Edit

This open call is for writers, art critics, and cultural journalists wishing to participate in the Arts and Culture Magazine Publishers Forum research trip to Tallinn and Helsinki in late October or early November 2024. The purpose of the research trip is to learn more about publishers and the Baltic-Nordic art field, cultural context, and development. The selected candidate should have a strong ambition to expand their working geography to span the Baltic-Nordic region.

This open call is for writers, art critics, and cultural journalists wishing to participate in the Arts and Culture Magazine Publishers Forum research trip to Tallinn and Helsinki in late October or early November 2024. The purpose of the research trip is to learn more about publishers and the Baltic-Nordic art field, cultural context, and development. The selected candidate should have a strong ambition to expand their working geography to span the Baltic-Nordic region.

This open call is for writers, art critics, and cultural journalists wishing to participate in the Arts and Culture Magazine Publishers Forum research trip to Tallinn and Helsinki in late October or early November 2024. The purpose of the research trip is to learn more about publishers and the Baltic-Nordic art field, cultural context, and development. The selected candidate should have a strong ambition to expand their working geography to span the Baltic-Nordic region.

This open call is for writers, art critics, and cultural journalists wishing to participate in the Arts and Culture Magazine Publishers Forum research trip to Tallinn and Helsinki in late October or early November 2024. The purpose of the research trip is to learn more about publishers and the Baltic-Nordic art field, cultural context, and development. The selected candidate should have a strong ambition to expand their working geography to span the Baltic-Nordic region.

Marika Agu, curator and archive project manager at the Estonian Centre for Contemporary Art, discusses about Estonian art with artists Alexei Gordin, Flo Kasearu, Camille Laurelli, Liina Pääsuke, Bita Razavi and Steve Vanoni.

Marika Agu, curator and archive project manager at the Estonian Centre for Contemporary Art, discusses about Estonian art with artists Alexei Gordin, Flo Kasearu, Camille Laurelli, Liina Pääsuke, Bita Razavi and Steve Vanoni.

Marika Agu, curator and archive project manager at the Estonian Centre for Contemporary Art, discusses about Estonian art with artists Alexei Gordin, Flo Kasearu, Camille Laurelli, Liina Pääsuke, Bita Razavi and Steve Vanoni.

Marika Agu, curator and archive project manager at the Estonian Centre for Contemporary Art, discusses about Estonian art with artists Alexei Gordin, Flo Kasearu, Camille Laurelli, Liina Pääsuke, Bita Razavi and Steve Vanoni.

Uzair Amjad’s Off the Menu was on display at XXV Mänttä Art Festival To Err is Human curated by Anna Ruth. The four stories or “smoke breaks” from Off the Menu can be read now in EDIT.

Uzair Amjad’s Off the Menu was on display at XXV Mänttä Art Festival To Err is Human curated by Anna Ruth. The four stories or “smoke breaks” from Off the Menu can be read now in EDIT.

Uzair Amjad’s Off the Menu was on display at XXV Mänttä Art Festival To Err is Human curated by Anna Ruth. The four stories or “smoke breaks” from Off the Menu can be read now in EDIT.

Uzair Amjad’s Off the Menu was on display at XXV Mänttä Art Festival To Err is Human curated by Anna Ruth. The four stories or “smoke breaks” from Off the Menu can be read now in EDIT.

The new permanent exhibition Landscapes of Identity: Estonian Art 1700–1945 in Kumu Art Museum brings up new questions about the management of museums, galleries, and art collections, when rephrasing artworks with racist titles. In Estonia, also the discussion around wages for artists and other freelancers has been heated up again, write Marika Agu and Kaarin Kivirähk from the Estonian Centre for Contemporary Art.

The new permanent exhibition Landscapes of Identity: Estonian Art 1700–1945 in Kumu Art Museum brings up new questions about the management of museums, galleries, and art collections, when rephrasing artworks with racist titles. In Estonia, also the discussion around wages for artists and other freelancers has been heated up again, write Marika Agu and Kaarin Kivirähk from the Estonian Centre for Contemporary Art.

