Kaarel Kurismaa:
Gespeichert in:
| Weitere Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Estonian English |
| Veröffentlicht: |
Tallinn
Eesti Kunstmuseum
2018
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract Literaturverzeichnis |
| Beschreibung: | Catalogue of the exhibition "Kaarel Kurismaa: Kollase valguse orkester" held at the Kumu Art Museum, 14 September 2018 through 23 February 2019. - Includes bibliographical references. - Estonian and English |
| Beschreibung: | 160 Seiten 28 cm |
| ISBN: | 9789949485864 |
Internformat
MARC
| LEADER | 00000nam a2200000 c 4500 | ||
|---|---|---|---|
| 001 | BV048295544 | ||
| 003 | DE-604 | ||
| 005 | 20221209 | ||
| 007 | t | ||
| 008 | 220622s2018 er c||| 00||| est d | ||
| 020 | |a 9789949485864 |9 978-9949-485-86-4 | ||
| 035 | |a (OCoLC)1129759999 | ||
| 035 | |a (DE-599)BSZ518226654 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 1 | |a est |a eng |h est | |
| 044 | |a er |c XA-EE | ||
| 049 | |a DE-12 | ||
| 100 | 1 | |a Kurismaa, Kaarel |d 1939- |0 (DE-588)1054649510 |4 art | |
| 245 | 1 | 0 | |a Kaarel Kurismaa |c koostaja/editor: Ragne Soosalu |
| 264 | 1 | |a Tallinn |b Eesti Kunstmuseum |c 2018 | |
| 300 | |a 160 Seiten |c 28 cm | ||
| 336 | |b sti |2 rdacontent | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Catalogue of the exhibition "Kaarel Kurismaa: Kollase valguse orkester" held at the Kumu Art Museum, 14 September 2018 through 23 February 2019. - Includes bibliographical references. - Estonian and English | ||
| 546 | |a Text estnisch und englisch | ||
| 600 | 1 | 7 | |a Kurismaa, Kaarel |d 1939- |0 (DE-588)1054649510 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Lichtkunst |0 (DE-588)4120673-3 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Klangobjekt |0 (DE-588)4364747-9 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Kinetische Kunst |0 (DE-588)4163883-9 |2 gnd |9 rswk-swf |
| 655 | 7 | |0 (DE-588)4145395-5 |a Bildband |2 gnd-content | |
| 655 | 7 | |0 (DE-588)4135467-9 |a Ausstellungskatalog |x Kumu Art Museum |y 14.09.2018-23.02.2019 |z Tallinn |2 gnd-content | |
| 655 | 7 | |0 (DE-588)4006804-3 |a Biografie |2 gnd-content | |
| 689 | 0 | 0 | |a Kurismaa, Kaarel |d 1939- |0 (DE-588)1054649510 |D p |
| 689 | 0 | 1 | |a Kinetische Kunst |0 (DE-588)4163883-9 |D s |
| 689 | 0 | 2 | |a Klangobjekt |0 (DE-588)4364747-9 |D s |
| 689 | 0 | 3 | |a Lichtkunst |0 (DE-588)4120673-3 |D s |
| 689 | 0 | |5 DE-604 | |
| 700 | 1 | |a Soosalu, Ragne |4 edt | |
| 710 | 2 | |a Kumu Kunstimuuseum |0 (DE-588)10189770-4 |4 his |4 isb | |
| 856 | 4 | 2 | |m Digitalisierung BSB München 19 - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033675435&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 856 | 4 | 2 | |m Digitalisierung BSB München 19 - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033675435&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
| 856 | 4 | 2 | |m Digitalisierung BSB München 19 - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033675435&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |3 Literaturverzeichnis |
| 940 | 1 | |n oe | |
| 940 | 1 | |q BSB_NED_20221209 | |
| 999 | |a oai:aleph.bib-bvb.de:BVB01-033675435 | ||
| 942 | 1 | 1 | |c 709 |e 22/bsb |f 0905 |g 4798 |
| 942 | 1 | 1 | |c 709 |e 22/bsb |f 0904 |g 4798 |
Datensatz im Suchindex
| _version_ | 1804184132590239744 |
|---|---|
| adam_text | 5 6 Saateks Foreword Kadi Polli 8 Kaarel Karismaa kineetiline helimaailm Ragne Soosalu 24 Kaarel Karismaa kineetilised objektid avalikus ruumis Gregor Taul 32 Reproduktsioonid Reproductions 146 Reproduktsioonide nimestik Ust of Reproductions 150 Summary 156 158 Biograafia Biography 160 Valitud bibliograafia Selected Bibliography
Kaarel Karismaa is an exceptionally versatile creator in the Estonian art scene. His oeuvre combines sound, music, sculpture, painting, literature, stage design, monumental art and design in various ways. In Estonian art history, Kurismaa’s significance lies mostly in his pioneering work with kinetic art and with keeping its traditions alive. Now that a noteworthy sound art scene has evolved in Estonia, Kurismaa stands as one of its central figures. His idiosyncratic work serves as a foundation for Estonian sound and kinetic art. In the 1990s, the Estonian art scene saw a short-lived rise in sound and kinetic art, which brought Kurismaa back to the spotlight both via the exhibitions that he curated and via numerous personal shows. The increased activity in this field was encouraged by the popularity of electronic art during the period, as witnessed by popular exhibitions, the Interstanding Festival, the Centre for Contemporary Arts Estonia and its affiliate, the E-media Centre1. For the young generation of artists, the decade was an era of discovery, including the exploration of Kurismaa’s activities in the 1970s. Thus, it was only natural for Kurismaa to be accorded cult status among certain young artists at the turn of the century. Life and studies Kaarel Kurismaa was born in 1939 in Pärnu. He attended Tallinn Secondary School No. 17, where he also took the first steps on his creative path. He was in a drama group and choir, played instruments and drew slightly absurdist comic strips. He also played the drums and the clarinet in the student wind ensemble. As the music
school refused to accept Kurismaa in 1957, he decided to try the Tartu Art School instead. In 1965, Kurismaa started to work as an artist-decorator for the Tallinn Department Store2 while also commencing studies in monumental painting at the State Art Institute upon the suggestion 1 2 151 of his teacher Alfred Kongo. Work at the department store offered a variety of ways to experiment with materials and forms, so that quite a few mannequins and other items from the storage wound up in his works of art. The Tallinn Department Store, which opened in 1960, had more than 1,400 employees in its heyday. During the Soviet era, it was an exceptional self-service store as the prevalent type of service in the shops in the Soviet Union was over-the-counter. Buyers hunting for hard-to-get goods came there from all over the country. Ideologically, the business operated on the border: capitalist consumerism was frowned upon, yet the state had to concede to the people’s desire to improve the quality of life in terms of shopping and to also follow the Western examples seen on TV and in printed media. A creative position at the front of the consumer sector provided the young artist with an ideologically playful outlet. Such placement between two worlds became characteristic of the majority of his works and gave him confidence to step over various boundaries established in the Estonian art world. Kurismaa and kinetic art Kurismaa is best known for his kinetic art. Nowadays, kinetic art covers a relatively wide spectrum of different works of art, which share the trait of somehow representing
movement. The birth of kinetic art in its purest form occurred in the early 20th century. Historians disagree on what deserves the title of the first kinetic piece of art: some claim it to be Marcel Duchamp’s Bicycle Wheel (1913), assuming that the wheel was meant for the audience to rotate; others are convinced that it was Naum Gabo’s Kinetic Construction (standing Wave) (1919), which was moved by an electric motor. Whether electronic or mechanical, kinetic art encompasses pieces that involve motion. Motion may be caused by mechanical or electronic motors (e.g. Jean Tinguely’s The Interstanding Festival took place in the years 1995,1997,1999 and 2001; it was a multidisciplinary event to bring together the most recent trends in new media and media art The festival was organised by the E-media Centre, established under the Estonian Academy of Arts. A conference and an international media art exhibition were held in each festival year. The Tallinn Department Store was the only big “shopping centre in Estonia during the Soviet times.
