Grad i građani
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10 –12/04/2014 rijeka
filodrammatica muzej moderne i suvremene umjetnosti hartera klub æivot
organizator/organiser
Drugo more partneri/partners
Muzej moderne i suvremene umjetnosti, Rijeka Museum of Modern and Contemporary Art, Rijeka Württembergischer Kunstverein Stuttgart Platforma 9.81 Klub Život donatori/donors
Nacionalna zaklada za razvoj civilnog društva National Foundation for Civil Society Development Zaklada Kultura nova Foundation Kultura nova Ministarstvo kulture Republike Hrvatske Ministry of Culture of the Republic Croatia Grad Rijeka – Odjel za kulturu Department of Culture of the City of Rijeka Primorsko-goranska županija Primorsko-goranska County Robert Bosch Stiftung Agencija za mobilnost i programe eu – Program za cjeloživotno učenje Agency for mobility and EU programmes – Lifelong Learning Programmes medijski pokrovitelji/media support
Novi list | Radio Rijeka | Kulturpunkt.hr | Korzo.net
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Davor Mišković
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Program ovogodišnje manifes tacije Moje tvoje naše propituje odnos ljudi i njihovog životnog prostora, odnosa građana i grada. Pri konceptualizaciji programa vodili smo se Rousseaovom idejom da kuće čine naselje, a građani čine grad, čime, programski, ostajemo u sferi organizacije života. Organizacija prostora je uvijek u funkciji određenih ljudskih potre ba, no pitanje je kojih i čijih. Danas se organizacija prostora temelji na potrebama kapitala, na njegovoj potrebi za protokom i oplođiva njem, i ta je logika u organizaciji prostora sveprisutna i općepri hvaćena kod donosioca odluka. Ova nas činjenica uvodi u daljnja pitanja o porijeklu i svrsi tog kapi tala u čije ime se organizira naš životni prostor. Imamo dojam da se uglavnom radi o onom kapitalu koji je koncentriran u rukama ne kolicine, koji kroz velike građevinske zahvate od gradova stvara privremena naselja, koja su mjesta života isključivo kroz dnevne ili sezonske migracije, teži brzom povratu investicije i za posljedicu ima dugoročnu akumu laciju neimaštine među nekadašnjim građanima.
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Tako građani, kao i njihov usitnjeni kapital, izmiču iz utjecaja na planiranje životnog prostora, građani se svode na funkciju krupnog kapitala, na njegov servis i zapravo nestaju kao aktivni subjekti u vlastitim životima. Kroz izložbu O nelagodi promatranja gradova pratimo procese transformacije gradova od 70-tih godina do danas kroz umjetničku perspektivu, koja nam pruža uvid o utjecajima nove koncepcije gradova na sve sfere društvenog života, od politike do susjedstva i zajednice. Diskurzivni program Interakcije s gradom je pak otvorena rasprava o ovim pitanjima podijeljena u tri tematske cjeline koje se međusob no nadopunjuju, a odnose se na modele participacije građana u urbanoj sredini, na momente gra đanskog otpora i ulogu umjetničke aktivnosti. U okviru programa izravno se bavimo i planiranjem jednog prostora, Marganova, koji ima potencijala biti na korist građanima, i to iz perspektive ne velike investicije nego iz perspektive ulaganja zainteresirane grupe građana.
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Davor Mišković
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Mine, yours, ours festival focuses this year on the relation between people and their living space, between citizens and their city. Guided by the Rousseau’s idea that houses make the town, and citizens make the city, we look at how citizens organize their daily lives. Living space organization always responds to certain human needs, but it is important to know which needs, and whose. Today, the organization of space is based on the needs of the capital, on its flow and fertilization. This logic is generally accepted by the decision-makers, which makes us wonder about the origin and purpose of this capital, and whether it should dictate the organization of our living space. We feel that the capital remains in the hands of a few, and that the construction of big cities is actually a construction of ephemeral towns, through which we migrate daily or in seasons. Their construction is aimed at the rapid return of investment, which only grows poverty in the city and its supposed-to-be citizens.
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By this, citizens, as well as their fragmented capital, are left out of the city planning process, their function is to serve big businesses, and the capital. In turn, they disappear as the active participants from their own lives. The exhibition Oh, my complex!: On Unease at Beholding the City follows the process of transformation of the cities from the 70s to the present day, through an artistic perspective. This helps us gain insight into how city planning process affects all spheres of our social life: shaping politics, neighborhood, communities. Three open discussions that complement each other are all clustered around the idea of Interaction with the City, and they relate to models of citizen participation in urban areas, and at times also, civil resistance and artistic intervention. During the program, we will specifically engage in planning one specific city area, Marganovo in Hartera, which has the potential to be of benefit to the citizens, not through large investments of the capital, but through active engagement of the interested group of citizens.
