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These are the sounds of hatching.


A flash SURPRISE EGG EXHIBITION is taking place at A-Galerii. We kindly ask you not to lay around at home but to come immediately here to see the spherical creations of our artists. From the exhibition, you can purchase both an IRON EGG, a SILVER EGG, and a GOLDEN EGG. Some of the artworks guarantee a first-place finish in an home egg-knocking competition, while others serve as talismans, bestowing the tranquility of inner peace upon life.

Participating artists:

Adolfas Šaulys, Ane Raunam, Caius Kull, Edgar Volkov, Ene Valter, Henry Mardisalu, Ivar Kaasik, Ive Maria Köögard, Kadi Kübarsepp, Kalle Kotselainen, Katrin Kosenkranius, Katrin Veegen, Keesi Kapsta, Krista Laos, Liina Lelov, Mari Pärtelpoeg, Merike Balod, Raili Vinn, Sille Luiga, Sven Tali, Ülle Mesikäpp, Ülle Voosalu, Vello Lillemets ja Viktorija Lillemets.

Curated by Sille Luiga

The SURPRISE EGG EXHIBITION can be visited from March 11 in the showroom of A-Galerii and the exhibition will remain open until April 30, 2024. We are grateful for spreading the word!

Eggs can also be found in our e-shop under the EGG category.

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Ivar Kaasik / Jacqueline Yajing Yao / Kai Kiudsoo-Värv / Yao Tan

Ivar Kaasik

Death is the natural end of all living things. For humans, however, it has special meaning because we are aware of it. For materialists, it is the end of being, but nonetheless this matter can give new life and witness the birth of something new. To idealists, death signifies the transition to the afterlife, in the form of a soul or in the form of rebirth. This is seen as liberation. The soul is liberated from the body. As life ends in death, life loses its purpose. What is the meaning of this exhibition? The artist used recyclable materials to create this jewellery, thus giving new life and meaning to existing matter. Some of the materials regenerate themselves naturally in the wild by recreating themselves over and over again. Until humans draw a line and end its life. Only to begin again and again.

Ivar Kaasik is an Estonian artist who moved to Berlin after graduating from the Burg Giebichenstein University of Art and Design in Halle and the Estonian Academy of Arts. In 1996 he received the DeBeers Oscar at Paris Haute Couture Week. As a freelance artist, he organises tours for art lovers on Berlin’s battlefield of street art and appropriatist art, gives mobile insights into the city’s centuries-old monumental art and industrial architecture and guides cultural tourists through the maze of avant-garde galleries to the lower east side quarter of Neukölln, which is full of alternative music clubs.

Ivar Kaasik was born in Kuressaare in 1965. He studied at the Estonian Academy of Art (formerly the Estonian State Art Institute) in the Department of Architecture and later in the Department of Metal Art from 1983-1992 and at the Burg Giebichenstein University of Art and Design in Halle from 1989-1990. Since then he has held various professions, including working as a goldsmith in Germany from 1992-1998. Kaasik has been a freelance artist since 1999. He has participated in exhibitions since 1989 and has been a member of the Association of German Artists since 2001 and of the Estonian Artists’ Association since 2012. He is also a member of the Estonian Metal Artists’ Union and Estonian Painters’ Union.

Kaasik has been awarded the world-famous Diamond International Award (1996) in Paris for jewellery design. As a writer, Kaasik has expressed his disregard for pathos and traditional approaches towards art in his book Beware of the Art! What To Do, How and How Much (Ettevaatust, kunst! Mida teha. Kuidas ja kui palju, 2011) whose genre Kaasik describes as a “minimum and maximum programme”. – From the book Ivar Kaasik. Beware of the Art! What To Do, How and How Much. (2011)

Jacqueline Yajing Yao

Everyone has their own world – a space where they become themselves. It is both spiritual and precious. While some may open their world to share themselves, others are more protective. My works take inspiration from this space of separation. A place where relaxation and breath can lead to a deeper connection with self.

Space is a conceptual word. It’s an open concept that is interpreted in a variety of meanings. Here, I also would like to leave this wide space to everyone; to experience the relaxation, the breath… anything that can be connected and imagined.

Jacqueline Yajing Yao is an M.F.A. at Savannah College Of Art And Design. Her goal is to create long-lasting jewelry and accessories that aren’t just roughly beautiful but also have a soul passed on from generation to generation. Drawing inspiration from music subculture, philosophy, and art, Yao continuously seeks the perfect balance between meaning, beauty, and function while cherishing the heritage of making things by hand in the best possible way. Jewelry expresses a possibility that few observers have ever noticed: Its ability to touch people. She uses a simple way to express complex thoughts, and she believes handmade can build a special relationship with jeweler and wearer.

Kai Kiudsoo-Värv

The purple glow of a willowherb on the edge of a venom-green meadow, a mustard-yellow horizon above a turquoise sea, a pea-green minibus driving past a bright yellow house, snow-white and scarlet dishes on an indigo table… Which moments of life do you recall? The colours, smells and flavours that embody the emotions you have experienced. 

I scroll through the pictures on my phone, searching for the right shot among the familiar assortment of colours. The colour schemes of my recollections.

Some of these schemes were transformed into jewellery with the help of goldsmith Indrek Ikkonen, while others were made by the author herself.

Kai Kiudsoo-Värv (born 1968) is a glass artist. She graduated from the Department of Glass Art at the Estonian Academy of Art with a BA in 1995 and an MA in 2005. Since 1995 she has worked as a freelance artist on a variety of projects, from product design to exhibition projects. Her works include light objects, sculptures, church windows and more. She has taught glass art the Estonian Academy of Art and the Olustvere School of Service and Rural Economics.

