Subjective Atlas of the European Union, from an Estonian point of view

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SUBJECTIVE ATLAS OF THE EUROPEAN UNION FROM AN ESTONIAN POINT OF VIEW

Students Estonian Academy of Arts and Annelys de Vet Tallinn, October 2004



Table of contents

5

08 Preface Kristjan Mändmaa

10 Introduction Annelys de Vet

12 Estonia and Europe, a subjective elevation Tõnu Kaalep

18 European_Union Kristjan Jagomägi

20 Organisations that Republic of Estonia is member of Igor Hobotov

22 Subjective historical rhyme Igor Hobotov

24 Estonia Grete Gutmann

26 EU standars Kadri-Maria Mitt Margo Niit Rain Saavel Anu Vahtra

38 Flags of the EU countries sorted by color Koit Randmäe

42 Europe from an extraterrestrial point of view Ivar Lipp Koit Randmäe Silver Seeblum

44 Internet usage in the EU Ingvar Meen

46 www.24x7.ee Daniel Kotsjuba


6

Table of contents

48 EU Numberplates Erko Rundu

50 Dilemma Erko Rundu

52 I love to die in EU Marek Tihkan

54 Beer per EU citizen per year Kaarel Nõmmik Väino Õun

56 Imagining the EU countries Mikk Heinsoo

60 Disposition of EU countries Samuel Vincent Paal

62 Visiting countries / Visited countries Ruuduu Remmelbas Helene Vetik

64 Carrying Europe Sonja Apunnikova Irina Kljujeva Sandra Kossorotova Marina Ottmaa

72 The DJ’s that I remember Daniel Kotsjuba

73 The most known Europeans Mikk Heinsoo

76 Lift to Europe Eerik Kändler

78 Estonian Academy of Arts official student Exchange Igor Hobotov


Table of contents

7

80 Estonia in comparison Jaan Evart Sirkel Indrek Anton Koovit

92 Room 119B, Estonian Academy of Arts Anu Vahtra

98 Interview Kristjan M채ndmaa Annelys de Vet

102 Index of portraits 108 Glossary

110 Bibliography

111 Colophon


8

Kristjan Mändmaa Designer and design teacher

Preface

Welcome to Subjectivity! The book you are holding in your hands is the result of a workshop at the Estonian Academy of Arts. A group of Estonian students together with the Dutch designer Annelys de Vet were confronted with a seemingly impossible task of finding something exciting in such an abstract and un-cool subject as EU. After all, what more could there be to say about it? Over the past few years, “European Union” has probably been the most repeated phrase in the media and politics of our newly accessed country. Makes one sort of numb to hear it again. Yet, there is a small but important detail to be noticed: the people exploring the subject so far have mostly tried to be objective – attempted to look at the big picture. When one makes a generalisation, it is only natural to omit the details. This is even easier to happen when talking about the noble values the EU supposedly represents: freedom, culture, cooperation. There is a world to say for objectivity and political correctness, yet they have one major flaw – they are hopelessly uninvolving. That is why I think the atlas you hold in your hands is extremely important. Within it’s few pages of student work lies a serious breakthrough. To my knowledge, it is the first attempt to do what the title of the book says: to observe European Union from the Estonian point of view SUBJECTIVELY. For the first time the view on things is personal, human, fresh, honest, exciting, un-hypocritical. For the first time the EU becomes the business of the people or rather the business of the persons.


Preface

9

For that’s what the EU is made of – millions of small universes of it’s people. Each sees things differently. I’m quite convinced that only by becoming aware of these subjective views, by not omitting the details but embracing them, we can create a credible picture of the EU we live in. On the following pages, Europe ceases to be an abstract, elusive idea. It becomes smaller, closer, reachable. It is only student work, done in barely two weeks of time. Yet, the result convinces us: It’s possible to be involved. Enjoy the atlas!


10

Rorschachtest European Union 2004


Introduction

Annelys de Vet Graphic designer

11

Everything used to be different, and will be, tomorrow. The subjective ‘Atlas of the European Union, from an Estonian point of view’ is a compilation of current thougths and views of more than thirty young designers, or ‘image-makers’, who are trained to make complex information transparent. They have used their own stories to create new images. I’m convinced of the need of creating personal images of and for Europe. The EU as such is intangible, the information produced too abstract. Of course there is not one single image of Europa. It’s outlook is an everchanging and endless collection of images. The EU is not just the administrators in Brussels or the politicians in Strasbourg. It is ‘us’, you and me, and so many others. The true Europe is based on culture. Different cultures, subcultures, old and new cultures. And to feel attached to our own culture and the one of others we need to distinguish and preserve the differences. Let’s tell each other what we think, who we are and what we’re like. We have to retell the stories over and over again, construct new narratives. Not in order to change, but to be able to exchange our alternating perceptions of cultural concepts, and to stay at a safe distance of the magnetic fields of mass media.


12

ESTONIA AND EUROPE, A SUBJECTIVE ELEVATION (architectural term) TĂľnu Kaalep Graphic designer and critic

I have no information of how much of architectural drawing is taught in EU schools. In Soviet high schools, drawing of the elevations of different buildings and objects was considered one of the most important classes. A depiction on an object from three different angles is an agreed-upon description that should allow us to copy the original or at least understand it better. I’ll make an attempt now to describe the EstonianEU relations using the same kind of method: three points of view originating from different angles. The angles are of the generational nature. My aim is not to create a technical, scientific drawing, but to offer the purest subjectivity in its typical form.


13

Viewpoint A

The older generation Of course they are aware of Europe’s existence and of the fact that Estonia belongs there. There is no need to explain them the European nature of the Estonian culture. But at the same time these older Estonians have been raised in the Soviet society, during a relatively dreadful period. They are careful and sceptical. A short while ago, EU was like a boogy-man for many of them - an equal to the Soviet Union, an opposite to the “good old Estonian time” (our first, short-lived independence in 19181940). The fear still exists to lose our freedom once again. At the same time, the new situation perfectly displays this generation’s desire to adjust. That desire manifests itself, for example, through the older people’s urge to travel. “Abroad” is a non-familiar place physically as well as mentally. But it is so exciting! The lack of language-skills does not matter. For the people who spent decades in a closed society, the outside-world became hopelessly seductive. Over the last 10 years, the Estonian travel agencies have become to offer more and more cheap bus trips quite available even for the not-so-well-to-do and retired people. A different matter is - what will they do with these brand new travel-memories? Will these evolve into a new, wholesome world-view? Or will there prevail an understanding of our small country being an eternally suffering victim of the bigger nations? How subjective is the (world)atlas of this generation?

