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Afterthoughts from visiting the contemporary art festival, ART IST KUKU NU UT in Tartu, Estonia. Open from 15.09. to 15.11. 2011. For Norwegian text, scroll down. Art Must Be Beautiful<\/strong><\/em><\/span><\/span><\/span>. <\/em><\/span><\/span><\/span>Exhibition with works<\/span><\/span><\/span> <\/em><\/span><\/span><\/span>by Marina Abramovi\u0107 at Tartu Art Museum.<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n Foaming spit blended with pieces of half-chewed onion runs down Marina Abramovi\u0107\u00b4chin in her piece <\/span><\/span><\/span>The Onion<\/em><\/span><\/span><\/span> (1996). The video shows a close up of her beautiful and aged face suffering from the pain it takes to eat a raw onion. At the same time we can hear her mutter;<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n I’m tired of changing planes so often, waiting in the waiting rooms, bus-stations, train-stations, airports. I am tired of waiting for endless passport controls. Fast shopping in shopping malls. I am tired of more career decisions: museum and gallery openings, endless receptions, standing around with a glass of plain water, pretending that I am interested in conversation. I am tired of my migraine attacks. Lonely hotel room, room service, long distance telephone calls, bad TV movies. I am tired of always falling in love with the wrong man. I am tired of being ashamed of my nose being too big, of my ass being too large, ashamed about the war in Yugoslavia. I want to go away.<\/em><\/span><\/span><\/span><\/p>\n Abramovi\u0107\u00b4 art is for me countless attempts with redefining femininity through bodily presence.<\/span><\/span><\/span> There is a crack, a crack in everything, that is where the light gets in<\/em><\/span><\/span><\/span>, Leonard Cohen sings. The sentence appears in my consciousness when I am digesting the exhibition together with the other impressions from Tartu. The intensity in Abramovi\u0107\u00b4s art is to show her own incompleteness, and how she is striving with accepting herself. She is stunningly beautiful, but <\/span><\/span><\/span>always<\/em><\/span><\/span><\/span> <\/span><\/span><\/span>falls in love with the wrong man<\/em><\/span><\/span><\/span>, and apparently she has taken several plastic surgery operations lately. <\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n One could ask whether there lies a contradiction in her feministic approach and her self-obsessed works? I am thinking that this mistake, the vanity, her weak point, makes her such an interesting and successful artist. The awareness of her own beauty is the driving power in many of her pieces. <\/span><\/span><\/span>The Hero (2001)<\/em><\/span><\/span><\/span>, dressed in black, she is sitting on a white horse holding a white flag that floats in the wind. Who is it she wants to make peace with, and why? <\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n The work that also holds the title of the exhibition, <\/span><\/span><\/span>Art Must Be Beautiful<\/em><\/span><\/span><\/span>,<\/span><\/span><\/span> Artist Must Be Beautiful<\/em><\/span><\/span><\/span> (1975) shows a naked, young Abramovi\u0107 combing her hair with frenetic energy, whilst repeating to herself these two declarations again and again. In the video where she is eating the onion her beauty is abjected out of her body. The curse, the reason why she <\/span><\/span><\/span>always fall in love with the wrong man<\/em><\/span><\/span><\/span> gutters out of her eyes as bitter tears, but repeatedly choking on the onion she coercively continues to eat. This insane mixture of beauty and the grotesque makes Abramovi\u0107\u00b4s art to an attraction and shows how the dualistic battle in our own culture that divides mind and body, man and woman, good and evil, is not happening between two sides (me and you, us and the others) but is a deeply twisted conflict in the subject\u00b4s fight with herself.<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n P\u00f5hjamaade Paviljon. <\/strong><\/span><\/span><\/span>Ytter participate at ART IST KUKU NU UT 2011.<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n In the beginning were the words; ART IST KUKU NU UT. A contemporary art-festival in Tartu, the city that lies deep inside the Estonian forest, where the river Emaj\u00f5gi floats with no haste, like a swelled atrium, the front court of the heart. Apparently Tartu is a small sleepy town that you only reach after a two and a half hours bus drive from Tallin, the capital of Estonia. <\/span><\/span><\/span><\/p>\n ART IST KUKU NU UT has the ambition to speed up the pulse of the city by injecting contemporary art from national and international artists into its vains.<\/span><\/span><\/span><\/p>\n Ytter were invited by Rael Artel og Kaisa Eiche, the curators of ART IST KUKU NU UT, to participate in the festival with a seminar about the role of the curator versus the role of the artist. This resulted in a Nordic Pavilion, a P\u00f5hjamaade Paviljon, in Gallerii Noorus. We brought and mounted our pink parachute and made an exhibition with post-capitalistic works that underlined an atmosphere of Eutopia<\/em>. In this space, the Nordic Pavilion, where it was good to be<\/em>, artists and curators from Baltic, European and Nordic countries were gathered to give presentations and conversate with each other. Egg and bacon was fried on a Saturday morning for the guests that arrived both Tartu and Ytter at this specific occasion.