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\n","title":"Andreas Kalkun"}]},"contributors":null},"terms":{"nodes":[{"name":"The Eyes of My Other","slug":"the-eyes-of-my-other","description":"April 2022","id":"dGVybTo0","issueFields":{"issueColor":"#bdffab","accentColor":"#000000","productUrl":"https://shop.ashadecolder.com/products/the-eyes-of-my-other"}}]}}],"categoryName":"Features","siteData":{"generalSettings":{"title":"A Shade Colder","description":"A Shade Colder is a platform for discussions about and around art in Estonia and beyond."},"seo":{"openGraph":{"defaultImage":{"sourceUrl":"https://admin.ashadecolder.com/wp-content/uploads/2022/04/og-image.jpg","mediaDetails":{"width":1600,"height":630}}}},"menu":{"menuItems":{"nodes":[{"id":"cG9zdDozNA==","path":"/about/","label":"About","target":null},{"id":"cG9zdDo3NQ==","path":"/contributors/","label":"Contributors","target":null},{"id":"cG9zdDo1MzQ=","path":"https://shop.ashadecolder.com/","label":"Shop","target":"_blank"},{"id":"cG9zdDo1MzI=","path":"/stockists/","label":"Stockists","target":null}]}},"categories":{"nodes":[{"id":"dGVybTo1","uri":"/category/editorial/","name":"Editorial","slug":"editorial"},{"id":"dGVybTo2","uri":"/category/features/","name":"Features","slug":"features"},{"id":"dGVybTo3","uri":"/category/interviews/","name":"Interviews","slug":"interviews"},{"id":"dGVybTo4","uri":"/category/commentary/","name":"Commentary","slug":"commentary"},{"id":"dGVybTo5","uri":"/category/essays-poetry/","name":"Essays & Poetry","slug":"essays-poetry"},{"id":"dGVybToxMA==","uri":"/category/past-present/","name":"Past & Present","slug":"past-present"},{"id":"dGVybToxMQ==","uri":"/category/video/","name":"Videos & Podcast","slug":"video"},{"id":"dGVybToxMg==","uri":"/category/events/","name":"Events","slug":"events"}]},"options":{"currentIssue":{"currentIssue":{"edges":[{"node":{"uri":"/issue/practices-in-dialogue/","name":"Practices in Dialogue","description":"October 2025","id":"dGVybTozMw==","issueFields":{"issueColor":"#c7d7bf","accentColor":"#4c4332","productUrl":null,"coverImage":{"node":{"id":"cG9zdDo0NDA1","sourceUrl":"https://admin.ashadecolder.com/wp-content/uploads/2025/10/kaas-scaled.jpg","mediaItemUrl":"https://admin.ashadecolder.com/wp-content/uploads/2025/10/kaas-scaled.jpg","srcLQIP":"https://admin.ashadecolder.com/wp-content/uploads/2025/10/kaas-45x55.jpg","srcSet":"https://admin.ashadecolder.com/wp-content/uploads/2025/10/kaas-1095x1350.jpg 1095w, https://admin.ashadecolder.com/wp-content/uploads/2025/10/kaas-243x300.jpg 243w, https://admin.ashadecolder.com/wp-content/uploads/2025/10/kaas-831x1024.jpg 831w, https://admin.ashadecolder.com/wp-content/uploads/2025/10/kaas-768x947.jpg 768w, https://admin.ashadecolder.com/wp-content/uploads/2025/10/kaas-45x55.jpg 45w, https://admin.ashadecolder.com/wp-content/uploads/2025/10/kaas-639x788.jpg 639w, https://admin.ashadecolder.com/wp-content/uploads/2025/10/kaas-822x1013.jpg 822w, https://admin.ashadecolder.com/wp-content/uploads/2025/10/kaas-913x1125.jpg 913w, https://admin.ashadecolder.com/wp-content/uploads/2025/10/kaas-1461x1800.jpg 1461w, https://admin.ashadecolder.com/wp-content/uploads/2025/10/kaas-1598x1969.jpg 1598w, https://admin.ashadecolder.com/wp-content/uploads/2025/10/kaas-1246x1536.jpg 1246w, https://admin.ashadecolder.com/wp-content/uploads/2025/10/kaas-1662x2048.jpg 1662w, https://admin.ashadecolder.com/wp-content/uploads/2025/10/kaas-scaled.jpg 2077w","altText":"","caption":null,"title":"kaas","mediaDetails":{"width":2077,"height":2560}}}},"posts":{"nodes":[{"id":"cG9zdDo0Mjcx","title":"Practices in Dialogue","slug":"practices-in-dialogue","uri":"/practices-in-dialogue/","date":"2025-10-29T10:57:57","excerpt":"“Anna-Stina Treumund, what would you do today?” asks Rebeka Põldsam in an article that opens the 10th issue of A Shade Colder, Practices in Dialogue. Anna-Stina Treumund was a bold artist, recognised as the first lesbian artist in Estonia. She was also a good friend of the author and a posthumous solo exhibition at Kumu, […]
\n","content":"\n“Anna-Stina Treumund, what would you do today?” asks Rebeka Põldsam in an article that opens the 10th issue of A Shade Colder, Practices in Dialogue.