Viewpoint B

The middle generation In fact, it is just a bunch of pragmatists. In the good sense as well as the bad. This genereation has experienced a closed society, yet at the same time this society was a big joke already in the 1980s.Their parents may have remembered about the fear of war and of deportation in their childhood, but by the end of the Brezhnev’s era, the Soviet power had become nothing more than a comedy. Ok, there existed a threat for the young men to be drafted and sent to Afghanistan; the die-hard freedom-fighting


14

Estonia and Europe, a subjective elevation

dissidents were severely repressed. Still, the history repeats itself as a parody. A comical society will not last for long. Re-gaining its independence, its re-Europization was something more than natural for Estonia. I know, I could go wherever I desire if I only bothered to do so. The feeling of suppression of the closed space known to my parents, thus, has been overcome by me. I don’t have to travel to fulfill a long-unreachable dream. In fact, where would I go? Speaking of myself, my mental space reached Europe and beyond several years ago. I don’t experience the boundaries like my parents do. At the same time I’m restricted by the determination of the physical space. I just feel so good in Estonia that I don’t bother to seriously consider the idea of moving somewhere else for a longer period of time. It seems to be true about the whole generation of the people born on the second half of the 1960s, the “generation of the winners”. (I’m not talking about the top-executives of the business world. These people are just about to enter the international orbit.) Of course, the young people have many advantages. From a certain age on the people become increasingly conservative and careful. They tie themselves forever with the soft but sturdy chains of the consumer-society: houses, loans, families. What do you think - wouldn’t I want to be a post-graduate design student of some Dutch or British university? But I’ve made my choices. Viewpoint C

The young generation Here I have to be most speculative. I’m only assuming. It seems to me that the 20-years-old of today are almost entirely free. Another matter is how they understand it themselves; what new problems may this freedom create? They move effortlessly between countries and languages; EU is a normal, logical environment for them. And yet, their increasingly international position is also caused by the situation at home. Here the space has been already invaded. It is not possible to repeat the miracle of


Estonia and Europe, a subjective elevation

15

their just 10 years older countrymen - from zero to superstar - guys from nowhere becoming instant leaders and dignitaries. “The generation of the winners� is blocking the way. They (us!) are about to become extremely annoying seniors gripping tightly on to their chairs. The newly opened world may ease the situation. There are options available elsewhere. Understanding If one compares two of the most distant generations (A and C), it becomes apparent that their positions on an international axis of nationality-globalization are totally different. For the older generation, Estonia is of a sacral nature. I think Estonia holds a value for the young people as well, but it is of a quite different character. The mental space is becoming a physical space for the young generation. Is it an ideal solution? Is this the idea of EU? Is it the end of history? Is it, in the longer perspective, the end of Estonia as we know it? But is Europe an ideology? Is Europe a space of same sort at all? Or is it just an idea? What are we talking about while writing, drawig and discussing Europe? How subjective is our imagination of the European Union?


16


Subjective Atlas of the European Union from an Estonian point of view

17


18

EUROPEAN_UNION

UNITED_OR_TIED

European_Union


European_Union

19


20

Organisations that Republic of Estonia is a member of


Organisations that Republic of Estonia is a member of

21


22

Subjective historical rhyme

President of the former Republic of Estonia in 1930s on 24th of February - The Estonian Independence Day.

President of the Republic of Estonia on 24th of February, 2003.

President and other government members of the former Republic of Estonia in 1930s on airport field.

President and prime minister of Republic of Estonia at the opening of a new military AA radar.

Visit by Generals in Visit by SS German 1930s. Generals in 1930s.

Visit by a US Army General in 2003.


Subjective historical rhyme

23

Foreign military ship in Estonia in 1930s.

Foreign military ship in Estonia in 2002.

President and other government members of the former Republic of Estonia in 1930s.

President of Republic of Estonia in 2002.

New Estonian government members in Moscow. Joining USSR.

In 2004 Republic of Estonia becomes a full member of European Union.


24

Estonia

EASTONIA

WESTONIA


Estonia

25

I PREFER ESTONIA


26

EU Standards


EU Standards

27


28

EU standards

The fat percentage of permitted drinking milk in EU ranges from 3.5% to 4.0% and from 1.5% to 1.8%. More than 90% of drinking milking in Estonia contains 2.5% fat


EU standards

29

The excess sugar stocks need to be processed into fuel or fodder or exported from EU, but may not be turned into syrup or anything else sweet


30

Map based on square kilometers per country

EU standards


Cyprus

Greece

Lativa Lithuania Hungary Estonia Finland

Poland Slovenia Sweden

Slovakia

Denmark Germany Italy Austria Czechia

Malta

Luxembourg the Netherlands

31

Belgium France

Spain United Kingdom

Ireland Portugal

EU standards

Finland

Sweden United Kingdom

Denmark Ireland the Netherlands Germany Belgium Estonia Latvia Lithuania Poland Luxembourg Czechia Slovakia

Austria France Portugal Slovenia Hungary Spain Italy Greece Malta Cyprus

Map based on each member state’s GDP per capita (Idea for new Euro coins: the size of each country’s coin derived from the level of the country’s GDP)


32

EU standards


EU standards

33


34

EU Standards


EU Standards

35


36

EU Standards


EU Standards

37


38

Flags of the EU countries sorted by color


Flags of the EU countries sorted by color

Parts of the national flags of the EU countries sorted by color*

39


40

Flags of the EU countries sorted by color

Most popular to least popular colors used in the national flags of the EU countries*


Flags of the EU countries sorted by color

Most popular to least popular average colors* * Coat of arms on flags not included

41


42

Europe from an extraterrestrial point of view


Europe from an extraterrestrial point of view

The statistics of this map are provided by Larry Hatch (UFO investigator, www.larryhatch.net). The numbers on the map are not statistics of UFO sightings frequencies, but rather indications of the freedom of information, and the willingness of people to act on those freedoms. The counts of sightings are strongly skewed and affected by: ° Political matters: It was nearly impossible to get good information from Eastern Europe during the Soviet ara for example. Military authorities

