{"id":634,"date":"2021-11-06T07:12:35","date_gmt":"2021-11-06T05:12:35","guid":{"rendered":"http:\/\/popolitov.sillamae-muuseum.ee\/?p=634"},"modified":"2021-11-18T14:50:16","modified_gmt":"2021-11-18T12:50:16","slug":"tactilite-stone-that-tickles-the-gaze-or-the-confession-of-an-artwork","status":"publish","type":"post","link":"http:\/\/popolitov.sillamae-muuseum.ee\/?p=634&lang=en","title":{"rendered":"Tactilite: Stone that Tickles the Gaze, or the Confession of an Artwork"},"content":{"rendered":"[et_pb_section fb_built=”1″ _builder_version=”4.13.1″ _module_preset=”default” global_colors_info=”{}”][et_pb_row _builder_version=”4.13.1″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.13.1″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.13.1″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]\n

Darja Popolitova is an artist, teacher and doctorate at the Estonian Academy of Arts.\u00a0<\/span><\/p>\n

Editor: Keiu Krikmann.\u00a0<\/span><\/p>\n

This story is being told on behalf of the archetypal work of art of the artist, collector, and treasurer of Sillam\u00e4e Museum, Aleksandr Popolitov.<\/span><\/p>\n

MORE UNSERIOUS<\/b><\/p>\n

Psst! I\u2019m\u00a0right here! Yes, I\u00a0finally decided to speak. I\u00a0have been absorbing looks and touches for so long that I\u00a0have become overwhelmed \u2014 and I\u00a0want to pour out my soul, draw you into the vacuum of my attention, but this time through words.<\/p>\n

Sometimes words tend to be perceived more clearly than visual metaphors. However, this does not mean that the latter does not have its particular innerworkings1<\/sup><\/b><\/span>. As an art piece, a\u00a0visual metaphor, I\u00a0have experienced many transformations hidden from the viewers\u2019 perception. I\u00a0got to know the world through experience \u2014 I\u00a0was the source material, subjected to an artist\u2019s\u00a0countlesstouches and then to the gaze of the visitors of the exhibitions. Passing through these levels was fun and touching (also in the literal sense of the word). I\u00a0want to talk about this haptic-v\u00ad\u00ad\u00adisual journey, because my unique core, is hidden at the heart of these sensations.<\/p>\n

All these years I\u00a0have been exhibited in north-e\u00ad\u00ad\u00adastern Estonia, in exhibition halls,taking occasional trips tomuseums and galleries in Tallinn, K\u00e4rdla and Finland. Chewing on the pulp of the hall lights, I\u00a0digested it in the sauce of the visitors\u2019 gaze and sometimes even their touch. However, these encounters were timid, because of my status as anart object, which imposes certain \u201ctactiloclasms\u201d2<\/sup><\/b><\/span>\u00a0on the behaviour of people in such spaces.When looking atme, some whispered about the texture of my surface or my natural origin. No wonder \u2014 the exhibition labels detailing my existencestated: \u201cHymn to a\u00a0Blossoming Stump\u201d, \u201cThe Secret of the Black Grotto\u201d, \u201cMountain Flowers in the Moonlight\u201d, \u201cThe Birth of Agate\u201d.<\/p>\n

I\u00a0witnessed the flourishing, albeit hard-
e\u00ad\u00ad\u00adarned cultural life of Sillam\u00e4e3<\/sup><\/b><\/span>. I\u00a0saw how the peculiar identity of the artists living this secret Soviet city with its picturesque granite-b\u00ad\u00ad\u00adouldery sea coast and pine trees developed. Now the city as acquiredan atmosphere of bittersweet nostalgia for a\u00a0long gone era and its ceremonial neoclassicism.<\/p>\n

When I\u00a0say the cultural life was flourshing, I\u00a0mean that almost in the literal sense of the word. I\u00a0was annually shown at April exhibitions. The participating artists, the so-c\u00ad\u00ad\u00adalled Aprilists crystallised their artistic fantasies at a\u00a0common exhibition groundall at once and in everything \u2014 like nature in spring<\/span>4<\/sup><\/b><\/span>. Applied and visual artists as well as photographers awakened life with these exhibitions, which took place, of course, on April 1st, that is, on April Fools\u2019 Day. This was to challenge ideas like fitness, coherence and seriousness of life, while giving a\u00a0voice to diversity, quirkiness and disorder or, as it is said in a\u00a0brochure from 2003, to \u201craw creative ideas, poetry, nature and impromptu actions\u201d<\/span>5<\/sup><\/b><\/span>, and in a\u00a0brochure from 2017 \u2014 \u201c[o]oh, how not to lose your face and issuean exhibition of a\u00a0more unserious kind!\u201d<\/span>6<\/sup><\/b><\/span>.<\/span><\/p>\n

