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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.
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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

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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

Leaving Tartu<\/strong><\/em><\/span><\/span><\/span>. <\/strong><\/span><\/span><\/span>Y-gallery. Work by four Estonian artstudents.<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

I take a ticket for the queue, but understand that there is no reason to wait as the numbers are randomly pulled out of the machine. If I should follow the logic of standing polite in a line, I would probably never get into the artwork itself. And that is maybe why it is so difficult to leave Tartu? This piece <\/span><\/span><\/span>Another work<\/em><\/span><\/span><\/span> (2011), electronically controlled spatial installation created by Toomas Thetloff, forces the viewer to make decisions. When the entrance-door opens with a electronic sound every now and then, one person at the time can pass into the work. You enter into a dark room where nothing happens. I reason that noone came out again, so there must be a way further in to the darkness. There is door after door. No light. One door goes the opposite way than the others, and I think it is locked. What now? Where are the others? And then I realize that I have to pull the door instead of pushing it, and the walk in darkness can continues.<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Open questions<\/strong><\/span><\/span><\/span><\/p>\n

I found the way out of Thetloff\u00b4s work, but I am not sure whether I managed to leave Tartu as the title of the exhibition problematize. There are some questions hanging in the air afterwards; what would be a relevant written language to accompany contemporary art? Why do Nordic artist write more about their own and other artists art than they do in the Baltic countries? Or like Marie Nerland posted in her presentation in the end of her presentation:<\/span><\/span><\/span><\/p>\n

I think there is a lot of work to do in terms of inventing new formats. And how we think of, write about and curate contemporary art. To end with some open questions – What one wants to work with and fight for?<\/em><\/span><\/span><\/span><\/p>\n

What kind of art one would like to defend, for whom and why?<\/em><\/span><\/span><\/span><\/p>\n

For further reading: <\/span><\/span><\/span>http:\/\/www.artistkukunuut.org\/en\/<\/p>\n

*<\/p>\n

Du kan lengte, uten \u00e5 vite etter hva. <\/strong><\/p>\n

– spredte tanker fra Ytters bes\u00f8k I Tartu p\u00e5 samtidskunstfestivalen ARTISTKUKUNUUT.<\/p>\n

Art Must Be Beautiful<\/strong>. <\/em>Utstilling med verk av Marina Abramovi\u0107 p\u00e5 Tartu Art Museum, kuratert av Rael Artel.<\/p>\n

Fr\u00e5dende spytt blander seg med biter av halvtygget r\u00e5 l\u00f8k som renner ut av munnen til Marina Abramovi\u0107 i verket The Onion (1996). Videoen viser n\u00e6rbildet av hennes vakre, men eldede ansikt som lider under smertene hun gjennomg\u00e5r ved \u00e5 spise en r\u00e5 l\u00f8k. Samtidig h\u00f8rer vi henne mumle;<\/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><\/p>\n