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program/programme
Grad i građani
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Četvrtak/Thursday 10.04. 11:00 – 16:00
Urbanistička početnica Primer on Urbanistics Radionica/Workshop Hartera/Ex-Paper Factory Hartera
19:30
Pulska grupa Neposredna demokracija zahtjeva neposredan prostor Unmediated democracy demands unmediated space Otvorenje izložbe/ Exhibition opening Filodrammatica, Korzo 28/I
20:00
O nelagodi promatranja grada Oh my Complex: On Unease at Beholding the City Otvorenje izložbe/ Exhibition opening kustosi/curated by Hans D. Christ, Iris Dressler Muzej moderne i suvremene umjetnosti, Rijeka/ Museum of Modern and Contemporary Art, Rijeka Dolac 1/II
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Petak/Friday 11.04. 10:00 – 13:00
Moje Iskustvo grada My Human City Okrugli stol/Round table Filodrammatica, Korzo 28/I
15:00 – 18:00
Naše Javno okupljalište Our Public Spaces Okrugli stol/Round table Filodrammatica, Korzo 28/I
21:00
Tikach & Pero Despero supersadkids (ri) Noćni život/Night Life Klub Život, Ružićeva 2
City and its
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Subota/Saturday 12.04. 10:00 – 13:00
Tvoje umjetničke intervencije Your Art Beat Okrugli stol/Round table Filodrammatica, Korzo 28/I
19:00 – 21:00
Urbanistička početnica Primer on Urbanistics Prezentacija radionice/ Workshop presentation Klub Život, Ružićeva 2
21:00
Mama kaže da sam lep mkdl (bg) Noćni život/Night Life Klub Život, Ružićeva 2
its Citizens
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Interactions with the City
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Interakcije s gradom
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Interakcije s gradom
Filodrammatica Muzej moderne i suvremene umjetnosti, Rijeka Hartera Klub Život
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Interakcije s gradom je diskurzivni program u okviru manifestacije Moje, tvoje, naše. Sastoji se od simpozija i radionice, koji pružaju platformu za analizu i refleksiju različitih uloga u planiranju grada. Program manifestacije Moje, tvoje, naše iz perspektive umjetničke prakse možemo promatrati kao razvoj publike, a iz perspektive političkog djelovanja o određenoj vrsti građanskog angažmana. U povezivanju umjetničkog i socijalno-političkog djelovanja nalazimo potencijal suvremene kulture i u tom smislu sintagmu razvoj publike možemo promatrati ne isključivo kroz prizmu porasta publike nego kroz prizmu utjecaja građana na procese koji ih se neposredno tiču. Naime, kulturna proizvodnja je uvijek utkana u društveni kontekst i bez njega je uglavnom nerazumljiva. Zbog toga razvoj publike razumijemo kao stvaranje formata u kojima dolazi do interakcije građana s društvenokulturnim kontekstom posredstvom umjetničke reprezentacije. Zbog toga su naši diskurzivni formati potpuno otvoreni i predstavljaju nastavak izložbenog programa kroz stvaranje prostora za interakciju, razmjenu znanja i iskustava, koji bi na koncu mogli rezultirati konkretnim akcijama i oblikovanjem grada ili barem jednog njegovog dijela.
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Interactions with the City
Filodrammatica Museum of Modern and Contemporary Art, Rijeka Ex-Paper Factory Hartera Život
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Interactions with the City, a two-day symposium and a workshop, is a discursive program of Mine, Yours, Ours festival – its aim is to articulate, discuss and reflect on different roles and initiatives taken by the citizens involved in the city planning process and to reassess steps involved in development projects. From an artistic perspective, this is an audience development project, and from a perspective of political action, it is an engaging program enabling citizen participation. Contemporary culture helps us connect artistic with social and political action, and view audience development not only through audience increase, but also through citizens influencing the processes that are of direct concern to them. Cultural production is always closely entangled with the social environment, and without it, largely incomprehensible. It is because of this that we understand audience development as a chance to create a format for understanding social and political context through artistic presentations. Symposium panels are imagined as open discussions and they draw out the exhibition program by creating space for interaction, exchange of knowledge, sharing of experiences. They could result finally in concrete actions and plans for shaping the city, or at least one part of it.
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The workshop “Primer on Urbanistics” engages with shared memory spaces, in particular, with the space of the ex paper factory “Hartera”, which is to be repurposed. The City Council has planned this space as a place fit for cultural events, but so far, the results have been temporary, or short-lived in nature. A new model needs to be defined through which Hartera can exist permanently as a place of culture. The idea behind this workshop is to gather both stakeholders and experts that should work together toward a final solution, if circumstances will permit. We will focus on planning and repurposing the area, and implementing reached solutions fast, all with the intention to make this area of benefit to us all, as soon as possible. The long term plans are not the priority, but will be taken into consideration, in order to make the current plans compatible with the further development plans for this part of the city.
Workshop
Primer on Urbanistics —ex-paper factory hartera
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Radionica Urbanističke početnice bavi se prostorom zajedničke memorije, i to bivše tvornice papira u Rijeci – Hartera, koji treba dobiti novu namjenu. Grad Rijeka ovaj prostor namijenio je u budućnosti kulturnim sadržajima, ali do sada su se u prostoru održavale povremeni i privremeni kulturni događaji. Vrijeme je da se pronađe model prema kojem će Hartera trajno i stalno zaživjeti kao prostor kulture. Zbog toga organiziramo radionicu kojoj je cilj okupiti zainteresirane aktere i stručnjake kako bi zajedno pronašli rješenje za Harteru koje će biti primjenjivo u postojećim okolnostima. Dakle, na radionici ćemo se baviti planiranjem koje se odnosi na prenamjene koje se mogu brzo implementirati kako bi ovaj prostor što prije zaživio na korist svih nas. Sama radionica ne bavi se dugoročnim planovima, ali ih uzimamo u obzir, kako bi se i privremene funkcije ovog prostora uskladile s budućim razvojem ovog dijela grada.
Radionica
Urbanistička početnica —hartera
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The workshop, which is a result of joint collaboration between Drugo more (Rijeka), Platform 9,81 (Split) and the Museum of Modern and Contemporary Art in Rijeka, is guided by two architects, Dinko Peračić and Antun Sevšek. Primer on Urbanistics was initiated in 2008, as a partner project between ARL and Platform 9,81. The other partners to the project are 6 non-governmental organizations and 2 cultural institutions, namely; Art workshop Lazareti/ Dubrovnik, Blok/Zagreb, KA-Matrix/Karlovac, Drugo more/Rijeka, Multimedia cultural centre/ Split, Museum of Modern and Contemporary Art/Rijeka, Platform 9,81/Split, Pravo na grad/ Zagreb.
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Radionicu će voditi arhitekti Dinko Peračić i Antun Sevšek, a organizatori programa su Drugo more, Platforma 9,81 i Muzej moderne i suvremene umjetnosti. Program Urbanistička početnica odnosno platforma za znanje o prostoru, inicijalno je započet 2008. kao partnerski projekt ARL i Platforme 9,81. Partnerstvo se odvija između 6 udruga nezavisne kulturne scene i 2 ustanove u kulturi, a to su Art radionica Lazareti/ Dubrovnik, Blok/Zagreb, KA-Matrix/Karlovac, Drugo more/Rijeka, Multimedijalni kulturni centar/Split, Muzej moderne i suvremene umjetnosti/Rijeka, Platforma 9,81/Split i Pravo na grad/Zagreb.
