[et_pb_section fb_built=”1″ custom_padding_last_edited=”on|phone” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”0px|auto||auto|false|false” custom_padding=”60px|0px|60px|0px|false|false” custom_padding_tablet=”15px||30px||false|false” custom_padding_phone=”15px||||false|false” global_colors_info=”{}”][et_pb_row column_structure=”1_4,3_4″ use_custom_gutter=”on” gutter_width=”2″ _builder_version=”4.20.4″ _module_preset=”default” width=”100%” custom_margin=”0px|auto|40px|auto|false|false” custom_margin_tablet=”0px|auto|0px|auto|false|false” custom_margin_phone=”” custom_margin_last_edited=”on|desktop” custom_padding=”0px|0px|0px|0px|false|false” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_menu menu_id=”4″ active_link_color=”#828282″ disabled_on=”off|off|off” module_class=”.pa-vertical-menu” _builder_version=”4.20.4″ _module_preset=”default” menu_font=”Lato||||||||” menu_text_color=”#000000″ menu_font_size=”18px” menu_line_height=”1.3em” width=”100%” max_width=”230px” custom_margin=”|0px|0px||false|false” custom_margin_tablet=”||-15px|15px|false|false” custom_margin_phone=”||-15px|15px|false|false” custom_margin_last_edited=”on|phone” custom_padding=”|15px||||” border_width_right=”1px” global_colors_info=”{}” custom_css_main_element_last_edited=”on|phone” custom_css_main_element_tablet=”border-style: none;||margin-left: 15px;” custom_css_main_element_phone=” border-style: none;||margin-left: 10px;”][\/et_pb_menu][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text content_tablet=”<\/p>\n
\u201eMetamorphohes. Mall Nukke’s jubilee exhibition\u201d 02.12.2019 \u2013 03.01 2020 Haus Gallery<\/span><\/strong><\/p>\n ” content_phone=”<\/p>\n ” content_last_edited=”off|phone” _builder_version=”4.20.4″ _module_preset=”default” text_font=”Raleway||||||||” text_font_size=”25px” header_font=”||||||||” header_2_font=”Raleway|700|||||||” header_3_font=”|700|||||||” width=”100%” custom_margin=”1px|0px|0px|0px|false|false” custom_padding=”|20px||20px|false|false” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text content_tablet=”<\/p>\n \u201eMetamorphohes. Mall Nukke’s jubilee exhibition\u201d 02.12.2019 \u2013 03.01 2020 Haus Gallery<\/span><\/strong><\/p>\n ” content_phone=”<\/p>\n ” content_last_edited=”off|phone” _builder_version=”4.20.4″ _module_preset=”default” text_font=”||||||||” header_font=”||||||||” header_font_size=”40px” header_2_font=”Raleway||||||||” width=”100%” custom_margin=”0px|0px|20px|0px|false|false” custom_margin_tablet=”0px|0px|20px|0px|false|false” custom_margin_phone=”||10px||false|false” custom_margin_last_edited=”on|phone” custom_padding=”0px|20px||20px|false|false” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_gallery gallery_ids=”1922,1921,1919,1918,1917,1916,1915,1914,1913,1912,1911,1910,1909,1908,1907,1920,1906,1905,1904,1903,1902,1901,1900,1899,1898,1897,1896,1895″ posts_number=”100″ show_title_and_caption=”off” show_pagination=”off” _builder_version=”4.20.4″ _module_preset=”default” width=”100%” max_width=”100%” custom_margin=”0px|0px|20px|0px|false|false” custom_margin_tablet=”||0px||false|false” custom_margin_phone=”||0px||false|false” custom_margin_last_edited=”on|phone” custom_padding=”0px|20px|0px|20px|false|false” custom_css_gallery_item=”|| ” border_style_top=”dashed” global_colors_info=”{}”][\/et_pb_gallery][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” text_font=”Raleway|300|||||||” custom_margin=”|0px|20px|0px|false|false” custom_margin_tablet=”|0px|20px|0px|false|false” custom_margin_phone=”|1px|10px||false|false” custom_margin_last_edited=”on|desktop” custom_padding=”|20px|0px|20px|false|false” global_colors_info=”{}”]<\/p>\n About three years ago a change took place in Nukke\u2019s work. Once again she is the DJ in human history sampling together different periods, meanings and images. In her work we continue to see subtle irony, a faint smile and the Heimlich manoeuvre (a technique of ejecting an obstruction from the throat of a choking victim) performed on history as well as great celebrities. Firstly, the change in Nukke\u2019s work is naturally formal. She has started to make use of the structure, composition, painting method and details characteristic of old Russian icons. Experimenting in a variety of ways she has even applied her \u201cpop-icons\u201d with a cracked coat of lacquer and with a fine layer of gold leaf giving them the appearance of something sacred and untouchable. But the use of icons does not mean that she is mocking or ridiculing religion. Nukke\u2019s work is too elegant for that. By copying the appearance of icons, but maintaining contemporary content, her work becomes ironic not in regard to the icons themselves, but the madnesses of modern life.