For meg handler Abramovi\u0107 sin kunst om utallige fors\u00f8k p\u00e5 \u00e5 redefinere femininitet gjennom fysisk tilstedev\u00e6relse. There is a crack, a crack in everything, that is where the light gets in<\/em>, synger Leonard Cohen. Denne setningen dukker opp i min bevissthet n\u00e5r jeg ford\u00f8yer denne utstillingen og alle opplevelsene fra Tartu. Styrken i Abramovi\u0107 sitt kunstnerskap er \u00e5 vise frem sin egen ufullkommenhet, og hvordan vi som individer strever med \u00e5 akseptere oss selv. Hun velger alltid feil menn, hun er smellvakker, hun har i senere tid tatt flere plastiske operasjoner, blir det fortalt. Ligger det ikke en selvmotsigelse i hennes selvopptatthet blandet med feministiske ytringer, kan en sp\u00f8rre seg? Men jeg tenker at det er denne feilen, forfengeligheten, hennes svakhet, som gj\u00f8r at hun er en s\u00e5 stor kunstner. Bevisstheten om sin egen skj\u00f8nnhet er drivkraften i mange av arbeidene hennes. The Hero (2001) <\/em>, sortkledt sitter hun, en voksen kvinne, p\u00e5 en hvit hest med et hvitt flagg som vaier i vinden. Hvem er det hun vil slutte fred med? Og hvorfor? Utstillingens tittelarbeid; Art Must Be Beautiful<\/em>, Artist Must Be Beautiful<\/em> (1975) viser en ung naken Abramovi\u0107 gre sitt eget h\u00e5r med en rasende kraft mens hun igjen og igjen gjentar lavt for seg selv disse to p\u00e5standene. I arbeidet med l\u00f8ken abjekteres skj\u00f8nnheten ut av kroppen, hun kaster sin egen skj\u00f8nnhet ut, forbannelsen, \u00e5rsaken til at hun alltid ender opp med feil menn? Den renner ut av \u00f8ynene som bitre t\u00e5rer, den fr\u00e5der om munnen som stadig brekker seg, men allikevel tvangsmessig fortsetter \u00e5 spise. Det er denne vanvittige blandingen av motsetningene, det skj\u00f8nne og det groteske, som gj\u00f8r Abramovi\u0107 sine arbeider til en attraksjon. De viser at den dualistiske kampen i v\u00e5r kultur som skiller kropp og sinn, mann og kvinne, godt og ondt, i all hovedsak ikke forg\u00e5r mellom to parter, oss og dem, men er dypt sammenfiltret i subjektets egen kamp med seg selv.<\/p>\n

Nordisk Paviljong<\/strong><\/p>\n

I begynnelsen var ordet; ARTISTKUKUNUUT. En samtidskunstfestival i Tartu, byen langt inne i de baltiske skogene, der elva Emaj\u00f5gi flyter uten \u00e5 forhaste seg, som en svulmende atrie, hjertets forg\u00e5rd. Tartu er tilsynelatende en liten sovende by som du f\u00f8rst kommer til etter en to og en halv times kj\u00f8retur med buss fra Estlands hovedstad, Tallin. ARTISTKUKUNUUT er en ambisjon om \u00e5 speede opp byens puls ved \u00e5 injisere samtidskunst fra inn og utland.<\/p>\n

Ytter ble invitert av Rael Artel og Kaisa Eiche, kuratorene for ARTISTKUKUNUUT, til \u00e5 bidra p\u00e5 festivalen med et seminar som skulle ta for seg kunstnerrollen versus kuratorrollen. Dette resulterte i en Nordisk Paviljong, en P\u00f5hjamaade Paviljon, i et av byens visningsrom, en s\u00f8ylehall ved navn Galleri Noorus. Der spente vi opp v\u00e5r rosa fallskjerm, viste\u00a0 arbeider som har en post-kapitalistisk undertone og samtidig underbygger en\u00a0 f\u00f8lelse av Eutopia <\/em>. Dette stedet, i den Nordiske Paviljongen, hvor det er godt \u00e5 v\u00e6re<\/em>, samles kunstnere og kuratorer fra baltiske, europeiske og nordiske land til presentasjoner og diskusjoner. Her stekes det egg og bacon p\u00e5 en l\u00f8rdagsmorgen, til gjestene som for anledningen har kommet til b\u00e5de Tartu og Ytter p\u00e5 samme tid.<\/p>\n

Xism<\/strong>.<\/em> Presentasjon av Roberto N. Peyre i Nordisk Paviljong.<\/p>\n

