
<p><strong>Keiu Krikmann</strong> is the managing editor of A Shade Colder.</p>


Keiu Krikmann


<p>The 2023 summer issue of A Shade Colder, <em>Flesh in Tension</em> takes a closer look at fleshy matters. Our flesh and body shape our day-to-day existence as much as our intellect and emotions, it cannot be separated from how we perceive and are perceived in the world. It allows us to be human and, in fact, makes us human – a significant part of our particularities and specific experiences exist within our flesh. Our flesh and body often determine how we are perceived and perceive ourselves and does so before anything else. These perceptions are influenced by a variety of social, historical, economic and cultural forces, a network of systems chafing against human flesh – wearing, grinding, elevating, exciting, cultivating us into what we are constantly becoming, while we try to persist and sustain ourselves. To delve deeper into the tensions between these systems and the flesh, the issue features texts on work, gender, performance, stereotypes, architecture and disability.</p>



<div class="wp-block-www-blocks-image-block alignleft"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/07/asc5-veebi-copy-1-scaled.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/07/asc5-veebi-copy-1-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/asc5-veebi-copy-1-292x300.jpg 292w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/asc5-veebi-copy-1-997x1024.jpg 997w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/asc5-veebi-copy-1-767x788.jpg 767w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/asc5-veebi-copy-1-986x1013.jpg 986w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/asc5-veebi-copy-1-1095x1125.jpg 1095w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/asc5-veebi-copy-1-1314x1350.jpg 1314w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/asc5-veebi-copy-1-1752x1800.jpg 1752w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/asc5-veebi-copy-1-1916x1969.jpg 1916w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/asc5-veebi-copy-1-scaled.jpg 2492w" data-sizes="auto" width="2492" height="2560" alt="" class="lazyload"/><figcaption>Illustration: Martina Gofman &amp; Johanna Ruukholm, <em>Flesh in Tension</em>, 2023</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>



<p><strong>Airi Triisberg</strong> writes about the importance of sustaining yourself materially in a precarious world, more precisely about wages for art work, accompanied by visuals by <strong>Zody Burke</strong>. In his interview with <strong>Heneliis Notton</strong> Samira Elagoz discusses performing gender and the gendered gaze in his newest film <em>Seeking Bromance</em>. Exploring the appeal of blonde hair both in Estonian art and among women, <strong>Marge Monko</strong> takes a closer look at the role of genetics, national imagery and pop culture.</p>



<p><strong>Ingrid Ruudi</strong> writes about bodies existing within regimes that gladly render them invisible, disregard their needs and particularities, uncovering the spatial politics of disability in late Soviet Estonia. Looking further into the relationship between architecture and bodies, <strong>Kaarin Kivirähk</strong> interviews Aet Ader, Arvi Anderson and Mari Möldre about their project <em>Home Stage</em>, presented at this year’s Architecture Biennale in Venice, focusing on the contradiction of homes as a place to create a life in and a piece of real estate with exchange value. And in their poem <strong>nick von kleist</strong> invites the reader to spiral between nature and screens, as much as bodied or disembodied tensions in the reader allow.</p>



<p>Of course, tension can produce alertness, anxiety or make a person freeze in their flow to examine the systems that rub away at their fleshy bits. But there also can be pleasure and playfulness in tension – so perhaps it is better to really gaze deeply into this tension from time to time rather than let it slowly eat away at our tender flesh.</p>


asc5 veebi copy

Flesh in Tension

Editorial. Flesh in Tension


<p>Timelines are often used as tools for (re)arranging narratives about the past and equally so for creating future projections. Compiling a timeline also means including certain events, people and perspectives, and excluding others. Sometimes projected timelines become disrupted or broken due to historical and/or personal events – how do we refocus and re-evaluate to regain our bearings? Sometimes, shifting timelines can seem like an impossible task but focusing alternative and parallel timelines can also create new knowledge, contributing towards a new future.</p>



<p>Art historical timelines are tricky – artists and works are attached to and detached from the dominant timeline, be it due to the changing political, social or cultural circumstances. <strong>Eha Komissarov</strong>, a curator at the Art Museum of Estonia discusses the changes she has witnessed during her 50-year career and the successes and failures of contributing to shaping art historical timelines. This issue of A Shade Colder opens up works by the Estonian printmaker <strong>Concordia Klar</strong>, whose Surrealism influenced works are increasingly being highlighted again and for the first time ever, her poems have now been translated into English.</p>



<p>Alongside more powerful narratives, parallel and supplemental timelines always also run. Sometimes we only notice these in hindsight, at first finding tiny specs of them in-between oppression and oblivion. <strong>Mari Vallikivi</strong>’s and <strong>Thomas Röske</strong>’s research into art created by non-professional and mentally ill artists exposes a variety of factors contributing to the side-lining of these practices, while <strong>Brigit Arop</strong> highlights how small initiatives weave themselves into the institutionalised art world.</p>



<p>Massive political and social disruptions that tear up everything on their way force people to rethink familiar timelines once used to orient themselves towards a future – a future that will now never happen. A Shade Colder dives into how the work of various art professionals has been altered since Russia launched their full-scale war against Ukraine. <strong>Aro Velmet</strong> looks at the material consequences that often come with a shift in thinking – the differences between the monument wars in the East and the West.</p>



<p>On a path of uncertainty, we give alternative names to things that are unknown or too painful to speak of. We shift our thinking to another plane, a mythical timeline of metaphors and archetypes. <strong>Kaarin Kivirähk</strong> seeks out creatures born out of this imagination and traces their existence in the lesser-known border areas. The map of the monsters of Tallinn by <strong>Angela Maasalu</strong> and <strong>Jaak Juske</strong> lay outside historical, mythological and contemporary narratives that are deeply enmeshed in the psychological and physical space of the city.</p>



<p>In an effort to contribute to envisioning more hopeful and safe future timelines, A Shade Colder will continue donating 50% of the proceeds of our sales to the Ukrainian Emergency Art Fund.</p>



<div class="wp-block-www-blocks-image-block"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/03/Final_illu-veebi-1-scaled.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/03/Final_illu-veebi-1-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/03/Final_illu-veebi-1-300x202.jpg 300w, https://admin.ashadecolder.com/wp-content/uploads/2023/03/Final_illu-veebi-1-1024x688.jpg 1024w, https://admin.ashadecolder.com/wp-content/uploads/2023/03/Final_illu-veebi-1-1172x788.jpg 1172w, https://admin.ashadecolder.com/wp-content/uploads/2023/03/Final_illu-veebi-1-1507x1013.jpg 1507w, https://admin.ashadecolder.com/wp-content/uploads/2023/03/Final_illu-veebi-1-1673x1125.jpg 1673w, https://admin.ashadecolder.com/wp-content/uploads/2023/03/Final_illu-veebi-1-2008x1350.jpg 2008w, https://admin.ashadecolder.com/wp-content/uploads/2023/03/Final_illu-veebi-1-2677x1800.jpg 2677w, https://admin.ashadecolder.com/wp-content/uploads/2023/03/Final_illu-veebi-1-2929x1969.jpg 2929w, https://admin.ashadecolder.com/wp-content/uploads/2023/03/Final_illu-veebi-1-scaled.jpg 2560w" data-sizes="auto" width="2560" height="1721" alt="" class="lazyload"/><figcaption>Illustration: Martina Gofman &amp; Johanna Ruukholm, <em>Shifting Timelines</em>, 2023</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>


Final_illu veebi

Shifting Timelines

Editorial. Shifting Timelines


<p>”Nature” was invented to separate wholes from their parts, things from each other, and us from the rest of the world.<sup class="modern-footnotes-footnote " data-mfn="1" data-mfn-post-scope="0000000021d1515500000000485627af_1391"><a href="javascript:void(0)"  role="button" aria-pressed="false" aria-describedby="mfn-content-0000000021d1515500000000485627af_1391-1">1</a></sup><span id="mfn-content-0000000021d1515500000000485627af_1391-1" role="tooltip" class="modern-footnotes-footnote__note" tabindex="0" data-mfn="1">Gardner, C. 2018. <em>(proem: against nature)</em> in <em>Naturally It Is Not</em>. Sutton: The 87 Press, p 1</span> And the thing that dissects these parts further and cuts nature into landscapes is the human eye. Observable expanses of nature become something to be enjoyed, explored, documented and categorised. But they cannot always be neatly quantified – there are several parallel timelines and imaginaries present in any landscape at any given time. These timelines run at unequal speeds – geological time, for example, moves at a different pace than that of organic life. Therefore, the appearance and disappearance of different types of material in the landscape also follow different logics, even if accelerated or hindered by human intervention.</p>



<p>Regardless of pace, landscapes are always sites of transformation and mutation, where a variety of imaginaries exists simultaneously – places where ecological, political and social concerns entwine with mythological, folkloric and magical thinking.</p>



<p>What follows here is a tentative look at landscapes and their echoes in material-focused artworks. But rather than rendering landscapes in pictures, in the tradition of landscape painting or drawing, or trying to capture landscapes in their totality, in material-based practices, only parts of the landscapes are materialised. Nevertheless, the landscapes and worlds these objects suggest, from which they sprout are equally rewarding to imagine, allowing us to question our own understanding of the relationship between the whole and its parts.</p>



<h2 class="wp-block-heading"><strong>Regeneration of what?</strong></h2>



<div class="wp-block-www-blocks-image-block alignleft"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2022/11/Screenshot-2022-11-16-at-16.22.22.png" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2022/11/Screenshot-2022-11-16-at-16.22.22-150x150.png 150w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/Screenshot-2022-11-16-at-16.22.22-199x300.png 199w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/Screenshot-2022-11-16-at-16.22.22-680x1024.png 680w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/Screenshot-2022-11-16-at-16.22.22-523x788.png 523w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/Screenshot-2022-11-16-at-16.22.22-673x1013.png 673w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/Screenshot-2022-11-16-at-16.22.22-747x1125.png 747w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/Screenshot-2022-11-16-at-16.22.22-897x1350.png 897w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/Screenshot-2022-11-16-at-16.22.22.png 1088w" data-sizes="auto" width="1088" height="1638" alt="" class="lazyload"/><figcaption>Laura Põld. Wasteland (The Phosphorite War). 2021. Exhibition view. Photo: Marek Mäemets</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>



