{"id":326,"date":"2014-12-24T00:07:22","date_gmt":"2014-12-23T22:07:22","guid":{"rendered":"http:\/\/www.jaanelken.com\/?page_id=326"},"modified":"2024-12-25T22:22:43","modified_gmt":"2024-12-25T20:22:43","slug":"about-elken-media","status":"publish","type":"page","link":"https:\/\/www.jaanelken.com\/?page_id=326","title":{"rendered":"About Jaan Elken in media"},"content":{"rendered":"<h3>Articles and media (selection)<\/h3>\n<ul>\n<li><strong><a href=\"http:\/\/www.jaanelken.com\/wp-content\/uploads\/2024\/12\/Newsletter-janvier-2025-1.pdf\">[In French] &#8220;Artist Jaan Elken at the exhibition The Atomic Age. Until February 9 in Paris&#8221; &#8211; newsletter from the French embassy<\/a>. &#8220;<em>The exhibition at the Mus\u00e9e d\u2019Art Moderne de Paris revisits the history of modernity in the 20th century through the imagery of the atom. The exhibition invites the public to explore the artistic representations sparked by the scientific discovery of the atom and its applications, in particular the nuclear bomb, the devastating consequences of which changed the destiny of humanity. By bringing together nearly 250 works (paintings, drawings, photographs, videos and installations), as well as often unpublished documentation, the exhibition shows, for the first time in a French institution, the very different positions taken by artists in the face of scientific advances and the controversies they give rise to.<\/em>&#8221; (own translation). <a href=\"https:\/\/www.mam.paris.fr\/fr\/expositions\/exposition-lage-atomique\">More information about the exhibition can be found here<\/a>.<\/strong><\/li>\n<li><a href=\"https:\/\/kultuur.postimees.ee\/8056181\/intervjuu-jaan-elken-kunstnikuametist-pensionile-ei-minda\">[In Estonian] Interview in Postimees: \u201cKunstnikuametist pensionile ei minda\u201d<\/a><\/li>\n<li><a href=\"https:\/\/kultuur.postimees.ee\/8046018\/galerii-jaan-elkeni-naituse-avamisele-kogunesid-varvikad-tegelased?\">[In Estonian] Postimees: \u201cJaan Elkeni n\u00e4ituse avamisele kogunesid v\u00e4rvikad tegelased\u201d<\/a><\/li>\n<li>[In Estonian] Interview Vikerraadio: <a href=\"https:\/\/vikerraadio.err.ee\/1609340051\/kajalood\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/vikerraadio.err.ee\/1609340051\/kajalood&amp;source=gmail&amp;ust=1728769771712000&amp;usg=AOvVaw2EYhI5pgll0wifFwbcW3CU\">https:\/\/vikerraadio.err.ee\/<wbr \/>1609340051\/kajalood<\/a><\/li>\n<li><a href=\"https:\/\/kultuur.err.ee\/1609358607\/jaan-elken-elame-sellisel-ajal-mil-ajaloo-meeldetuletamist-pole-liiast\">[In Estonian] ERR: Jaan Elken: elame sellisel ajal, mil ajaloo meeldetuletamist pole liiast<\/a><\/li>\n<li><a href=\"https:\/\/kultuur.postimees.ee\/8033435\/paint-it-black-maalilegend-lasi-uuel-naitusel-rocki-varvidel-louendil-mollata?\">[In Estonian] Postimees: PAINT IT BLACK! \u27e9 Maalilegend lasi uuel n\u00e4itusel rocki-v\u00e4rvidel l\u00f5uendil m\u00f6llata<\/a><\/li>\n<li>[In Estonian] NOBA: <a href=\"https:\/\/noba.ac\/et\/naitus\/jaan-elken-maalid-2001-2024\/\">JAAN ELKEN. MAALID 2001 \u2013 2024<\/a><\/li>\n<li>[In Estonian] NOBA: <a href=\"https:\/\/noba.ac\/et\/fotoreportaaz-viinistu-tunnigaleriides-avati-jaan-elken-naitus-maalid-2001-2024\/\">Fotoreportaa\u017e Viinistu T\u00fcnnigaleriides avatud Jaan Elkeni n\u00e4ituselt \u201eMaalid 2001-2024\u201c<\/a><\/li>\n<li>[In Estonian] <a href=\"https:\/\/kultuur.postimees.ee\/7484196\/jaan-elkeni-pandeemianaitus\">Aleksander Metsam\u00e4rt: Jaan Elkeni pandeemian\u00e4itus [Jaan Elkens pandemic exhibition], Postimees, 24.03.2022<\/a><\/li>\n<li>[In Estonian] <a href=\"https:\/\/kultuur.err.ee\/1160747\/harry-liivrandi-kunstisoovitused-tiit-paasuke-christian-ackermann-ja-jaan-elken\">Harry Liivrandi kunstisoovitused: Tiit P\u00e4\u00e4suke, Christian Ackermann ja Jaan Elken<\/a><\/li>\n<li>[In Estonian] <a href=\"https:\/\/www.ohtuleht.ee\/1017475\/haus-galeriis-avati-eksootiliste-tuhermaade-naitus-koha-malu-iii\">Haus galeriis avati eksootiliste t\u00fchermaade n\u00e4itus \u201eKoha m\u00e4lu III\u201c<\/a><\/li>\n<li><a