At such events, there was poetry (\u201cstupid\u201d, of course) <\/span>7<\/sup><\/b><\/span>, dress-\u00ad\u00adups<\/span>8<\/sup><\/b><\/span>, undressings<\/span>9<\/sup><\/b><\/span> and even removal of some parts of the body<\/span>10<\/sup><\/b><\/span>. All of these theatrical performances took place among works of art \u2014 oil paintings, graphics and applied art objects. Such performances seemed to bring great pleasure to the public. Some people needed them like being wrapped in a\u00a0thin and tight blanket on a\u00a0cold night. I\u00a0saw how some wroteoverly dramatic phrases in the guest book: \u201cWe have no reason to live without your art!\u201d<\/span>11<\/sup><\/b><\/span> or \u201cYou have golden hands!\u201d<\/span>12<\/sup><\/b><\/span>, \u201cI\u00a0liked everything very much\u201d<\/span>13<\/sup><\/b><\/span>. There were also constructive comments such as \u00e0\u00a0la<\/i> \u201cI\u00a0am amazed and delighted by the 2003 April exhibition. I\u00a0especially liked the wooden bouquet by A. Popolitov. <\u2026> One can feel the great skill of [this] artist\u201d<\/span>14<\/sup><\/b><\/span>. No less emotional are the following: \u201cAll the pictures are very beautiful and being very origenally [sic] fantasised!!!\u201d<\/span>15<\/sup><\/b><\/span> or \u201cIt was cool. Dope! Off the hook!\u201d<\/span>16<\/sup><\/b><\/span><\/span><\/p>\n

PORCUPINE\u2019SQUILL<\/b><\/span><\/p>\n

Just as with fish behind the aquarium glass, the visitors were knocking on me, while trying to hear my inner voice. But can they understand my intricate choreography of gestures? Can they untie the knot of my eternal haptic storyline?<\/span><\/p>\n

It is clear that they can not. For them, I\u00a0am a\u00a0complete subject, a\u00a0composition of materials. The image cannot reproduce the experience that happened inmaterial in its pure form, and especially post factum<\/i>.<\/span><\/p>\n

I\u00a0know that there is wood, amethyst and <\/span>onyx in me. But these are not just materials. These are the embodiments of an experience \u2014 experience of the body. Have you ever had to go down 140 meters into a\u00a0cave or spend the night on the side of a\u00a0high mountain? Feel a\u00a0backpack with a\u00a0metal frame clinging to youlike a\u00a0stone? Move up the ascent, climb hour after hour? Then, with overwhelming pleasure, toss the backpack on the ground and set up camp?<\/p>\n

Indeed, I\u00a0have seen such pilgrimages more than once. I\u00a0felt how the throat of the one who created me was dry somewhere in the Issyk-Kul region. The top of a\u00a0mountain seemed so close, at spitting distance. But the saliva had ran out, as he \u201cviciously climbed and climbed, however, the top still did not come nearer\u201d17<\/sup><\/b><\/span>.<\/p>\n

Where did he climb? What kind of diagonal, straight, and wavy lines did he need to weave into the myth of his life? I\u00a0found the answer once \u2014 when I\u00a0peeked into his notebook and saw ascheme illustrating the following: \u201cartist \u2192<\/span> work of art \u2192<\/span> viewer\u201d18<\/sup><\/b><\/span>. In it, it seemed to me, the semantic pattern of this mountain hike was expressed \u2014 if I\u00a0am a\u00a0work of art, then, according to this scheme, the artist was my creator, the same person who heard the hissing of the copperhead snake and felt the settling steam from the Tears of Bars waterfall19<\/sup><\/b><\/span> on his beard…<\/p>\n

In the flesh of this threefold relationship, I\u00a0recognised the experienceofa mediated and unmediated kind. As there is, for example, malachite and there is pseudomalachite \u2014 both are called malachite, only pseudomalachite is much less common and differs from malachite in a\u00a0specific bluish tint.<\/p>\n

The scheme \u201cartist \u2192<\/span> work of art \u2192 <\/span>viewer\u201d sets the theory of a\u00a0rare (unmediated) experience. The experience of perceiving the spectacularity of nature \u2014 the theory of fascination. To perceive, to be embraced by the \u201cgiven \u2018sets\u2019\u201d20<\/sup><\/b><\/span> of the atmosphere, the horizon, the light, the air, theparticular moment in time, \u201cto see, standing forth from a\u00a0cluster of data, an immanent significance\u201d21<\/sup><\/b><\/span> means to be impressed by an uncommon pseudomalachite.<\/p>\n

And when that happens, for the artistit means to expose himself to challenges, to explore, to wear out hisshoes on the loose slopes, to plunge into the thickets of camel thorn, to search \u2014 yet, not to find is the raison-\u00ad\u00add\u2019\u00e9tre<\/i>, so to speak.<\/p>\n

