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September 10 - October 13, 2019
Opening 10.09 kell 16.00

Evald Okas (1915–2011) is remembered in the art history of the 20th century as one of the best drawing artists of the world. He had only one competitor – Pablo Picasso. Whereas the erotic drawings of the Spanish genius were completed when the artist was still young, and they are kept like crown jewels between the medieval stone walls of Picasso Museum in Barcelona, our Evald Okas remained erotic even in advanced age and his most masterful drawings were born at the Man and Woman nude sketch masterclasses at the Museum of New Art in Pärnu. We, too, keep the art work by our great master as treasures. The nudes drawn, sketched and painted by Evald Okas in 1994–2008 in the Summer Capital of Estonia - Pärnu - are for the first time exhibited as a whole presentation at the show OKAS IN PÄRNU AND HIROSHIMA.

The second part of the exhibition reflects the deep sympathy the artist felt for the hundreds of thousands of people who perished or were crippled because of nuclear bombs in Hiroshima and Nagasaki. And again, we must think of Picasso. The art work of both artists had a strong social aspect. In my opinion, Hiroshima, a large painting by Okas, can be compared to Guernica by Picasso. Both cities were burned down in the fire of war. Only few inhabitants escaped alive. Both works reflect powerful protest against total violence and desire to share the pain of victims.

During his trip to Japan in October, 1963, Okas sketched a number of Japanese women, as a result of which, back at his tudio in Tallinn he created a series of paintings in 1963-65, most of which were kept in Estonian Art Museum and in Tartu Art Museum.

We also hope to introduce the other series of paintings and graphics by Okas about Paris, Venice etc. where he managed to travel as a member of Russian Art Academy in 1960-ies.

Okas’s exhibition is followed by that of Japanese architecture and urban planning in XX Century, asking a tricky question – perhaps the cities without any planning develop more successfully than those planned by strickt urbanists?

CITIES IN TROUBLES (read more above) about Tokyo’s sprawl mainly is brought to us by Japanese Embassy. The capacios exhibition (two huge truckfuls!!!) has travelled through Asia, America, Australia, New Zealand. Now this abundant show of scale models, videos and urban plans landed in Europe and straight in Estonia.

I advise to come to see and think – where are you heading for, our dear mankind?

Mark Soosaar
Curator of the Museum of New Art

Struggling Cities:
from Japanese Urban Projects in the 1960s

September 11 - October 13, 2019
Opening 10.09 at 16.00

Under the broad theme of architecture and the city, this exhibition takes a fresh look at proposals on the city that were put forward by Japanese architects in the 1960s, when Japan saw a flourishing of ideas and activities in that arena. Kenzo Tange’s “A Plan for Tokyo-1960”; the Metabolist schemes of Kiyonori Kikutake, Kisho Kurokawa, Masato Ohtaka, Fumihiko Maki, and Noboru Kawazoe; Arata Isozaki’s “Cities in the Air”—these were all ambitious ideas addressing various problems engendered by urbanization. Although ostensibly similar in terms of dealing with urban expansion, not to mention being conceived within a short span of time by fairly closely associated architects, in substance these schemes were very different from one another. In those differences can be discerned the difficulties involved in coping with the process of urbanization.

Because of their highly ambitious nature, the emergence of these proposals tended to be regarded as peculiar cases. In fact, however, it can be thought of as only one aspect of a broader quest for a new vision of the city, a quest aimed at moving beyond the era of modern architecture characterized by the worldwide proliferation of buildings that look alike. Although proposals as radical as these from 1960s Japan are rare, comparable plans from around the same time can be found in various parts of the world. From the perspective of urban expansion that accompanied modernization as a phenomenon of world history, it is clear that the Japanese proposals were responses to concerns common to various countries.

Far from becoming a thing of the past, the problem of urbanization has grown more pressing with the passage of time. The United Nations estimates that, of the total world population, the proportion living in urban centers will exceed 50 percent in 2010 (World Urbanization Prospects: The 2007 Revision Population Database). The need to grapple with the unprecedented problems of rapid urbanization is most definitely still with us. From the perspective of grasping the problems in concrete terms, by looking at them in Tokyo, a city that came up against such issues comparatively early, and these proposals that confronted such problems head-on, we can delineate the challenges and difficulties of the contemporary city as facets of what is in fact a global issue.

