Iz trbuha diva by MMSU Rijeka

12. 8. 7. 9. 2015.

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Cijevi? Činilo mi se kao da ih vidim kako idu oko cijelog globusa, kroz njih teče voda, nafta, krv. Mila Kumbatović

Pipelines? I thought I saw them encompassing the entire globe, and through them flows water, oil, blood. Mila Kumbatović

The exhibition lends its title from Luiza Margan’s Within the Giant’s Belly (2013), an art project that deals with the inert status of Rijeka’s former shipbuilding giant “3. maj”, and it gathers the works focused on labor turbulences that have been shaking Croatia since the 1990s. Deindustrialization and post-transition, along with their crippling effects on urban and social landscape, are one of the main concerns of the exhibition. They are strongly related to fascinating technical inventions and lucrative pressures of production, the hyper-speed of assembly lines and an increasing underpayment and unemployment. Witnessing the traps set by the flexibilization of labor, which has given rise to market deregulation – the synonym for modern slavery – we follow the pioneer discussions about the alienated work, globalization of economy and fragmentation of the working class.1 In the 1980s, the Croatian band Haustor, referring to the working class, sang You better leave, new opportunities are coming, you don’t have a role in history any more… A decade later, urban protests in Leipzig, with their maxim From the working nation to the nation without work (1991) seemed to predict the precarious situation of the present, where social class problems are edged out by nationalism boom.

Izložba nosi naslov prema projektu Luize Margan Iz trbuha diva (2013.) o zapelom statusu Brodogradilišta 3. maj, nekadašnjeg, ne samo riječkoga, giganta. Potaknuta je brojnim umjetničkim radovima posvećenim turbulencijama radnog sustava koje su na domaćem terenu sve prisutnije od devedesetih godina. Često spominjana deindustrijalizacija i njezin poslijetranzicijski odjek sa zamućenim efektima za urbani krajolik i društvene prakse, jedna je od njezinih vodilja. Fascinantni tehnički izumi i lukrativni pritisak proizvodnog trka, hiperubrzanje modela tekuće trake, a rastuća potplaćenost i nezaposlenost, pojedine su koordinate. Kao svjedoci klopke fleksibilizacije radnih odnosa koja je pridonijela ustoličenju tržišne deregulacije – sinonimu suvremenog porobljavanja, vodimo se pionirskim raspravama o otuđenom radu, uz aktualne osvrte o globalizaciji ekonomije i fragmentaciji radničke klase.1 Ili, kao što je to još početkom osamdesetih opjevao Haustor: Bolje je da odete, prilike su nove, vašoj ulozi u povijesti došao je kraj... A neizvjesnu situaciju današnjice u kojoj je klasno pitanje istisnuto rastućim nacionalizmima, najavile lajpciške demonstracije 1991.: Od radnog naroda do naroda bez rada. Zapljusnuti pak novogovorom oslobođena kapitala u kojemu je industrijsko – satno vrijeme zamijenjeno hitrim bitovima informatičke domene, zastajemo nad spornim razdijelnicama korisnog i nekorisnog, strojnog (ustrojenog)

Overwhelmed with the newspeak of free capitalism, where industrial working hours have been replaced by the urgent bits of IT domains, we stop at the 7

dubious distinctions between the useful and the useless, the mechanized and the deviant, progress and burnout. The body at work is presented face to face with the body in its negation – job loss and evaporation of free time, being the foundation of a possible turn of events. In addition, the body at work is shown in a close correlation with satisfaction or, on the contrary, with the feeling of frustration with labor conditions. The artistic approaches featured in this exhibition are therefore manifold. They are marked by introversion, or they are sharply critical; they contain allegories or black humor; they include past and present work heroes; giants, luddites and laborers, gamblers, profiteers and losers, who emerged from industrial revolutions of the 20th century. At the crossroads of different systems and models of labor, from the productively militant Fordism to the more softly molded post-fordism, these artworks explore current reflections of industrial logic and its quantitative criteria. This logic rests on Taylorism and its time and motion studies which are aimed at continuous productivity improvements. Taylorism can be defined as a method of systematic increase in operational efficiency, with a clear division between the concept and performance, between those who plan and manage and those who carry out tasks. However, in the cold and capricious framework of capitalism, the differences between the employer and the employees have become even bigger.2

