Two Close Ones
	Tiina Sarapu

	The international 4th Tallinn Applied Art Triennial* titled Two Close Ones took place from 18 March to 21 May 2006 at the Estonian Museum of Applied Art and Design. The undertaking has grown out of the previous applied art triennials of the Baltic countries, but together with the changed political and economic situation, the functions and meaning of applied art, so triennial itself has changed as well. This triennial focused on how the artist relates to an item or a wider environment designed before and created by human hand. We are, after all, dependent on what lies around us and what has already been produced. The impact of this relationship on an artist's work, examining its character and mapping the situation at the moment can be regarded as the main aims of the triennial. In addition to the main work, the triennial's concept expected the pictorial presentation of the source of inspiration chosen by the artist. In order to relate to many different works and creators, the picture supplemented significant and interesting information, which enabled to examine vastly diverse stories and worldviews within the large exhibition. It should be mentioned that the design of the exhibition (3+1 Architects) in every way assisted the principal idea of the triennial and made it possible to 'read' the works easily.
	The topic of the triennial had attracted more than three hundred artists from 27 countries. The jury chose 110 works for the main display. As expected, the works sent to the triennial revealed an extensive range of starting points and opinions. The artists were influenced by the mundane world in its essential diversity, relying on most trivial mass products, old and rare achievements of art and handicraft, as well as the architectural environment. Many had been drawn to retro-flavoured and bourgeois accessories that instilled a sense of security (lace collars, embroidered home textiles etc). Besides and simultaneously with socially sensitive and critical opinions, the dominating approach was personal and sensitive as expected - often humorous or nostalgic, carried by respect and admiration for the technical realisation and survival of an old work/object.
	The awarded triennial works also represent these different approaches: Grand prix - MUKI (Kersti Laanmaa & Tiit Rammul) Animal Love, two second awards - Caro Bärtling's Napkin-Collar no 1 and Piret Valk's Power of the Earth, the Museum's purchase award - Kristiina Uslar's Data Turbine. The guest of honour at the triennial was the renowned English jewellery artist Wendy Ramshaw who displayed six works from the large series Picasso's Ladies. The artist had been busy with this work, with intervals, ever since 1989. The sources of inspiration of the series are postcards of Pablo Picasso's paintings and sketches depicting women. Various other events took place within the framework of the triennial. Satellite exhibitions in smaller galleries, seminar at Kumu Art Museum and an exciting day of introducing the artists at the Museum of Applied Art and Design. The material world will benefit from this undertaking which touched upon the borders of applied art by way of a splendid catalogue - no doubt an interesting read in years to come. Relying on the opinions of the participants, the audience and the organisers, the triennial can be regarded as a success. The topic examining artist, environment and time, being at the same time quite wide, brought together many brilliant works and ideas. Hopefully we can look forward to the next Tallinn Applied Art Triennial in 2009 that would relate to the changed time. * See also www.trtr.ee Tiina Sarapu (1971), glass artist, docent at the glass art department at the Estonian Academy of Arts, member of the Estonian Glass Artists' Union and Tallinn Applied Art Triennial Society.
	| Estonian Art 1/06 (18) | Published by the Estonian Institute 2006 | ISSN 1406-5711 (Online) | ISSN 1406-3549 (Printed version) | einst@einst.ee | tel: (372) 631 43 55 | fax: (372) 631 43 56 |