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Simpozij
Moje iskustvo grada Tvoje umjetničke intervencije Naše javno okupljalište —filodrammatica
Simpozij Interakcije s gradom ima tri tematske cjeline koje se međusobno nadopunjuju i bave se modelima participacije građana u urbanoj sredini, koje sagledavaju iz različitih perspektiva i disciplina. Simpozij ima za cilj mapirati heterogene i često proturječne strategije upravljanja gradom i njegovim infrastrukturama/resursima, posebice u vremenima u kojima smo suočeni s kon zekventnom fragmentacijom, aproprijacijom i iscrpljivanjem javnog prostora.
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(Moje) iskustvo grada ► U okviru prvog tematskog bloka naglasak je na uspješnim modelima participacije građana u planiranju grada. Pregled onih praksi, strategija i modusa kroz koje je moguće detektirati pozitivan odnos između građana i gradskih vlasti artikulirat će aspekte djelotvorne građanske inicijative, tj. onaj segment participacije kojom građani u dosluhu s vlastima ostvaruju bolje i «humanije» funkcioniranje gradskih infrastruktura.
(Naše) javno okupljalište ► Druga cjelina problematizira različite primjere građanskog aktivizma proisteklog iz situacija kada gradske vlasti - ne konzultirajući građane (a vrlo često i struku) - stvaraju disfunkcionalno-alijenirani i fragmentirani gradski prostor, pogodujući time diseminaciji kapitala odnosno uništavanju javnog prostora i nejednakoj distribuciji javnog dobra. U okviru ovog tematskog bloka afirmiraju se i kritički reflektiraju aktivističke prakse čiji je cilj spriječiti aproprijaciju javnog prostora i uništavanje javnog dobra.
(Tvoje) umjetničke intervencije ► Reflektirajući ulogu kulturnih programa i umjetničkih intervencija community arta u oblikovanju grada, treća cjelina otvara problem relacije građana i medija umjetničke participacije. Umjetničko djelovanje ovdje će se razmotriti kao društveno-politička činjenica koja intervenirajući u lokalnu zajednicu afirmira ne samo nove estetske modele, već i drugačije modele upravljanja gradom. S druge strane, tretirajući participaciju kao medij kojim se lokalna zajednica mobilizira, politički subjektivira i koja doprinosi njihovom samoorganiziranju, ovaj će tematski blok preispitati ambivalentnosti participacije, osobito u onom segmentu u kojem umjetničko djelovanje postaje politički instrumentalizirano.
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Symposium
My Human City Our Public Spaces Your Art Beat —filodrammatica
The symposium is divided in three thematic units which complement each other and deal with citizen participation issues in urban environment throughout various disciplines and various perspectives. Their goal is to map the city management strategies which are not rarely heterogeneous and contradictory, as well as the strategies for infrastructure/ resource management. This is especially relevant at the present moment in time, marked by fragmentation, appropriation and depletion of public sphere.
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(My) Human City ► Panel 1 discusses successful models in the city planning process. Practices, strategies, and modules that have resulted in positive attitude among citizens towards the governing bodies highlight aspects of an efficient citizens› initiative, i.e. that segment of participation in which citizens are collaborating with the authorities in order to create more humane and better functioning city infrastructures.
(Our) Public Spaces ► Panel 2 discusses various examples of citizen activism as a response to the city government creating dysfunctional, alienated and fragmented public city spaces without consulting the residents. This problem causes the dissemination of the capital, i.e. the destruction of public spaces and unequal distribution of public goods. Examples of activist practices that prevent exactly this type of public good exploitation and appropriation of public spaces are referred to and reflected upon critically.
(Your) Art Beat ► Panel 3 deals with an issue of citizen and art relation during the city planning process, debating on roles of a cultural program and arts in shaping the public spaces. Artistic intervention is considered here as a social and political act that affirms new aesthetic models, and moreover - new city management models. This panel will also reassess the ambivalent values of the city planning process by treating it as a medium that can mobilize local community, bring political maturity, and contribute to internal organization improvement. This will especially be reviewed in cases where artistic intervention becomes politically instrumentalized.
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The symposium panels will be moderated by Nebojša Zelić and Davor Mišković, and among other guests are:Daniel Andujar, Teo Celakoski, Hans D. Christ, Iris Dressler, Yvonne Doderer, Adrian Evans, Emil Jurcan, Bernd Heger, Sven Marcelić, Marta Moretti, Dinko Peračić, Bernardo Vaz Pinto, Anne Pulli, Iwona Preis, Antun Sevšek, Siina Siltanen, Inga Koludrović Tomić, Agnieszka Wlazel, Magdalena Zakrzewska-Duda, Andrej Mirčev, Nikoleta Marković... Interactions with the City symposium is made in collaboration with River//Cities network members as a part of the Rivers of Opportunities project. The workshop will be held in Croatian, and is intended for local audience. However, the workshop summary will be presented in English. The panel sessions will be conducted in English, as well.
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Simpozij će moderirati Nebojša Zelić i Davor Mišković, a među gostima čija iskustva smatramo vrijednima i koji će ih u formi otvorenog razgovora prenijeti lokalnoj zajednici nalaze se: Daniel Andujar, Teo Celakoski, Hans D. Christ, Iris Dressler, Yvonne Doderer, Adrian Evans, Emil Jurcan, Bernd Heger, Sven Marcelić, Marta Moretti, Dinko Peračić, Bernardo Vaz Pinto, Anne Pulli, Iwona Preis, Antun Sevšek, Siina Siltanen, Inga Koludrović Tomić, Agnieszka Wlazel, Magdalena Zakrzewska-Duda, Andrej Mirčev, Nikoleta Marković... Simpozij Interakcije s gradom nastao je u suradnji s mrežom River//Cities u okviru projekta Rivers of Opportunities. Radionica će se održati na hrvatskom jeziku, dok će simpozij i predstavljanje rezultata radionice biti na engleskom jeziku.