It\u2019s\u00a0funny, after all, that without being fascinated by oneself, the theory of fascination does not work. You cannot fascinate the audience without being fascinatedas an artist. To support this argument, I\u00a0remembered the \u201cwows\u201d of the viewers, who plunged into a\u00a0cloud of associations when looking at me.<\/span><\/p>\n

The climbing artist found enough pseudomalachite near the Shyrgy gorge, but what he desired to find even more were amethysts \u2014 a\u00a0variety of quartz of lilac and red-v\u00ad\u00ad\u00adiolet shades. He fell in love with them, so to speak, linearly and \u201copulently fluttered\u201d<\/span>22<\/sup><\/b><\/span> during his last expedition, when he went to look for the amethysts across the other side of the Dry Pass. For three hours he walked along a\u00a0gorge formed by a\u00a0river, whose turbulent stream made its way through the mountain peaks, glaciers, and coniferous forests of Kyrgyzstan. The road was lined with thickets of dense bushes \u2014 barberry, mountain ash, sea buckthorn and juniper.<\/span><\/p>\n

Saturated with the haptic-v\u00ad\u00ad\u00adisual spectacle of the area but never finding amethysts, he decided to turn back to the camp as soon as he suddenly noticed a\u00a0porcupine. The phenomenon is rare, as these rodents are nocturnal. But this one walked onits short legs in broad daylight along the mountain crevices, slow and waddling. Seeing the artist, it froze but did not run. Its little black eyes sparkled like beads, and its barrel-s\u00ad\u00ad\u00adhaped nose, covered with soft hair, whuffed amusingly.<\/span><\/p>\n

Suddenly, the porcupine flexed its dorsal muscles and made its quills stand all the way up. It shookits coat, which sounded like a\u00a0rattle, and then clumsily fled into its underground passage, leaving behind a\u00a0visiting card, a\u00a0black and white quill.<\/span><\/p>\n

The artist came closer and peered into the depths of the animal\u2019s\u00a0underground passage. And what do you think he saw? On a\u00a0gray opaque quartz substrate, near the porcupine quill, there were lilac amethyst druses…<\/span><\/p>\n

CANNOT BUY THE MOONLIGHT<\/b><\/span><\/p>\n

Come closer.\u00a0 <\/span>Do not be afraid. How strange <\/span>I\u00a0must seem to others. People know that I\u00a0am made of materials commonly used in jewellery craft, which evokes the presence of preciousness. But I\u00a0am not something that can be worn on the body, though I\u00a0am assigned a\u00a0monetary value, as is often done with jewellery. As is the case with my jewellery relatives, people seem to go to great lengths to give themselves the desired appearance to emphasise their physical and social qualities. It is the same with me, a\u00a0painting made of metal, wood and semiprecious stones. The spectators never cease to penetrate me with their gaze. The same way they study things to buy in their markets.<\/p>\n

Semiprecious is another label people have invented to denote the hierarchy of materials and their participation in the market cycle \u2014 a\u00a0word that is commonly applied, for example,to amethyst, onyx or copper. But can a\u00a0thunderstorm or sun be precious or semiprecious? Do such things have gradations of qualities \u2014 or do they just exist?<\/p>\n

I\u00a0have an amethyst in me, and for a\u00a0while it belonged to the same class as diamonds, rubies, sapphires and emeralds. That is \u2014 it and I, too, were considered precious. Until numerous new deposits of amethyst were discovered. But my unique story cannot be discounted.<\/p>\n

Not only do I\u00a0contain a\u00a0semiprecious stone but that also allows me tobe a\u00a0vessel for people\u2019s\u00a0beliefs. Have you ever heard the origin story of my shade of lilac? How Artemis saved the nymph Ametis from the obsessive claims of the god of wine and fun Dionysus? Rejecting the drunken god and fleeing from him, the nymph cried to Artemis for protection and the goddess turned the her into a\u00a0crystal of purple amethyst, leaving Dionysus with nothing. And so, people believe that when tied to the navel, amethyst neutralises the harmful effects of wine23<\/sup><\/b><\/span> and helps prudence prevail. Hence the name amethyst (in ancient Greek: \u0391\u03bc\u03ad\u03b8\u03c5\u03c3\u03c4\u03bf\u03c2<\/span>, from \u03b1<\/span>– \u201cnot\u201d + \u00b5\u03ad\u03b8\u03c5\u03c3\u03c4\u03bf\u03c2<\/span> \u201cto be drunk\u201d).<\/p>\n

I\u00a0also have onyx in me, which is associated with a\u00a0stream that leads to the mystery of earthly birth \u2014 the secret the gods of Olympus bestowed on people. Cupid, having found Venus sleeping on a\u00a0riverbank, decided to pull the string of his magic bow and make Venus fall in love with him. He missed Venus but hit the tip of her nail with his arrow. A\u00a0piece of the goddess\u2019s\u00a0flesh fell into the water of the Indus River and floated to the bottom, where it turned into onyx \u2014 a\u00a0layered and striped mineral meaning literally \u201cnail\u201d in ancient Greek (\u1f44\u03bd\u03c5\u03be<\/span>). In this story of onyx lies the secret of earthly birth, which materialises through love and with the help of moisture24<\/sup><\/b><\/span>.<\/p>\n