43

are usually the last to reveal useful information ° Social conciderations: In some countries (Germany comes to mind) it is not considered ‘respectable’ to report anything as crazy as a UFO ° Infrastructure: In some poor countries, sightings may lay dormant for lack of some means to report them ° UFO Awareness/Action: Some countries like France and Great Britain, have active UFO researchers. Others simply lack them


44

Internet usage in the EU


Internet usage in the EU

45


46

www.24x7.ee

50+ 45 40 35 30 25 20 15 10

Scale of visitors from EU-countries in 2004 visiting 24x7, the first Estonian internet radio station

(1)

(1)

(1)

(1)

(2)

(2)

(3)

(4)

(6)

(7)

(7)

(8)

(10)

(11)

(13)

(13)

(16)

(22)

(28)

(31)

(42)

(253)

(5,785)

5


www.24x7.ee

47

100+ 90 80 70 60 50 40 30 20

Scale of 'clicks' on internet radio station 24x7 in EU-countries

(2)

(2)

(2)

(2)

(4)

(6)

(6)

(8)

(14)

(25)

(27)

(35)

(42)

(44)

(57)

(58)

(77)

(81)

(81)

(107)

(327)

(1,040)

(25,906)

10


48

EU Numberplates

Austria France Belgium Germany Cyprus

Greece Czech Republic

Hungary Denmark Ireland

Estonia Italy

Finland


EU Numberplates

49

Portugal Latvia

Slovakia Lithuania

Slovenia Luxembourg

Spain Malta

Sweden Netherlands

United Kingdom Poland


50

Dilemma


Dilemma

51


52

I love to die in EU


I love to die in EU

53

SUICIDES in EU 93,8

Lithuania 60,2

Latvia Hungary

57,7

Estonia

57,5 54,5

Slovania Belgium

42,6

Finland

42,5

Austria

39,2

Luxembourg

38,8 35,5

France

32,3

Czech Rep.

31,0

Poland

28,8

Denmark Germany

27,4

Sweden

27,0

Slovakia

26,2 24,6

Ireland

18,9

Netherlands

17,1

Spain

15,1

UK

14,3

Italy

7,3

Source: World Health Organization, most recent years available, as of june 2004

North-Europe

Greece

9,6

Middle-Europe

Malta

10,5

South-Europe

Portugal

10 suicides per 100 000 persons


54

Beer per EU citizen per year

Czech Republic 158 litres

Ireland 125 litres

Germany 123 litres

Austria 106 litres Luxembourg 101 litres Denmark 99 litres

Belgium 98 litres United Kingdom 97 litres

Slovakia 86 litres

Lithuania 76 litres

The Netherlands 83 litres

Finland 80 litres


55

Beer per EU citizen per year

Hungary 73 litres

Estonia 70 litres

Spain 75 litres

Poland 58 litres

Latvia 62 litres

Portugal 61 litres

Cyprus 54 litres

Greece 39 litres

Sweden 55 litres

Slovenia ? litres

France 36 litres

Italy 29 litres

Malta 29 litres

Sources: www.xs4all.nl/~patto1ro and www.scottish-newcastle.com/sn/scottishnewcastle/facts


56

Imagining the EU Countries

Estonia

Lithuania

Cyprus

Ireland

Poland

Denmark

France


Imagining the EU Countries

Slovakia

57

Austria

Portugal

Latvia

Finland

United Kingdom


58

Imagining the EU Countries

Italy

Luxembourg

Czech Republic

Germany

The Netherlands

Spain


Imagining the EU Countries

59

Slovakia

Malta

Belgium

Hungary

Sweden

Greece


60

Disposition of EU Countries

The location of the EU countries according to the designers of this Atlas, positioned on a borderless map of Europe.


Disposition of EU Countries

61


62

Visiting countries


Visited countries

63


64 To find out the connections that Estonians have with European countries, people on the streets were asked to show object(s) which they carried with them from another European country. The people showed different things: clothes, key fobs, jewellery and other stuff. It is very interesting to know why for example they would carry a DJ turntable or shells with them.

Carrying Europe Olga: “I bought this parerox in Spain this summer to wear at the beach with my bikini. This autumn I wear it as a scarf to keep my neck warm and to brighten up the grey and dull days.” (page 65) Dimon: “The ring is from England. My friend brought it from there in 2001. I got it a year later from him by gambling.” (page 68) Olesja: “These shells are from a beach in Ireland. I brought them this summer. I visited my good friend and I’m carrying the shells because my dear friend was dropping them to me. I bought the stones in Scotland and while I was waiting for my plane from there I made this jewellery out of them.” (page 68) Eerik: “My girlfriend found this plastic heart on the street in France and presented it to me.” (page 69) Svetlana: “My french friend gave this parfume to me in 2002 in France. The bottle is empty now but I’m still carrying this box with me as a memory of the beautiful romance we had together.” (page 70) Kati: “I bought this tobacco in Germany as it is illegal to sell this kind of tobacco in Estonia.” (page 70) Valentin: “I received mail from the UK today with a DJ turntable, that’s why I’m carrying it with me now.” (page 71)