href=\"https:\/\/www.sirp.ee\/s1-artiklid\/c6-kunst\/rahulik-ent-mojuv-alustus\/?fbclid=IwAR18HqHbKqMyfetnUO1TiTpy5gdNXpJJszezAHH0jAZUPeH-Als_B4-uL08\">[In Estonian] Juta Kivim\u00e4e: Rahulik, ent m\u00f5juv alustus,\u00a0 [quiet but impactful start], 14.06.2019<\/a><\/li>\n<li><strong><a href=\"http:\/\/kultuur.err.ee\/644056\/jaan-elkeni-naitus-lendab-ule-pakub-vana-head-maastikumaali-uues-kastmes\">Jaan Elkeni n\u00e4itus &#8220;Lendab \u00fcle&#8221; pakub vana head maastikumaali uues kastmes<\/a> [Jaan Elkens exhibition &#8220;Flying over&#8221; shows a reconceptualisation of landscape painting], 21.11. 2017, ERR\u00a0<\/strong><\/li>\n<li><strong>Ants Juske.<a href=\"http:\/\/ajakirikunst.ee\/?c=kunstee-numbrid&amp;l=et&amp;n=2014-3\"> Jaan Elkeni dialoog iseendaga<\/a> [Jaan Elken\u00b4s dialogue with himself]. kunst.ee 3, 2014, pp. 66\u201368.<br \/>\n<\/strong><em>Can we talk about Elken style? This would be a simplified approach. Yes, in an exhibition his blue-grey-white palette with the addition of some black (all this calls for the eye of an experienced psychoanalyst) is immediately recognisable. Yet in terms of content, he has made more than a fair share of of these U-turns. As he also said himself, by cutting up and remixing his work, Elken as a \u201estylistic nomad\u201c has, to an extent, personally produced \u201epalimpsests that transcends periods\u201c, almost as if assuming the role of time that flows. (p. 67).<\/em><\/li>\n<li><strong>Riin K\u00fcbarsepp. <a href=\"http:\/\/kultuur.postimees.ee\/2834233\/voorandusmeeleoludega-huperreaalsus\">V\u00f5\u00f5randusmeeleoludega h\u00fcperreaalsus<\/a> [Hyperreality in alienation]. Postimees 20, June 2014, p.15.<\/strong><\/li>\n<li><strong>Eero Kangor. <a href=\"http:\/\/www.sirp.ee\/s1-artiklid\/c6-kunst\/elkeni-tegelikkus-ja-tagasivaatelisus\/\">Elkeni tegelikkus ja tagasivaatelisus<\/a> [Elkens reality and retrospective]. Sirp 4, July 2014, p.10.<\/strong><br \/>\n[own translation] <i>Have Elkens paintings decoupled from reality as it is understood in the common sense? In his paintings you can view the\u00a0visual overload caused by\u00a0fragmentation, interaction and globalisation of reality, text and slogan noise. Elkens paintings portray an urban reality with the lyrical rap of tablet-mania and headphone culture. Instead of &#8220;hanging out&#8221;, skateboarding and graffiti he has chosen a white canvas with proper frames, pulled on a tracksuit, listened to music from his youth &#8211; that means, he has remained a painter.&#8221; (p. 10)\u00a0<\/i><\/li>\n<li><strong>Erkki Juhandi. <a href=\"http:\/\/www.sirp.ee\/s1-artiklid\/c6-kunst\/kunsti-puehitsus\/\">Kunsti p\u00fchitsus<\/a> [Sanctification of art]. Sirp 16, August 2013, pp.16\u201317.<\/strong><\/li>\n<li><strong>Riin K\u00fcbarsepp. <a href=\"http:\/\/tallinncity.postimees.ee\/1298062\/elken-teab-mis-on-malec-n\">Elken teab mis on Malec\u00f3n<\/a> [Elken knows what Malec\u00f3n is]. Postimees 12, July 2013, p. 12<\/strong><br \/>\n[own translation] <em>I am not sure if one can talk about a post-painting new wave of abstraction, or something entirely different with Elkens paintings. His work always shows a certain confrontation &#8211; &#8216;scenic&#8217; vs &#8216;linear&#8217;,\u00a0&#8216;baroque&#8217; vs &#8216;Renaissance&#8217;. This is of course in quotation marks, as his work does not lack in text. (&#8230;) In all case, Estonians who have not yet walked on Malec\u00f3n do not need to watch CNN, as reality has been delivered to their doorstep through art<\/em>&#8221; (p.12)<\/li>\n<li><strong>Tanel Veenre. <a href=\"http:\/\/epl.delfi.ee\/news\/kultuur\/jaan-elken-milleks-meile-jalgpall?id=65510452\">Jaan Elken: milleks meile jalgpall<\/a>? [Why do we need football? (interview with Jaan Elken)]. Eesti P\u00e4evaleht 10, January 2013, p. 14.<\/strong><\/li>\n<li><strong>J\u00fcrgen Rooste. <a href=\"http:\/\/maaleht.delfi.ee\/news\/maaleht\/kultuur\/jaan-elken-habenesin-oma-siberi-paritolu?id=65508784\">Jaan Elken: H\u00e4benesin oma Siberi p\u00e4ritolu.