The new permanent exhibition Landscapes of Identity: Estonian Art 1700–1945 in Kumu Art Museum brings up new questions about the management of museums, galleries, and art collections, when rephrasing artworks with racist titles. In Estonia, also the discussion around wages for artists and other freelancers has been heated up again, write Marika Agu and Kaarin Kivirähk from the Estonian Centre for Contemporary Art.

The new permanent exhibition Landscapes of Identity: Estonian Art 1700–1945 in Kumu Art Museum brings up new questions about the management of museums, galleries, and art collections, when rephrasing artworks with racist titles. In Estonia, also the discussion around wages for artists and other freelancers has been heated up again, write Marika Agu and Kaarin Kivirähk from the Estonian Centre for Contemporary Art.

Coincidence or not, the beginning of 2021 in Estonia brought about an unprecedented consolidation of women leading in politics as well as the visibility of women’s stories in several exhibition spaces around the country, writes Marika Agu from Estonian Centre for Contemporary Art.

Coincidence or not, the beginning of 2021 in Estonia brought about an unprecedented consolidation of women leading in politics as well as the visibility of women’s stories in several exhibition spaces around the country, writes Marika Agu from Estonian Centre for Contemporary Art.

Coincidence or not, the beginning of 2021 in Estonia brought about an unprecedented consolidation of women leading in politics as well as the visibility of women’s stories in several exhibition spaces around the country, writes Marika Agu from Estonian Centre for Contemporary Art.

Coincidence or not, the beginning of 2021 in Estonia brought about an unprecedented consolidation of women leading in politics as well as the visibility of women’s stories in several exhibition spaces around the country, writes Marika Agu from Estonian Centre for Contemporary Art.

As the coronavirus crisis deepens and people are locked into their homes – apartments, houses, cities, villages, countries – the perspective gradually changes. The exhibitions in Tallinn at the moment take into consideration the space, both private and public, starting from very intimate surroundings and broadening to public discussions on why authorities must take responsibility for the city space, writes Kaarin Kivirähk from Estonian Centre for Contemporary Art.

As the coronavirus crisis deepens and people are locked into their homes – apartments, houses, cities, villages, countries – the perspective gradually changes. The exhibitions in Tallinn at the moment take into consideration the space, both private and public, starting from very intimate surroundings and broadening to public discussions on why authorities must take responsibility for the city space, writes Kaarin Kivirähk from Estonian Centre for Contemporary Art.

As the coronavirus crisis deepens and people are locked into their homes – apartments, houses, cities, villages, countries – the perspective gradually changes. The exhibitions in Tallinn at the moment take into consideration the space, both private and public, starting from very intimate surroundings and broadening to public discussions on why authorities must take responsibility for the city space, writes Kaarin Kivirähk from Estonian Centre for Contemporary Art.

As the coronavirus crisis deepens and people are locked into their homes – apartments, houses, cities, villages, countries – the perspective gradually changes. The exhibitions in Tallinn at the moment take into consideration the space, both private and public, starting from very intimate surroundings and broadening to public discussions on why authorities must take responsibility for the city space, writes Kaarin Kivirähk from Estonian Centre for Contemporary Art.

Feminist Culture House is an intersectional feminist organisation based in Helsinki. EDIT interviewed its co-founders Katie Lenanton, Neicia Marsh, Orlan Ohtonen, and Selina Väliheikki about their pioneering work and the meaning of communality in the field of art during the bittersweet year of 2020.

Feminist Culture House is an intersectional feminist organisation based in Helsinki. EDIT interviewed its co-founders Katie Lenanton, Neicia Marsh, Orlan Ohtonen, and Selina Väliheikki about their pioneering work and the meaning of communality in the field of art during the bittersweet year of 2020.

Feminist Culture House is an intersectional feminist organisation based in Helsinki. EDIT interviewed its co-founders Katie Lenanton, Neicia Marsh, Orlan Ohtonen, and Selina Väliheikki about their pioneering work and the meaning of communality in the field of art during the bittersweet year of 2020.

Feminist Culture House is an intersectional feminist organisation based in Helsinki. EDIT interviewed its co-founders Katie Lenanton, Neicia Marsh, Orlan Ohtonen, and Selina Väliheikki about their pioneering work and the meaning of communality in the field of art during the bittersweet year of 2020.