<p>As the human eye glances at stone, it is designated a resource and the process of its industrialisation begins. And so, Laura Põld’s series of lumpy grey clay sculptures fitted with water, smoke and light, too, evoke an industrial landscape. Titled <em>Wasteland (The Phosphorite War)</em>, it is not an image of factories and production but rather an exhausted and abandoned terrain. The title of the work references a very specific moment in time – an extensive environmental campaign in the 1980s against opening large scale phosphorite mines in the eastern part of Estonia, which at the time was part of the Soviet Union. In addition to standing successfully against Soviet industrialisation, the campaign notably strengthened the national movement, which later led to restoring of the country’s independence. The work also resonates with the current energy crisis and the related questions of energy autonomy and security. Even though the landscape once withstood the threat of colonial extractive industrialisation, is the mining of resources that led to increased environmental damage justified now, when it is no longer done by colonial powers? It is, of course, always a question of ownership of resources and the scale of extraction – will it lead to devastation or leave room for regeneration?</p>



<p>Although Põld’s work materialises industrialised wastelands, landscapes that are transformed by humans, she does not only address the possible environmental cost of industrial extraction but also considers the possible agency of the mineral matter. Through her amorphous objects and somewhat more dynamic elements of smoke and water, she consciously looks at the weirdness of minerals, resisting the singular view of resourcification. Her perspective on the natural world is not scientific and concerned with presenting a factual image but rather different sensibilities present and the possibilities of what else, besides resources, can be (re)generated in the landscape and what else comes alive there, what kind of fruit can it bear.</p>



<h2 class="wp-block-heading"><strong>Return is not advisable</strong></h2>



<div class="wp-block-www-blocks-image-block alignleft"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2022/11/ETDM_R_7004_7005_Vormid_Oun_1975-elo_jarv_etdm_ivar_veermae_DSC1761.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2022/11/ETDM_R_7004_7005_Vormid_Oun_1975-elo_jarv_etdm_ivar_veermae_DSC1761-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/ETDM_R_7004_7005_Vormid_Oun_1975-elo_jarv_etdm_ivar_veermae_DSC1761-300x199.jpg 300w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/ETDM_R_7004_7005_Vormid_Oun_1975-elo_jarv_etdm_ivar_veermae_DSC1761-1024x680.jpg 1024w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/ETDM_R_7004_7005_Vormid_Oun_1975-elo_jarv_etdm_ivar_veermae_DSC1761-1186x788.jpg 1186w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/ETDM_R_7004_7005_Vormid_Oun_1975-elo_jarv_etdm_ivar_veermae_DSC1761-1525x1013.jpg 1525w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/ETDM_R_7004_7005_Vormid_Oun_1975-elo_jarv_etdm_ivar_veermae_DSC1761-1694x1125.jpg 1694w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/ETDM_R_7004_7005_Vormid_Oun_1975-elo_jarv_etdm_ivar_veermae_DSC1761.jpg 1778w" data-sizes="auto" width="1778" height="1181" alt="" class="lazyload"/><figcaption>Elo Järv. Forms Apple I, II. 1975. Photo: Estonian Museum of Applied Art and Design</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>



<p>In these landscapes, even the most familiar of fruits can bewilder us – at first glance seemingly rotting, the apples are actually leather. In an uncanny mutation, plant and animal have merged, making it a troubling effort to imagine an ecosystem capable of producing such apples.</p>



<p>The pair of leather apples is created by the artist Elo Järv (1939–2018). She is primarily known for her leather sculptures and even though her work is most often categorised as applied art, her practice stands out among her peers in terms of the unconventional use of materials. Järv’s work presents an abundance of nature motifs but often hints at mythology and the unseen forces shaping our understanding of the natural world. The materiality of leather in her sculptures brings a visceral and sometimes eerie dimension to objects, making them perhaps a little difficult to place and suggesting strange and wondrous (natural) worlds, as we see in <em>My Insectivorous Totem</em> (1995) and <em>Insect</em> (1996), for example. It is difficult to say, whether the mutated forms hail from a place of disquiet or calm, but at times caution should be exercised, as suggested by the pair of spindly formations <em>Return Is Not Advisable I, II</em> (1994).</p>



<div class="wp-block-www-blocks-image-block alignleft"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2022/11/Jarv-Return-scaled.jpeg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2022/11/Jarv-Return-150x150.jpeg 150w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/Jarv-Return-253x300.jpeg 253w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/Jarv-Return-863x1024.jpeg 863w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/Jarv-Return-664x788.jpeg 664w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/Jarv-Return-854x1013.jpeg 854w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/Jarv-Return-948x1125.jpeg 948w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/Jarv-Return-1138x1350.jpeg 1138w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/Jarv-Return-1518x1800.jpeg 1518w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/Jarv-Return-1660x1969.jpeg 1660w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/Jarv-Return-scaled.jpeg 2158w" data-sizes="auto" width="2158" height="2560" alt="" class="lazyload"/><figcaption>Elo Järv. Return Is Not Advisable I, II. 1994. Image: reproduction from Classics. Elo Järv.</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>



<p>It is not only non-humans that exist in these spaces, anthropomorphic forms with their leathery bodies and faces often appear among Järv’s creatures as well. It is not exactly clear if these humanoids are autonomous beings, their shells, shrouds or other representations of memory. Regardless, looking at Järv’s sculptures, I recall <em>The Bog Man</em> – a short story by Margaret Atwood, in which the protagonist Julie has an affair with an archaeologist excavating a bog body and recalling the man years later, she finds herself conflating her former lover and the dead man in her mind: ”Connor, however, loses in substance every time she forms him in words. He becomes flatter and more leathery, more life goes out of him, he becomes more dead. By this time, he is almost an anecdote, and Julie is almost old.”</p>



<p>Indeed, the passing of time is an important aspect to consider when looking at Järv’s sculptures. As time passes and human is no longer a measure of everything, it becomes more of a body than a person. This is emphasised by the instability of organic matter that sits at the forefront of her works. Unlike bronze or stone sculptures, the fragility of the material is almost palpable. This is something Järv is also very much aware of. The work <em>Old Leather Returns</em> (1999) contains an obvious reference to the material and the possibility of re-use and recontextualisation, but is also perhaps suggesting something more sinister – a return from or to a place where return is not advisable.</p>



<div class="wp-block-www-blocks-image-block"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2022/11/ETDM_Na_1968_Oo.-Nagu_1994-Aelo_jarv_etdm_ivar_veermae_DSC2272.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2022/11/ETDM_Na_1968_Oo.-Nagu_1994-Aelo_jarv_etdm_ivar_veermae_DSC2272-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/ETDM_Na_1968_Oo.-Nagu_1994-Aelo_jarv_etdm_ivar_veermae_DSC2272-199x300.jpg 199w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/ETDM_Na_1968_Oo.-Nagu_1994-Aelo_jarv_etdm_ivar_veermae_DSC2272-680x1024.jpg 680w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/ETDM_Na_1968_Oo.-Nagu_1994-Aelo_jarv_etdm_ivar_veermae_DSC2272-523x788.jpg 523w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/ETDM_Na_1968_Oo.-Nagu_1994-Aelo_jarv_etdm_ivar_veermae_DSC2272-672x1013.jpg 672w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/ETDM_Na_1968_Oo.-Nagu_1994-Aelo_jarv_etdm_ivar_veermae_DSC2272-747x1125.jpg 747w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/ETDM_Na_1968_Oo.-Nagu_1994-Aelo_jarv_etdm_ivar_veermae_DSC2272-896x1350.jpg 896w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/ETDM_Na_1968_Oo.-Nagu_1994-Aelo_jarv_etdm_ivar_veermae_DSC2272.jpg 1181w" data-sizes="auto" width="1181" height="1779" alt="" class="lazyload"/><figcaption>Elo Järv. Night. Face. 1994. Photo: Estonian Museum of Applied Art and Design</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>



<h2 class="wp-block-heading"><strong>It sprawls</strong></h2>



<p>The increasing industrial devastation of landscapes also sets limits to what we imagine possible in and for the landscape, making people aware of the very real danger of soon having nothing to return to.</p>



<p>The performance and textile-based work of the collective Sorcerer evokes the industrial landscapes populated and polluted by massive textile waste. Their imagination relies heavily on poetics but is also not detached from the real landscapes from which dispossessed creatures, neither human or animal, arise. Using recycled materials, they look at industrialisation and its spawns, while also presenting a more magical view of the world.</p>



<p>In their latest installation <em>Lustwort</em>, created as part of Heinrich Sepp’s work <em>Made of What</em> (2022), they contemplate the queer materiality of the bog, a type of landscape that does not easily submit to rule and industrialisation, despite having historically been subject to it. Writing on swamp modernity, Egle Rindzevičiūtė says: ”The swamp is antithetical to the linear, mechanistic mind. It defies communication enabled by clear waterways, resists agriculture, and questions human mastery of both territory and living matter. In cultural terms, the swamp stands for tradition, something that is the enemy of progress in the framework of modernization theory.”<sup class="modern-footnotes-footnote " data-mfn="2" data-mfn-post-scope="0000000021d1515500000000485627af_1391"><a href="javascript:void(0)"  role="button" aria-pressed="false" aria-describedby="mfn-content-0000000021d1515500000000485627af_1391-2">2</a></sup><span id="mfn-content-0000000021d1515500000000485627af_1391-2" role="tooltip" class="modern-footnotes-footnote__note" tabindex="0" data-mfn="2">Rindzevičiūtė, E. 2019. <em>The Swamp Modernity</em> in <em>Swamps and the New Imagination: On the Future of Immaterial Materiality in Art, Architecture and Philosophy</em>, edited by Nomeda Urbonas and Gediminas Urbonas, MIT Press, p 7. Available at: https://www.academia.edu/40047910/The_Swamp_Modernity</span> Standing against the drive to make the bog into something productive, the installation also discards the romantic ideal of becoming one with nature, emphasising the ungovernability of the bog. In opposition to the often-drawn parallel between the feminine and nature, Elvia Wilk has written about women becoming landscape not as a natural process but as an act of non-compliance: ”This is the type of resistance that women and other supposedly unstable bodies have been cultivating for centuries because they’ve had to”.<sup class="modern-footnotes-footnote " data-mfn="3" data-mfn-post-scope="0000000021d1515500000000485627af_1391"><a href="javascript:void(0)"  role="button" aria-pressed="false" aria-describedby="mfn-content-0000000021d1515500000000485627af_1391-3">3</a></sup><span id="mfn-content-0000000021d1515500000000485627af_1391-3" role="tooltip" class="modern-footnotes-footnote__note" tabindex="0" data-mfn="3">Wilk, E. 2022. 2022. <em>Death by Landscape.</em> New York: Soft Skull Press,&nbsp; pp 9–10</span></p>



