Writing, Curating and Lecturing on Visual Arts, Public Space and Architecture

Tõejões

Review of Karel Koplimets' recent projects for cultural monthly Vikerkaar.


Gregor Taul

Tõejões

 

1

 

Alan Badiou arvates on kaasaegne maailm tõevaenulik, mattes kõik kultuuriilmingud majandussuhete alla: kunstist saab loomemajandus, teadusest tehnoloogia, poliitikast manageerimine ning armastusest seksuaalsus.

 

2

 

Teisalt rajaneb turumajandus usaldusel. On ju lõviosa rahast virtuaalne, s.t laenatud välja lootuses, et küll tulev töö selle summa lunastab. Ehkki oma progressimeelsuses keskkonnavaenulik, on selles kollektiivses riskis midagi ilusat. Ent riskiühiskonnas elamine võib olla ka kole, eriti tehnoloogiliste arenguhüpete ajal, mil tuleviku ennustamine on vaevaline.

 

3

 

Kirjastajad valivad detsembris aasta sõnu. Mullu jäid angloameerika kultuuriruumis pinnale tehisintellekt ning selle arengust johtuvad nihestused ja nihelused meie argikogemuses: autentne, hallutsineerima (olukord, kus tehisintellekt pakub faktide pähe kahtlase väärtusega infot) või TikToki slängis digitaalset karismat tähistav rizz. Saksa Keele Selts tõstis esile sõna Krisenmodus, Belgia päevaleht Le Soir aga termini bombe climatique. Mis meelel, see keelel.

 

4

 

Ehkki tehisintellekti üle on arutletud antiigist saati, siis OpenAI loodud keelemudel GPT-4 tekitas paraja vapustuse. Tehisaru, mis teab kõike (kuid on ise loll ja polariseeriv), unistab, näeb und, kardab surma, on igal pool ja nähtamatu, on inimestele raskesti seeditav.

 

5

 

Mark Wigley on arutlenud „ekskrementaalse“ interjööri üle, leides, et moodsa arhitektuuri vormivõtted tulenesid 19. sajandi meditsiiniteadlaste seisukohtadest, mille järgi haigused levisid saastatud õhu kaudu. Arstid tõmbasid endaga kaasa poliitikud ja linnaplaneerijad, et teha nii, et ükski inimesest väljuv kehavedelik ei puutuks meie elukeskkonnaga kordagi kokku, vaid liiguks torusid pidi linnast minema. Puhtusehimus mindi vaat et nii kaugele, et ruumist tuli ka inimene ise eraldada.Selle ideoloogia vaimus lammutati terveid linnaosasid ja ehitati nullist uusi linnu, mille keskmes oli kommunaalse seedetrakti ära peitmine. Ekskrementaalse arhitektuuriga on mindud nii kaugele, et ventilatsiooni- ja veetorude, boileritele ja pumpade kõrval on tänaseks päevaks ka elektrijuhtmed seinte taha ära peitnud.

 

Ent (seede)süsteemi varjamine on narrus ja lootusetu enesepettus, sest inimene kannab endaga kaasas triljardeid baktereid. Ka kodust lahkudes jätab inimene endast baktereid maha voodisse, diivanile, ukselingile jne. Wigley väidab, et inimese seedekanal seob teda kõige tihedamini välismaailmaga, või täpsemalt, see ongi välisilm meie sees, omamoodi sissepööratud välisus. Ehkki moderniseerumine on püüdnud siseruumist välistada inimese ja taandada eluruumi ekskrementaalseks interjööriks, siis õnneks oleme me sellele vastu pannud. Seletan seda nii pikalt, sest ma leian, et Karel Koplimetsa loomingus on tihti fookuse all need mikroobidest tühjaks imetud laboratoorsed võtteplatsid ja teiseks sellepärast, et kutsuda arutlema selle üle, milliseks muudab meie interjöörid tehisintellektist tiivustatud urbanistika.