Vacant or slow time have become rare within a culture that has reduced waiting to a minimum. Instead, every second of the day tends to be colonised by labour, leisure or consumption. As time itself becomes one of capitalism’s ‘flows’, the field of art has also not been freed from the pressures of production, writes curator Mariliis Rebane.

Vacant or slow time have become rare within a culture that has reduced waiting to a minimum. Instead, every second of the day tends to be colonised by labour, leisure or consumption. As time itself becomes one of capitalism’s ‘flows’, the field of art has also not been freed from the pressures of production, writes curator Mariliis Rebane.

Vacant or slow time have become rare within a culture that has reduced waiting to a minimum. Instead, every second of the day tends to be colonised by labour, leisure or consumption. As time itself becomes one of capitalism’s ‘flows’, the field of art has also not been freed from the pressures of production, writes curator Mariliis Rebane.

Vacant or slow time have become rare within a culture that has reduced waiting to a minimum. Instead, every second of the day tends to be colonised by labour, leisure or consumption. As time itself becomes one of capitalism’s ‘flows’, the field of art has also not been freed from the pressures of production, writes curator Mariliis Rebane.

Nayab Ikram is a Turku-based artist working in many collaborative ways. One of her latest projects is currently on show in Titanik. FemF ART 2019: How to Slow Rush is a group exhibition curated by Ikram and Ramina Habibollah. EDIT discussed with Ikram about exploring her own artistic practice, facilitating other artists as a curator and working towards a more inclusive and equal art field. What came up was sharing resources, involving diverse talents and taking care of relaxation, among other things.

Nayab Ikram is a Turku-based artist working in many collaborative ways. One of her latest projects is currently on show in Titanik. FemF ART 2019: How to Slow Rush is a group exhibition curated by Ikram and Ramina Habibollah. EDIT discussed with Ikram about exploring her own artistic practice, facilitating other artists as a curator and working towards a more inclusive and equal art field. What came up was sharing resources, involving diverse talents and taking care of relaxation, among other things.

Nayab Ikram is a Turku-based artist working in many collaborative ways. One of her latest projects is currently on show in Titanik. FemF ART 2019: How to Slow Rush is a group exhibition curated by Ikram and Ramina Habibollah. EDIT discussed with Ikram about exploring her own artistic practice, facilitating other artists as a curator and working towards a more inclusive and equal art field. What came up was sharing resources, involving diverse talents and taking care of relaxation, among other things.

Nayab Ikram is a Turku-based artist working in many collaborative ways. One of her latest projects is currently on show in Titanik. FemF ART 2019: How to Slow Rush is a group exhibition curated by Ikram and Ramina Habibollah. EDIT discussed with Ikram about exploring her own artistic practice, facilitating other artists as a curator and working towards a more inclusive and equal art field. What came up was sharing resources, involving diverse talents and taking care of relaxation, among other things.

Kritiikin anatomia (”The Anatomy of Critique”) is a series of articles, that ponder on the essence of critique, the role of a critic and writing – what does writing a critique actually take and what kind of anatomy does a good critique have?
Series consists of texts that reflect upon the current discussions of critique and also my own writing. In addition I interview different writers and artists. The emphasis in this series is on the possibilities of critique rather than its so called crisis. This time I interviewed critic, editor-in-charge of KUNST.EE and art historian Andreas Trossek.

Kritiikin anatomia (”The Anatomy of Critique”) is a series of articles, that ponder on the essence of critique, the role of a critic and writing – what does writing a critique actually take and what kind of anatomy does a good critique have?
Series consists of texts that reflect upon the current discussions of critique and also my own writing. In addition I interview different writers and artists. The emphasis in this series is on the possibilities of critique rather than its so called crisis. This time I interviewed critic, editor-in-charge of KUNST.EE and art historian Andreas Trossek.