<\/span><\/span><\/span><\/p>\n Xism<\/strong><\/em><\/span><\/span><\/span>.<\/em><\/span><\/span><\/span> Presentation by Roberto N. Peyre in the Nordic Pavilion.<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n Roberto N. Peyre presented an exhibition he curated this spring and summer within the Ethnographic Museum in Stockholm, called <\/span><\/span><\/span>Xism<\/em><\/span><\/span><\/span>. The exhibition developed through a unexpected process where Peyre originally had the role as advisor for the exhibition <\/span><\/span><\/span>Vodou<\/em><\/span><\/span><\/span>, a topic the museum found a bit touchy to handle on their own. Since Roberto also is an artist it was difficult not to intervene in the process with his own ideas. The Museum got a rich program with contemporary practices dealing with vodou called <\/span><\/span><\/span>Xism<\/em><\/span><\/span><\/span>. Among the invited artist where Eugene, Jean H\u00e9rard Celeur og Racine Polycarpe from the Haitian artist-collective Atis Rezistans. To think of art as a type of resistance is easy to follow. But in this specific occasion the use of the notion becomes more radical; art is the same as growing resistance towards death. Atis Rezistans are situated in Grande Rue District, one of the neighborhoods with the worst reputation in Haiti’s capital Port au Prince. The source of their practice is found material or garbage. Artistic practice as a way to survive is a deeply serious situation. <\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n One of the questions rising from this way of thinking could be: If you are not fighting against death in your work, what are you then fighting against or fighting for?\u00a0 The conversation Ytter had with Roberto raised several approaches to problems such as; an object could be accepted as holy when it appeared inside an exhibition about vodou, but the same object is not believed to have an inherent power when it is just art. This shows how incredibly important the context is for the reading of an object. Another question that rises, is whether it is a paradox that established institutions which represent specific ways of reading art also tries to contain the experimental or even metaphysical art that holds an immanent transcendence? What kind of room do we need to challenge how we understand ourselves? Why do we think that the rigid hierarchies in the art world can foster ground-breaking art? Or do we actually need to give form to the formless and words to the unspoken to make them communicate?<\/span><\/span><\/span><\/p>\n Acts of Refusal<\/strong><\/em><\/span><\/span><\/span>. <\/em><\/span><\/span><\/span>International exhibition at Tartu Art House.<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n The words \u00c4RGE USKUGE T\u00d5DE are written on a banner that is hanging on the fa\u00e7ade of the building that holds the international exhibition during ART IST KUKU NU UT, <\/span><\/span><\/span>Acts of Refusal<\/em><\/span><\/span><\/span>, curated by Ellen Blumenstein og Kathrin Meyer. It means <\/span><\/span><\/span>Don\u00b4t Believe in Truth<\/em><\/span><\/span><\/span>. Or maybe; do not believe in established truth. This is a group show with 14 national and international artists. The banner is made by the artist duo Libia Castro and \u00d3lafur \u00d3lafsson and is the closest to the exhibition-title. Barthol Lo Mejor, with a bachelor degree in Semiotics from Tartu University, showed three works that he insisted to mention as pop-op-art, with the poetic title <\/span><\/span><\/span>Shades of Gray<\/em><\/span><\/span><\/span>. Three images with Dollar, Euro and Pound signs where printed on canvas. In every picture there was \u201ca mistake\u201d (there IS a crack in everything…) that creates an interruption in the reading. This young man proved to be insisting on diverse topics, which are impossible to think without words. But in that case he had to deal with strong resistance from Ytter.<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n Laura Toots is another young Estonian artist that impressed me with her work <\/span><\/span><\/span>Turnaround<\/em><\/span><\/span><\/span> (2011). The video shows details from an aeroplane, and makes me think that the artist must have someone in her family who is a pilot, otherwise it would be impossible to do such intimate filming at the airport. It is the security-routines that have to be done before departure that are filmed. The engine is started and turned off again. The plane as a symbol has in many ways become heavily loaded after 11.09.2001. Toots uses this in her work, and manages to build up an intense narrative without too many elements. The stunning thing about this work is in the end how the aesthetics of the plane, or the beauty if you want, are stronger than the trauma made by propaganda the last few years. So this work is part of a healing process that the Western World has added to its own history. Toots is changing how we read the plane as a symbol.<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n
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