<div class="wp-block-www-blocks-image-block"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2022/11/MG_0765_Koolnu_jalad_Krikman_Linnagalerii_2022_photo_Paul_Kuimet-copy_-scaled.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2022/11/MG_0765_Koolnu_jalad_Krikman_Linnagalerii_2022_photo_Paul_Kuimet-copy_-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/MG_0765_Koolnu_jalad_Krikman_Linnagalerii_2022_photo_Paul_Kuimet-copy_-300x200.jpg 300w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/MG_0765_Koolnu_jalad_Krikman_Linnagalerii_2022_photo_Paul_Kuimet-copy_-1024x683.jpg 1024w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/MG_0765_Koolnu_jalad_Krikman_Linnagalerii_2022_photo_Paul_Kuimet-copy_-1182x788.jpg 1182w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/MG_0765_Koolnu_jalad_Krikman_Linnagalerii_2022_photo_Paul_Kuimet-copy_-1519x1013.jpg 1519w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/MG_0765_Koolnu_jalad_Krikman_Linnagalerii_2022_photo_Paul_Kuimet-copy_-1687x1125.jpg 1687w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/MG_0765_Koolnu_jalad_Krikman_Linnagalerii_2022_photo_Paul_Kuimet-copy_-2025x1350.jpg 2025w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/MG_0765_Koolnu_jalad_Krikman_Linnagalerii_2022_photo_Paul_Kuimet-copy_-2699x1800.jpg 2699w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/MG_0765_Koolnu_jalad_Krikman_Linnagalerii_2022_photo_Paul_Kuimet-copy_-2953x1969.jpg 2953w, https://admin.ashadecolder.com/wp-content/uploads/2022/11/MG_0765_Koolnu_jalad_Krikman_Linnagalerii_2022_photo_Paul_Kuimet-copy_-scaled.jpg 2560w" data-sizes="auto" width="2560" height="1707" alt="" class="lazyload"/><figcaption>Sorcerer. Lustwort as part of Heinrich Sepp’s installation Made of What. 2022. Exhibition view. Photo: Paul Kuimet. Courtesy of Tallinn Art Hall</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>



<p>As the climate, and landscapes with it, increasingly slip out of human control, perhaps a similar process of non-compliance becomes the norm as we blend into the composite landscapes of material of varying origin, both human and not, and become one with our waste. There is always something monstrous in entities that remain ungovernable and unreproductive – uncertain landscapes populated by monsters, or perhaps, these landscapes are the monsters.</p>



<p></p>


ETDM_Na_1968_Öö. Nägu_1994 Aelo_jarv_etdm_ivar_veermae_DSC2272

Whispers in the Landscape

Parallel formations


<p>In the heat of the summer, everything is thirsty – it is the season of growth and, eventually, of ripening. Above all, thirst is a sensation of lack, a yearning for liquid, for water, and is deeply ingrained in all life, as living bodies consist of water, and life is bound in it. It also contains an element of intense desire for something or someone. So, as much as we are made of water, we are made of thirst, propelling us forward; this is blackout, heat, desire for flesh, sex, life, blood, anything.</p>



<div class="wp-block-www-blocks-image-block alignleft"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2022/07/finale-scaled.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2022/07/finale-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2022/07/finale-188x300.jpg 188w, https://admin.ashadecolder.com/wp-content/uploads/2022/07/finale-643x1024.jpg 643w, https://admin.ashadecolder.com/wp-content/uploads/2022/07/finale-495x788.jpg 495w, https://admin.ashadecolder.com/wp-content/uploads/2022/07/finale-636x1013.jpg 636w, https://admin.ashadecolder.com/wp-content/uploads/2022/07/finale-707x1125.jpg 707w, https://admin.ashadecolder.com/wp-content/uploads/2022/07/finale-848x1350.jpg 848w, https://admin.ashadecolder.com/wp-content/uploads/2022/07/finale-1131x1800.jpg 1131w, https://admin.ashadecolder.com/wp-content/uploads/2022/07/finale-1237x1969.jpg 1237w, https://admin.ashadecolder.com/wp-content/uploads/2022/07/finale-scaled.jpg 1608w" data-sizes="auto" width="1608" height="2560" alt="" class="lazyload"/><figcaption>Illustration: Martina Gofman and Johanna Ruukholm, <em>Thirst</em>, 2022</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>



<p>The summer issue of A Shade Colder titled <em>Thirst</em> offers a glimpse into the spectre of thirst. Viewing thirst at the touching points with the natural world, we invite you to explore the floral fantasias of the painter Malle Leis, as seen through the eyes of Andrew Berardini. Leis’ lush world of plants evokes a sensuality guiding the reader towards an endless summer. This is often best spent in the farther reaches of the land, as Leis did in Võrumaa in southern Estonia. In the current&nbsp;issue Kaarin Kivirähk also profiles the art scene in the city of Võru. On another kind of journey, artist Rebecca Jagoe steps into the wet realms of the sea, pondering the eroticism of liquid states in their <em>Ofthyrst</em>.</p>



<p>Thirst as yearning is also the starting point for an interview by the curator and writer Max Hannus with artists Sarah Nõmm and Maria Izabella Lehtsaar. How much of yourself or your desires and struggles is it acceptable to put into artistic work in a visible way without hurting yourself or appearing too thirsty? Among other things, the conversation discusses gentleness, queerness and intimacy. To accompany the piece, artist Elo Vahtrik has created collages based on the works of the two artists.</p>



<p>But alongside the thirst for life and everything it entails, there are also darker shades to thirst. Thirst always seems to balance between existence and non-existence – bringing things into this world and making them disappear, while thriving on lack.</p>



<p>As the events of Russia’s ongoing war in Ukraine in the past months have once again made clear, the thirst for life can easily be devastated by the thirst for blood. Although, considering the unnecessary destruction it causes and its senselessness, perhaps, the English expression <em>lust</em> <em>for blood</em> is more apt here. And while the echoes of the war in the artworld pale in comparison to the real-life destruction it sows, nothing is left untouched. Do images still have power and how can we re-evaluate that power and the context in which they came into existence and inhabit the world in the present? To tackle some of these questions, curator Liisa Kaljula writes about the curatorial and administrative choices made when recontextualising the exhibition <em>Thinking Pictures</em> at Kumu Art Museum.</p>



<p>In whichever way we experience thirst, most likely its intensity will change us to some degree, so let us be aware not to get lost in it and have kindness towards others who have yet to emerge from the experience.</p>


finale

Thirst

Editorial. Thirst


<p><strong>Kaarin Kivirähk</strong> is the editor-in-chief of A Shade Colder.</p>


Kaarin Kivirähk


<p>A Shade Colder is a new magazine for conversations about and around art in Estonia and beyond. The publication launches at a time when the region has found itself at the centre of international discussions. We hope that through the lens of contemporary art and visual culture the magazine will become an inspiration and a useful source for engaging with this part of the world.</p>



<p>The first issue, <em>The Eyes of My Other </em>aims to open a multicentric view on art (history). We are seeking to expand and provide a more nuanced perspective on Estonian art, while framing it within an international context. The issue explores ways of (re)framing Estonian visual culture, born between the East and the West, both in the past and the present, looking at both individual artistic practices as well as institutional efforts.</p>



<p>In doing so, the artists and writers featured in this issue conjure images of (frightening) beauty, discuss decolonisation outside the national project, carefully consider local complexities, and being aware of the differences and agency of the gaze from inside and out, they look for shared narratives between art in Estonia and elsewhere.</p>



<p>Highlighting a multiplicity of perspectives is crucial, so that complex social, political and cultural processes would not be reduced to simplistic ideas and discussed based on out-dated concepts and models. This is especially urgent in the light of Russia’s vicious war against Ukraine, the consequences of which will be with us for years to come. A Shade Colder stands in solidarity with the Ukrainian people and will be donating 50% of the proceeds of the sales of its first issue to the Ukrainian Cultural Centre in Estonia, which has been providing support in Ukraine since 2014, as well as the Ukrainian Emergency Art Fund, directly targeting the needs of the art community in Ukraine.&nbsp;</p>



<div class="wp-block-www-blocks-image-block"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2022/04/editorial_illustratsioon-1.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2022/04/editorial_illustratsioon-1-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2022/04/editorial_illustratsioon-1-300x195.jpg 300w, https://admin.ashadecolder.com/wp-content/uploads/2022/04/editorial_illustratsioon-1-1024x665.jpg 1024w, https://admin.ashadecolder.com/wp-content/uploads/2022/04/editorial_illustratsioon-1-1214x788.jpg 1214w, https://admin.ashadecolder.com/wp-content/uploads/2022/04/editorial_illustratsioon-1-1560x1013.jpg 1560w, https://admin.ashadecolder.com/wp-content/uploads/2022/04/editorial_illustratsioon-1.jpg 1617w" data-sizes="auto" width="1617" height="1050" alt="" class="lazyload"/><figcaption>Illustration: Martina Gofman and Johanna Ruukholm, <em>The Eyes of My Other</em>, 2021.</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>


editorial_illustratsioon

The Eyes of My Other

Editorial. The Eyes of My Other

14 Emilie Saal in collaboration with Andres Saal, Tropical fruit still-life, overpainted photograph, c. 1910-1920. Courtesy of the Estonian Literature Museum

The Terrifying and Mundane Seduction of Orchids

A Shade Colder is a platform for discussions about and around art in Estonia and beyond.