<\/a> [I was ashamed for my background from Sibir\u00a0(interview with Jaan Elken)]. Maaleht10, January 2013, p. 23.<\/strong><\/li>\n<li><strong>Eero Kangor. <a href=\"http:\/\/www.sirp.ee\/s1-artiklid\/c6-kunst\/kas-ainult-ekspressiivne-morbiidne-ja-dekoratiivne\/\">Kas ainult \u201eekspressiivne\u201c, \u201emorbiidne\u201c ja \u201edekoratiivne\u201c?<\/a> [Only &#8220;expressive&#8221;, &#8220;morbid&#8221; and &#8220;decorative&#8221;?]. Sirp 9, November 2012, p. 15.<\/strong><\/li>\n<li><strong>Riin K\u00fcbarsepp. <a href=\"http:\/\/kultuur.postimees.ee\/1034568\/maalikunst-votab-sona\">Maalikunst v\u00f5tab s\u00f5na<\/a>. [Painting speaks up]. Postimees 8, November 2012, p. 15.<\/strong><\/li>\n<li><strong>Rauno Thomas Moss. <a href=\"http:\/\/ajakirikunst.ee\/?c=kunstee-numbrid&amp;l=et&amp;n=2010-3-4\">Visuaalsemiootiline vaade Jaan Elkeni teosele<\/a> \u201ePoeem madratsile, nr 1\u201d [Visual semiotic approach to Jaan Elken\u2019s Poem for mattress, no 1]. kunst.ee 3 &#8211; 4, 2010, pp. 65\u201368.<\/strong><br \/>\n<em>While referring to Charles Sanders Peirce, one can say that this expressive painting surpasses the conventional. The artist has made a qualitative leap by changing all metaphors that remake of mattress could potentially symbolize in the current context of the art world. Therefore, I find that internel art processes are more important. Playing with alienations is important \u2013 and the game is honest and interesting<\/em>.(p. 68)<\/li>\n<li><strong>Juta Kivim\u00e4e. <a href=\"http:\/\/www.sirp.ee\/s1-artiklid\/c6-kunst\/jaan-elkeni-helged-veed\/\">Jaan Elkeni helged veed<\/a> [Jaan Elken\u2019s bright water].\u00a0 Sirp 24, September 2010, p. 12.<\/strong><\/li>\n<li><strong>Andri Ksenofontov. <a href=\"http:\/\/www.sirp.ee\/s1-artiklid\/c6-kunst\/halli-lahutamine\/\">Halli lahutamine<\/a> [Splitting grey]. Sirp 30, July 2010, p. 11.<\/strong><\/li>\n<li><strong>Mari Kartau. <a href=\"http:\/\/kultuur.postimees.ee\/182957\/elken-valab-isikliku-kehamalu-maalidesse-ja-ei-valeta\">Elken valab isikliku keham\u00e4lu maalidesse ja ei valeta<\/a> [Elken pours his personal body memory into paintings and doesn\u2019t lie].\u00a0 Postimees 3, November 2009, p. 15.<\/strong><\/li>\n<li><strong>Teet Veispak. <a href=\"http:\/\/kultuur.postimees.ee\/135403\/elkeni-tinglik-reaalsus\">Elkeni tinglik reaalsus<\/a> [Elken\u2019s conditional reality].\u00a0 Postimees 26, June 2009, p. 13.<\/strong><\/li>\n<li><strong>Ants Juske. <a href=\"http:\/\/epl.delfi.ee\/news\/kultuur\/jaan-elkeni-muutumised?id=51165108\">Jaan Elkeni muutumised<\/a>\u00a0[Changes of Jaan Elken]. Eesti\u00a0 P\u00e4evaleht 11, April 2009, p. 6.<\/strong><\/li>\n<li><strong>Rauno Thomas Moss. <a href=\"http:\/\/www.sirp.ee\/s1-artiklid\/c6-kunst\/kogudes-motteid-kogutud-teostest\/\">Kogudes m\u00f5tteid kogutud teostest<\/a> [Collecting\u00a0 thoughts on collected works]. Sirp 27, March 2009, p. 16.<\/strong><br \/>\n[own translation] <em>What can be found in Elkens paintings, is what can only be found in painting and music &#8211; both of these media are translated within through existing experiences. When Elken claims his work is not abstract, I agree. It is not, as any matter is illusory, in direct connection to our intellectual world. One is dependent on the other. The question then is whether we are able and willing to view our internal ugliness. Our torn self? The artist does not do anything to the viewer that the viewer already does not have within, i.e. painting cannot be unintelligible when we are not unintelligible. This is not a question of style, whether we can recognize the form of something on the painting or whether view an abstract composition. In this manner, Elken asks about the viewers about the \u00a0very existence of their being.\u00a0<\/em><\/li>\n<li><strong>Riin K\u00fcbarsepp. <a href=\"http:\/\/kultuur.postimees.ee\/59376\/poeet-jaan-elken-uurib-pintsli-abil-madratsite-saladusi\">Poeet Jaan Elken uurib pintsli abil madratsite saladusi<\/a> [Poet Jaan Elken investigates the secrets of mattresses with a paint brush]. Postimees 17, December 2008, p. 16.