\n\n\n\nAnna-Stina Treumund was a bold artist, recognised as the first lesbian artist in Estonia. She was also a good friend of the author and a posthumous solo exhibition at Kumu, the largest art museum in Estonia, explores her contribution. Like friendly ghosts, the friends or people you admire and who are no longer here can often still inspire us to be better versions of ourselves. The dialogue continues.
\n\n\n\nIn this issue, A Shade Colder focuses on these and other kinds of dialogues between artists, performers and curators whose practices are shaping the art scene in Estonia and elsewhere.
\n\n\n\nIn the interview by Kathrin Heinrich, performance artist Netti Nüganen opens up about how she builds worlds on stage: often starting from learning a new technique, such as playing the banjo or black metal singing and then embarks on creating the performance based on these skills.
\n\n\n\nAbsurd moments and humour are something that might form a thread that connects Nüganen and the worlds created by artist Kaarel Kurismaa. Interviewed by artist and close collaborator Kiwa, Kurismaa openly reflects on his long practice that began by organising happenings while in art school in the 1950s. In early 2026, Kurismaa will open a solo show at Kunsthalle Zürich.
\n\n\n\nVanina Saracino writes about the works of artist Kristina Õllek, one of the most internationally active artists in Estonia at the moment. Saracino has been in dialogue with Õllek for many years. “How can image-making reveal what remains unseen, the invisible infrastructures and living processes that sustain the planet?” she asks.
\n\n\n\nLast but not least, I interview Paul O’Neill, a curator based in Helsinki, whose project, started many years ago, aims to bring curators of the region together and create a non-hierarchical platform to discuss the roles and activities that shape our everyday – a call for dialogue with the potential to find completely new forms of practice.
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\n","title":"Kaarin Kivirähk"}]},"contributors":null}},{"id":"cG9zdDo0MTg2","title":"Anna-Stina Treumund, what would you do today?","slug":"anna-stina-treumund-what-would-you-do-today","uri":"/anna-stina-treumund-what-would-you-do-today/","date":"2025-10-29T10:54:18","excerpt":"Whenever I go to a protest, a feminist or queer gathering or event, I find myself wondering if Anna-Stina Treumund would have liked it. Or sometimes, whether she would have been bored and interfered somehow. Once, she slid over the audience down the auditorium at a Chicks on Speed performance in Tallinn, where the band […]
\n","content":"\nWhenever I go to a protest, a feminist or queer gathering or event, I find myself wondering if Anna-Stina Treumund would have liked it. Or sometimes, whether she would have been bored and interfered somehow. Once, she slid over the audience down the auditorium at a Chicks on Speed performance in Tallinn, where the band gave her a golden cape as a welcome to the stage. Chicks on Speed had been a cult queer feminist band, but at the Tallinn concert one member played from a video call, which felt like Tallinn fans were not relevant for the band. This show was certainly saved by Treumund. But who was Anna-Stina Treumund, the self-proclaimed first lesbian artist of Estonia?
\n\n\n\nFirst, Anna-Stina Treumund studied photography in Tartu, where she found close friends and models. Her early work is largely influenced by fashion photography, gay and women photographers who often portrayed themselves. Treumund’s staged photographs of her younger sister and herself come across as tools of introspection. Yet, for the viewer, these photographs say little about the artist’s inner world; instead, they offer a display for reflecting upon oneself. Next to depictions of mental states, often sad and oppressed, the two other significant motifs in her early work are intimacy and family (e.g., the series Studies of Sexuality 2005–2017). It seems that she always contemplated becoming a mother (e.g., Princess Diaries (2008); Mothers (2011)). In two or three of her series, she depicted her longing for connection with her family members (Family (2006)). In other works, she sought ways to depict functional relationships based on mutual trust and open dialogue, or what a lack of it looks like, or told stories about things swept under the covers (e.g., Silent Dialogues (2007)). Without meaningful social connections, a person feels lonely, and thus, many of Treumund’s photographs describe loneliness as a feeling of being cut off.
