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BIG D@T@! BIG MON€Y! is a bold, thought-provoking exhibition that explores the intersection of data, finance, and digitalization. Featuring seven artists and collectives, the works explore how our everyday digital footprints and the rise of cryptocurrencies are reshaping economies, identities, and power structures. Through projects like a speculative trading AI, a data-driven remake of classic art, and an analysis of the hidden infrastructure behind Amazon transactions, the exhibition sheds light on the often-invisible forces governing our digital lives. In an era of increasing surveillance and technological control, the exhibition raises critical questions about freedom, privacy, and the future of society.The Tallinn Architecture Biennale (TAB) 2017delved into the future of urban environments through the lens of biotechnology and non-human-centered design. Curated by Prof. Claudia Pasquero, this fourth edition featured a diverse program comprising the Curatorial Exhibition, a thought-provoking symposium titled “Polycephalum City”, and the Tallinn Vision Competition, alongside satellite events like the Installation Programme exhibition and the bio.School showcase. Over two days, distinguished architects and researchers, including Mitchell Joachim and Rachel Armstrong, gathered to exchange insights on architecture’s intersection with biology and computation, envisioning cities as self-organizing systems. This Biennale not only highlighted innovative architectural practices but also prompted essential discussions on the evolving role of urban spaces in our rapidly changing world.The Raqs Media Collective, founded in 1992 in New Delhi by Jeebesh Bagchi, Monica Narula, and Shuddhabrata Sengupta, operates at the intersection of contemporary art, historical inquiry, philosophical speculation, and political critique. Their work probes the fundamental, often elusive, concepts of time, language, and history, challenging linear narratives and fixed interpretations. Central to their practice is the interrogation of time — not merely as a measurable entity but as a force that governs societal rhythms, disciplines human life, and underpins capitalist structures. In works such as Escapement (2009) and Re-Run (2013), they explore how time shapes experience, asking what it means to measure time and how it intersects with space and history.The exhibition GASTEV. How to Work examines the profound influence of Alexey Gastev, a key figure in Soviet thought and the founder of the Central Institute of Labor (CIT). Gastev’s work in the 1920s and 1930s revolutionized labor practices through his development of scientific labor organization (NOT), blending Marxist ideology with avant-garde approaches to efficiency, biomechanics, and human-machine interaction. His theories sought to transform workers into precise, efficient elements of industrial production, reflecting the broader Soviet utopian vision of reshaping society through labor. The exhibition contextualizes Gastev’s role not just as an organizer but as a visionary whose ideas on human potential and mechanization resonate with contemporary discussions on automation and the future of work. Despite his execution during the Stalin’s Great Purge/Terror, Gastev’s legacy continues to provoke thought on the relationship between labor, politics, and the shaping of the modern human. More at http://avantgarde.center/gastev (in Russian only)Sergiy Bratkov (b. 1960) is renowned for his radically unsettling and striking photographs that, beneath their vivid surface, present an unflinching report on societal conditions. Like other members of the “Kharkiv School of Photography,” his work over the past 30 years has focused on social photography. In spring 2022, the Ukrainian artist, who had been living in Moscow since 2004, emigrated to Berlin. His recent work, previously centered on outdated Soviet-era clichés and the brash new capitalism of post-Soviet Ukraine, has now been sharply refocused by the brutal realities of the ongoing war. In this exhibition, Bratkov presents new cycles of images and videos created since Russia’s invasion of Ukraine. The once ironic observer has transformed into a reflective analyst, confronting the horrors of war in his former homeland. His new works grapple with this trauma while resisting the pull of hopelessness.
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excoursio

City / Tartu

Tartu Art Museum Arts | Culture | Music
18+

Museum Choreography

Muuseumi Koreograafia
Estonia Tartu 2018 53

This innovative exhibition reimagines the traditional museum experience through the lens of dance and choreography, inviting audiences to become active participants in the artistic dialogue. It foregrounds the unpredictable interplay between viewer movement and static artworks, showcasing how personal histories, cultural contexts, and physical presence transform the museum into a living, dynamic space. By exploring the nuances of how we look at and engage with art, the exhibition challenges visitors to reflect on their own movement and interactions within the gallery. This exhibition is a thought-provoking exploration of the embodied experience of art, making the viewer an integral part of the creative narrative.

Why should you watch this?

In today’s rapidly evolving cultural landscape, this exhibition stands out by positioning dance and choreography as vital means of understanding and engaging with art in the museum context. By centering the audience’s experience, it reflects our collective need for connection and interaction in spaces that often feel static and distant. In an era where individual perspectives and cultural backgrounds shape our understanding of art, this exhibition invites viewers to reclaim their role, reminding us that museums are not just repositories of art but vibrant environments shaped by human presence and movement. As the act of looking becomes more layered and complex in our digital world, this exhibition challenges us to reconsider our relationship with art, encouraging a deeper engagement that resonates well beyond the gallery walls.

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