Voitka Brothers related Voitka Group at Tallinn’s Konstanet
In November we wrote about the experimental space Konstanet in Tallinn, which stands in a space hovering somewhere between the digital and the material. From December 16 until January 16, Konstanet will present its next exhibition – works by the Voitka Group. What is the Voitka Group, and how does its work deal with Konstanet's specificity? – we posed three questions to the artists.
What should people know about the Voitka Group and its work?
The Voitka Group relates to the the Voitka Brothers – they escaped from society and disappeared for 13 years in the Forest of Viljandi County in Estonia, in 1986.
What is the main concept behind this exhibition?
Our work is Konstanet-specific, but not in physical terms. We think it is important to talk about the context of this space. Konstanet is a self-initiated and self-supported platform, and therefore fits perfectly into the discussion in the Western art world about new ways of artistic production and the possibilities to withdraw from the hegemonic market and institutions. However, Konstanet remains an outsider in Estonia – a place where the main concerns are the issue of the “unpopularity” of Estonian art both locally and internationally, and the lack of a market for art.
Konstanet does not have openings, does not count visitors, and neither sells nor buys. Because of its position in the margins – in an already fairly marginalized country from the perspective of the art world – Konstanet almost disappears. With “Konstanet Talks”, we want to address this idea of disappearing, or withdrawal. How does an artistic life in the shadows work? And, paradoxically, why is there always the urge for recognition?
We do not produce new ideas, but highlight an alternative. We vote for art beyond institutions and the market; we don't provide any products besides knowledge, and we share our research on artists who are either working in the margins, or that have succeeded in retreating completely.
What is the environmental/spatial solution for this exhibition at Konstanet?
We did not make use of the physical construction made by Epp Õlekõrs, the coordinator of the Konstanet space; instead, we exploited the contextual narrative that Konstanet finds itself in. The work exists in the form of a website.