And yet I\u00a0lack respect for people. They have a\u00a0strange affection for materials, whether they buy or sell them. I\u00a0myself am not an animal nor a\u00a0plant but just a\u00a0fragment of endless existence \u2014 and I\u00a0am tired of reminding people that they cannot buy moonlight or stars.<\/p>\n

Coming from the material world, I\u00a0still connect a\u00a0person to something intangible. I\u00a0am likea channel through which people project their expectations25<\/sup><\/b><\/span>. For instance, I\u00a0shape their social presentation by communicating something about theirsocial status or taste to the guests who come to their house. Of course, I\u00a0sometimes get bored of serving these human constructs. Just as jewellery is tired of servicing thebelief that jewellery is women\u2019s\u00a0best friend.<\/p>\n

Sometimes I\u00a0want to be seen as fantasy, fictionand sheer inspiration but also to be taken just as seriously by people as capital is. Of course, it\u2019s\u00a0amusing that people can\u2019t\u00a0stop thinking that the true meaning of a\u00a0diamond is formed above their heads rather than below their feet.<\/p>\n

THE ROOT OF THE SOUL<\/b><\/p>\n

Why not get even closer? Can you see the pattern of my wooden blocks? And the steel-f\u00ad\u00ad\u00adramed, polished agates? As piece of art, I\u00a0am aware of what kind of embodied knowledge is behind these tactile contemplations. Embodied in the sense in which an image on the wall is understood as finalised \u2014 having gone through all the steps in the process \u2014 finito<\/i>, so to speak. What was behind the scenes of my finito<\/i>? What kind of flesh, topographic and situational pulp?<\/p>\n

Behind the scenes, there was a\u00a0workshop with soft and even sweet air. Wood dust gave these qualities to the air. Especially when the room was filled with summer evening light, the particles of wood dust, formed through grinding and then settled on the surrounding objects moved gently as the clothes moved in the room.<\/p>\n

Open shelves filled with planks and pieces of wood found by the sea, semi-p\u00ad\u00ad\u00adrecious stones in coarse fabric sacks, all creating a\u00a0sense of organised chaos. Some of the tools came straight from a\u00a0dentist\u2019s\u00a0toolkit: diamond and stainless steel drills, tweezers. Some even from that of a\u00a0surgeon: forceps and clamps. All of this came in handy in artistic endeavours, along with brushes, glues and solvents. Over the years, some of the tools became naturally polished under the grip of the artist\u2019s\u00a0hand. The streamlined wooden handles of the cutters and chisels were soaked in sweat and took on a\u00a0greyish brown hue.<\/p>\n

How did the wood come into the workshop? Like so \u2014 I\u00a0lie like a\u00a0tree stump washed on the beach, \u201cbreathe mushroom undercurrents\u201d<\/span>26<\/sup><\/b><\/span> in the autumn foliage but I\u00a0don\u2019t\u00a0say: \u201ccome and take me with you, man walking by,\u201d but his warm hands and open, joyful eyes catch me, and he utters a\u00a0small purr in surprise. And then I\u00a0am lifted into the trouser pocket of this artist.<\/span><\/p>\n

And the elegance of his hands that married the movement of his cutter to my nature will not go unnoticed by the viewer, guiding them to see the world through the eye of the artist and where his breath met the stars. And as I\u00a0said earlier, he also watched the starts far from North-E\u00ad\u00ad\u00adast of Estonia. He lay in a\u00a0sleeping bag on the top of a\u00a0mountain under the vast Issyk-Kul sky, where the bright moon kept him from falling asleep and \u201cthe beauty, grandeur, and mystery of the mountains conquered [him] forever\u201d<\/span>27<\/sup><\/b><\/span>.<\/span><\/p>\n

The choreography of the cutter also leads to the white nights and dark days in Estonia. It rains all the time in November and the rest of the seven months are cloudy… colourless. \u201cThe colourlessness is a\u00a0part of the local identity. But it is not intentional, it is about the natural colour of the material.\u201d<\/span>28<\/sup><\/b><\/span> And the materials in me are allnatural. They are not imitations but always genuine. From the natural agate to the glue. Yes, you are not mistaken, not even the gelatine-b\u00ad\u00ad\u00adased glue is artificial. To preparesuch glue, gelatine is taken and dissolved in seven to eight percent vinegar. This glue can be used to glue small stone objects<\/span>29<\/sup><\/b><\/span>.<\/span><\/p>\n

