Who&What
Jaan Paavle

Jaan Paavle

Paul Rodgers

Paul Rodgers

Jüri Ojaver

Jüri Ojaver

Jaan Toomik

Jaan Toomik


Eesti Energiad - Estonian Energies


The small group of artists, “Eesti Energiad”, first decided to exhibit collectively in 1999 with a show of performance, sculpture and video work at the Salt-storage Art Museum in Tallinn. The exhibition was extremely successful and since then these artists; Jaan Toomik, Jüri Ojaver, Paul Rodgers and Jaan Paavle (now deceased), have exhibited as a group in Austria, Iceland, Scotland, Russia, Finland, Georgia, Germany and America. These four artists formed the core of “Eesti Energiad” but they now also regularly include selected younger Estonian artists in their shows. In addition, they have also organised several larger, international visual arts events in Estonia.

Since its new independence in 1991 Estonia has been through an extraordinary number of changes. Political, social, economic and cultural changes have all taken place in such a short period of time. From the euphoric, optimism of the early 90’s to the recent world economic crash, which taught everyone some hard lessons, Estonians have experienced real change to all aspects of life. The artists here, have all in some way made observations on the change, or sometimes lack of change, to the Estonian psyche and society during recent years.

These artists have found common ground and interests though their personal backgrounds are very different. Although they may not always be the most subtle of investigators, stumbling often through dark territory, they are always honest and the work is at least heartfelt, never cruel – ultimately compassionate and often funny with a dark sense of humor with sometimes self irony in its observations.

Jaan Paavle

(1940 - 2010)


Freelance Artist, Poet, Writer



Exhibitions:
  • 2001 Eesti Energiad - WUK, Vienna, Austria
  • 2000 Gooseflesh – Group Show, Rakvere Museum, Estoni
  • 1999 Estonian Energy – Group show – Rottermann Art Centre, Tallinn
  • 1998 Money – Performance for Estonian National Bank
  • 1998 AUM – Performance – Stockholm, Sweden
  • 1994 Black and White – Performance – Malmo, Sweden
  • 1993 AAAAA - Performance for Elionora – International Multi media Festival, Tallinn
  • 1992 TATOO – Performance for Estonian Television
  • 1990 Solo exhibition – Paintings – Tartu Artists House, Estonia
  • 1989 Marking of the Bottomless – Land Art Action, Tallinn

Paul Rodgers


Born in England in 1953 and living and working in Estonia since independence from the Soviet Union, I have been producing sculpture, installations and video works and photography and exhibiting in Estonia and internationally. I am also the curator of a number of international exhibitions. In addition, I am also a lecturer at the Estonian Academy of Arts and a teacher in Kohila High School, Raplamaa. I am a member of the artists group “Estonian Energies” and have also collaborated with my wife, Anne Daniela Rodgers, who is also a sculptor, on several exhibitions. I am holder of the "Ela ja sära" award for art in Estonia 2009/10 and have received numerous grants and awards from the Estonian Art Foundation and the Estonian Artists association. Showing locally and abroad my work is in the collections of the Estonian Art Museum and the Tartu Art Museum as well as private collectors. I have tutored Bachelor, Masters and PhD students at the Estonian Academy of Arts in Sculpture, Metal and Interdisciplinary Arts Departments at the academy. In England, following my studies, I was also the director of an artist co-operative (St Etheldreda Art Studios) for 10 years and a lecturer in sculpture.


Website: http://paulrodgers.eu

Mobile: (+372) 51 04389

E-mail: kurat99@yahoo.com


Art education
Chelsea School of Art, UK 1988 - 1989 MA Sculpture
Norwich School of Art, UK 1978 - 1981 BA Fine Art
Hull College of Art, UK 1973 - 1974 Foundation

Curated exhibitions:
  • 2013 Three men alone, Eesti Energiad, Künstlerhaus, Speyer, Germany
  • 2011 Eesti Energiad, Gallery A, Turku, Finland
  • 2010 Kuu, Eesti Energiad at Unit B Gallery, San Antonio, Texas, USA
  • 2004 Viinistu 2004, Estonia
  • 2003 Mohni Island, Estonia
  • 2002 Dependency, non-dependency, Tallinn Art Hall, Estonia
  • 2002 Gooseflesh3, Haapsalu, Estonia
  • 2001 Gooseflesh2, Rakvere, Estonia
  • 2001 Eesti Energiad, WUK, Vienna, Austria
  • 1999 Anatoomikum, Tartu, Estonia
  • 1998 Earthly Delights, Tallinn Botanic Gardens
  • 1996 Forgotten Present, Vilnius, Lithuania
  • 1995 Baltic SEAS, England
  • 1995 Miranda Housden, Fertile, Tallinn Estonia
  • 1994 Tallinn Norwich Kunstikontakt, Estonia
  • 1993 Tallinn Norwich Kunstikontakt, England
Solo or tandem exhibitions:
  • 2014 Relative Narratives, Art Hall Gallery, Tallinn, Estonia (with Anne Daniela Rodgers)
  • 2012 Hobusepea Gallery, Tallinn, Estonia
  • 2009 Hobusepea Gallery, Tallinn, Estonia
  • 2007 Transplants, Hobusepea gallery, Tallinn, Estonia
  • 2006 Art Museum Tartu, Estonia (with Anne Daniela Rodgers)
  • 2005 Sniff sniff, City Gallery, Tallinn, Estonia
  • 2002 Hansapank Gallery, Tallinn (with Anne Daniela Rodgers)
  • 2002 Art Hall Gallery, Tallinn Estonia
  • 2000 Kohila High School, Estonia
  • 2000 Zebra Gallery, Tartu, Estonia
  • 1999 Kütiorg Sculpture Park, Estonia
  • 1998 Peri Gallery, Turku, Finland (with Jüri Ojaver)
  • 1997 Botanic Gardens, Tallinn Estonia
  • 1995 Sammas Gallery, Tallinn, Estonia
  • 1993 Sammas Gallery, Tallinn, Estonia
  • 1993 Collective Gallery, Edinburgh UK
  • 1991 Windsor Art Centre, UK
  • 1989 Midlands Art Centre, Birmingham UK
  • 1987 Lanchester Gallery, Coventry. UK
Group exhibitions:
  • 2015 Pärnu Art Museum, Sculptors Association show
  • 2015 Palmse Manor, Estonia
  • 2013 Three men alone, Eesti Energiad, Künstlerhaus, Speyer, Germany
  • 2012 Ühislinn, Tallinn, Estonia
  • 2011 Eesti Energiad, Tbilisi, Georgia
  • 2011 Never Built Monuments, National Gallery of Art, Vilnius. Lithuania
  • 2011 Meeting with a friend in Marfa, Eesti Energiad, Gallery A, Turku, Finland
  • 2010 Kuu, Eesti Energiad at Unit B Gallery, San Antonio, Texas, USA
  • 2010 Seanahk performance festival, Haapsalu, Estonia
  • 2009 Seanahk performance festival, Haapsalu, Estonia (with Anne Daniela Rodgers)
  • 2009 Pornography, Rakvere Museum, Estonia (with Anne Daniela Rodgers)
  • 2008 Obscurum per obscurius, Tallinn Art Hall (with Anne Daniela Rodgers)
  • 2007 Power and freedom, Tallinn Art Hall, and Pärnu, Estonia
  • 2007 Backward Blues, National Centre for Contemporary Art, Moscow
  • 2006 City. One Zero Gallery, Edinburgh. Scotland
  • 2006 Wave, Estonian Sculpture Association Jõhvi. Estonia
  • 2005 C1119-Dead Dog, Edinburgh. Scotland
  • 2005 Beijing Biennale, China
  • 2004 Viinistu 2004, Estonia
  • 2004 Riga Sculpture Quadrennial, Latvia (with Anne Daniela Rodgers)
  • 2003 Estonian Art after the Second World War, Estonian Art Museum, Tallinn
  • 2003 Mohni, Mohni Island, Estonia
  • 2002 Kuu, Hafnarborg Museum, Iceland
  • 2002 Evidence, Essor Gallery, London
  • 2002 Gooseflesh3, Haapsalu, Estonia (with Anne Daniela Rodgers)
  • 2002 Eesti Energiad - Kuu, Hafnarborg, Iceland
  • 2002 Circus of Life, Tallinn. Estonia
  • 2001 Groundrush, Tartu, Estonia
  • 2001 Library of Unpublished Works, House Gallery, London
  • 2001 Koostöö, Rakvere Museum, Estonia
  • 2001 Eesti Energia, WUK, Vienna, Austria
  • 2000 View Assistance, Boswil, Switzerland
  • 2000 Gooseflesh, Rakvere, Estonia
  • 2000 Aids in Culture, Rotterman Art Museum, Tallinn
  • 2000 Construction in Process, Lodz, Poland

