Flo Kasearu: TEMNIKOVA & KASELA.
Kasearu, however, still also mounts traditional gallery shows. Her most recent one included eight sculptural works but focused on the documentation of two projects that took place in the backyard garden of her home museum. Inspired by the artist-residency model, Kasearu invited a security guard she befriended on a research trip to Poland to do a "guard residency" for a few days. The resulting video work, (De) Fence, 2014, shows the gentleman in his museum security uniform standing watch over a hole in the fence separating Kasearu's backyard from her neighbor's. In this act of displacement, the institutional protector of artworks has become a private security guard--in a space that is very purposefully constructed to challenge the private/public divide. A new contribution to the theater of the absurd! For how, in this specific context, to distinguish a home invader or nosy neighbor from a bona fide museum visitor? What needs protecting here: the artwork or the home? With the guard's ironic presence, the sacred space of museum and home alike are called into question. Yet ultimately, what greater task is there for art than to rob us of our illusions?
The second project was also residency-based. Here, Kasearu invited a professional gardener from South Korea to build an "authentic" Korean garden in her backyard. Beyond a couple of requests (Kasearu desired "mountains" in the form of grassy hills, since Estonian topography is flat, and a flower pond), she gave the landscape architect free rein to practice his craft. A video work, Korean Garden, 2016-18, documents the process, but it was also worthwhile to visit the garden-and the house--to experience the result, crowned with a plaque identifying it as the first Korean garden in Estonia. Yet another inspiring displacement that shows that "home" is whatever we make of it.
Caption: View of "Flo Kasearu," 2018. Photo: Stanislav StepaSko.
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|Date:||Sep 1, 2018|
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