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  Kanuti Gildi SAAL  

Montrer texteMontrer source en cacheMontrer URL avec texte source	18.novembri etendusele järgneb vestlus, mida juhib Marie Pullerits.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir saal.ee comme domaine prioritaire	The performance on the 18th of November will be followed by artist talk led by Marie Pullerits.

  Kanuti Gildi SAAL  

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Tegemist on monumentaalse ülesandega, kuna ooperi kirjutamise ajal ei olnud moodne muusika ega lavatehnilised võimalused arenenud tasemeni, mida Manfred oma loomingus lootis kasutada. Seetõttu puudusid ka väljakujunenud viisid nende kirjeldamiseks ja mitmel puhul on kirjapandu mõistmiseks olnud vaja kõigepealt taasluua keel, milles märkmed on algselt talletatud.

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After almost two years of insistent work, the group of more than 10 creative members of MIMproject have worked their way through most of Manfred MIM’s notes and restored and deciphered the musical score. It is a monumental task, as at the time he wrote the opera neither the era’s modern music nor the stage technical facilities had developed to the level Manfred had hoped to use in his work. Therefore, some of the notes have been recorded in an unprecedented way and on many occasions the first task is to recreate the language for reading his scripts. Even now many of his ideas need the use of newest technology and it is very likely that quite a few of those elements will be used for the first time in an opera.

  Kanuti Gildi SAAL  

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Lavastuses “Physics and Phantasma” on see tühjus tajutav ka millegi sügavalt dramaatilisena – tühjus, mida peab täitma, millegagi(!); millegi muu kui mittemillegagi; millegagi, mis on kaetud fantaasialooriga.

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The theatre is an empty space, just a silent framework in which we situate our pieces. It is that emptiness which allows us to put the laws of geography and time aside and travel anywhere at anytime. This nothingness is not only presupposed by us the audience; it is also, often, celebrated by us the makers. In “Physics and Phantasma” though, it is perceived as something deeply traumatic - a void that has to be filled, with anything(!) other than nothing, covered in a veil of fantasy. The piece intends to become that veil, to study its creation and how it is being put into play in-between the audience and performer.

  Kanuti Gildi SAAL  

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Kasutades strateegiaid, mida võib võrrelda minimalismiga, toob ta fookusesse teatri (võimu)struktuurid, vaadeldes teatrit kui hierarhilist masinat, mis koosneb (alateadlikest) kaasamise ja eraldamise mustritest.

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Iggy Lond Malmborg (1987) is a freelance actor and performance maker based in Malmö, Sweden. Though a formation in traditional acting (the Theatre academy of Malmö 06-10) his pieces span over a wide range of aesthetics and styles, both solo and collaborative work. His main artistic interest is to use the performance event as a model onto which the pieces discourse directly can be applied. By using strategies that can be compared to minimalism, he sheds light on the politics of theatre and read it as a hierarchical machine with (unconscious) patterns of inclusion and exclusion.

  Kanuti Gildi SAAL  

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Vägistamine on füüsilise ja seksuaalse vägivalla akt; anekdoote mõistetakse teatud laadi psüühilise segilöömisena, mille käigus kutsub huumor esile naudingu vabanemise. Freudi hinnangul võivad anekdoodid toimida ühise võiduna sotsiaalse mahasurumise üle, ehkki „otstarbega anekdootide puhul esineb risk, et tuleb ette inimesi, kes ei taha neid kuulata“.

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Rape is an act of physical and sexual violence; jokes are understood as a kind of psychic disruption, with humor forcing the release of pleasure. According to Freud, jokes can function as a shared victory over social repression, although “jokes that have a purpose run the risk of meeting with people who do not want to listen to them.” What is the purpose of a rape joke? Do we want to listen? And given the ear is the orifice we cannot close, is it ever possible to consent to humor?

  Kanuti Gildi SAAL  

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Enamasti ei ole... Ja nagu vlogide puhul ei tea ka mina, kes etendust vaatama tulevad ja mida see, kes tuleb, päriselt näeb. Kas tõesti kunsti või hoopis hullunud kunstniku, kelle sooviks on kuidagi silma paista?

