benjamin sisu ok

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TEEKOND VAIMSEL MAASTIKUL

Benjamin Vassermani looming

Tallinn 2009

L A N D S C A P E S O F T H E M I N D

Wo r k o f B e n ja m i n V a s s e r m a n


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jalik on. Figuurikesed smboliseerivad ka kodusoojust, mille kaugenev ppurjuba seljataha on jtnud, lhe nedes hoonele, mi s on edasi antud kas vaatenalbi jrgmise akna, ehk lihtsalt graafilise kujutisena, mis keskplaani lbiva ko-ridori seinale kinnitatud. Narva maanteel asuva Laste Muusikakooli tornidegamaja fasaad on nhtud inseneri silmaga, edasi antud ksikasjaliku tpsusega.he taga neist historitsistlike sillustega akendest peaks olema viiuliklass, mil-lesse poiss kohe astub, instrumendi kastist vlja vtab ja petaja nudliku silmaall musitseerima hakkab. Vaatajapilguga helt plaanilt lbi ukse- vi aknaava

jrgmisele liikudes on lihtne jlgida seda nappidesse smboleisse kokkusurutudlugu. Koduse milj vastandamine sotsiaalsele pildi erinevail plaanidel tuletabmeelde lapsevanemate mtteid, kui nad pesamuna kooliukseni saadavad, et tooselle taga karastust ja lihvi saaks, mis hilisemaks eluks vajaliku pagasi annab. Niilaieneb ka mttega haaratav ajamde pildis paarist tunnist kmne vi enamaaastani: he Bachi vi Hndeli loo selgeksppimine vib kesta mne peva vindala; musikaalselt haritud vi vhemalt intelligentse isiksuse vljakujunemineaga tunduvalt kauem.

Benjamin Vasserman armastab ka ise kaitsvate koduseinte vahel p-sides kaua ja phjalikult oma tde ideestiku kallal ttada. 1980. aastate lpul

on valminud seeria graafilisi lehti, millel teatav sarnasus nende natrmortidevi seadeldis tega, mis instituudis kunstipilaste ette pannakse selleks, et nadsilma ja ktt saaksid harjutada. eatav, kuid mitte tielik sarnasus, sest lisaks

viimase kui millimeetrini tas akaalustatud kompositsioonile on neis mnikordka vaevumrgatavat huumorit. Viiuliklassi pilase ruumilist sgavust ja mit-meplaanilisust me siin enam ei ne, nd huvitavad Benjamini eelkige pildissekomponeeritud esemete vorm ja selle massist lhtuvad jujooned. Need objek-tid on paigutatud ebatavalisel viisil, nii et esimesel hetkel ei tunnegi vaataja neisra lihtsat keeratava korgiga pudelikaela, petrooleumilambi alust; isegi mittearbuusi, mis nib pigem triibuline kui sdav.

1987. aastal valminud htuvalgusII koosneb polsterdatud mmar-gusest istmest, kastist selle peal ja sihvakast vihmavarjust sellisest larihmaga,millised 1980. aastatel peale kokkupandavate varjude pikaaegset valitsusaegaootamatult jlle moodi lksid. Lichtensteinliku tpsusega edasiantud tekstpappkastil DREAMja veidi viksem selle all: Originalkoos trkitud vinjet-tidega, samuti rastripunkte jreleaimav tpiline riie tumbaistmel viitab Eestispopulaarseile Pop-kunsti vtetele, samas teksti nihestatud kasutus milline seoson snal unistusvi unengu kasti sisuga (likr, vein vi lihtsalt taara?), vion selles hoopis oluline snum vaa tajale; ja kui on, siis kas irooniline vi tsine(kunst kui illustreeritud originaalne unengu) kneleb pigem kontseptualis-mi mjust. On tsi, et paljud eesti pop-kunstnikud sarnanesid pigem naiivselt

ameerikalikku tarbijakultuuri imetlenud inglise varase Independent Groupi

esindajaile kui tarbimiskultuuris suplevaile, kniliseks muutunud ameerik-lastele, kuid Benjamin Vasserman mjub hilinenult popi vormivttestikku kasuta-des pigem kontseptualistina.

Samas on unistamine loomeinimese jaoks vltimatu ja Benjamini uit-mtted avaldusid veel mitmetes natrmordi laadi tdes, mille kige thtsamomadus on tasakaaluotsing vliselt suvernsete esemete ootamatute vastan-duste ja sellest tekkinud seoste kaudu. Illusoorselt suurendatud objektidest onkokku seatud ofort-akvatintad Sild, Surve, Ideaalne lbimt, Nivoo,Kompromiss, Nihe, Periood, Hele vari, ume vari ja Pingutus I jaII, kik aastail 19881991. hjal taustal kujutatud objektid panevad vaadatesunustama oma esialgse funktsiooni: need pildid meenutavad srrealistlikke fo-tosid, millel kirjutuslaud vib mjuda retu maastikuna, peegel jrvena, kellasihverplaat hvardava ajatuse smbolina.

Enne, kui juame Sillas (1988) ra tunda le kahe pudelikaelaasetatud kokteilikrt koos sellele visatud koheva riidetkiga, neme maastikkupilvega, vib-olla kaht metippu, millele signatuur Estonia korgiosal kum-malist eemalolevust lisab. Marjeksislikud graafilised krrekuhjakesed, missel perioodil Benjamini pilte ilmestasid, vimendavad samuti faasinihet: justkui

oleks pooleliolev mte ennast lbi nhtamatu avause pildi sisse pressinud, kan-natamata oma valmissaamist ra oodata, ja kunstnik selle sunnile nagu vastutahtmist jrele andnud. Veelgi enam lbib see juhtuma-hakkamise-tunne Sur-

vet( 1989): kruustangide vahele pigistatud haaknela bluke vedru paneb vasturauast pitskruvile; kogu kompositsioon on tis klma metalli sitkust ja pinget.Loomulikult vib, kuigi ei tarvitse, nha ses kujundis vrdlust ksikisiku seisun-diga repressiivses hiskonnas.

Benjamini natrmortideajajrku kuuluvad veel meeleolukas PerioodI, millel rooma numbritega kekell on se otud lehtrile, mis omakorda ulatub vljasakiliste rtega klaaskausist. Lehtril on thed: eri, kuid sna konteksti kohta mis on just eri line? selgitus puudub. Vib-olla ajahetk, mil stseen jdvustati:neli minutit ksteist lbi? Kellale on kll thelepanu ratamiseks seotud tinapa-berist lehv. Kui just kogu see kaussi uputatud asjandus pole meldud omapranenaljana. Nivoolon vastamisi kaks silindrikujulist lbipaistvat (lainelised reflekt-sioonid klaasil) kannu, millest hes joonlauaga vee krgust mdetakse; teiseshulbib tennisepall vastandatud sirg- ja ringjoon. Kas teie tegite kooli fsika-tunnis katseid kehade ujumisvime ja vee vljasurve segitamiseks? Nihkeson proovitud inspiratiivset mttelendu ekraanile suruda, kuid asjata: see hajublaiali nagu suvine pilveke. Mtmist thistavad esemed, nagu kaalupommid,mdulint ja arvukad kellad on Benjamini lemmikesemed, kuid nende kasu-tusvrtust me ei ne; pigem on nad esitatud metafooridena, klg klje krval

mne mtmise seisukohalt vimatu eseme vi detailiga.

and social milieu on the different grounds of the picture indicate the authorsmeditation on the hard work involved in music studies. Te period of timeembraced by these images depends on the scope of our interpretation: either 20minutes for going to school, or a few days for learning a Bach piece, or perhapsten (or more) years for attaining a musical education.