A Shade Colder

digikaas


<div class="wp-block-www-blocks-image-block alignleft"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-2-copy-scaled.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-2-copy-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-2-copy-300x279.jpg 300w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-2-copy-1024x951.jpg 1024w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-2-copy-848x788.jpg 848w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-2-copy-1091x1013.jpg 1091w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-2-copy-1211x1125.jpg 1211w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-2-copy-1454x1350.jpg 1454w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-2-copy-1938x1800.jpg 1938w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-2-copy-2120x1969.jpg 2120w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-2-copy-scaled.jpg 2560w" data-sizes="auto" width="2560" height="2378" alt="" class="lazyload"/><figcaption>Zody Burke, <em>Artist in Studio</em>, 2023</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>



<p>According to a recent wage survey, the average monthly income of art practitioners in Estonia is 600 euros<sup class="modern-footnotes-footnote " data-mfn="1" data-mfn-post-scope="000000003f9b573700000000644a624f_2169"><a href="javascript:void(0)"  role="button" aria-pressed="false" aria-describedby="mfn-content-000000003f9b573700000000644a624f_2169-1">1</a></sup><span id="mfn-content-000000003f9b573700000000644a624f_2169-1" role="tooltip" class="modern-footnotes-footnote__note" tabindex="0" data-mfn="1">Koppel, K., Arrak, K., Konov, V., Parts, R. 2023. <em>Loometöö tasustamine Eestis ja loomepalkade mõju hindamine</em>. Civitta Eesti AS, 2023.</span>. This number is lower than the national minimum wage and reflects an international trend – visual art is among the lowest earning branches in the cultural sector.&nbsp; One strategy to improve working conditions is establishing criteria for fair pay. Such fair pay guidelines are usually developed by artist unions and advocacy organisations; however, in Estonia the process was initiated at the grassroots level. Together with Maarin Ektermann, we consulted with nearly 70 colleagues to develop a fair pay proposal that would consider the particularities of the Estonian tax system<sup class="modern-footnotes-footnote " data-mfn="2" data-mfn-post-scope="000000003f9b573700000000644a624f_2169"><a href="javascript:void(0)"  role="button" aria-pressed="false" aria-describedby="mfn-content-000000003f9b573700000000644a624f_2169-2">2</a></sup><span id="mfn-content-000000003f9b573700000000644a624f_2169-2" role="tooltip" class="modern-footnotes-footnote__note" tabindex="0" data-mfn="2">Ektermann, M., Triisberg, A. 2022. <em>Õiglaste tasumäärade ettepanek kunstivaldkonnale</em>. Kodutud tekstid. Available at: <a href="https://drive.google.com/file/d/17DpQeLDIrUcPae2GHkS6gblqLevKzU7Q/view">KT_töövihik_elektrooniline_05.01.22.pdf</a></span>.</p>



<p>The proposal focuses on exhibition making, which is a core activity in the art sector. Participating in exhibitions should generate substantial income for art workers; however, this is currently not the case. Even the most well-funded exhibition spaces pay artist fees that are barely in sync with the national minimum wage. The remuneration of artists is usually lower than the pay of installation technicians, graphic designers, project managers, curators or exhibition designers. In many cases, artists are funding the exhibitions from their own pocket, either through unpaid labour or finances channelled into production costs. There is no consensus that making art is work that should be recognised and remunerated as such.</p>



<h2 class="wp-block-heading"><strong>Why are wages important?</strong></h2>



<p>The fair pay proposal suggests a three-tiered model, taking into account the budget limits of different exhibition spaces. The highest fee rate is linked to the minimum wage of cultural workers (currently 1,600 euros per month), which is a wage tariff applied to the permanent employees of some state funded institutions. The lowest fee rate is linked to the national minimum wage (725 euros per month or 4.30 per hour), a standard which also has limited reach. The minimum wage is legally binding for all conventional employment contracts; however, in the art sector incomes are usually lower because the law does not apply to temporary work contracts. There is no consensus in the art field about complying with the minimal standards voluntarily.</p>



<p>For freelance art workers, earning the minimum monthly wage is crucial because access to health insurance, unemployment protection and future retirement pension depends on it. The minimum wage has been rising every year, whereas incomes in the art sector remain stagnant. From the perspective of art workers, chasing the minimum wage is a sport that demands a truly athletic performance. Another problem is that not all income is paid in the form of wages – grants, licence fees and art sales are not subject to labour taxes and therefore do not grant access to the social security system. A recent study showed that 49% of freelance cultural workers in Estonia do not have stable access to health insurance<sup class="modern-footnotes-footnote " data-mfn="3" data-mfn-post-scope="000000003f9b573700000000644a624f_2169"><a href="javascript:void(0)"  role="button" aria-pressed="false" aria-describedby="mfn-content-000000003f9b573700000000644a624f_2169-3">3</a></sup><span id="mfn-content-000000003f9b573700000000644a624f_2169-3" role="tooltip" class="modern-footnotes-footnote__note" tabindex="0" data-mfn="3">Koppel, K., Masso, M., Arrak, K., Michelson, A. 2021. <em>Vabakutselised loovisikud, nende majandusliku toimetuleku mudelid ja sotsiaalsete garantiide kättesaadavus</em>. Mõttekoda Praxis.</span>. To improve the situation, it is critical that artistic labour is remunerated fairly and through wages. Wages and social guarantees are two sides of the same coin.</p>



<h2 class="wp-block-heading"><strong>Why is tracking time necessary?</strong></h2>



<p>Before developing our proposal, we researched fair pay standards in other countries and presented three examples for public discussion: the MU Agreement in Sweden, the recommendations developed by Carfac in Canada, and W.A.G.E. in New York<sup class="modern-footnotes-footnote " data-mfn="4" data-mfn-post-scope="000000003f9b573700000000644a624f_2169"><a href="javascript:void(0)"  role="button" aria-pressed="false" aria-describedby="mfn-content-000000003f9b573700000000644a624f_2169-4">4</a></sup><span id="mfn-content-000000003f9b573700000000644a624f_2169-4" role="tooltip" class="modern-footnotes-footnote__note" tabindex="0" data-mfn="4">Triisberg, A., Mürk, M. Näitusetasu. Kolm näidet mujalt. Sirp (6 December 2019)</span>. The fee tariffs in these examples are linked to various parameters including the budget of the exhibition space, the number of visitors, the duration of the exhibition, or the number of participating artists. When analysing these models, we identified some essential shortcomings. For example, there is often a negative correlation between group exhibitions and artist fees – the larger the exhibition, the smaller the fee. Such a principle serves the interest of the institutions rather than the artists because the workload of one artist does not depend on whether the exhibition includes 10 or 20 artists. Models based on the number of visitors and the duration of the exhibition are framing the artwork as a commodity. In our proposal, we chose a different approach and focused on measuring working time.</p>



<p>Negotiating on the basis of workload is not a common practice in the art sector. The fees are usually dictated by institutions who approach freelance art workers once their budget is already fixed. These budgets do not realistically reflect the time needed to carry out the work.</p>



<p>In group conversations with art practitioners, we tried to estimate the average time needed to produce art works and exhibitions. For example, artists estimated that the preparation of a solo exhibition requires 6–9 months of full-time work, although the preparation period itself is usually longer because the intensity of work varies over time. The workload also depends on external factors such as the size of the exhibition space and the availability of institutional support staff. Based on the group conversations, we developed negotiation guidelines with negotiation guidelines that can be used to discuss the division of labour between the artist and the institution. This worksheet also highlights activities that are often overseen when agreements about workload are made, such as attending meetings and writing emails, participating in public programmes or giving interviews to the press. However, creative work cannot always be planned and measured precisely. Some concepts take time to mature, while others are born in the moment; some ideas are easy to realise, others require long experimentation with materials, techniques or skills. The negotiations about workload and fair pay should not only focus on administrative tasks that can be easily measured, but it is important to consider that the creative process also takes time.</p>



<div class="wp-block-www-blocks-two-images-block"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-3-copy-scaled.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-3-copy-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-3-copy-300x279.jpg 300w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-3-copy-1024x951.jpg 1024w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-3-copy-848x788.jpg 848w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-3-copy-1091x1013.jpg 1091w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-3-copy-1211x1125.jpg 1211w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-3-copy-1454x1350.jpg 1454w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-3-copy-1938x1800.jpg 1938w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-3-copy-2120x1969.jpg 2120w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-3-copy-scaled.jpg 2560w" data-sizes="auto" width="2560" height="2378" alt="" class="lazyload"/><figcaption1>Zody Burke, <em>Tallinn</em>, 2023</figcaption1><button class="zoom m-image" aria-label="View fullscreen"></button></figure><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-1-copy-scaled.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-1-copy-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-1-copy-300x279.jpg 300w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-1-copy-1024x951.jpg 1024w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-1-copy-848x788.jpg 848w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-1-copy-1091x1013.jpg 1091w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-1-copy-1211x1125.jpg 1211w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-1-copy-1454x1350.jpg 1454w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-1-copy-1938x1800.jpg 1938w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-1-copy-2120x1969.jpg 2120w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-1-copy-scaled.jpg 2560w" data-sizes="auto" width="2560" height="2378" alt="" class="lazyload"/><figcaption>Zody Burke, <em><em>Interpassivity</em></em>, 2023</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>



<h2 class="wp-block-heading"><strong>Why is collective organising essential?</strong></h2>



<p>Not much has changed during the one and a half years since the fair pay proposal was published. Two institutions have partially modelled their fee tariffs according to the proposal. Tallinn Art Hall linked their artist fees with the minimum wage for cultural workers; however, the workload calculations are unrealistic – for the preparation of a large solo exhibition artists receive the payment of only three months – and thus the artist fees are actually closer to the national minimum wage which is roughly two times lower. The magazine <em>A Shade Colder</em> follows the proposed fee schedule for writers; however, the rates have not been adjusted to factor in the high inflation and the rise in the minimum wage tariffs in 2023. Some institutions have made adjustments that do not require financial means, such as improving legal awareness and adjusting communication protocols. It is commonly agreed that establishing new labour standards requires additional funding for art and culture. This aim can be achieved only through collective pressure.</p>