It happens that on white summer nights I\u00a0lie as agate and feel someone\u2019s\u00a0eyes on me. The artist twists and twirls me in his hands, turns the lamp off and on to see my advantages and disadvantages under different lighting. Sometimes he even licks me so that the saliva reveals mytexture and lets himimagine what I\u00a0would look like polished. And then he polishes me, using rotating discs covered with diamond dust. This echoes as a\u00a0monotonous, rough and metallic sound.<\/p>\n

Sometimes the artist also laughs so affectionately while looking at me as if I\u00a0am tickling him. Am I\u00a0tactilite30<\/sup><\/b><\/span> instead, and not agate after all? Indeed, there wassomething in this artist \u2014 he was naively childish, yet calm, warm and balanced31<\/sup><\/b><\/span>.<\/p>\n

His hands seemed to move from the depth, the root of his soul. With geometrically carved joints and the strongest elongated trapezoidal nails, these fingers twisted like branches around hacksaws, chisels, and files, drawing wood dust into the hairiness of his hands, like a\u00a0tree covered with moss \u2014 symbiotically.<\/p>\n

Undoubtedly, the tools, sharp as aphorisms, gave his gestures perfection, and the body trusted the dance that had been perfectly learned over the years. However, even without tools, his hands seemed to participate in some kind of choreography. It seemed that the words came to the artist not through the top of his head but through his hand-c\u00ad\u00ad\u00adhannels, like roots, greedily absorbing minerals.<\/p>\n

The workshop as a\u00a0space, it turns out, is an extensible concept. It is not only physical and topographic but portable, as it always simultaneously exists in the artist\u2019s\u00a0head. The workshop is larger than a\u00a0room. It encompasses pleasure, pain, healing and the constructive channelling of fascination but also many things outside its concrete walls. Captured by the spirit of nature, this artist both saw it and acted \u2014 radically, sensitively. This omnifaceted sensitivity was a\u00a0kind of a\u00a0resistance \u2014 the resistance to rudeness, cruelty, arrogance, excessive seriousness of the world.<\/p>\n

As an artwork, I\u00a0felt all of this \u2014 because I\u00a0was born out of the thickest opaquest flesh of the artist\u2019s\u00a0worldview, of his body and of his body in the world. As a\u00a0handcrafted object, I\u00a0appeal to empathic relation towards the self and remind the viewer that it all started in a\u00a0cave \u2014 in a\u00a0universal experience for everyone, leading to the collective memory of handicraft32<\/sup><\/b><\/span>.<\/p>\n

In order for a\u00a0computer algorithm to learn to write in the same way as a\u00a0living writer, the algorithm needs to experience everything that the writer himself experienced in his life. It is equally difficult for another person to repeat an artist\u2019s\u00a0handiwork. Therein lies the opacity of experience. I\u2019m\u00a0not just the tactile sketches by Aleksandr Popolitov. I\u00a0am the eternal subject of the perception of the world as a\u00a0whole.<\/p>\n

1
Serig, DanielA. 2008. Visual Metaphor and the Contemporary Artist: Ways of Thinking and Making. Saarbr\u00fccken:<\/i> VDM Verlag Dr.M\u00fcller, p\u00a013.<https:\/\/www.researchgate.net\/publication\/281032383_Visual_Metaphor_and_the_Contemporary_Artist_Ways_of_Thinking_and_Making> [Accessed 25.12.2020].<\/span><\/p>\n

2
Huhtamo, Erkki. 2005. Twin-T\u00ad\u00ad\u00adouch-T\u00ad\u00ad\u00adest-R\u00ad\u00ad\u00adedux: Media Archaeological Approach to Art, Interactivity and Tactility.<\/i> In: Grau,O. (Ed.). 2005. Media Art Histories. Cambridge, Mass: The MIT Press.<https:\/\/bit.ly\/2K7WtLp> [Accessed 08.06.2021], p\u00a05.<\/span><\/p>\n

3
Gitt, Aala = \u0413\u0438\u0442\u0442, \u0410\u0430\u00ad\u00ad\u043b\u0430. 2013. \u041a\u0440\u0430\u0442\u00ad\u00ad\u043a\u043e\u0435 \u043e\u043f\u0438\u00ad\u00ad\u0441\u0430\u00ad\u00ad\u00ad\u043d\u0438\u0435 \u0440\u0430\u0437\u00ad\u00ad\u0432\u0438\u00ad\u00ad\u0442\u0438\u044f \u0438\u00a0\u0436\u0438\u0437\u00ad\u00ad\u043d\u0435\u00ad\u00ad\u00ad\u0434\u0435\u044f\u00ad\u00ad\u00ad\u0442\u0435\u043b\u044c\u00ad\u00ad\u00ad\u043d\u043e\u0441\u00ad\u00ad\u0442\u0438 \u0441\u043e\u00ad\u00ad\u0432\u0441\u0435\u043c \u043d\u0435\u0431\u043e\u043b\u044c\u00ad\u00ad\u0448\u043e\u0439 \u043a\u043e\u043c\u00ad\u00ad\u043f\u0430\u00ad\u00ad\u00ad\u043d\u0438\u0438 \u0441\u043f\u043e\u0434\u00ad\u00ad\u0432\u0438\u0436\u00ad\u00ad\u043d\u0438\u00ad\u00ad\u00ad\u043a\u043e\u0432 \u043f\u0435\u00ad\u00ad\u0440\u0430 \u0438\u00a0\u043a\u0438\u0441\u00ad\u00ad\u0442\u0438. \u0410\u043f\u0440\u0435\u043b\u044c<\/i>. Sillam\u00e4e: Sillam\u00e4eMuseum.<\/span><\/p>\n

