Estonia

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Cities

Tallinn, Mooste, Tartu.

Predecessors

  • Group of Estonian Artists (Eesti Kunstnikkude Rühma), a cubist-constructivists group, was established in 1923 in two nuclei: in Tartu-Võru, whose merit lies in the foundation of the group (Jaan Vahtra - the first chairman of the group [1] [2] [3], Eduard Ole, Friedrich Hist, Felix Johannsen-Randel and the sculptor Juhan Raudsepp [4], who moved in 1925 to Tallinn and served as a connecting link between these two nuclei), and in Tallinn, which made of it an organisation of a more or less certain artistic tendency (Juhan Raudsepp, Märt Laarman, Arnold Akberg, Henrik Olvi). Many artists from Estonia and Latvia had already met earlier in the art schools in Pensa and St. Petersburg. In 1928, the group leaves the UUE Kunsti Raamat (The New Art) from, which is strongly influenced by L'Esprit Nouveau and purism. The last exhibition of the group was held in 1932. In 1940 disbanded by the Germans. [5]
Events
  • 'the first Baltic international art exhibition', the joint exhibition of Estonian and Latvian cubists, held in Tartu and Tallinn in 1924.
Literature
  • Mai Levin, "The Group of Estonian Artists", Estonian Art 2/01. [6]

Geometrical abstractionism

  • members of Group of Estonian Artists: Märt Laarmann (1896–1979), Arnold Akberg (1894–1984), Henrik Olvi (1894–1972), Jaan Vahtra (1882–1974), Eduard Ole (1898–1995).
  • 1960s and onwards: Tõnis Vint, Raul Meel, Leonhard Lapin, Sirje Runge (1950), Avo keerend (1920), Jüri Kask (1949), Siim-Tanel Annus (1960), Vilen Künnapu (1948).
  • ANK'64 group. The artists educated at the Estonian State Art Institute in Tallinn founded a group called ANK’64, including Tõnis Vint (1942, [7]), Malle Leis (1940), Jüri Arrak (1936), Kristiina Kaasik (1943), Tiiu Pallo-Vaik (1941), Enno Ootsing (1940), Tõnis Laanemaa (1937), Aili Vint (1941). Their pursuits in art were connected with youth culture, liberal jazz and partly with op art, a small part of which reached Estonia. Looking back now, this work seems extremely romantic, but at the time it must have looked insufferably radical and have been seen as breaking all restrictions — or why else were they so constantly watched by the KGB people. [8]
  • SOUP'69 group. The group realised the decisive turn from ‘warm’ and ‘spiritual’ art towards a ‘cold’ and ‘technical’ mentality. SOUP’69 brought along, if somewhat late, the fascination with pop art. Leonhard Lapin (1947), Andres Tolts (1949), Ando Keskküla (1950), Ülevi Eljand, trained as architects-designers, plus architects Vilen Künnapu and Jüri Okas (1950) and painter and graphic artist Sirje Runge who studied glass art — they all felt that it was impossible to realise themselves in their acquired specialities. There were no state commissions, nor was there the necessary technical basis. The powerful creative energy was channelled into paintings, graphic art, happenings, collages, poetry, cartoons, multimedia performances, etc. The most interesting period of pop art in art history has not been properly researched. The biggest outlet can be considered the publishing of the Estonian- and Russian-language magazine ‘Art and Home’ in the 1970s, headed by Andres Tolts (the number of copies was enormous: about 10,000 in Estonian, and 40,000 in Russian). When American pop artists took mass culture to high art, then Estonian pop artists turned the Soviet ‘low’ mass culture into an elitist and witty ‘union pop’ (Soviet pop), trying simultaneously to inject the all-Soviet mass culture with a dose of elitist culture. [9]

Electroacoustic and experimental music, sound art

Video art

New media art, Media culture

Artists
Events
Articles
  • Estonica encyclopedia, "Contemporary technologies and art". [10]

Art theory, art history

Tõnis Vint, Sirje Helme

Literature

  • Estonica encyclopedia, "Time of re-independence — the 1990s in art". [11]
  • Raivo Kelomees, "The State of Estonian Media Art AD 1998", in: Estonian Art, nr 1, 1998. [12]
  • Katrin Kivimaa, "Eine Identität or Keine Identität: Zeitgenössische Kunst und Neue Medien in Estland", Springerin 1999 (German), 5 pages.
  • Katrin Kivimaa, "Changing spaces: new media/art in Estonian Culture", Mare Articum 2 (7), 2000. 30 pages. [13]
  • Hanno Soans and Anders Härm, "We Are Glad it's All Over", 2002. [14] [15]
  • Katrin Kivimaa (ed.), Avalöök: uus meedia ja kunst Eestis [Opening acts: new media and art in Estonia], Estonian Academy of Arts, 2004. (Estonian), 108 pages, ISBN 998594657X


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