Benjamin spends most of the time in his workshop, labouring onthe ideas of the compositions. At the end of the 1980s a number of graphic

works was made by him that resemble still lifes, which are placed in front ofart students for practicing their skills. But the resemblance is extrinsic: thecompositions are balanced to the slightest detail; sometimes a dose of humorcan be detected. Tese works do not evince the spatial depth of the ViolinStudent, here the artist is more interested in the shape and mass of the chosenobjects. Although these things are traditionally used in still lifes -- bottles,kerosene lamp, watermelon one need not recognise them immediately becauseof their unusual dispositions.

For example, there is a cushioned seat with a cardboard box and a longumbrella on one of the etchings ca lled Evening Light. exts on the box read:DREAM and below: Original with some decorative patterns. Tese texts

and the cloth with polka dots on the s eat, recall Roy Lichtensteins meticulouslyreproduced text-pictures, and Pop imagery. Te use of text, of course, is alsocharacteristic of Conceptualist art as well, especially when it leads to multipleinterpretations. It is hard to tell here, whether the words on the box haveanything to do with its contents (a box of the bottles of a rare imported liquorcould be empty and re-used for some other purpose aside from its originalfunction), or they are addressed directly to the viewer. If they are supposed tophrase some kind of comment, is it about art as an original dream, or is theresomething else? Te question arises, if this a serious or an ironic comment. Teearly Estonian Pop-artists were closest to the British Independent Group intheir true fascination with urban popular culture, but in this work of BenjaminVasserman, which has been made much later, the challenging approach in textseems to be more a Conceptualist tool. Nevertheless, an artist must dream, and Benjamin goes further andengraves a number of fantasy still lifes. Bridge, Pressure, Ideal Diameter,Level, Compromise, Shift, Period, Light Shadow, Dark Shadowa ndEffort were made between 1988 and 1991. In these works objects have beenplaced in most unusual settings, and their original function has been forgotten.

Tey look enlarged and disguised, the backgrounds are empty as in surrealistphotos, where a desk can be like a landscape, a mirror can be like a lake, or theface of a clock a menacing symbol of timelessness.

Te Bridge(1988) does not really seem to have two bottle necks with

a cocktail straw on it, with a fluffy pi ece of cloth on the straw. It is rather like alandscape with cloud and two mountain peaks, defamiliarized by the signatureEstoniaon one of the slopes. Te abstract, loose drawing above the scene lookslike a half-finished thought that has jumped to the picture against the artists

will. Te feeling that something is going to happen is even stronger in Pressure(1989), with a safety pin squeezed between a vise, resisting with all its strength,and the tension of the metal spring being felt all over the picture. One might(or might not) see a metaphor here of an individual who lives in a repressedsociety.

Another of these still lifes is Period I (1991) with a wrist watch ona funnel, the latter being placed upside down in a glass dish with a decorative,serrated rim. Letters on the funnel eri mean speciali n Estonian, but thereis no closer explanation concerning the te xt. Perhaps the picture was made at aspecial time, marked by the bow on the watch, showing that it is four minutespast eleven? Or, perhaps it is all just a joke. In Level(1990) two cylindrical glass

jugs, half filled with water, stand next to ech other. In one of them , the waterlevel is measured with a ruler, in the other floats a tennis ball. Te contrast of astraight line and a circle are presented, note their connection with Benjamins

later work. In Shift(1990) a portion of inspiration (in the shape of a cloud)is being chased, to place it on a screen, but without success. Benjamin favorsobjects that are used for meas uring: weights, tapemeasures, clocks, but the artistnever seems to make any practica l use of them. Furthermore, things that cannotbe measured are placed in close proximity.

One of the most memorable works is Compromise (1990) with across section of a hundred year old tree. Tis is another work that discusses themeasuring of the unmeasurable (what is the real value of a tree economical,ecological...): a pole used in land surveying has been placed on the same kind ofloose sketchy drawing that signifies inspiration for Benjamin. In front of thetree trunk are scissors with a bit of red in their blades, suggesting blood that hasrun from the tree. Compromise for who?one could ask when read ing the title,and remember the nature-bound installations of Joseph Beuys. Benjamins interest in objects is based on their solid forms and weight, ontheir potential for being reduced to abstract forms. His search for the ideal andfor the abstract is, first of all, already expressed quite verbally in the early workIdeal Diameter of 1989, with a roll of tape on a small anvil that is completedby a ping-pong ball with the word idealon it. Te series Effortof 1991 doesthe same, when a transparent electric bulb takes the place of a natural pear inthe composition. Benjamin expresses his ideas most successfully in a series of

works that show a certain process of lighting, e.g. in one of the pictures the

motif is brightly illuminated on a dim background, on the other the motif is


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ks meeldejvamaid tid on saja-aastase lbiligatud puutvegaKompromiss, milles on samuti piltlikult ksitletud mtmatu (mille tege-lik vrtus, vi mde, vib selguda alles peale inimplve mdumist) mt-mist, meetrilatt on asetatud kapriissele vrvilaigule. Kareda, lbisaetud puusette paigutatud kridel on lugade vahele jnud tkike punast puutvest

voolanud veri ja millelegi vihjatakse ka pealkirjas (kompromiss kelle jaoks?);kokkuvttes meenutab see teos Joseph Beuysi keerukaid, valuliselt loodust tun-netavaid installatsioone. Benjamin Vassermani pilk kompab iga eset kui teatud raskuse jatihedusega vormi, otsides selle seest abstraktset alget, ja juab siis ringiga jllereaalse maailma esemete juurde. Seda otsingut vljendab verbaalselt juba 1989.aasta leht Ideaalne lbimt I ja II, millel miniatuursele alasile paigutatudteibirullile annab lisamtme lauatennisepall selle sees, varustatud snaga:ideal. Abstraheerivat mtteprotsessi vljendab ilmekalt ka kaheosaline seeriaPingutusI ja II 1991. aastast, milles puu otsas kpsenud Jumala vilja asemeleastub jrgmisel hetkel lbipaistev elektripirn. Seeriaprintsiip kujuneb sealtpealeBenjamini jaoks vga oluliseks vljundiks, kus makette kujutatakse paaridenakahes, ht ja sama motiivi portreteerivas tmmises: hel on see nidatud heledalt

valgustatuna tumedal taustal ja teisel vastupidi; vi on makett kujutatud erine-vais, ka otse vastupidistes rakurssides. Kuna valguse kasvamine ja kahanemineon astronoomiline protsess, toovad selle erinevad faasid sisse ajamtme.