Roberto N. Peyre holdt en presentasjon i den Nordiske Paviljongen om utstillingen han kuraterte p\u00e5 Etnografiska Museet i Stockholm, Xism<\/em>, denne v\u00e5ren og sommeren. Utstillingen kom til gjennom en uforutsigbar prosess der Peyre opprinnelig skulle v\u00e6re r\u00e5dgiver for utstillingen Vodou<\/em>, en tematikk museet fant det \u00f8mt\u00e5lelig \u00e5 jobbe med p\u00e5 egenh\u00e5nd. Men siden Roberto ogs\u00e5 er kunstner, var det ikke lett \u00e5 la v\u00e6re \u00e5 blande seg inn med egne ideer. Og til slutt fikk museet et fyldig program med samtidskunst, Xism<\/em>, som aktualiserer vodou i v\u00e5r egen tid. Blant de inviterte kunstnerene var Andre Eugene, Jean H\u00e9rard Celeur og Racine Polycarpe fra det haitiske kunstkollektivet Atis Rezistans. \u00c5 ta utgangspunkt i kunst som motstand er en tanke det er lett \u00e5 forst\u00e5. I denne konkrete sammenhengen dreier det seg om en mer radikal bruk av begrepet; at kunst er det samme som \u00e5 bygge opp motstand mot d\u00f8den. Atis Rezistans holder til i distriktet Grande Rue, et av de mest beryktetde nabolagene i Haitis hovedstad Port au Prince. Utgangspunktet for deres praksis er funnet materiale, dvs s\u00f8ppel. At kunst ut\u00f8ves som en m\u00e5te \u00e5 overleve p\u00e5 er et dypt alvorlig anliggende. Et sp\u00f8rsm\u00e5l som f\u00f8des av denne holdningen til kunst er; Hvis du som kunstner ikke kjemper mot d\u00f8den i ditt kunstnerskap, hva er det du da kjemper for eller mot?\u00a0 Samtalen Ytter hadde med Roberto reiste blant annet problemstillingen; et objekt kan aksepteres som hellig n\u00e5r det opptrer innenfor en utstilling som handler om Vodou, men regnes ikke for \u00e5 ha en iboende kraft n\u00e5r den vises som kunst. Dette viser hvor viktig rammen eller konteksten kan v\u00e6re for lesningen av objekter. Er det et paradoks at etablerte institusjoner som representerer en rekke uskrevne lover for lesning av kunst, ogs\u00e5 skal romme det eksperimentelle eller endog det metafysiske som innehar en iboende overskridelse? Hva slags rom m\u00e5 skapes for \u00e5 utfordre v\u00e5r egen forst\u00e5else av oss selv? Hvorfor tror vi at kunsthierarkienes rigide systemer kan fostre banebrytende kunst? Eller er det slik at det forml\u00f8se m\u00e5 gis form for \u00e5 eksistere, og at det ordl\u00f8se m\u00e5 uttales for \u00e5 kommunisere?<\/p>\n

Acts of Refusal<\/strong><\/em>. <\/em>Internasjonal utstilling p\u00e5 Tartu Art House.<\/p>\n

Ordene, \u00c4RGE USKUGE T\u00d5DE, st\u00e5r skrevet p\u00e5 et banner som henger utenp\u00e5 bygningen som rommer den internasjonale utstillingen under ARTISTKUKUNUUT kuratert av Ellen Blumenstein og Kathrin Meyer. Det betyr ikke tro p\u00e5 sannheten<\/em>. Eller ogs\u00e5, ikke tro p\u00e5 etablerte sannheter, tenker jeg. Dette er en gruppeutstilling med 14 kunstnere fra inn og utland. Banneret er laget av kunstnerduoen Libia Castro og \u00d3lafur \u00d3lafsson og er det som ligger tettest opptil utstillingstittelen.<\/p>\n

Barthol Lo Mejor, med bachelor i semiotikk fra Tartu, viste tre verk som han selv insisterte p\u00e5 \u00e5 kalle pop-op-art med den poetiske tittelen Shades of Gray<\/em>. Verkene er tre print som viser flater fylte med tegnene for dollar, euro og pund. I hvert bilde er det en \u00abfeil\u00bb (ther IS a crack in everything…) som skaper et brudd i lesningen. Denne unge mannen viser seg \u00e5 insistere p\u00e5 litt av hvert, blant annet at det ikke g\u00e5r an \u00e5 tenke uten ord, men her m\u00f8tte han sterk motstand i Ytter.<\/p>\n

