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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 exhibition Notes from the Underground. Art and Alternative Music in Eastern Europe 1968–1994 examines the intersection of underground music and visual arts under communist regimes in Eastern Europe. It highlights how rock, punk, and new wave music, alongside performance art, fashion, and film, became tools of countercultural expression against state control. In response to censorship and scarcity, artists and musicians created homemade instruments, produced Samizdat magazines, and distributed recordings. The exhibition underscores the role of improvisation and irony in resisting authoritarianism, with works from Poland, Yugoslavia, the Soviet Union, and Czechoslovakia, offering a new perspective on how art and music intertwined as forms of dissent.The exhibition critically examines the evolution of mass mobilization and crowd dynamics in both historical and contemporary contexts, drawing inspiration from Elias Canetti’s “Crowds and Power.” Set against the backdrop of the GfZK’s new architectural space, the exhibition engages with the complexities of collective action, exploring how digital public spheres shape democratic participation while simultaneously being exploited for exclusionary practices. Featuring a rich array of video installations and cinematic works, including the new production “70.001,” which reimagines the 1989 Leipzig demonstrations, “Majorities” invites reflection on the nuances of social behavior and the implications of simulated experiences in gaming and surveillance. Through this thoughtful presentation, Wedemeyer prompts us to consider the intertwining narratives of isolation and community, resonating powerfully in today’s fragmented society.As part of the Classics of Russian Photography program, MAMM presents the first large-scale retrospective of renowned contemporary photographer Vladimir Bogdanov. The exhibition features over 100 photographs from the Multimedia Art Museum, Moscow, highlighting his work from the 1960s to the 1990s. Born in 1937, Bogdanov’s artistic journey began during the Khrushchev thaw, a period that allowed artists to explore themes beyond socialist realism. This era marked a shift where humanism replaced official dogma, enabling photographers to capture the lives of ordinary people. In 1955, while studying at the Textile Institute, he joined the Leningrad photo club VDK, transforming his passion into a profession. His compelling images reflect a deep connection to Russian society and its complexities during a time of change.Yokoo in Wonderland invites visitors into artist Yokoo Tadanori’s parallel realm, where the boundaries of reality dissolve into a collection of wonders. Drawing inspiration from Lewis Carroll’s classic Alice in Wonderland, the exhibition guides viewers through a journey that begins with a girl falling into an underground kingdom, then continues into space and an unknown world. The experience progresses through “The Looking-Glass World,” where real and virtual images intertwine, and concludes in “The Land of Dreams,” blurring reality and unreality. Through Yokoo’s distinctive artistic vision, this exhibition encourages a deep immersion into an infinitely expanding universe, prompting reflection on how art can transport and reshape our perception of the world.
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excoursio

Contributor / Hanna-Liis Kont

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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