\n\n\n\n\n\n\n\nIn 2010, Treumund presented her MA graduation exhibition, You, Me and Everyone We Don’t Know, exhibiting portraits of herself and her sister, her friends and members of the lesbian community around her, including the video We’re Going to Have a Baby, showing a lesbian couple dancing. At this exhibition, the self-portrait Queer, where she is carried by another woman, was surrounded by lists of publicly bisexual, lesbian and queer women artists, writers and theorists handwritten on the wall. The events programme for the exhibition included a seminar, where Estonian feminist scholars, critics and other artists were introduced to queer theory as something that we could employ in our thinking. It was a time when feminist research was much more marginal in Estonian academic circles and queer theory was still less widespread globally compared to the 2020s.
\n\n\n\nTreumund knew she was not the first lesbian artist in Estonia, but in 2010, others simply would not define their artistic position as such. It must be emphasised that publicly claiming a lesbian position was a wildly bold statement – along with the introduction to queer theory – however, it was enthusiastically welcomed in the art field and by the audience. Previously, there had been some discussion about gay sensibility and a public lecture referring to Lee Edelman at a 2009 conference Men, Women and Others organised by the Gender Studies Research Group (RASI) at Tallinn University. Hence, Treumund’s demand (or command) to think queerly landed on receptive ground. Since then, queer theory has been employed in the analysis of existing works by gay and lesbian artists in Estonia as well as works depicting gays, lesbians, drag queens, and Pride marches with greater nuance and clarity. Perhaps this disclosure of sexual identities – as an alternative to the ambivalence which is often justified with apolitical or conservative statements – came across as threatening to the patriarchal culture and audiences, since despite the positive critical reception and relatively active participation in art through regular solo shows and group shows, Treumund never received any awards. However, in 2016 she had a solo show at Tartu Art Museum curated by Rael Artel and accompanied by a mid-career catalogue. In addition to that, the gender studies scholar Redi Koobak dedicated her entire PhD thesis to analysing Treumund’s early work.
\n\n\n\nAnna-Stina Treumund’s artistic explorations seeking a feminist and lesbian community continued with systematic work seeking traces of queerness from the national and generational past. In the series Woman in the Corner of Mutsu’s Drawings (2010), Treumund visualised a lesbian yearning for her other half (how normative is that?!) by restaging the series Together by Marju Mutsu, a beloved Estonian printmaker of the 1970s. In Mutsu’s prints, two orientalised women are moving to embrace each other on a bed, yet in Treumund’s work, the woman remains alone, until over a year later Treumund made a double portrait Together II with her partner at the time. Later, Treumund made Loser (2011) as another witty homage to Kai Kaljo’s legendary video work Loser (1997), where Kaljo explains how her ridiculously small income crushes her high artistic morale. Treumund’s Loser (2011) envisions heterosexist macho men who claim that their stereotypically homophobic attitudes are an essential part of their high moral standard – that is as absurd a contradiction as Kaljo’s depiction of the relationship between artistic determination and income.
