Current issue

2018/4 (27)


Anders Härm.
On the Genealogy of ‘Soros Realism’: The ‘Making of’ International Eastern European Art
7–27; >Summary 28–30<

The purpose of this article is to show the genealogy and the development of the ‘Soros realism phenomenon’, i.e. to analyse the process that was accompanied by the homogenisation of the art practices in the remote corners of Eastern Europe, which previously had been very weakly related or the relationship was missing completely. An attempt is made to show how this process cannot be reduced to the mere network effect of Soros Centers of Contemporary Art, but that there are multiple factors and libidinal investments at play here; among other traits is the layer of Eastern European conceptualism of the 1970s and 1980s, which the Soros realism model is based upon.

Ingrid Ruudi. The Tallinn Art Hall as a Testing Ground for the Public Sphere in the Transition Era: The Cases of Group T and George Steinmann
31–58; >Summary 59–63<

The article analyses site-specific artistic practices at the Tallinn Art Hall at the beginning of the 1990s. Focusing on projects by Group T and George Steinmann, the text investigates what kind of art the institutional art space made possible and how artistic interventions redefined architectural and discursive space and the institution’s identity. The different artistic positions revealed different attitudes towards constructing community and contributed to the emergence of the public sphere in very different ways.

Epi Tohvri. Idea of the Enlightenment-Era University: ‘the Academic Village’. Conceptional Connection Between the University of Virginia, Planned by Thomas Jefferson, and the University of Tartu at the Beginning of the Nineteenth Century
64–91; >Summary 92–95<

This article analyses the execution of the European Enlightenment-era idea of a new university in two regions: on the edge of Europe in Tartu and across the Atlantic in Virginia. The author finds that the location choices and the visual output of the universities established at the beginning of the nineteenth century were rhetorical tools for representing topical socialpolitical ideas of the Enlightenment era.

Tõnis Tatar. Neuroaesthetics and the Prospects It Offers for the Analysis of Some Portraits by Henn Roode
96–123; >Summary 124–128<

The article introduces neuroaesthetics as a multidisciplinary branch of aesthetics that has received a great deal of attention during the first decades of the third millennium. To exemplify the possibilities neuroaesthetics offers, its theories are employed to analyse some modernist portraits by Henn Roode.


CHRONICLE 1. I–31. XII 2017