Ex Nihilo
solo exhibition (2019)
Hobusepea gallery, Tallinn
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.
PRESS RELEASE_in English
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.
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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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„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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PRESS RELEASE_in English
„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. Visual outcome depends on the way abstraction works. Choices are stylistical. Connection between material and the created product is both phyhical 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, these help 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. 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 to 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, it's 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 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
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#anonymous(im)possibilitiesintheivorytower #xoxo
solo exhibition (2014)
Hobusepea gallery, Tallinn
The nature of contemporary era in general has a real strong sense of mortality to me. Pop culture with its sub-genres, trends, technology and the ubiquitous presence of the WWW. The uprising novelties in cultures and arts that appear unprecedented have an intense dose of fresh entities that inevitably are about to vanish. It has a symbiotic connection to the ancient human desire to create, to be part of something never witnessed before. That gives contemporary phenomena and it’s presence immortal value.
How is the contemporary human condition abstracted when concerning the presence of the time in the history of mankind and what are the domestic aspects that reflect the day and age that one is living in? The ubiquitous Internet as an evolutionary platform carries the information that somehow reflects the presence of the contemporary mind. The WWW has grown into a limitless/ borderless society of its own, where the act of the individual entity has an anonymous role to play.
Since the internet is an evolutionary platform for carrying information, the urge of predicting the hereafter before it actually appears have been inherent to me ever since. As a visual artist I’m interested in the recently influenced content that has a huge impact on the visual language in general. The physical room surrounding us has been transformed and imbued by the physicality of internet and it’s aesthetics. Once a rare phenomenon the presence of the ubiquitous content has become so attached and fused to the modern world that it is inevitable to remove its influential nature from the contemporary society.
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Glowing Generation / Hiilgav generatsioon
solo exhibition (2012)
Draakoni Gallery, Tallinn
Exhibition review:
http://www.sirp.ee/s1-artiklid/c6-kunst/uehiskondlik-aktivism-voi-ohutu-esteetika/