heksakmnendate algupoolel kokkuseatud maketid, mille phjalBenjamin seejrel graafilised lehed tegi, sarnanevad olemuselt arhitekti fantaasia-tele. Need on kas ideaalsed ehitised vi nende osad: pramiidid, tornid, trepid.Detailid on mistagi vga tasakaalus, kompositsioonide sisemine dnaamikalespoole prgiv. Pildil on mudelid paigutatud kumisevalt thja ruumi taustale,nende kohal markeerib telgjoonte ristumispunkt ehitise keskkohta. Kunstnikise vidab, et tema jaoks on maketi ehitamine kige huvitavam osa loomingust,kik lejnu on vaid tavaline tegevus(Vestlus Benjamin Vassermani ateljees6. mrtsil 2009). Rhuasetus tprotsessile vljendab sisuliselt kontseptualist-likku lhenemist, samuti maketi transformeerimine pildile koos telg- ja jujoon-tega, viimased toetavad samuti dnaamikat: kitsad ribad nitavad mttelist lii-kumist pramiidi tipu suunas (usI), treppi mda les (usII), sfrilistliikumist vm. Samas on akvatinta ja ofordi hendatud, rmiselt aeganudevtehnika ajalises mttes nagu piduriks, mis esialgset kontseptuaalset hoogu maha

vtab ja tulemuses meie ette pigem ideaalse kui konstruktiivse kujundi toob.Sama vastuolu sisaldavad Benjamini tdes ka vred ja redelid, mis Sol Lewittiomaaegseid suuri, skelettidena ehitatud minimalistlikke skulptuure meelde tu-letavad. Lewitt li avatud struktuuriga objekte, et nidata modernistliku vormi

laitmatut lesehitust. Vormist loobumine struktuuri nimel tegi temast kontsep-

tualisti. Benjamin ei ava kiki vorme, ometi nitavad needki teisi detaile tellin-gusarnaselt toestavad, markeerivad vi aheldavad vre-elemendid autori sama-laadset konstruktorlikku mtteprotsessi ja tugevat abstraktsioonitaju.

1995. aasta paiku muutuvad Benjamini maketid mrgatavalt, justkuioleks neid koostava arhitektimtte asemele astunud skulptori oma. Vorm liht-sustub ja maketi phjal teostatud graafilisel lehel liigub pilk mitte silmapiirini

vi les, vaid pigem ringi, nagu vaadatakse monumenti: igast kljest, proport-sioone jlgides, mttes vormide kaalukust hinnates. Lbiv valgus I koosneb ka-hest pramiidist ja klaaskerast. Viimase juures huvitavad kunstnikku enim sellesisemusest kumavad refleksioonid. Et otsustav hl on antud valgusele, kesken-dub Benjamin eri materjalide peegeldusomadustele: helevalgete pramiididenaabruses tundub klaas raske, inertne; aga kui pramiidid seisavad hmaras,mjub klaas ise kerge ja kohevana. Vahelduses (II) kasutab Benjamin vek-torit ja vret pendliefekti lbimngimiseks. Keskmisel metallkuulil peegelduvad

valge ja must kuul, kumeruse poolt suurendatud aknad, vre; samuti ettepoole,ehk siis vaataja ja kuuli vahele asetatud viksem pramiid, ning kogu mbritsevruum oma avaruses. Marmorkuulidel reflekteeruvad mahedamalt aken, vektoritmoodustavad nooled, konstruktsiooni toed, ja murdub voogudena erinevaist

allikaist langev valgus. Kolmest materjalidest kuulidega on Benjaminil nnes-tunud mustkunstniku trikk: reaalne ja peegeldunud ruum on omavahel kohadra vahetanud. Abstraktne maailm, mida me elus tavaliselt vaid kujutleda vime,on pildil meie ees; reaalne tuba (ateljee, nitusesaal?) aga paistab ktte kumerametalli kverpeeglist. Kusagil peaks see justkui lbi objektiivi vaadatud tubaeksisteerima, kuid meile on see antud mistatusena.

Valdus, Seos, Positsioonja Emotsioonmjuvad nagu miniatuursedkosmodroomid: liiga inimthjad, et olla pris, kuid samas vormilt liiga tius-likud, et olla naljaks tehtud koopiad. Nii jdvustuvad nad mlusse nagu teatudosa postmodernistlikust arhitektuurist, kus ulmelisteefektidega mnikord liialeminnakse: ons tegemist tuumaelektrijaama reaktori vi seiklusfilmi lavaseadega,

vi on see lihtsalt uue kultuurikeskuseks korpusi? Kunstis on hirivalt vas-tuseta jnud ksimused mtet edasiviivaks juks, niteks: kui see on tsiseltmeldud, siis mis see on? miks? mis mttes?

Benjamin mngib ka vaataja distantsitundega motiivi suhtes: arhitek-tuursed fantaasiad tunduvad seisvat justkui kaugemal, skulptuursed mnevr-ra lhemal. Veelgi rohkem, peaaegu ebaloomulikult lhedale toob Benjamin

vaataja mtteliselt oma uutele natrmortidele 20. sajandi paaril viimasel aastal.Kaheksakmnendate lpu pop-kunsti ja kontseptualistlikud tsitaadid on ndkadunud (siiski, jb sna kui ks osa pildist); ainult knekas kujund, mis mjubskulpturaalselt, kuigi on orgaaniline. Nendes makettides on midagi ba rokiaja ae-

dadest, kus puid ja psaid kindlakeliselt tdeldi, andmaks neile geomeetrili st

dark, but the background is lighted. Te artist also chooses different viewpointsfor showing a motif which brings forth contrasts.

Te models that Benjamin made in the early 1990s are closer to architectsfantasies. Tey look like ideal buildings or parts of them: pyramids, towers, orstaircases. All the details are balanced; the dynamics of these compositionsis directed upwards. On the prints, the models are presented as if they werein an empty space. Above them, a slightly marked axial cut indicates out themidpoint of the building. Te artist has said that building these models is themost interesting part of his creative work, all the rest (i e making the print) isjust routine (Conversation in his workshop on March 6th, 2009). Emphasison the working process shows a conceptualist approach and the introductionof auxiliary tools into the picture is a characteristic conceptualist move as well:the axis and outlines of force that express the dynamics are part of the picture(Ascent I 1993, II 1994, Regal Height 1995). But the slow techniqueused by the artist, the etching and aquatint, slows him down and weights his airyarchitectual fantasies. Another detail in Benjamins models is reminiscent of SolLewitt who, aside from being an outstanding theoretician, created sculptures ofgrids showing the perfect structure of modernist forms. Grids are sometimes

used by Benjamin as well, to support or mark his models, but not to open up thewhole image (Regal Height).In about 1995 Benjamins works became more compact and it se ems that

instead of an architect, a sculptor is working on his plans. Te simpler image doesnot call attention to the whole space of the picture, but focuses on the model,and gives it a three-dimensional cast. Piercing Light I, has two pyramids onit with a glass ball. Te artist is most interested in the reflections on and insidethe glass. Light is the subject, in both senses, of this picture: Benjamin looksfor possibilities of illumination. When surrounded by abundantly illuminatedpyramids, the glass seems to be heavy and inert. When the pyramids are indarkness, the glass looks almost fluffy. In Variation II, a vector and grid areused for demonstrating an oscillating movement. Of the three balls, one is madeof white, and one of black marble. Te central ball is of metal and reflects thecontents of the room on its surface, enlarged by the convex surface: windows,grid, and a small pyramid. Reflections on the surfaces of the marble balls are

velvety: the window, pyramids and streams of light ca n be seen a t differentangles. With the three balls, Benjamin has performed a magicians trick andchanged the places of two realities. Te abstract space that we usually have inour minds, is in the picture now, while the real space with windows and furnitureis mediated in reflection. Both are connected with each other by a magic lightpouring from everywhere. Te image has the quality of a puzzle.

Connection, Emotion, Absorption and Culmination are like

small cosmodromes: too empty to be real, too perfect to be a parody. Like somebuildings in postmodern architecture, that have exaggerated science fictiondetails that may fool the naif who asks: is this a reactor of a nuclear facility, oris it a wing of the new shopping centre? Discomposing questions are central toart, forcing one to move forward in search of answers.