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But not always are my performances packed with audience as well... Mostly not... And as with vlogs I don't know who will come to see the show and what the ones who come really see. Is it really art or rather mad artist who would like to stand out somehow? It all seems familiar...But maybe I have been working with the wrong medium? Maybe really a vlog is a way to be? Or not to be... At last? To figure it out I will be spending the whole February at Püha Vaimu SAAL. Perhaps not all alone... Marko Raat promised to lend a camera...”

  Kanuti Gildi SAAL  

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kadri noormetsa ja asia baś’i vaheline koostöö sai alguse 2013. aastal berliinis, kus töötati esimese ühise projekti touching (a true story of two climbers and their perilous journey over and under the seats) kallal, mida hiljem vilniuses, leedus ka esitleti.

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the collaboration between kadri noormets and asia baś started in 2013 in berlin where they worked on their first project “touching (a true story of two climbers and their perilous journey over and under the seats)”, followed by the showing in vilnius, lithuania. since then they’ve been in active dialogue, meeting each other in various places in europe. currently they are busy with a long term project called “air with content”. in 2018 they are presenting its first manifestation, title yet unknown. their collaboration is a tree.

  Kanuti Gildi SAAL  

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“Seisund ja disain” on soololavastus, mida esitatakse kohturuumi hierarhia kaudu. Täidesaatvat võimu ja kahtlusaluseid esitavad arhetüübid, asitõenditeks on elemendid ja artefaktid ning tunnistajapingis istub ehmunud kunstnik.

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“State and Design” is a solo-piece that is performed through the hierarchy of the court room. The executive power and the suspects are presented by archetypes, the elements and artefacts are the evidence and in the witness stand sits a frightened artist. To find a proper solution they use paragraphs of rituals and archive of resurrected. Arguments and objections are mediated by legitimate physical hierarchy and shameless formality.

  Kanuti Gildi SAAL  

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Olen näinud silmi ning käin nüüd ringiratast hüpeldes ringi, õrnalt jäsemeid tõstes ja tema lõhna ninna tõmmates. Milline on kellegi ülekülluse lõhn, keda oled terve elu vältinud? Mida teha kehaga? Järjekordne teaduseksperiment.

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I only just got a bit of dirt under the nails with the last thing. Now wading through the hairy rubble of a preliminary anthropological dig. So much debris! I couldn’t have predicted how much debris there would be and how much work I had created for myself in waking this beast. But they needed waking. I have seen the eyes and I’m circling, skipping, daintily lifting limbs and sniffing its scent. What is the smell of a plethora of someone that you have been avoiding your whole life? What do you do with the body? This is another science experiment. This is another ground on which to test skins that belong to me, outfits and ideas that may or may not have been imposed. (Dana Michel)

  Kanuti Gildi SAAL  

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On olemas viirus, mis tekitab mälulünki – mittemäletamist, mida saab tunda igas hetkes uuesti ja uuesti ja nii jääb järele vaid praegune hetk, seda surmani. On ka teisi viirusi, millega nakatumisel ei kao varjud enam ka siis, kui tuli põlema panna ja päike välja tuua.

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There is a virus that makes one experience amnesia at every moment again and again, then it’s now eternally – until one dies. There are other viruses too, one that is that the shadows no longer disappear when you turn on the light, or the sun comes out. The sun comes out, but the shadows are still there. When darkness lives its own life. In Caravaggio's paintings, it's always the black areas that shine. It is in the luminous absence of light that Artaud finds his cruelty, and it’s by boiling to a uniform black matter that "nigredo" turns towards itself, illuminated. Precisely, the dark night of the soul, when an individual confronts the shadow within.