oeuvre) or by the movement of air (e.g. Alexander Calder’s and Bruno Munari’s works). The international rise of kinetic art happened in the middle of the past century and its demise occurred in the late 1970s, when artists started to experiment more with computer art and video. Kurismaa is a representative of the type of kinetic art in which the elements of a work of art are moved by electronics. The artist acquired skill with motors when he worked as a machinist, which allowed him to complete at least his first kinetic objects on his own. He began making such objects even before entering the art institute. One of his first pieces, completed in 1966, was an object that functioned as a fireplace fender and was made of various kitchen utensils, such as carrot graters. This now destroyed piece established Kurismaa as the author of the first kinetic work of art in Estonia. His early works were on public display at exhibitions of the department store’s artists; the artists’ storage room also served as a treasury for many of his early installations, providing him with mannequins, cylinders and other useful objects and forms. Munari was not a proponent of technological utopia or science fiction in which machines become a threat to humanity. In Munari’s view, “art machines” were things in themselves but when they came into contact with people, they could cause strange feelings in them and give rise to unusual, intuitive interactions with the machines. The above is in line with what Kurismaa has attempted to achieve with his many kinetic objects: personification, empathy and the
arousing of emotions are dominant aspects in his oeuvre. Intuition as contemplation is consciously entwined in Kurismaa’s works from the 1970s due to his interest in Oriental religions, which were very popular among Estonian creative folk at that time. Despite distant parallels with Jean Tinguely and Bruno Munari, it is difficult to find artists at home or abroad that share Kurismaa’s point of view. Under certain conditions, Kurismaa’s works could be compared to the ready-mades of Marcel Duchamp, who shared a similar humorous and absurdist approach to art; or to Robert Rauschenberg’s pop sculptures in public spaces, or to the works of the intentionally humorous and absurdist artist duo Fischi! Weiss. Machines and humanism Although Kurismaa’s works are rather idiosyncratic, even in the wider European context, they still allow for some parallels to be drawn. For example, Bruno Munari’s and Kaarel Kurismaa’s oeuvres and artistic positions have considerable similarities. For instance, both artists have expressed themselves in different types of art, but their most notable similarity is emphatic childlike playfulness. Munari was also one of the first artists to admit that it was justified to ascribe feelings to machines and if humans sensed that, they could rediscover intuition or contemplation3. Thus, Munari’s view radically differed from the then prevalent approach to machines and technology. Technology was considered cold and indistinct, created only to serve people. Despite ascribing feelings to machines, 3 152 B. Munari, Design as Art. London: Penguin Books, 2008. A new
relationship between the artwork and the viewer One of the foundations of Kurismaa’s oeuvre is the creation of a multi-faceted relationship between the individual and the object and the treatment of this relationship on a completely different plane from other artists. Kurismaa takes away viewers’ preconditioned attitudes when looking at art: his objects cannot be observed through the usual approaches. He eliminates deep-rooted clichés and makes viewers reflect on the positive emotional charges and aesthetic impacts of his objects. From the beginning, the dominant aspects of his works have been performativity and ascribing human characteristics to his pieces. He uses the
opportunities provided by technology in a non functional, aesthetic, poetic or performative way. Even more, Kurismaa’s kinetic objects are completely absurd characters in the human world, who still leave an unexpectedly soulful impression. Artfulness is closely entwined with playfulness and theatricality. Kurismaa prefers such materials as plastic and wood, and likes to reuse a limited choice of furniture details or shapes and boards from construction shops or from other sources. He mostly works with round, streamlined and exuberant forms: there is hardly any angular geometry apparent in Kurismaa’s works. Harmony between different means of expression is a truly enjoyable aspect of Kurismaa’s works: flowing forms, contrasting colours, subdued sounds, pulsating or dimmed light and movement joined in an impressive combination is a thread that runs through almost all of his objects. Under his hands, the metamorphosis of found materials, furniture parts and the electronics that make these things move, ring and blink happens. The elements start to work together as a special art object within the aesthetic system created by the artist, while at the same time remaining human-like or personified machines, which create a world of symbols and feelings around themselves through a peculiar logic. Works in public spaces When the wave of avant-garde died down in the late 1970s, Kurismaa’s priorities changed. At the beginning of the new decade, he focused on animated films, and then came commissions for a number of objects for public spaces, such as the Tallinn central post office and a
sculpture for the High-Voltage Networks of the North Region. One of Kurismaa’s first commissions was the decorative Light Objects (1976, destroyed) for the bar at the Hotel Neptun; his breakthrough as a semi-underground artist came with Kinetic Object (1980, disassembled in 2002, and destroyed) for the new central post office in Tallinn, which was completed in collaboration with Härmo Härm (sound and movement) and Rait Prääts (stained glass). The 153 last-mentioned piece was symbolically located: for the regatta of the 1980 Moscow Olympics, many remarkable buildings were erected in Tallinn, of which the postal building (architects Raine Karp and Mati Raigna) in the city centre was one of the most outstanding ones. On top of the work of art there were post horns symbolising the institution, which played sighs and mumbles. According to the artist, his idea when planning and constructing the object was to create a realistic-sounding sigh. Unfortunately, the sigh became more of a slightly obscene belch and caused a lot of visitors some unplanned merriment. In 1975, Kurismaa met the physicist Tiit Kändler at an exhibition organised by the art group SOUP in Harku. Kändler’s father was a director of the High-Voltage Networks of the North Region. The acquaintance led to an invitation to the power company’s yard, where numerous discarded insulators were lying around, and the artist was asked to make something artistic out of them. Kurismaa came up with a design which was, in 1981, made into an impressive, several-storey-high illuminated object. Work in the 1990s In the 1980s,
Kurismaa did not actively participate in the art scene, but made a come-back in the first decade after Estonia regained independence as a curator and an author of multiple personal exhibitions. The 1990s saw a new awakening and a significant turn in Kurismaa’s creative life. Once again, he focused on sound, even more so than he had in the 1970s. The aesthetic paradigm of his sound objects altered; it seems that by that time, Kurismaa had outgrown the “principles of Pop” and yearned for different, more contemporary forms. The re-appropriation of the bright colour combinations of Pop Art and found objects transformed into the creation of site-specific sound sculptures and installations and started to actively interfere with space through both visual and acoustic means. Thus, Kurismaa was not only the first kinetic artist, but also became the first sound artist in Estonia.