Te viewers feeling of distance is manipulated by the artist as well. Ifthe architectural fantasies looked like they were at a distance, the sculpturalones seem to stand closer, and the new still lifes made by Benjamin in the

very last years of the 20th century look magnified. Tey do not have significantPop-art quotations (though they still make use of text) and the chosen images,organic but monumental, have something of the Baroque, recalling the bushesand trees in French parks, trimmed into geometric shapes. In Attempt II, alemon has been placed on a soft pillow and then is cut with a razor blade. Marksin the air and on the peel indicate premeditation. Is that another metaphor ofthe individuals life in a capitalist society, where one is sweetly offered a bankloan today, and evicted tomorrow?

In the 1960s, two artists in Germany, Bernd and Hilla Becher, tookphotographs of industrial objects: water towers, storage silos, and warehouses.

Tey juxtaposed them for viewers to compare their form and design. In a similarway, Benjamin Vassermans work uses juxtaposition and perspective in the novelplacement of found objects. He has found his own style in technical perfectionconnected with the meanings that he finds in shapes and items that he picks asmaterial for his works.

At the beginning of this century, Benjamin started to make computergraphics after an allergic reaction to the chemicals used in printmaking. Shapesphotographed from his earlier works, and afterwards independent images, havebeen operated by the program and displayed in luminous color. Tese worksare called Diagnosis and the images no longer recall cosmodromes, insteadsuggesting utensils from the laboratory flasks and measuring beakers orperhaps eyeballs obsereved by an ophtalmologist through the magnifying glass.An eyeball, of course, can look back at you looking, and the picture can take ona surrealist dimension. oday, there are over ten works in this new style from theartist, and again, he seems to be simply observing this new development from adistance of time and space.


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8 9Viiuliklassi pilane. Ofot, akvatinta. 1984. 31 x 39 cm / Violin Student. Etching, aquatint. 1984. 31 x 39 cm

vormi. Nii paneb kunstnikuksi ts ritussidruni pehmele padjale, selleks ettemasse siis likuda vaheda iletiteraga; like ulatus ja viljaliha vastupanuvimenivad olevat juba eelnevalt vlja arvestatud, mida nitavad motiivi kohal mar-keeritud punktiirid (telgjooned) ja varjud sidruni koorel. Ons seegi allegooriaindiviidi saatusele varakapitalismis, kus tna pakutakse kodanikule lahke naera-tusega pangalaenu, homme aga tstetakse lepingu phjal kodust vlja?

Kuuekmnendatel aastatel pildistasid kaks kunstnikku Saksamaal,Bernd ja Hilla Becher, industriaalse arhitektuuri objekte: veetorne, rauasula-tusahje, tsisterne jms. Nad grupeerisid ja eksponeerisid neid seeriatena, mis

visid mjuda esteetiliselt, samas kandsid need nituseprojektid tstuse pooltsaastatud maailmas ka kriitilist snumit. Kunsti ei saa vaadata heplaaniliselt,knekas vi isegi hiskonnakriitiline kujund vib olla esteetiline, ja vastupidi.Reaalesemete mberhindamine visuaalselt seisukohalt, mis huvitab ka Ben-

jamini, ei pea samuti olema heselt mistetav. Kunstniku jaoks pole thtis, kasta graveerib sidrunit vi marmorkuuli, vaid missugustes vaimsetes plaanidesseda vib hinnata ja mber hinnata. Kui heltpoolt huvitab Benjamini le kigekonstrueerimine, siis teiseltpoolt eesti graafika traditsioonikohane tehnilineperfektsus nib teda millekski justkui kohustavat. Valgust ja peegeldusi on kige

parem edasi anda litpses tehnikas, milles Benjamin on meister.21. sajandil tabasid Benjamini Diagnoosid, millel ratuntavad, kuid

siiski ootamatus suunas muutunud kujundid uudsete, thjuses hulpivate jaseest nsate, reflekteerivate vormidena mjuma hakkasid. Mitte miniatuursedkosmodroomid, vaid laboratooriumide klaasnud kolvid ja mensuurid ehkhoopis silmamunad, mida oftalmoloog lbi suurendusklaasi thelepanelikult

vaatleb. leelusuurune silmamuna vib alustada pildi l isiklikku elu ja vaadatam e i d, kes me siitpoolt teda vaadata ja mista pame, ja pilt vib taas vttasrreaalse mtme.

2002. aastal tekkinud allergiast graafikas kasutatavate kemikaalide vas-tu arenes haigus ja sellele jrgnev depressioon, millest lpuks tasapisi kosudeshakkas Benjamin tegelema arvutigraafikaga. ksainus kujund, olgu siis muna,prisma vi kolb, multiplitseerub tema piltidel nd lputuis valgusefektides,peegeldub iseendal ja virutaalses keskkonnas, pakkudes vaatamiseks rmusilmale ja kirjeldades sgavamalt analsijale kunstniku vaimset jupingutustleida taas oma koht muutunud maailmas. Diagnoose on tnaseks valminudle kmne, peegeldused ja vastupeegeldused rndavad neis illusoorselt lpma-tus, kontsentriliselt lainetavas keskkonnas, meenutades tiust janunevale kunst-nikusilmale eksootilist it, mille puhkemist see aednikuna jlgib. Usun, et seeotsing nitab veel vga huvitavaid tulemusi, andkem kunstnikule selleks vaidaega, 21. sajandi vrtuslikke minuteid, tunde ja aastaid...

Benjamin Vasserman ttrega riin ja pojaga aavi opul,suvi 1977. ErakoguWith daughter riin and son aavi. Summer 1977Private collection


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Sild. Ofort, akvatinta. 1988. 22 x 23,5 cmBridge. Etching, aquatint. 1988. 22 x 23,5 cm

Surve. Ofort, akvatinta. 1989. 22 x 23,5 cmPressure. Etching, aquatint. 1989. 22 x 23,5 cm

htuvalgus II. Ofort, akvatinta. 1987. 39 x 48 cm /Evening Light II. Etching, aquatint. 1987. 39 x 48 cm


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12 13Ideaalne lbimt I. Ofort, akvatinta. 1989. 41 x 48 cm /Ideal Diameter I. Etching, aquatint. 1989. 41 x 48 cm Ideaalne lbimt II. Ofort, akvatinta. 1989. 41 x 48 cm /Ideal Diameter II, Etching, aquatint. 1989. 41 x 48 cm


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Pingutus I. Ofort, akvatinta. 1991. 41 x 48 cm /Effort I. Etching, aquatint. 1991. 41 x 48 cmPingutus II. Ofort, akvatinta. 1991. 41 x 48 cm /Effort II. Etching, aquatint. 1991. 41 x 48 cm


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Kompromiss. Ofort, akvatinta. 1990. 41 x 48 cm. EKM / Compromise. Etching, aquatint. 1990. 41 x 48 cm Reform. Ofort, akvatinta. 1992. 41 x 48 cm / Reform. Etching, aquatint. 1992. 41 x 48 cm


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Hele vari. Ofort, akvatinta. 1989. 22 x 23,5 cmLight Shadow. Etching, aquatint. 1989. 22 x 23,5 cm

ume vari. Ofort, akvatinta. 1989. 22 x 23,5 cmDark Shadow. Etching, aquatint. 1989. 22 x 23,5 cm

