Curator's statement

ESTONIA:

John Smith

“Marko und Kaido”

Artist: John Smith

Project: “Marko und Kaido”

Curator: Anders Härm

Commissioner: Sirje Helme

Yes, you are not mistaken - John Smithi s the artist representing Estonia and the project is called “Marko und Kaido”. John Smith, of course, is a fictional character. He is the constantly changing Conceptual Persona of two artists, Marko Mäetamm and Kaido Ole, who have for years shared a studio. Under these circumstances - working side by side - the third guy John with a third point of view was born. We could recall here the statement of schizoanalyst Felix Guattari: I and Deleuze never worked together, we were working somewhere in the space between us. Smith comes from the space between Ole and Mäetamm - he is the personified and schizo “uni-zone” as well as the working method of the artists. In contrast to, let’s say, Nietzsche´s Conceptual Persona Zarathustra, Smith is everything but the Übermensch. He is an average guy, … an Idiot as if Deleuze´s and Guattari´s definition of this notion has been taken literally.

Freshman

As an artist John is a freshman, he started to participate in the exhibitions only few years ago. Smith´s first exhibition was the scandalous and fake “young British art” show at Tallinn Art Hall in 2001. (see Matthew Collings “Art Crazy Nation”, 21 Publishing Ltd, London, 2001, pp.6-7) It was the beginning of his success - the painting “Holocaust” from that exhibition was bought by the Estonian Art Museum at once. 

Rapla

In Venice John’s mysterious and permanently shifting persona becomes fixed at least for a minute. He reveals his secrets in form of texts and paintings, which tell the autobiographic story: John is a German immigrant with Polish roots (sic!) who after long studies at the Goethe Institute in Stuttgart has become a gene technologist (sick?). The institute dispatched him to study “average people” in Rapla, in provincial city in provincial Estonia, back then a provincial county of the Soviet Union and now rapidly becoming the province of the European Union. Working as an art teacher at the local secondary school he discovers two completely average boys - Marko and Kaido, who are strikingly similar to artists Mäetamm and Ole and who become the objects of his studies. He follows them for almost 40 years throughout their tremendously boring life. Smith becomes more and more suspicious of the meaningfulness of his work, and at some point he stops sending his reports to the institute in Stuttgart, where he has been in fact forgotten a long time ago. But soon after that something strange starts to happen in the backyard of Kaido and Marko´s house, where the boys live together. They embark upon building a rocket. Like some freaky brothers of David Bowie´s Ziggy Stardust, like Wallace and Gromit, they plan to leave the dusty Rapla behind. Using Estonian euro-song of last years contest as a manual they want to “run away to the stars”. Standing side by side with great men like Martin Luther King, Marko und Kaido could say as proudly: We had a dream!

There is no need to mention that their attempt was a failure...

Average salary

The “Space Program” of Kaido and Marko is just as optimistic, infantile and idiotic a project as John Smith itself. We might even say that they form a conceptual whole. But behind that conceptualized “village madness” semi-autobiographical material of Mäetamm and Ole is brought out. Although alienated from it they are both small-town kids and very familiar with provincial perception and ways of life. (Isn’t an art project a great way to get in touch with your roots, or what? They should have been already in Documenta!)

There is also a clear connection with the creative work of both artists – with Mäetamm’s print-series of everyday humor and with the bubble-headed guy from Ole´s paintings who, as described by the critics, is a “modern and flat citizen, who votes regularly in parliament elections, raises the mobile phone sale indices each year, and earns an average salary.”   

Cool of painting

John’s themes are everything but cool, his style of painting, again, is nothing but cool. His pictures have no quality we are used to calling “painterly”; it is pure image that counts. John’s pictures are painted by two artists, but they never reveal their “real” author. His handwriting is commonplace, but not hyperrealist, although no “inner tensions” or anything like that are revealed here. The cool of his paintings is in constant conflict with the subject, but the pathos of them could be that with some technical skills everybody could do them. So we might say that the art of John Smith is “everyman’s” art in every way. 

Anders Härm