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Eesti Rahva Muuseum, 2016
Audiovisuaalne konstruktsioon

Konstruktsiooni idee ja installatsiooni teostus: Elo Liiv
Idee ja mappingu teostus: Alyona Movko
Audiolahendus: Taavi Suisalu


Maailm on kirju. Maailm on kirjatud. Kirjatud käpikud ja sokid, ornamentidega kaunistatud tekid, vaibad, riided, geomeetrilised kujunditega esemed, mööbel, aga ka meie metsad, põllud, talud, linnaruumid, haljastus, tantsuringid, elurattad, saaniteed. Nagu visualiseeritud südame elektrokardiogramm, lõpmatu DNA kood, tõmbe- ja tõukejõud, resoneerivad helilained ja peegelduvad valgusvõnked on esivanemate aegadest pärit kiri kui kogu lainelise maailma resoneeriv kood, mille sümboolikat me lõpuni sõnadesse ja tähendustesse formuleerida ei suuda, kuid millest inspireeritult üha uusi ja uusi elukirjatuid kombinatsioone moodustame, kirjutame.

Kui kujutleda kirjade kahemõõtmelised jooned kolmemõõtmelisteks kujunditeks, siis avastame meie pärimuses säilinud abstraktse konstruktsiooni – lae alla riputatud õlgedest ja roost tehtud jõulukroonid.

Rahvakalendri järgi kestavad jõulud kolm päeva – pööripäev 21.12, vana-aastaõhtu 24.12 ning uusaasta esimene päev 25.12, mil maailmas on juba valgust enam kui eelmistel päeval. Ametlik uusaasta on nihkunud 1. jaanuarile kalendrireformide tagajärjel. Jõuludel on Päike oma pesas, valgust meie maailma jõuab vähe ja on selline piiripealne aeg – vana luuakse uueks. Jõulu ajal tehtust ja tegemata jäetust sõltub uue aasta õnn. Vanas kombestikus toodi õled tuppa ja tehti ohutisteks jõulukroone, jõulupuud hakati moeasjana mõisa, kiriku ja linna eeskujul tuppa tooma alles 19. saj. keskel.

Eesti Rahva Muuseumi fuajees jõuluhõngu loov 7,2 meetri kõrgune kuuseprussist ja opaalklaasist ehitatud audiovisuaalne installatsioon, millele on projitseeritud erinevaid ajastuid ja kujundeid ühendavad visuaalid, keskendub just sellele vanemale jõulupärimusele. Teose heli vibreerib läbi konstruktsiooni ja viib talvise veetsükli, kaamose ja uueksloomise radadele. Vesi ja selle erinevad avaldumisvormid muudavad ruumi uueks, senised rajad haihtuvad, liikuda saab pindadel, mis muul ajal läbimatud.

Helide täielikuks kuulamiseks tuleb panna kõrv vastu puitkonstruktsiooni.

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Folder

Tallinn, Disaini- ja Arhitektuurigalerii, 2014
Pärnu, The MuseumDesign and Architecture Gallery of New Art, 2015

Interactive and kinetic installation.


Installatsioon keskendub arhiveerimise võimalustele ruumi- ja vormimaailmas. 
Skulptorite ühisnäitus "Paber kannatab kõike"

 

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Direction I

Tallinn Art Hall, 2015
video-installation with sculpture and mapping


Mapping on three dimensional object. First version.

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Ornamental stubbornness

Exhibition ‘Ornamental’ in Tallinn Art Hall, 2014.
Kinetic object, metal, welding.


Multidimensionality of the world, mental maze of connections, ornamental sequence of recurrences. Again and again indigenous folklore rises from the ashes like a tilting doll. Its patterns or perhaps letters emerge to human mind from the unspeakable depths and the vast expanses of space regardless of miscellaneous wars, genocide, and self-inflicted fashion of communities. Those letters draw people back to the forest, sanctuaries, to restoring grandparents’ farmsteads, to archives and libraries seeking for old folklore texts. The emergence of these letters is not predictable nor directed; they are like a genetic code that finds its solution in a totally unexpected way and time.

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Pure Art

Tallinn, Art Hall gallery, 2013.
Interactive and kinetic installation.


The dream-machine of contemporary art that produces pure art, its enthusiasts, and creators.
Sculptors’ group exhibition ‘Machinery’.

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Useful (AB)use 001

Tallinn Art Hall, 2013.
Tallinn Light Biennale, 2013.