Lbiv valgus I. Ofort, akvatinta. 1995. 22 x 24 cmPiercing Light I. Etching, aquatint. 1995. 22 x 24 cm

Lbiv valgus II. Ofort, akvatinta. 1995. 22 x 24 cmPiercing Light II. Etching, aquatint. 1995. 22 x 24 cm


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ritus I. Ofort, akvatinta. 1995. 21,5 x 24 cm. EKM /Attempt I. Etching, aquatint. 1995. 21,5 x 24 cm ritus II. Ofort, akvatinta. 1995. 21,5 x 24 cm. EKM /Attempt II. Etching, aquatint. 1995. 21,5 x 24 cm


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Piiristus I. Ofort, akvatinta. 1997. 22 x 23,5 cmDemarcation I. Etching, aquatint. 1997. 22 x 23,5 cm

Piiristus II. Ofort, akvatinta. 1997. 22 x 23,5 cmDemarcation II. Etching, aquatint. 1997. 22 x 23,5 cm

Seos I. Ofort, akvatinta. 1997. 22 x 24 cmConnection I. Etching, aquatint. 1997. 22 x 24 cm

Seos II. Ofort, akvatinta. 1997. 22 x 24 cmConnection II. Etching, aquatint. 1997. 22 x 24 cm


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Positsioon I. Ofort, akvatinta. 1997. 22 x 24 cmPosition I. Etching, aquatint. 1997. 22 x 24 cm

Positsioon II. Ofort, akvatinta. 1997. 22 x 24 cmPosition II. Etching, aquatint. 1997. 22 x 24 cm

Kuninglik krgus. Ofort, akvatinta. 1995. 41 x 49 cm / Regal Hight. Etching, aquatint. 1995. 41 x 49 cm


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us. Ofort, akvatinta. 1993. 41 x 49 cm /Ascent. Etching, aquatint. 1993. 41 x 49 cm us II. Ofort, akvatinta. 1994. 41 x 49 cm (makett lk 71) /Ascent II. Etching, aquatint. 1994. 41 x 49 cm (model page 71)


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asand I. Ofort, akvatinta. 1995. 41 x 49 cm / Level I. Etching, aquatint. 1995. 41 x 49 cm asand II. Ofort, akvatinta. 1995. 41 x 49 cm / Level II. Etching, aquatint.1995. 41 x 49 cm


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Eskalatsioon. Ofort, akvatinta. 1996. 41 x 49 cm (makett lk 68) /Escalation. Etching, aquatint. 1996. 41 x 49 cm (model page 68)

Emotsioon I. Ofort, akvatinta. 1998. 22 x 24 cmEmotion I. Etching, aquatint. 1998. 22 x 24 cm

Emotsioon II. Ofort, akvatinta. 1998. 22 x 24 cmEmotion II. Etching, aquatint. 1998. 22 x 24 cm


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Krgendus. Ofort, akvatinta. 1997. 41 x 49 cm /Elevation. Etching, aquatint. 1997. 41 x 49 cm Kaalutlus. Ofort, akvatinta. 1998. 41 x 49 cm / Consideration. Etching, aquatint. 1998. 41 x 49 cm


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Vaheldus II. Ofort, akvatinta. 1998. 48 x 64 cm. EKM / Variation II. Etching, aquatint. 1998. 48 x 64 cm.Vaheldus I. Ofort, akvatinta. 1998. 48 x 64 cm. EKM (makett lk 71) / Variation I. Etching, aquatint. 1998. 48 x 64 cm (model page 71)


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Paindlik leminek. Ofort, akvatinta. 1999. 48 x 64 cm / Flexible ransition. Etching, aquatint. 1999. 48 x 64 cm Lepitus. Ofort, akvatinta. 1999. 48 x 64 cm / Conciliation. Etching, aquatint. 1999. 48 x 64 cm


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Svenemine. Ofort, akvatinta. 1999. 48 x 64 cm /Absoption. Etching, aquatint. 1999. 48 x 64 cm Haripunkt. Ofort, akvatinta. 1999. 48 x 64 cm. EKM (makett lk 69) / Culmination. Etching, aquatint. 1999. 48 x 64 cm (model page 69)


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Murdepunkt. Ofort, akvatinta. 2000. 48 x 64 cm (makett lk 69) / Break Point. Etching, aquatint. 2000. 48 x 64 cm (model page 69) Stabilisatsioon. Ofort, akvatinta. 2001. 48 x 64 cm (makett lk 70) / Stabilization. Etching, aquatint. 2001. 48 x 64 cm (model page 70)


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Koostoime. Ofort, akvatinta. 2001. 48 x 64 cm / Interaction. Etching, aquatint. 2001. 48 x 64 cm Orientatsioon. Ofort, akvatinta. 2002. 48 x 64 cm (makett lk 70) / Orientation. Etching, aquatint. 2002. 48 x 64 cm (model page 70)


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riloogika I. Ofort, akvatinta. 1995. 11,5 x 15,5 cm

rilogic I. Etching, aquatint. 1995. 11,5 x 15,5 cm

riloogika II. Ofort, akvatinta. 1995. 11,5 x 15,5 cm

rilogic II. Etching, aquatint. 1995. 11,5 x 15,5 cm

Peegeldus II. Ofort, akvatinta. 1995. 11,5 x 15,5 cmReflection II. Etching, aquatint. 1995. 11,5 x 15,5 cm

Kalduvus II. Ofort, akvatinta. 1998. 11,5 x 14,5 cmendency II. Etching, aquatint. 1998. 11,5 x 14,5 cm

unnetus II. Ofort, akvatinta. 2000. 11,5 x 14,5 cmCignition II. Etching, aquatint. 2000. 11,5 x 14,5 cm

Ulatus I. Ofort, akvatinta. 2000. 11,5 x 14,5 cmReach I. Etching, aquatint. 2000. 11,5 x 14,5 cm

Ulatus II. Ofort, akvatinta. 2000. 11,5 x 14,5 cmReach II. Etching, aquatint. 2000. 11,5 x 14,5 cm

unnetus I. Ofort, akvatinta. 2000. 11,5 x 14,5 cmCignition I. Etching, aquatint. 2000. 11,5 x 14,5 cm


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Diagnoos I. Digitrkk. 2006. 59,4 x 79,2 cm / Diagnosis I. Digital print. 2006. 59,4 x 79,2 cmIntrigeeriv aeg. Ofort, akvatinta. 2002. 48 x 64 cm /Intriguing ime. Etching, aquatint. 2002. 48 x 64 cm


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Diagnoos II. Digitrkk. 2006. 59,4 x 79,2 cm / Diagnosis II. Digital print. 2006. 59,4 x 79,2 cm Diagnoos III. Digitrkk. 2006. 59,4 x 79,2 cm / Diagnosis III. Digital print. 2006. 59,4 x 79,2 cm


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Diagnoos IV. Digitrkk. 2006. 59,4 x 79,2 cm / Diagnosis IV. Digital print. 2006. 59,4 x 79,2 cm Diagnoos V. Digitrkk. 2006. 59,4 x 79,2 cm / Diagnosis V. Digital print. 2006. 59,4 x 79,2 cm


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Diagnoos VI. Digitrkk. 2006. 59,4 x 79,2 cm / Diagnosis VI. Digital print. 2006. 59,4 x 79,2 cm Diagnoos VII. Digitrkk. 2007. 59,4 x 79,2 cm / Diagnosis VII. Digital print. 2007. 59,4 x 79,2 cm