 

6

 

Koplimets on tuntud oma juhtumiuuringute poolest, kus näitustel on ette võetud üks reaalne või fiktiivne, natuke kummaline või lausa õõvastav olukord, milles väljendub riskiühiskonna skisoseisund – kõik on justkui hästi, aga... Reaalsusekogemus takerdub traumadesse, kus inimesed, kohad või tegemised on jõudnud ummikseisu. Justkui kohtu-uurija või närviarstina rekonstrueerib Koplimets nende traumade algpõhjuse, luues vaataja jaoks heterotoopsed ja kehamällu talletuvad kogemused. Ühelt poolt inspireerib teda kogu läänemaailma moderniseerumise mõtestamine, kuid teiselt võib ta olla ka lokaalne ja fokusseerida sellele, millise jälje on ülimuslikud ameerikalikud kultuurikoodid nagu 9/11, sõda terrorismiga või Hollywoodi viimsepäevafilmid jätnud Eesti lähiajaloole. Kui Marshall McLuhan arvas optimistlikult, et tänu üleilmsetele infovõrkudele saavad meist empaatilised globaalsed kodanikud, siis tegelikult läks nii, et uudiseid valvavad viis-kuus korporatsiooni ja paar riiki, mistõttu meist on saanud pigem globaalsed idioodid, kes ägavad oma üksinduse, teadmatuse ja vandenõuteooriate all. Selle nõiaringi mõtestamine on olnud Koplimetsa leivaks.

 

7

 

Viimastel aastatel on Koplimets üha rohkem tegelenud inimeste kollektiivse abitusega sotsiaalsete ja psühholoogiliste hädadega toimetulemisel. Natuke nagu Aki Kaurismäki on ta ametis hiliskapitalistliku iseduse ja üksinduse arhiveerimisega, vaadeldes sellele laiuskraadile justkui geneetiliselt omast unelevat üksindust, millega kogu maastik on täidetud.

 

8

 

Tema näitused on enamasti meisterlikult ülesehitatud, meenutades kohati religioossete ruumide stsenograafiat. See vaimukoreograafia puudutab ka teostevahelisi võimusuhteid, mistõttu näib nende paiknemine olevat hierarhiseeritud ja rituaalselt pingestatud. Fotode puhul on kasutatud küllastunud värve, tehes need äratuntavalt koplimetsalikeks, kuid samal ajal vähendades nende narratiivsust, sest rõhk on värvide ja detailide formaalsel konstrueerimisel.

 

9

 

Koplimetsa loomingut ilmestab konkreetsuse ja abstraktsuse vaheline pinevus. Ühelt poolt on tema teosed enigmaatilised ja unenäolised, asudes justkui hägusel eikellegimaal. Nii ei saa millelegi vihjata, nende tõlgendamine on raskendatud, nad ei allu pindmisele lugemisele. Kuid samas, mis võiks olla konkreetsem kui arhitektuurne makett, mida ta oma näitustel rohkelt kasutab. Ju ta siis opereerib poolikute või katkiste allegooriatega. Rohkem sümbolist kui kontseptualist. Pigem romantik kui dialektik. Ja ometi konstruktivist selle sõna algses tähenduses, maailma-uutja, kelle jaoks tehnika näib olevat olulisem kui teema ning seisukohavõtt tähtsam stiilist.

 

 

10

 

Tema häkitud valguskastid meenuvad kunstiajaloost Kurt Schwittersi Merz-kollaaže. Schwitters tuletas oma neologismi sõnadest Kommerz, Schmerz (valu) ja merde (pask). Oma dadaistlikus hulluses oli ta ilmselgelt eksrementaalse interjööri vastand, püüdes hädapäraste vahenditega jõuda tõe ja vahetu reaalsusekogemuseni. Ehkki Koplimetsa praktika ei ole sedavõrd punk –õllepurkidest parv välja arvatud –, siis oma peenetes ruumimanifestatsioonides triivib ta siiski samas avangardi harus.

 

 

 


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