  Kanuti Gildi SAAL  

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Peaches (Berliin) on legendaarne muusik, produtsent, performance-kunstnik, aktivist ning mida kõike veel võib ta nime taha kirjutada. Ta alustas oma tegevust 2000ndatal ja saavutas maailmakuulsuse singliga “Fuck the Pain Away”, peale mida on ta mööda maailma tuuritanud ja nihutanud piire elektroonilise muusika, hip-hopi ja punk-rocki vahel.

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Peaches (Berlin) is a legendary musician, producer, performance artist, activist, and God-knows-what-else can be affixed to her name. She started out in the 2000s, achieving worldwide fame with the single ‘Fuck the Pain Away’; subsequently, she has been touring the world, shifting the boundaries between electronic music, hip-hop and punk rock. Not only does Peaches transfigure musical styles, but she also critically questions stereotypical images of gender roles and sexuality. Her performances are sexually charged, extremely visual, powerful spectacles.

  Kanuti Gildi SAAL  

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Peaches (Berliin) on legendaarne muusik, produtsent, performance-kunstnik, aktivist ning mida kõike veel võib ta nime taha kirjutada. Ta alustas oma tegevust 2000ndatal ja saavutas maailmakuulsuse singliga “Fuck the Pain Away”, peale mida on ta mööda maailma tuuritanud ja nihutanud piire elektroonilise muusika, hip-hopi ja punk-rocki vahel.

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Peaches (Berlin) is a legendary musician, producer, performance artist, activist, and God-knows-what-else can be affixed to her name. She started out in the 2000s, achieving worldwide fame with the single ‘Fuck the Pain Away’; subsequently, she has been touring the world, shifting the boundaries between electronic music, hip-hop and punk rock. Not only does Peaches transfigure musical styles, but she also critically questions stereotypical images of gender roles and sexuality. Her performances are sexually charged, extremely visual, powerful spectacles.

  Kanuti Gildi SAAL  

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60ndatel, kui Manfred MIM partituuri kirja pani, polnud olemas tehnilisi võimalusi nii keeruka projekti teostamiseks. Nüüd on. Esialgselt võib vaid öelda, et uuringud, mida Manfred MIM libreto loomisel läbi viis, tõestavad eksimatult, et elu Eestimaal on alguse saanud Kaali meteoriidi kukkumisest Saaremaale.

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Partners decided on staging an opera and the process is already on full speed. Libretto and music was discovered from the scripts of innovative scientist Manfred MIM. During the 60's when Manfred MIM wrote the partiture there was no technical opportunites to carry out such a difficult project. It is possible now. For the time being we can say that life in Estonia has begun with the fall of Kaali meteorite on Saaremaa.

  Kanuti Gildi SAAL  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Läbi Mademoiselle x-i narratiivi, kes jõlgub zombina kuskil “vahepeal” nagu elav surnu, pannakse vaatluse alla etendaja motivatsioon ja seisund repetatiivsel sama etenduse ning materjali korduval esitamisel. Autor kasutab ilmselgeid trikke ja elemente, mida tihti loetakse kui midagi liigset.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir saal.ee comme domaine prioritaire	Mademoiselle x steals elements from lo-fi haunted attractions that simulate the experience of entering haunted locations.Through the narrative of Mademoiselle x who lingers “in between” as living un-dead, a zombified body, the state of the performer and repetitive performing of the same shows with same material with the same motivation over again is put under observation.

  Kanuti Gildi SAAL  

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Me hingame, aga ei hoia hinge kinni; sööme, aga tervislikult; magame piisavalt; liigutame, aga ei liigu edasi; vaatame kahele poole, aga mitte ümberringi. Elame teadmises, et nii ongi, nii peabki; iga võnkumine, mida suurem, seda rohkem viib meid korraks tasakaalust välja ja tekib tunne, et midagi on valesti.

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We normalise the optimal. We breathe, but do not hold our breath; we eat, but we eat healthy; we sleep enough; we move, but we do not move further; we look to both sides, but we do not look around. We live knowing that this is how everything is supposed to be; every vibration makes us feel that something is not right, the stronger it is, the more it shifts our balance. We are quietly holding our inner balance in tune with the stream, not moving. We neutralise these vibrations with our convictions, as if they hold no meaning.

