Anu Allas. Experimental Performance / Instrumental Theatre: Roundel of Cremona (1968)
7–27; >Summary 28–31<
This article examines the performance Roundel of Cremona by four young Estonian musicians at the Writer’s House in Tallinn in 1968. Through the categories of experimentality and performativity, I analyse the adaptation process of the strategies of Western neo-avant-garde art in the Soviet cultural context. Against the background of early performance art in Estonia, this event is one of the most interesting and complex examples of the interweaving of the performative turn in the (Western) culture of the 1960s with the official Soviet ideology of scientific revolution and innovation in all areas of society.
Anneli Porri. Interpreting an Appropriative Work of Art: The Broken Thread by Marge Monko
32–50; >Summary 51–55<
This article tries to find a pertinent mode for analysing an appropriative work of art, considering the intertextual structure of the oeuvre and artistic statements of the author. As a conclusion, I propose one possible view of the artistic career of Marge Monko and especially her piece The Broken Thread, using the strategy of appropriation as a focal point of meaning making.
Ave Randviir-Vellamo. Imepilt’s Newsgames as an Art Practice and Novel Form of Journalism
56–82; >Summary 83–86<
The article studies the Estonian cross-media company Imepilt and its newsgames in both the Estonian and global contexts, and uses Imepilt’s games as a starting point for discussing the present state of newsgames: their strengths and weaknesses, potentials and pitfalls. The case study compares the designers’ experience in designing newsgames with some of the rhetoric that was used in discussing newsgames in earlier theoretical texts, and points out some inconsistencies and differences in newsgames’ theory and practice. The genre of newsgames is also placed in a historical context and compared with earlier media, such as editorial cartoons
Margus Tamm. Place and Interventionist Art
87–115; >Summary 116–119<
The article analyses public art actions in the context of the place of their actualisation. The theoretical framework is mostly based on the concepts of space by Michel de Certeau and Henri Lefevbre. The empirical evidence consists of artistic interventions which took place in one specific place – Tallinn Vabaduse Square – from 2000 to 2010. As a summary of the case studies and theoretical discussion, I will propose a list of generalised regularities which describe the combined effect of interventionist public art and the place of interventions.
Maria Jäärats. Between the Bourgeois Past and the Socialist Realist Future: Discourse on Socialist Realism in Estonian Art Criticism in 1944–1948
120–139; >Summary 140–143<
The article focuses on the change and formation of the theory of socialist realism in Estonian art criticism during 1944–1948. Based on articles, reviews, protocols of exhibition discussions and meetings, the article sets out to explore different adapting strategies, motivations and discoursive deviations in the local art criticism, with specific attention to change in the meaning and interrelations between imperative art- and cultural theoretical notions of the period.
Kadi Polli. Wilhelm von Blanckenhagen (1761–1840). Ein livländischer Kunstmäzen in Rom und seine Kunstsammlung an der Universität Tartu
144–171; >Summary 172–176<
Der vorliegende Aufsatz ergänzt die baltische Kunstgeschichte um eine bemerkenswerte Lebens und Sammlungsgeschichte, indem er die Hintergründe der in Vergessenheit geratenen Sammlung „von Blanckenhagen“ des livländischen Kunstmäzens beleuchtet. Behandelt werden Wilhelm von Blanckenhagens Leben und sein Bekanntenkreis in Rom im Jahre 1810, seine Aufträge und die von ihm erworbenen Kunstwerke aus dem Kreis der deutschen Künstlerkolonie in Rom, sowie das spätere Schicksal der damals erworbenen Werke in den Sammlungen der Universität Tartu.
Margus Vihalem. Revolt against Schopenhauer and Wagner? An Insight into Nietzsche’s Perspectivist Aesthetics
177–194; >Summary 195–199<
The article focuses on the basic assumptions of Nietzschean aesthetics, arguing that Nietzsche’s aesthetics in his later period cannot be thoroughly understood outside of the context of the long-term conflict with romanticist ideals and without considering Arthur Schopenhauer’s and Richard Wagner’s aesthetic and metaphysical positions. Nietzsche’s thinking on art and aesthetics is in fact inseparable from his philosophical standpoint, which complements and renders explicit the hidden meaning of his considerations on art. The article pays particular attention to Nietzsche’s writings on Wagner and Wagnerism and attempts to show that the ideas expressed in these writings form the very basis of Nietzschean aesthetics and, to some extent, had a remarkable impact on his whole philosophy. The article also argues that Nietzsche’s aesthetics may even be regarded, to a certain extent, as the cornerstone of his philosophical project.
Regina-Nino Kurg. Artworld as Horizon: A Phenomenological Analysis of Unaided Ready-Mades
200–212; >Summary 213–217<
The article explores the possibility of defining unaided ready-mades as objects of art. It starts from the assumption that Edmund Husserl’s notion of horizon and Arthur Danto’s notion of artworld have similar meanings. Accordingly, it argues that unaided ready-mades are objects of art that appear with unique cultural horizons called artworlds. The aim is to show that the artworld is an external co-determining horizon that is sufficient for determining unaided ready mades to be artworks.
CHRONICLE 1. I–31. XII 2013