<\/strong><br \/>\n[own translation] <em>Elken still prefers graffiti in his paintings. As a transpop artist enjoying the interaction of\u00a0word and painting he still desires to write with the brush. &#8220;This kind of painter is often a poet, and words are always used for meaning&#8221; Eha Komissarov said in a rather prophetic manner about Elken in the 1990s.\u00a0<\/em><\/li>\n<li><strong>Ragne Nukk. Jaan Elkeni poeemid madratsile [Jaan Elken\u2019s poems for a mattress]. \u00c4rip\u00e4ev \/ Puhkep\u00e4ev 12-14, December 2008, p. 10.<\/strong><\/li>\n<li><strong>Eesti kunstnikud 3 \/ Artists of Estonia 3. Ants Juske. Jaan Elken. Slaidimaalist abstraktsionismi kaudu isiklike m\u00e4rgis\u00fcsteemideni. [From slide painting through Abstractionism to personal sign systems]. Kaasaja Kunsti Eesti Keskus, 2007, pp. 197\u2013205.<br \/>\n<\/strong><em>In the 1990s, his familiar blue-white abstract pictures were supplemented by graffiti-like texts. Elken himself described his choices as the secretive emergence of the textual level into his work &#8212; the graffiti in Elken\u00b4s paintings resembles Soviet scribblings on toilet walls, bus shelters and park benches. His texts increasingly contained copywriter witticisms from modern advertisments.<\/em>(p.199.).<\/li>\n<li><strong>Juta Kivim\u00e4e. <a href=\"http:\/\/www.sirp.ee\/s1-artiklid\/c6-kunst\/maalikunst-ei-vahenda-vaid-narratiivset-propagandat\/\">Maalikunst ei vahenda vaid narratiivset propagandat<\/a>\u00a0[Painting doesn\u2019t only mediate narrative propaganda (interview with Jaan Elken)]. Sirp 9, November 2007, p. 14.<\/strong><\/li>\n<li><strong>Riin K\u00fcbarsepp. <a href=\"http:\/\/kultuur.postimees.ee\/1720919\/elatud-majade-glamuurist-ehk-kusmaal-on-elken\">Elatud majade glamuurist ehk kusmaal on Elken<\/a> [Glamour of lived-in houses or how far has Elken gone]. Postimees 30, October 2007, p. 19.<\/strong><\/li>\n<li><strong>Ants Juske. <a href=\"http:\/\/epl.delfi.ee\/news\/kultuur\/jaan-elken-ja-korsakovi-sundroom?id=51102617\">Jaan Elken ja Korsakovi s\u00fcndroom<\/a> [Jaan Elken and Korsakov\u2019s syndrome]. Eesti P\u00e4evaleht 27, September 2007, p. 17.<\/strong><\/li>\n<li><strong>T\u00f5nu Kaalep. <a href=\"http:\/\/www.vikerkaar.ee\/index1.php?page=Arhiiv&amp;a_act=content&amp;a_number=192\">Kirjutav raadio. Jaan Elkeni pidurdamatu r\u00fcnnak<\/a> [Writing\u00a0 radio. Jaan Elken\u2019s relentless attack]. Vikerkaar 4 &#8211; 5, 2005, pp. 76\u201378.<\/strong><\/li>\n<li><strong>Leonhard Lapin. <a href=\"http:\/\/www.digar.ee\/arhiiv\/et\/perioodika\/97208\">Kirjutatud on<\/a> [For thus it is written]. kunst.ee 2, 2005, pp. 26\u201331.<br \/>\n<\/strong><em>When peering into affiliation of colour and form, and structure of the soul of Elken\u00b4s painitngs, as an artist, focusing attention on isolated letters, words of phrases, I imagine teams of critics tracing with a magnifying glass every readable letter on the surface of his painting. As a matter of fact, this artist has created a new, independent world. The painted texts are reminiscent, stylistically of the calligrams of the Far-East: a word, phrase or poem in which the handwriting or font used form part of the focus, a subtle mix drawing and writing \u2013 the black ink painting, an essential Aragon of painters of action painting.<\/em> (p. 31.).<\/li>\n<li><strong>Heie Treier. <a href=\"http:\/\/www.digar.ee\/arhiiv\/et\/perioodika\/97208\">Muinasjutt n\u00f5ukogude ajast <\/a>[The fairy tale about the Soviet time]. kunst.ee 2, 2005, pp. 32\u201343.<\/strong><\/li>\n<li><strong>Reet Mark. <a href=\"http:\/\/www.sirp.ee\/s1-artiklid\/c6-kunst\/alateadvuslike-hirmude-k-ttemaks\/\">Alateadvuslike hirmude k\u00e4ttemaks<\/a> [The revenge of unconscious fears]. Sirp 11, November 2005, p. 15.<\/strong><\/li>\n<li><strong>Andri Ksenofontov. <a href=\"http:\/\/www.sirp.ee\/s1-artiklid\/c6-kunst\/jalutusk-ik-tallinna-galeriides-8\/\">Kunstielamus<\/a> [Art experience]. Sirp 13, May 2005, p. 13.