Kaarel Kurismaa’s other ventures Kaarel Kurismaa and his objects also played a role in the history of Estonian new music as in the 1970s he collaborated with the cult progressive rock group Mess. There were other similar projects in the Seventies, as this decade saw joint ventures of musicians and artists all over the world:4 many performances involved creative uses of light and exceptional combinations of various objects in stage design. Visual expression became important for musicians both in their clothing and stage set-ups. Kurismaa has said that Finnish television allowed Estonians to get an inkling of what was happening in the rest of the world and what else was being done on stages besides playing music. He recalled a show by the Electric Light Orchestra and performances by the jazz-rock band Mahavishnu Orchestra. Kurismaa’s objects, which fit well with the progressive rock atmosphere of Mess’s performances, would not have been out of place on the stage with David Bowie’s Ziggy Stardust. Ziggy Stardust’s showmanship and camp aesthetic call to mind several parallels with Kurismaa: Ziggy would have been the ideal musician to move about among Kurismaa’s unearthly objects, even if Kurismaa’s story does not conclude with an alien catastrophe as did Ziggy’s. The progressive rock band Mess (1974-1976) and Kaarel Kurismaa’s first joint project was a show at the Tallinn Polytechnic Institute on 17 May 1975. Mess’s sound technician was Härmo Härm, who introduced Kurismaa to the musician and composer Sven Grünberg. Kurismaa was responsible for the stage setting, which consisted
of various objects, a light show and photo slides, which enhanced the impact of Mess’s music at concerts and made their performances nearly ritualistic. Art critics have always looked at Kurismaa’s objects in an exhibition context and have described them by using certain clichés, 4 5 6 154 Mess’s music, however, created a completely different cognitive atmosphere around Kurismaa’s objects, which were no longer humorous or childlike. There, Kurismaa’s work acquired a strong psychedelic and metaphysical aura. In return, Kurismaa’s stage settings at Mess’s concerts and TV performances added originality to the band and expanded the semantic field of their music. Kurismaa kept in touch with the developments in this area and when Estonian original sound art took its first steps in the early Noughts, he was there to help it along. In 2001, the artist Kiwa founded the first Estonian sound art platform “Metabor”, in which Kurismaa participated6. The platform came to life as a series of events which took artists to dilapidated, abandoned or unexpected architectural environments, such as hospitals and memorials, to create temporary acoustic situations. Kiwa has emphasised the aspect of synergy in “Metabor”: “The synergy of sounds, visuals, spaces, objects, sound objects and meanings, the synergy of participants from different generations or national and artistic backgrounds.”6 In addition to presenting their original work, young sound artists have used modern instruments to rework the sounds of Kaarel Kurismaa’s machines. Conclusion Kaarel Kurismaa has always stood out as one of the
most unique creators in Estonian art history, and his significance not only lies in the founding of sound and kinetic art, but also in being an artist with a synergistic platform, who has managed to combine a variety of expressive means, from movement and light to sound and physical form. As an artist, he mostly dealt with sound, light and kinetic art with Pop Art influences in the 1970s, but turned primarily to sound installations and Such bands included the Electric Light Orchestra and Mahavishnu Orchestra, which were both born in Great Britain in the early 1970s. Other members of “Metabor” included A like alfa (Andres Lõo), DJ Masin, port and Martini. “Interview with Kiwa,” Kunst.ee 2,2006, p. 73.