\n\n\n\nTreumund’s historical explorations culminated with a series of photographs and an artist book, both titled Lilli, Reed, Frieda, Sabine, Eha, Malle, Alfred, Rein and Mari (Lugemik, 2012). This is so far the most exhibited series by Treumund – it depicts her friends, as in You, Me and Everyone We Don’t Know, but more significantly, it visualises the knowledge gap of the history of women-loving-women in Estonia. The photographs were inspired by archival and print media sources from the 16th to the 20th century, provided to Treumund by the literary scholar Vahur Aabrams. Since 2020, there is much more information available about Treumund’s Alfred or A. Oinatski. In 1929, Oinatski became the first Estonian trans person to be interviewed and portrayed in the Estonian media and who was instrumentalised by the 1920s–1930s eugenicist movement to advocate forced sterilisation of poor, uneducated and otherwise socially marginalised groups of people1Põldsam, R. 2020. Otsides kvääre lugusid sõdadevahelise Eesti ajakirjandusest. Mäetagused, 76, 95−124. DOI: 10.7592/MT2020.76.poldsam. In 2012, Treumund knew much less about this person, so her alter ego called Alfred was masculine. Another figure from Treumund’s series, Lilli Suburg, a writer and leader of women’s education and emancipation since the late 19th century, has gained significantly more interest among researchers. 2Over decades, Lilli Suburg is thoroughly studied by Eve Annuk. However, Piret Karro’s 2023 exhibition on women’s history Escape the kitchen! at Vabamu museum brought Suburg into public limelight as a significant person in the national history. Furthermore, unlike the Baltic German queer men, who belonged to a higher class of landowners, keeping local peoples as serfs since the 12th century crusades, the women remain unknown.3Ken Ird’s and Andreas Kalkun’s chapters in Kalevi alt välja. LGBT+ inimeste lugusid 19. ja 20. sajandi Eestist [Bring back to light. Stories of LGBT+ people from 19th and 20th century Estonia] edited by R. Põldsam, A. Kalkun, V. Aabrams. Tallinn: Eesti LGBT Ühing, 2022. And research on the history of other transgender and intersex people is also still modest.4See, Põldsam, R. 2020. Otsides kvääre lugusid sõdadevahelise Eesti ajakirjandusest. Mäetagused, 76, 95–124. Treumund therefore started working on the Estonian queer past in parallel with her good friend and fellow artist Jaanus Samma, who gained international recognition with his fictive opera NSFW: A Chairman’s Tale (2013/2015) based on ethnographic interviews with gay men and one of the most well-known court cases on the Pederasty Article in Soviet Estonia.5Samma, J., Viola, E., Rünk, M., Põldsam, R. (eds.). 2022. Not suitable for work. A Chairman’stale. Berlin: Sternberg Press & Tallinn: Center for Contemporary Arts. Cf Rünk, M. 2022. Kõigest hoolimata. Esimehe lugu [Despite Everything. The Chairman’s Tale]. Kalevi alt välja. LGBT+ inimeste lugusid 19. ja 20. sajandi Eestist. Tallinn: Eesti LGBT Ühing, 109–121. Põldsam, R. 2024 Homophobic Discourses and their Soviet History in Estonia. Folklore: Electronic Journal of Folklore, 92, 49−72. DOI: 10.7592/FEJF2024.92.poldsam.
\n\n\n\nDuring Treumund’s lifetime no one studied lesbian past in Estonia, so in 2013, she continued creating a series on fairy tales and a lesbian childhood. It seems that the photograph Reading Jane Eyre, where Treumund’s partner is spanking her with a barely noticeable smirk, offers an introduction to the later BDSM series. For Treumund, BDSM was a new exciting community activity. BDSM is based on the ethics of consent: it opened her to new avenues of sexuality and learning something new was wholly invigorating. Treumund started to photograph queer feminist pornography, showing playful scenes of sex and moments before sex, finding inspiration from the erotics of genderbending and showing skin. As she says in the video Princess Diaries II (2014), she had a submissive man from Vienna (where she was studying at the time) and she enjoyed being a dom. This short chapter of Treumund’s life as a dom is still a curious story that her friends sometimes discuss. Although in Princess Diaries II (2014), Treumund argues that she is considering giving up art to have a child and a different life, BDSM inspired her to expand her practice so that she moved on from photography and video to installations and sculpture using bondage and latex materials, joking about sex and pleasure, and making some watercolour paintings of her egg cells.
\n\n\n\nTreumund made bold artistic statements on female sexuality with complete seriousness, but when I think of her, I remember her warm crackling laughter. She was so proud of her work and she knew perfectly well her formative role in the queer lesbian movement in Estonia. It was Treumund who introduced queer theory, initiated queer reading groups and Ladyfest Tallinn (2011–2018), which grew into further artistic activities and fostered friendships, romantic relationships and much more. While in retrospect it is easy to idealise Anna-Stina Treumund for her courageous and sometimes contradictory statements, her bravery to come out as lesbian in a very straight art field – that continues to view itself as queer-friendly and anti-racist but rarely succeeds in the exclusion of predators – was unprecedented. I often wonder what Treumund would do about the wars and increasing inequality around us. Would the artist community’s contribution to social activism be any different with her part of it? Would there be a stronger alliance between queer-feminist and lesbian artists of different generations if she were around? When I think that she never saw equal marriage in Estonia, it suddenly seems that she lived in a particularly raw time. Treumund was really a queer person – as in a fuck shit up person – who would not leave you feeling more at ease with yourself. She struggled with clinical depression for half of her life and had no issue expressing her discomfort, upset or opposition to you directly, which sometimes was honest and sometimes impolite. Most importantly, she always expected people to be kinder, smarter and articulate about their points of view. Anna-Stina Treumund would dream people around her to be better and not just give up on making the world a liveable place for all. So, don’t become a cynic, don’t give up!