<\/strong><\/li>\n<li><strong>Ants Juske. Vanaduse ja n\u00e4rtsimise teema Elkeni moodi [Ageing and decline according to Elken]. Eesti Ekspress \/ Areen 12, May 2005, p. 13.<\/strong><\/li>\n<li><strong>Rainer Vilumaa. <a href=\"http:\/\/epl.delfi.ee\/news\/kultuur\/jaan-elkeni-panoptikum-galeriis-vivian-napp?id=51009713\">Jaan Elkeni panoptikum galeriis Viviann Napp<\/a> [Jaan Elken\u2019s panopticum at Viviann Napp Gallery]. Eesti P\u00e4evaleht 4, May 2005, p. 18.<\/strong><\/li>\n<li><strong><a href=\"http:\/\/www.sirp.ee\/s1-artiklid\/c6-kunst\/kas-ja-kuidas-kirjutada-asju-kunstiks\/\">Kas ja kuidas kirjutada asju kunstiks?<\/a> (Jan Kausi ja Jaan Elkeni vestlus) [Whether and how to write things into art? (Jan Kaus and Jaan Elken in conversation)]. Sirp 01, April 2005, p. 8.<\/strong><\/li>\n<li><strong>Harry Liivrand. Elkeniga tekstist [With Elken about text]. Eesti Ekspress\u00a0 \/ Areen 24, March 2005, p. 13.<\/strong><\/li>\n<li><strong>Anu Allas. Presidendi vastuv\u00f5tt [Presidental reception]. Eesti Ekspress \/ Areen 24, March 2005, pp. 12 &#8211; 13.<\/strong><\/li>\n<li><strong>Ants Juske. <a href=\"http:\/\/www.postimees.ee\/1464651\/elkeni-valjapeetud-pihtimused\">Elkeni v\u00e4ljapeetud pihtimused<\/a> [Elken\u2019s dignified confessions]. Postimees 14, March 2005, p. 15.<\/strong><\/li>\n<li><strong>Johannes Saar. <a href=\"http:\/\/epl.delfi.ee\/news\/kultuur\/teetanus-ja-kunstipisik-maalides?id=51005940\">Teetanus ja kunstipisik maalides<\/a> [Tetanus and art bacteria in paintings]. Eesti P\u00e4evaleht 14, March 2005, p. 14.<\/strong><\/li>\n<li><strong>Heie Treier. <a href=\"http:\/\/ajakirikunst.ee\/?c=kunstee-numbrid&amp;l=et&amp;n=2004-3\">Alandus ja \u00fclendus<\/a> [Contrite and exalted]. kunst.ee 3, 2004, p. 35.<\/strong><\/li>\n<li><strong>Mia Gr\u00f6nstrand. N\u00e4hd\u00e4 kauneutta siell\u00e4, miss\u00e4 muut eiv\u00e4t sit\u00e4 n\u00e4e [To see beauty there, where others don\u2019t see]. Uusimaa 25, August 2004, p. 7.<\/strong><\/li>\n<li><strong>Kadi Talvoja. <a href=\"http:\/\/www.sirp.ee\/s1-artiklid\/c6-kunst\/kes-muinasjutte-ei-usu-on-kaotanud-lapsemeelsuse\/\">Kes muinasjutte ei usu, on kaotanud lapsemeelsuse<\/a> [He who doesn\u2019t believe in fairytales has lost his childlikeness]. Sirp 2, July 2004, p. 18.<\/strong><\/li>\n<li><strong>Juta Kivim\u00e4gi. <a href=\"http:\/\/www.postimees.ee\/1421247\/jaan-elken-vaatab-tagasi\">Jaan Elken vaatab tagasi<\/a> [Jaan Elken looks back]. Postimees 30, June 2004, p. 15.<\/strong><\/li>\n<li><strong>Harry Liivrand. Venevastane Elken, new ageAnnus [Anti-russian Elken, new age Annus]. Eesti Ekapress \/ Areen 22, June 2004, p. 11.<\/strong><\/li>\n<li><strong>Andri Ksenofontov. <a href=\"http:\/\/epl.delfi.ee\/news\/eesti\/punase-elkeni-tulek?id=50967827\">Punase Elkeni tulek<\/a> [The coming of red Elken]. Eesti P\u00e4evaleht \/ Tallinn, no 26, 28, October 2003, p. 4<\/strong><\/li>\n<li><strong>Eha Komissarov. <em>\u201cOn the Estonian Paintings of the 1990s\u201d, <\/em>Nosy Nineties, Problems, Themes and Meanings in Estonian Art on 1990s, 2001, pp. 87\u2013102.<br \/>\n<\/strong><em>Elken is a rare artistic personality who has been inspired by such things as samples of urine and blood. Who takes ugly scenes as his subject matter. His interventions into the surrounding reality, his environmental contsern, his emphasis of ugliness, etc. link him to art innovation, at least in his paintings we can discern the direct transfer of new artistic strategies. If there was anyone in the 1990s traditional painting context who thought of expanding the boundaries of painting it was Elken. <\/em>(p.101.).<\/li>\n<li><strong>Eha Komissarov. From the foreword for the Quiz Game exhibition at the Vaal Gallery, 2001)<\/strong><br \/>\n<em>Elken\u2019s positions regarding memory are fundamental and the product of a long process of self-exploration&#8230;it is not possible to erase anything from one\u2019s memory. In this case, memory is figuratively equivalent to a shelf or a database, where one needs only to stick one\u2019s hand in a compartment to grasp the entire file in hand. An incident from the past with its accompanying feelings, odours, fears and other such sensations. Elken has very skilfully accounted for.the fact that the perception of time within us changes constantly. The role of the public is not at all to merely enjoy old jam. Collage-like paintings represent various fixed moments and the past and present overlap as equal parties.