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Oh, My Complex: On Unease at Beholding the City
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O nelagodi promatranja grada
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Izložba Exhibition
O nelagodi promatranja grada Oh, My Complex: On Unease at Beholding the City —mmsu
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Daniel García Andújar, Annika Eriksson, Michael Fehr/Diethelm Koch, Chad Freidrichs, Kirill Golovchenko, Lim Minouk, John Smith, Klaus Staeck, The RSA, Tuomas Toivonen/Nene Tsuboi, Michael Vahrenwald Würtemburško društvo umjetnika 2012. godine postavilo je izložbu Oh, My Complex: On Unease At Beholding The City (O.M.C.). Dvije godine kasnije izložba je doputovala u Hrvatsku u MMSU Rijeka. Postav izložbe bit će prilagođen novom kontekstu koji propituje stvarne sukobe u gradovima poput Rijeke.
Daniel García Andújar, Annika Eriksson, Michael Fehr/Diethelm Koch, Chad Freidrichs, Kirill Golovchenko, Lim Minouk, John Smith, Klaus Staeck, The RSA, Tuomas Toivonen/Nene Tsuboi, Michael Vahrenwald In 2012 the Württembergische Kunstverein realized the exhibition Oh, My Complex: On Unease at Beholding the City (O.M.C). Now two years later the exhibition will travel to The Museum of Contemporary and Modern Art, Rijeka Croatia. The constellation of the art works in the exhibition will shift along the new context which questioning more actual conflicts in cities as there appear also in Rijeka itself.
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Uvod Introduction
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Izložba Oh, My Complex: On Unease At Behold ing The City pristupa imaginarnostima, repre zentacijama i realnostima grada iz različitih perspektiva: iz perspektive arhitektonskih i urbanih građevina od 1930ih do danas; iz perspektive Europe, Sjeverne Amerike, Južne Amerike i Azije; te iz perspektive umjetnosti, izložbi, pop i protestnih kultura koje počinju 1970ih godina. Kroz otvorenu platformu koja povezuje unu tarnji i vanjski prostor, izložba prezentira radove 13 autora čiji interes leži u urbanom razvoju, društvenom, političkom i ekonom skom aspektu sukoba unutar grada. Radovi propituju podjednako stvarne i imagi narne građevine unutar gradskog prostora. U središtu pažnje su ideološki zakloni urbanih vizija koji se manifestiraju u modernističkim urbanim utopijama i u modelima neoliberalnog procvata gradova, ali i u onim kriznim scenari jima koji zauzimaju naš kolektivni imaginarni svijet od 1970ih – ponajviše od izdanja pozna tog izvještaja iz 1972. godine The Limits of Growth. Umjetnički radovi koriste različite povijesne dokumente i objekte iz konteksta pop- i subkulture, uključujući glazbene isječke, reklame ili video radove koji su anonimno postavljeni na kanal YouTube - a dokumentiraju opasne biciklističke utrke kroz favele. Osim toga, izložba pribjegava jednoj specifičnoj izložbi odnosno izložbenom postavu. To je rekonstrukcija legendarne izložbe Über die moderne Art zu leben (O modernom načinu života) koji je Michael Fehr u suradnji s Diethelmom Kochom postavio u Muzeju Bochum 1977. Godine. Naziv izložbe preuzet je iz video performansa južnokorejske umjetnice Lim Minouke.
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The exhibition Oh, My Complex: On Unease at Beholding the City approaches the imaginaries, representations, and realities of the city from different directions: from the angle of architectural and urban constructions of the nineteen-thirties through today; from Europe, the USA, South America, and Asia; from the perspectives of art, exhibition, pop, and protest cultures starting from the seventies. Along an open parcours, which connects exterior and interior space, the exhibition presents the works of over thirteen artists who have honed in on the urban-development, social, political, and economic lines of conflict within the city. The works explore both the concretely built and imaginarily constructed city space. On focus are the ideological entrenchments of urban visions as they manifest in modernist urban utopias, in the models of the neoliberal boomtown, but also in those scenarios of crisis that have been inhabiting our collective imaginary worlds since the nineteen-seventies—not least since the publication of the famous report to the Club of Rome from 1972 entitled The Limits to Growth. The artistic works touch upon diverse historical documents and objects from pop- and subculture contexts, including music clips, commercials or a video, anonymously published on YouTube, documenting a breakneck mountainbike rally straight on through a favela. Furthermore, the show takes recourse to one historical exhibition or exhibition display. It is the reconstruction of the legendary exhibition Über die moderne Art zu leben (On the Modern Way of Living) which Michael Fehr realized at the Museum Bochum in 1977 in collaboration with Diethelm Koch. The exhibition title has been borrowed from a video performance by South Korean artist Lim Minouk.
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Izloženi radovi Works in the Exhibition
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Daniel Garcia Andújar
Demokratizirajmo demokraciju Let’s democratise democracy
(1966, es)
od 2011./since 2011 Instalacija s fotografijama, videom i plakatom/Installation with photographs, video, poster
D
D
aniel Garcia Andújar carried out the action Democraticemos La Democracia (Let’s democratise democracy) in Barcelona in 2011. An aeroplane trailing a banner with the slogan in the title flew along the city’s coastline. The action was photographed from another aeroplane. Unlike from ground level, here the slogan does not appear against a blue sky, but against the skyline of Barcelona. When the Torre Agbar (Spain’s highest building, designed by Jean Nouvel) appears on the horizon together with the banner, this is a clear comment against trivialising the city with the notion of the Iconic City – and in favor of enhancing its function as a place where communities are articulated and constituted: let’s democratize democracy!
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aniel Garcia Andújar izveo je akciju Democraticemos La Democracia (Demokratizirajmo demokraciju) 2011. godine u Barceloni. Avion je vukao zastavu sa sloganom iz naslova duž gradske obale. Akcija je fotografirana iz drugog aviona pa pozadina slogana nije plavo nebo već silueta Barcelone na horizontu. Kada se na horizontu zajedno sa zastavom pojavi zgrada Torre Agbar, najviša zgrada u Španjolskoj koju je projektirao Jean Nouvel, stvara jasan komentar protiv trivijalizacije grada u smislu Ikoničkog grada, a u korist pojačavanja njegove funkcije kao mjesta gdje se stvaraju i artikuliraju zajednice: demokratizirajmo demokraciju!