<p>In the past decade, the visual art sector in Estonia has gone through two different cycles of debate addressing un(der)paid labour. The first cycle took place in 2009–2011 as a collective organising process and coincided with an international wave of self-organised movements of art workers mobilised in the aftermath of the global financial crisis. The ongoing cycle (from 2019 onwards) has been led by individual experts, advocacy organisations and the ministry of culture. This shift in the forms of organising mirrors certain general patterns characteristic to labour struggles in Estonia. In the trade union movement, the preference is for a top-down service model in which the trade union offers counselling, support and services for members rather than empowering their active participation<sup class="modern-footnotes-footnote " data-mfn="5" data-mfn-post-scope="000000003f9b573700000000644a624f_2169"><a href="javascript:void(0)"  role="button" aria-pressed="false" aria-describedby="mfn-content-000000003f9b573700000000644a624f_2169-5">5</a></sup><span id="mfn-content-000000003f9b573700000000644a624f_2169-5" role="tooltip" class="modern-footnotes-footnote__note" tabindex="0" data-mfn="5">Kall, K. Ametiühingute nõrkusest ja strateegilistest valikutest. <em>Vikerkaar</em> 2023/1-2.</span>.</p>



<p>According to a recent survey, only 4% of art workers are organised in trade unions, while 68% are members of creative associations which function as the most important advocacy organisations in the cultural sector<sup class="modern-footnotes-footnote " data-mfn="6" data-mfn-post-scope="000000003f9b573700000000644a624f_2169"><a href="javascript:void(0)"  role="button" aria-pressed="false" aria-describedby="mfn-content-000000003f9b573700000000644a624f_2169-6">6</a></sup><span id="mfn-content-000000003f9b573700000000644a624f_2169-6" role="tooltip" class="modern-footnotes-footnote__note" tabindex="0" data-mfn="6">Koppel, K., Arrak, K., Konov, V., Parts, R. 2023. <em>Loometöö tasustamine Eestis ja loomepalkade mõju hindamine</em>. Civitta Eesti AS, 2023.</span>. In those cultural branches where workers are organised in trade unions – for example, theatre – working conditions are better. That is why it is essential that the issue of fair wages not be confined to elite spaces and limited to a negotiation between policy-making experts and representatives of advocacy organisations. The political pressure which is needed to improve working conditions in the art sector will be stronger when exercised collectively by a multitude of art workers – artists, curators, writers, designers, educators, archivists, builders, exhibition guards, cleaners, etc.</p>



<div class="wp-block-www-blocks-image-block"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-scaled.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-300x180.jpg 300w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-1024x614.jpg 1024w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-1313x788.jpg 1313w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-1689x1013.jpg 1689w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-1875x1125.jpg 1875w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-2250x1350.jpg 2250w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-3000x1800.jpg 3000w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-3282x1969.jpg 3282w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Untitled_Artwork-scaled.jpg 2560w" data-sizes="auto" width="2560" height="1536" alt="" class="lazyload"/><figcaption>Zody Burke, <em>Meetin</em>g, 2023</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>


Wages for art work


<div class="wp-block-www-blocks-image-block alignleft"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/07/16-89630030-copy-scaled.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/07/16-89630030-copy-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/16-89630030-copy-300x199.jpg 300w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/16-89630030-copy-1024x679.jpg 1024w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/16-89630030-copy-1188x788.jpg 1188w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/16-89630030-copy-1528x1013.jpg 1528w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/16-89630030-copy-1696x1125.jpg 1696w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/16-89630030-copy-2036x1350.jpg 2036w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/16-89630030-copy-2714x1800.jpg 2714w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/16-89630030-copy-2969x1969.jpg 2969w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/16-89630030-copy-scaled.jpg 2560w" data-sizes="auto" width="2560" height="1698" alt="" class="lazyload"/><figcaption>Samira Elagoz &amp; Z Walsh, <em>You can’t get what you want but you can get me</em>, 2023</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>



<p>Filmmaker and performance artist Samira Elagoz likes to join his spectators in front of the camera, capturing relationships in an intimacy deprived society. That often leaves the spectator to question the fictionality, performativity, and realness of the work but as Samira has written: “Romance is business and business is romance”<sup class="modern-footnotes-footnote " data-mfn="1" data-mfn-post-scope="000000003f9b573700000000644a624f_2193"><a href="javascript:void(0)"  role="button" aria-pressed="false" aria-describedby="mfn-content-000000003f9b573700000000644a624f_2193-1">1</a></sup><span id="mfn-content-000000003f9b573700000000644a624f_2193-1" role="tooltip" class="modern-footnotes-footnote__note" tabindex="0" data-mfn="1">Elagoz, S. 2017. What I saw and how I lied. <em>Post-Dance</em>. Spångberg, M., Danjel Andersson, D., Edvartsen, M. (eds). Stockholm : MDT, 206</span>. His work <em>Cock, Cock… Who’s There?</em> – research on the spectrum of male–female relations, rape, online dating, and an attempt to regain one&#8217;s power – was followed by <em>Seek Bromance</em>, a pandemic-era journey of two lovers and a camera. His latest work with artist Z Walsh, the installation – <em>You Can’t Get What You Want But You Can Get Me</em> – opened in April as part of the <em>Nuoret 2023</em> exhibition in Helsinki.</p>



<p>Rumoured to be queer, provocative and emotionally intense, <em>Seek Bromance</em> was a must-see for me. The social media influenced dramaturgy and editing kept me on the edge of my seat for 240 minutes and I was fully immersed in Samira&#8217;s transition from high femme to transmasculine. <em>Seek Bromance</em> had initiated a personal process of constructing and deconstructing my perspectives on performing and practicing gender, first having to critically examine and then reinvent how I&#8217;ve perceived the “conventional” narrative of being trans.&nbsp;This interview is a sequel to questions I was left with after being introduced to Samira&#8217;s practice and a prequel to him coming to perform <em>Seek Bromance</em> at the festival SAAL Biennaal in Tallinn in August.&nbsp;</p>



<div class="q-and-a" class="wp-block-www-blocks-q-and-a-block"><div class="question"><p><strong>This is something I&#8217;ve been meaning to ask for a while – how do you prefer to be called?</strong></p></div><div class="answer"><p>My name is and always was Samira Elagoz. But people often call me Sam. During my three years of being out as trans, many have asked if I will change my name, but the truth is I don&#8217;t care so much for names. I believe they belong to gravestones. My relationship with “Samira” is complicated though. I hated it my whole youth as I was constantly bullied for being half Egyptian. While I could “pass as Finnish”, my name would always give me away. But later in life I became very proud of it. So, for me, “Samira” is not a marker of being a woman but of my background.</p></div></div>



<div class="q-and-a" class="wp-block-www-blocks-q-and-a-block"><div class="question"><p><strong>How do you carry the pressure and responsibility of having become the voice for many transmasculine people? Or the voice of sexual violence victims?</strong></p></div><div class="answer"><p>I believe one cannot, and should not, represent a “community”. To be expected to be a spokesperson for an entire demographic is unrealistic and unfair. If you are an artist from a minority or oppressed group, you are always being reviewed for what you represent, and whether your performance of representation is adequate. Any consideration of your merit as director, dramaturge, or editor, is entirely secondary, if that. The judgement is always personal, aimed at your appearance or behaviour, rather than how you make your work. White cis men, conversely, have been given this sense of neutrality, where they have the freedom to represent others, and tell stories they’ve merely observed. In addition, marginalised artists are held to a higher level of purity, and have the most to lose by not living up to imagined standards.</p></div></div>



<div class="q-and-a" class="wp-block-www-blocks-q-and-a-block"><div class="question"><p><strong>Could you define the transmasculine gaze in relation to the male/female gaze?</strong></p></div><div class="answer"><p>A defining moment in my career was in 2015, when I went to a retrospective exhibition of a famous male photographer. I remember thinking what a shame that this man met all these women throughout his life, and managed to portray them all in the same way. The thing about the male gaze is that at its core, it is boring – men projecting lascivious fantasies onto women. I decided then that when I have my retrospective one day, people will be able to see the life I experienced with my subjects/collaborators.</p><p>I’ve been filming strangers for ten years now, and I never had the intent of ascribing them to a specific role. My subjects could show themselves to me as they wanted to be seen. I gave them the freedom to use the camera, to turn it around on me. But to be frank, I’m not so invested in the gender of gaze anymore. A curious gaze should not be tied to the maker&#8217;s gender, but the way they choose to make work. In film, you could say it is in character development. How complex, unpredictable, or realistic you make your characters. Storytelling is universal, and the male perspective can no longer be considered the default one.</p></div></div>



<div class="wp-block-www-blocks-image-block"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/07/seek-7-2.png" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/07/seek-7-2-150x150.png 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/seek-7-2-300x158.png 300w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/seek-7-2-1024x540.png 1024w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/seek-7-2-1400x738.png 1400w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/seek-7-2-1800x949.png 1800w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/seek-7-2.png 2878w" data-sizes="auto" width="2878" height="1518" alt="" class="lazyload"/><figcaption>Samira Elagoz,<em> Seek Bromance</em>, 2021</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>



<div class="q-and-a" class="wp-block-www-blocks-q-and-a-block"><div class="question"><p><strong>What is the power you hold as the initiator of a documentary artwork? Is it even power? Responsibility? A request to co-parent an unborn artwork?</strong></p></div><div class="answer"><p>I always knew I didn&#8217;t want to make traditional documentaries. I think it’s rather cowardly to be just behind the camera, to not put yourself on the line. My works are not a collection of portraits, but interactions between me and my subjects or collaborators. When I step into my camera’s frame, and offer the people I film a chance to use the camera, I try to create a dynamic in which the camera’s gaze is in constant dialogue. As for my collaborations, it’s important to me that the filming process is influenced by both of us. I&#8217;ve offered them the chance to be part of the editing, and it’s crucial that we get paid the same amount. That being said, anytime you represent someone else there is an inevitable power dynamic. I understand the vulnerability of being shown through someone else’s POV, and the courage it takes to be perceived. And even though I&#8217;ve thought a lot about these dynamics and created methods to offset and equalise them, they will be present.&nbsp;</p><p>My newest collaboration <em>You Can’t Get What You Want But You Can Get Me</em> with my partner Z Walsh was my first experience working with someone who was as keen to film me as I was him. I finally found someone with whom there wasn’t much of a power dynamic because we both shared the same need and curiosity to document our relationship since the moment we met.</p></div></div>