\n\n\n\nRebeka Põldsam is Research Fellow in Ethnology at University of Tartu. She is currently working on the project Imagining Queer Aging Futures – A Study of LGBTQ Aging in Estonia, Poland and Sweden. In 2023, she defended her doctoral dissertation Why are we still abnormal?! History of Discourses on Non-Normative Sex-Gender Subjects in Estonia at the University of Tartu. Põldsam is also a freelance feminist art curator and a visiting lecturer at the Estonian Academy of Arts.
\n","title":"Rebeka Põldsam"}]},"contributors":null}},{"id":"cG9zdDo0Mjc4","title":"With humour, the absurd and seriousness I emerged. Bop and bop! – Interview with Kaarel Kurismaa","slug":"with-humour-the-absurd-and-seriousness-i-emerged-bop-and-bop-interview-with-kaarel-kurismaa","uri":"/with-humour-the-absurd-and-seriousness-i-emerged-bop-and-bop-interview-with-kaarel-kurismaa/","date":"2025-10-29T10:53:46","excerpt":"I encountered Kaarel Kurismaa’s work for the first time as a child when the Estonian National Television showed his animated films. I was also impressed by the gigantic blinking light object that made an appearance at the finale of Šlaager (1982), a film about the pop music industry of the Estonian Soviet Socialist Republic. Also […]
\n","content":"\nI encountered Kaarel Kurismaa’s work for the first time as a child when the Estonian National Television showed his animated films. I was also impressed by the gigantic blinking light object that made an appearance at the finale of Šlaager (1982), a film about the pop music industry of the Estonian Soviet Socialist Republic. Also in the 1980s, Kurismaa’s psychedelic objects could be seen as part of studio design for Sven Grünberg’s musical performances in television shows. In the mid-1990s, Kurismaa taught us colour theory and a special course in kinetic art at the Estonian Academy of Arts. While the founding of the Soros Center for Contemporary Art created a radical divide in the Estonian art field – the old and the new generation – Kurismaa with his kinetic art exhibitions seemed to adapt to the paradigm shift painlessly. In the early 2000s, myself and many other artists wanted to make music instead of art and the only artist from the older generation we found who could offer us guidance was Kaarel Kurismaa. At the time, however, we didn’t know sound art was a legitimate artform and not just a no-man’s-land inhabited by a few freaks. In 2001, we established the first sound art platform Metabor and asked Kurismaa to join us. We organised experimental noise and sound art nights, using his sound machines – in a former hospital, abandoned factory, a Soviet monumental park, inside an old ice breaker etc. It is admirable how Kurismaa, who was 60 at the time, still had the energy to participate in experimental techno events in post-industrial dens in the middle of the night with young exploring artists! We were young and anxious and he balanced it out with his unique calmness. We considered him our guru, because this is exactly what his sound and noise machines are – pure magic and vibration that unfolds in the space.
\n\n\n\nKiwa (Kiwanoid as sound artist) is an Estonian multichannel meta-artist, publisher, writer and neoist.
\n","title":"Kiwa"}]},"contributors":null}},{"id":"cG9zdDo0MTY0","title":"Between Fantasy and Hardcore Reality: The Performance Worlds of Netti Nüganen","slug":"between-fantasy-and-hardcore-reality-the-performance-worlds-of-netti-nuganen","uri":"/between-fantasy-and-hardcore-reality-the-performance-worlds-of-netti-nuganen/","date":"2025-10-29T10:53:24","excerpt":"In her stage and video works, Estonian performance artist and musician Netti Nüganen becomes, among others, a weightlifter, teenage vlogger, detective, historian and cowboy. Her characters allow her to build and deconstruct narratives crucial to her method of understanding the gaps between recognisable references and language, as she puts it. A graduate of the School for New […]
\n","content":"\nIn her stage and video works, Estonian performance artist and musician Netti Nüganen becomes, among others, a weightlifter, teenage vlogger, detective, historian and cowboy. Her characters allow her to build and deconstruct narratives crucial to her method of understanding the gaps between recognisable references and language, as she puts it. A graduate of the School for New Dance Development (SNDO) in Amsterdam, her works have been shown internationally, while also touring with Florentina Holzinger’s ensemble pieces since 2017. During a recent conversation in Vienna, where she has been living for the past three years, Netti discussed her evolving practice of world-building through performance with Kathrin Heinrich – from sound experiments and fragmented storytelling to the theatrical traps she seeks to escape.
