Tallinn: About One Possibility For Reading A City

by Jan Kaus


/—/ Maasik has photographed Tallinn for years. But the honesty of his photos, their dispassionate enticement has not changed. To document Tallinn, one must find the transitions, commas, dashes, pauses, rhythmic pauses, and polyphony so substantive for a city; to perceive all the corners and recesses, one must tame his own distinctiveness. Arne Maasik’s photos are not better or worse than their subjects, quite the opposite, from them we recognize our hometown, and its, often far from ideal, reality. Perhaps this could also be one of the most influential ways to determine a work of art: it tells someone experiencing art something that seems extremely self-evident, but which no one has bothered to depict or put in words before. Maybe to notice, but not to pinpoint. Maybe to look, but not to observe. /—/

The Meaning Of Milieu In The Urban Landscape By The Example Of Arne Maasik’s Atmospheric City Photography

by Kadri Semm


/—/ Arne Maasik’s city photography points out alternative experience in landscape milieu without the aim to create a specific district’s narrative through its revelation. The possibility to interpret his urban milieu expressions in multiple ways has regarded also socially valuable because of offering an alternative communication possibility for the viewer’s eye. Reconceptualising milieu through embodied practice is useful for institutional city branding practice, as the atmospheric milieu is based on everyday innate patterns through picking up the city’s coherent self-expressions. /—/