Video and light installation: Elo Liiv
Concept: Elo Liiv, Eva Tallo

Human kind abuses machines. It is a field where otherwise suppressed emotions are released. Concurrently to social norms exists a standard free and violent reality in regard to machinery.

Exhibition visitor is lead to subconscious labyrinth that reaches again and again to no through road: out of control violence, the cult of development, false affection and mechanophilia, fear and self-ridicule, and desire to merge and identify with the victim of violence.
Installation evokes feelings of guilt that mingle with spiritual agony. Under the attack are characteristics inherent to humans like capability for empathy and suppressed anthropomorphism. The parallels are crossed and the viewer is forced to identify with the occasion.

Black box, endlessly operating washing machine, behavioral patterns that are represented in social media, the European Commission’s guideline on humankind’s violence towards machinery (fake).

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Relationship

Kuressaare Castle, Saaremaa, 2012.
Exhibition of small forms, Tartu, 2013.
Poster of the exhibition (pdf)
Sound installation, plaster.

Installation focuses on relationships between people; on the conscious and non-conscious roles. The entire exhibition is resolved paradoxically being inspired by dog body postures during training and eye contact. Sound has important part in this installation.
Obedience and the feeling of joy when the owner or the person we want to be liked by pays us attention, approves us and plays with us…. Every single good gesture gives us reason for even greater affection. We stay on-call for the dearly respected ready to rush where pointed. Unfortunately people when talking to each other nearly ever use the tone of voice they use with their pets. Nevertheless the partner is expected to stay available at any time and give close attention.
Relationships shape us more than we think. In the beginning of the relationship the boundaries between the self and the other disappear; we agree to renounce our true nature. We all have sacrificed our souls, skills, desires, and body for the name of common state of mind. But what happens when our victim mentality starts to endanger us? When our partner has no kind words for us anymore? When our eyes open and we realize the real or perhaps over time altered behavioral patterns of ourselves and our partner? Whether to continue the same way by obeying voluntarily and with joy, or fretfully and with revolting servility. Whether to talk it over? To live apart?
These are the breaking points that make us realize that we cannot find ourselves through relationships. Through relationships we create ourselves.


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The Connection

Tallinn Art Hall, Tallinn, 2012.

Interactive light installation.

Co-authors: Eva Tallo, Priit Tiimus.

Interactive light art project connects visitors of the exhibition virtually with the artists’ sub-consciousness and inner world. This occurs through the help of line, line tracking, and imitation; it places the author on the one side of the screen/the sheet and the viewer/the imitator on the other. There takes place the graphic transmission from the artist to viewer. They are different yet connected; one is the initiator the other the imitator… however they are equal in front of the blank sheet of paper; equal before the world.
Usually the viewer does not take part in making two-dimensional art work – the pieces hang on the walls of galleries. However, in there the two-dimensional space becomes three-dimensional and the installation truly involves the viewer.

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Two are better than one

The annual exhibition of the Turku’s Sculptors’ Association, Turku, Finland, 2011.
Kuressaare Castle, Saaremaa, 2012.
Stained wood, dovetail joint system.

The whole that consists of several components is always better than the whole that contains a single component. Dovetails define the matter.

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The Earth

Solo-exhibition ‘Searching for the System’, Helsinki, Finland, 2007.
Exhibition of small forms, Tartu Art Hall, 2008.
Solo exhibition ‘Relationship’, Kuressaare Castle, Saaremaa, 2012.

The series consists of three figures that are linked substantively and technically through Mother-Earth (imitation of pregnant woman’s belly is used), the act of giving life and then again by the acceptance of the end of it. Ornaments.

Earth I: big and small and the entire world in common.
Earth II: the lonely one to whom the vast extensiveness of the world offers somber companionship.
Earth III: perishing chamber in the world full of messages. Pregnancy as the possibility for the new birth – it remains.

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The comb

Group exhibition ‘Air, Light, and Flying’, Tartu Art Hall, Tartu, 2007.
Group exhibition ‘Lumbago’, ArtDepoo, Tallinn, 2008.

The installation consists of a flying component of a two-part land art object. The composition is based on a tetrahedral kite which is a simplification of a hexahedron comb, and is constructed by renowned telephone inventor Alexander Graham Bell.

How to bring down into a narrow space with low ceilings a flying and high-dimensional piece that requires extensive space, air, and place free under the sky?

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The home of Universe

Solo exhibition ‘The home of Universe’, The Museum of New Art in Pärnu, 2003.
Solo exhibition ‘The home of Universe’, Kohtla-Järve City Gallery, 2004.