\n\n\n\nKathrin Heinrich is an art historian, writer and critic based in Vienna, Austria. She currently works at mdw – University for Music and Performing Arts, organising the yearly interdisciplinary summer school isaResearch. Her writing has been published in magazines and newspapers such as frieze, springerin, Texte zur Kunst, Der Standard, and Süddeutsche Zeitung.
\n","title":"Kathrin Heinrich"}]},"contributors":null}},{"id":"cG9zdDo0MzI4","title":"Breath of the deep sea: Kristina Õllek","slug":"breath-of-the-deep-sea-kristina-ollek","uri":"/breath-of-the-deep-sea-kristina-ollek/","date":"2025-10-29T10:48:52","excerpt":"In her Tallinn studio, Kristina Õllek was finalising a new installation for the group exhibition For All at Last Return, curated by Emma Dean and opening on 8 November 2025 at the Baltic Centre for Contemporary Art (UK). October sunlight filtered through the windows, landing on a crucial element of the installation: a series of […]
\n","content":"\nIn her Tallinn studio, Kristina Õllek was finalising a new installation for the group exhibition For All at Last Return, curated by Emma Dean and opening on 8 November 2025 at the Baltic Centre for Contemporary Art (UK). October sunlight filtered through the windows, landing on a crucial element of the installation: a series of screen-like surfaces where sea salt, algae, bacteria, and other marine materials were growing, depositing, and transforming through natural processes. These hybrid interfaces, in which environmental matter produces its own forms of imaging, form the foundation of complex assemblages combining video, photography and sculptural elements.
\n\n\n\nOver the past five years since our last collaboration (Tiger in Space, EKKM, 2020, curated with Marten Esko and Lea Vene), Õllek’s artistic research on marine ecologies has evolved alongside the intensifying condition of climate breakdown, responding to human impact on the oceans with work that is both materially rigorous and conceptually expansive. This autumn, she is taking part in Down Deep. Living Seas, Living Bodies (State Art Gallery Sopot, Poland), curated by Joseph Constable, and just juuri nüüd nyt (Foku gallery, Tallinn), curated by Hertta Kiiski, among others, while she also prepares another newly commissioned work for Dulwich Picture Gallery next year (a duo show in London with Konrad Mägi in collaboration with Kumu Art Museum, curated by Kathleen Soriano), and a duo show with Tuomas A. Laitinen, curated by Anna Mustonen in 2027 in Finland.
\n\n\n\nAcross all these years, the sea has remained her constant and closest collaborator.
\n\n\n\nÕllek’s new work Breathing Deep Currency for the Baltic continues a trajectory that began with Nautilus New Era (2018), inspired by Jules Verne’s Twenty Thousand Leagues Under the Sea (1870). In Verne’s story, Captain Nemo speaks of rich metal deposits on the ocean floor, suggesting that their extraction might one day be within reach. This proto-science-fiction fantasy has now become a tangible reality and a political, economic, and ethical issue of our time: deep-sea mining is promoted as a necessary step in the transition to renewable sources of energy, with rare-earth and other minerals such as manganese (a critical industrial metal for steel and battery production) deemed essential for renewable technologies. This promise reflects a Promethean belief in salvation through technology, even as we persist in the paradox of extracting and accumulating ever more. It comes at a devastating cost: the minerals may fuel the illusion of a sustainable future, but fragile ecosystems, seafloor habitats, and countless species are destroyed in the process. It is difficult to believe that any new technology could improve environmental conditions within a system that imposes no limits on growth and extraction on a finite planet. For now, the only certainty remains what it has always been: the expanding profits of the corporations involved.
\n\n\n\nWhile preparing her recent work, Õllek was in dialogue with marine scientists at the University of Newcastle, who study deep-sea ecologies. The encounter between scientists and artists is, in many ways, an encounter between different worldviews and methodologies: distinct ways of knowing, perceiving, and, above all, doing research. “Each scientist has a very deep knowledge of a very specific focus”, Õllek told me, “but they often avoid discussing broader implications. They’re careful not to express personal views”. Unlike scientific research, artistic research inhabits a state of perpetual becoming, where unexpected knowledge emerges through exploration, transformation, and speculative practice – always open, never fully complete. Õllek noted how scientific freedom is increasingly constrained by funding and private interests: “A senior scientist told me my work was inspiring because artists still have the freedom to explore ideas scientists can’t always pursue. Science once allowed more experimentation, but now funding and expectations direct it.”