4
Gitt, Aala = \u0413\u0438\u0442\u0442, \u0410\u0430\u00ad\u00ad\u043b\u0430. 1997. \u00ab\u0410\u043f\u0440\u0435\u00ad\u00ad\u043b\u044e\u00bb \u2014 \u043f\u044f\u0442\u044c \u043b\u0435\u0442! \u0421\u0438\u043b\u00ad\u00ad\u043b\u0430\u00ad\u00ad\u043c\u044f\u00ad\u00ad\u00ad\u044d\u0441\u043a\u0438\u0439 \u0412\u0435\u0441\u0442\u00ad\u00ad\u043d\u0438\u043a<\/i>, 35(1130).<\/span><\/p>\n

5
Gitt, Aala = \u0413\u0438\u0442\u0442, \u0410\u0430\u00ad\u00ad\u043b\u0430. 2003. \u0422\u0432\u043e\u0440\u00ad\u00ad\u0447\u0435\u00ad\u00ad\u00ad\u0441\u043a\u0430\u044f\u00ad\u00ad\u00ad\u0431\u0438\u00ad\u00ad\u043e\u0433\u00ad\u00ad\u0440\u0430\u00ad\u00ad\u00ad\u00ad\u00ad\u0444\u0438\u044f. 45 Sillam\u00e4e: 10 Aprill<\/i>. [exhibition brochure]. Sillam\u00e4e: Sillam\u00e4eMuseum.<\/span><\/p>\n

6
Gitt, Aala = \u0413\u0438\u0442\u0442, \u0410\u0430\u00ad\u00ad\u043b\u0430. 2013. \u041a\u0440\u0430\u0442\u00ad\u00ad\u043a\u043e\u0435 \u043e\u043f\u0438\u00ad\u00ad\u0441\u0430\u00ad\u00ad\u00ad\u043d\u0438\u0435 \u0440\u0430\u0437\u00ad\u00ad\u0432\u0438\u00ad\u00ad\u0442\u0438\u044f \u0438\u00a0\u0436\u0438\u0437\u00ad\u00ad\u043d\u0435\u00ad\u00ad\u00ad\u0434\u0435\u044f\u00ad\u00ad\u00ad\u0442\u0435\u043b\u044c\u00ad\u00ad\u00ad\u043d\u043e\u0441\u00ad\u00ad\u0442\u0438 \u0441\u043e\u00ad\u00ad\u0432\u0441\u0435\u043c \u043d\u0435\u0431\u043e\u043b\u044c\u00ad\u00ad\u0448\u043e\u0439 \u043a\u043e\u043c\u00ad\u00ad\u043f\u0430\u00ad\u00ad\u00ad\u043d\u0438\u0438 \u0441\u043f\u043e\u0434\u00ad\u00ad\u0432\u0438\u0436\u00ad\u00ad\u043d\u0438\u00ad\u00ad\u00ad\u043a\u043e\u0432 \u043f\u0435\u00ad\u00ad\u0440\u0430 \u0438\u00a0\u043a\u0438\u0441\u00ad\u00ad\u0442\u0438.\u00a0 <\/span>\u0410\u043f\u0440\u0435\u043b\u044c<\/i>. Sillam\u00e4e: Sillam\u00e4e Museum.<\/span><\/p>\n

7
In the miscellany about the history of the art group April (2013),special attention is paid to theatrical, informal me eting-p\u00ad\u00ad\u00adarties as one of the hinges in the mechanism of the cultural life of Sillam\u00e4e. Not directly, but implicitly, these parties influenced the formation of the cohesion of artists, whose practice, in turn, launched enlightenment activities in Sillam\u00e4e, including numerous exhibitions at Sillam\u00e4e Exhibition Hall. This time of costumed and poetical evenings is briefly described as follows: \u2018This miscellany is not for everyone… but for those who lived, ate, drank, chilled while not thinking about wages, jobs and crises in those days… We, the first Aprilists and their confidants longed for Friday. We wrote poems (\u201cstupid\u201d, of course) when dedicating them to each other, gave gifts, were happy for success like children. Those who lived then in a\u00a0\u201cstagnant\u201d time will understand\u2019.<\/span><\/p>\n

