The Veston is part of the installation „Forever Blur“ by Emma Tholot. It is a place of magic and (re)claiming power: symbolic, collective, individual and political. The artistic work becomes a work of memory in motion, permeated by reuse, ambiguities and resonances.
The installation revolves around a system of transfers, folds and metamorphoses: wax, costumes, masks, altars or deposits become conduits for the circulation of gestures and presences. These fragments function as transitional surfaces between the body, ritual and image. The work is rooted in a dynamic of reactivation, where forms, traversed by collective narratives and contemporary political imaginaries, question relationships of power, visibility and survival.
Referencing traditional depictions of medieval manuscript scribes and illuminators, “The Illuminator” plays with the idea of those who produced books as the original “content creators,” particularly in the wake of Gutenberg’s press, which in its own way marked the beginning of mass media and its eventual oversaturation. Both inspiring and, perhaps, the beginning of the seemingly doomed state of the world as we know it, the naive-looking character is drenched in an anxiety of impending apocalypse, illuminating the mark of bookmaking on the history of humanity.
Made in tandem with “Cradlecodex42”, a scagliola inlay piece that reconstructs the Gutenberg 42-line Bible, the first printed book of the West. Both works by Dzelde Mierkalne were originally exhibited in the 19th Tallinn Print Triennial in 2025.
„Sun on the Bridge“ is part of an imagined landscape. In his artistic practice, Jiaqing Li focuses on the relationships between formal structures, linguistic systems, and logical generative processes. Through digital modeling and material translation, he develops visual modules and views his works as intersections within a linguistic system — not as isolated images or singular events.
His approach is rooted in the traditions of structuralism and semiotics. His work focuses on the logical development of forms and their historical significance. Against the backdrop of a contemporary art scene increasingly characterized by a tendency to withhold judgment and by institutional mechanisms, he seeks to revitalize the systematic and critical dimensions of artistic language.