Exhibition-installation, the complete system on the entire gallery space. Video, sound, photo, aluminum, wood, bronze, and other materials.

There are various belief systems and ritual objects in our world. Humans are part of nature or perhaps part of the environment. Countless theories have been developed to apprehend and explain this environment and at least the same amount of ritual objects to influence it.

Which of them is right for somebody, which one is not? Why certain objects become more sacred over time and for what reason are they considered more powerful than others? The world of supreme beings, humans, plants, and animals is represented as work of art so we could understand the wholeness of Universe. The author endeavored to capture different basic concepts of the Universal order; similar and distinct features have been sought out. First and foremost, the exhibition tries to answer a question: ‘Where is the home of Universe and does it even exists as such?’

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Srilaprabhupada

A present for Krishnaites, 1994.
Oak.

A stair made out of oak that originates from Konstfack; engraved in it is Srila Prabhupada mantra:
om purnam adah purnam idam
purnat purnam udacyate
purnasya purnam adaya
purnam evavasisyate

om--the complete whole; purnam--perfectly complete; adah--that; purnam-- perfectly complete; idam--this phenomenal world; purnat--from the all-perfect; purnam--complete unit; udacyate--is produced; purnasya--of the complete whole; purnam--completely, all; adaya--having been taken away; purnam--the complete balance; eva--even; avasisyate--is remaining.

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The Big Centrum & Nothing

The Big Centrum & Nothing
1996

Solo exhibition ‘The Big Centrum & Nothing’, Stockholm, Sweden, 1996.
Special prize, International Sculpture Quadrennial ‘Cross-roads’, Arsenal, Riga, Latvia, 1996.
Installation

There are countless thoughts and ideas in the world. We cannot be sure whether the ideas belong to us or are there peculiar structurally arranged idea baits instead that people eagerly grasp and then rush to carry out.

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With light and without

1995
Group exhibition ‘Salad’, Estonian Art Academy, Tallinn, 1995.
Plaster, epoxide.


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Boy

Solo exhibition 'Zero in Black', Gallery Konstfack, Stockholm, Sweden, 1994.
Solo exhibition 'Zero', gallery Vaal, Tallinn, 1994.
International exhibition 'Man and woman', The Museum of New Art in Pärnu, 1995.
Tallinn Art Hall, 2015

Aluminium

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1994 poiss

 

 

Happy

Stockholm, 1994.
Carlens family private collection.

Bronze


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The Woman

Solo exhibition 'Zero', gallery Vaal, Tallinn, 1994.
International exhibition 'Man and woman', The Museum of New Art in Pärnu, 1995.
Tallinn Art Hall, 2015

Plaster

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System One

Group exhibition '6+1', Gallery Art Leonardo, Tampere, Finland, 1998.
Maire and Meelis Milder's private collection.

Bronze, wood. 


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25 kg of bronze

Private collection, 1993.
Raja Gallery, 2009.

Bronze, full-mold casting, weight 25 kg (55lbs).

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Listens

Barcelona, 1993.
Bronze.


A young Basque man

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System Two/ Green Fingers

Group exhibition '6+1', Gallery Art Leonardo, Tampere, Finland, 1993.
Solo exhibition 'The Home of Universe', The Museum of New Art in Pärnu, 2003.
Solo exhibition 'The Home of Universe', Kohtla-Järve City Gallery, 2004.
Installation, wood, epoxide, granite.


Green fingers and debarked trees. People whose garden blooms and everything they ever plant flourishes are said to have green fingers. At the same time these green fingered people are also the ones who pull up the weeds and take life 

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A´la H.Daumier, the gift to the Royalist Party

Group exhibition 'Saturday I', Children's Creative House, Tallinn, 1990.
Bronze and concrete 


The sculpture is inspired by the caricature of a French artist Honoré Daumier; it mocked king Louis-Philippe I and the multifaceted feature of monarchs in general. The artwork was finished at the senior year of High-School when new parties were springing up like mushrooms after the rain. One of the most humorous parties at time was Estonian Royalist Party that through humor and seriousness thought that the only feasible guarantee for Estonia's development potential is a royal monarch.

The statue was ceremoniously granted at the opening and in 1993 the royalists gave the sculpture to the town of Rapla with a requirement that the town mayor has to wash the sculpture every year around St. George's day. At the same time they promised that in case the head remains unwashed the Head of the Town will be taken from Rapla and so the proud tradition emerged – Washing the Head of the Town.

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