Variation of Continuum
Vadim Fiškin (Slovenia), Maria Paz and Paola Medina Querini (Hispaania), Vera Dvaleand Damla Kilickiran (Norra) ning Tatsuru Arai (Jaapan/Saksa).
“Variation of Continuum” focuses on the metaphor of light as a direct activator of association chains as well as stimulations of perception and cognition. The title of the exhibition is a spontaneous absurdity generated by Aldar “Psaiko” Talviste, a well-known mad genius of Tartu. The site-specific perception of texts decontextualizes non-Estonian artists and artworks to the psychogeographic context of Tartu. A variation of continuum is an impossibility because all variations should exhaustively be embodied in it. Therefore, the two words mark an unimaginable that, nevertheless, refers to crossing all limits. In order to understand it we must turn to light.
The ground floor of Gallery Noorus features a large personal exhibition of Vadim Fiškin. The Slovenian artist has represented his country at the Venice Biennale in 2005. His work is characterized by a unique post-conceptual tradition and tightly linked to the development of technology and science. In both cases his interest lies in what they can tell us about ourselves. To do that, he attributes compact narrative and allegorical power to technology. “And although Fishkin embraces the futility of technology, foregrounding the fatuity of the human desires and ambitions that animate it, he does it with a sharp and theatrical humor, ultimately imbuing it with a redemptive lightness, “says Chris Sharp.
The basement floor of Gallery Noorus exhibits installations by Spanish artists Paola Medina Querini and Maria Paz. The latter is also known as Exotikdot, an electronic music artist who performs as a live light installation, an opportunity not to be missed during TAVA2020 club night at Elektriteater.
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"... Vadim Fishkin works in an unique post-conceptual tradition, which is intimately linked
to technology and current scientific developments. However, any interest in technology
and science is less a direct result of an engagement in these domains themselves than
a by-product of what they can tell us about ourselves and such perennial issues as the
search for faith and meaning, and the sense of futility known to reward such human
enterprises. Indeed, in Fishkin’s practice, technology is granted a compact narrative and
allegorical power, not to mention an absurd and poignant poetry. And although Fishkin
embraces the futility of technology, foregrounding the fatuity of the human desires and
ambitions that animate it, he does it with a sharp and theatrical humor, ultimately
imbuing it with a redemptive lightness.."
-- Chris Sharp
Paola Medina Querini
Paola Medina Querini (Panamá, 1989) is a multidisciplinary artist specialised in lighting design who mixes colors, reflections and textures in immersive experiences to evoke human senses. During 2019, she participated in Hack the Light Up – Torre Agbar and an urban light installation “Entremurs” for the Light Festival BCN.
Paola received a Postgraduate in Architecture Lighting Design from the Instituto Europeo di Disegno, Barcelona in 2019 and a Master in a Project Management for Interior Architecture from La Salle Ramon Llull University, Barcelona in 2018. She uses different techniques to experiment with light and colour.
My work relies on the meeting point between Perception and Science. Neither of them seems to present reality: the first one, subjective but limited by human senses, the second one, radically objective but impermanently evolving over time. By confronting ‘the sensorial’ and ‘the facts’, I am empowered to generate ‘Truth’ through Art. The concept of ‘Universe’ is recurrent in my work; a story told by Science that my perception has allowed me to experience (through meditation). I am also intrigued by the relation between human beings and their environment. Science has failed to warn us about our self-extinction, while our own Consciousness cannot reach a level high enough to prevent us from systematically breaking nature’s equilibrium.
As reality reveals at so many levels simultaneously, the experience of Art shall be a complex event. I aim my works to be immersive experiences for the audience, sometimes including participatory/interactive elements. I try to reach this aim by using a network of different media like live performance, sculpture, sound, light, electronics, text, and music. I have even pushed the sensorial aspect of my work through edible light installations and publication of a tactile artist’s book. My interest in perception has brought me to use Light and Sound as recurrent mediums, as they can be treated as ‘frequencies’ that trigger our most predominant senses.
For four nights, the Palm House of Botanical Gardens will be turned into an audiovisual installation creating synergy between tropical plants and dark urban landscape. Ambient musician and sound artist Vera Dvale from Norway will be in charge of sound. The author of the video and light installation is Damla Kilickiran, who deals with large-scale projection formats and creates a video projection in a palm building.
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Vera Dvale - seamstress of nocturnal synaesthetics, weaver of worlds of spatial immersion - is occasionally producing and releasing music. Her LPs AVAV and UDU were recorded with Psykovarius, both released by the label Sex Tags Amfibia. Vera Dvale’s base, h3ksh3im, is frequented by friends and collaborators as a sanctuary, a studio and a conduit.
Vera Dvale will compose a sound installation specifically for the Greenhouse of Tartu Botanical Gardens. The sonic elements constructing the core building blocks for the composition will be a selection from her collection of field recordings, unreleased songs and sounds from collaborations and friends.
My artistic practice is permeated with spiritual cosmologies and narratives that relate to alternative approaches to knowledge - through the body's way of producing images in altered states of mind. I like to work with materials that I consider symptomatic of the time we live in: construction materials like aluminium, concrete, Styrofoam and asphalt. I aim to find new ways of thinking and approaching environments by applying filters of spiritism to video material consisting mostly of digitally processed virtual images found in cyberspace, researching the phenomenon of seance.
My work leads thoughts to automatism - a form of non-knowing, a condition that transcends linguistic narrative in favour of an intuitive form of narrative.
St. John's Church Tower
Tatsuru Arai's sound and visual installation QUANTUM-TON. Tatsuru's Hyper Serial Music project expands on the history of serialistic method of music composition by incorporating new technologies and new perspectives, including artifcial intelligence. The sounds are on the boundaries of the limits of human auditory perception and cognition.
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Tatsuru Arai is a composer and sound/graphic-programmer who lives and works in Berlin. He has studied music in Japan and Germany. His main artistic theme is to integrate classical compositions to new technology, as "Trans-Ages-Music", and to present the fundamental physical nature of the universe in the form of perceptional experiences, that could say aesthetics of “geometric structure”.
He has worked and performed at international Art/Music Festival/,Kinetica Art Festival (London UK)Tunisia Fashion week(Tunis Tunisia),Sajeta - Art & Music Festival(Slovenia)B-Seite Festival (Mannheim Germany),Flow Festival (Helsinki Finland) Signal Festival 2017 (Cagliari Italy), intermediale Festival (Legnica Poland), CTM Transmediale festival (Berlin Germany), Klankvorm (Rotterdam Netherlands), MADATAC Festival (Madrid Spain), MAteraINtermedia festival (Matera Italy), Sonic Acts fetival (Amsterdam Netherlands), Gogbot Festival (Enschend Netherlands), Generate!_lab Festival (Tübingen Germany)