<\/p>\n Mall Nukke has exhibited in Riga, Moscow and Ukraine. What becomes apparent is that her work endeavours to be, not so much global as multicultural (i.e. different cultural contexts mixing together), and springboards from Estonia and the current contemporary myths that have developed here. The \u201cEstonian thing\u201d now devoid of the heaviness of Tammsaare or the sighs of Lydia Koidula (note that both are represented on Estonian bank notes) is playful, even fun and this is a new direction in Nukke\u2019s work. She does not use the blue, black and white flags flying in her icons as tricolours signifying nationalist feeling (nor is her jab pointed at the idea of being Estonian as such), but rather they are symbols that indicate certain tendencies and shifts in our society that are either remarkable, important or comical. These icons are not to be worshipped and nor are they to be looked at from a distance. \u201eI would like people to pick these up and be able to look at them closely\u201c, says Nukke. It is therefore natural that the first thing she addresses is the thing that most defines her social being.<\/p>\n These pictures are like iconographic comics, says the artist. And so they are. For her, myths, and that includes religion, are like journalism from the past. These are pictures that could appear in at the bottom of the back pages of the newspaper. Eero Epner<\/p>\n Nukke regards the exhibition \u201eEstonian Icon\u201d (2000) to signify the end of a period. It was roughly at this time that she began to study old Russian icons in greater depth. The copied physical object is in itself fairly accurate. With embarrassing attention to detail Nukke has studied the various working methods and endeavoured to recreate a complete simulation.<\/p>\n We see a lightly crazed surface, gilt edges, a sustained awkwardness and the coexistence of events from different periods. But looking more closely it becomes clear that the \u201cicon\u201d is painted onto board, the cracks have been achieved with the use of special lacquer and the works are bewitchingly kitsch rather than inspiring reverent awe. Naturally, the shift does stop with the intentionally simplified appropriation of the icon.<\/p>\n It seems that Nukke\u2019s method of \u201csimultaneous representation\u201d, in which traditional details are replaced by the trendy and the contemporary, is first and foremost a battle against power. With these icons Nukke does not refer so much to the Christian religion as to the way certain keywords in contemporary society have become \u201creligious\u201d, all engulfing and dogmatic. Even \u201csignificant peculiarities\u201d characteristic of Estonia are given a good thrashing by the artist.<\/p>\n Eero Epner \u2026 The prophet-like quality of icons stems from their universal content. Just like the bible, offering guidelines and words of wisdom for any moment, so too the icon speaks in allegories of events that were, are and will be. In essence, everything repeats, but each event takes us one step closer to the kingdom of God. Thanks to the high degree of generalisation it is easy for the viewer to identify themselves or well-known people in the figures in the icons\u2026<\/p>\n \u2026 The icon is an appropriate medium for Mall Nukke because she is sensitive to the world that surrounds her. Her subject matter derives from everyday events and political developments. The depiction in her icons increases the effect of irony and the strange feeling that the picture is not what it first seemed to be. On the other hand, the present, rapidly moving from one minute to the next and as yet unordered by historians, deserves representation in a lasting medium, and not just in performances and plastic wrappings. Mall Nukke is confident in her intuition and believes the more everyday the scene the more interesting it will be to look at in the future.