Carrying Europe

65

T-shirt, Hungary Sander, 21, shop assistant

Parero, Spain, Olga, 19, student

Sweater, Ireland, Olesja, 22, student

Bag, The Netherlands, Olesja, 22, student

Mobile phone holder, UK Stiven, 9, pupil

Belt, Italy, Anna, 24, designer

Boots, Ireland, Tiiu, 26, musician

Sneakers, Lithuania Arnas, 23, DJ


66

Carrying Europe

Key fob, UK Martin, 29, manager

Key fob, Malta Alja, 18, waitress

Key fob, France Victoria, 36, bank worker

Key fob, UK Heidi, 25, teacher

Key fob, Sweden Natalja, 27, hairdresser

Key fob, Greece Kadri, 17, dishwasher

Key fob, Italy Maria, 32, dancer

Key fob, UK Rustam, 22, student


Carrying Europe

67

Key fob, Italy Tatjana, 25, secretary

Key fob, Austria Stella, 14, pupil

Key fob, Denmark Merit, 21, student

Key fob, Norway Olesja, 22, student

Key fob, Italy Pavel, 17, pupil

Key fob, Germany Alex, 28, waiter

Key fob, Finland Larissa, 42, statistics specialist

Key fob, Spain Olga, 24, textile designer


68

Carrying Europe

Necklace, Czech Republic Irina, 21, student

Jewellery, Scotland Olesja, 22, student

Ring, UK Dimon, 24, system adminisrator

Ring, Denmark Marina, 20, student

Earrings, Greece Marina, 20, student

Broche, Italy Svetlana, 21, bar manager

Seashell, Portugal Kirill, 35, chef-cook

Seashells, Ireland Olesja, 22, student


Carrying Europe

69

Watch, France Sonja, 20, student

Bracelet, Belgium Liis, 19, student

Bracelet, Poland Pasha, 25, product designer

Bracelets, UK Sergo, 26, artist

Plastic heart, France Eerik, 21, student

Watch, UK Irina, 26, actress

Bracelet, Latvia Kerli, 16, pupil

Bracelet,Hungary Hatuna, 25, singer


70

Carrying Europe

Eyeshadows, France Irina, 21, student

Parfume, Germany Valentin, 27, DJ

Parfume, France Svetlana, 33, teacher

Book, Scotland Juri, 28, manager

Fragrance bag, Spain Piia, 22, student

Lighter, France Reino, 36, shop assistant

Tobacco, Germany Kati, 21, student

Rizzles, Germany Edvard, 21, student


Carrying Europe

71

Turntable, UK Valentin, 27, DJ

Vinyl, UK Tanel, 32, DJ

Money, Ireland Riina, 39, housewife

Bottle opener, Sweden Anu, 20, waitress

Toy, UK Helen, 7, pupil

Coin, Finland Artur, 18, football player

Notebook, Austria Steven, 9, pupil

Pencil, UK Leila, 16, pupil


72

The DJ’s that I remember


The most known Europeans*

73


74

The most known Europeans


The most known Europeans

75

* This list consists of written answers given by 23 Estonians (aging from 16 to 53), which have not been corrected. Only the comments (in italic) were translated. Because of that, some of the names may be spelled incorrectly and some of the people may be associated with the wrong country.


76

Lift to Europe

This map is based on hitch hiking experiences of seven Estonian citizens: where they have been, what distances they have crossed and how many days it took them. The calculation of the average daily distance is based on the actual days of hitch hiking.

LEGEND Road

1 2 3 4 5

Hitch hikers

Days

Distance

Average daily distance

Sam

4

1687 km

421 km

Elerin

27

9407 km

348 km

Rety

10

5933 km

593 km

Liina

13

5175 km

398 km

Evelin

14

3240 km

231 km

Siiri

8

4455 km

556 km

Sirly

9

3285 km

365 km

Numbers show the distances that are covered in one day

20 Arachon Donostia San Sebastian

18 11

17 Sevilla 16 Puerto de Santa Maria

Ronda 15

9

Biarritz 19

12 Granada 13 14 Malaga

10

Pau

Pamplona


Lift to Europe

77 2

1

TALLINN STOCKHOLM

4

P채rnu

Tartu V천ru

8 1

RIGA 13 10 3

3 Klaipeda

4

5 25

BERLIN

AMSTERDAM

24

22

21

8

7

26

12 13 7

Torun

3

8

9

11

WIEN

5

7

Basel 4

10 9 7

6 9 Trieste

8

8 Zadar

5

2

2 2

5

BUDABEST 6

6 Zagreb

Venezia

WARSZAWA

43

12

10

LJUBLJANA 7

1

2

Krakow

4

1 3 2

3

3

8 5

6

11

PRAHA

23 6

27

Kostrzyn

1

9

Kaunas

Gdansk 7 Bydgoszcz

4

PARIS

5

4

6

1

14 1 2


78

Estonian Academy of Arts official student exchange

Incoming students 2003/2004. Austria Belgium Cyprus Czech Republic Denmark Finland France Germany Greece Hungary Ireland Italy Latvia Lithuania Luxembourg Malta Poland Portugal Slovakia Slovenia Spain Sweden The Netherlands United Kingdom Total: 20 students.

3

6


79

Estonian Academy of Arts official student exchange

Outgoing students 2003/2004. Austria Belgium Cyprus Czech Republic Denmark Finland France Germany Greece Hungary Ireland Italy Latvia Lithuania Luxembourg Malta Poland Portugal Slovakia Slovenia Spain Sweden The Netherlands United Kingdom Total: 27 students.

3

6

* Amount of students on Estonian Academy of Arts: 972 (october 2004)


80

Estonia in comparison

Sirkel (Est), Jaan (Est), Anton (Est) – currently studying and living in Amsterdam – in comparison* with Brita (Swe), Paul (Fra), Agata (Pol), Kaisa (Fin), Lina (Lat), Matthias (Ger), Julian (Aus), Nina (Den), Marta (Chz), Joseph (Ita)

How big is your room and how much do you pay for it?

Brita’s room 15 m2 375 euros per month

Kaisa’s room 10 m2 350 euros per month

Nina’s room 18 m2 380 euros per month

Brita 27 Sweden “I miss my mom.”

Marta’s room 70 m2 250 euros per month


Estonia in comparison

81

Sirkel (20), Estonia: “I miss my girlfriend and Estonian bread.” Anton (23), Estonia: “I miss my family and Estonian bread.” Jaan (23), Estonia: “I miss my family and Estonian bread.”

We all have 9m2 rooms and we pay 333 euros per month each

Joseph’s room 6 m2 60 euros per month

Julian’s room 45 m2 261 euros per month

Lina’s room 9 m2 60 euros per month

Matthias’s room 45 m2 261 euros per month

Agata’s room 2 m2 0 euros per month (for free)

Paul’s room 12 m2 240 euros per month

* In Estonia we could rent a luxury apartment in the centre of the city for the same amount of money we pay here.

Paul 22 France “I miss French bread.”


82

Estonia in comparison

How many meals do you have in a day?

* We usually have our breakfast at home, at school we have some snacks and in the evening we cook the dinner together.

