It’s a pity I cannot attach a soundtrack to an article as Spiegel im Spiegel or Für Alina by Arvo Pärt would provide the perfect accompaniment. Upon landing in Tallinn, travellers are greeted by those subtle instrumental pieces by the Estonian artist. The sounds resonate in the arrival hall, reflecting the spirit of the local landscape – tranquil, mystical, and deeply contemplative. The window overlooks Lake Ülemiste, a eutrophic body of water known by locals from legends about the domination of natural forces over man.
It is impossible to miss the capital city and the lake, where one of Estonia’s foundational myths originated – a story that reflects the connection between Estonian nature, myths, and artistic practice, still actively explored by local creators. No wonder musicians like Pärt and visual artists often draw inspiration from this symbolism and history. Much like storytelling rooted in legends and spoken word, it plays a crucial role in shaping the modern artistic horizon of the country. This relationship is worth highlighting, especially since this year all roads lead not to Tallinn but to Tartu – the European Capital of Culture 2024.
The University of Tartu is one of Estonia’s key academic and scientific institutions. With departments spanning the humanities, social, natural, and technical sciences, it consistently ranks among the world’s top research and education centres. Its alumni list includes Nobel Prize winners, renowned scientists, and esteemed artists. The University also hosted the finale of the MagiC Carpets project – an international platform supported by the Creative Europe programme that connects 17 art organisations. In partnership with Tartu 2024, the platform, tied to residency programmes engaging artists from around the world, could only have been presented in the local context. This year, Estonian mythologies were intertwined with other stories told by the team of curators and artists participating in the MagiC Carpets final event.
The highlight of the finale, titled Superorganism, showcased an interesting curatorial strategy. In addition to the public exhibition (open 18 October – 23 November), it featured a one-day symposium on inclusive art, Symposium in Three Acts (19 October), and an extensive printed publication, Storybook, which documented the knowledge accumulated over years of the platform’s activity. Superorganism was more than a presentation of final results – it represented a years-long, collaborative creative process that guided the development of emerging artists, curators, and institutions.
Superorganism, as well as the MagiC Carpets platform, draw inspiration from One Thousand and One Nights, particularly the tale of Aladdin and his magic carpet – a symbol of boundless journeys in the cultural, geographical, and intellectual landscapes. A belief that art can catalyse change and be a tool for building lasting relationships between people is the foundation on which the project was built and another fable-based narrative that helps spectators grasp the significance of storytelling. The artistic residencies organised through the MagiC Carpets project created opportunities for collaboration between artists and curators. While by engaging with local communities, it transcended conventional art-making to draw attention to the alliances and friendships made along the way.
The title Superorganism was personified in the curatorial statement, transforming the concept into an autonomous character that embodies both the shadows and the glories of artistic creation. The Storybook explains that this figurative narrative allowed the viewer to navigate the space of the exhibition at the Aparaaditehas art hub:
“I have, in my mind’s eye, an image of myself. My legs are many, my head drifts upwards to the skies, never to return to my body. But I still feel it. I understand the system composed of dust and stimuli, sent to my wandering mind. I have heard the stories of myself from the many mouths within me, woven again and existences. Some say I can never be the same; some say I never really change. And I can see another creature living near me, made of many, just like me. I am within it, but somehow apart, always invited, wanting to join, never really doing so completely. In these moments I ask the parts of me: ‘What do our patterns or mistakes say about us, my many brains, about the identity of a being we are or want to become?”
The curatorial methodology can be understood through the fable-like metaphor that evolves with each residence and exhibit. Just like a book taking a reader through different chapters while revealing new characters, twists, and observations, through Superorganism, the curators created a living and breathing story of the Superorganism. Its parts can be found in the rooms of the Aparaaditehas, in symposium conversations, and on the printed pages of the Storybook.
Rooted in the exchange of knowledge, adaptability, and collaboration, the Superorganism project emphasised flexibility and responsiveness to new environments. These qualities form the foundation of the curatorial concept, making its methodology especially worth examining. At its core is Story Art, the belief that art thrives when it is nourished by multiple voices and shared experiences. Co-creation, which takes place at various levels, is key in this context. Superorganism was curated by 17 people and consisted of 3 project elements (exhibition, symposium, and publication). It brought together the voices of 323 artists, told stories of 21 collaborating organisations, and encouraged the participation of numerous communities. The residencies played a central role in this co-creation process, offering artists time and space to work in new environments. This approach highlighted the artist’s role as a listener and participant, someone who steps outside their studio to shape and even create reality. Without rigid frameworks and pre-established notions, artists were free to be flexible, allowing their processes to be fluid and evolving.
The art presented in the exhibition in Tartu, inspired by the described methods, engages the Estonian legends that explore the relation between man and nature, addressing the pressing need for connection, mutual understanding, and collective action in today’s uncertain times. And just as the world of One Thousand and One Nights was a rich tapestry of intertwining stories and characters, Superorganism as a concept encourages us to view art as an ecosystem in which each story and element plays an integral and crucial role.
Written by Paulina Brelińska-Garsztka
MagiC Carpets is a Creative Europe platform led by Kaunas Biennial (Kaunas/Lithuania), uniting 17 European cultural organisations. The platform creates opportunities for emerging artists to embark on journeys into new countries and cultures, and to create through their residences together with local artists and local communities new works that highlight local specificities. Their artworks not only create new narratives but also enhance cultural accessibility, cultural activism, and participation.
Artists participating in the show: Laura Adel (Poland), Luca Bitchikashvilli / Lucrezia (Georgia), Janko Bozovic (Serbia), Carmen Brucic (Croatia), Mary Conroy (Ireland), Thomas Durand (France), Fernando Ferreira (Portugal), Barbara Gryka (Poland), Anica Huck (Germany / Italy), Modesta Jakeliūnaitė (Lithuania), Agata Konarska (Poland), Gary Markle (Canada / Estonia), Elīna Matvejeva (Latvia), Morra Ceramics (Anastasia Vishynakova and Yana Guselnikova) (Ukraine), Sunny Nwume (Nigeria / Italy), Open Place (Yuriy Kruchak and Yulia Kostereva) (Ukraine), Paprat Kolektiv (Iva Peručić and Maja Subotić) (Croatia), Laura Põld (Estonia), Pauline Rouet (France), Sandro Sulaberidze (Georgia), Berta Tilmantaitė (Lithuania), Malin Tivenius (Sweden), Siniša Tucić (Serbia), Elena Urucatu (Romania), Anna Zvyagintseva (Ukraine).
Read more on the MagiC Carpets website.