En annen Estlending som etter min oppfatning utpeker seg er Laura Toots med verket Turnaround<\/em> (2011). Videoverket viser detaljer fra et fly, som f\u00e5r meg til \u00e5 tenke at kunstneren m\u00e5 ha bekjentskaper eller familie som er flygere, ellers ville ikke denne intime filmingen av flyets inventar v\u00e6rt mulig. Uten at jeg vet det, er det flyets sikkerhetssystemer som filmes, alt som m\u00e5 gj\u00f8res klart f\u00f8r det skal lette. Motoren startes og skrues av igjen. Flyet som symbol har blitt ladet mange hakk etter 11.09.2001. Dette benytter Toots seg av og klarer \u00e5 bygge opp en intens spenning med minimal historiefortelling. Det sl\u00e5ende er allikevel at flyets estetikk, eller skj\u00f8nnhet om du vil, overd\u00f8ver traumene skapt av propagandaen vi har v\u00e6rt utsatt for de siste \u00e5rene. Slik at dette videoarbeidet er med p\u00e5 \u00e5 hele s\u00e5rene Vesten har p\u00e5f\u00f8rt seg selv. Toots arbeid endrer m\u00e5ten vi leser flyet som symbol p\u00e5.<\/p>\n

Leaving Tartu<\/strong><\/em>. <\/strong>Y-gallery. Verk av 4 Estiske kunststudenter.<\/p>\n

Jeg trekker en k\u00f8lapp, men skj\u00f8nner snart at det ikke er noen grunn til \u00e5 vente p\u00e5 tur fordi k\u00f8lappene er vilk\u00e5rlig nummerert. Hvis jeg skulle f\u00f8lge logikken I \u00e5 st\u00e5 h\u00f8ffelig I k\u00f8 ville jeg sannsynligvis aldri entre selve verket. Her ligger kanskje hemmeligheten bak hvorfor det er s\u00e5 vanskelig \u00e5 forlate Tartu? Verket Another work<\/em> (2011), en elekronisk konrtollert rommelig installasjon av Toomas Thetloff, tvinger publikum til \u00e5 ta avgj\u00f8relser. N\u00e5r inngangsd\u00f8ren \u00e5pner med en inntrengende lyd kan \u00e9n person av gangen entre verket. Jeg kommer inn i et bekm\u00f8rkt rom hvor ingenting hender. Fordi jeg ikke har sett noen komme ut igjen av inngangsd\u00f8ren, resonerer jeg meg frem til at det m\u00e5 v\u00e6re en vei videre i m\u00f8rket. Jeg g\u00e5r gjenneom d\u00f8r etter d\u00f8r. Det er helt m\u00f8rkt. En av d\u00f8rene g\u00e5r motsatt vei av de andre, noe som resulterer i at jeg tror at den er l\u00e5st. Hva n\u00e5? Hvor har det blitt av alle sammen? Og s\u00e5 skj\u00f8nner jeg plutselig at jeg m\u00e5 dra istedenfor \u00e5 skyve, og ferden i m\u00f8rket kan fortsette…<\/p>\n

\u00c5pne sp\u00f8rsm\u00e5l<\/strong> <\/strong><\/p>\n

Til slutt fant jeg vegen ut an Another work<\/em>, men jeg er ikke sikker p\u00e5 om jeg virkelig har forlatt Tartu, slik tittelen p\u00e5 utstillingen problematiserte. Noen \u00e5pne sp\u00f8rsm\u00e5l henger igjen I luften. Hva er et relevant spr\u00e5k for samtidskunst? Hvorfor er det slik at nordiske kunstnere skriver mer om sin egen og andren kunst enn sine baltiske kolleger? Eller slik Marie Nerland avsluttet sin presentasjon under seminaret I den nordiske paviljongen:<\/p>\n

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