize my creative period at the moment, where I have to ask myself these unavoidable questions: how to paint in a situation where it is sort of impossible to go on, but it is essential to keep on going because there is no way back? How to avoid regression as a person?
Engaging in new and interesting topics, I have taken the responsibility to try to implement painting as a medium to explain to myself in particular, the need and ability to function in different situations. In this exhibition, the installation "Liquefied Presence (of the Ubiquitous Content)" is the sequel to the topics studied in my Master's thesis. My exhibition is flirting with the concept of anonymous stock imagery that is shared online as freeware. I work with the freely disseminate materials, mutating and transforming their visual identity. The computer software performs the role of an anonymous pattern generator. By applying painting techniques that I have acquired during the years, new, unique visual shapes have been installed in a gallery room. From this point I leave these questions hanging in the air:
Why can't we determine an art piece that is digitally constructed as a painting, if the approach to the work of creation is no different from the traditional execution methods? After all, painting as a medium, as well as the existence of the artwork, as a whole, does not depend on the method with/in which it is created. The final result, in either case, is a surface that is covered with color.
Installation view photos by Johannes Säre