3 meals 4 meals

2 meals 3 meals

2 meals

2 meals

3 meals

1 meal 2 meals

2 meals

2 meals

Agata 20 Poland “I miss home.�

2 meals

1 meal


Estonia in comparison

83

How many pairs of underwear do you have?

* Actually 10 is the average of how many pairs of underwear each of us has; Anton has less than ten, Jaan has ten and Sirkel has more than ten pairs.

Kaisa 28 Finland “I miss the morning paper.”

Matthias 4 pairs

Paul 8 pairs

Sirkel, Jaan, Anton 10 pairs

Julian 12 pairs

Joe 17 pairs

Marta 18 pairs

Lina 20 pairs

Brita 20 pairs

Kaisa 26 pairs

Nina 30 pairs

- On the day we asked Agata didn’t know how many pairs she has.


84

Estonia in comparison

How many times a week do you go out? (cafe, bar, club etc.)

NINA 5 TIMES KAISA 5 TIMES 3 TIMES AGATA 3 TIMES BRITA PAUL 2 TIMES 2 TIMES MATTHIAS 2 TIMES LINA JOE 1 TIME 1 TIME JULIAN MARTA 1 TIME WE USUALLY GO OUT FOR A DRINK ONCE A WEEK. * We seldom eat out, usually we just have a couple of beers with our friends.

Lina 21 Latvia “I miss good food and clean towels.”


Estonia in comparison

85

* We knew each other already before moving abroad, so finding roommates was never a problem for us.

With how many peoWith how many people do you livelive together? ple do you together?

Lina lives with 4

Brita lives with 3

Nina lives with 2

Kaisa lives with 2

Agata lives with 2

Joe lives with 4

Julian lives with 2

Matthias lives with 2

Matthias 23 Germany “I miss my girl and German bread.�

Paul lives with 2

We live with 2

Marta lives with 1


86

Estonia in comparison

From where are the people who you live together with? Argentina

* Not only are we from the same country but also from the same city and the same school.

Estonia

Sweden

China, Germany, Italy, Israel The Netherlands

Estonia Poland, Switzerland

Denmark

Estonia

Julian 23 Austria “I miss the mountains.�


Estonia in comparison

87

Mexico, The Netherlands China, Germany, Latvia, Israel

Sweden

Norway

Nina 23 Denmark “I miss speaking Danish.“


88

Estonia in comparison

What languages do you speak? * Almost every Estonian knows at least the basic English; Anton speaks Russian because his grandmother is Russian; Sirkel knows some Finnish thanks to the Finnish television.

Russki, English. Deutsch, Latviska, Italiano

Svenska, Espanol, English

Eesti, English, Suomi

Polski, English, Francais

Francais, English, Deutsch English, Italiano, Sicilian

Eesti, English

Eesti, Russki, English, Francais

Francais, English, Deutsch

Cestina, Slovakian, Nederlands, English

Francais, English, Deutsch

Suomi, English, Svenska, Francais, Espanol

Marta 20 Czech Republic “I miss the atmosphere and the attitude of people.“

English, Dansk


Estonia in comparison

89

What time do you go to sleep? 00:00

01:00

02:00

English, Dansk 03:00

* We would like to go to bed earlier but for some reason we never manage to.

Joseph 24 Italy “I miss the Mediterranean.�


90


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Kristjan Mändmaa: What is important in design? Annelys de Vet: Personal involvement and related ideas. Why are you a designer; what do you find appealing in design? Being able to investigate and develop ideas on society and culture, and transform the observations into useful ideas or even leave them as questions. You are constantly experimenting with different means and medias. Do you feel that everything is design or would you rather argue that these additional activities are merely attempts to seek variety and avoid boredom? The output of the work appears in different forms or media, but the input is always the same: ideas. The computer enables me to make videos, printed matter, sounds, images, drawings, websites, newspapers, posters, stamps and coins, all from the same position: sitting at a desk, countless mouse clicks, staring at a screen without a horizon. It’s not the medium that counts, it’s not the skill that matters, but it’s the attitude that makes the difference. It strikes me when I hear how many important (and probably self-important) Dutch art-celebrities you have been cooperating with. What’s your secret? How is it possible to work together with the Giants of the Visual who, as my guess is, always know better?

Interview

You can add the following ones to the list: you, Kristjan Mändmaa and the design students of the Estonian Art Academy. Collaborating with others – other thinkers – opens up ideas. The transmission of thoughts is such a beautiful thing. I want to exchange, find out about what drives others, reflect on ideas, but most of all I want to learn from other people. Every project that I work on should give something back: inspiration, new ideas, different skills, unexpected experiences and, most of all, a joyful time. There is no secret. What is important to me is staying close and loyal to myself, never ever trying to be someone else, to be my own standard. Apparently, that has also inspired you and others to enter into collaboration. One of the more controversial themes you have been exploring is the ‘Right to Copy’. The lecture and other activities: how did these come about? It’s ridiculous to think that you are original, that one speaks uniquely his or her very own language. There are so many influences, but you’re not always aware of them. Children learn by imitating the people around them. Somewhere at the end of adolescence we seem to be inclined to think that we have to do it all by ourselves. But I don’t see a reason why we should stop imitating the people we admire. Imitating is learning and by appropriating the copy we develop new thoughts and designs collectively. Originality doesn’t exist in the pure sense of the word. Everything is processed by something else; every idea is created by all the other ideas you’ve been confronted with. A design is a result of a series


Interview

of stimuli and influences, all set within their specific contexts. Rather than seeing a work as a unique statement of the designer, the work should be seen as a comparative moment in time. The notion of originality should be abandoned in favour of a broader reading of the work. Still, to be practical about the question, what triggered the ‘Right to Copy’ issue? What kind of a feedback did you receive from other designers? What triggered the idea was the urge some people were showing to be ‘original’. It felt like an act of frustration to me. Copying was a dirty word at the art academy. I never fully understood this. I copied a lot, not to ‘cheat’ but as a moment in the design process. Appropriating already existing designs helps to develop them further. Just as in classical music, which has a centuries old tradition of composers quoting other composers. Strangely enough, in design there seems to be a tendency of needing to be unique and having your own style. I wanted to be as open and honest as possible about my ‘influences’.