Jüri Ojaver


To be honest, I do not know yet if being an artist is a disease or a cure. My artwork has been a fusion of both these conditions. The changes in my own living circumstances and the changes in my society have influenced the work I have produced.

I feel that my objects themselves have a memory of their own. I try to use objects used in the past by other people, and imbue them with new meaning and resonance without destroying those original qualities.

When I am working site-specifically I look for places or situations that seem misplaced or somehow coming unstuck, unstable. And by creating a new logic for those circumstances I focus people’s attention more clearly on the site. The materials or media I use are not primary in the creation of the work – they simply follow the urgency of the idea, they are my tools.

(This statement was written 9 years ago and translated for me by Paul Rodgers and still hold true today.)


E-mail: jyriojaver@yahoo.com


  • Born 1955 in Jõhvi, Estonia. Education: self-taught
  • 2009-2011 guest professor of sculpture Estonian Academy of Arts
Solo Exhibitions:
  • 2015 Chapel of self-observing, Karepa, Estonia
  • 2014 Poetry, performance, Karepa, Estonia
  • 2013 Orton Gallery, (with Jaan Toomik), Helsinki
  • 2013 Storm, performance, Karepa, Estonia
  • 2012 Song/Rupture/Tyrä, personal exhihibition Tallinn Art Hall, Estonia
  • 2011 Anxiety, performance, Karepa, Estonia
  • 2011 Seanahk, performance Tango Haapsalu, Estonia
  • 2010 Down, perfomance, Karepa, Estonia
  • 2009 Creek, Draakon gallery, Tallinn
  • 2009 personal exhibition in Karepa, Estonia
  • 2008 personal exhibition with Rein Kelpman, Tallinn Art Hall Gallery, Estonia
  • 2007 Exhibitionists in the forest, Hobusepea gallery, Tallinn
  • 2006 Pink. Installation, Aland, Finland
  • 2005 Ventspils Museum, Latvia
  • 2004 Vaal Gallery, Tallinn, Estonia
  • 2000 City Gallery (with Mati Rautso), Tallinn, Estonia
  • 1998 Peri Gallery (with Paul Rodgers), Turku, Finland
  • 1996 Communion. Gallery of Tallinn Art Hall, Estonia
  • 1996 Strawberry-eaters. M6 Gallery, Riga, Latvia
  • 1996 Outsider (with Juhan Kubu). Sammas Gallery, Tallinn, Estonia
  • 1995 Web of Lies (with Mart Viljus). Vaal Gallery, Tallinn, Estonia
  • 1993 National Library of Estonia (with Tiit Jaanson), Tallinn
  • 1993 Sammas Gallery (with Mati Rautso), Tallinn, Estonia
  • 1992 Contemporary Art Center, Vilnius, Lithuania

Selected Group and International Exhibitions:
  • 2015 Annual exhibition of Estonian Sculptors Union, Pärnu, Estonia
  • 2015 Play, sculptors group exhitbition, Palmse, Estonia
  • 2015 Youth mode, Tartu, Estonia
  • 2014 Storm, performance, Karepa, Estonia
  • 2013 Angst, performance, Karepa, Estonia
  • 2013 Hobusepea Gallery, sculptors group exhitbition, Tallinn
  • 2013 Murmures, Carcassonne, France
  • 2013 Three men alone, Künstlerhaus Speyer, Germany
  • 2011 Honor thy father and thy mother, Mänttä art festival, Finland
  • 2011 Liberte/Freedom, festival Estonie tonique, Paris
  • 2011 Tbilisi Art Academi, (with J.Toomik, P.Rodger, K.Kangro, N.Külm)
  • 2011 My erotic, Rakvere, Estonia
  • 2011 Meeting with frend in Marfa (with J.Toomik ja P.Rodger)Turku, Finland
  • 2010 Kunst macht frei, Pecs, Ungari
  • 2010 Kuu, (with J.Toomik ja P.Rodger) Unit B galerii, San Antonio, Texas
  • 2009 La Materies, Rivoli 59 galerii, Paris
  • 2009 Border State, Guangzhou Art Academy Art Museum, Hiina
  • 2009 EAA Annual exhibition in Tallinn Art Hall, Estonia
  • 2008 Obscurum per obscurius, Tallinn Art Hall, Estonia
  • 2008 Bad Joke, CCA, Estonia exhibition on Tallinn Art Hall and Riga Art Space, Latvia
  • 2007 Backward blues, CCA Estonia exhibition in CCA, Moscow, Russia
  • 2006 Bridge. Jõhvi, Estonia
  • 2006 Tehnobia. 6th Annual exhibition of Estonian Artists´ Association, Tallinn Art Hall
  • 2006 CHA “Contemporaries”, Moscow
  • 2006 Handscapes. CCA, Estonia exhibition in UN Building, New York, USA
  • 2005 NU performance. Tallinn Art Hall, Estonia
  • 2005 Dead Dog. Edinburgh, Scotland
  • 2005 Trichtlinnburg. CCA, Estonia, project in public space and Hobusepea gallery
  • 2004 Sculpture Quadrennial, Riga, Latvia
  • 2004 Viinistu´2004, Live art event, Viinistu, Estonia
  • 2003 Mohni´2003, Live art event, Mohni Island, Estonia
  • 2003 Kuresaare City Gallery, Saaremaa, Estonia (with Terje Ojaver)
  • 2003 Tempo di sultura, Tallinn Art Hall, Estonia
  • 2002 Kuu, Hafnarborg Museum, Iceland
  • 2002 Gooseflesh, Rakvere, Estonia
  • 2001 Estonian Energies - Estnische Energien, Exnergasse Art Halle, Vienna, Austria
  • 2000 Red, The White Salon of the Blackheads House, Tallinn, Estonia
  • 1999 48th International Exhibition of Contemporary Art, Venice Biennial, Italy
  • 1998 Freedom of Choice, Exhibition of Estonian art in 1990's. Tallinn Art Hall, Estonia
  • 1998 Forest Camp, workshop, Punkaharju, Finland
  • 1998 12 Estonian Artists, Randers Art Museum, Randers, Denmark
  • 1997 Time, Space, Movement, Festival of action art, Paide, Estonia
  • 1997 Estonian sculpture, Tretjakow Gallery, Moscow, Russia
  • 1996 Space and Water, The 3rd Nordic and Baltic Architecture Triennial, Tallinn Harbor
  • 1996 Figure, annual exhibition of the Association of Estonian Sculptors, Tallinn Art Hall
  • 1995 1st Kwangju Biennial, Kwangju, South-Korea
  • 1995 Wait we're loading, Gothenburg Art Museum, Sweden
  • 1995 Fabrique d´Histoire, Saaremaa Biennial, Kuressaare, Estonia
  • 1995 Self-Portrait, Moscow Gallery, Russia
  • 1995 Dionysia, festival of visual arts, Tartu, Estonia
  • 1995 Horizoneline, 3rd Festival of the Union of the Baltic Cities, Szczecin, Poland
  • 1995 Mobile 1, exhibition of Estonian kinetic art, Tallinn Art Hall, Estonia
  • 1995 Creations, Mariestad, Sweden
  • 1994 Trailer, Mariestad-Lidköping, Sweden
  • 1994 Korrespondenz, Schwerin, Germany
  • 1993, 1994, 1995, 1996, 1997 annual exhibition of the SCCA, Estonia, Tallinn
  • 1993 Tallinn. Norwich, Norwich, Great Britain
  • 1992, 1994, 1996 exhibition of 10 Estonian Sculptors, Tallinn Art Hall, Estonia
  • 1990 Idea, Space, Material. Tallinn Art Hall, Estonia
  • 1988 I've Never Been in New York, exhibition of young artists, Tallinn, Estonia
  • 1988 Youth of the Earth, exhibition of young Soviet artists, Manage, Moscow, Russia
  • 1988, 1992 Baltic Sculpture Quadrennial, Riga, Latvia
  • 1988 Triennial of Young Baltic Art, Vilnius, Lithuania
  • 1987 Object in Art. Tallinn Art Hall, Estonia
  • 1986 International sculpture workshop, Grodno, Belarus
  • 1988-1994 Estonian annual art exhibitions, Tallinn Art Hall, Estonia
  • 1984-1988 Annual exhibitions of young artists. Tallinn Art Hall, Estonia

