Kilometre of Sculpture (Kms) was originally conceived in response to two main considerations––the public discussion of the gulf that seemed to have emerged between the field of contemporary art and the general public in Estonia, and the lack of any major event specifically designed for artists working in three dimensions.

As highlighted so well by various commentators since the mid 2000’s, contemporary artists had become increasingly estranged from the general public in re-independent Estonia in spite of having enjoyed a popular position in the 1980’s as part of the pro-independence movement. In the final years of the Soviet era, the general public could identify with the strange behaviour of many contemporary artists and artist groups, since the games played with the Soviet censorship authorities were seen as a daring form of protest, and as perestroika emerged and new freedoms were won, it seemed that the artists were contributing in practical terms to the general cohesive push towards the dream of independence.

When independence came in 1991, and Estonia adopted a neo-liberal free-market economic paradigm, the success of which quickly became known as the Baltic Tiger, the artists felt that their newfound freedom was a dream come true. It was of course, but while the artists desperately sought to use that freedom to join (or re-join) the international arts community, the Estonian public no longer saw their experiments as relevant or even appropriate now that independence had been won. It seemed that ordinary Estonians now wanted the artists to stop playing silly buggers, and return to making ‘real art’ again, whatever that meant. But the truth was that the artists had not been ‘playing silly buggers’ just to get under the Soviet skin. They had been exploring new creative boundaries as a general programme of artistic development, and there was no reason to stop. This ‘was’ real art. So while the rest of Estonia became cowboy capitalists overnight––a course that took them and Estonian society into completely uncharted waters and through a process sociologists called ‘social transience’––the artists continued their normal programme, which necessarily meant they took a different course to mainstream society. In many cases the artists found that where once they had been compelled to question the Soviet regime, now they had to question the culture of ‘I want it now’ and ‘I’m gonna get rich’ whatever the cost.

Reflections on these developments started to appear in the media and cultural papers around the time Estonia joined the EU, and since then the discussion has continued to gain momentum. By the second decade of the new millennium, the plight of sculptors or artists working in three dimensions started to be singled out as a particularly overlooked group. As everywhere, painters have always had a forum and an acceptance in creative circles and society in general, and in the Estonian context printmaking had always held its own special place (the printmaking triennial was already one of the most respected events of its kind in Europe). But sculpture had been overlooked it seemed, and articles bemoaning the gulf between artists and society also identified the need for some event, some prize or some programme for sculptors.


Against this background the concept for kms was slowly formed on the basis of similar sculpture events around the world. The original team that put together the project for kms saw that a free, outdoor, international sculpture exhibition, if handled well enough, could fill this gap for artists working in 3D while also bridging the gap between contemporary art and the general public. As the project took shape, it became clear that kms also had the potential to contribute a lot more, and so further aims started to emerge.

The primary aim of kms is to organize a free outdoor exhibition of contemporary art, and although the word sculpture is enshrined in the title, it is one of the core values of the event that it welcomes artists from all disciplines. Kms aims to be an event with broad appeal. By this we mean two things––firstly, that all artists working in all fields in any medium, style or genre are welcome. And secondly, we aim through this concept to guarantee that there will be something for everyone to discover and enjoy at Kilometre of Sculpture––and by ‘everyone’ we mean every visitor, every casual passer-by, every member of the public.

In the beginning, kms was planned for the urban space in the Tallinn suburb of Kalamaja by the sea, but after researching the area it became clear that Kalamaja as a unique urban setting had many sensitive and fragile elements that were already struggling to survive, and so adding an ambitious exhibition event to this was the last thing it needed. The process of gentrification was already happening at an alarming rate, and an exhibition event of the kind we had planned, would only hasten this process, and so we stopped, putting the project on ice until some future moment when we might find an appropriate venue.

When we learned that the Baltoscandal theatre festival had been looking for a visual arts event to cover the daylight hours for their audiences––all cultural visitors with time on their hands––we realised Rakvere might be the right place for kms. After a couple of meetings and visits to Rakvere, it was clear that not only would kms work there, but it seemed custom built. Rakvere has ready-made public spaces in various sectors of the city with huge potential for an outdoor exhibition. The windswept exposed castle park, the historic milieu of Pikk Street and the various open spaces towards the centre of town all provide their own very particular potential and challenges for artists working in 3D.

Although it already seemed clear that Rakvere was the ideal setting for Kilometre of Sculpture, the very fact that Rakvere was 100 km from the capital added another level. We could now see how kms could also contribute to the vitality of regional Estonian towns by taking a premier cultural event, normally reserved for the capital, and staging it in rural Estonia. In addition, kms would remain a partner with Baltoscandal in Rakvere every two years, but it could also travel to other regional towns and cities across Estonia in the interim years, creating new focal points of cultural interest outside the capital.

Kms Aims

To deliver an international exhibition open to all artists working in all disciplines and genres. To deliver an exhibition event that welcomes all audiences and works to provide paths to the enjoyment and understanding of contemporary art. To introduce an event that follows a new model in the Estonian context in order to increase the variety of options available for artists to further their career both locally and through contacts across the Baltic Sea region and Europe. To contribute to regional sustainability by organising an international cultural event outside the capital, Tallinn, and focusing on cultural exchange with other similar-sized towns across the Nordic region.

The Kms team realises that this is a long-term commitment. These aims will take time, but year-by-year the hope is that Kms will find its own place in the Estonian cultural calendar in order to make a positive and lasting contribution.