The Sustainable Exhibition Model is a practical and inspiring tool to help museums assess the environmental impact of exhibitions and make their exhibitions greener.

Leis, Tabaka and Rožanskaitė were exceptional artists in Soviet-occupied Estonia, Latvia and Lithuania, respectively, who challenged the rules of the art world of their time.

The exhibition is Anu Põder’s first major retrospective outside Estonia.

The Art of Adapting is an exhibition that explores how we habitually perceive, interpret and value natural environments and our co-species.

In Estonian art, Küttner is a metal artist with an extraordinarily broad range; as a passionate and inventive experimenter, she has used a wide range of materials and techniques.

The buses that leave from the Solaris Centre quite frequently will quickly take you to Kumu, in only a matter of minutes.

The museum, comprising five sites around Tallinn, host altogether 15 exhibitions ranging from Ukrainian avant-garde and Estonian women printmakers at the Kumu Art Museum to Finnish modernism at Kadriorg Art Museum and 16th-century altarpieces from Michel Sittow´s workshop in Niguliste Museum. 

The focus is on the complex and multifaceted relationship of these artworks with the time and circumstances in which they were created, as well as on their continuing relevance in today’s world and art.

The display presents all of the dominant themes in marine painting: harbours and fishing villages, ships and sail-boats, artists’ travels in search of inspiration, man against the sea, pure seascapes and abstract marine art.

On average, 650 people visited the exhibition each day.

The largest-ever exhibition to focus on the relationship between art and the environment in Estonia is centred around three themes.

The focal point of the exhibition is the magnificent Bollnäs Holy Kinship altarpiece from northern Sweden, which was, with high probability, made in Michel Sittow’s Tallinn workshop in 1510‒1520.