  Kanuti Gildi SAAL  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Siis me hakkame tundma. Tundma tundeid, mida me oma normaliseeritud olekus vaos hoiame. Armastame, vihkame, paanitseme, kurvastame, naudime. Eranditult, valimatult ja täiesti pühendunult. Siiralt. Otsides uusi pidepunkte, haarame kõigest, aga ei hoia kinni mitte millestki.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir saal.ee comme domaine prioritaire	And then we feel. We feel feelings that we restrain in our normalised state. We love, we hate, we panic, we grieve, we enjoy. Completely, acceptingly, faithfully. Sincerely. Finding new means of support, grasping everything, yet not holding on to anything. The accumulated energy is spent on finding and sensing. We cry, we scream, we run, we play, we fight.

  Kanuti Gildi SAAL  

Montrer texteMontrer source en cacheMontrer URL avec texte source	See etendus toimib nii, et sa saaksid tunda end mugavalt, et sa ei peaks läbi elama, seda mida pagulane piiri ületades kogeb. Sa ei tunne end üldse nagu pagulane. See etendus ei loo hädaohuolukordi, nii et see ei seleta või paku lahendust pagulaskriisile.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir saal.ee comme domaine prioritaire	This piece will work to keep you comfortable, so that you don’t go through the experience of a refugee crossing a border. You won’t feel like a refugee at all. This piece will not create an emergency, so it will not explain or offer a solution for the refugee ‘crisis’. It will not mention the word ‘crisis’ at all.

  SAAL Biennaal Festival ...  

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SAAL Biennaal kui mosaiikpeegeldus meist endist – kuidas seda mõista, kui puudub juhend? Mis on see, mida saad endaga kaasa etenduselt, mille tarbeks võtad tunni ning juhiseid järgides muutud passiivsest pealtvaatajast aktiivseks elluviijaks?

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In addition to experiencing the works of these artists it is also time to discuss on the topics theatre / wakefulness within the event series of shared thoughts organized in collaboration with Estonian Theatre Agency - if and how are we ready for this reality that is already normalized around us? It is also time to flick through POST-DANCE book, a publication that holds a possibility to imagine the unimaginable or to have in your hands some brand new publications!

  Kanuti Gildi SAAL  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Mõtle hetkele, kui sa taipad, et etendus, mida vaatasid, on just lõppenud. Tuled on kustunud, etendaja lavalt lahkunud, valitseb vaikus. Aplaus ei ole veel alanud. Kogu publik mõtleb sama - see on läbi.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir saal.ee comme domaine prioritaire	Think about the moment, when you realize that the performance you were watching has just ended. The lights are dimmed down, the performer has left the stage, it is silent. The applause has not yet started.

  Kanuti Gildi SAAL  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Vaataja ees on uus tantsuetendus või miski, mida nimetatakse „Natten’iks“. Seda tuntakse kui miskit muud ja see, millena teda tuntakse, pole teps mitte see, mis ta tegelikult on.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir saal.ee comme domaine prioritaire	Dance exists without us. Moving towards or away from us indifferent. The non-directional harbors horror and the night, nigredo, is not performative. It moves without subject, its dreadfulness is mirrored in its indifference, its absolute potentiality.

  Kanuti Gildi SAAL  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Etendusele 30. oktoobril järgneb vestlus autoritega mida juhib Keiu Krikmann.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir saal.ee comme domaine prioritaire	Performance on October 30 will be followed by artist talk led by Keiu Krikmann.

  Kanuti Gildi SAAL  

Montrer texteMontrer source en cacheMontrer URL avec texte source	ole julge ja tee, mida armastad
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir saal.ee comme domaine prioritaire	what a fucking waste u are

  Kanuti Gildi SAAL  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Oblivion on etendus kõigest, mida Sarah Vanhee oleks pidanud ühe aasta jooksul töö- ja elamise käigus minema viskama. Etendus on aeglaselt kulgev ood hästiununenud asjade ja tunnete taastulemisele.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir saal.ee comme domaine prioritaire	Vanhee is co-author of the art book Untranslatables - a guide to translingual dialogue and author of The Miraculous Life of Claire C and TT.