sculptures in the 1990s, making a radical change to more modern forms. His works have always had close links to contemporary times but Kurismaa has never strayed from his own path. 155
Valitud bibliograafia Selected Bibliography Gens, Leo. Neid on nüüd rohkem kui tuhat. - Sirpja Vasar 28,09.07.1971, Ik 5 Karuks, Tiit. Kellel on ja kellel mitte. - Sirp ja Vasar 18,30.04.1976, Ik 10 Assenin, Sergei. Pürgimine mitmekesisuse poole. Eesti multifilm 20-aastane. - Sirp ja Vasar 47,25.11.1977, Ik 7 Uus multifilm. ֊ Sirp ja Vasar 9, 02.03.1979, Ik 14 Pihlak, Evi. Kas Eesti kunsti on lõplikult valmis saanud? - Sirp ja Vasar 18, 05.05.1979, Ik 9 Pikamäe, Tiina. Improvisatsioon Kaarel Kurismaa teemal. - Sirp ja Vasar 30,29.07.1980, Ik 9 Peil, Mirjam. Kunstiinstituudi saalis. - Sirpja Vasar 50,12.12.1980, Ik 8 Vahtre, Silver. Sirp ja Vasar 20,15.05.1981 Pikamäe, Tiina. Skulptuur 1971-1981. - Sirp ja Vasar 27, 03.07.1981, Ik 8 Aadla, Heldur. Mees nukufilmi maailmast. Heino Pars 60. - Sirpja Vasar 41,11.10.1985 Künnapu, Vilen. Absurdikujund kunstis. - Kunst 67/2,1985, Ik 35 Aronov, Vladimir. Ruum ja Vorm IV. - Kunst ja Kodu, 1985, Ik 2 Komissarov, Eha. Sügisnäitusest - põhitähelepanuga maalil. - Sirpja Vasar 45, 06.11.1987, Ik 8 Liivak, Anu. Eesti kunst ja rahvusvaheline avangard. Sirp ja Vasar 7, 17.02.1989, Ik 8 [näitusest .Avangardi idee jälgedes“] Juske, Ants. Peatükk eesti moodsa kunsti ajaloost - Kaarel Kurismaa. Vikerkaar 9,1993, Ik 40-44 Juske, Ants. Kaarel Kurismaa retrospektiiv. - Kunst = Art in Estonia 1, 1994, Ik 48 Liivak, Anu. Kaarel Kurismaa. - Eesti kunstnikud. 1 = Artists of Estonia. Koost Johannes Saar. Tallinn: Sorose Kaasaegse Kunsti Eesti Keskus, 1998, Ik 65-67 Härm, Anders. Ajalooline jutustus valgusest ja ruumist: ruum ja vorm 2000. - Eesti
Ekspress. Areen, 23.12.1999, Ik B9 Kivimaa, Katrin. Näitus tajule: ruum ja vorm 2000. Eesti Ekspress. Areen, 23.12.1999, Ik B9 Kelomees, Raivo. Kineetilise kunsti klubi. - Sirp, 14.01.2000, Ik 7 Juske, Ants. Kaks suurt kunstnikku. - Eesti Päevaleht, 15.01.2001, Ik 21B Sepp, Eda. Estonian Nonconformis Art from the Soviet Occupation in 1944 to Perestroika. Art of the Baltics. The Struggle for Freedom of Artistic Expression under the Soviets, 1945-1991. Koost Alla Rosenfeld, Norton T. Dodge. New Brunswick: Rutgers University Press, 2002 Kurismaa, Kaarel. Shadows of Speech. - Estonian Art 2, 2003, Ik 4-5 Kiwa. Kurismaa-machine. - Estonian Art 2,2003, Ik 6-7 Saar, Johannes. Mobile 1 ehk vaataja haarab kirve. - J. Saar, Päevast päeva: pildikesi ühe rahvusmütoloogia lagunemisest aastail 19932004. Tallinn: Sirp, 2004, Ik 107-110 Lõo, Andres. Kurismaa reinkarnatsioonid kujukestega. Postimees, 25.04.2006, Ik 24 Randviir, Ave. Kaarel ja Mari Kurismaa eneseteadlik teine süütus Linnagaleriis. - Eesti Päevaleht, 25.04.2006, Ik 28 160 Veispak, Teet. Süütuse kodu. - Eesti Ekspress. Areen, 27.04.2006 Robinson, Chris. Estonian Animation: Between Genius and Utter Illiteracy. John Libbey Publishing LTD, Indiana University Press, 2006 Liivrand, Harry. Kurismaa klassika: Harry Liivrand soovitab. Eesti Ekspress. TV Ekspress, 27.03.2008, Ik 42 Grigor, Indrek. Kurismaa invasioon Tartus. - Sirp, 27.11.2009, Ik 21 Nurk, Kaire. Pürgimus. - Kunst.ee 1-2,2010, Ik 41-47 [intervjuu Kaarel Kurismaaga] Ilus, Mihkel. Kahte viisi kineetilisus - Sirp, 21.12.2012, Ik 14-15 Kurismaa, Kaarel. Varjud kõnest. -
Vormi dematerialisatsioon. Tartu Kõrgema Kunstikooli Toimetised 16. Tartu, 2013, Ik 32-37 Keller, Raul. Intervjuu Kaarel Kurismaaga. The Small Machines and Art. Estonian Art 1,2015 Kurismaa, Kaarel. The Artist. - Estonian Art 1,2015, Ik 26 Kurismaa, Kaarel. The Small Machine and Friends: Conversation with Kaarel Kurismaa in the Vabaduse Gallery in January 2015. - Estonian Art 1, 2015, Ik 27-29
|
| adam_txt |
5 6 Saateks Foreword Kadi Polli 8 Kaarel Karismaa kineetiline helimaailm Ragne Soosalu 24 Kaarel Karismaa kineetilised objektid avalikus ruumis Gregor Taul 32 Reproduktsioonid Reproductions 146 Reproduktsioonide nimestik Ust of Reproductions 150 Summary 156 158 Biograafia Biography 160 Valitud bibliograafia Selected Bibliography
Kaarel Karismaa is an exceptionally versatile creator in the Estonian art scene. His oeuvre combines sound, music, sculpture, painting, literature, stage design, monumental art and design in various ways. In Estonian art history, Kurismaa’s significance lies mostly in his pioneering work with kinetic art and with keeping its traditions alive. Now that a noteworthy sound art scene has evolved in Estonia, Kurismaa stands as one of its central figures. His idiosyncratic work serves as a foundation for Estonian sound and kinetic art. In the 1990s, the Estonian art scene saw a short-lived rise in sound and kinetic art, which brought Kurismaa back to the spotlight both via the exhibitions that he curated and via numerous personal shows. The increased activity in this field was encouraged by the popularity of electronic art during the period, as witnessed by popular exhibitions, the Interstanding Festival, the Centre for Contemporary Arts Estonia and its affiliate, the E-media Centre1. For the young generation of artists, the decade was an era of discovery, including the exploration of Kurismaa’s activities in the 1970s. Thus, it was only natural for Kurismaa to be accorded cult status among certain young artists at the turn of the century. Life and studies Kaarel Kurismaa was born in 1939 in Pärnu. He attended Tallinn Secondary School No. 17, where he also took the first steps on his creative path. He was in a drama group and choir, played instruments and drew slightly absurdist comic strips. He also played the drums and the clarinet in the student wind ensemble. As the music
school refused to accept Kurismaa in 1957, he decided to try the Tartu Art School instead. In 1965, Kurismaa started to work as an artist-decorator for the Tallinn Department Store2 while also commencing studies in monumental painting at the State Art Institute upon the suggestion 1 2 151 of his teacher Alfred Kongo. Work at the department store offered a variety of ways to experiment with materials and forms, so that quite a few mannequins and other items from the storage wound up in his works of art. The Tallinn Department Store, which opened in 1960, had more than 1,400 employees in its heyday. During the Soviet era, it was an exceptional self-service store as the prevalent type of service in the shops in the Soviet Union was over-the-counter. Buyers hunting for hard-to-get goods came there from all over the country. Ideologically, the business operated on the border: capitalist consumerism was frowned upon, yet the state had to concede to the people’s desire to improve the quality of life in terms of shopping and to also follow the Western examples seen on TV and in printed media. A creative position at the front of the consumer sector provided the young artist with an ideologically playful outlet. Such placement between two worlds became characteristic of the majority of his works and gave him confidence to step over various boundaries established in the Estonian art world. Kurismaa and kinetic art Kurismaa is best known for his kinetic art. Nowadays, kinetic art covers a relatively wide spectrum of different works of art, which share the trait of somehow representing
movement. The birth of kinetic art in its purest form occurred in the early 20th century. Historians disagree on what deserves the title of the first kinetic piece of art: some claim it to be Marcel Duchamp’s Bicycle Wheel (1913), assuming that the wheel was meant for the audience to rotate; others are convinced that it was Naum Gabo’s Kinetic Construction (standing Wave) (1919), which was moved by an electric motor. Whether electronic or mechanical, kinetic art encompasses pieces that involve motion. Motion may be caused by mechanical or electronic motors (e.g. Jean Tinguely’s The Interstanding Festival took place in the years 1995,1997,1999 and 2001; it was a multidisciplinary event to bring together the most recent trends in new media and media art The festival was organised by the E-media Centre, established under the Estonian Academy of Arts. A conference and an international media art exhibition were held in each festival year. The Tallinn Department Store was the only big “shopping centre" in Estonia during the Soviet times.
