Ernest Hemingway once said, “In every port in the world, at least two Estonians can be found”. This is also true about New York, where more than a few community members share their Estonian House, New Yorgi Eesti Maja. The New York Estonian Educational Society was founded in 1929. As a great coincidence, and as a brilliant and thoughtful part of the Performa 17 biennial, which took place from November 1 to 19, Estonian artist Flo Kasearu created a nostalgic ode to this members’ club house. Her site-specific performance tour guided groups through different rooms of the house. Her artist-led tour highlighted the very house’s past, changing its authentic traditional feeling into an updated stage, in which the local members themselves took part in the performing. All staged and directed by Flo Kasearu.
Kasearu runs also an artmuseum in her native Estonia. In Tallinn, visitors can book special guided tours in the Flo Kasearu House Museum. The historic wooden house belonged to the artist’s family from the time of its construction.
Firstindigo&Lifestyle: Your great great-grandmother was building the house in which you live now in Tallinn. How did that heritage inspire you to pick up the idea of bringing performative component of your family house to New York Estonian House?
Flo Kasearu: Both of my great great grandparents built the house. (I just have a photo of my great grandmother, so I mentioned her in the tour).
While living there since 2009, and getting involved with so many domesticity issues and problems of living in an over 100-year-old house, many ideas have grown out of the problems. I like to solve my problems through artistic practice, turning them into objective artworks. So I established a Flo Kasearu House Museum in the house, which is open by appointment only. I do guided tours to visitors through the house and its garden. Otherwise it would be difficult to find artworks from the middle of my everyday things.
The house tour is a sight-specific art project, and as such it’s difficult to transport it elsewhere. I can partly exhibit the tour, or works from it somewhere else.
Firstindigo&Lifestyle: How long ago was it when your family built the house, and how did Tallinn preserve its old buildings during the times of the Soviet Union?
FK: The house was built in 1911 and my museum and the tours started in 2013.
During the Soviet era, most of the private property was nationalised and belonged to the state. After 1991, 20 year-long restitution started taking place, during which the property was given back to successors of original lawful owners. Houses that belonged to the city were taken care by the renters. City of Tallinn, for example, did not put any money into renovating them. During the restitution process houses were in a legal loophole in terms of their ownership, and thus were not dealt with by the renters, as they thought that any original lawful owners could come back and take the houses over.
Firstindigo&Lifestyle: How did you end up doing a similar kind of tour in New York at the Estonia house as part of Performa 17?
FK: Just the method of being a tour guide is the same anywhere, and talking about the history of my museum house is also the same. But otherwise it is a very different project.
‘The Members Only tour’ (Performa 2017 project), is a sight-specific work for New York Estonian House and its community. As I am not a big performer, I did not want to perform it on stage. So doing the guided tour seemed a logical method. The work also included the community members participating in the performance. Guiding people to go through the house, and then becoming like a tour guide in a museum which New York Estonian House is in a way. Everything in the house looks so authentic to its original times and everything is based on old traditions and rituals.
Firstindigo&Lifestyle: Do you feel that NYC local community members joined your project easily? From an audience member viewpoint everything seemed going smoothly and appeared well rehearsed.
FK: I took the time to talk with them, listen their stories, so then it was not too difficult to convince them to join. I got recommendations from one member to talk to another member, and then it developed on until I had enough members to invite. I had two ladies cancelling in a last-minute, for example an older lady’s husband got so sick that she had to take care of him and she could not join in the end. But luckily I had also backup members in mind.
Firstindigo&Lifestyle: You’re a multidisciplinary artist in the true sense. Did performance enter into your working methodology from the very start of your practice?
FK: I started doing video-performances while I was an exchange student in UDK, Berlin. I was in Rebecca Horn studio, a performance and installation artist, and she told me that there is no point for me to paint for her, as she doesn’t know much to comment on painting. I started doing video-performances, relating myself and my Eastern European identity with this new city and new space. So from that time I have been doing performances once in a while.
Firstindigo&Lifestyle: In New York City, the visual components in ‘The Members Only’ tour were really stretching the context of the Estonian House in a unique way. How did the imagination for the ‘sets’ evolve?
FK: They are a combination of ideas that evolve from speaking with people and wanting to bring them and their stories to this very abstract and minimal level. And mixing them with some of my older haunting ideas. It is very sight-specific. And I wanted to bring also humour and irony level in, as I felt this is really lacking in this house.
Firstindigo&Lifestyle: Now thinking also how the music room was evolving, with the grand piano in it. In your tour, you mentioned that behind the doors there is a choir practice going on, but the scene was so surprising?
FK: My point was not to repeat the same things that are happening in the house otherwise regularly. I went to see the choir rehearsal happening there, and I noticed the choir teacher who is such a strong character putting also chairs. So I wanted to highlight the choir teacher and show her alone. I have had this kissing-ticking sound long time haunting in my head and I thought to display this in the room as it is kind of abstraction from the emotions that I felt in the choir rehearsal.
For example, in the choir singing room, instead of singing patriotic songs, the notes are made of this kissing-ticking, which has similar emotion and a character being nostalgic, but abstracted. And then the humor comes in, with over-reacting with this kissing note, and this way it’s also more open to interpretation.
Firstindigo&Lifestyle: Going back to Estonia. How would you describe the Estonian contemporary art scene today?
FK: Its tiny but rather interesting. Some years ago art used to be dealing more with the social and political problems, now it is much more in its comfort zone. Although the fees in Estonian art are still quite minimal. The younger generation is more similar to Western formalistic approach, seems to me.
Artist website: http://www.flokasearu.eu/