  Kanuti Gildi SAAL  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Etendusele järgneb vestlus kunstnikuga, mida juhib Maria Juur.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir saal.ee comme domaine prioritaire	The performance will be ollowed by artist talk moderated by Mari Juur.

  Kanuti Gildi SAAL  

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aastal esietendus koostöös Maike Lond Malmborgiga lavastus “99 Words for Void”, mida on seni esitatud festivalidel Auawirleben (Bern), Le FAB (Bordeaux), Baltoscandal (Rakvere) ja Bastard (Trondheim).

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Since 2009 he is collaborating together with Johannes Schmit (DE) under the name White on White. The duo runs a performance series - until today including 6 autonomous works. The aim of the series is to turn the theoretical achievements of the so called critical whiteness studies into productive aesthetics for stage. In 2014 his last solo work b o n e r premiered at the Baltic Circle Festival in Helsinki, the piece has toured actively since to festivals such as Spielart (Münich), Auawirleben (Bern) and Oslo international theatre festival. During 2015 he premiered 99 Words for Void, a duo performance with Maike Lond Malmborg. The piece has so far been presented in festivals as Auawirleben (Bern), Le FAB (Bordeaux), Baltoscandal (Rakvere) and Bastard (Trondheim). Both b o n e r and 99 Words for Void continues to tour during 2017.

  Kanuti Gildi SAAL  

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Galerie (2014, INT) on immateriaalsete teoste immateriaalne kehastus. Galerie eesmärk on immateriaalseks subjektiks olemise propageerimine, pakkudes loomingut, mida ei ole võimalik taandada materiaalsele objektile või mingi kindla tegevuse dokumenteerimisele.

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Galerie is an immaterial gallery for immaterial artworks. The mission of Galerie is to promote immaterial objecthood: works that cannot be reduced to an object or to the documentation of an action. Simultaneously a commercial entity, a performance and a research project, Galerie has been involved in a wide range of activities since its launch in 2014, including Group Show - a performed exhibition, The Booth - an empty art fair booth where the two gallerists represent artworks using their own means and offer the works for sale, The Intensive Curse - a workshop on artist and artwork representation, The Grand Opening – the choreography of a vernissage without artworks. Galerie has been working in venues such as Material Art Fair (Mexico City, 2017); Jan Mot (Brussels, 2017); Le Menagerie de Verre (Paris, 2017) ArtRotterdam (Rotterdam, 2016); De Appel (Amsterdam 2016); La BF15 and ENSBA-École Nationale Supérieure des Beaux Arts (Lyon, 2016) a.o.

  Kanuti Gildi SAAL  

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Kui päikese kannatlik kiirgus jõudis uuesti valge raskuse pinnale, muutusid kunagised orud fjordideks ja looded voolasid jõgedena üle maastiku. Peagi naasid vesi-inimahvid. Nad ehitasid asulaid endistele mäetippudele, mida nüüd ümbritses vesi. Inimahvide kehad olid raskes vees aeglased.

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The weight of the glacier had pushed the land down over millennia. As the sun’s patient radiation reached the surface of the white weight again, what had in the past been valleys became fjords and tides flowed as rivers across the landscape. Soon the aquatic apes returned. Building settlements on former mountain peaks, now surrounded by water. The apes’ bodies were slow in the heavy water. But with the weight of the water came buoyancy. The Aquatic Apes discovered how to hollow giant trees with fire. Making concave pockets that floated on the dense water. Soon they mastered riding on the deltas and wetlands in these giant hollow shapes. The floating shapes got bigger as the apes mastered building them and they learned to use them to carry anything that was heavier than water. They moved large monoliths from distant quarries lowering them down to shallow water. The now megalithic structures slowly rose from the water and as the apes evolved with the rising land, the memory of levitation in this region disappeared. Eons later the apes harnessed the ability to transform water into light. Giant concrete structures gathered water and altered it into pure energy. The energy became information that rode on pulses of light beneath the oceans, performing its creator’s will anywhere on the planet.