oeuvre) or by the movement of air (e.g. Alexander Calder’s and Bruno Munari’s works). The international rise of kinetic art happened in the middle of the past century and its demise occurred in the late 1970s, when artists started to experiment more with computer art and video. Kurismaa is a representative of the type of kinetic art in which the elements of a work of art are moved by electronics. The artist acquired skill with motors when he worked as a machinist, which allowed him to complete at least his first kinetic objects on his own. He began making such objects even before entering the art institute. One of his first pieces, completed in 1966, was an object that functioned as a fireplace fender and was made of various kitchen utensils, such as carrot graters. This now destroyed piece established Kurismaa as the author of the first kinetic work of art in Estonia. His early works were on public display at exhibitions of the department store’s artists; the artists’ storage room also served as a treasury for many of his early installations, providing him with mannequins, cylinders and other useful objects and forms. Munari was not a proponent of technological utopia or science fiction in which machines become a threat to humanity. In Munari’s view, “art machines” were things in themselves but when they came into contact with people, they could cause strange feelings in them and give rise to unusual, intuitive interactions with the machines. The above is in line with what Kurismaa has attempted to achieve with his many kinetic objects: personification, empathy and the
arousing of emotions are dominant aspects in his oeuvre. Intuition as contemplation is consciously entwined in Kurismaa’s works from the 1970s due to his interest in Oriental religions, which were very popular among Estonian creative folk at that time. Despite distant parallels with Jean Tinguely and Bruno Munari, it is difficult to find artists at home or abroad that share Kurismaa’s point of view. Under certain conditions, Kurismaa’s works could be compared to the ready-mades of Marcel Duchamp, who shared a similar humorous and absurdist approach to art; or to Robert Rauschenberg’s pop sculptures in public spaces, or to the works of the intentionally humorous and absurdist artist duo Fischi! Weiss. Machines and humanism Although Kurismaa’s works are rather idiosyncratic, even in the wider European context, they still allow for some parallels to be drawn. For example, Bruno Munari’s and Kaarel Kurismaa’s oeuvres and artistic positions have considerable similarities. For instance, both artists have expressed themselves in different types of art, but their most notable similarity is emphatic childlike playfulness. Munari was also one of the first artists to admit that it was justified to ascribe feelings to machines and if humans sensed that, they could rediscover intuition or contemplation3. Thus, Munari’s view radically differed from the then prevalent approach to machines and technology. Technology was considered cold and indistinct, created only to serve people. Despite ascribing feelings to machines, 3 152 B. Munari, Design as Art. London: Penguin Books, 2008. A new
relationship between the artwork and the viewer One of the foundations of Kurismaa’s oeuvre is the creation of a multi-faceted relationship between the individual and the object and the treatment of this relationship on a completely different plane from other artists. Kurismaa takes away viewers’ preconditioned attitudes when looking at art: his objects cannot be observed through the usual approaches. He eliminates deep-rooted clichés and makes viewers reflect on the positive emotional charges and aesthetic impacts of his objects. From the beginning, the dominant aspects of his works have been performativity and ascribing human characteristics to his pieces. He uses the
opportunities provided by technology in a non functional, aesthetic, poetic or performative way. Even more, Kurismaa’s kinetic objects are completely absurd characters in the human world, who still leave an unexpectedly soulful impression. Artfulness is closely entwined with playfulness and theatricality. Kurismaa prefers such materials as plastic and wood, and likes to reuse a limited choice of furniture details or shapes and boards from construction shops or from other sources. He mostly works with round, streamlined and exuberant forms: there is hardly any angular geometry apparent in Kurismaa’s works. Harmony between different means of expression is a truly enjoyable aspect of Kurismaa’s works: flowing forms, contrasting colours, subdued sounds, pulsating or dimmed light and movement joined in an impressive combination is a thread that runs through almost all of his objects. Under his hands, the metamorphosis of found materials, furniture parts and the electronics that make these things move, ring and blink happens. The elements start to work together as a special art object within the aesthetic system created by the artist, while at the same time remaining human-like or personified machines, which create a world of symbols and feelings around themselves through a peculiar logic. Works in public spaces When the wave of avant-garde died down in the late 1970s, Kurismaa’s priorities changed. At the beginning of the new decade, he focused on animated films, and then came commissions for a number of objects for public spaces, such as the Tallinn central post office and a
sculpture for the High-Voltage Networks of the North Region. One of Kurismaa’s first commissions was the decorative Light Objects (1976, destroyed) for the bar at the Hotel Neptun; his breakthrough as a semi-underground artist came with Kinetic Object (1980, disassembled in 2002, and destroyed) for the new central post office in Tallinn, which was completed in collaboration with Härmo Härm (sound and movement) and Rait Prääts (stained glass). The 153 last-mentioned piece was symbolically located: for the regatta of the 1980 Moscow Olympics, many remarkable buildings were erected in Tallinn, of which the postal building (architects Raine Karp and Mati Raigna) in the city centre was one of the most outstanding ones. On top of the work of art there were post horns symbolising the institution, which played sighs and mumbles. According to the artist, his idea when planning and constructing the object was to create a realistic-sounding sigh. Unfortunately, the sigh became more of a slightly obscene belch and caused a lot of visitors some unplanned merriment. In 1975, Kurismaa met the physicist Tiit Kändler at an exhibition organised by the art group SOUP in Harku. Kändler’s father was a director of the High-Voltage Networks of the North Region. The acquaintance led to an invitation to the power company’s yard, where numerous discarded insulators were lying around, and the artist was asked to make something artistic out of them. Kurismaa came up with a design which was, in 1981, made into an impressive, several-storey-high illuminated object. Work in the 1990s In the 1980s,
Kurismaa did not actively participate in the art scene, but made a come-back in the first decade after Estonia regained independence as a curator and an author of multiple personal exhibitions. The 1990s saw a new awakening and a significant turn in Kurismaa’s creative life. Once again, he focused on sound, even more so than he had in the 1970s. The aesthetic paradigm of his sound objects altered; it seems that by that time, Kurismaa had outgrown the “principles of Pop” and yearned for different, more contemporary forms. The re-appropriation of the bright colour combinations of Pop Art and found objects transformed into the creation of site-specific sound sculptures and installations and started to actively interfere with space through both visual and acoustic means. Thus, Kurismaa was not only the first kinetic artist, but also became the first sound artist in Estonia.