<\/p>\n A temple rising up on an old icon becomes a shopping centre labyrinth with people doubled up underneath things. From Mustam\u00e4e you can see how the important envoys arrive in an increasingly globalising Tallinn. A saint lights his halo from the energy grid. Another saint welcomes EURO-cherubs to the Republic of Estonia. Or are they actually trying to protect the Estonian kroon with a battle axe. It is even possible to see the power play of the artists association between the painting and computer graphics. Will the winning line of noughts and crosses go through the Pegasus or the computer? The politician\u2019s biography and the prophet\u2019s prophesy, each viewer to their own\u2026<\/p>\n Andri Ksenofontov [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.20.4″ _module_preset=”default” width=”100%” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|tablet” custom_padding=”|20px||20px|false|false” global_colors_info=”{}”][et_pb_column type=”4_4″ module_class=”pa-inline-buttons” _builder_version=”4.20.4″ _module_preset=”default” custom_css_main_element=” display: flex;|| justify-content: space-between;” global_colors_info=”{}”][et_pb_button button_url=”https:\/\/www.mallnukke.ee\/en\/2003-2005-urbans\/” button_text=”PREVIOUS” _builder_version=”4.20.4″ _module_preset=”default” custom_button=”on” button_text_size=”14px” button_text_color=”#000000″ button_border_width=”0px” button_font=”|700|||||||” button_icon=”#||divi||400″ button_icon_placement=”left” custom_padding=”||||false|false” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][\/et_pb_button][et_pb_button button_url=”https:\/\/www.mallnukke.ee\/en\/2000-estonian-egos\/” button_text=”NEXT” button_alignment=”right” _builder_version=”4.20.4″ _module_preset=”default” custom_button=”on” button_text_size=”14px” button_text_color=”#000000″ button_border_width=”0px” button_font=”|700|||||||” button_icon=”$||divi||400″ custom_padding=”||||false|false” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][\/et_pb_button][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" \u201eIcons\u201c2000\u20132004Icons 2000\u20132004 About three years ago a change took place in Nukke\u2019s work. Once again she is the DJ in human history sampling together different periods, meanings and images. In her work we continue to see subtle irony, a faint smile and the Heimlich manoeuvre (a technique of ejecting an obstruction from the throat of […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-2566","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/mallnukke.ee\/en\/wp-json\/wp\/v2\/pages\/2566","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mallnukke.ee\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/mallnukke.ee\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/mallnukke.ee\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mallnukke.ee\/en\/wp-json\/wp\/v2\/comments?post=2566"}],"version-history":[{"count":0,"href":"https:\/\/mallnukke.ee\/en\/wp-json\/wp\/v2\/pages\/2566\/revisions"}],"wp:attachment":[{"href":"https:\/\/mallnukke.ee\/en\/wp-json\/wp\/v2\/media?parent=2566"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Mall Nukke’s jubilee exhibition. Haus Gallery 6.12.2019-3.01.2020<\/h2>\n
\u201eIcons\u201c<\/h1>\n
Mall Nukke’s jubilee exhibition. Haus Gallery 6.12.2019-3.01.2020<\/h2>\n
2000\u20132004<\/h4>\n
Icons 2000\u20132004<\/h4>\n
It is up to us how we read them, whether we giggle or rip the newspaper to shreds. This would say more about us than any song festival.<\/p>\nMall Nukke\u2019s atheist icons at \u00dchispank<\/h4>\n
Her relationship with icons can be compared with quotes from literature, where someone else\u2019s phrase is taken and used, and then sitting comfortably in a new context it starts to generate new meanings. Even though appropriation is already a shift for Nukke, she turns the screw one more notch.<\/p>\n
Postimees, 2002, 04 December<\/p>\nMall Nukke\u2019s iconoclastic icon<\/h4>\n
\u201eSirp\u201c, 2004, 30 April<\/p>\n