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Collection highlights
The five female members (Kristi Paap, Kaire Rannik, Berit Teeäär, Ketli Tiitsaar, Maria Valdma) of this group of artists each represent different stereotypes of women in the photos of the “F-Files": decent maids at a tea table in the beginning of the century, successful business women at the airport, brides, prostitutes, folk dancers etc. On one hand this role-play can be seen as definition of ‘feminine' through a masquerade - the ability to effortlessly take on different roles, to adapt. On the other hand they are dealing with specific models of femininity from different times and within different layers of society. Categorizing women through a dominant feature (motherhood, profession, outlook on the world) also defines patterns of dressing and behavior as well as their living space. “By playing the roles of ideal women of different generations, the artists of the group accentuate the conflict that rises from trying to fit oneself into the ready-made frames of visual identities whilst attempting to preserve one's 'self'. They cancel this out by unexpectedly turning serious: the last photograph represents the missing image in the cultural repertoire that deals with the ideal - homeless women going through rubbish cans."* Anu Allas * Katrin Kivimaa, Introducing Sexual Difference into Estonian Art: Feminist Tendencies during the 1990s. - The Arrogant Nineties. Problems, themes and meanings in the Estonian art of the 1990s. Center for Contemporary Arts, Estonia, 2001, p. 126.

F.F.F.F.
F-Files No. 2

 
Title: F-Files No. 2
Date: 1998
Diameter (cm): 24.5
Description: The five female members (Kristi Paap, Kaire Rannik, Berit Teeäär, Ketli Tiitsaar, Maria Valdma) of this group of artists each represent different stereotypes of women in the photos of the “F-Files": decent maids at a tea table in the beginning of the century, successful business women at the airport, brides, prostitutes, folk dancers etc. On one hand this role-play can be seen as definition of ‘feminine' through a masquerade - the ability to effortlessly take on different roles, to adapt. On the other hand they are dealing with specific models of femininity from different times and within different layers of society. Categorizing women through a dominant feature (motherhood, profession, outlook on the world) also defines patterns of dressing and behavior as well as their living space.
“By playing the roles of ideal women of different generations, the artists of the group accentuate the conflict that rises from trying to fit oneself into the ready-made frames of visual identities whilst attempting to preserve one's 'self'. They cancel this out by unexpectedly turning serious: the last photograph represents the missing image in the cultural repertoire that deals with the ideal - homeless women going through rubbish cans."*
Anu Allas

* Katrin Kivimaa, Introducing Sexual Difference into Estonian Art: Feminist Tendencies during the 1990s. - The Arrogant Nineties. Problems, themes and meanings in the Estonian art of the 1990s. Center for Contemporary Arts, Estonia, 2001, p. 126.
Related categories: Contemporary Art
Copyright notice: Art Museum of Estonia
AME collection: Contemporary Art Collection
Collection number: FV 72
Accretion number: EKM j 47694
File info: Source type: digital photography
File type: TIF
File size: 51.85MB
Resolution: 3716*4874px @ 300dpi
 
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