Awards:
  • 2007 Annual prize of the Kristjan Raud
  • 1995 Annual prize of the Cultural Endowment of Estonia
  • 1994 The 2nd annual exhibition of the SCCA, Estonia-grand prix
  • 1993 The 1st annual exhibition of the SCCA, Estonian grand prix
  • 1992 1st-prize Baltic Sculpture Quadrennial, Riga, Latvia
  • 1991 Prize of the Jury - Wood'91. International sculpture workshop, Võru-Kiidi
  • 1988 Young Artists Annual Prize, given by Estonian Artists Union

Works in collections:
  • The Art Museum of Estonia, Tallinn
  • Tartu Art Museum, Estonia
  • Tallinn Art Hall, Estonia
  • privat collections of dr. Margus Punab
  • Viinistu Art Museum

Jaan Toomik


E-mail: jaantoomik@gmail.com


Born in 1961 in Tartu, Estonia. Lives in Tallinn, works at the Estonian Academy of Arts as a professor.

Education: 1985–1991 Estonian Academy of Arts, faculty of painting


Solo exhibitions:

2015 Temnikova&Kasela Gallery, Tallinn, Estonia
2014 84 HRZ Gallery, Munich, Germany
2014 Werkstattgalerie, Berlin, Germany
2013 Galleri Sult / Skur 6 , Stavanger, Norway
2013 Orton Gallery, Helsinki, Finland
2012-2013  ARTRA Gallery, Milano ,Italy
2012 Pop/off art Gallery, Moscow,Russia
2011 Vaal Gallery, Tallinn, Estonia
2010 Turku Art Museum, Turku, Finland
2008 Riga Art Space, Riga, Latvia
2007 Hobusepea Gallery, Tallinn, Estonia
2007 Kumu Art Museum, Estonia
2005 Tartu Art Museum, Tartu, Estonia
2005 4+4 paintings Vaal Gallery, Tallinn, Estonia
2005 Video Works, Museum of Contemporary in Bucharest, Romania
2005 Recent works, Gallery of the Tallinn Art Hall, Estonia
2005 Videos, Circulo de Bellas Artes, Madrid, Spain
2004 Video Works, Contemporary Art Centre Vilnius, Lithuania
2004 Artoteek in Hague, the Netherlands
2004 Art Gallery of Haapsalu, Estonia
2004 IBID Gallery, London, England
2003 Vaal Gallery, Tallinn, Estonia
2003 Hippolyte Gallery, Helsinki, Finland
2003 Artists’ House, Tartu, Estonia
2001 Peeter Mudist, paintings. Jaan Toomik, video installations. Cultural Centre Elzenveld, Antwerpen, Belgium
2001 Contemporary Film and Video Programme, Moderna Museet, Stockholm, Sweden
2001 Tallinn Art Hall, Tallinn, Estonia
1999 Vaal Gallery, Tallinn, Estonia
1998 I-20 Gallery, New York, USA
1997 Art Museum of Estonia, Tallinn, Estonia
1997 Art Pace, San Antonio, Texas, USA

Selected group exhibitions, actions, performances:

2016 International Film Festival, Pune, India
2015 International Filma Festival Indie, Sao Paolo, Belo Horizonte, Brazil
2015 Trobled Water, 10. Baltic Contemporary Art Biennial, Szczecin, Poland
2015 Accrochage 3. Pop & Music/Sound, Louis Vuitton Foundation, Paris, France
2015 5. Bildrausch, International Film Festival, Basel, Switzerland
2015 International Film Festival, Rotterdam, Holland
2015 Fiona Banner selects from the V-A-C Collection, Whitecapel Gallery, London, UK
2014 SUND, Art Hall, Tallinn , Estonia
2013 Public Commission , Monument to Maris Liepa, Rigas Opera House, Latvia
2013 The State of Making Things, Piazza Remo Rossi Locarno , Italy
2012 The Classics of Estonian Contemporary Art(MÖH?FUI!ÖÄK!OSSA!VAU!) Tartu Art Museum, Tartu, Estonia
2012 Masrers&Pelavin Gallery, New-York, USA
2011 XVI Mänttä Art Festival, Mänttä, Finland
2011 Impossible Community, Contemporary Art Museum of Moscow, Russia
2011 Ostalgia, New Museum, New York, USA
2011 Meeting with Friend in Marfa, Å Gallery, Turku, Finland
2010 Rencontres Internationales Paris/Berlin/Madrid, Pompidou Centre, Paris, France
2010 Molodist International Film Festival, Kyiv, Ukraine
2010 Whatś Up See? Rauma Biennale , Rauma, Finnland
2010 Drama Film Festival, Drama, Greece
2010 Warsaw Film Festival, Warsaw, Poland
2010 Biennale Mediations 2010, Poznań, Poland
2010 São Paulo International Short Film Festival, São Paulo, Brazil
2010 The Care to Create, Art Festival Cēsis 2010, Cēsis, Latvia
2010 Mediation, The National Museum in Warsaw, Warsaw, Poland
2010 A Pair of Left Shoes, Museum of Contemporary Art, Zagreb, Croatia
2010 Oberhausen Short Film Festival, Oberhausen, Germany
2009 Gender Check, MUMOK, Vienna, Austria
2009 Looking for New Earth, Sojo Gallery Kumamoto, Japan
2009 Sik-SPRIDD ISOLERAD KONST, Kalmar Art Museum, Sweden
2009 Identity, Branderburgischer Kunstverein in Potsdam, Germany
2009 Friendship, Kunsthalle Exnergasse Vienna, Austria
2009 A Pair of Left Shoes, Bochum Art Museum, Germany
2008 Video Performances in Münster, Kunsthalle Münster, Germany
2008 Youprison. Fondazione Sandretto Re Rebaudengo, Torino, Italy
2008 54. International Short Film Festival Oberhausen, Germany
2008 Fairplay Film & Video Award 2008, Lugano, Switzerland
2008 Borderlives. Contemporary Art from Helsinki, St. Petersburg and Tallinn, Ludwig Forum, Aachen, Germany
2008 European Attitude. MOMA Zendai, Shanghai, China
2007 Shadow Filmfestival, Amsterdam, Holland
2007 Cool Days, Bonniers Konsthall, Sweden
2007 body as city, city as body, Dublin, Ireland
2007 Backward Blues, CCA, Moscow, Russia
2007 October. Exit, Memory and Desire, Galleria ARTRA, Milan, Italy
2007 Baltic States, part III. Contemporary Art from Estonia, Kalmar Art Museum, Sweden
2007 (H)eros, Casino Luxembourg, Luxembourg
2007 Locws 2: engaging art, people and place, Wales, UK
2007 Asia-Europe mediations, Poznan, Poland
2007 Human Game, Saks 5th Ave, New York, USA
2007 Progressive Nostalgia, Prato, Italy
2007 Giorgio Persano Gallery, Torino, Italy
2007 Locws 3: engaging art, people and place, Wales, UK
2006 Art, Life & Confusion, Belgrade Cultural Centre, Serbia
2006 Licht.Kunst mit Licht und Lichtdesign, Lüdenscheid, Germany
2006 Human Game, Stazione Leopoldo of Florence Italy
2006 Videokunst aus dem baltikum, Kunstraum Düsseldorf, Düsseldorf, Germany
2006 Face the Unexpected, Museum am Ostwall, Dortmund, Germany
2006 4th berlin biennial for contemporary art ‘Of Mice and Men’, Berlin, Germany
2005 Document 3 – International Human Rights Documentary Film Festival Glasgow, UK
2005 Beijing International Art Biennale, Bejing, China
2005 58. Festival Internazionale del Film Locarno, In Progress section, The Cubes, Switzerland
2005 Video Art in Cork, Cork Film Centre, Ireland
2004 Instant Europe, Villa Manin, Italy
2004 Effort, Koldo Mitxelena Kulturunea, Donostia-San Sebastain, Spain
2004 Shadow Film Festival, Amsterdam, the Netherlands
2004 Viinistu 2004, international live-art and video event, Viinistu, Estonia
2004 Talking to Me, Rauma Biennale Balticum, Rauma, Finland
2004 Breakthrough, Grote Kerk den Hague, the Netherlands
2004 Dream Island, Riga, Latvia
2004 Movimento/Movimenti – Films and Videos of the 50. International Art Exhibition, International Exhibition of Visual Arts of the Biennale di Venezia, South of Italy
2004 Shortcut Film Festival, Oberhausen, Germany
2004 Bodyworks, The Nicosia Municipal Arts Centre, The Pierides Museum of Contemporary Art, Cyprus
2004 EastWest, Museumquartal; Austrian Film Museum, Vienna, Austria
2003 Now What,BAK, Utrecht, Netherlands
2003 Extra Strong Super Light, Szczecin National Art Museum, Poland
2003 Veden Runoutta, Russian Museum, St. Petersburg, Russia
2003 Mohni 2003, international festival of contemporary art, Mohni island, Estonia
2003 Dreams and Conflicts: Dictatorship of the Viewer. Clandestine. Arsenale, 50th International Exhibition of Visual Arts of the Biennale di Venezia, Italy
2003 21 Minutes. Art Moscow, Moscow, Russia
2003 The Paths of Europe, Contemporary Art Museum, Thessaloniki, Greece
2003 Paris – Berlin International Meetings, Paris, France & Berlin, Germany
2003 Fondazione Sandretto Re Rebandengo Torino, Torino, Italy
2002 Evidence, Esso Gallery, London, UK
2002 Les Boréales, Caen, France
2002 The Museum of Hafnarborg, Iceland
2002 Gooseflesh 3, international live-art and video art festival, Rakvere & Haapsalu, Estonia
2002 Roots, Taidehalli, Helsinki, Finland
2002 Breath, The Ludwig Museum Budapest, Budapest, Hungary
2002 Video ROM, Milano; Bergamo; Rome, Italy
2002 Closing the Distance, Łaźnia Center for Contemporary Art, Gdansk, Poland
2002 The Baltic Times, Galerie im Taxispalais, Innsbruck, Austria
2001 The Baltic Times, Museum of Contemporary Art, Zagreb, Croatia; Škuc Gallery, Slovenia
2001 International Film and Video Festival, Split, Croatia
2001 Gooseflesh 2, international video and performance festival, Rakvere, Estonia
2001 Valencia Biennale. Section Video ROM, Valencia, Spain
2001 On the Way to the Screen. Art Moscow, 5th International Art Fair, Central House of Artist, Moscow, Russia
2001 Nights In, Gasworks Gallery, London, UK
2001 Estonian Energies, WUK Gallery, Vienna, Austria
2000–2001 Grosse Kunstausstellung Düsseldorf, Messe Düsseldorf, Germany
2000 Inverse Perspectives, Edsvik, Sweden
2000, 2001 Bac-Présence Balte, The Human Project, Visby, Sweden; Athens, Greece; Barcelona, Spain
2000 OPEN2000, Venice, Italy
2000 I-20 Gallery, New York, USA
2000 Bleibe. Akademie der Künste, Berlin, Germany
2000 L'autre moi tie de l'Europe. Galerie nationale du Jeu de Paume, Paris, France
2000 Videolisboa. International Video Festival of Lisbon, Lisbon, Portugal
1999–2000 After the Wall. Moderna Museet, Stockholm, Sweden; Ludwig Museum, Budapest; Hamburger Bahnhof, Berlin.
1999 Near and Elsewhere. The Photographers Gallery, London
1997 Interstanding 2. 5th annual exhibition of the Soros Center for Contemporary Arts, Estonia, Tallinn, Estonia
1997 Letter and Event, Apex Art C.P., New York, USA
1997 La Biennale di Venezia, Venice, Italy
1997 Site Santa Fe Biennial, Santa Fe, USA
1996 Survival. Rauma Biennale Balticum 96, Rauman Taidemuseo, Rauma, Finland
1996 Container '96 – Art Across Oceans, international exhibition of contemporary art,
Copenhagen, Denmark
1996 Manifesta 1, European biennial of modern art, Rotterdam Art Hall, Netherlands
1996 Personal Time. Art of Estonia, Latvia and Lithuania 1945–1996, Center for Contemporary
Art, Ujazdowski Castle, Warsaw, Poland
1995 UNESCO Prize for the Promotion of the Arts, Paris, France
1995 ARS 95, international exhibition of contemporary art, Museum of Contemporary Art, Helsinki, Finland
1995 Avant-garde Walk a Venezia 1995, Venice, Italy
1994 22nd International Biennial of São Paulo, São Paulo, Brazil

Grants and awards:

2013 Residency in Mazzano Romano, Italy, U. Tanners foundation
2008 54. International Short Film Festival Oberhausen, prize from organizers
2008 Annual award from Cultural Endowment of Estonia for artistic activity in 2007
2006 NIFCA Artist Residencies, Bergen, Norway
2005 Konrad Mägi art award, Estonia
2003 Baltic Assembly Annual Art Award
2000 NIFCA Artists' Residencies, Hafnarborg, Iceland
1999 State Prize of the Republic of Estonia
1999 Chicago Artist International Program, USA
1997 Prize from the 5th annual exhibition of the Soros Center for Contemporary Arts, Estonia
1997 Sinebrychoff Eesti Ltd.
1997 Art Pace, San Antonio, Texas, USA
1995 UNESCO Prize for the Promotion of the Arts, special mention, Paris, France
1994 Kristjan Raud annual art award, Estonia

Selected bibliography:

Estonian Dream.Published by Galleri Sult, Center for Contemporary Arts, Estonia, 2013
Orton Galleria esittää no.12, Galleria Orton, Helsinki 2013
Jaan Toomik, Run . Published by Archive Books, Berlin 2012
OSTALGIA Published by J. McSweeney and G. Mills Publications Fund at the New Museum in New York 2011
Contemporary Art in Eastern Europe (ARTWORLD series). Black Dog Publishing, London, 2010
Jaan Toomik. Invisible Pearls. Riga Art Space, 2008
Jaan Toomik. Catalogue. Kumu Art Museum, Tallinn, 2007
Jaan Toomik. Videos. Catalogo. Circulo de Bellas Artes, Madrid 2005
Files. MUSAC. Museo de Arte Contemporaneo de Castilla y Leon, 2004
La Biennale di Venezia. 50. Esposizione Internazionale d'Arte, 2003.
Art Moscow. Programme. 5th International Art Fair, April 24 – 29, 2001. Central House of Artist, Moscow 2001
Fresh Cream. Contemporary Art in Culture. 10 curators, 10 writers, 100 artists. Phaidon Press
Limited, N.Y, USA, 2000
L'autre moi tie de l'Europe. Réunion des Musées Nationaux, Paris, 2000
New Media in Late 20th Century Art.(Video Installation Art). Thames and Hudson, London 1999
After the Wall. Art and Culture in post-Communist Europe. Moderna Museet, Stockholm, Sweden, 1999
Jaan Toomik. Baltic. I-20 Gallery, New York, 1998
Site Santa Fe. Truce: Echoes of Art in an Age of Endless Conclusions, The New York Times Company, 1997
La Biennale di Venezia. XLVII Esposizione Internazionale d'Arte, 1997
Survival. Rauma Biennale Balticum 96, Rauman Taidemuseo, Finland, 1996
ARS 95. Private / Public. Nykytaiteen Museo, Valtion Taidemuseo, Helsinki, 1995
Manifesta 1. Catalogue of the first edition of a new European Biennial of contemporary art, Rotterdam, The Netherlands, 1996
Container ‘96. Art Across Oceans. Europaesk Kulturby, Kobenhavn, 1996
UNESCO Prize for the Promotion of the Arts 1995. The World of Art in 1995. UNESCO, Paris, 1996
Avant-garde Walk a Venezia 1995 I, II. Edizioni d'Arte Fratelli Pozzo, 1995, 1996
Lapin. Toomik. 22nd International Biennial of São Paulo, Soros Center for Contemporary Arts, Estonia, Tallinn, 1994

Selected magazines:

Jaan Toomik , Rosella Moratto,Flash Art Italia, detsember - january 2013, Milano
A. Mugnaini. October. Exit, Desire and Memory. Flash Art No. 258, January/February, 2008
F. Derieux. Jaan Toomik in Bucharest National Museum. Flash Art No. 245 November/December 2005
H. Soans. Minu munn on puhas. Metropolis m. Bimonthly magazine on contemporary art, No. 5/2004
International Live Art and Video Event Jürgen Raap Kunstforum Sept Oct 2004
Valdez. Jaan Toomik and Timur Novikov at I-20. Art in America, May 1999
A. Keskküla. Jaan Toomik. Flash Art, May/June, 1999
R. Roos. Tomorrow is a new day. Jaan Toomik escapes the stereotypes. Siksi, The Nordic Art Review, no 3, 1996

Eesti Energiad - Estonian Energies


The small group of artists, “Eesti Energiad”, first decided to exhibit collectively in 1999 with a show of performance, sculpture and video work at the Salt-storage Art Museum in Tallinn. The exhibition was extremely successful and since then these artists; Jaan Toomik, Jüri Ojaver, Paul Rodgers and Jaan Paavle (now deceased), have exhibited as a group in Austria, Iceland, Scotland, Russia, Finland, Georgia, Germany and America. These four artists formed the core of “Eesti Energiad” but they now also regularly include selected younger Estonian artists in their shows. In addition, they have also organised several larger, international visual arts events in Estonia.

Since its new independence in 1991 Estonia has been through an extraordinary number of changes. Political, social, economic and cultural changes have all taken place in such a short period of time. From the euphoric, optimism of the early 90’s to the recent world economic crash, which taught everyone some hard lessons, Estonians have experienced real change to all aspects of life. The artists here, have all in some way made observations on the change, or sometimes lack of change, to the Estonian psyche and society during recent years.

These artists have found common ground and interests though their personal backgrounds are very different. Although they may not always be the most subtle of investigators, stumbling often through dark territory, they are always honest and the work is at least heartfelt, never cruel – ultimately compassionate and often funny with a dark sense of humor with sometimes self irony in its observations.

When&Where

Eesti Energiad – Estonian Energies Exhibitions



  • 1999 Eesti Energiad, Rotterman Salt-Storage Museum, Tallinn. Estonia
  • 2001 Eesti Energiad, WUK, Vienna, Austria
  • 2002 Kuu, Hafnarborg Museum, Iceland
  • 2005 C1119-Dead Dog, Edinburgh. Scotland
  • 2007 Backward Blues, Eesti Energiad, National Centre for Contemporary Art, Moscow
  • 2010 Kuu, Eesti Energiad at Unit B Gallery, San Antonio, Texas, USA
  • 2011 Meeting with a friend in Marfa, Eesti Energiad, Gallery A, Turku, Finland
  • 2011 Eesti Energiad, Academy of Arts, Tbilisi, Georgia
  • 2013 Three men alone, Eesti Energiad, Künstlerhaus, Speyer, Germany


Curated International Exhibitions

(Site specific live art performance, video and sculpture shows)



  • 1999 Earthly Delights, Tallinn Botanic Gardens
  • 1999 Anatoomikum, The Old Morgue and dissection Room, Tartu, Estonia
  • 2000 Gooseflesh, Rakvere Museum, Estonia
  • 2001 Gooseflesh2, Rakvere Museum, Estonia
  • 2002 Gooseflesh3, Haapsalu, Estonia
  • 2002 Dependency, Non-dependency, Tallinn Art Hall, Estonia
  • 2003 Mohni, Mohni Island, Estonia
  • 2004 Viinistu, Estonia
  • 2009 Pigskin performance festival, Haapsalu, Estonia
  • 2010 Pigskin performance festival, Haapsalu, Estonia
Gallery
Estonian Energies Gallery

Projects


Members of Estonian Energies have curated several international exhibitions. These events have been site-specific, live art exhibitions at sites such as; the Old Anatomy Department at Tartu which was at the time being used as a morgue; the Tallinn Botanical Gardens and greenhouses; the natural history museum, streets, theatre and ancient fortress in Rakvere; the castle grounds, shops, railway station and streets in Haapsalu; the Island of Mohni, off the north coast of Estonia, with its lighthouse, abandoned buildings and nature reserve; the port and village of Viinistu with its old fishing factory buildings, power house and new art museum; redundant theatre-cinema and aerodrome and various other sites in Haapsalu. Unfortunately these events were not documented and no catalogues were produced - so if you have any images of work etc. from these projects that you could add to our gallery please send them to us.



