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March 17, It has a more than a minor effect on the climate as well: the closed-off cluster of colourfully painted mostly wooden buildings that is the Old Town is mist-wreathed and mysterious in cold weather, dazzlingly bright when the sun shines. It has a whimsical, handcrafted air, a tolerant, easy-going vibe, perhaps not unconnected to the presence of an artsy branch of the University of Tartu, and the annual, hugely popular folk music festival every July. A Viljandi local likened it to living in an Astrid Lindgren book, and I can see what she means — I think Pippi Longstocking would feel most at home at Viljandi, and I can imagine it would take her more eccentric deeds entirely in its stride. A number of others mentioned what a good place it is to bring up a family — and it is very noticeable that children are everywhere — a rarity in shrinking, ageing Estonia. The German aristocracy who controlled Viljandi are remembered as a more or less benevolent bunch — in contrast to the cruel autocrats found in some other parts of the region — and ones contributed greatly to the development of the city. Oddly, for such a peaceful, gentle town, Viljandi owes its current pre-eminence to a huge, hulking defensive fortress, whose ruins still get the best view of the lake. Viljandi fortress was first verifiably recognised by the outside world in the 12th century, on a map made by the Sicilian cartographer Muhammad al-Idrisi. Originally a defensive fortification for Estonian tribes of the ancient Sakala County, it fell, like the rest of the country, to German crusaders early in the 11th century. The fortress took a full two hundred years to complete, and at its peak was an intimidating and complex thing, with three moats connected by drawbridges, attracting the awe of foreigners — visitors from Prussia in the 15th century are recorded as saying they had never seen a more formidable fortress. To demonstrate its importance — in the 14th century Viljandi had 32 knights permanently resident in the fortress, compared to a mere 19 in Riga. Even Ivan III, the man who laid the foundations for the modern Russian state, was not able to take it, despite a protracted siege in Estonia did eventually fall to the Swedes, then later to the Russians, although for rural and inland Viljandi County the changes of government seem to have been registered less acutely than in more urban and coastal regions. Under the Russian Empire in the 19th century, Viljandi County did, in fact, become one of the more prosperous areas of Estonia: the historic region of Mulgimaa, in the far south of the county was famed for the wealth and astuteness of its flax-growing farmers, who became rich following sudden shortages as a result of the American Civil War. Efforts are afoot to resurrect Mulgimaa as a cultural region, and many well-known Estonians, including President Toomas Hendrik Ilves, have Mulk heritage. Even though its castle was not the last in Estonia to fall to invaders that was Tartu — or Tharbata, as it was then , it is striking how effectively the city has managed to repel any profound attempts to change it, remaining as idiosyncratic and Estonian as it always has been. The first politically active Estonian-language newspaper, Sakala , started publication in Viljandi in , quickly becoming the most popular publication among Estonians, the dispossessed majority of the population. Its editor, Carl Robert Jakobson, was among the most vocal and influential of the first generation of Estonian intellectuals, calling passionately for an end to the hegemony of the Baltic German aristocracy. Even during the year Soviet occupation, it was known as an unusually free-thinking and unconstrained town, even for comparatively free-thinking and unconstrained Estonia, its festivals a draw for those disaffected by Soviet life — the hippies, longhairs and weirdos too odd for the collective farm. Wooden houses in the centre of Viljandi. What to do Old water tower Johan Laidoneri plats When you have views as preposterously fine as Viljandi does, any reasonably high building becomes a tourist attraction. View from the water tower Viljandi Museum Johan Laidoneri plats 10 Viljandi Museum was one of the first dedicated town museums in Estonia, dating back to when an excavation of the castle ruins by local Germans took place. We watch through the German and the Swedish and the Russian period, as Viljandi matures from a stronghold on the hill to a minor market town. It tails off after the first red year following the Soviet invasion in , however, as if deliberating blocking out the horrifying memories. The remains of the castle stand on a hill a five-minute walk from the Old Town and despite their sadly denuded state — only one full wall remains, and that is pocked with holes — are still an atmospheric place for a wander. The once-formidable castle effectively ceased functioning as a working fortification after sustaining serious damage during the Polish-Swedish wars of the 17th century. The following centuries reduced it still further, as the site was frequently resorted to for building materials when the town was growing fast, between the 18th and 20th centuries. Deep trenches dug to aid defence hundreds of years ago have produced a quirky and unusual surrounding landscape. Valleys are scored deep into the hillside, which fill up with flowers and greenery in the warmer months; these protective gorges have also necessitated the building bridges to link the upper levels — the most picturesque being the miniature, bright-red suspension bridge that leads to the ruins themselves. There is a certain lack of sophistication perhaps — faces tend to be crayoned ovals, and wonky, two-dimensional shapes and off-beat shadows predominate — but this only aids him in creating a childlike world, where menace and wonder are hard to dissociate from one another. A wartime Dresden scene full of static explosions and people leaking blood is particularly distressing, while others are more ambiguous in their meanings: one of his final pictures, far from atypical, shows Father Christmas on a winter lake in a fishing boat, only a Christmas tree for company, backed by a ghostly blur of blue, black and white trees. This final detail shows that these pictures are not as oblique and apolitical as they seem: Kondas lost one of his teaching jobs due to an alleged lack of interest in ideology and frequently worked in the colours of the banned Estonian flag into his pictures. Other pictures, though, catch something of the sleep-deprived ecstasy of the few, stretched Estonian summer days, full of figures engaged in collective, faintly insane activities; the dour colours of others capture the anhedonic winter flipside. It first took place in , and has been held every year since then. During the first period of independence, there was a restaurant out there on the sparsely-populated far shore near Sakala, its customers rowed from across the lake, which is spoken about in nostalgic and wistful tones by those who could not possibly have remembered it. Maramaa and dog Johan Laidoneri plats August Maramaa, mayor of Viljandi between and , and then again between and is remembered fondly by most in the town, not least for his insistence that Viljandi should be an attractive, park-filled kind of place. If we understood the story related to us correctly, he was a dog lover and an avid walker, who took a meditative walk around the town every evening at the same time, following the same route. Image: puhkuseestis. Three talented cartoonists resident in the town offered to draw anyone who requested it. Valtman is the best-known of these figures, and also the luckiest, managing to escape the country after the second Soviet occupation in , and after three years in a displaced persons camp, made it to the US, subsequently becoming the chief political cartoonist for the Connecticut newspaper The Hartford Times. Passionately anti-Communist due to his wartime experiences, caricatures of the contradictions and absurdities of the Communist societies of China and the Soviet Union were especially savage, and he became a recognised and respected figure, winning the Pulitzer Prize for Editorial Cartooning in Please consider making a monthly donation — help support our writers and in-depth coverage of Estonia, Latvia and Lithuania. Find out more at our Patreon page. Author , Estonia , Travel , Will Mawhood. Fiction: Baltic Byline. All rights reserved. Search for:. Wooden houses in the centre of Viljandi What to do Old water tower Johan Laidoneri plats When you have views as preposterously fine as Viljandi does, any reasonably high building becomes a tourist attraction. Share this: Facebook X. About the author deepbaltic Author archive. About Contact Contributors. Facebook Twitter Instagram. Neville theme by Acosmin.

