"As humankind we live in the age of overconsumption. We admire bright city lights and high rise buildings and at the same
time we want to close our eyes on what this lifestyle brings along. We are intolerant of refugees. We are waiting for some
outward spiritual Saviour to clean up the planet when at the same time we don't want to do it ourselves.
We are waiting for a Saviour who physically cleans up our planet. We want the relaxation of material goods.
Perhaps we get a prenotion of the apocalypse feeling of sweet ease every day when we fill up a plastic bag with a
promising image. Apocalypis now!
“Burning Leaves” is the rendering of a vision which was crystal clear to me for a moment but quickly faded into fog. It shows the ghost of a fire burning in a meadow I had visited many times before, a place between reality and a dream. As a false fragment of a memory this scene creates a mixture of fascination and horror, revealing the beauty of nightmares. Through the drawing process I tried to find it again. It carries with it a mystery that I can never put my finger on. But nor do I want to know exactly the mysteries meaning. It gives me a false sense of recognition. The image is reminiscent of a flashback that lacks the reason of a true memory. There is a word for it. Déjà vu. But it also feels familiar, and at the same time completely unknown, Jamais vu. Something in between the two sensations.
Animalistic tank of Paldiski
Animaane Paldiski tank
Everyone could make something different in walking in nature and in places where people live. Making special tools is one of the possible ways to advance the common ideas and usages. Making different equipments and tools for lifting oneself from the one place to the other (is taken here as key) for making clear the limits of ordinary behavior and ordinary customs, we face in our everyday activities. It is for me for making mind-mapping of Pakri Peninsula and Paldiski town, its historic dependencies.
unable to fly
Is an installation located to Amandus Adamson Studio Museums garden. The starting point of the work grew out from the wind park in Pakri Peninsula. To stand next to the imposable powerful wind turbines made me feel hollow. The height of the mast of the wind turbine is 85 meters, rotor diameter is 100 meters, the wind turbine weighs 309 tons. The contrast between technical development and nature impressed me strong. Wind turbine is a massive technical species living together and sharing the same environment with all the other natural species.
Animaligagak- (Animalidada) To turn the world upside down
In the museum i will present an animation film with deers.
In the park I will work with road signs - which refer both to the deers in the film
and make comments to the park and its history.
The theme will be about the rebellion of the nature - the nature taking back and defending its belongings.
The Cleaner–Pakri Peninsula / Little Cleaners–Pakri Peninsula
I will clean whatever needs cleaning.
Paldiski as a town was once officially closed, off limits; when it was opened up and everyone could visit the town they discovered a mess – a contaminated waste dump of soviet military equipment, structures and pollutants. Since those days Paldiski and surroundings have been cleaned up and now Pakri Peninsula is a protected nature reserve.
But cleaning is an on-going process because ‘clean’ as a state is impermanent.
I can come with my broom and sweep the dirt away, but I will soon need to come back and do it all again.
A construction goes through developmental stages from an object that the city wants or needs to something – the object itself or the object’s function – that a new society may not want anymore. It can symbolize nostalgia, good or evil, can be constructed and deconstructed. Sometimes it can become a mass production or a collectable object.
I interact with architectural spaces/constructions from 60s-80s in the Baltics and use them for my work.
A construction can be linked to each person’s individual memory about the construction’s primordial form.
In this way it becomes a palimpsest – a layer in both the landscape and collective memory that changes meaning with a change of generations, which then becomes an organic part of a new memory.
I will collected the images from the architectural landscape of Padlliski for my ongoing project CONSTRUCTION, for the exhibition I will create a large scale painting in the Public Space (materials - OSB, Facade Paint).
I attach my previous work in the Public Space, which is similar to what I plan to work on at Padliski.
waiting for Duchamp, with the memory of lost brothers (a transmedia performative display)
oodates Duchampi, mäletades kadunud sõpru (transmediaalne ja performatiivne esitus)
Waiting for Duchamp, with the memory of lost brothers is a transmedia performative display.This work will be executed in few stages, a durational live performance action, along with reconceptualized notes and illustrated prints in collaboration with Milton Bhattacharyya(India). This is a subtle attempt to understand the current life in the neo-capital political situation in Estonia and at the same time how in present time in the global conceptual space doesn´t allow to recognize the unrecognized labor.
This work is intimate regards to Marcel Duchamp, here the disposable chess board and temporary static players are the key points to look back at the historical moment of conceptual art history. During the performance action, I am nothing but trying to relook and underline the significance of that moment and also the departure of the practice of labor. The game is conceptual and physical as well, it is always in variable mode and anonymous form. The work is composed and drafted into three stages, stage one, the conceptual level where the artist will be interested in sharing a series of multilingual texts for display, stage two, contextual level where the artist will share some pre-experienced illustrated memory in collaboration with artist Milton Bhattacharya, and stage three, the live performance in real time. In reality probably, waiting for Duchamp has multiple layers from different experiential times, it can be seen as a live action or may be a microscopic memorial.This is a subtle attempt to understand the current situation in neo-capital political scope in Estonia and same time how in present time the global conceptual space does not allow recognizing the unrecognized labor. Let's try experience together the silence in the harmony of post-cold days
Aeg ja vesi
time and water
Artist explores and manipulates the themes of construction, time and dimension through painting, sculpture and installation - often blurring and bending the lines between the mediums. Using Pakri Peninsula and the surrounding area as a source of material, Panu will 'cleanse' the area of man made objects, gather them, and form them into a structure that failed to exsist on it's own. A unique structure not yet realized but made possible through a deep personal sense of surrounding, intuition and a honed eye. Once built, a single piece will be selected exclusively to be shown inside the museum studio and thus connecting the different environments to one another.
The artwork is supposed to be a starry sky which erodes out of the residues of what remains
of the former Soviet military base.
The idea is to assume the history of the site, geographical location, the unpleasant awakening from detente after the end of the Cold War to the current situation.
During the work process, it is an endeavor that the work is integrated with its environments and readmitted. Visually it can resemble a medieval depiction of a starry sky and with elements of undefined threatening symbolic elements. I want to seek the universal similarities beyond armed conflicts, nationality, ethnic origin, religion and cultural differences. The human existence in the cosmos. Universe as everything's place with macro and micro worlds interweave each other.
Tzunami (Aida Samani and Ossian Theselius ) The World is in trouble Juha Hilpas Contemplating Labor