\n\n\n\nAmong the discoveries that most struck Õllek was from a decade-long study by the Scottish Association for Marine Science, whose results were published in 2024, which revealed a second source of oxygen produced entirely without sunlight, on the deep ocean floors. ‘Dark Oxygen’ (a colloquial name) is generated by manganese nodules in complete darkness, and suggests that entire ecosystems may depend on non-photosynthetic oxygen production. This view radically challenges our assumptions about where and how life can exist, and thus potentially redefines the parameters for searching for it beyond our planet. Yet these findings often conflict with the interests of the mining companies funding such research. “When the scientists published their discovery” Õllek said, “the mining company tried to downplay the results as it could hinder extraction. The scientists had to stand against them, and also find another funding source to continue their research. It’s been concerning to learn that some researchers may even face pressure to remain silent or to expose only a partial result of their findings.”Õllek’s practice dwells in the tension between human extraction and the resilience of life, exploring the often-invisible processes that sustain oceanic ecosystems, and a deep awareness of how much remains unknown. Her works occupy these interstitial zones, where boundaries between organic and synthetic, human and non-human, scientific and fictional become porous. Nautilus New Era already reflected this tension, imagining the ocean as a techno-political landscape of both wonder and exhaustion. Her new body of work deepens that inquiry departing from the recent discovery of Dark Oxygen, asking how image-making can reveal what remains unseen, the invisible infrastructures and living processes that sustain the planet.
\n\n\n\nNautilus New Era was one of the pieces Daniela Arriado and I were happiest to include in the Screen City Biennial 2019, which we curated together in several venues in Stavanger. The city, both the heart of Norway’s oil industry and a magnet for cruise tourism, embodied the contradictions of extractive practices that Õllek’s work investigates. The work was installed in the cruise terminal, a glass building overlooking the North Sea, which seemed the perfect setting for a work in which the sea itself is both subject and context. We had planned carefully around ship arrivals and departures, but on the day of the opening, a massive cruise liner unexpectedly docked just outside, eclipsing the horizon and transforming the work’s relationship to the sea. Suddenly, the installation appeared dwarfed by the machinery of consumption it sought to question. We laughed at the irony because control in the public space is always provisional: the environment inevitably responds in unpredictable ways that we prefer to embrace than oppose.
\n\n\n\nWhen the ship finally departed, the horizon reopened and the work regained its line of sight to the water, as if breathing again. But that short moment revealed something essential about the conditions we inhabit, and that Õllek’s practice captures sharply: that we persist through cycles of pressure and release, through the pulse between obstruction and renewal, visibility and concealment, contraction and expansion. A continuous, inevitable rhythm, that is mirrored in the act of breathing itself.
\n\n\n\nVanina Saracino is an independent curator, film programmer, writer, and lecturer whose work explores the intersections of art and science, ecology, technology, experimental film and video, and art in the public space. Since 2021, she has taught at Berlin’s Universität der Künste and has spoken at numerous universities and cultural institutions. She has contributed to several books and catalogues, and holds degrees in Communication Sciences, Arts Management, and Art Theory.
\n","title":"Vanina Saracino"}]},"contributors":null}},{"id":"cG9zdDo0Mzcz","title":"Paul O’Neill: A rethinking of curatorial relations is necessary","slug":"paul-oneill-a-rethinking-of-curatorial-relations-is-necessary","uri":"/paul-oneill-a-rethinking-of-curatorial-relations-is-necessary/","date":"2025-10-29T10:47:43","excerpt":"During the first week of October this year, a four-day symposium on curating took place in Helsinki. Initiated by Paul O’Neill and PUBLICS, it was called Positioning. A Symposium on Curatorial Thinking in the Nordic-Baltic Region and Beyond. This year, the event was co-hosted with Amos Rex and Museum of Contemporary Art Kiasma; in the […]
\n","content":"\nDuring the first week of October this year, a four-day symposium on curating took place in Helsinki. Initiated by Paul O’Neill and PUBLICS, it was called Positioning. A Symposium on Curatorial Thinking in the Nordic-Baltic Region and Beyond. This year, the event was co-hosted with Amos Rex and Museum of Contemporary Art Kiasma; in the upcoming years it will be happening elsewhere in the Nordic and Baltic countries. Bringing together an impressive list of curators both from the region and elsewhere, the symposium aimed to grasp the idea of what a curator’s role is today and how this can vary across countries, institutions and initiatives. We asked Paul O’Neill, the organiser and a researcher on curatorial thinking about his motivation behind bringing together a network of international curators.