Kaarel Kurismaa’s other ventures Kaarel Kurismaa and his objects also played a role in the history of Estonian new music as in the 1970s he collaborated with the cult progressive rock group Mess. There were other similar projects in the Seventies, as this decade saw joint ventures of musicians and artists all over the world:4 many performances involved creative uses of light and exceptional combinations of various objects in stage design. Visual expression became important for musicians both in their clothing and stage set-ups. Kurismaa has said that Finnish television allowed Estonians to get an inkling of what was happening in the rest of the world and what else was being done on stages besides playing music. He recalled a show by the Electric Light Orchestra and performances by the jazz-rock band Mahavishnu Orchestra. Kurismaa’s objects, which fit well with the progressive rock atmosphere of Mess’s performances, would not have been out of place on the stage with David Bowie’s Ziggy Stardust. Ziggy Stardust’s showmanship and camp aesthetic call to mind several parallels with Kurismaa: Ziggy would have been the ideal musician to move about among Kurismaa’s unearthly objects, even if Kurismaa’s story does not conclude with an alien catastrophe as did Ziggy’s. The progressive rock band Mess (1974-1976) and Kaarel Kurismaa’s first joint project was a show at the Tallinn Polytechnic Institute on 17 May 1975. Mess’s sound technician was Härmo Härm, who introduced Kurismaa to the musician and composer Sven Grünberg. Kurismaa was responsible for the stage setting, which consisted
of various objects, a light show and photo slides, which enhanced the impact of Mess’s music at concerts and made their performances nearly ritualistic. Art critics have always looked at Kurismaa’s objects in an exhibition context and have described them by using certain clichés, 4 5 6 154 Mess’s music, however, created a completely different cognitive atmosphere around Kurismaa’s objects, which were no longer humorous or childlike. There, Kurismaa’s work acquired a strong psychedelic and metaphysical aura. In return, Kurismaa’s stage settings at Mess’s concerts and TV performances added originality to the band and expanded the semantic field of their music. Kurismaa kept in touch with the developments in this area and when Estonian original sound art took its first steps in the early Noughts, he was there to help it along. In 2001, the artist Kiwa founded the first Estonian sound art platform “Metabor”, in which Kurismaa participated6. The platform came to life as a series of events which took artists to dilapidated, abandoned or unexpected architectural environments, such as hospitals and memorials, to create temporary acoustic situations. Kiwa has emphasised the aspect of synergy in “Metabor”: “The synergy of sounds, visuals, spaces, objects, sound objects and meanings, the synergy of participants from different generations or national and artistic backgrounds.”6 In addition to presenting their original work, young sound artists have used modern instruments to rework the sounds of Kaarel Kurismaa’s machines. Conclusion Kaarel Kurismaa has always stood out as one of the
most unique creators in Estonian art history, and his significance not only lies in the founding of sound and kinetic art, but also in being an artist with a synergistic platform, who has managed to combine a variety of expressive means, from movement and light to sound and physical form. As an artist, he mostly dealt with sound, light and kinetic art with Pop Art influences in the 1970s, but turned primarily to sound installations and Such bands included the Electric Light Orchestra and Mahavishnu Orchestra, which were both born in Great Britain in the early 1970s. Other members of “Metabor” included A like alfa (Andres Lõo), DJ Masin, port and Martini. “Interview with Kiwa,” Kunst.ee 2,2006, p. 73.