Anatoomikum



Lone Twin



Gooseflesh 2001


Related videos


Mohni 2003



Māris Liepa


  • image01 Full image
    image01

    Monument to Māris Liepa. The creative group consisted of: Jaan Toomik, Jüri Ojaver, Ihan Toomik and Peeter Pere. The monument is a commissioned work by Boris and Inara Teterev. It is set up at the canal, near the bridge between the opera and University of Latvia.

    “It is the first monument in Latvia dedicated to the art of dance. Maris Liepa was not only an exceptional choreographer and patriot of his home city of Riga but also a symbol to world renowned quality that is innate to the art of dance in Latvia. The monument showcases the traditions Latvia’s ballet school managed to accumulate over decades of its existence,” – Aivars Leimanis, head of the Latvian National Ballet.

    Prev Next
    x Close
  • image02 Full image
    image02

    Monument to Māris Liepa

    Prev Next
    x Close
Paul Rodgers Gallery

Her story


Mixed media, stuffed pig, video, 2002 (length 1.5m – height 1m – depth 1m)

Behind a glass window sits a half pig - half woman watching a National Geographic programme about diamonds. On placing a 1 kroon coin into the slot just below the window, a series of light bulbs, which run around the edge of the window, are illuminated for 10 seconds allowing a much closer, though very brief, inspection of the strange creature within. In the background can be heard a recording of Marilyn Monroe singing “Diamonds are a girl's best friend”

An investigation which tests and probes as well as reveals some aspects of identity. Urban existence in the context of the explosion of knowledge in this millennium. The new relationships between psyche and nature and what makes us human.

A black humoured statement – a kind of Dr Moreau (from H G Wells) meets Woody Allen through conceptual kitsch. Rubbing on the nerve endings of sub-conscious dreams, desires, fears and of course neurosis. A voyeurism of the uneatable by the unspeakable. The sadness and pathos of a realized dream but an unfulfilled life. Behind the facade of appearance everyone, everything has a story to tell.

What kind of people do we agree to accept into our society? But what about those whom we ourselves have created, nurtured, developed? Is it good to be on the other side of the glass, to be "normal"?


The Ministry for Lost Sheep


A solo exhibition at the Hobusepea Gallery Tallinn - November 2009

A painting of a cartoon character, “Shaun the sheep”, a very able and humorous chap, is on a carpet which spent many years in a sheep barn and smells of sheep. Next to it is a door on which is a plaque with the name of the ministry engraved on it. The door is from the artist’s “outhouse” and a photograph shows the artist as the minister in his office.

The video clip is of an old comedian musician called George Formby, famous for farce and popular music in the 30s, 40s and 50s. The song was very popular in its day “when I’m cleaning windows”The ladder is made from Chamois leather (softened sheep skin), a traditional window cleaning cloth in England.

The logos of the two main banks of Estonia have been forged in iron to create branding irons. Their images have been burnt into an old goat’s skin and a sheepskin.

The box with hats is a version of a typical seaside entertainment object which has been around for decades and still exists in some holiday resorts. Usually inside would be a large doll, a caricature of a policeman or sailor, which laughed manically when you put a coin into it. However it never seems to make people laugh! At the opening my 6 year old son sat in the box, tried on the different characters hats and laughed along with the recorded laughter.

The stilts with shoes are carved from a Fir tree and are laminated with pages from an Estonian Bible.

A mixed construction of wood, books and metal. A prosthesis with a soft, sheepskin attachment for the stump of a leg.

A Bible and Koran sandwich a copy of Darwin’s Origin of the species. Robust bolts have been put through the books and are tightly fixed, imprisoning Darwin.

Related video


Other Magic from the Thief of Bagdad


A solo exhibition for the Hobusepea Gallery, Tallinn - 2012

A photograph of the artist levitating in the forest. On the opposite wall a poster giving details of England's fattest man in the 18th Century with reported powers of levitation. On the floor, a rusty iron and concrete sculpture explaining the trick of hovering in mid-air. In the same room, out of a rusty iron basket filled with stones, a 4 metre long rope extends upwards into the space above, the end disappearing behind a hovering metal carpet.

A film of an old man, with thick spectacles, squeezing a girly doll, with every squeeze her bikini top falls off. A framed text describing the formula used for calculating bra sizes. A short documentary film showing Tommy Cooper demonstrating his famous spoon and jar trick in which the spoon dances inside the jar. Next to the video an iron version of the jar from the film. The 1924 silent film, "The Thief of Bagdad" plays with overlaid soundtracks of helicopter pilots killing people in Iraq, American soldiers testifying on the rules of engagement (from WikiLeaks) and a romantic popular recording by Perry Como singing "Catch a falling star".


The Pawn Shop


The belief in our ability to protect our children is a deep fundamental delusion which we share. I belong to a generation who can say that the world and society which we leave to our offspring may not be such a good place as was left to us by our parents, both environmentally and socio-politically, even though our technological advances have been rapid and extreme. Those in power, and many who are not so powerful, have traded in human values for something as common as money. If not a nightmare it certainly is a bad dream for me.

When I was young the pawn shop was a part of poor, working class society where many placed in hock their things of meagre value in the hope of better days to come. Its sign was traditional, clear and visible offering no illusion as to its services. While the men were away at sea and the women fell on hard times their men-folk’s suits and shoes and watches went in pawn in order to survive until the men docked with pay in their pockets. Then the kids would rush to the pawnshops, tickets and money clenched in their hands, to retrieve the stuff before dad even entered the front door. Poor people tend to be honest and redeem their debts including the broker’s interest regardless of the struggle, hopeful that life will get better.

Here is a pawn shop of sorts.

Related video


Our City – Ühislinn


A project in which artists of different national roots were invited to photograph Tallinn and write accompanying texts for the pictures

Cultural Baggage

There are hundreds of ways to map things. Some methods are very precise others much more tentative depending on the place and your objective. The following is to some extent, but not only (I do not want to over simplify the process), a mapping of cultural baggage. People talk about cultural baggage as if it's some kind of burden to be endured, dragged around from pillar to post getting in the way of things. But for me it has always been something which enriches my experience of the present. My own foundation of clouds and dreams and half memories of people and events that have shaped me. Of course some of my past experiences have been negative, unpleasant, downright nasty but hopefully these things have also made their contribution towards how I see the world and helped me become critical in what I hope is a constructive way. When I arrived in Estonia in the early nineties there was something here which found resonance in my own roots, perhaps the sense of humour or people always having time to talk and help or maybe just that great sense of optimism. And visually, architecturally, Tallinn also stimulated a kind of intuitive, nostalgic response in me. My memory, my self, seemed comfortable in the Estonian situation. Of course a lot has changed since then, both the physical and psychological environment, not always for the better I am sad to say. But my own roots are now inextricably entwined with those of Estonia. It is that cultural mix, the strange juxtaposition of two realities reflecting each other, sometimes in conflict, forming something new, that has in some way informed this project for me.