  Kanuti Gildi SAAL  

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Projekti eesmärk on uurida, kuidas autopoeesi hädavajalikkus, mida tingib internet, on mõjutanud Metsalu elu ja kunstiloomet ning millised on enese subjektifitseerimise tingimused ja võimalused, mis esinevad iseenda kuvandi kujundamisel ning vahendamisel sotsiaalvõrgustike kaudu.

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The aim of the project was to investigate how the imperative for autopoiesis, which is imposed by the Internet, has influenced Metsalu’s life and art production and what are the conditions and possibilities of selfsubjectification that happens while designing and mediating one's own image via social networks. Throughout the research trilogy Metsalu proposed an investigation of modes of exhibiting and producing by taking a faux art gallery as a character as the starting point. Within this setting she continues to develop topics around her experience as a cam girl, relations between IRL and URL, her virtual obsession, hyperconsciousness and the influence social media and her life online has had on her persona, including the immense loneliness which this self exposure has led to. Metsalu`s body seems to aim for its own disintegration and reconciliation when mirrored through the beholder's gaze by her investing in precarious intensities, oscillating between states of pleasure, indifference and suffering. Such is the outcome of her obstinate desire to take charge of the design of her on subjectivity and her body image in relation to fashion, contemporary design and visual culture, as she is interested in the fabrication of her body as a character and as a brand displayed in a flickery landscape. Throughout the“Fuchsia” project Metsalu questions the arbitrariness of her working life through acts of selfdisplay as an object of spectacle something that she both embraces and refuses and has an interest in creating an almost allinclusive structure, which can accommodate both chaos and its refusal through an organising symmetry and iconographic imagery.

  Kanuti Gildi SAAL  

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Mis juhtub siis, kui hakkad kahtlema kõiges ümbritsevas? Kui iga element, mida oled võimeline defineerima, on muutnud järgmiseks hetkeks oma põhiolemust? Mis saab siis, kui vahetegemine tuttavliku ning võõra puhul muutub võimatuks ilma moondumise, enesekaitse, valetamise, põgenemise, peitupugemise, võitluse või isegi vaenlase hävitamiseta?

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On a sunny spring day in 2017 one could read from the newspapers about the biggest conventional explosive of humankind – The Mother of All Bombs. In “Uncanny You” the character Mother Bomb becomes the center of the media storm. It makes everybody sweat as if they were under the frying desert sun. All this attention and admiration by the masses brings her together with the Lonely Visitor – together they begin the journey into the uncanny valley.

  Kanuti Gildi SAAL  

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Järgnes veidi aastaid vaikust, kuniks 2009. aastal saavutas ta koos Riina Maidrega rahvusvahelise läbimurde kontsert-etendusega "Postuganda", mida hindas nii seksistlik kui ka queer/feministlik publik.

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Maike Lond Malmborg (1981) has made a few works worth mentioning as they have brought her some recognition. Her career started out excellently when her graduation work "Sirquit Garden(07)" was nominated for the René Coelho Award of the Netherlands Media Art Institute. Then a few years of silence followed, until 2009 when together with Riina Maidre she got her first international break-trough with "Postuganda", a concert-performance appreciated both by the sexist and queer/feminist audience. After that she did a bit of this and that until the magical moment of winning the Grand Prix of Estonian Cultural Endownment with the big-scale fictional exhibition "Manfred MIM retrospective" made by the artist collective MIMproject of which she is a founding member. After that she hit the real bottom and started asking money from strangers, which ended up in the very successful performance-lecture entitled "10 journeys to a place where nothing happens*" that has been touring actively in Europe since 2013 and will continue to do so during 2016. At the moment she's got nothing to complain about.