<div class="q-and-a" class="wp-block-www-blocks-q-and-a-block"><div class="question"><p><strong>How does the presence of a camera – the potential of a foreign gaze, an unknown number of strangers in the space with you – influence intimate situations?&nbsp;</strong></p></div><div class="answer"><p>The process of building a relationship, romantic or not, in front of a camera is a vulnerable and unpredictable experience for both parties. Meeting in the presence of a camera heightens a lot of the interactions. Romance is more romantic, excitement more exciting. Similarly, awkwardness can easily become tension.</p><p>Therapist Esther Perel, who publicly podcasts some of her sessions, says that couples therapy is the best theatre in town. In any situation where real intimacy is portrayed publicly, be it an artwork or reality TV, you open yourself up to be judged for the most private parts of your life. I personally believe there is something noble about placing your life, issues, insecurities and epiphanies on display, to trust your experience is human, and shared, and of value. We should admire people who dare to expose themselves like that.</p></div></div>



<div class="wp-block-www-blocks-image-block"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/07/IMG_4791.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/07/IMG_4791-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/IMG_4791-300x158.jpg 300w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/IMG_4791-1024x538.jpg 1024w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/IMG_4791-1400x735.jpg 1400w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/IMG_4791-1800x945.jpg 1800w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/IMG_4791-2000x1050.jpg 2000w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/IMG_4791.jpg 2076w" data-sizes="auto" width="2076" height="1090" alt="" class="lazyload"/><figcaption>Samira Elagoz,<em> Seek Bromance</em>, 2021</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>



<div class="q-and-a" class="wp-block-www-blocks-q-and-a-block"><div class="question"><p><strong>Assuming there is the freedom to not have to entirely perform yourself – how much effort do you put into staying yourself in a situation where the camera is facing you?</strong></p></div><div class="answer"><p>I recently read a quote from Ingmar Bergman: “I could always live in my art but never in my life.” Autism runs in my family, and while I’ve never been formally diagnosed and have no intention of self-diagnosing, social interactions have always felt like a struggle to me. I’ve often felt like an alien who cannot socialise, and this has led me to <em>perform</em> socially in my real life, more than in my art. I&#8217;ve needed to mask and practise social choreography. Being in front of and behind the camera are some of the only places where I feel like I can be genuine, where I feel truly alive. And while people may not regard that as being my authentic self, to me, it is.</p><p>Working between documentary and performance I often face questions about authenticity. The main question remains: how performative is this documentary? An unanswerable question, because even if I would try to act like myself, the audience could never be sure to what extent that “self” is being <em>performed</em>, nor what my motives are.&nbsp;</p></div></div>



<div class="wp-block-www-blocks-two-images-block"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/07/facetune-scaled.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/07/facetune-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/facetune-300x200.jpg 300w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/facetune-1024x683.jpg 1024w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/facetune-1182x788.jpg 1182w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/facetune-1520x1013.jpg 1520w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/facetune-1688x1125.jpg 1688w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/facetune-2025x1350.jpg 2025w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/facetune-2700x1800.jpg 2700w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/facetune-2954x1969.jpg 2954w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/facetune-scaled.jpg 2560w" data-sizes="auto" width="2560" height="1707" alt="" class="lazyload"/><figcaption1>Samira Elagoz &amp; Z Walsh, <em>You can’t get what you want but you can get me</em>, 2023</figcaption1><button class="zoom m-image" aria-label="View fullscreen"></button></figure><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/07/IMG_5524-scaled.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/07/IMG_5524-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/IMG_5524-300x200.jpg 300w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/IMG_5524-1024x683.jpg 1024w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/IMG_5524-1182x788.jpg 1182w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/IMG_5524-1520x1013.jpg 1520w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/IMG_5524-1688x1125.jpg 1688w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/IMG_5524-2025x1350.jpg 2025w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/IMG_5524-2700x1800.jpg 2700w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/IMG_5524-2954x1969.jpg 2954w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/IMG_5524-scaled.jpg 2560w" data-sizes="auto" width="2560" height="1707" alt="" class="lazyload"/><figcaption>Samira Elagoz &amp; Z Walsh, <em>You can’t get what you want but you can get me</em>, 2023</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>



<div class="q-and-a" class="wp-block-www-blocks-q-and-a-block"><div class="question"><p><strong>I do feel the art world is often afraid of being incorrect or too triggering. Subconsciously, I tend to expect artists dealing with <em>contemporary</em> topics to constantly question right and wrong, lead the way, and never suggest that being triggered and cared for may not be opposites. Why is it important for the viewer to be triggered?</strong></p></div><div class="answer"><p>I think the position of spectatorship is by default triggering. To be left only to witness, without being able to act in the moment. The passiveness of spectatorship can be quite paralysing regardless of the topic of the work. I recently read an interview with Nick Cave who said it’s the most problematic individuals that produce the best art. Although I cannot fully subscribe to that idea, I do think the greatest art can’t be made by moralists. I am convinced that the most powerful works arise from a place of nuanced understanding, and acceptance of complexity. Artists shouldn’t strive to be role models.</p></div></div>



<div class="q-and-a" class="wp-block-www-blocks-q-and-a-block"><div class="question"><p><strong>How do you direct the way the artwork triggers, and then “hold space” for the triggered?</strong></p></div><div class="answer"><p>I do put a lot of thought into how I construct dramaturgy, build tension and relieve it. I think the care happens there. However, I try to make my works without moralising, or giving readymade conclusions. I want the mic to turn towards the audience in the end. They should be left with a desire to articulate for themselves.</p></div></div>



<div class="wp-block-www-blocks-image-block"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/07/Seek-Bromance.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/07/Seek-Bromance-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Seek-Bromance-300x158.jpg 300w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Seek-Bromance-1024x540.jpg 1024w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Seek-Bromance-1400x738.jpg 1400w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Seek-Bromance-1800x949.jpg 1800w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Seek-Bromance-2000x1055.jpg 2000w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Seek-Bromance-2400x1265.jpg 2400w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Seek-Bromance.jpg 2492w" data-sizes="auto" width="2492" height="1314" alt="" class="lazyload"/><figcaption>Samira Elagoz,<em> Seek Bromance</em>, 2021</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>


The position of spectatorship is by default triggering: An interview with Samira Elagoz

Blonde: Lemmi, Jean, Shirley and others

The spatial politics of disability in late Soviet Estonia

From home sweet home to an object of speculation: Interview with architects Aet Ader, Arvi Anderson and Mari Möldre


<div class="wp-block-www-blocks-image-block alignleft"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-pikk0-scaled.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-pikk0-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-pikk0-133x300.jpg 133w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-pikk0-455x1024.jpg 455w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-pikk0-350x788.jpg 350w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-pikk0-450x1013.jpg 450w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-pikk0-500x1125.jpg 500w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-pikk0-600x1350.jpg 600w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-pikk0-800x1800.jpg 800w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-pikk0-875x1969.jpg 875w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-pikk0-scaled.jpg 1138w" data-sizes="auto" width="1138" height="2560" alt="" class="lazyload"/><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>



<p>//flash— <br>grass uproots <br>in quick steps; <br>running in <br>new time </p>



<p>//zoom out— <br>clear the sky <br>&amp; screen: <br>all levels, <br>all at once </p>



<p>//zoom out, out, out–– <br>ready to play? </p>



<p>\\press start// </p>



<p>//zoom in–– <br>awoken in a forest, <br>the sun bathes you <br>––an image of wood <br>in a green dress–– <br>a shadow rests on time, <br>a dirty mirror, <br>raging bears; <br>a halo of orange <br>bourbon &amp; blurred faces <br>overlay in stills–– <br>floating </p>



<p>//zoom out–– <br>you must spell out: <br><em>warbles </em><br>with your tongue; <br>try again </p>



<p>//zoom in–– <br>sleep/grass: <br>a predusk wash. <br>the clouds here <br>are stone. </p>



<p>//zoom in— <br>get out— <br>the body is, <br><s>&lt;yourself&gt;</s> <br>an anti-harmony–– <br>body running; <br>you spit––glitch–– <br>wet: the dew rich grass; <br>step; lick–– <br>circumambulation <br>ringing </p>



<p>//flash–– <br>—you fall in. </p>



<p>//flash–– <br>eyes manifest, <br>hands––your mouth; <br><s>mouth— </s><br>your legs, <br>loud </p>



<p>//zoom out–– <br>level ten <br>level four <br>level up </p>



<div class="wp-block-www-blocks-image-block alignleft"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-scaled.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-126x300.jpg 126w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-431x1024.jpg 431w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-332x788.jpg 332w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-427x1013.jpg 427w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-474x1125.jpg 474w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-568x1350.jpg 568w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-758x1800.jpg 758w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-829x1969.jpg 829w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-scaled.jpg 1078w" data-sizes="auto" width="1078" height="2560" alt="" class="lazyload"/><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>



<p>//flash— <br>but you need no helmet, <br><s>you are different </s></p>



<p>\\flash— <br>compost, <br>skin; <br>the floor is concrete. <br>melodic runs. </p>



<p>//zoom in–– <br>find an exit–– <br>and the shaken <br>ppl; those ppl, <br>tired, tired of <br>the back to darkness–– </p>



<p>//flash— <br>out the portal, <br>off the platform, <br>a deep plunge, <br>a twist into words <br>down a hall, <br>like strawberries. </p>



<p>//zoom out— <br>you look up &amp; <br>you hear the <br>blurred faces &amp; <br>toenails stuttering on <br>the in-between breeze </p>



<p>//zoom out— <br>a stone bell end of <br>all your emotions, &amp;, <br>i am tired; <br>health, coin &amp; quest: <br>a sense of place; <br>refresh. </p>



<p>//flash— <br>you made your way, but <br>couldn&#8217;t walk. <br>dust covered the sun, <br>its pixels ripping <br>behind a leaf of cloud <br>swirling down spirals <br>in you/ <br>on you </p>



<p>//zoom in–– <br>&amp; pressed against <br>midnight <br>––bearing your <br>skin to the sky–– <br>if you stay in a place like this, <br>you might not be able to connect </p>