Photography and performance: Paul Rodgers and Anne Daniela Rodgers Additional photography: Maido Saaliste

  • image01 Full image
    image01

    Kitchen knife. The appearance of a police car or an ambulance in our street was a big event when I was a kid. Word travelled like wildfire and brought us kids, as well as the adults, out on the street to catch a glimpse of what was happening, blood hungry. Something to gossip about for days. That Sunday morning was no exception and by the time I arrived at the end of their terrace there was already a large group of people standing on either side of the old ambulance.

    Their house was one of four still standing in the little terrace, the others had been bombed during the war and never rebuilt. They still had a pocket handkerchief of a garden in front that was well overgrown with a nondescript bush and weeds. The metal fence had been ripped out long ago as part of the war effort, the deception of propaganda which made the scrap metal merchants millionaires.

    She came out first, alone. In a daze she walked slowly, but with a kind of dignity, along the dirty path. She was still wearing a pinny and slippers with her nylon stockings rolled carelessly down to her ankles. Around her head she had thrown the traditional headscarf in an unsuccessful attempt to hide the rollers still in her unkempt hair. And as a final act of decorum, in her haste without a mirror, she had rubbed rouge on her cheeks to hide the bruises and placed a smudge of ruby red over her top lip. He followed seconds later, walking labouredly, supported on either side by an ambulance man. He was a big man, a trawler-man, crew-cut hair, a cigarette paper stuck to his recently shaven and nicked chin, wearing a not so white vest and braces holding up baggy trousers. Amazingly there seemed to be very little blood surrounding the kitchen knife sticking out from the middle of his chest.

    Prev Next
    x Close
  • image02 Full image
    image02

    Fire brigade. We heard the roaring sound in the chimney breast just as Mum was getting us breakfast. Dad had lit the fire early before going off to work at 7, along with my eldest sister, leaving Mam to get the rest of us ready for school as usual. The smell of soot and the sparks flying out of the chimney pot outside convinced Mam to send my other sister to run to the corner and phone the fire brigade.

    Good on them, they arrived with flashing lights and sirens within about 15 minutes and with a professional ease and calm quickly scaled the roof and hosed water down inside the chimney. But oh Mum's face when we saw the black, swampy water flood out of the fireplace all over the kitchen floor. Tears swelled in her eyes, as if she didn't have enough to cope with! One of the men came in and I remember thinking how thick and heavy and hot his uniform must have been. He said "Tha´'d better get this lot off t' school missus before it gets too late."

    I didn't want to go to school that day because everything had been too exciting. So I was allowed to go back home with Mum. When we walked into the kitchen The young fireman had cleaned up all of the floor and apart from a dark stain on the mat (which we never got out) the kitchen was spick and span again and there was even a pot of tea made, under the cosy on the table, waiting to be drunk. She gave the man such a look that even now it makes me question my mother's fidelity.

    Prev Next
    x Close
  • image03 Full image
    image03

    Money detector. The Fair was huge with side-shows and rides, ghost trains and waltzers, fortune tellers and freaks, multifarious try your luck stalls, candyfloss and brandy-snap and toffee-apples, goodies for everyone with money in their pockets. Of course the rides shook and spun with flashing lights and music, whirled up and down, intoxicated with adrenalin and in the process shook money out of pockets and purses and bags. After the fair had packed up and moved on out we came with our improvised metal detectors in search of our fortune or at least some pocket money for fags and beer.

    Prev Next
    x Close
  • image04 Full image
    image04

    Train. I remember my first train journey with my father, I was very young. It was an old steam train and seemed huge and so exciting with the steam and smoke and soot and noise. We were all going on holiday to a small seaside resort. The train was pulling old carriages which had no corridor and so we stepped directly into the compartment which we had to ourselves. Along the way I became desperate for a poo which was a problem as there were no toilets and it was a long way to the next station. Dad solved the problem in his usual calm, unequivocal manner. He rooted around in his case, found his old shaving mug, and gave me that as a potty to use which, unfortunately of course, he threw away out of the window afterwards. It disturbed my Mum, doing anything different seemed to befuddle her.

    The last train journey with him was without Mother. She had already gone on ahead to organise things for us. Staying had become impossible for her, being different, people noticing us had proved too much for her. She needed to feel normal, among friends. And so later, when the school semester had ended, I and my brother also left with my father to join her. My brother and I had never noticed we were in any way different really and for father being different was a good thing to be.

    Prev Next
    x Close
  • image05 Full image
    image05

    Free house. They closed the factories down and the planners split up and moved whole communities out of the area to different new housing estates on the other side of town. They demolished all the houses to make way for new development in the area. So for a while the area was a wasteland, just a few scars remaining of what had been people's lives and homes. A wasteland apart from one building which was left in the centre, untouched because it was a listed building. Murphy's Free House, the local. Truly an architectural jewel, and the heart of the community, so much so that on Friday and Saturday evenings, the former customers even though they had to travel miles from their new homes in tower-blocks, change buses twice etc, still came to the Free House to drink away the week's hard work and have a laugh with their mates and former neighbours. Not so surprising one might think but what was really interesting was to watch the wasteland on a Sunday morning just before opening time. From all points of the compass you would see figures walking slowly, dazed, trancelike towards the pub like zombies heeding some secret call from the un-dead, in desperate need of the hair of the dog, a game of darts and the traditional Sunday general knowledge quiz.

    Prev Next
    x Close
  • image06 Full image
    image06

    Baker. The baker is good at his work. He pounds and pummels the dough and insists that this material remembers what it should be, and how to behave both through and after the oven. He imposes his will by kneading rythmically with his fists. And the bread is heavy and tastes good, though each loaf is different and is sometimes difficult to swallow.

    Prev Next
    x Close
  • image07 Full image
    image07

    Sheep. Being the good shepherd that he was he noticed from the very beginning that this was no ordinary sheep. From the outset it behaved differently – it seemed to know what the man wanted. Later that year when it had grown a little it began to copy and work with the Border Collie and round up the flock, move it along, separate individuals when required and bring them back to the barn. One day he found it in the workshop looking with interest at all the different tools and materials and so he allowed it to be with him while he was working, to observe. When the old collie died there seemed to be no need for a replacement and the sheep became a permanent companion to the farmer. There seemed no end to the surprising behaviour of what was clearly an intelligent, inquisitive animal. As a treat one day the farmer took it to town with him to shop for provisions. They walked together around the city, investigating the different sites, the monuments, the streets the shops the people, the sounds the smells. The following day when the shepherd arose, the sheep was not there as usual in the house waiting to follow him to work. There was no sign of it close to the house at all. He finally discovered it in the middle of the flock, simply chewing the grass like all the others, bleating happily.

    Prev Next
    x Close
  • image08 Full image
    image08

    Soap tongue. No one ever made the connection. How could they have, so few people were involved. The first people to use that specific public toilet that day didn’t pay much attention to the tongue shaped bar of soap and clean fresh towel on the side of the wash basin. Some of course didn’t even wash their hands!

    If, just by chance, any one of the staff that had been working in the emergency room of the central hospital exactly five weeks earlier had happened to use that toilet that day, then perhaps they would have made the connection.

    They would have remembered the strange young man who had appeared in casualty that night with his mouth gaping open, tongue severed clean away and blood flowing profusely. They never found his tongue and he never told them where it was or what had happened.

    Prev Next
    x Close
  • image09 Full image
    image09

    Marigold. Few knew his name but he was known affectionately as Marigold for obvious reasons (because of the rubber Marigold washing-up gloves he always wore). Everyone thought he was just crazy, obsessed with traffic because the hand movements he constantly made were of course very similar to a traffic policeman’s gestures. The people at the night-shelter clearly cared for him and even bought him a fluorescent jacket for his safety as he constantly tramped the city streets throughout the day, waving his hands. I followed him sometimes and eventually realized he wasn’t directing traffic or even the people in the street. He was actually forming, shaping, making minor adjustment to space and the world. It must have been hard work because his heart simply burst one day.