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Diagnoos VIII. Digitrkk. 2007. 59,4 x 79,2 cm / Diagnosis VIII. Digital print. 2007. 59,4 x 79,2 cm Diagnoos IX. Digitrkk. 2008. 59,4 x 79,2 cm / Diagnosis IX. Digital print. 2008. 59,4 x 79,2 cm


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Diagnoos X. Digitrkk. 2008. 59,4 x 79,2 cm / Diagnosis X. Digital print. 2008. 59,4 x 79,2 cm Diagnoos XI. Digitrkk. 2008. 59,4 x 79,2 cm / Diagnosis XI. Digital print. 2008. 59,4 x 79,2 cm


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Diagnoos II peegeldus. Digitrkk2007. 22,3 x 16 cmDiagnosis II Reflection. Digital print2007. 22,3 x 16 cm

Diagnoos III peegeldus. Digitrkk2008. 22,3 x 16 cmDiagnosis III Reflection. Digital print2008. 22,3 x 16 cm

Diagnoos IV peegeldus. Digitrkk2007. 22,3 x 16 cmDiagnosis IV Reflection. Digital print2007. 22,3 x 16 cm

Diagnoos V peegeldus. Digitrkk2009. 22,3 x 16 cmDiagnosis V Reflection. Digital print2009. 22,3 x 16 cm

Diagnoos VI peegeldus. Digitrkk2007. 22,3 x 16 cmDiagnosis VI Reflection. Digital print2007. 22,3 x 16 cm

Diagnoos VII peegeldus. Digitrkk2008. 22,3 x 16 cmDiagnosis VII Reflection. Digital print2008. 22,3 x 16 cm


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Diagnoos VIII peegeldus. Digitrkk2009. 22,3 x 16 cmDiagnosis VIII Reflection. Digital print2009. 22,3 x 16 cm

Diagnoos IX peegeldus. Digitrkk2009. 22,3 x 16 cmDiagnosis IX Reflection. Digital print2009. 22,3 x 16 cm

Diagnoos XI peegeldus. Digitrkk2009. 22,3 x 16 cmDiagnosis XI Reflection. Digital print2009. 22,3 x 16 cm

Lucy teemanditega taevas. Digitrkk. 2009. 90 x 120 cm / Lucy In Te Sky With Diamonds. Digital print. 2009. 90 x 120 cm


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Eesti mets. Digitrkk. 2009. 90 x 120 cm /Estonian Wood. Digital print. 2009. 90 x 120 cm Kivi veereb. Digitrkk. 2009. 90 x 120 cm / Rock In Roll. Digital print. 2009. 90 x 120 cm


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Allveelaev. Digitrkk. 2009. 90 x 120 cm /Submarine. Digital print. 2009. 90 x 120 cm Uued tuuled. Digitrkk. 2009. 90 x 120 cm /New Winds. Digital print. 2009. 90 x 120 cm


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Kloonimine. Digitrkk. 2009. 90 x 120 cm / Cloning. Digital print. 2009. 90 x 120 cm Konverteerimine. Digitrkk. 2009. 90 x 120 cm / Convert. Digital print. 2009. 90 x 120 cm

Maketid /ModelsPaber, papp, foolio, valmis detailid / Paper, cardboard, folio, ready made details


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Eskalatsioon (lk 31) /Escalation (page 31) Haripunkt (lk 39) / Culmination (page 39) Murdepunkt (lk 40) / Break Point (page 40)


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Orientatsioon (lk 43) / Orientation (page 43) Stabilisatsioon (lk 41) / Stabilization (page 41) Vaheldus I (lk 34) / Variation I (page 34)us II (lk 27) /Ascent II (page 27)

B V

Sndinud 11 juunil 1949 Venemaal Kirovi obl s Sovetskis Eestist kditatud teenistuja perekonnas uli 1956 Eestisse


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Sndinud 11. juunil 1949 Venemaal Kirovi obl-s Sovetskis Eestist kditatud teenistuja perekonnas. uli 1956 Eestisse.ppis 19571964 ootsi 8-kl. Koolis, seejrel allinna Ehitus- ja Mehaanikatehnikumis, lpetas selle 1968. Jtkas pinguid1973 ERKI-s (praegu Eesti Kunstiakadeemia) graafika erialal, lpetas selle 1979. tanud allinnas 19791982Rahvaloomingu ja Kultuurit eaduslikus Metoodikakeskuses, 19821990 kirjastuses Kunst kunstilise toimetajana,seejrel on olnud vabakunstnik. Aastast 1989 Eesti Kunstnike Liidu ja aastast 1992 Eesti Vabagraafikute henduse liige.Nitustel esinemist alustas 1978.Viljeleb sgavtrkitehnikas (ofort, akvatinta) ja digitaaltrkis vabagraafikat. Loonud kaakvarelle, plakateid, raamatukujundusi ning kujundanud katalooge ja h eliplaadimbriseid.

Born on 11 June 1949, in Sovetsk in Kirov province in Russia, in the family of an e mployee deported from Estonia. In 1956arrived in Estonia. In the years 19571964 studied in ootsi 8-year School, thereafter in allinn echnical School of Const-ruction and Mechanics, graduaded from it in 1968. Continued studies in 1973 in Estonian Academy of Art in the faculty

graphic arts, graduaded from it in 1979. In 19791982 worked in allinn in the Sc ientific Metholdology Centre of FolkCreation and Cultural Work. In 19821990 worked in the publishing house Kunst (Art) as art editor, thereafter was a

freelancer artist. Since 1989 was a member of the Estonian Artists Union and since 1992 a member of the Association of

Estonian Printmakers. Began to exhibit in 1978. Cultivates freegraphics in intaglio printing (etching, aquatint) and digitalprint. Has also created water colours, placards, book illustrations and designed catalogues and covers of records.

Isiknitused / Solo exhibitions

1987 allinn Art Salon, Estonia1989 Cafe Viru, Moscow, Russia

Gallery Sammlung Villany, Brandenburg, Germany1990 Gallery Sininen alo, Hmeenlinna, Finland1992 Gallery G, allinn, Estonia Sylvia-home, Lahti, Finland1993 Art Hall, Seinjoki, Finland Gallery Neuendorf, Memmingen, Germany1994 Gallery Munkinseudun, Helsinki, Finland Gallery Katariina, urku, FinlandBenjamin Vasserman oma koduateljees, kevad 2009 /In own studio, spring 2009 Foto / Photography: Gennadi Baranov

Benjamin Vasserman. 1952. ErakoguPrivate collection

Benjamin Vasserman oma koduateljees,kevad 2009 /In own studio, spring 2009Foto / Photography: Jri J. Dubov

1995 Gallery Neuendorf, Memmingen, Germany1996 Gallery Wanhan Galleria, ampere, Finland1998 House of Holy Spirit, Randers, Denmark Gallery Neuendorf, Memmingen, Germany

La Galerie Passage, allinn, Estonia

International Midi-Print Exhibition, Prnu, Estonia Agart World Print Festival, Ljubljana, Slovenia Consumentart 98, riennial Cracow-Nuremberg98, Nuremberg, Germany1999 10thInternational Print Biennial, Varna, Bulgaria

Premio Internationale Biella per lIncisione XIV edizione Italy


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g , ,1999 allinn Art Hall Gallery, Estonia2001 Gallery of Embassy of Estonia, Riga, Latvia2003 Gallery Haus, allinn, Estonia2009 oompea Castle Art Hall, allinn, Estonia allinn Art Hall Gallery, Estonia