\n\n\n\nThe aim is to establish a new nomadic centre for curatorial thinking – without a single main centre, or fixed location. Instead, it would be a centre that accounts for a cooperative decentring or recentring – one that is networked, unfixed, flexible and of regional significance while connecting to the breadth of knowledge here and beyond. This new Centre for Curatorial Thinking would focus on the significance of past and present thinking, knowledge and critiques within the practices of the curatorial.
\n\n\n\nThis symposium aims to start with positioninga globally networked enquiry into current and future curatorial thinking in the Nordic-Baltic region during a time of urgencies, and of radical uncertainty for culture and human rights. We come together to consider how we can think and work together, how to position ourselves with others, and how to bridge the local-regional-global curatorial nexus within and beyond the region. We aim to provide a critical space for much-needed dialogue between diverse local and regional actors, agencies, and international contemporary art scenes, and all our extraordinary curatorial thinkers across generational and geographical boundaries.
\n\n\n\nI think the Nordic-Baltic region needs more curatorial thinking, productive dialogues and cooperation across institutions and between differently located practices. There are already many geopolitical concerns and commonalities across the region.
\n\n\n\nThere is also considerable disbalance between institutional scales where there are a lot of large-scale museums, institutions and academic structures (albeit constantly under threat) without offering sufficient support for independent, co-dependent and smaller scale curatorial, emergent and organisational practices.
\n\n\n\nThere is a huge gap between those two scales without middle ground and medium-scale support structures to provide links between more grassroots and the top level and more stable infrastructures for curators, artists and cultural workers alike. Work needs to be done but without competing for the same agency, access or resources.
\n\n\n\nAt the same time, we have seen the emergence of curatorially-led, but relatively new modestly scaled biennials, triennials and regionally specific larger-scale exhibitions with global perspectives. These are happening simultaneously with even newer curatorial studies and nascent exhibition histories and programmes focusing on the region and its surrounding relations. With the Centre for Curatorial Thinking we wish to decentre the activities of publics from Helsinki into the regions, whilst expanding our activities and collaborations with institutions, curators and artists alike, offering opportunities and support for one another.
\n\n\n\nAfter more than 30 years of increasingly intense curatorial production and debate – considering the foundation of the first curatorial courses in the late 1980s and early 1990s as a starting point – one aspect within curatorial discourse is the continued contestation of the existence and legitimacy of a specifically curatorial field of praxis. It seems that we are experiencing an ongoing discursive cycle of consolidation around curatorial practice at an increasingly global level.
\n\n\n\nDuring a similar timeframe, all across the globe, we have increasingly witnessed an ever-aggressive and accelerating reaction to globalism in the form of rejection, xenophobia (even in form of multiple genocides), and anti-internationalism in the form of the march and success of the populist Right, and its preference for autocratic men with names like Erdoğan, Modi, Netanyahu, Orbán, Putin, and Trump. What these leaders and their followers share, among other things, is a disdain for the liberal and humanist values of contemporary art and its permissiveness. It is the ideology of global curatorial and contemporary art practices, its proposed value, and its economic support structure – globalisation, and thus its creation of surplus value – that are under direct attack. It should also be noted that their policies are a response to the economic effects of neoliberal deregulation and global trade in favour of protectionism and neo-nationalism.
\n\n\n\nSo by focusing on the differences and commonalities of forms and modes of curatorial thinking we can bring into focus where we are positioned and how we might come to know more, and to share and to offer opposition or modest modes of resistance. I like to think of positioning as situated knowledge, or simply as the practice of locating where someone or something is located or sited; how we are arranging ourselves or something in a particular way, how someone or something is placed or arranged; putting or arranging (someone or something) in a particular location or specific way. Taking up a position, taking a stance, and of positioning oneself with others as a means of informing art, curatorial, educational and institutional practices as much as they shape the world around us.
\n\n\n\nAdditionally, we need to consider how we position and with whom are we positioning ourselves, and to build and expand more productive collaborative and sustainable networks, partnerships and relationships across the region and beyond for the present and the future.
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\n","title":"Kaarin Kivirähk"}]},"contributors":null}},{"id":"cG9zdDo0MjIw","title":"Your guide to exhibitions in Estonia and beyond for Autumn and Winter 2025/2026","slug":"your-guide-to-exhibitions-in-estonia-and-beyond-for-autumn-and-winter-2025-2026","uri":"/your-guide-to-exhibitions-in-estonia-and-beyond-for-autumn-and-winter-2025-2026/","date":"2025-10-29T10:47:13","excerpt":"TOP PICKS RECOMMENDED BEYOND
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