sculptures in the 1990s, making a radical change to more modern forms. His works have always had close links to contemporary times but Kurismaa has never strayed from his own path. 155
Valitud bibliograafia Selected Bibliography Gens, Leo. Neid on nüüd rohkem kui tuhat. - Sirpja Vasar 28,09.07.1971, Ik 5 Karuks, Tiit. Kellel on ja kellel mitte. - Sirp ja Vasar 18,30.04.1976, Ik 10 Assenin, Sergei. Pürgimine mitmekesisuse poole. Eesti multifilm 20-aastane. - Sirp ja Vasar 47,25.11.1977, Ik 7 Uus multifilm. ֊ Sirp ja Vasar 9, 02.03.1979, Ik 14 Pihlak, Evi. Kas Eesti kunsti on lõplikult valmis saanud? - Sirp ja Vasar 18, 05.05.1979, Ik 9 Pikamäe, Tiina. Improvisatsioon Kaarel Kurismaa teemal. - Sirp ja Vasar 30,29.07.1980, Ik 9 Peil, Mirjam. Kunstiinstituudi saalis. - Sirpja Vasar 50,12.12.1980, Ik 8 Vahtre, Silver. Sirp ja Vasar 20,15.05.1981 Pikamäe, Tiina. Skulptuur 1971-1981. - Sirp ja Vasar 27, 03.07.1981, Ik 8 Aadla, Heldur. Mees nukufilmi maailmast. Heino Pars 60. - Sirpja Vasar 41,11.10.1985 Künnapu, Vilen. Absurdikujund kunstis. - Kunst 67/2,1985, Ik 35 Aronov, Vladimir. Ruum ja Vorm IV. - Kunst ja Kodu, 1985, Ik 2 Komissarov, Eha. Sügisnäitusest - põhitähelepanuga maalil. - Sirpja Vasar 45, 06.11.1987, Ik 8 Liivak, Anu. Eesti kunst ja rahvusvaheline avangard. Sirp ja Vasar 7, 17.02.1989, Ik 8 [näitusest .Avangardi idee jälgedes“] Juske, Ants. Peatükk eesti moodsa kunsti ajaloost - Kaarel Kurismaa. Vikerkaar 9,1993, Ik 40-44 Juske, Ants. Kaarel Kurismaa retrospektiiv. - Kunst = Art in Estonia 1, 1994, Ik 48 Liivak, Anu. Kaarel Kurismaa. - Eesti kunstnikud. 1 = Artists of Estonia. Koost Johannes Saar. Tallinn: Sorose Kaasaegse Kunsti Eesti Keskus, 1998, Ik 65-67 Härm, Anders. Ajalooline jutustus valgusest ja ruumist: ruum ja vorm 2000. - Eesti
Ekspress. Areen, 23.12.1999, Ik B9 Kivimaa, Katrin. Näitus tajule: ruum ja vorm 2000. Eesti Ekspress. Areen, 23.12.1999, Ik B9 Kelomees, Raivo. Kineetilise kunsti klubi. - Sirp, 14.01.2000, Ik 7 Juske, Ants. Kaks suurt kunstnikku. - Eesti Päevaleht, 15.01.2001, Ik 21B Sepp, Eda. Estonian Nonconformis Art from the Soviet Occupation in 1944 to Perestroika. Art of the Baltics. The Struggle for Freedom of Artistic Expression under the Soviets, 1945-1991. Koost Alla Rosenfeld, Norton T. Dodge. New Brunswick: Rutgers University Press, 2002 Kurismaa, Kaarel. Shadows of Speech. - Estonian Art 2, 2003, Ik 4-5 Kiwa. Kurismaa-machine. - Estonian Art 2,2003, Ik 6-7 Saar, Johannes. Mobile 1 ehk vaataja haarab kirve. - J. Saar, Päevast päeva: pildikesi ühe rahvusmütoloogia lagunemisest aastail 19932004. Tallinn: Sirp, 2004, Ik 107-110 Lõo, Andres. Kurismaa reinkarnatsioonid kujukestega. Postimees, 25.04.2006, Ik 24 Randviir, Ave. Kaarel ja Mari Kurismaa eneseteadlik teine süütus Linnagaleriis. - Eesti Päevaleht, 25.04.2006, Ik 28 160 Veispak, Teet. Süütuse kodu. - Eesti Ekspress. Areen, 27.04.2006 Robinson, Chris. Estonian Animation: Between Genius and Utter Illiteracy. John Libbey Publishing LTD, Indiana University Press, 2006 Liivrand, Harry. Kurismaa klassika: Harry Liivrand soovitab. Eesti Ekspress. TV Ekspress, 27.03.2008, Ik 42 Grigor, Indrek. Kurismaa invasioon Tartus. - Sirp, 27.11.2009, Ik 21 Nurk, Kaire. Pürgimus. - Kunst.ee 1-2,2010, Ik 41-47 [intervjuu Kaarel Kurismaaga] Ilus, Mihkel. Kahte viisi kineetilisus - Sirp, 21.12.2012, Ik 14-15 Kurismaa, Kaarel. Varjud kõnest. -
Vormi dematerialisatsioon. Tartu Kõrgema Kunstikooli Toimetised 16. Tartu, 2013, Ik 32-37 Keller, Raul. Intervjuu Kaarel Kurismaaga. The Small Machines and Art. Estonian Art 1,2015 Kurismaa, Kaarel. The Artist. - Estonian Art 1,2015, Ik 26 Kurismaa, Kaarel. The Small Machine and Friends: Conversation with Kaarel Kurismaa in the Vabaduse Gallery in January 2015. - Estonian Art 1, 2015, Ik 27-29 |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author2 | Soosalu, Ragne |
| author2_role | edt |
| author2_variant | r s rs |
| author_GND | (DE-588)1054649510 |
| author_facet | Soosalu, Ragne |
| building | Verbundindex |
| bvnumber | BV048295544 |
| ctrlnum | (OCoLC)1129759999 (DE-599)BSZ518226654 |
| format | Book |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>02870nam a2200553 c 4500</leader><controlfield tag="001">BV048295544</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20221209 </controlfield><controlfield tag="007">t</controlfield><controlfield tag="008">220622s2018 er c||| 00||| est d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9789949485864</subfield><subfield code="9">978-9949-485-86-4</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1129759999</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BSZ518226654</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="1" ind2=" "><subfield code="a">est</subfield><subfield code="a">eng</subfield><subfield code="h">est</subfield></datafield><datafield tag="044" ind1=" " ind2=" "><subfield code="a">er</subfield><subfield code="c">XA-EE</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-12</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Kurismaa, Kaarel</subfield><subfield code="d">1939-</subfield><subfield code="0">(DE-588)1054649510</subfield><subfield code="4">art</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Kaarel Kurismaa</subfield><subfield code="c">koostaja/editor: Ragne Soosalu</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Tallinn</subfield><subfield code="b">Eesti Kunstmuseum</subfield><subfield code="c">2018</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">160 Seiten</subfield><subfield code="c">28 cm</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">sti</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">Catalogue of the exhibition "Kaarel Kurismaa: Kollase valguse orkester" held at the Kumu Art Museum, 14 September 2018 through 23 February 2019. - Includes bibliographical references. - Estonian and English</subfield></datafield><datafield tag="546" ind1=" " ind2=" "><subfield code="a">Text estnisch und englisch</subfield></datafield><datafield tag="600" ind1="1" ind2="7"><subfield code="a">Kurismaa, Kaarel</subfield><subfield code="d">1939-</subfield><subfield code="0">(DE-588)1054649510</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Lichtkunst</subfield><subfield code="0">(DE-588)4120673-3</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Klangobjekt</subfield><subfield code="0">(DE-588)4364747-9</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Kinetische Kunst</subfield><subfield