&#8212; Elken calls his manner of narrating discovered in recent years \u201cwaste-free technology\u201d. Waste refers to the artist\u2019s old paintings that start to appear strange alongside Elken\u2019s newer techniques. Different parts of pictures are put together and Elken compares this stage to film-like parallel editing. Here reference is apparently being made to the film-like frame from the subconscious where flashes in the contemporary language of painting and graffiti are projected onto what has taken place in the past<\/em>.<\/li>\n<li><strong>Harry Liivrand. <a href=\"http:\/\/ajakirikunst.ee\/?c=kunstee-numbrid&amp;l=et&amp;n=2001-4\">Elkeni linnalik m\u00fctopoeetika<\/a> [Elken\u2019s urban mythologypoetic imagery]. kunst.ee 4, 2001, pp. 28 &#8211; 29<\/strong>.<br \/>\n<em>&#8212; The result could in this case remain rather eclectic and generic if Elken, in addition to working out a specific, intuitive language of painting, did not connect the story line (if one can speak of a story line at all in Elken\u2019s works) to the local everyday mythology and to colours and symbols that are directly associated as signs of the communist past in social consciousness internationally. To this day, the detested soviet era and its obscene anarchistic symptoms that still remain in today\u2019s urban space serve as the basis for Elken\u2019s mythology.&#8212; Although Elken still poeticises metropolitan loneliness, his new urban space is now a billboard for aggressive verbal messages. The danger of figurative overloading and in summary a certain hermeneutic emptiness always stalks poly-stylistic paintings that are filled with as many semiotic meanings as possible, especially if the themes of the works tend to repeat (let us not forget that Elken\u2019s paintings also work as rhetorical verbal texts). Elken, however, almost always knows how to turn negatively marked eclectics into message bearers with a positive meaning, leading the viewer to believe that the salvation of the art of painting in the multimedia age lies in the cumulative effect of the abstraction of realistic themes, the tremendous emotional force of colour, and powerful imagery &#8211; regardless of how old-fashioned this may sound.<\/em> (p. 29.).<\/li>\n<li><strong>Anders H\u00e4rm. Kaotatud (h\u00fcper?)reaalsus: Elkenist antropoloogi pilguga [Lost \/ hyper reality (?): concerning Elken from an anthropologist\u2019s point of view]. kunst.ee 1, 2001, pp. 12\u201314.<\/strong><br \/>\n<em>&#8212;Looking from the present techno-Tallinn back to Elken\u00b4s urban lyrics of the late 1970s and 1980s, his paintings serve (in as least a hyper-realistic and nostalgic manner as possible9 as dark reminders of a lost reality. When the Estonian National Museum or Museum of Occupationopens a retro-room of the 1980s and Wunderkammer, then the art museums could surely deposit their \u2019Elkens\u2019 there. The prohibition signs painted by Elken (together with gazirovka machines, productions of reklaamfilm, movies and mirror balls, the yellow \u2019Ikarus\u2019 bus (made in Hungary), \u2019Georg Ots\u2019 ferry and Kopli hotel) would create a perfekt picture of the said absurd Deade of Soviet urban and mass-culture, its attributes and aesthetics, desires and passions. Almost certain nobody has painted the urban atmosphere of Athose times more passionately and more consistently than Elken.<\/em> (p. 14.).<\/li>\n<li><strong>Ants Juske. <a href=\"http:\/\/kultuur.postimees.ee\/1900803\/jaan-elkeni-malu-sonas-ja-pildis\">Jaan Elkeni m\u00e4lu s\u00f5nas ja pildis<\/a> [Jaan Elken\u2019s memory in text and pictures]. Postimees 1, November 2001, p. 19.