Exploring the abovementioned proposals as case studies, the present exhibition is designed to raise key issues that, while centering on Tokyo, the world’s most populous urban agglomeration, also apply to the specific realities of each of the various countries where the exhibition will be held.

Naohiko Hino

The exhibition takes place in colloboration with Embassy of Japan in Estonia , Japan Foundation.



Exhibition by contemporary Australian artist Anna Glynn

September 6 - 26, 2019

The Museum of New Art in partnership with the Matsalu Nature Film Festival present ‘Marooned’, a series of compelling, intimate, thematic installations by Australian artist Anna Glynn. These works address nature, ecology, history and environment, embracing art as a way to pursue meaningful conversations and exchanges.

'Marooned' comprises a suite of environmentally thematic installations, reinforcing current universal ecological discussions through the ephemeral qualities of moving image and diaphanous attributes of textile elements in the form of photomontage on chiffon: semitransparent, transient and, as nature is, delicate and fragile. The exhibition includes newly-created works by Anna Glynn that result from recent international, interdisciplinary art and ecology projects with Australian scientist Peter Dalmazzo, as well as works shown at the 2018 Biennale of Australian Art. The suite of works includes the following.

‘Art of Threatened Species Project - Marooned’
The Art of Threatened Species project focuses on the Mt Kaputar Snail and Slug Threatened Ecological Community in Australia. The community includes all that is on the mountain peak of an extinct volcano. To create ‘Marooned’ for this, Glynn has hyper-coloured all the elements of the environment in this antipodean wonderland, using vibrant hues pulsating in pink and green in homage to the most notable creature and the hero species which is a giant, pink slug that occurs nowhere else in the world. The only element that Glynn has left in its natural colour is the unique pink slug.

'Swan Song'
‘Swan Song’ is a large-scale, photo-montage, chiffon installation exploring the relationships between man, nature and the human endeavours to transform the Australian landscape through a European aesthetic. Created through research into historical references and public documents which tell a story in which white swans were imported from all over the world, including Rome and England, to adorn and ‘civilize’ the antipodean landscape. The native Australian black swans were exported and removed in a post-colonial ‘tidying’ and reordering.

‘Swan Saga’
‘Swan Saga’ complements ‘Swan Song’ with a wallpaper design created using archival text, 1883-1961, embedded within the silhouette of a large swan. The contents of this work are only revealed upon close inspection, like a disjointed conversation over time.

‘Grass Mountain’ and ‘Svampar’
Two moving image works that are the result of a recent, interdisciplinary ‘Art, Ecology & Science’ collaboration commissioned by ARNA/Sweden which took place over a two-month period at the Sitka Center for Art and Ecology/USA and ARNA/Sweden. ‘Grass Mountain’ and ‘Svampar’ dive deeply, submerging into the landscape, the flora and fauna. Frank Boyden, founder of the Sitka Center for Art and Ecology describes ‘Grass Mountain’ as… “a nuanced layering of kaleidoscopic densities. Translucent films of light are overlayed each carrying different information. Warm and cool, light and dark, focus and out of focus, stationary and moving, recognisable and unrecognisable…another way of realising the depth of biologic relationships. This is what art is supposed to render.”

Anna Glynn - Artist
Anna Glynn is an award-winning Australian artist, who creates visually poetic work investigating the connection between humans and nature, land and place, the physical and the ephemeral. Nature, history, ecology and the environment are essential elements of her practice and integral to her work with curiosity being a key component and driver.

Peter Dalmazzo – Biologist
Peter Dalmazzo is an environmental scientist with extensive experience working in the fields of marine and terrestrial biology, estuarine and coastal management, environmental planning and assessment, public place planning, community engagement and education.

Glynn and Dalmazzo
Through interdisciplinary collaborations Glynn and Dalmazzo carry out international art and ecology projects. Outcomes of their recent collaborations include award winning short films, exhibitions, installations, online material and public presentations. ‘Above and Below,’ a moving image work that resulted from a collaborative residency undertaken in the Dry Tortugas National Park USA, was acquired by the Parliament House Art Collection, Canberra, Australia.

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