Kiss and Fly

Inga Salurand

  • Author of the installation, performer, sound designer:Inga Salurand
  • Dramaturgical assistance:Maike Lond
  • Technical assistance:Magnus Andre, Hendrik Kaljujärv
  • Technical support, producer:eˉlektron
  • Project manage:Eneli Järs
  • Partner:Baltoscandal

The initial starting point for the installation was a diagram drawn by Jenny Holzer on 1976. It is an abstract, schematic drawing of a city, below the drawing there is a text: “Retrospective painting as seen during the no past condition”.

Kiss and Fly unclasps itself from memories and stands against dragging along things, people, stories and traditions as well as repeating patterns.
This artificial city built for the festival reminds us that all spaces that we spend time in mental and physical world are liminal and meant only for passing through.

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People gather, communicate, organise, scaffolding, structure, systematise, scaffolding. It condenses, expands, explodes, creates matter; a City emerges with its new time and new space. It repeats, they become many, they will break through the thick crust of the Earth, vigorously. Sometimes their roots also come to the surface and stretch upwards; there is little air. If you wish to move to another city but for some reason you can’t, give it less water.


The House has someone’s face. Its windows are eyes, its doors are mouths, it has teeth in its eyes and its mouths are silent. Some faces are strange. Jung examines the House, the upper floor of which was built in the 19th century, the lower one in the 16th century. A detailed examination of the building elements shows that it was rebuilt from the 2nd century tower. In the basement he finds the walls of a Roman-era settlement, and beneath the basement is a filled-in cave with flint tools in the upper layer of the floor and remains of Ice Age fauna in the deeper layers. He believes that the structure of our soul could be something similar.


The plaque on our ancestors’ teeth is actually fossilised microorganisms that contain well- preserved genetic material. From the teeth we can learn what food our ancestors chewed and also guess which stories they chomped on to the point of annoyance. People who have chomped on the same story for a particularly long time have very strong muscles of mastication, yet poor imagination.


A monument (a memorial) is created in a settlement to record a specific memory. A monument is like a memory image that organises the existing space. A monument is a social con-tribution, a con-sort. Whoever forgets what the monument was for, has to start from the beginning. Rolling two sixes will give you a chance to continue.


I’m here – the red dot. I’m walking and I leave a trail behind me, deliberately uncontrollable. I find myself in an unknown place and it makes me uneasy. I want to go back, but I’m brave and continue the journey. My feet are barely touching the ground and it’s starting to get easier. So easy, so new and fresh ... until someone taps you on the shoulder, saying: “Be careful not to be blown away.”


The introduction begins at the entrance. It is important to catch the moment before the dive, when your lungs are full of northern lights.To store it in your body and mind. Next, you have to wait ... ... it is the most worldly of all activities.You have to wait until it passes or transforms into a new form. Sometimes you can find more ideas on the elevator wall than in a conversation with erudite aliens.

Anthropologies of space

In 2020 eˉlektron started an experimental project Anthropologies of Space, in which the participating artists deal with issues of man and space. Even in the global context, the contemporary cultural space is in a new delicate situation. As cultural theorists have documented, contemporary precarity is linked to a broader range of technological, social, and political changes. Traditional "grand narratives" and values ​​associated with the Enlightenment and the old Western moral order are also constantly being called into question. Our traditional space of values ​​has to constantly explain and make sense of itself, to stand up for itself. Artists Daria Khrystych, Liis Vares, Bohdana Korohod and Inga Salurand focus on liminality. The concept of liminal spaces is familiar from architecture - spaces whose function is limited, whose role is to take the user from one place to another. These spaces are not for staying or being in - lobbies, corridors, streets, highways and abandoned spaces. Transitional spaces are also psychological spaces - spaces where we mentally prepare ourselves to consider what is on the other side. Big personal changes are also transition spaces - a child becomes an adult and leaves home, you are fired or you are caught in the emotional whirlwind of a divorce. In these spaces - both in a stairwell and in court - one is in limbo - neither here nor there. Transitional spaces can and must be treated as a material, semiotic and psychological whole. The 2022 Anthropologies of Space had their premieres at the Baltoscandal festival in different locations in the city of Rakvere.