Rahvusvahelised nitused / International exhibitions

1994 3rdInternational Engraving Biennial, Ourense, Spain1995 8thInternational Print Biennial, Varna, Bulgaria1995 Mini-Print riennial, Lahti, Finland 10thallinn Print riennial, Estonia 1stokyo International Mini-Print riennial, Japan1996 4thInternational Engraving Biennial, Ourense, Spain 2ndInternational Biennial of Small Graphic Forms, Vilnius, Lithuania Graphica Creativa, 8thInternational Print riennial, Jyvskyl, Finland International Mini-Print Exhibition, Nagoya, Japan 9thInternational riennial of Small Graphic Forms, Lodz, Poland1997 International Print Exhibition, Portland, Oregon, U.S.A. 9thInternational Print Biennial, Varna, Bulgaria 22ndInternational Print Biennial, Ljubljana, Slovenia S.N.A.P.s International Printmaking Co-operative Exhibition, Edmonton, Alberta, Canada Osaka riennale 1997 Print, 8thInternational Contemporary Art Competition, Japan 2ndEgyptian International Print riennial, Cairo Giza Alexandria

2ndMalaysia Annual Exhibition of Contemporary Prints, Kuala Lumpur 1stInternational Mini-Print Biennial, Cluj, Romania riennale 97, International Print riennial, Cracow, Poland Intergrafia 97, Intergrafia 2000, World Award Winners Gallery, Katowice, Poland1998 3rdInternational Biennial of Small Graphic Forms, Vilnius, Lithuania 5thInternational Engraving Biennial, Ourense, Spain

Premio Internationale Biella per l Incisione, XIV edizione, Italy 10thInternational riennial of Small Graphic Forms, Lodz, Poland 2ndInternational Mini-Print Biennial, Cluj, Romania 3rdMalaysia Annual Exhibition of Contemporary Prints, Kuala Lumpur 3rdEgyptian International Print riennial, Cairo Giza Alexandria

12thNorwegian International Print riennial, Fredrikstad 5thKochi International Print riennial, Ino, Japan2000 2ndMini-Graphic & Painting World-Wide Show Pisa 2000, Italy Mostra Premio Artisti Finalisti, Group Show at 4 Artists (Finalists), Pisa, Italy 1stCheju International Print Arts Festival, Korea riennial 2000, International Print riennial, Cracow, Poland Intergrafia 2000, World Award Winners Gallery, Katowice, Poland International Print Exhibition East meets West, Opole, Poland International Print riennial Cracow-Nuremberg, Nuremberg, Germany International Print Exhibition Graphic Constellation Szczecin 2000, Poland 3rdInternational riennial of Graphic Art, Bitola, Republic of Macedonia2001 11th International Print Biennial, Varna, Bulgaria 4thInternational riennial of Small Graphic Forms, Vilnius, Lithuania 3rdInternational Mini-Print Biennial, Cluj, Romania Biennale internationale destampe contemporaine de rois-Rivires, 2medition, Qubec, Canada riennial of One Hundred Cities, Dzierzoniow, Poland 3rdMini-Graphic & Painting World-Wide Show IAR 2001, Pisa, Italy International Print Exhibition Continents 2001, Walbrzych, Poland Exhibition of Prize Winners of the 3rdriennial of Small Graphic Forms, Vilnius, Lithuania IAR 2001, Prize-Show for Finalists, Livorno, Italy 5thBharat Bhavan International Biennial of Print Art 2001, Bhopal, India 12thallinn Print riennial, Estonia International Print Exhibition Selection of Works from IP Krakow 2000, Graz, Austria 10thInternational Print & Drawing Biennial, aipei, aiwan R.O.C. 3rdInternational riennial of Graphic Arts, Sofia, Bulgaria2002 4thInternational riennial of Graphic Arts, Sofia, Bulgaria 7thInternational Engraving Biennial, Ourense, Spain

Benjamin Vasserman oma koduateljees, kevad 2009In own studio, spring 2009.Foto / Photography: Jri J. Dubov

5thKochi International Print riennial, Ino, Japan 11thInternational riennial of Small Graphic Forms, Lodz, Poland 7thInternational Biennial of Graphics of the Baltic Sea Countries, Kaliningrad-Knigsberg, Russia Korea International Print Arts Festival, ChangWon, Busan 12thSPACE International Print Biennial, Seoul, Korea

Artoteque.com Online Global Art Annual 2 AR NOW 2007, London, United Kingdom International Print riennial Krakow BIS 2007, Katowice, Poland Prize Winners Show of Artperiscope.com Second Internet Artwork Competition, Czestochowa, Poland 4thInternational Engraving Biennial Douro 2007, Alijo, Portugal 9thInternational Biennial Te Masters of Drawing and Graphic Art, Gyr, Hungary


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, ,2003 12thInternational Print Biennial, Varna, Bulgaria 10thInternational Biennale of Small Forms & Ex-Libris, Ostrow Wielkopolski, Poland 4thEgyptian International Print riennial, Cairo Giza Alexandria

International Print and Drawing Exhibition Interprint, Bangkok, Tailand 4thInternational riennial of Graphic Art, Bitola, Republic of Macedonia International Print Biennial 2003, Beijing, China riennial 2003, International Print riennial, Cracow, Poland Intergrafia 2003, World Award Winners Gallery, Niepolomice, Poland International Print Exhibition Aquaforta Contra Cyfra, Opole, Poland International Print Exhibition Asia Print Adventure 2003, Sapporo, Japan International Print Exhibition Eurografik Kyiv 2003, Ukraine International Mini-Print Exhibition Symbolical Communication, imisoara, Romania2004 International Print riennial Krakow-Oldenburg, Oldenburg, Germany 11thInternational Print & Drawing Biennial, aichung, aiwan R.O.C. International Print Exhibition Eurografik Moscow 2004, Russia International Print Exhibition Eurographic Leipzig, Germany International Print Exhibition Eurographic Krynica 2004, Poland riennial of One Hundred Cities, Poznan, Poland 4thUral Print riennial, Ufa, Bashkortostan, Russia 4thInternational riennial of Graphic Arts, Sofia, Bulgaria2004, 2005International Print Exhibition MG Krakow Pays a Visit to Hungary, Gyr, Budapest, Hungary2005 4thInternational Small Engraving Exhibition Cremona 2005, Italy International Small Engraving Salon 2005, Baia Mare, Romania 4thokyo International Mini-Print riennial, Japan2006 7meMondial de lEstampe et de la Gravure Originale riennale de Chamalieres, France 5thInternational Print riennale Colour in Graphic Art: NOW! orun 2006, Poland2007 USM International Print Exhibition 2007, Penang, Malaysia USM International Print Exhibition 2007, Hatyai, Tailand European Masters of Modern Art 2007 (EMMA 2007), Burgau, Austria Artperiscope.com Second Internet Artwork Competition, Czestochowa, Poland Penang International Art Festival 2007, Malaysia

6thInternational riennial of Small Graphic Forms, Vilnius, Lithuania Seoul International Print, Photo & Edition Works Art Fair SIPA 2007, Korea Curators Show of International Printmaking Conference IMPAC 5, allinn, Estonia2008 Artoteque.com Online Annual of Contemporary Art 2 AR IME 2008, London, United Kingdom Artoteque.com Online Global Art Annual 3 AR NOW 2008, London, United Kingdom Te 5thGreat Group Exhibition Leone Verde 2008, Acquasparta, Italy Artperiscope.com Tird Internet Artwork Competition, Czestochowa, Poland 7thLessedra World Art Print Annual Mini-Print 2008, Sofia, Bulgaria