Kritiikin anatomia (”The Anatomy of Critique”) is a series of articles, that ponder on the essence of critique, the role of a critic and writing – what does writing a critique actually take and what kind of anatomy does a good critique have?
Series consists of texts that reflect upon the current discussions of critique and also my own writing. In addition I interview different writers and artists. The emphasis in this series is on the possibilities of critique rather than its so called crisis. This time I interviewed critic, editor-in-charge of KUNST.EE and art historian Andreas Trossek.

Kritiikin anatomia (”The Anatomy of Critique”) is a series of articles, that ponder on the essence of critique, the role of a critic and writing – what does writing a critique actually take and what kind of anatomy does a good critique have?
Series consists of texts that reflect upon the current discussions of critique and also my own writing. In addition I interview different writers and artists. The emphasis in this series is on the possibilities of critique rather than its so called crisis. This time I interviewed critic, editor-in-charge of KUNST.EE and art historian Andreas Trossek.

This marks the launch of EDIT’s new series of curated texts from writers outside its own editorial team. This continuing series will cover diverse topics from various authors and will from here on be known as Kutsuvieras. The first article features a discussion between writer Jenna Jauhiainen and Barbara Vanderlinden, former professor at the University of The Arts in Helsinki.

This marks the launch of EDIT’s new series of curated texts from writers outside its own editorial team. This continuing series will cover diverse topics from various authors and will from here on be known as Kutsuvieras. The first article features a discussion between writer Jenna Jauhiainen and Barbara Vanderlinden, former professor at the University of The Arts in Helsinki.

This marks the launch of EDIT’s new series of curated texts from writers outside its own editorial team. This continuing series will cover diverse topics from various authors and will from here on be known as Kutsuvieras. The first article features a discussion between writer Jenna Jauhiainen and Barbara Vanderlinden, former professor at the University of The Arts in Helsinki.

This marks the launch of EDIT’s new series of curated texts from writers outside its own editorial team. This continuing series will cover diverse topics from various authors and will from here on be known as Kutsuvieras. The first article features a discussion between writer Jenna Jauhiainen and Barbara Vanderlinden, former professor at the University of The Arts in Helsinki.

As we were beginning to shoot that day, she asked me about my personal ways of recollecting lost thoughts – if there were any mental or cognitive tools I used to regain lost memories and ideas. I said that I’d noticed developing a certain slip of thought: thinking a thought and then randomly transitioning to a stream of new ideas and not remembering the initial thought at all. Through this I had also formulated a practice of taking steps backwards along my thought patterns. This would eventually lead to my first thought by default. Acts of Remembrance is a piece about the interplay of sensation and memory, the sense of touch in particular in relation to (and a tool of) remembering.

As we were beginning to shoot that day, she asked me about my personal ways of recollecting lost thoughts – if there were any mental or cognitive tools I used to regain lost memories and ideas. I said that I’d noticed developing a certain slip of thought: thinking a thought and then randomly transitioning to a stream of new ideas and not remembering the initial thought at all. Through this I had also formulated a practice of taking steps backwards along my thought patterns. This would eventually lead to my first thought by default. Acts of Remembrance is a piece about the interplay of sensation and memory, the sense of touch in particular in relation to (and a tool of) remembering.

As we were beginning to shoot that day, she asked me about my personal ways of recollecting lost thoughts – if there were any mental or cognitive tools I used to regain lost memories and ideas. I said that I’d noticed developing a certain slip of thought: thinking a thought and then randomly transitioning to a stream of new ideas and not remembering the initial thought at all. Through this I had also formulated a practice of taking steps backwards along my thought patterns. This would eventually lead to my first thought by default. Acts of Remembrance is a piece about the interplay of sensation and memory, the sense of touch in particular in relation to (and a tool of) remembering.

As we were beginning to shoot that day, she asked me about my personal ways of recollecting lost thoughts – if there were any mental or cognitive tools I used to regain lost memories and ideas. I said that I’d noticed developing a certain slip of thought: thinking a thought and then randomly transitioning to a stream of new ideas and not remembering the initial thought at all. Through this I had also formulated a practice of taking steps backwards along my thought patterns. This would eventually lead to my first thought by default. Acts of Remembrance is a piece about the interplay of sensation and memory, the sense of touch in particular in relation to (and a tool of) remembering.