Young Estonian artists present personal narratives through art
The exhibition "Youth Narratives" at Kadriorg Gallery in Tallinn presents fresh perspectives on contemporary life through the work of emerging artists.
Artists up to age 30 from across Estonia were invited to participate, regardless of their educational background or professional experience. A jury selected works from more than 260 submissions; this year's exhibition features a record number — over 90 paintings by young artists in a wide range of techniques and formats.
The aim of the exhibition is to provide as broad an overview as possible of what young artists in Estonia are engaging with today. Across the four floors of Kadriorg Gallery, approximately 100 young artists present reflections on society in an installation inspired by a tornado-like aesthetic. The works address existential and topical questions such as sexuality, sustainability, nature, collisions between historical eras, the relationship between technology and art, femininity, war, and broader philosophical themes.
A variety of artistic media are represented, including doll art and experimental installations, such as Marelle Tikenberg's work. In preparation for the exhibition, outreach was conducted to art schools, creative circles, and educational institutions in order to reach as many young artists as possible — including those who may be more reserved but highly talented.
Artists from the Baltic Film, Media and Arts School (BFM), Tallinn Art School, Pallas University of Applied Sciences, and the Estonian Academy of Arts are represented, including students still in the midst of their studies.
Viewing these works, broader reflections and concerns about the future become immediately apparent. This does not mean that history is overlooked. For example, a revival of Romanticism can be seen in Karolin Konrad's "Oleviste kirik" ("Oleviste Church") (2026), where the principles of classical Romantic painting are carefully observed. The depiction of the church windows feels almost as though it were painted on site, conveying the atmosphere of a specific historical place through a Romantic sensibility.
The influence of historical masters can also be found in artists' motifs. The large, contemplative eyes in Pip Simone Vahesaar's "Mõttelend" ("Flight of Thought", 2026) evoke Margaret Keane's (1927) meditations on femininity and inner life, particularly through the emphasis created by enlarging the eyes to an extraordinary scale.
Kadri Kalve's altar painting "Koletised magamistoas" ("Monsters in the Bedroom", 2025) is a work that demands time and close attention. Without knowledge of art historical processes, some references may remain elusive. Through narrative imagery, Kalve brings together motifs connected to religiosity, cabinet painting traditions, classical mythology, homosexuality, and halos. The monochromatic palette and repeated forms lend historical imagery a sense of power, authenticity, and recognizability.
Veronika Pavliuk's "Hukkamine" ("Execution", 2025) conveys powerful inner emotion through an echo of Edvard Munch's iconic scream. The enormous mouth seems to produce a deafening cry, yet the absence of audible sound — and the silence within the work — creates its emotional force. Young artists are also deeply engaged with questions of heritage, as seen in Eliisa Leppik's "Pärand. Järva-Peetri vöökiri" ("Heritage. Järva-Peetri Pattern Writing", 2026) and Jelizaveta Jakovlev's "Metsasiht" ("Forest Trail", 2026).
Contemporary themes remain those that most strongly influence younger generation. For example, recent debates around surveillance society are reflected in Markus Vaher's camera-eyed painting "Silm mu kuklal" ("Eyes on the Back of My Head", 2026), a work with strong thematic depth.
Nature and environmental loss are also recurring concerns. Danel Ülper's works explore connections between labor and celebration rooted in Estonian folk heritage, while Daria Morozova responds with works centered on the emotional dryness and depression often associated with apartment block environments.
Material reuse appears in KIIR's work, where instead of a traditional painting, viewers encounter an installation extending from a two-dimensional surface. On closer inspection, familiar childhood objects emerge: a landline telephone, black plastic sheeting, bottle caps, and other materials that have become part of today's environmental pollution.
Most importantly, the subject of Ukraine is inseparable from many of these artists' perspectives. Maria Tolokevitsh's "Wet Blanket" (2022) includes references in Ukrainian, demonstrating how language and art move hand in hand. BFM student Juule Sang brings the atmosphere of Southern European street culture directly onto Kadriorg Gallery's walls with "Ribeira, Porto" (2025).
Although kitsch aesthetics increasingly appear in contemporary young art, deeper artistic intentions remain central. Outstanding painterly mastery can be seen in works such as Kirke Kirt's "Lootus" ("Hope", 2026), Elisa Margot Winters' "Trial by Water" (2025), and Ingmar Roomets' introductory first-floor trio "Eksperimentaalne perekond" ("Experimental Family"). These works remind us what continues to make painting a vital art form.
As these examples show, young artists are far from untouched by what happens around them or by the concerns society carries. Art remains one of the most powerful forms of reflection — a way to project one's inner world outward, confront experience with courage, and keep moving forward.
The exhibition was organized by the Estonian Painters' Union. Working group: Tiiu Rebane, Karl-Kristjan Nagel, Santa Zukker. Curator: Santa Zukker.
--
Editor: Argo Ideon