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mon knowledge in Estonia is that presentations are meant to sell something. Your presentations seem to have become an art form in their own right. What is the purpose of the presentations? As I said before, it’s not the medium or the skill that needs to be communicated, but it’s the attitude, the thoughts and idea’s. Design is not just an object, rather a combination of many motifs, influences and moments in time. Design is a transmission and what it tells is equally dependent on the spectator as on the narrator. It’s somewhere in the middle of the moment, the context, the news, the history, the future and the emotions. As a designer it’s relevant being sensitive to these influences and play with them. The presentation of things and of yourself plays an important role in the whole. It’s not just telling a story, but it’s you, the author of the design, who is introducing a story, moving around, choosing words, building sentences, posing questions, listing, performing, seducing, convincing, doubting and ending the story. This ‘presentation’ can be seen as a design as well, one can approach it in the same way as one would approach a design of a book or object. Quite some people forget that, whether you like it or not, the presentation is part of the design.

Other designers reacted relieved. When Anthon Beeke heard my lecture he asked if I wanted to come and teach at the Design Academy. Students were quite happy to hear my story; it opened many possibilities for them they didn’t feel com- How do you like teaching? What’s fortable about before. As long as they’re your method? honest about what they’re doing they should appropriate a lot. An artist I admire once told about the most inspiring teacher he had met durYou’ve become known as an expert ing a visit at the Cooper Union art school presenter. At the Design Academy in New York. All students had put their Eindhoven you also teach presenta- works on the walls and floors to distion to graphic designers. The com- cuss it. The students gathered around


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the drawings and started to talk about each other’s works. It was an impressive course, though the teacher (the German artist Hans Haacke) kept completely silent. Only at the end of a discussion he would perhaps ask something that apparently was not yet fully discussed. That was it, no speeches, no rules, no hurry, but all things that matter were said. In general by the students themselves, by being there, committed, concentrated, taking time... This seems to me an ideal situation. The best way to learn things is to discover them on your own terms. What I can do as a teacher is to stimulate the environment in which these discoveries can take place. (I must admit that by pure enthusiasm I talk far too much.) I believe in activating what’s good instead of focusing on what’s not. I enjoy giving compliments and do my best to tell as precisely as possible for what reasons I think something is good. One of the most valuable things is motivation which is more strongly fed by a positive vibe than by a very critical one. And why would I have the key to ‘quality’? Let each person be her or his own standard. The theme of the workshop was ‘A Subjective Atlas of the EU’. Why this subject? The EU seems to be extremely un-youthful/un-sexy thing to think about. Something for those grey-suited bureaucrats. This is not true. The endless set of rules might be boring. But the true Europe is the cultural one. The EU is not a state with revolutionary origins but a compila-

Interview

tion of different political, historical and cultural entities. The European Union is a concept based on networks and shared values. Every country, every city and each citizen will have its own perception of this growing Union. The sad thing is that we don’t really know how to imagine Europe. There is a lack of good images. We need our own in order to commit ourselves, to start understanding and respecting each other. We need to create our own stories and pictures, not the ones from the mass media. We should allow our visions to merge, to learn to know each other. In order to make the best of the EU-concept we have to share our different perspectives. We should develop, visualise and exchange our thoughts. We are all part of the EU, there’s no way escaping that. There is nothing wrong with just the concept of putting our forces together. But the way in which it is done now, is setting an impossible task. The least we can do is talk about the meaning of the concept of Europe. How did it work out? Did you learn anything new about the EU? Being in Estonia, it is the first time that I’m in a former USSR republic. Being here, witnessing the history, hearing the different stories, teaches and informs me about Estonia in ways I’d never expected. It is shocking to realize how complicated and tough history has been here. It is undoubtedly important for the way people deal with contemporary life. At a first glance, life seems similar to that in Amsterdam; fashion is alike, we’ve read the same books, talk about the same movies, our climates are more or less equal and many speak English,


Interview

which makes it easier to exchange our thoughts. Behind these similarities one feels a different way of dealing and coping with life. But you would never read this in travel guides. So my answer to your question is definitely yes! I’ve learned a lot by listening to the stories the Estonian students told me, about their lives, their interest or disinterest in the EU, the scepticism, comparisons they made with the Soviet Union. I’ve learned from their enthusiasm for travelling. Most of all, I’ve learned more about the thoughts and culture in another country, which puts the EU in a broader perspective in my mind. You have been researching the differences between the Netherlands and other EU countries. How different are the Estonian students from the others you have come upon? They are of course as interesting and inspiring as students are, especially since they’re from different backgrounds than I am. I was particularly impressed by the skills they already had with the computer and making infographics. Even first grade students possessed these skills. It was funny to observe that hardly anybody disagreed with me. The Dutch students are often more opinionated. Sometimes that’s useful for a design, because by having an opinion you also create a direction, a way of approaching the design. On the other hand, the Estonian students were more willing to invest time in getting the facts and information they needed for their infographics; average information didn’t suffice.

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I had the feeling that some students were not used to a way of working in which one’s own opinion, the personal role as a designer, was important for the design. In the Netherlands this seems more generally the case. We’re coining a new terminology for it: ‘author design’. The designer is not just a problem solver, but also a storyteller. The Atlas we’ve made activates the recipient’s awareness of the design’s social and cultural contexts in which it is embedded.