  Kanuti Gildi SAAL  

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Projekti eesmärk on uurida, kuidas autopoeesi hädavajalikkus, mida tingib internet, on mõjutanud Metsalu elu ja kunstiloomet ning millised on enese subjektifitseerimise tingimused ja võimalused, mis esinevad iseenda kuvandi kujundamisel ning vahendamisel sotsiaalvõrgustike kaudu.

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The aim of the project was to investigate how the imperative for autopoiesis, which is imposed by the Internet, has influenced Metsalu’s life and art production and what are the conditions and possibilities of selfsubjectification that happens while designing and mediating one's own image via social networks. Throughout the research trilogy Metsalu proposed an investigation of modes of exhibiting and producing by taking a faux art gallery as a character as the starting point. Within this setting she continues to develop topics around her experience as a cam girl, relations between IRL and URL, her virtual obsession, hyperconsciousness and the influence social media and her life online has had on her persona, including the immense loneliness which this self exposure has led to. Metsalu`s body seems to aim for its own disintegration and reconciliation when mirrored through the beholder's gaze by her investing in precarious intensities, oscillating between states of pleasure, indifference and suffering. Such is the outcome of her obstinate desire to take charge of the design of her on subjectivity and her body image in relation to fashion, contemporary design and visual culture, as she is interested in the fabrication of her body as a character and as a brand displayed in a flickery landscape. Throughout the“Fuchsia” project Metsalu questions the arbitrariness of her working life through acts of selfdisplay as an object of spectacle something that she both embraces and refuses and has an interest in creating an almost allinclusive structure, which can accommodate both chaos and its refusal through an organising symmetry and iconographic imagery.

  Kanuti Gildi SAAL  

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Projekti eesmärk on uurida, kuidas autopoeesi hädavajalikkus, mida tingib internet, on mõjutanud Metsalu elu ja kunstiloomet ning millised on enese subjektifitseerimise tingimused ja võimalused, mis esinevad iseenda kuvandi kujundamisel ning vahendamisel sotsiaalvõrgustike kaudu.

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The aim of the project was to investigate how the imperative for autopoiesis, which is imposed by the Internet, has influenced Metsalu’s life and art production and what are the conditions and possibilities of selfsubjectification that happens while designing and mediating one's own image via social networks. Throughout the research trilogy Metsalu proposed an investigation of modes of exhibiting and producing by taking a faux art gallery as a character as the starting point. Within this setting she continues to develop topics around her experience as a cam girl, relations between IRL and URL, her virtual obsession, hyperconsciousness and the influence social media and her life online has had on her persona, including the immense loneliness which this self exposure has led to. Metsalu`s body seems to aim for its own disintegration and reconciliation when mirrored through the beholder's gaze by her investing in precarious intensities, oscillating between states of pleasure, indifference and suffering. Such is the outcome of her obstinate desire to take charge of the design of her on subjectivity and her body image in relation to fashion, contemporary design and visual culture, as she is interested in the fabrication of her body as a character and as a brand displayed in a flickery landscape. Throughout the“Fuchsia” project Metsalu questions the arbitrariness of her working life through acts of selfdisplay as an object of spectacle something that she both embraces and refuses and has an interest in creating an almost allinclusive structure, which can accommodate both chaos and its refusal through an organising symmetry and iconographic imagery.

  Kanuti Gildi SAAL  

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“Schuldfabrik” pakub välja kaasaegseid pattude lunastamise viise. Julian Hetzel on koostöös plastiliste kirurgide ja nende klientidega loonud seebi, mida valmistatakse rasvaimu kõrvalproduktina kogunevast inimrasvast.

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“Schuld” is a German term that implements two different yet related meanings: “guilt” as a moral duty and “debt” as an economical obligation. Schuldfabrik explores the conflict between these notions and their potential valorisation. Schuldfabrik proposes contemporary forms of indulgence trade. In collaboration with plastic surgeons and their clients, Julian Hetzel created a soap from human fat that is sourced from liposuctions. “Self – Human Soap” is made from people for people.