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Annika Eriksson
Ja sam pas koji je oduvijek ovdje I am the dog that was always here (loop), 2013. Jednokanalni hd video, 9 min./ One channel hd video 9 minutes. Naručen za 13 Bijenale u Istanbulu i kiosk, Ghent/ Commission for the 13th Istanbul Biennale Istanbul and kiosk, Ghent
A
nnika Eriksson shows the video installation I am the dog that was always here (loop) (2013). The video, set in the outskirts of Istanbul, focuses on moments of transition and marginalised experiences of time, seen through the lens of a street dog. Having been moved by the authorities to peripheral pockets and no man’s lands outside the expanding city, the dogs are continuously moving along lines of gentrification and corporate city making. Through looping and repetition, Eriksson relates this process to an experience of time: exploring the present as a complex gap between past and future, one in which an increasing process of erasure, spurred on by a shrinking public realm, also removes other registers of being and seeing.
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A
nnika Eriksson predstavlja video instalaciju Ja sam pas koji je oduvijek ovdje iz 2013. godine. Video sniman na periferiji Istanbula fokusira se na trenutke tranzicije i marginalizirana iskustva vremena kroz oči uličnog psa. Prebačeni na periferiju i ničiju zemlju izvan rastućeg grada, psi se kontinuirano kreću duž linija gentrifikacije i korporativnog grada. Ponavljanjem Annika povezuje ovaj proces s iskustvom vremena: istražuje sadašnjost kao složen jaz između prošlosti i budućnosti u kojem rastući proces brisanja potaknut smanjivanjem javnog prostora briše mogućnosti bivanja i gledanja.
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Michael Fehr/ Diethelm Koch (de)
Rekonstrukcija postava izložbe/Reconstruction of the exhibition display foto/photos: Michael Wolf
Über die moderne Art zu leben oder: Rationalisierung des Lebens in der modernen Stadt O modernom načinu života: racionalizacija života u modernom gradu/ On the Modern Way of Living, Or: Rationalization of Living in the Modern City 1977./2012.
ljubaznošću/courtesy:
Michael Fehr, Diethelm Koch, Michael Wolf
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T
he reconstruction sets out to take a fresh look at the exhibition Über die moderne Art zu leben oder: Rationalisierung des Lebens in der modernen Stadt created by Michael Fehr and Diethelm Koch for the Bochum Museum in 1977. This was a follow-up project of the exhibition Umbau der Stadt: Beispiel Bochum (Reconstructing the City: The Example of Bochum) also presented by Fehr and Koch with great success at the same museum in 1975. Taking Bochum as an example, they had critically examined the consequences of “segregation” of urban land uses – work, housing, shopping and leisure – while Über die moderne Stadt transcended the context of Bochum. The aim of both exhibitions was to establish a theoretically founded platform for the numerous local citizens’ initiatives running at the time and to turn the museum into a venue for current social discourse. Politically, however, the second exhibition was held at the worst possible time: two days after the opening, the abduction of Hanns-Martin Schleyer marked the beginning of what was to go down in the annals as the “German Autumn”. Michael Fehr/Diethelm Koch, Über die moderne Art zu leben (On the Modern Way of Living), Exhibition catalogue, 1977/2012
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R
ekonstrukcijom postava izložbe Über die moderne Art zu leben oder: Rationalisierung des Lebens in der modernen Stadt koju su u Muzeju Bochum 1977. postavili Michael Fehr i Diethelm Koch sama se izložba pokušava sagledati iz nove perspektive. Rekonstrukcija je nastavak izložbe Umbau der Stadt: Beispiel Bochum (Rekonstrukcija grada: primjer Bochum) koju su isti autori postavili u Muzeju Bochum 1975. Uzimajući grad Bochum kao primjer, autori su kritički preispitali posljedice “segregacije“ korištenja urbanih površina – za rad, život, kupovinu i odmor. Izložba Uber die modern Stadt nadišla je kontekst samog Bochuma. Cilj obje izložbe bio je postaviti teoretski utemeljenu platformu za brojne lokalne građanske inicijative koje su tada bile aktualne te muzej pretvoriti u prostor aktualnog društvenog diskursa. Politički gledano, druga je izložba postavljena u najgorem mogućem trenutku – dva dana nakon otvorenja otmica Hannsa- -Martina Schleyera označila je početak tzv. Njemačke jeseni. Michael Fehr/ Diethelm Koch, Njemačka Über die moderne Art zu leben (O modernom načinu života), 1977./2012., katalog izložbe
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Chad Freiderichs
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Mit stambenog kompleksa Pruitt Igoe: Urbana povijest The Pruitt Igoe Myth: An Urban History Film, boja/color, ton, 83 min, 2010.
režija/directed by
chad Freidrichs produkcija/produced by
Chad Freidrichs, Jaime Freidrichs, Paul Fehler, Brian Woodman scenarij/script by
Chad i Jaime Freidrichs glazba/music by
Benjamin Balcom pripovjedač/narrator
Jason Henry intervjui/interviews
Sylvester Brown, Robert Fishman, Joseph Heathcott, Brian King, Joyce Ladner, Ruby Russell, Valerie Sills, Jacquelyn Williams
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T
he Pruitt-Igoe Myth tells the story of the wholesale changes that took place in the American city in the decades after World War II, through the lens of the infamous Pruitt-Igoe housing development in St. Louis. At the film’s historical center is an analysis of the massive impact of the 1949 Housing Act, which built Pruitt-Igoe and other high-rise public housing of the Fifties and Sixties. This critical piece of legislation also initiated the so-called urban renewal program and prompted the process of mass suburbanization, which emptied American cities of their residents, business and industry. Those that were left behind faced a destitute, rapidly de-industrializing St. Louis, parceled out to downtown interests and increasingly segregated by class and race. The residents of Pruitt-Igoe were among the hardest-hit. Their gripping stories
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of survival, adaptation and success are at the emotional heart of the film. The domestic turmoil wrought by punitive public welfare policies, the frustrating interactions with a paternalistic and cashstrapped Housing Authority, and the downward spiral of vacancy, vandalism and crime, led to resident protest and action during the 1969 Rent Strike, the first in the history of public housing. And yet, despite this complex history, PruittIgoe has often been stereotyped, with help from a world-famous image of its implosion, and used as an argument against Modernist architecture or public assistance programs. The Pruitt-Igoe Myth seeks to set the historical record straight, to examine the interests in Pruitt-Igoe’s creation, to re-evaluate the rumors and the stigma, to implode the myth.