<\/strong><\/li>\n<li><strong>Johannes Saar. <a href=\"http:\/\/epl.delfi.ee\/news\/kultuur\/maalitud-motted-mahavaikitud-minevikust?id=50811025\">Maalitud m\u00f5tted mahavaikitud minevikust<\/a> [Painted thoughts about a hushed-up past]. Eesti P\u00e4evaleht. 31, October 2001, p. 16.<\/strong><\/li>\n<li><strong>Heie Treier. Mehe vaatenurk [Man\u2019s point of view]. Eesti Ekspress \/ Areen 16, October 2000, p. 10.<\/strong><\/li>\n<li><strong>Kiwa. N\u00f5ukogude Zen Hyperreaalsus [Soviet Zen Hypereality]. Postimees 6, October 2000, p. 15.<\/strong><\/li>\n<li><strong>Kadi Talvoja. <a href=\"http:\/\/www.sirp.ee\/archive\/2000\/03.11.00\/Kunst\/kunst1-2.html\">Elkeni kompromissid <\/a>[Elken\u2019s compromises]. Sirp 3, October 2000, p. 12<\/strong><\/li>\n<li><strong>Ants Juske. Presidendist h\u00fcperrealist. Jaan Elkeni postsotsrealism [President as hyper-realist. Jaan Elken as post-socialist realist]. Eesti P\u00e4evaleht 3, October 2000, pp. 13, 21.<\/strong><\/li>\n<li><strong>Juta Kivim\u00e4e. Keha keemiast \u2013 post festum. [About body chemistry -post festum]. Postimees 25, April 2000, p. 14.<\/strong><\/li>\n<li><strong>Jan Kaus. <a href=\"http:\/\/www.sirp.ee\/archive\/2000\/20.04.00\/Kunst\/kunst1-4.html\">Keha puudumine<\/a> [Absence of the body]. Sirp 20, April 2000, p. 9.<\/strong><\/li>\n<li><strong>Mari Sobolev. Lahkamistulemused publikule teatavaks [Autopsy results announced to the public]. S\u00f5numileht 7, April 2000, p. 12.<\/strong><\/li>\n<li><strong>Tiit Tuumalu. Rohkem kunsti. Intervjuu Jaan Elkeniga [More art. Interview with Jaan Elken]. Arter 27, November 1999, pp. 16 &#8211; 17.<\/strong><\/li>\n<li><strong>Juta Kivim\u00e4e. Jaan Elkeni teated tegelikkusest [Jaan Elken\u2019s messages\u00a0 from reality]. Vikerkaar 1 &#8211; 2, 1998, pp. 55\u201357.<\/strong><\/li>\n<li><strong>Kiwa. Banaalsuse dekadentlik v\u00f5lu [Decadent appeal of banality]. S\u00f5numileht 22, May 1998, p. 19.<\/strong><\/li>\n<li><strong>\u00a0Kaire Nurk. Elkeni dialoog enesega Ameerika valguses [Elken\u2019s dialogue with himself in the light of America]. Postimees 22, May 1998, p. 16.<\/strong><\/li>\n<li><strong>Rainer Vilumaa. Elken otsaga Ameerikast tagasi [Elken back from America]. Eesti Ekspress \/ Areen 22, May 1998, p. 16.<\/strong><\/li>\n<li><strong>Eha Komissarov. Elkeni Ametroopia Vaalas. (Uudised) [Elken\u2019s Ametropia at Vaal Gallery \/ news]. Sirp. 8, May 1998, p. 5.<\/strong><\/li>\n<li><strong>Ants Juske. Maalikunsti uus trend s\u00fcveneb [New trend in painting deepens]. Eesti P\u00e4evaleht 7, May 1998, p. 8.<\/strong><\/li>\n<li><strong>Reet Varblane. Maalikunst ja tegelikkus [Painting and reality]. Sirp 14, November 1997, p. 9.<\/strong><\/li>\n<li><strong>Harry Liivrand. Kaunitar ja koletis [Beauty and the beast]. Eesti P\u00e4evaleht. 6, November 1997, p. 7.<\/strong><\/li>\n<li><strong>Johannes Saar. Teateid tegelikkusest [Messages from reality]. Postimees 31, October 1997, p. 19.<\/strong><\/li>\n<li><strong>Agur Kruusing. Tegelikult Jaan Elken [Actually Jaan Elken]. L\u00e4\u00e4ne Elu 12, August 1997, p. 4.<\/strong><\/li>\n<li><strong>Rainer Vilumaa. Teistmoodi tegija [A different kind a maker]. S\u00f5numileht 11, July 1997, p. 14.<\/strong><br \/>\n<em>&#8212;You might believe that artist, who previously produced hyperrealist urban visions has now started to tread a more abstract path. But this is just sleight of hand \u2013 the change in reality merely reveals a change in focus. The areas of colour on the paintings are nothing more than the crumbling plaster and peeling paint on a wall with official advertising all jumbled up with posters and unofficial and illegal information in the form of graffiti and scribblings. And since he uses spray paint for his graffiti then this can be nothing else but realism. <\/em>(p. 14.).<\/li>\n<li><strong>Juta Kivim\u00e4e. Jaan Elkeni teistmoodi tegelikkus [Jaan Elken\u2019s other reality]. Eesti P\u00e4evaleht 1, July 1997, p. 8.<\/strong><\/li>\n<li><strong>Katrin Kivimaa. All you need is \u2026 Kultuurileht 19, April 1996, p. 6.