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Index of contributors

Sonja Apunnikova 1984 See page 64 - 71 Visited Finland, Germany, Ireland, Latvia, Poland, United Kingdom, Sweden

Jaan Evart 1981 See page 80 - 89 Visited Czech Republic, Finland, the Netherlands

Grete Gutmann 1985 See page 24, 25 Visited Belgium, Czech Republic, Denmark, France, Germany, Finland, Italy, Latvia, Lithuania, the Netherlands, United Kingdom, Poland, Spain, Sweden

Mikk Heinsoo 1982 See page 56 - 59, 73 - 75 Visited Austria, Czech Republic, Finland, Latvia, Lithuania, Poland

Igor Hobotov 1984 See page 20 - 23, 78,79 Visited Austria, Czech Republic, Finland, Latvia, Lithuania, Poland, Spain

Sirkel Indrek 1984 See page 80 - 89 Visited Austria, Czech Republic, Latvia, Lithuania, Finland, the Netherlands, Poland


Index of contributors

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Kristjan Jagom채gi 1970 See page 18, 19 Visited Belgium, Denmark, Finland, France, Germany, Greece, Latvia, Lithuania, Luxembourg, the Netherlands, Poland, Portugal, Spain

T천nu Kaalep 1966 See page 12 - 15 Visited Austria, Belgium, Czech Republic, Denmark, Finland, France, Germany, Italy, Latvia, Lithuania, Luxemburg, Poland, Sweden

Eerik K채ndler 1983 See page 76, 77 Visited Denmark, Germany, Finland, France, Latvia, Lithuania, Norway, Poland, Portugal, Spain, Sweden

Irina Kljujeva 1983 See page 64 - 71 Visited Germany, France, Latvia, Lithuania, Poland, Sweden

Anton Koovit 1981 See page 80 - 89 Visited Austria, Czech Republic, Germany, Finland, France, Latvia, Lithuania, the Netherlands, Poland, United Kingdom

Sandra Kossorotova 1984 See page 64 - 71 Visited Czech Republic, Denmark, Latvia, Lithuania, Poland, United Kingdom


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Index of contributors

Daniel Kotsjuba 1984 See page 46, 47, 72 Visited Austria, Czech Republic, Denmark, Finland, France, Germany, Latvia, Lithuania, Poland, Sweden

Ivari Lipp 1982 See page 42, 43 Visited Germany, Finland, Latvia, Lithuania, Poland, Sweden

Kristjan M채ndmaa 1973 See page 8, 9, 98 - 101 Visited Austria, Belgium, Czech Republic, Denmark, Finland, France, Germany, Hungary, Italy, Latvia, Lithuania, Luxembourg, the Netherlands, Slovakia, Poland, Portugal, Spain, Sweden, United Kingdom

Ingvar Meen 1979 See page 44, 45 Visited Denmark, Finland, Latvia, Lithuania, Poland, Slovakia, Sweden

Kadri-Maria Mitt 1983 See page 26 - 37 Visited Austria, Belgium, Czech Republic, Finland, France, Latvia, Lithuania, the Netherlands, Poland, Sweden

Margo Niit 1980 See page 26 - 37 Visited Czech Republic, Finland, Germany, Latvia, Lithuania, the Netherlands, Poland, Sweden, United Kingdom


Index of contributors

105

Kaarel Nõmmik 1985 See page 54, 55 Visited Finland, Latvia, Lithuania, the Netherlands, Sweden, United Kingdom

Marina Ottmaa 1984 See page 64 – 71 Visited Belgium, Czech Republic, Germany, Latvia, Lithuania, the Netherlands, Poland, Slovakia

Väino Õun 1984 See page 54, 55 Visited Finland, Germany, Latvia, Lithuania, Sweden

Samuel Vincent Paal 1982 See page 60, 61 Visited Latvia, Lithuania, Poland

Koit Randmäe 1983 See page 38 – 43 Visited Czech Republic, Finland, Latvia, Lithuania, Poland

Ruudu Remmelgas 1984 See page 62, 63 Visited Czech Republic, Finland, Latvia, Lithuania, Poland


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Index of contributors

Erko Rundu 1981 See page 48 - 51 Visited Austria, Czech Republic, Latvia, Lithuania, Poland

Rain Saavel 1981 See page 26 - 37

Silver (S-Boy) Seeblum 1985 See page 42, 43 Visited Finland, Germany, Latvia, Lithuania, Poland

Marek Tihkan 1985 See page 52, 53 Visited Czech Republic, Finland, France, Germany, Italy, Latvia, Lithuania, the Netherlands, Poland, Spain, Sweden

Anu Vahtra 1982 See page 26 - 37, 92 - 95 Visited Belgium, Czech Republic, Denmark, Finland, France, Germany, Hungary, Latvia, the Netherlands, Poland, Slovenia, Sweden

Helene Vetik 1985 See page 62, 63 Visited Denmark, Finland, Germany, Latvia, Sweden


Index of contributors

Annelys de Vet (NL) 1974 See page 10, 11, 98 - 101 Visited Austria, Belgium, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Luxembourg, Poland, Spain, United Kingdom

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108 At·las [ fr. NL Atlas, title of a carto-graphical work (PUBLISHED IN 1559) by Gerhardus Mercator (Gerhard Kremer) † 1594 Flemish geographer; prob. fr. the fact that the title pages of cartographical works of this period often had a representaion of Atlas bearing the heavens] a: a bound collection of maps b: a bound collection of tables, charts, or plates illustrating any subject Estonia www.cia.gov: “After centuries of Danish, Swedish, German, and Russian rule, Estonia attained independence in 1918. Forcibly incorporated into the USSR in 1940, it regained its freedom in 1991, with the collapse of the Soviet Union. Since the last Russian troops left in 1994, Estonia has been free to promote economic and political ties with Western Europe. It joined both NATO and the EU in the spring of 2004.” www.visitestonia.com: “If you’re longing for a getaway that will give you that tingle of discovering something new and untried, something exciting and magical, you need not travel outside mainstream Europe. You need only look towards this trendy, Nordic-feeling nation of 1.4 million people. It offers you an adventure you will never forget. In a world that can at times seem overly packaged, Estonia remains refreshingly genuine and uncontrived. Having cast off communist rule more than ten years ago, Estonia has thrown her doors back open to the world and invited visitors to come sample her charms. The country’s beautiful castles, old cities, manor houses, forests, beaches and islands – as its people – speak for themselves. And they tell a moving story. This is not only a nation with a touching, visible past; it’s a nation that is as progressive and hip as it is history-filled and quaint. Its spectacular progress since restoring its independence in 1991 is epitomized by its impressive Internet infrastructure, considered one of the most advanced anywhere in the world. Even in the depths of the countryside, you’re almost