8
At the so-c\u00ad\u00ad\u00adalled \u201cGluttony Symposium\u201d held on Sputnik (the areawith garden-p\u00ad\u00ad\u00adlots in Sillam\u00e4e), participants dressed in various costumes, including \u2018certified\u2019 pigs, celebrating the historical transition from collectivism to individualism with all kinds of culinary sophistication.<\/span><\/p>\n

9
The theme of the 2001 year April exhibition in the Sillam\u00e4e Exhibition Hall was body art. A\u00a0happening was organised, during which not only artists but also visitors were allowed to paint on the human body.<\/span><\/p>\n

10
At the opening of his solo exhibition in 1996, Aprilist Aleksandr Popolitov, a\u00a0notable \u201cbeard-man\u201d\u00a0 <\/span>(he wore a\u00a0beard all his adult life) said: \u201cDear audience, I\u00a0would gladly take off my hat in front of you today, but I\u00a0take off my beard\u201d. And with these words, proceeded to remove the beard that had been gently glued onto his smooth chin with patches by his wife Nadya.<\/span><\/p>\n

11
Pustovalov, Roman = \u041f\u0443\u0441\u00ad\u00ad\u0442\u043e\u00ad\u00ad\u00ad\u0432\u0430\u00ad\u00ad\u00ad\u043b\u043e\u0432, \u0420\u043e\u00ad\u00ad\u043c\u0430\u043d. 1997. [Feedback in the guest book].<\/span><\/p>\n

12
Marina = \u041c\u0430\u00ad\u00ad\u0440\u0438\u00ad\u00ad\u00ad\u043d\u0430, surname unknown. 1996. [Feedback in the guest book].<\/span><\/p>\n

13
Plykin, Borys = \u041f\u043b\u0438\u00ad\u00ad\u043a\u0438\u043d, \u0411\u043e\u00ad\u00ad\u0440\u0438\u0441. 2003. [Feedback in the guest book].<\/span><\/p>\n

14
D\u00a0(no continuation of the surname), Karine. 2006. [Feedback in the guest book].
<\/span><\/p>\n

15
16
Unknown authors.1996. [Feedback in the guest book].<\/span><\/p>\n

17
Popolitov, Aleksandr = \u041f\u043e\u00ad\u00ad\u043f\u043e\u00ad\u00ad\u043b\u0438\u00ad\u00ad\u00ad\u0442\u043e\u0432, \u0410\u043b\u0435\u043a\u00ad\u00ad\u0441\u0430\u043d\u0434\u0440.
~ 1984-1990. [Personal diary entries].<\/span><\/p>\n

18
Popolitov, Aleksandr = \u041f\u043e\u00ad\u00ad\u043f\u043e\u00ad\u00ad\u043b\u0438\u00ad\u00ad\u00ad\u0442\u043e\u0432, \u0410\u043b\u0435\u043a\u00ad\u00ad\u0441\u0430\u043d\u0434\u0440.
~ 1984-1990. [Personal diary entries].<\/span><\/p>\n

19
The most famous waterfall in the Barskoon gorge (Kyrgyzstan); recognised as a\u00a0natural monument by the state.<\/span><\/p>\n

20
Merleau-P\u00ad\u00ad\u00adonty, Maurice. 2002 [1945]. Phenomenology of Perception<\/i>. Translated from French by C. Smith, 1958. London and New York: Routledge Classics, p\u00a0 26.<\/span><\/p>\n

21
Merleau-P\u00ad\u00ad\u00adonty, Maurice. 2002 [1945]. Phenomenology of Perception<\/i>. Translated from French by C. Smith, 1958. London and New York: Routledge Classics, p\u00a026.<\/span><\/p>\n

22
Kharms, Daniil =\u0425\u0430\u0440\u043c\u0441, \u0414\u0430\u00ad\u00ad\u043d\u0438\u00ad\u00ad\u0438\u043b. 2005. \u041c\u0430\u00ad\u00ad\u043b\u043e\u0435\u00ad\u00ad\u00ad \u0441\u043e\u0431\u00ad\u00ad\u0440\u0430\u00ad\u00ad\u00ad\u043d\u0438\u0435 \u0441\u043e\u0447\u0438\u00ad\u00ad\u00ad\u043d\u0435\u00ad\u00ad\u00ad\u00ad\u00ad\u043d\u0438\u0439<\/i>. St. Petersburg: Azbuka-K\u00ad\u00ad\u00adlassika, p\u00a0165.<\/span><\/p>\n