    Prev Next
    x Close
  • image10 Full image
    image10

    Bomb bag. In a world of ever increasing brutality and fear; war, terrorism, riots, and the general obsession with our health and well being; e-numbers, genetic food, cholesterol, alcohol, smoking; the pollution of the planet and global warming plus the corruption of our youth through computer games and internet sites – they decided to make some small contributions to our environment to reassure people that all was well. Temporary interventions into the public space perhaps accompanied by a whole-food sandwich and a bottle of spring water, something to bring a smile to people’s faces on a dreary day.

    Prev Next
    x Close
  • image11 Full image
    image11

    8-5 Bar. Rob and Alex were distant cousins and inseparable. Rob was born with a defect of the leg, and although his father tried for years through constant massage with liniment and potions to cure him it proved fruitless. He remained with one leg four centimetres shorter than the other and he had to wear a club shoe with a sole four centimetres thick to compensate. He became a money lender, a loan shark with a heart and he was known to be a soft touch so he didn't last long at that.

    Alex was a rogue, and a bag of fun. He tried his hand at lots of different jobs but work just didn’t seem to sit comfortably with him.

    When they were young they would make guys from old clothes and straw and sit with them outside a pub begging for money from the drunks as they came out who praised them for their handiwork. When they had enough money they would buy fireworks, return to the pub and throw the exploding fireworks at the drunkards’ feet making them dance on their way home. Later, when they were older, they taught each other sign language and went to bars pretending to be deaf and dumb. Kind hearted locals would always buy them drinks feeling sorry for them. At the end of the evening they would leave the bar and shout thanks to everyone as they left.

    They never married or settled down but eventually found a bar which suited them ideally. They spent all their free time in the place still conversing with each other in sign language in the hope that some kind heart would buy them a drink.

    Prev Next
    x Close
  • image12 Full image
    image12

    Loony bin. He said it would help if I talked about it all, revealed myself, the bones and sinews of my problems, the raw nerves of my desperation. And so I did. Layer after layer of my life was laid before me, and him, until finally the hurt stopped. But along with the pain, it seemed that I, me, my face had also disappeared into some new void.

    Prev Next
    x Close
  • image13 Full image
    image13

    Poisen. Although the rumour spread that she had bumped her old man off, actually she was devoted to him. Now in the twilight of their years they lived contentedly together in their small flat not far from the centre. He couldn’t get about much anymore and spent his days reading and building small models of aeroplanes and suchlike. But their place was small and she wanted to give him some private space during the day so she decided to find an excuse to get out of his way each day. She would sell her homemade preserves and jams on the streets near the railway station, like many other pensioners did to earn a little money.

    There was always the company of the other old women there and at first the conversation was refreshing but she soon grew tired of the everyday, routine banter that always seemed the same. So she talked less and less to the old biddies which set her aside from them and of course created an air of suspicion around her, after all it’s not natural for an old woman not to gossip.

    But she did enjoy people watching, the passers by, the rhythm of the to and fro of daily lives, the uniqueness of faces and as she watched she imagined their lives with all their little dramas, loves and losses and tragedies. Her imagination ran riot, it was much better than watching soaps on the television and she so looked forward to the evenings when she would relate these stories to her husband who would listen attentively as he puffed away on a cigarette and they would discuss the complexities of the human condition.

    After a while the business of people approaching her to buy her wares, her pickled cucumbers, apple jam, preserved plums etc, began to irritate her also. After all she didn’t really want to sell them, she would much rather keep them to give to her husband during the cold winter months when he needed the extra vitamins. And haggling with people over a few crowns was distasteful to her and got in the way of what she really enjoyed, which was observing. So she developed a simple strategy to keep people from buying things. Although very occasionally a drunken Finnish tourist still tried to buy a jar or two from her, generally speaking it did the trick and kept people at a distance. And regardless of the occasional passing snigger in her direction she was generally left alone to her pleasures.

    Prev Next
    x Close
  • image14 Full image
    image14

    Fountain. The artist on his own initiative put forward his proposal for a new sculptural fountain to the city planners. The city council replied and politely thanked him for his idea explaining that unfortunately things weren’t as simple as that. This was an open public space and as such came under some very strict rules and regulations. These things had to be in open competition, advertised widely with a panel of experts judging the entries and anyway it was highly unlikely that it could be placed in the middle of the road. The artwork had to fulfil very stringent criteria and so with regret they had to decline his kind offer.

    Prev Next
    x Close
Jüri Ojaver Gallery

Puulane ja Tohtlane



Haapsalu



Hammer


  • image01 Full image
    image01

    Hammer - A sculpture in the form of the head of a giant sledge-hammer, made from well beaten, recycled tin roofing material. It is hollow and inside is the artist who, with a large blue hammer, beats wildly against the interior walls. The hammer inside is luminous and is the only thing which is visible to a video camera inside the darkness of the sculpture. The image of this flying hammer is projected onto the gallery wall adjacent to the sculpture.

    x Close

Karepa



Nonexistent Cemetery


  • image01 Full image
    image01

    Nonexistent cemetery 1994. Land art work, dedicated to the cemetery that was destroyed in 1964. Sheets of roofing material 100 x 200 cm were spread side by side on the grass strip between the road and the pavement. For a month the grass that was left under the plates turned pale. On the day of the exhibition opening the rooofing material was removed and a row of pale regular spots in the grass was revealed. 14 thombstones that originated from the former cemetery were placed in parallel rows accross the pavement.

    x Close

Venice



Kahevahel



Ümarlaud


Jaan Toomik Gallery

Paintings


Estonian Energies Gallery

Projects


Members of Estonian Energies have curated several international exhibitions. These events have been site-specific, live art exhibitions at sites such as; the Old Anatomy Department at Tartu which was at the time being used as a morgue; the Tallinn Botanical Gardens and greenhouses; the natural history museum, streets, theatre and ancient fortress in Rakvere; the castle grounds, shops, railway station and streets in Haapsalu; the Island of Mohni, off the north coast of Estonia, with its lighthouse, abandoned buildings and nature reserve; the port and village of Viinistu with its old fishing factory buildings, power house and new art museum; redundant theatre-cinema and aerodrome and various other sites in Haapsalu. Unfortunately these events were not documented and no catalogues were produced - so if you have any images of work etc. from these projects that you could add to our gallery please send them to us.



Anatoomikum



Lone Twin



Gooseflesh 2001


Related videos


Mohni 2003



Māris Liepa


  • image01 Full image
    image01

    Monument to Māris Liepa. The creative group consisted of: Jaan Toomik, Jüri Ojaver, Ihan Toomik and Peeter Pere. The monument is a commissioned work by Boris and Inara Teterev. It is set up at the canal, near the bridge between the opera and University of Latvia.

    “It is the first monument in Latvia dedicated to the art of dance. Maris Liepa was not only an exceptional choreographer and patriot of his home city of Riga but also a symbol to world renowned quality that is innate to the art of dance in Latvia. The monument showcases the traditions Latvia’s ballet school managed to accumulate over decades of its existence,” – Aivars Leimanis, head of the Latvian National Ballet.

    Prev Next
    x Close
  • image02 Full image
    image02

    Monument to Māris Liepa

    Prev Next
    x Close
www.000webhost.com