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Eike Eplik born in is a sculptor and installation artist. She uses nature motifs for constructing a narrative, utilises the gallery space from floor to ceiling, works with sculpting techniques from classic plaster casting to paper and wood assemblage and found objects. The processes in her art are partly subconscious and not always fully explainable. When preparing exhibitions Eplik relies on improvisation — to the extent material allows, of course. During her studies she took on internships with artists in Germany, Sweden and Finland. She is one of the recipients of the artist salary — Tartu Art Museum Eike Eplik. Biomass — Ghost in the Corner Exhibition catalogue. Est, eng. Kogo Gallery Arterritory, Would you dare hold a lizard? The Biomass Case Hasso Krull. Umbigo, Ghost in the Corner. Echo Gone Wrong, Generation of young sculptors as a distinct phenomenon Marie Vellevoog. Sirp Suur lugu. Eplik feat. Heinsaar Janek Kraavi. Sirp, Postimees, Ede Raadik, biomass galeriis, nahkhiired ja taimetervis Kaisa Ling. Klassikaraadio, ERR, Heie Marie Treier. Kole on varjatud — nagu ikka Kaire Nurk. ERR, Artishoki Biennaal. Kohtuvad Eplik ja Soans Hanno Soans. Kunst ja avalik ruum, Metsamuinasjutt puruvana ja hiirekesega. Vaim skulptuurides. Ragne Nukk. Read the latest issue. Skip to content Search. Eike Eplik installation, sculpture. Exhibitions at Kogo. Time to Dream or Fear? Biomass — Ghost in the Corner. Home of Good Thoughts. The Bambi Project. My Bitter Sweet Frankenstein Body. Emotional Landscapes. Octopus Rococo. Press and Publications. Tartu Art Museum Eike Eplik. Solo Exhibitions Shared Territory. Tartu Art Museum, Tartu, Estonia. Kogo Gallery, Tartu, Estonia. Duo-exhibition with Imat Suumann, curated by Peeter Talvistu. Hobusepea Gallery, Tallinn, Estonia. Art and criticism event. Theatre No99, Tallinn, Estonia. Duo-exhibition with Berit Talpsepp-Jaanisoo. Gallery Noorus, Tartu, Estonia. Tallinn City Gallery, Tallinn, Estonia. Draakoni Gallery, Tallinn, Estonia. Together with Eleriin Ello and Krista Sokolova. Tartu Art House, Tartu, Estonia. Y-Gallery, Tartu, Estonia. Raja Gallery, Tallinn, Estonia. Tartu Art House, Estonia. Curated by Rael Artel. Tallinn Botanic Garden, Tallinn, Estonia. Curated by Tiiu Kirsipuu. Tallinn Art Hall, Tallinn, Estonia. Tartu Tartu Exhibition Spaces Curated by Triin Tulgiste. Hobusepea Gallery, Tallinn, Estonia Chinatown-installation. Merikarvia, Finland. Nabaklab, Riga, Latvia. Mask is the Latest Hype!!! Sadamateater, Tartu, Estonia. Tallinn Post Office, Tallinn. Gallery Raja, Tallinn, Estonia. Athena Center, Tartu, Estonia. Relief with Pomegranate 1. Relief with Pomegranate 2. Ghost In the Corner. Ghost In the Corner: Bud. Round Form with Lizards. Personal Space. Open the series. Black Mushrooms I. Hiding Place I. Hiding Place II. Artist Book. More artworks. Photo by Hedi Jaansoo. Photo by Marje Eelma. Photo by Alan Proosa. The Girls Who Loved Everything. Alex Reynolds. Shared Territory. Arbitrary Art. In the Shadow of the Twilight. Beauty Salon. The Heap. The Tiny Twig. Garden of Forking Sounds. Body Language. Roadside Picnic. Cardigans and Kostabis. Urban Festival Uit, Tartu, Estonia. My Mythology — small-scale sculpture exhibition. Ecstasy is the New Frequency!!!! Monuments of Freedom. Apartment for Rent. Crocodile Ate Bears Honey.

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