Prize Winners Show of Artperiscope.com Tird Internet Artwork Competition, Czestochowa, Poland International Print Exhibition Asia Print Adventure 2008, Otoineppu, Japan International Print Exhibition Yunnan 2008, Kunming, China 1stInternational Graphic Arts riennial IMPRIN 2008, Warsaw, Poland 1stInternational Digital Graphic Arts Biennial, Gdynia, Poland

2009 2ndBangkok riennale International Print and Drawing Exhibition, Tailand 15thInternational Print Biennial Varna, Bulgaria

Autasud /Awards

1994 Honourable Mention 3rdInternational Engraving Biennial, Ourense, Spain1995 Special Prize 10thallinn Print riennial, Estonia1997 Special Prize 9thInternational Print Biennial, Varna, Bulgaria1998 Diploma 3rdInternational Biennial of Small Form Graphics, Vilnius, Lithuania Honourable Mention 5thInternational Engraving Biennial, Ourense, Spain2000 Diploma Finalist 2ndMini-Graphic & Painting World-Wide Show Pisa 2000, Italy2001 Diploma 3rdInternational riennial of Graphic Arts, Sofia, Bulgaria Diploma Finalist 3rdMini-Graphic & Painting World-Wide Show IAR 2001, Pisa, Italy

Honorary Mention 3rdInternational Mini-Print Biennial, Cluj, Romania Printmaker of Year 2001 Annual Prize of Estonian Printmaking2003 Second Prize 10thInternational Biennale of Small Forms & Ex-Libris, Ostrow Wielkopolski, Poland Gold Prize (Main Prize) International Print Biennial in Beijing 2003, China

2007 First Prize Artperiscope.com Second Internet Artwork Competition, Czestochowa, PolandHonorary Mention of the Jury 9 thInternational Biennial Te Masters of Drawing and Graphic Arts, Gyr, HungarySecond Prize 6thInternational riennial of Small Graphic Forms, Vilnius, LithuaniaHonorable Award AROEQUEs Online Global Art Annual 2 AR NOW 2007, London, United Kingdom

2008 Premio ALBA 2008 2008 International Encyclopaedic Dictionary of Modern and Contemporary Art, Ferrara, ItalyFirst Prize Artperiscope com Tird Internet Artwork Competition Czestochowa Poland

Robert Steuer. Abstrakte Zeichen und detailfreudiger Realismus. Memminger Zeitung, 1993Radierungen par excellance. Memminger Kurier, 1993, 30. juuniLisbeth Stryhn. Drm og virkelighed. Randers Amtsavis, 1998, 25. aprillIm Spannungsfeld von Lyrik und abgezirkelter Rationalitt. Memminger Zeitung, 1998, 24. oktooberDunkle Rume und zarte rume. Memmiger Kurier, 1998, 28. oktooberAnnika Koppel Kolm kiitust eesti graafikale Postimees 1999 9 veebruar


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First Prize Artperiscope.com Tird Internet Artwork Competition, Czestochowa, Poland Corresponding Academician Accademia Internazionale Greci-Marino, Accademia del Verbano, Vinzaglio, Italy Tird Prize 1stInternational Digital Graphic Arts Biennial, Gdynia, Poland

d kogudes / Works in Collections

Estonian Art Museum, allinn; International Print riennial Society, Cracow, Poland; National Museum, Cracow, Poland; Centre of International Cultural Exchange,Beijing, China; Institute of Art Association of Academic Culture, Cracow, Poland; Contemporary Engraving Museum, Alijo, Portugal; Municipal Museum of Art, Gyr,Hungary; Association Mouvement Art Contemporain, Chamalieres, France; AmicidellArte - Famiglia Artistica, Cremona, Italy; International Centre of Fine Arts,Cairo, Egypt; Collection of Silpakorn University, Bangkok, Tailand; Central Art Gallery, Kuala Lumpur, Malaysia; ama Art University, okyo, Japan; Sakimi ArtMuseum, Okinawa, Japan; Herman Hebler Graphic Art Collection, Fredrikstad, Norway; Art Museum of M.V.Nesterov, Ufa, Russia; City Art Gallery, Lodz, Poland;Contemporary Graphic Fund, Cluj-Napoca, Romania; Graphic Centre Collection, Vilnius, Lithuania; Visual Arts and echnology Foundation, Sofia, Bulgaria; Florean

Museum, Baia Mare, Romania; Kaleva Collection, Oulu, Finland; University of Western Sydney, Australia; Caixa Ourense, Ourense, Spain; Camaver KunsthausInternational, Lecco, Italy; Associazione Premio Internationale Biella per lIncisione, Italy; Randers Kunstforening, Denmark; Arhus Amt, Denmark; Several Estonian(State) Institutions; Private Collections in Estonia, Finland, Sweden, Germany, Italy, Russia, U.S.A., Australia etc.

Valikbibliograafia / Selected bibliography

Vappu Vabar. Kunstisalong. Sirp ja Vasar, 1987, 20. novemberPirjo Koponen. Minon eestilisvieraat tutustuvat Lohjaan. Ykks-Lohja, 1989, 9. veebruarGraafikko Benjamin Wasserman. Viron kultuurielm hidastuu murroksessa. Hmeen Sanomat, 1989, 26. novemberaidegrafiikkaa allinnasta Hmeenlinnassa. Hmeen Sanomat, 1990, 17. veebruarAnne Krkkinen. Eestin grafiikan tervin krki esittytyy. Lnsi-Uusimaa, 1990, 23. veebruarLiis Pajupuu. Malbe mtleja. Eesti Ekspress, 1992, 17. aprillSirje Helme. G-galeriis. Kunst, 1992, nr. 3

Jouko allimki. Sadunomaisia etsauksia, symboliikkaa. Etel-Suomen Sanomat, 1992, 13. oktooberArjen symboliikkaa. Etel-Pohjolainen, 1993, 16. aprillRaimo Hautanen. Leikittely todellisuudella. Pohjalainen, 1993, 18. aprillS. J. anninen. Esineellisyyden Odysseia. Ilkka , 1993, 30. aprill

Annika Koppel. Kolm kiitust eesti graafikale. Postimees, 1999, 9. veebruarReet Varblane. Kaks graafikastaari. Sirp, 2003, 1. augustIndrek Raudsepp. Lbi luubi. Kunstipetuse traamat 4. klassile, Avita, 2003Sebastian Dudzik. Colour and Multiplication Effect. Catalogue of the 5thInternational Print riennial Colour in Graphic Art: NOW! orun 2006, Poola/Poland

rkised /Publications

Benjamin Vasserman. allinn, 1987Gerd Fiedler. Benjamin Wasserman. Brandenburg, 1989Benjamin Vasserman: Graafika. allinn, 1992Benjamin Vasserman. allinn, 1998Benjamin Vasserman. Reaalne vljameldis / Real Fiction. allinn, 1999

eekond vaimsel maastikul. Benjamin Vassermani looming / Landscapes of the Mind. Work of Benjamin Vasserman. allinn, 2009

Interneti koduleheklg / Websitehttp://benart.bravehot.com


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Benjamin Vasserman oma koduateljees , kevad 2009 /In own studio, spring 2009 Foto / Photography: Gennadi Baranov

benjamin sisu ok

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