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it stambenog kompleksa Pruitt-Igoe priča priču o sveobuhvatnim promjenama koje su nastale u američkim gradovima nakon Drugog svjetskog rata kroz prizmu neslavnog stambenog kompleksa Pruitt-Igoe u St. Louisu. U povijesnom središtu je analiza golemog utjecaja Zakona o stanovanju iz 1949. godine pod čijim su okriljem 1950. i 1960. nastali stambeni kompleksi poput Pruitt-Igoea. Spomenuti Zakon pokrenuo je tzv. program urbane revitalizacije i pokrenuo proces masovne suburbanizacije koja je dovela do migracije stanovništva, industrije i poslovanja iz središta američkih gradova u predgrađa i na periferiju gradova. Oni stanovnici koji su zaostali u središtu bili su suočeni s brzom deindustrijalizacijom St. Louisa, koji je ostao podijeljen na interesne točke u središtu grada i sve izraženiju klasnu i rasnu podjelu. Stanovnici stambenog naselja Pruitt-
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Igoe najviše bili su najviše pogođeni takvom podjelom. Njihove priče o preživljavanju, privikavanju i uspjehu čine emotivnu okosnicu filma. Nemiri izazvani kaznenim javnim politikama, frustrirajući odnosi s patrijarhalnim i financijski osiromašenim stambenim tijelima, začarani krug vandalizma i kriminala doveli su do protesta stanovnika naselja tijekom Štrajka najma 1969. godine, koji je među ostalim i prvi štrajk u povijesti javnog stanovanja. No bez obzira na složenu povijest stambeni kompleks Pruitt-Igoe stereotipiziran je uz pomoć svjetski poznate slike njegovog rušenja te korišten kao argument protiv modernističke arhitekture ili subvencioniranog stanovanja. Mit o stambenom kompleksu Pruitt-Igoe pokušava ispraviti povijesne neistine, ispitati interese za stvaranje takvog projekta te ponovo procijeniti glasine i stigmu, srušiti mit.
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Kirill Golovchenko
7km – Feld der Wunder 7km – polje čuda/ 7km – Field of Wonders
(1974, ua, de)
2007. 20 fotografija (izbor), pigmentni tisak na umjetničkom papiru/ 20 photographs (selection), carbon print on fine art paper
T
S
he series of photographs documents what is currently Europe’s largest shopping centre, situated on a seventy-hectare field seven kilometres outside of Odessa, with perhaps one of the most concentrated accumulations of informal, precarious forms of business. Consisting largely of sixteen thousand shipping containers, a two-storey shopping city has evolved that sells cheap goods alongside fake brands, all stored on the first floor.
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erija fotografija dokumentira trenutno najveći shopping centar u Europi koji se prostire na 70 hektara, a nalazi se sedam kilometara od Odesse, s najakumuliranijim neformalnim i nesigurnim oblicima poslovanja. Sastoji se od 1600 kontejnera, razvio se u dvoetažni centar u kojem se prodaje jeftina roba lažnih robnih marki.
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Minouk lim (1968, kr)
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Novi duh grada New Town Ghost 2005. Video dokumentacija performansa/ Video documentation of a performance 10:45 min
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A
singer and a drummer drive through the streets of Seoul on the back of a pickup. They pass by very different urban structures, some characterised by traditional markets, street life, or small factories. The others are dominated by the glassy towers of the New Economy: those latterday enclaves that are growing up all over the globe out of the spirit of neoliberalism. The singer on the pickup bawls her chorus at the city, “Oh, My Complex! New Town Ghost!“ – making space for herself with her shouting and the action itself. The body appears here as a kind of final refuge of selfassertion and as a place in which (and through which) social, political, economic, mental and psychological relationships are located.
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jevačica i bubnjar voze se ulicama Seoula u kamionetu. Prolaze pokraj različitih urbanih struktura – neke karakteriziraju tradicionalne tržnice, ulični život ili male tvornice. Drugima dominiraju stakleni tornjevi Nove ekonomije, najnovije enklave koje se šire svijetom u duhu neoliberalizma. Pjevačica s kamioneta vrišti refren gradu “Oh, My Complex! New Town Ghost!” – vrištanjem stvara prostor za sebe i samu akciju. Tijelo ovdje stvara neku vrstu krajnjeg utočišta samozalaganju i prostora u kojem i kroz koji postoje društveni, politički, ekonomski, mentalni i psihološki odnosi.
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John Smith
Uništenje Blight
B
B
(1952, uk)
light was made in collaboration with the composer Jocelyn Pook. It revolves around the building of the M11 Link Road in East London, which provoked a long and bitter campaign by local residents to protect their homes from demolition. The images in the film record some of the changes which occurred in the area over a two-year period, from the demolition of houses through to the start of motorway building work. The soundtrack incorporates natural sounds associated with these events together with speech fragments taken from recorded conversations with local people. Although it is entirely constructed from records of real events, Blight is not a straightforward documentary. The film exploits the ambiguities of its material to produce new meanings and metaphors, frequently fictionalizing reality through framing and editing strategies. The emotive power of music is used in the film to overtly aid this invention. (Source: www. johnsmithfilms.com)
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1994. – 1996. Video instalacija/ Videoinstallation 16 mm prebačen na/ transferred to DVD, 14 min. (u suradnji s kompozitoricom/ in collaboration with composer Jocelyn Pook)
light je nastalo u suradnji s kompozitoricom Joeclyn Pook. Tema je izgradnja ceste M11 u istočnom Londonu koja je izazvala dugu i žestoku kampanju lokalnih stanovnika da spase svoje domove od rušenja. Prizori u filmu bilježe neke promjene koje su nastale na tom području unutar dvije godine, od rušenja stambenih kuća do početka gradnje autoceste. Glazbu u filmu čine prirodni zvukovi koji nastaju rušenjem i gradnjom zajedno s isječcima snimljenih ragovora s lokalnim stanovništvom. Iako je film nastao u potpunosti iz bilježaka stvarnih događaja, Blight nije običan dokumentarac. Film iskorištava dvosmislenosti samog materijala za stvaranje novih značenja i metafora, često beletrizira stvarnost kroz različite tehnike montaže. Emotivna moć glazbe direktno doprinosi i potpomaže stvaranju novih značenja.