<p>//zoom in–– <br>how do you, <br>you rustle &amp; <br>stumble again </p>



<p>//zoom in–– <br>a body <br>still means borders </p>



<p>//zoom in–– <br>moist paint <br>spilling <br>dissonance </p>



<div class="wp-block-www-blocks-image-block alignleft"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-scaled.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-126x300.jpg 126w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-431x1024.jpg 431w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-332x788.jpg 332w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-427x1013.jpg 427w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-474x1125.jpg 474w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-568x1350.jpg 568w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-758x1800.jpg 758w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-829x1969.jpg 829w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-scaled.jpg 1078w" data-sizes="auto" width="1078" height="2560" alt="" class="lazyload"/><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>



<p>//zoom out— <br>crazy adventure: <br>chair, drink <br>&amp; dust. </p>



<p>//zoom in–– <br>the paper broke–– <br>but your shame was <br>like voice over <br>on branches breaching <br>from lips to steps </p>



<p>//flash <br>awake after pause, <br>action: <br>inspect: <br>chattering from <br>downstairs; <br>somehow spitting <br>in circles, around <br>a puddle that is <br>your eyes </p>



<p>//zoom in–– <br>your legs bend, <br>you stumble. <br>it&#8217;s not much further </p>



<p>//zoom in–– <br>&amp; fusing skin <br>falters. now, your <br>drawn smacks <br>seem bare— <br>&amp; you slur: <br>a cyber sense of <br>community </p>



<p>//zoom in–– <br>&amp; you’re dragging <br>a halo of orange <br>&amp; its shadow rests <br>in pixels; <br>running in circles, <br>neons leading you; <br><s>you couldn’t connect </s></p>



<p>//zoom out–– <br>it was definitely past <br>glitching, when <br>the wet paper, <br>sitting seafoam <br>&amp; your white shoes <br>frozen, disarrayed <br>&amp; mid-spill <br>as notes struck <br>a strong whiff <s>of <br>glorious, cheap, available</s> </p>



<p>//zoom out— <br>memory frozen. <br>after the sun’s death, <br>my tendons were cigarettes <br>&amp; the tobacco spilled out, <br>resteeping <br>on the dark bar. </p>



<p>//zoom in–– <br>a mad body, <br>a grin, <br>a leaf appears; <br>metamorphosis is in. </p>



<div class="wp-block-www-blocks-image-block alignleft"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-scaled.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-126x300.jpg 126w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-431x1024.jpg 431w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-332x788.jpg 332w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-427x1013.jpg 427w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-474x1125.jpg 474w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-568x1350.jpg 568w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-758x1800.jpg 758w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-829x1969.jpg 829w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/chain-scaled.jpg 1078w" data-sizes="auto" width="1078" height="2560" alt="" class="lazyload"/><figcaption>“sassy spiral” (2023)</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>



<p>//zoom in–– <br>find out <br>how you came to this <br>green–– <br>it fills the foreground <br>over the long stone; <br>the shield is <br>waiting. <br>are you <br>at once sound &amp; <br>a peninsula, <br>with words sprouting: <br>‘save them’ </p>



<p>//zoom-in–– <br>you have <br>a multi-headed, <br>blurred, slumped body, <br>fissure <br>between times </p>



<p>//flash— <br>reward? <br><s>yes please </s></p>



<p>//zoom in–– <br>like pine, <br>the linoleum <br>tingling awake–– <br>fruit fwd phlegm, <br>frozen &amp; vibrating </p>



<p>//zoom-in–– <br>more health <br>more hearts <br>more time </p>



<p>//zoom-in–– <br>red tipped lavender <br>&amp; a swarm of green— <br>last night <br>ripples in. </p>



<p>//flash— <br>there was all this <br>unshifting <br>wind again <br>in loops–– </p>



<p>//zoom in–– <br>examine your surroundings, <br>stones soak, <br>so many spirals <br>swimming in wails. </p>



<p>//zoom out–– <br>mouth—/ <br>&amp; green–– <br>ripples out. </p>



<p>//zoom in–– <br>you’re dragging <br>the glitch rich grass. </p>



<p>\\back to start.&nbsp;</p>


start—screen—spiral


<div class="event-info" class="wp-block-www-blocks-event-info-block"><div><h3 class="title">Vilnius Biennial brings performances to the city</h3><div class="location01"><p>23 July – 6 August 2023, Vilnius, Lithuania</p><p><a href="https://www.instagram.com/vilniusbiennial/">@vilniusbiennial</a></p></div><div class="description01"><p>The first edition of the Vilnius Biennial of Performance Art will invite the residents of and visitors to Vilnius to witness performances by both established and emerging artists from Lithuania and abroad. The main focus of this Biennial is the city as a human-made and human-dominated environment that we share with other life forms, where different histories, myths, activities, interests, desires and visions collide, coexist and overlap.</p></div></div><div><h3 class="title">Kaunas Biennale and Survival Kit unite in friendship</h3><div class="location02"><p>Kaunas Biennale, 25 August – 29 October <a href="https://www.instagram.com/kaunasbiennial/?hl=en">@kaunasbiennial</a></p><p>Survival Kit, 7 September – 8 October <a href="https://www.instagram.com/survivalkit.lv/?hl=en">@survivalkit</a></p></div><div class="description02"><p>The 14th Kaunas Biennale (Kaunas, Lithuania) and Contemporary Art Festival Survival Kit 14 (Riga, Latvia) announce Alicia Knock and Inga Lāce as the co-curators of Long-distance Friendships – a programme of events driven by shared research, friendship, and exchange of ideas activating decolonial perspectives and aesthetics across sites in each country. As the seemingly forgotten, yet so present, the traumatic past of the region is looming back in the daily lives of Eastern European societies with the ongoing invasion of Ukraine, the curators&nbsp; ask: in a time of geopolitical fragmentation, can international alliances be forged and nurtured based on friendship and solidarity rather than power and market dynamics?</p></div></div></div>



<div class="wp-block-www-blocks-two-images-block"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/07/VB23-opening-event-curated-programme_-Emilija-Skarnulyte-performance.-Photo-by-Andrej-Vasilenko.-Photo-by-Marius-Zicius-copy-scaled.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/07/VB23-opening-event-curated-programme_-Emilija-Skarnulyte-performance.-Photo-by-Andrej-Vasilenko.-Photo-by-Marius-Zicius-copy-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/VB23-opening-event-curated-programme_-Emilija-Skarnulyte-performance.-Photo-by-Andrej-Vasilenko.-Photo-by-Marius-Zicius-copy-300x200.jpg 300w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/VB23-opening-event-curated-programme_-Emilija-Skarnulyte-performance.-Photo-by-Andrej-Vasilenko.-Photo-by-Marius-Zicius-copy-1024x683.jpg 1024w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/VB23-opening-event-curated-programme_-Emilija-Skarnulyte-performance.-Photo-by-Andrej-Vasilenko.-Photo-by-Marius-Zicius-copy-1182x788.jpg 1182w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/VB23-opening-event-curated-programme_-Emilija-Skarnulyte-performance.-Photo-by-Andrej-Vasilenko.-Photo-by-Marius-Zicius-copy-1520x1013.jpg 1520w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/VB23-opening-event-curated-programme_-Emilija-Skarnulyte-performance.-Photo-by-Andrej-Vasilenko.-Photo-by-Marius-Zicius-copy-1688x1125.jpg 1688w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/VB23-opening-event-curated-programme_-Emilija-Skarnulyte-performance.-Photo-by-Andrej-Vasilenko.-Photo-by-Marius-Zicius-copy-2025x1350.jpg 2025w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/VB23-opening-event-curated-programme_-Emilija-Skarnulyte-performance.-Photo-by-Andrej-Vasilenko.-Photo-by-Marius-Zicius-copy-2700x1800.jpg 2700w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/VB23-opening-event-curated-programme_-Emilija-Skarnulyte-performance.-Photo-by-Andrej-Vasilenko.-Photo-by-Marius-Zicius-copy-2954x1969.jpg 2954w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/VB23-opening-event-curated-programme_-Emilija-Skarnulyte-performance.-Photo-by-Andrej-Vasilenko.-Photo-by-Marius-Zicius-copy-scaled.jpg 2560w" data-sizes="auto" width="2560" height="1707" alt="" class="lazyload"/><figcaption1>Vilnius Biennial of Performance Art. Opening event (curated programme) Emilija Škarnulytė performance. Photo by Marius Zicius</figcaption1><button class="zoom m-image" aria-label="View fullscreen"></button></figure><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/07/Installation-view-of-the-work-by-Tabita-Rezaire-at-the-Contemporary-Art-Festival-Survival-Kit-13-The-Little-Bird-must-be-Caught-curated-by-iLiana-Fokianaki-in-Riga-September-2022.-Photo-copy-scaled.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/07/Installation-view-of-the-work-by-Tabita-Rezaire-at-the-Contemporary-Art-Festival-Survival-Kit-13-The-Little-Bird-must-be-Caught-curated-by-iLiana-Fokianaki-in-Riga-September-2022.-Photo-copy-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Installation-view-of-the-work-by-Tabita-Rezaire-at-the-Contemporary-Art-Festival-Survival-Kit-13-The-Little-Bird-must-be-Caught-curated-by-iLiana-Fokianaki-in-Riga-September-2022.-Photo-copy-212x300.jpg 212w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Installation-view-of-the-work-by-Tabita-Rezaire-at-the-Contemporary-Art-Festival-Survival-Kit-13-The-Little-Bird-must-be-Caught-curated-by-iLiana-Fokianaki-in-Riga-September-2022.-Photo-copy-722x1024.jpg 722w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Installation-view-of-the-work-by-Tabita-Rezaire-at-the-Contemporary-Art-Festival-Survival-Kit-13-The-Little-Bird-must-be-Caught-curated-by-iLiana-Fokianaki-in-Riga-September-2022.-Photo-copy-556x788.jpg 556w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Installation-view-of-the-work-by-Tabita-Rezaire-at-the-Contemporary-Art-Festival-Survival-Kit-13-The-Little-Bird-must-be-Caught-curated-by-iLiana-Fokianaki-in-Riga-September-2022.-Photo-copy-714x1013.jpg 714w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Installation-view-of-the-work-by-Tabita-Rezaire-at-the-Contemporary-Art-Festival-Survival-Kit-13-The-Little-Bird-must-be-Caught-curated-by-iLiana-Fokianaki-in-Riga-September-2022.-Photo-copy-793x1125.jpg 793w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Installation-view-of-the-work-by-Tabita-Rezaire-at-the-Contemporary-Art-Festival-Survival-Kit-13-The-Little-Bird-must-be-Caught-curated-by-iLiana-Fokianaki-in-Riga-September-2022.-Photo-copy-952x1350.jpg 952w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Installation-view-of-the-work-by-Tabita-Rezaire-at-the-Contemporary-Art-Festival-Survival-Kit-13-The-Little-Bird-must-be-Caught-curated-by-iLiana-Fokianaki-in-Riga-September-2022.-Photo-copy-1269x1800.jpg 1269w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Installation-view-of-the-work-by-Tabita-Rezaire-at-the-Contemporary-Art-Festival-Survival-Kit-13-The-Little-Bird-must-be-Caught-curated-by-iLiana-Fokianaki-in-Riga-September-2022.-Photo-copy-1388x1969.jpg 1388w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Installation-view-of-the-work-by-Tabita-Rezaire-at-the-Contemporary-Art-Festival-Survival-Kit-13-The-Little-Bird-must-be-Caught-curated-by-iLiana-Fokianaki-in-Riga-September-2022.-Photo-copy-scaled.jpg 1805w" data-sizes="auto" width="1805" height="2560" alt="" class="lazyload"/><figcaption>Installation view of the work by Tabita Rezaire at the Contemporary Art Festival Survival Kit 13 “<em>The Little Bird must be Caught</em>” curated by iLiana Fokianaki, in Riga, September 2022. Photo by Ēriks Božis, Latvian Centre for Contemporary Art</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>