23
Kozminsky, Isidor. 1922. The Magic and Science of Jewels and Stones.<\/i> New York and London:
G. P. Putnam\u2019s\u00a0Sons, p\u00a0129. <https:\/\/archive.org\/details\/TheMagicAndScienceOfJewelsAndStones\/kozminsky-\u00ad\u00adi-magic-\u00ad\u00ad1922-\u00ad\u00adRTL014043\/page\/n313\/mode\/2up?q=The+amethyst+is+a+species> [Accessed 08.06.2021].<\/span><\/p>\n

24
Kozminsky, Isidor. 1922. The Magic and Science of Jewels and Stones<\/i>. New York and London:
G. P. Putnam\u2019s\u00a0Sons, p\u00a0 279. <https:\/\/archive.org\/details\/TheMagicAndScienceOfJewelsAndStones\/kozminsky-\u00ad\u00adi-magic-\u00ad\u00ad1922-\u00ad\u00adRTL014043\/page\/n313\/mode\/2up?q=The+amethyst+is+a+species> [Accessed 08.06.2021].<\/span><\/p>\n

25
Popolitova, Darja. 2020. \u201eEhe vaatab maailma kultuuri silmadega\u201c, Interviewed by Kaisa Tooming. H\u00e4ppening.ee<\/i>.<https:\/\/anditshappening.ee\/darja-p\u00ad\u00ad\u00adopolitova-ehe-v\u00ad\u00ad\u00adaatab-m\u00ad\u00ad\u00adaailma-k\u00ad\u00ad\u00adultuuri-s\u00ad\u00ad\u00adilmadega\/> [Accessed 08.06.2021].<\/span><\/p>\n

26
Tarkovsky, Arseny = \u0422\u0430\u0440\u00ad\u00ad\u043a\u043e\u0432\u00ad\u00ad\u0441\u043a\u0438\u0439, \u0410\u0440\u0441\u0435\u00ad\u00ad\u043d\u0438\u0439. 2013. \u0411\u043b\u0430\u00ad\u00ad\u0433\u043e\u0441\u00ad\u00ad\u00ad\u043b\u043e\u00ad\u00ad\u00ad\u0432\u0435\u043d\u00ad\u00ad\u00ad\u043d\u044b\u0439 \u0441\u0432\u0435\u0442: C\u0442\u0438\u00ad\u00ad\u0445\u043e\u0442\u00ad\u00ad\u00ad\u0432\u043e\u00ad\u00ad\u00ad\u0440\u0435\u00ad\u00ad\u00ad\u043d\u0438\u044f<\/i>. St. Petersburg: Azbuka, p\u00a0165.<\/span><\/p>\n

27
Popolitov, Aleksandr = \u041f\u043e\u00ad\u00ad\u043f\u043e\u00ad\u00ad\u043b\u0438\u00ad\u00ad\u00ad\u0442\u043e\u0432, \u0410\u043b\u0435\u043a\u00ad\u00ad\u0441\u0430\u043d\u0434\u0440. ~1984-\u00ad\u00ad1990. [Personal diary entries].<\/span><\/p>\n

28
Elenskaya, Marina. 2013. Twilight Nation. Current Obsession<\/i>, Spring-S\u00ad\u00ad\u00adummer (1), p\u00a028.<\/span><\/p>\n

29
Popolitov, Aleksandr = \u041f\u043e\u00ad\u00ad\u043f\u043e\u00ad\u00ad\u043b\u0438\u00ad\u00ad\u00ad\u0442\u043e\u0432, \u0410\u043b\u0435\u043a\u00ad\u00ad\u0441\u0430\u043d\u0434\u0440.
~1984-\u00ad\u00ad1990. [Personal diary entries].<\/span><\/p>\n

30
A\u00a0fictional name by the author for an archetypal stone for manual artistic processing.<\/span><\/p>\n

31
Bauer, Sofia = \u0411\u0430\u00ad\u00ad\u0443\u044d\u0440, \u0421\u043e\u00ad\u00ad\u0444\u044c\u044f, ~1994, \u041f\u0440\u0430\u0437\u0434\u00ad\u00ad\u043d\u0438\u043a \u0432\u00a0\u0433\u043e\u00ad\u00ad\u0441\u0443\u0434\u0430\u0440\u00ad\u00ad\u00ad\u0441\u0442\u0432\u0435 \u00ad\u00ad\u043f\u043e\u0434 \u00ad\u00ad\u00ad\u043d\u0430\u00ad\u00ad\u00ad\u0437\u0432\u0430\u043d\u0438\u00ad\u00ad\u00ad\u0435\u043c \u00ab\u0410\u043f\u0440\u0435\u043b\u044c\u00bb, [Information about newspaper is missing<\/i>], [Newspaper scan].<\/span><\/p>\n

32
Veenre, Tanel. 2015. Handful<\/i>. Stuttgart: Arnoldsche, p\u00a022.<\/span><\/p>\n[\/et_pb_text][et_pb_code _builder_version=”4.13.1″ _module_preset=”default” global_colors_info=”{}”]