code="0">(DE-588)4163883-9</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="655" ind1=" " ind2="7"><subfield code="0">(DE-588)4145395-5</subfield><subfield code="a">Bildband</subfield><subfield code="2">gnd-content</subfield></datafield><datafield tag="655" ind1=" " ind2="7"><subfield code="0">(DE-588)4135467-9</subfield><subfield code="a">Ausstellungskatalog</subfield><subfield code="x">Kumu Art Museum</subfield><subfield code="y">14.09.2018-23.02.2019</subfield><subfield code="z">Tallinn</subfield><subfield code="2">gnd-content</subfield></datafield><datafield tag="655" ind1=" " ind2="7"><subfield code="0">(DE-588)4006804-3</subfield><subfield code="a">Biografie</subfield><subfield code="2">gnd-content</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Kurismaa, Kaarel</subfield><subfield code="d">1939-</subfield><subfield code="0">(DE-588)1054649510</subfield><subfield code="D">p</subfield></datafield><datafield tag="689" ind1="0" ind2="1"><subfield code="a">Kinetische Kunst</subfield><subfield code="0">(DE-588)4163883-9</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="2"><subfield code="a">Klangobjekt</subfield><subfield code="0">(DE-588)4364747-9</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="3"><subfield code="a">Lichtkunst</subfield><subfield code="0">(DE-588)4120673-3</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Soosalu, Ragne</subfield><subfield code="4">edt</subfield></datafield><datafield tag="710" ind1="2" ind2=" "><subfield code="a">Kumu Kunstimuuseum</subfield><subfield code="0">(DE-588)10189770-4</subfield><subfield code="4">his</subfield><subfield code="4">isb</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSB München 19 - ADAM Catalogue Enrichment</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033675435&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Inhaltsverzeichnis</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSB München 19 - ADAM Catalogue Enrichment</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033675435&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Abstract</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSB München 19 - ADAM Catalogue Enrichment</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033675435&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Literaturverzeichnis</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="n">oe</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="q">BSB_NED_20221209</subfield></datafield><datafield tag="999" ind1=" " ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-033675435</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">709</subfield><subfield code="e">22/bsb</subfield><subfield code="f">0905</subfield><subfield code="g">4798</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">709</subfield><subfield code="e">22/bsb</subfield><subfield code="f">0904</subfield><subfield code="g">4798</subfield></datafield></record></collection> |
| genre | (DE-588)4145395-5 Bildband gnd-content (DE-588)4135467-9 Ausstellungskatalog Kumu Art Museum 14.09.2018-23.02.2019 Tallinn gnd-content (DE-588)4006804-3 Biografie gnd-content |
| genre_facet | Bildband Ausstellungskatalog Kumu Art Museum 14.09.2018-23.02.2019 Tallinn Biografie |
| id | DE-604.BV048295544 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T20:05:03Z |
| indexdate | 2024-07-10T09:34:29Z |
| institution | BVB |
| institution_GND | (DE-588)10189770-4 |
| isbn | 9789949485864 |
| language | Estonian English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-033675435 |
| oclc_num | 1129759999 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 160 Seiten 28 cm |
| psigel | BSB_NED_20221209 |
| publishDate | 2018 |
| publishDateSearch | 2018 |
| publishDateSort | 2018 |
| publisher | Eesti Kunstmuseum |
| record_format | marc |
| spelling | Kurismaa, Kaarel 1939- (DE-588)1054649510 art Kaarel Kurismaa koostaja/editor: Ragne Soosalu Tallinn Eesti Kunstmuseum 2018 160 Seiten 28 cm sti rdacontent txt rdacontent n rdamedia nc rdacarrier Catalogue of the exhibition "Kaarel Kurismaa: Kollase valguse orkester" held at the Kumu Art Museum, 14 September 2018 through 23 February 2019. - Includes bibliographical references. - Estonian and English Text estnisch und englisch Kurismaa, Kaarel 1939- (DE-588)1054649510 gnd rswk-swf Lichtkunst (DE-588)4120673-3 gnd rswk-swf Klangobjekt (DE-588)4364747-9 gnd rswk-swf Kinetische Kunst (DE-588)4163883-9 gnd rswk-swf (DE-588)4145395-5 Bildband gnd-content (DE-588)4135467-9 Ausstellungskatalog Kumu Art Museum 14.09.2018-23.02.2019 Tallinn gnd-content (DE-588)4006804-3 Biografie gnd-content Kurismaa, Kaarel 1939- (DE-588)1054649510 p Kinetische Kunst (DE-588)4163883-9 s Klangobjekt (DE-588)4364747-9 s Lichtkunst (DE-588)4120673-3 s DE-604 Soosalu, Ragne edt Kumu Kunstimuuseum (DE-588)10189770-4 his isb Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033675435&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033675435&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033675435&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis |
| spellingShingle | Kaarel Kurismaa Kurismaa, Kaarel 1939- (DE-588)1054649510 gnd Lichtkunst (DE-588)4120673-3 gnd Klangobjekt (DE-588)4364747-9 gnd Kinetische Kunst (DE-588)4163883-9 gnd |
| subject_GND | (DE-588)1054649510 (DE-588)4120673-3 (DE-588)4364747-9 (DE-588)4163883-9 (DE-588)4145395-5 (DE-588)4135467-9 (DE-588)4006804-3 |
| title | Kaarel Kurismaa |
| title_auth | Kaarel Kurismaa |
| title_exact_search | Kaarel Kurismaa |
| title_exact_search_txtP | Kaarel Kurismaa |
| title_full | Kaarel Kurismaa koostaja/editor: Ragne Soosalu |
| title_fullStr | Kaarel Kurismaa koostaja/editor: Ragne Soosalu |
| title_full_unstemmed | Kaarel Kurismaa koostaja/editor: Ragne Soosalu |
| title_short | Kaarel Kurismaa |
| title_sort | kaarel kurismaa |
| topic | Kurismaa, Kaarel 1939- (DE-588)1054649510 gnd Lichtkunst (DE-588)4120673-3 gnd Klangobjekt (DE-588)4364747-9 gnd Kinetische Kunst (DE-588)4163883-9 gnd |
| topic_facet | Kurismaa, Kaarel 1939- Lichtkunst Klangobjekt Kinetische Kunst Bildband Ausstellungskatalog Kumu Art Museum 14.09.2018-23.02.2019 Tallinn Biografie |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033675435&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033675435&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033675435&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT kurismaakaarel kaarelkurismaa AT soosaluragne kaarelkurismaa AT kumukunstimuuseum kaarelkurismaa |