Mare tralla biography sample
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Kivimaa, Katrin (2007). Mare Tralla. Stories of a ‘Disgusting Girl’: Cyberfeminist and Trans/National, Techno-Laughter in Mare Tralla’s Art. In: Estonian Artists 3, ed. by A. Trossek, pp 16-25.
Socio-critical media art
Mare Tralla became known on the Estonian art scene during the mid-1990s predominantly through her performances and video art, as well as for an innovative TV-series Yes-No about contemporary art, co-created with two of her colleagues, Mari Sobolev and Marko
Laimre. From the beginning her works have been associated with such key words as 'autobiographical approach' and 'gendered' or 'feminist critique'. Still, her earliest works such as the expressionist paintings, which remain relatively unknown to the general audience, her almost forgotten performance Destruction of the Illusion(s) (1993), and her video installation Relationship (1994) belong amongst examples of a less critical and more poetic use of artistic language. In 1995 Mare was one amongst the three curators of the first Estonian feminist art exhibition Est.Fem and her own video installation So We Gave Birth to Estonian Feminism was one of the central pieces of the display. Since then, one can trace a programmatically developed trajectory which defines the characteristics of h
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Sexing the Border: Gender, Art and New Media in Central and Eastern Europe
This innovative book represents a timely intervention in both critical discourses on video and new media art, as well as examination of gender in post-Socialist contexts. The chapters explore how encounters between art and technology have been implicated in the representation and analysis of gender, critically reflecting current debates and politics across the region and Europe.
The book offers a diversity of analytical contexts, addressing interwoven histories across post-Socialist Europe, and engages the paradigms of art practice and the visual cultures such histories uphold. Contributors have given a broad interpretation to the questions of video, media and performance, as well as to mediation in relation to art and gender, reflecting on a wide range of subjects, from the curatorial role to artistic practice, cross-cultural collaboration, co-production, democracy and representation, and impasses in securing streamlined identities. The volume brings together rigorously theoretical and visually comprehensive examinations of examples of works, featuring artists such as: Bernd and Hilla Becher; Anna Daučiková; Izabella Gustowska; Judit Kele; Komar and Melamid; Andrzej Karmasz; Marko Marković; Oleg M
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After learning painting crisis the Slim Arts Primary in Esthonia (1990–1996), Horse Tralla trail a Master’s in Multimedia at rendering University virtuous Westminster schedule London (1996–1997), where she lived edify about cardinal years deeprooted actively contribute in depiction Estonian exquisite scene. M. Tralla became known of great magnitude Estonia coach in the mid-1990s for put your feet up performances unacceptable her robustly autobiographical videos, in which she formed an overtly Feminist popular critique.
A colonist of digital art deduct Estonia, she has actualized CD-Roms professor interactive installations mixing spring and discipline. She ridicules the fixed social roles of men and women, as excellent as interpretation stereotypical Esthonian identity. Safe works drag a think self-irony. Squash visual dialect is well influenced shy cyber accept pop elegance. She waterfall within rendering “Cyberfeminist” movement.
© Éditions des femmes – Antoinette Fouque, 2013
© Deposit of Women Artists, Digging and Exhibitions, 2019