Her day-to-day work finds her at the Klaasiklubi glass club in Tallinn, which she founded in 2009 and where she organises and conducts a range of fusing technique courses.

Kai Kiudsoo-Värv has also participated in many exhibitions in Estonia and abroad. Her works can be found in a number of private collections and museums.

Yao Tan

The collection called: “XY” speaks about the subtle ambiguity between females and male. “Infra-mince” of which Marcel Duchamp spoke counted which is barely perceptible, barely identifiable, this notion represents a tiny and singularizing difference.

Her work is built on the ambiguous perception of the body and its imagination. The inspiration came from bodily sources, such as vulnerability, mutations, dualities, and formal metamorphosis. Her jewels are like chimeras, tactile and sensitive objects, and always questioning the relationship to our carnal desires. In this series, she looks for ways to interpret issues related to eroticism in a sensitive and poetic, but also ironic and sometimes violent way. 

Yao Tan is an artist and jewellery maker from China. She received her bachelor’s degree in furniture design in 2012, and later a BFA in contemporary art in 2019 and MA in contemporary art in France. 

She is interested in the tension and the strangeness that results from the relationship between an exhibition space and modest sizes objects. Her creations around the perception and imagination of the body to reconstitute paths of sensations in our societies in <crisis of sensitivity> is a kind of resistance to absurd grand narratives.

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“Pieces of jewellery are not considered art, even if they really yearn for the status. Especially gold and gems. All kind of gimcrackery is not art, despite the fact that the display windows are full of them. Jewellery is non-art.”   This is the message of Ivar Kaasik’s present exhibition where the artist presents works relating to paint and the faded brilliance of crystals.

What’s more – any kind of harmony, balance and compatibility has been avoided. There is lack of taste and beauty. The result is art. At least it really aims at being art. But is it enough in order to become a great work or art? Certainly not. However, when the objects were exhibited in a museum or an art gallery then even the smallest objects will become magnificent. Like in a fairy tale where words of wisdom are often expressed though vague hints or by birds and animals.  

“What is your favourite colour and favourite stone? Where did you recently travel to? What kind of materials do you use? Why such incomprehensible names?” It gets really complicated when artists themselves have to talk about their work or to describe their creative process, to reveal facts about their family and home. One has to create a myth and remain in the shadow in order to offer the viewers the opportunity to decide themselves what to see. Whereas Kaasik’s earlier works have been covered with diamonds then his new pieces form a symbiosis of patches of paint, heaps of stones, surfaces covered with ash and dust. The artist has eliminated the measure of a man and the naturalness of material. The exposition reminds of plastic, nature has been replaced by hopelessness. When touching the pieces these will either fall into pieces or become totally broken. Trivial materials, deliberate errors, strong anonymity and shaky details contribute to the humorous atmosphere of the exhibition.

Ivar Kaasik was born on April 12, 1965 in Kuressaare. He studied in the department of architecture and later in the department of metal art of the Estonian Academy of Arts (former Estonian State Art Institute) in 1983-1992; in Burg Giebichenstein University of Art and Design, Halle in 1989-1990. Afterwards he worked various professions, for instance as a goldsmith in Germany in 1992-1999. Since 1999 Kaasik has been a freelance artist. He has participated in exhibitions since 1989. Kaasik is a member of Association of German Artists since 2001 and Estonian Artists’ Association since 2012. He is also a member of Estonian Metal Artists’ Union and Estonian Painters’ Union.

Ivar Kaasik has been awarded the Diamond International Award (1996) that is the most prestigeous awards for jewellery design. As a writer, Kaasik has expressed himself in his written work “Ettevaatust, kunst! Mida teha. Kuidas ja kui palju” (“Beware of art! What to do. How and how much”, published in 2011) where the author disregards pathos and traditional approaches in art and calls the genre of his book “minimum and maximum programme”.

Ivar Kaasik’s work is often incomprehensible; his pieces have been inspired by direct urge not to think and by the forced anonymous monologue, indirect hints and undubious possibilities of interpretation.   Exploiting of the subject of being a man is one of main themes in Kaasik’s work whereas the artist is not stuck in the surface of social orders and expectations of mass culture but delves directly into the universe of bodily needs. Kaasik’s appropriational irony together with the phenomenon of craft and incomprehensible technique have developed temporal atmosphere and a somewhat artificial world soothed into singularity in his work. His jewellery can be juxtaposed to the stories without a happy end.

Is there anything that has not been seen yet? Perhaps this will become a new challenge for the art of jewellery: to display something that won’t deserve displaying. Art and crafts – are these the two arbitrarily referred poles between which contemporary jewellery art oscillates while never reaching the agreement and thus attracting the viewer’s interest.   If disregarding the problems concerning the need for jewellery and the existence of a jewellery artist then which processes decide the status of jewellery in society? How are the processes related to the approaches and decisions made by people as social beings?

At this point, the emphasis is not on an impressive artisan skills of a goldsmith neither on a direct connection between the artist’s biography/psychology and his or her artwork. The thing only has to do with its own rationality.   The following questions – who decides the development of a piece of jewellery and how is it made, who solves the issues related to the production process – must be treated individually with every artist. This is a game with specific dynamics where the patterns of process are accompanied by an incomprehensible opposition. Not only elegance but also bodily intrusion.