Glossary as likely to see a villager surfing the Internet as milking a cow.” www.lonelyplanet.com: “Ever wanted to eat blood sausages washed down with a syrupy liquor of unknown origin, go bog walking and sleep with 80 untouchable nuns and novices? You can do it all in Estonia, the small territory which packs in some charming quirks without ruining your budget. The early years of independence brought hardship, but Estonia is recovering. Despite the rapid changes since it regained its independence in 1991, there’s still a lot of tradition, including a language packed with deep ‘oo’s and ‘uu’s and thriving folk shindigs. Full country name: Republic of Estonia Area: 45,226 sq km Population: 1.41 million Capital City: Tallinn People: Estonian (65%), Russian (28%), Ukrainian (2.5%) Language: Estonian Religion: 23% Christian (Lutheranism and Orthodoxy) Government: parliamentary republic Head of State: President Arnold Rüütel Head of Government: Prime Minister Juhan Parts GDP: US$15.52 billion GDP per capita: US$11,000 Annual Growth: 5.5% Inflation: 3.7% Major Industries: Food, clothing, oil shale, metals, woodworking Major Trading Partners: Finland, Sweden, Germany, Latvia, Lithuania Member of EU: Yes” Estonian Academy of Arts The forerunner of the present-day Estonian Academy of Arts was the Tallinn Applied Art School of the Estonian Society of Art, founded in 1914. Estonian Academy of Arts (EAA) is the only


Glossary institution in Estonia offering education at university level in the fields of art and design. EAA consists of the faculties of Fine Arts, Design, Media Arts, Architecture and Conservation as well as the Institute of Art History. In addition, the Teachers’ Training Centre at EAA provides a training programme at MA level. Evening courses and advanced training programmes are available at the Open Academy. The facilities of EAA photography, e-media, video and computer centres are available for all students. The Academy’s modern library provides pleasant study environment, which is designed by the students of architecture. The EAA also has a gallery, student dormitory and the practice base situated at a picturesque Muhu Island. All EAA courses are aimed to fully develop students individual talents and ambitions emphasizing the freedom of tought and imagination.

109 EU currently consists of 25 members: Austria, Belgium, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, Poland, Portugal, Slovakia, Slovenia, Spain, Sweden, The Netherlands, United Kingdom Sub·jec·tive relating to, or being whatever in experience or knowledge is conditioned by merely personal characteristics of mind or by particular states of mind as opposed to what is determined only be the universal conditions of human experience and knowledge – compare OBJECTIVE

The total number of student enrolment in EAA is 762. In addition, 155 students are studying at the EAA’s Open Academy. Eu·ro·pe·an Un·ion A regional organization created in 1958 providing for the gradual elimination of customs duties and other intraregional trade barriers, a common external tariff against other countries and gradual adoption of other integrating measures, including a Common Agricultural Policy and guarantees of free movement of labor and capital. Formerly called the European Community (EC), the organization became the European Union in January, 1994. Since 1967, common institutions, the EU Commission, the EU Council, the European Parliament and the Court of Justice, have served members of the EU. On January 1, 1999 the EU launched a single European currency called the euro, which most member countries have adopted.

Source: The new Lexicon Webster’s Dictionary of the English language, Lexicon Publications, Inc. 1989, www.cia.gov/cia/publications/factbook/geos/en.html#Intro, www.grains.org/glossary.html, www.visitestonia.com/index.php?page=8, www.lonelyplanet.com/destinations/europe/estonia


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Bibliography

Sources of information used to compose this Atlas Europa - Shell EuroAtlas, Marco Polo 1999 The new Lexicon Webster’s Dictionary of the English language, Lexicon Publications, Inc. 1989 Eesti Filmiarhiiv Eesti Päevaleht Estonian Ministry of foreign affairs Estonian Photo and Filmarchive Sandra Sule (Estonian Academy of Arts) Scanpix Uninet Datacommunication Base ash.org.uk epp.evrostat.ces.eu.int tarzan.spoox.org tina.pr24x7.com visitestonia.com/index.php?page=78 www.cc.utah.edu/~joseph/geography/maps/europe.gif www.cia.gov/cia/publications/factbook/geos/en.html#Intro www.google.com www.grains.org/glossary.html www.grida.no/prog/norbal/basics/maps/country/estonia.gif www.internetworldstats.com www.kidon.com/smoke www.larryhatch.net www.lonelyplanet.com/destinations/europe/estonia www.lib.berkeley.edu/EART/images/world-lg.gif www.norid.com www.scottish-newcastle.com/sn/scottishnewcastle/faqs www.theodora.com/maps/new3/eurasia_color.gif www.vexilla-munid.com www.visitestonia.com/index.php?page=8 www.vm.ee www.xs4all.nl/~patto1ro

Friends, family and collegues of contributors Atlas


Colophon The ‘Subjective Atlas of the European Union, from an Estonian point of view’ is the result of a workshop at the Estonian Academy of Arts held by Dutch graphic designer Annelys de Vet, on the invitation of Kristjan Mändmaa, 13 – 31 october 2004. Both the workshop and the Atlas are kindly supported by the Dutch Ministry of Culture and the Royal Netherlands Embassy. Concept and design: Annelys de Vet Project manager: Kristjan Mändmaa Photo cover: Anu Vahtra Contributors: Sonja Apunnikova, Jaan Evart, Grete Gutmann, Mikk Heinsoo, Igor Hobotov, Sirkel Indrek, Kristjan Jagomägi, Tõnu Kaalep, Eerik Kändler, Irina Kljujeva, Anton Koovit, Sandra Kossorotova, Daniel Kotsjuba, Ivari Lipp, Kristjan Mändmaa, Ingvar Meen, KadriMaria Mitt, Margo Nitt, Kaarel Nõmmik, Marina Ottmaa, Väino Õun, Samuel Vincent Paal, Koit Randmäe, Ruudu Remmelgas, Erko Rundu, Rain Saavel, Silver Seeblum, Marek Tihkan, Anu Vahtra, Annelys de Vet, Helene Vetik Typeface: Eurostyle family Paper: Nettuno (cover), MultiArt Silk, Kaskad Paper supplier: Map Eesti, Tallinn Print: Printon, Tallinn Special thanks to: Kristjan Jagomägi, Villu Järmut, Petra van der Jeught, Tõnu Kaalep, Kalle Kingsepp, Karmo Kroos, Rudy J. Luijters, Erkki Sivonen, David Vseviov and the Art Academy café Info: atlas@annelysdevet.nl

Very special thanks to the Dutch Ministry of Culture and the Royal Netherlands Embassy for supporting this project

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