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Klaus Staeck (*1938., de)
Eigentum verpflichtet zur Ausbeutung Posjed uključuje eksploataciju/ Property Entails Exploitation, 1973. For Wider Streets Vote Conservative, 1974.
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Und der Haifisch der hat Zähne Oh, morski pas ima lijepe zube/ Oh the Shark Has Pretty Teeth, 1975. Zur Erinnerung an die Vereidigung der neuen Weltregierung U spomen na prisegu novog svjetskog poretka/ To Commemorate the Swearing-in of The New World Government), 1981. plakat, offset tisak, a1, tisak/ poster, offset print, a1, printed by
Steidl Göttingen ljubaznošću/courtesy:
The artist and Edition Staeck, Heidelberg
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n these posters, Klaus Staeck exaggerates the political upheavals of the 1970s and early 1980s both ironically and critically. His allusions to conditions in Britain – “For Wider Streets Vote Conservative” – already herald the advent of Thatcherism and the social turmoil that it engendered. In the poster Zur Erinnerung an die Vereidigung der neuen Weltregierung – which depicts a group of suits, their heads concealed by oil company logos – Staeck spotlights those deregulation policies which began in the 1970s and, as we know, continue to have an effect today.
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K
laus Staeck na ovim plakatima ironički i kritički preuveličava političke preokrete 1970. i 1980. godina. Njegove aluzije na situaciju u Velikoj Britaniji već navješćuju početak Tačerizma i društvene nemire koji su iz toga proizašli. Na plakatu Zur Errinerung... – koji prikazuje grupu u odijelima, čije su glave skrivene iza logotipova naftnih kompanija – Staeck ukazuje na neregularne politike koje su započele 1970. i do danas imaju svoje posljedice.
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Michael Vahrenwald (sad)
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The People’s Trust 2011.–2012. Serija fotografija/Series of photos, 7 fotografija iz serije od 14/ 7 photographs from a series of 14, pigmentni tisak na umjetničkom papiru/carbon print on fine art paper
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he series consists of photos of re-purposed defunct bank buildings. Most are apparently financial institutions built before the Great Depression of 1929 – at a time, that is, when banks were still founded on the people’s trust. The various “signatures” to be seen on the façades are indicative of both the erstwhile splendour and of the current use by cheap stores.
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S
erija se sastoji od fotografija prenamjenjenih zgrada propalih banaka. Većinu čine financijske institucije koje su građene prije Velike depresije 1929. godine - u vrijeme dok su banke bile temeljene na povjerenju ljudi. Različiti “potpisi“ vildljivi na fasadama ukazuju na nekadašnji sjaj i trenutni korištenje jeftinih dućana.
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Referentni materijal Referential material I
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The Referential Material I function like a “scratching” over several contexts which belong to the Unease at Beholding the City from unrealized utopias over the city as a surveillance machinery till the city as the spot of resistance, riots and conflict zone.
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Referentni materijal I možemo percipirati kao “grebanje” po nekoliko konteksta koji pripadaju Unease at Beholding the City (nelagodi sagledavanja grada) od nerealiziranih utopija grada kao nadzornog pogona do grada kao mjesta otpora, nemira i zone sukoba.
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Tuomas Toivonen
More = Less Više=manje video, 2009.
(1975, fi)
Nene Tsuboi (1976, jp/fi), (now)
T
he video is based on the rapstyle lecture performance by the architects and founders of Praxis NOW Architecture and Urbanism in Helsinki, Tuomas Toivonen and Nene Tsuboi. In verbal “fast motion”, they sum up the various urban utopias since modernism – finally describing their failure with the formula “More = Less”.
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V
ideo se temelji na reperskom stilu predavanja-performansa Tuomasa Toivonena Nenea Tsuboia, arhitekata i osnivača prakse za arhitekturu i urbanizam NOW iz Helsinkija. Verbalno sažimu urbane utopije od modernizma i konačno opisuju njihov neuspjeh modelom “Više=manje”.
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the rsa
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David Harvey Crises of Capitalism Kriza kapitalizma 2010. Video animacija/ Video animation
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A
nimation of a lecture by US human geographer and social theorist David Harvey, examining the current financial crisis in terms of its political, theoretical, cultural and psychological implications.
A
nimacija predavanja američkog geografa i društvenog teoretičara Davida Harveya propituje trenutnu financijsku krizu u smislu njenih političkih, teoretskih, kulturnih i psiholoških posljedica.
reference/references
Safety Compilation I (Sigurnosna kompilacija I) Safety Compilation II (Sigurnosna kompilacija II) Dream Hub (Središte snova)
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rent is 2damn high (Najam je prokleto previsok), Jimmy Mack The Valparaiso Cerro Abajo Race Sim City
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Referentni materijal Referential material II
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Rat Tablea
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Tableau Modernity
Modernost
From Haussmannisation to the Levittowns
Od Haussmannizacije do Levittowna
Tableau Slums
Slamovi
From early industrialization to endless accumulation
Od rane industrijalizacije do beskonačne akumulacije
eau War Tableau Riots
Nemiri
From the revolution 1848 to street fights 2012
Od revolucije 1848. do uličnih sukoba 2012.