<div class="event-info" class="wp-block-www-blocks-event-info-block"><div><h3 class="title">Tallinn performance art festival SAAL Biennaal celebrates its 20th edition</h3><div class="location01"><p>21 – 31 August, Tallinn, Estonia</p><p><a href="https://www.instagram.com/kanutigildisaal_/">@kanutigildisaal_</a></p></div><div class="description01"><p>SAAL Biennaal is a performance art biennale in Tallinn at Kanuti Gildi SAAL theatre. This edition has been collectively curated by the people of SAAL and the opening performance will be <em>DOOM</em> – a collaboration between Teresa Vittucci and Colin Self. Many of the works in the programme address the “invisible other” – something or someone who has been left out, and the borders between “here” and “there”, “me” and “them”.</p></div></div><div><h3 class="title">Cesis art festival opens in mid-July</h3><div class="location02"><p>15 July – 20 August, Cesis, Latvia</p><p><a href="https://www.instagram.com/makslasfestivalscesis/">@makslasfestivalscesis</a></p></div><div class="description02"><p>Cesis Art Festival opens with exhibitions and concerts on the 15 July in the North-Latvian town of Cesis. The main exhibition is a group show <em>Artifacts of the Present</em>, curated by Žanete Skarule, where artists Ola Vasiljeva, Kristaps Ancans, Augustas Serapinas and Lina Lapelyte create a dialogue with space, its history, and imagined future. The festival programme also includes solo shows by Martins Vizbulis and Raimonds Staprāns.&nbsp;</p></div></div></div>



<div class="wp-block-www-blocks-two-images-block"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/07/Oss-by-Marlene-Monteiro-Freitas.-Photo_-Laurent-Philipe-copy-scaled.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/07/Oss-by-Marlene-Monteiro-Freitas.-Photo_-Laurent-Philipe-copy-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Oss-by-Marlene-Monteiro-Freitas.-Photo_-Laurent-Philipe-copy-300x200.jpg 300w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Oss-by-Marlene-Monteiro-Freitas.-Photo_-Laurent-Philipe-copy-1024x683.jpg 1024w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Oss-by-Marlene-Monteiro-Freitas.-Photo_-Laurent-Philipe-copy-1182x788.jpg 1182w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Oss-by-Marlene-Monteiro-Freitas.-Photo_-Laurent-Philipe-copy-1520x1013.jpg 1520w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Oss-by-Marlene-Monteiro-Freitas.-Photo_-Laurent-Philipe-copy-1688x1125.jpg 1688w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Oss-by-Marlene-Monteiro-Freitas.-Photo_-Laurent-Philipe-copy-2025x1350.jpg 2025w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Oss-by-Marlene-Monteiro-Freitas.-Photo_-Laurent-Philipe-copy-2700x1800.jpg 2700w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Oss-by-Marlene-Monteiro-Freitas.-Photo_-Laurent-Philipe-copy-2954x1969.jpg 2954w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/Oss-by-Marlene-Monteiro-Freitas.-Photo_-Laurent-Philipe-copy-scaled.jpg 2560w" data-sizes="auto" width="2560" height="1707" alt="" class="lazyload"/><figcaption1><em>Ôss</em> by Marlene Monteiro Freitas. Photo by Laurent Philipe</figcaption1><button class="zoom m-image" aria-label="View fullscreen"></button></figure><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/07/MABOCA-festival-in-Madona.-Photo_-MABOCA-copy-scaled.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/07/MABOCA-festival-in-Madona.-Photo_-MABOCA-copy-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/MABOCA-festival-in-Madona.-Photo_-MABOCA-copy-300x200.jpg 300w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/MABOCA-festival-in-Madona.-Photo_-MABOCA-copy-1024x683.jpg 1024w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/MABOCA-festival-in-Madona.-Photo_-MABOCA-copy-1182x788.jpg 1182w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/MABOCA-festival-in-Madona.-Photo_-MABOCA-copy-1520x1013.jpg 1520w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/MABOCA-festival-in-Madona.-Photo_-MABOCA-copy-1688x1125.jpg 1688w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/MABOCA-festival-in-Madona.-Photo_-MABOCA-copy-2025x1350.jpg 2025w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/MABOCA-festival-in-Madona.-Photo_-MABOCA-copy-2700x1800.jpg 2700w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/MABOCA-festival-in-Madona.-Photo_-MABOCA-copy-2954x1969.jpg 2954w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/MABOCA-festival-in-Madona.-Photo_-MABOCA-copy-scaled.jpg 2560w" data-sizes="auto" width="2560" height="1707" alt="" class="lazyload"/><figcaption>MABOCA festival in Madona. Photo by MABOCA</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>



<div class="event-info" class="wp-block-www-blocks-event-info-block"><div><h3 class="title">MABOCA draws the viewers into a game of irony</h3><div class="location01"><p>20 May – 15 July, Madona, Latvia</p><p><a href="https://www.instagram.com/mabocafestival/?hl=en">@mabocafestival</a></p></div><div class="description01"><p>For the third year running, MABOCA, or Madona Bunch of Cool Art is an art festival in the town of Maboca in Latvia. The festival brings together local and international artists and draws viewers into a game of irony, starting with the name of the biennale, which is a reference to the Riga International Biennial RIBOCA. The festival will take place in Madona&#8217;s railway station, bus station, cinema &#8220;Vidzeme,&#8221; and several outdoor locations.&nbsp;</p></div></div><div><h3 class="title">Urban Festival UIT in Tartu focuses on wastelands</h3><div class="location02"><p>16 – 19 August, Tartu, Estonia</p><p><a href="https://www.instagram.com/uitfestival/">@uitfestival</a></p></div><div class="description02"><p>Urban Festival UIT (derived from the Estonian word “uitama” – to wander) is a site-specific art festival which aims to discover the urban space of its host town Tartu from new and exciting angles. The festival cooperates with local and foreign artists working in interdisciplinary mediums. The ephemeral charm of UIT is embodied in the way the festival gives new life to long forgotten and abandoned places in Tartu – deserted buildings and overgrown gardens which have not stood the test of time. The temporary revival of those sites allows Tartu to expand in abstract dimensions and encourages the audience to dream. The central theme of this year, <em>Urban Pause,</em> focuses on the wastelands and voids of Tartu.</p></div></div></div>



<div class="event-info" class="wp-block-www-blocks-event-info-block"><div><h3 class="title">Summer Exhibition of Estonian Young Contemporary Art Union</h3><div class="location01"><p>3 – 24 August, Tallinn, Estonia</p><p>@enkkl_nadalapreemia</p></div><div class="description01"><p>The first annual show of the Estonian Young Contemporary Art Union will happen at Tallinn Art Hall gallery in August. The Union has so far been giving weekly awards for young artists on Instagram. It is a non-institutional community of young artists aiming to acknowledge, introduce and unite young artists just starting their careers. There will be events on the opening and final day of the show, tours, a public programme and a visitor’s award for the best artist. The title and concept of the show is a reference to the traditional <em>Spring Exhibition</em> at Tallinn Art Hall, organized yearly by the Estonian Artists Association.</p></div></div><div><div class="location02"></div><div class="description02"></div></div></div>



<div class="wp-block-www-blocks-image-block"><figure class="is-zoomable"><img data-src="https://admin.ashadecolder.com/wp-content/uploads/2023/07/ENKKL-kunstnikekollaaz-copy.jpg" data-srcset="https://admin.ashadecolder.com/wp-content/uploads/2023/07/ENKKL-kunstnikekollaaz-copy-150x150.jpg 150w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/ENKKL-kunstnikekollaaz-copy-300x169.jpg 300w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/ENKKL-kunstnikekollaaz-copy-1024x576.jpg 1024w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/ENKKL-kunstnikekollaaz-copy-1400x788.jpg 1400w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/ENKKL-kunstnikekollaaz-copy-1800x1013.jpg 1800w, https://admin.ashadecolder.com/wp-content/uploads/2023/07/ENKKL-kunstnikekollaaz-copy.jpg 1920w" data-sizes="auto" width="1920" height="1080" alt="" class="lazyload"/><figcaption>Estonian Young Contemporary Art Union. Collage. 2023.</figcaption><button class="zoom m-image" aria-label="View fullscreen"></button></figure></div>


Keiu Krikmann Keiu Krikmann is the managing editor of A Shade Colder.

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Keiu Krikmann is the managing editor of A Shade Colder.