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Jaan Rõõmus “Näitus Nr.2”

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Jaan Rõõmus “Näitus Nr. 2”

8. juuni – 5. juuli 2014

Jaan Rõõmus (s 1990) õpib Eesti Kunstiakadeemias graafilise disaini erialal, varem on ta lõpetanud Tartu Kunstikooli. Noore kunstniku teisel isikunäitusel tulevad eksponeerimisele viimastel aastatel valminud joonistused, millel on kujutatud linnaruumi sellisena, nagu see vastab autori eetilistele ja esteetiliste tõekspidamistele.

 

Nendes tõdedes, teisisõnu vaadetes, on nii mõndagi paulkondaslikku. Anduv ratsionalism? Strateegiline naivism? Rangus oma professionalismis.

 

On inimesi, kel ei saa kunagi igav olla. Rõõmus jalutab ringi linnas, ütleme Viljandis,  ja jääb vaatama vana maja aknaid. Need on raamid, mille tarbeks meister hankis omal ajal aknaliistud, mille puu olid kuivanud aastaid. Rääkimata selle sama maja taladest. Kes oli see meister? Kellele ta maja ehitas? Milline perekond seal elas? Kuidas nad oma ruume kasutasid? Kas perepojast sai tisler või apteeker? Rõõmuse joonistusi vaadates võib tekkida (ekslik) tunne, et need on “lihtsalt nii ilusad” pildid. Nii see ometi ei ole: igale pildile eelneb vanade fotode analüüsimine, arhitektuuridetailide läbitunnetamine, ajastu eluolu oma nahale kandmine.

 

Rõõmuse detailirikastes tuši- ja tindijoonistustes avaneb meie kultuuriloo röntgenpilt.

 

Gregor Taul

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Jaan Rõõmus Exhibition No 2

 

 

 

Jaan Rõõmus (b 1990) currently studies graphic design at the Estonian Academy of Arts, before that he has studied at the Tartu Art School. This is the second solo exhibition of this young artist who is now exhibiting his drawings which mostly depict cityscapes according to his ethical and aesthetical point of view.

 

There is something strongly reminiscent of Paul Kondas in his work. Is it keen rationalism? Could it be called strategic naivism? It most definitely is straightforward professionalism.

 

There are people who never feel bored. Jaan Rõõmus walks around a town – say Viljandi – stops in front of an old building and stares at the windows. These window frames were made out wood which had dried for several years before they were used. Most probably the wood which was used for the facade was dried for even longer. Who could have been the engineer who planned this building? Who commissioned it? How did the family look like who lived there? How did they make use of the rooms? Did the eldest son become a carpenter or a pharmacist?

Rõõmus’ painting could leave us with a (wrong) impression – that these are just “very nice pictures” . It isn’t that easy, as every single drawing has a complicated analysis behind it. What we don’t see is the the hundreds of old photographs, minute architectural details and the general atmosphere of a era, which have all been thorougly researched.

 

What we see is an x-ray of our cultural history.

 

Gregor Taul