Tableau Seoul (Eviction)
Seoul (Deložacija)
Samsung killings
Tableau War War into the City: Tropa de Elite
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Samsungova ubojstva
Rat War into the City: Tropa de Elite
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Modernos Tableau M
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ost Modernity
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Nemiri Tableau Ri
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Riots
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Unmediated democracy demands unmediated space
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Neposredna demokracija zahtjeva neposredan prostor —filodrammatica
Pulska grupa
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pulska grupa
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T
he installation is shaped by the pulsating images projected through a series of parallel screens that depict the atmosphere of different moments of revolt, showing the video installation made by Igor Bezinović and Hrvoslava Brkušić and positioned similar to Bill Viola’s installation “The Veiling”, which deploys the actual events of the dramatic struggles taking
place in different cities in Croatia that have been documented by the protagonists themselves. The visitors are welcomed to enter this contextual representation and navigate around the screens and voids, finding their way across the rhythm of protests. The installation was first presented as a part of Croatian pavilion at 13th Venice Biennale of Architecture, 2012.
pulska grupa
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I
nstalacija se sastoji od pulsirajućih slika koje se projiciraju paralelno na nekoliko ekrana, dočaravajući atmosferu revolta, kroz video rad Igora Bezinovića i Hrvoslave Brkušić. Po uzoru na rad Billa Viole “The Veiling”, koriste se stvarni događaji i prikazuju dramatične borbe u različitim gradovima u
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Hrvatskoj koje su protagonisti sami dokumentirali. Posjetioci su dobrodošli ući u ovu kontekstualnu reprezentaciju tih borbi i navigirati kroz ekrane i praznine, sami pronalazeći svoj put kroz ritam protesta. Instalacija je prvi put predstavljena na 13. Bijenalu arhitekture u Veneciji, 2012.
foto/photo Jelena Prekalj
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Noćni život Night life
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Mama kaže da sam lep mkdsl (bg)
Tikach & Pero Despero supersadkids (ri) —klub život
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Tikach & Pero Despero supersadkids Rijeka
Tikach is a rising star DJ from Rijeka, Croatia, in a torn-up town, no postcode envy. Focused on LA beats scene, instrumental hip hop, future r’n’b and (soft) trap. Both plays guitar and produces music. Thinks we can be Royals. Let him live that fantasy. He recorded a single mixtape for supersadkids.
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Tikach je nadolazeća zvijezda domaće DJ scene, zbog čega netko zavidi Rijeci na poštanskom broju. Uglavnom prati LA beats scenu, instrumentalni hip hop, future r’n’b i (mekši) trap. Također svira gitaru i producira muziku. Misli da nas svojim setovima može pretvoriti u Royals. Pustit ćemo mu da živi tu fantaziju. Snimio je jedan miks za supersadkids. soundcloud.com/tikach
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Pero Despero (supersadkids) is a label manager for all the supersad kids broken-hearted in Karlovac. He’s mainly hung up on clubs in Rijeka, where he drops them hits - fresh, and tweets Bound 2 lyrics from under the table (bRad reputation). IsAwesome.com. His life is band of horses-Laredo.mp3. Charges home visits. Made it to a TV quiz finale once, but lost the money because of Mumford and Sons. :(
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Pero Despero (supersadkids) je label menadžer za svu supertužnu djecu koja očajavaju u Karlovcu. Zaglavljen u riječkim klubovima koje pali svježim hitovima, s tim da ispod pulta tvita riječi od Bound 2 (ima lošu reputaciju). IsAwesome.com. Njegov život je band of horses-Laredo.mp3. Naplaćuje kućne posjete. Jednom je bio u finalu TV kviza, ali je svu lovu izgubio zbog Mumford and Sons. Takav dan. :( soundcloud.com/perodespero www.mixcloud.com/perodespero/ www.facebook.com/supersadkids
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Mama Kaže Da Sam Lep mkdsl Beograd/Belgrade
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mkdsl (acronym for Mom Says I am Pretty, in Serbian) navigates electronics clubs for 15 years, avoiding mainstream and sailing upstream, it seems.
mkdsl (Mama Kaže Da Sam Lep) plovi brzacima klupske elektronike već petnaest godina, vješto izbjegavajući virove mainstreama, veslajući, čineći se, uzvodno.
Electro, minimal, house, techno, dubstep and disco are some of the beats present in his sets. He also plays his own music, which sometimes causes some eyebrows to raise and at other times, some feet to dance.
Elektro, minimal, house, techno, dubstep, disko, samo su neki od pravaca prisutnih u njegovim setovima, a produkcija prouzrokuje ples i podizanje obrva podjednako.
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www.mkdsl.com www.soundcloud.com/mkdsl www.facebook.com/mkdsl www.twitter.com/mkdsl
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Grad i građani
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City and its Citizens
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organizator/organizer
Drugo more partneri/partners
mmsu Rijeka Württembergischer Kunstverein Stuttgart Platforma 9.81 Zagreb-Split Klub Život produkcija izložbe/ production exhibition
Drugo more mmsu Rijeka Württembergischer Kunstverein Stuttgart koncepcija/conception
Davor Mišković kustosi izložbe/curators
Hans D. Christ, Iris Dressler producentice/producers
Ivana Katić, Petra Corva odnosi s medijima/media relations
Katarina Lovrečić vizualni identitet/visual identity
Mario Aničić organizatori radionice/ workshop organisator
Drugo more mmsu Rijeka Platforma 9.81 voditelji radionice/facilitator workshop
Dinko Peračić, Antun Sevšek donatori/donors
Nacionalna zaklada za razvoj civilnog društva National Foundation for Civil Society Development Zaklada Kultura nova Foundation Kultura nova Ministarstvo kulture Republike Hrvatske Ministry of Culture of the Republic Croatia Grad Rijeka – Odjel za kulturu Department of Culture of the City of Rijeka Primorsko-goranska županija Primorsko-goranska County Robert Bosch Stiftung Agencija za mobilnost i programe eu - Program za cjeloživotno učenje Agency for mobility and eu programmes - Lifelong Learning Programmes
Posebna zahvala Muzeju Peek & Poke na podršci te svim volonterima na pomoći i uloženom radu.
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izdavač/publisher
Drugo more urednici kataloga/catalogue editors
Ivana Katić tekstovi/texts
Hans D. Christ, Davor Mišković grafički urednik/art director
Mario Aničić prijevod/translation
Jele Dominis, Katarina Lovrečić grafička priprema/prepress
Grafički ured, Zagreb tisak/printing
Printera, Zagreb naklada/edition
300 primjeraka/copies
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Simpozij Interakcije s gradom je dio projekta Rivers of opportunities. Interactions with the City symposium is made as a part of the Rivers of Opportunities project. Ova publikacija je ostvarena uz financijsku potporu Europske komisije. Ova publikacija odražava isključivo stajalište autora publikacije i Komisija se ne može smatrati odgovornom prilikom uporabe informacija koje se u njoj nalaze. This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
www.drugo-more.hr
Zaklada Kultura nova
grad rijeka
primorsko - goranska županija
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Cityand its Citizens
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