<\/strong><\/li>\n<li><strong>Kreg A-Kristring. Jaan Elken \u2013 kontra v\u00f5i\u2026 [Jaan Elken \u2013 contra or\u2026]. Kultuurileht 10, November 1995, p. 9.<\/strong><\/li>\n<li><strong>Harry Liivrand. Murdeealine Elken [Teenage Elken]. Eesti Ekspress \/ Areen 10, November 1995, p. 7.<\/strong><\/li>\n<li><strong>Jaak Olep. \u00d5htupoolik Jaan Elkeniga [An afternoon with Jaan Elken. Interview]. Eesti Aeg 2, June 1993, pp. 18\u201319.<\/strong><\/li>\n<li><strong>Ants Juske. Jaan Elken enne ja n\u00fc\u00fcd [Jaan Elken then and now]. Sirp 16, October 1992, p. 22.<\/strong><\/li>\n<li><strong>Evi Pihlak. Muutuv ja muutumatu Jaan Elken [Changing and unchanging Jaan Elken]. Reede 20, April 1990, p. 9.<\/strong><br \/>\n&#8212;<em>The former hyper-concrete motifs have been replaced by spontaneously dynamic compositions mostly with abstract structure. If you linger among the paintings for a bit longer, an artist\u2019s face starts to appear, revealing a resemblance to the earlier one. A new direction is evident, but the artist has not completely rejected the essence of his former work either. First of all, we recognise the element of Elken in the colour scheme. His favourite colour has always been blue, from blackish depths to whitish-grey nuances. Yellowish contrast tones make the generall colour-scale livelier. The combinations have become more sensitive and varied as compared to earlier times. Familiar aspects include the long, energetic brushstrokes running the length of canvas like intersecting furrows<\/em>. (p. 9.).<\/li>\n<li><strong>Mart Kalm. Valgelt j\u00e4ised pildid [White frozen pictures]. Noorte H\u00e4\u00e4l 12, December 1985, p. 2.<\/strong><br \/>\n<em>&#8212; The City is for him deserted, in sombre coolness. There is no-one in the ports and on the ships, only splash of white icy foam and the horrible shroeks of sea-gulls. <\/em>(p. 2.).<\/li>\n<li><strong>Evi Pihlak. Igap\u00e4evane linn [Everyday town]. Kodumaa 11, December 1985, pp. 1, 4.<\/strong><\/li>\n<li><strong>Jaak Olep. Keskkonnahuvi [Environmental interests]. Noorte H\u00e4\u00e4l 22, August 1982, p. 2.<\/strong><\/li>\n<li><strong>Jaak Olep. Kunstisalongis [In the art salon]. Sirp ja Vasar 23, May 1980, p. 8.<\/strong><\/li>\n<li><strong>Jaak Olep. Jaan Elkeni kiindumus [Jaan Elken\u2019s devotion].\u00a0 Noorus no. 10, 1980, pp. 14\u201316.<\/strong><\/li>\n<\/ul>\n<h3>Film<\/h3>\n<p>Jaan Elken\u2019s another reality. Director Rein Raamat, scenarist Linda Elken. 30 min, RaamatFilm, 2000<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Articles and media (selection) [In French] &#8220;Artist Jaan Elken at the exhibition The Atomic Age. Until February 9 in Paris&#8221; &#8211; newsletter from the French embassy. &#8220;The exhibition at the Mus\u00e9e d\u2019Art Moderne de Paris revisits the history of modernity in the 20th century through the imagery of the atom. The exhibition invites the public &#8230; <a class=\"read-more\" href=\"https:\/\/www.jaanelken.com\/?page_id=326\">Read more&#8230;<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"spay_email":"","footnotes":""},"class_list":["post-326","page","type-page","status-publish"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P5v8P2-5g","_links":{"self":[{"href":"https:\/\/www.jaanelken.com\/index.php?rest_route=\/wp\/v2\/pages\/326"}],"collection":[{"href":"https:\/\/www.jaanelken.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.jaanelken.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.jaanelken.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.jaanelken.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=326"}],"version-history":[{"count":23,"href":"https:\/\/www.jaanelken.com\/index.php?rest_route=\/wp\/v2\/pages\/326\/revisions"}],"predecessor-version":[{"id":1436,"href":"https:\/\/www.jaanelken.com\/index.php?rest_route=\/wp\/v2\/pages\/326\/revisions\/1436"}],"wp:attachment":[{"href":"https:\/\/www.jaanelken.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=326"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}