i diverzijskog, progresa i pregorijevanja. Prevrtljivost tijela u radnoj izvedbi postavljamo sučelice njegovoj negaciji – gubitku radnih mjesta i nedostatku slobodnog vremena kao uporišnim točkama mogućeg obrata. Tijelo subjekta u radu izlaže se u neposrednoj vezi s osjećajem zadovoljstva ili pak frustracije uvjetima rada. Tako su okupljeni raznovrsni umjetnički pristupi, introvertni, britko kritični, alegorični i crnohumorni, u kojima nailaze pojedine povijesne i aktualne figure rada – giganti, luditi i rintavci, kockari, profiteri i gubitnici, potaknute industrijskim revolucijama 20. stoljeća. Na presjecištu različitih sustava i modela rada, od takozvanoga produktivno-militantnog fordizma do razmekšanog ustroja postfordizma, umjetnički radovi propituju aktualni odraz industrijske logike i proizlazećih kvantitativnih mjera. Njezino je uporište poistovjećeno s tejlorističkim studijama pokreta i utroška vremena nastalima radi povećanja produktivnosti. Glavna su obilježja – sustavno obaranje radnih rezultata, uz zadržavanje čvrste raspodjele koncepcije i izvedbe posla, udjela u obavljanju te planiranju i upravljanju. Preneseno u današnjicu određenu sve impersonalnijim i hirovitijim diktatom kapitala, svjedočimo poodmaklim razlikama između vlasnika ili poslodavaca i radne snage.2 Dijelom se nastavljajući na Industrijski krajolik (MMSU, 2005.), izložba donosi radove iz fundusa i radove pozvanih umjetnika. Prati načine preoblikovanja tvorničke ikonografije u modernoj, 8

Partly continuing from The kao i njezino ponovno ukazivanje u suvreIndustrial Landscape (MMSU, 2005), this menoj umjetnosti. Podržana je izravno exhibition comprises the works from the angažirana linija, prispodobiva riječima Museum’s collections, as well as the works Marijana Crtalića: Cijeli industrijski orgaby invited artists. In a sketchy format, it nizmi, a pogotovo oni izumirući u željezarexamines how both modern and contemskim halama, asociraju na kompleksnu porary art deal with the civilizaciju..., danas iconography of factopotisnutu i zamijenjenu ries. It has a socially za suvremeni ‘jezik’ engaged tone, which kapitala, tržišta i racan be described in the sprodaje... Zastupljeni words of Marijan Crtalić: su i oni naglašeno the entire industrial poetični pristupi poput organisms, especially projekta K13 Zlatka those dying in ironworks, Kopljara koji tvorničke remind of a complex olupine promatra opirucivilization… This civilići se izravnosti njihove zation has been pushed funkcije, želi ih poimati out and replaced by kao zametke nečega capitalism, market and – sjećanja, energije – sales… The exhibition zarobljenog u meko also includes highly oblikovanim jezgrama poetic approaches, such iz kojih se širi svjetlo, as K13 by Zlatko Kopljar, ali ne nužno i topliwho observes the remna. Poredbenim, iako nants of factories that fragmentarnim uvidom resist the literalness of slijedimo hommage their function… I want industrijskom radu, prito see them as embryos sjećanje na spone izof something – memory, među tehničke kulture perhaps, or energy – of i umjetničke izvedbe. (a) something trapped in the softly molded nuclei that emanate light, Specifična je etapa afirmirabut not necessarily warmth. A comparative, nje manualnog rada tijekom poslijeratne although fragmentary, insight reveals that obnove prisutno, primjerice, u radovima this is homage to industrial work, homage Ede Kovačevića ili Vjekoslava Paraća, poto a memory of the relationship of technitom izrazi zadrške i nepovjerenja prema cal culture and artistic performance. idealizaciji radnog sustava. 9

An advocacy of industrial Radovi nastaju osamdesetih godina uoči and manual work in relation to the postskorašnjeg sloma SFRJ, naprimjer fotowar reconstruction of the country marked grafije Borisa Cvjetanovića ili radnički a specific stage in the Croatian art after performansi3 Josipa Pina Ivančića. Kao the World War II. This can be found in opće mjesto ističe se protivljenje svothe work of Edo Kovačević and Vjekoslav đenju rada na suhoparne funkcionalne Parać. In contrast, the 1980s brought i kvantitativne kriterije, bez obzira na expressions of distrust and detachment različite prostorno-vremenske koordinate from the idealization of labor, especially okupljenih radova. ...tvornice: otvoreno in the period preceding the breakdown napadane kao izrabljivačke mašine kapiof Yugoslavia, visible in the photographs talizma, simuliranim zanosom slavljene of Boris Cvjetanović or in labor perforkao punktovi ostvarenja radnog čovjeka mances3 by Josip Pino komunizma... Sasvim sigurno, život tvornice Ivančić. Resistance to uglavnom se očitovao the common practice u rasponu od more of reducing labor to malog Olivera Twista, the cold criteria of preko Čapekove ili functionality and quanChaplinove vizije dehutity is what all these manizacije… ili jednoworks have in comstavno dosade… Radni mon, regardless of dan koji se može izreći the difference in their kroz brojke istovrsnih time and place of oripostupaka – nije li gin. … Factories, fiercega sarkastično estely attacked as the (b) tizirati? Ili upravo stoga exploitative machines nužno?4 Tako se izložba skokovito kreće of capitalism, or glorified as the places where the working man of communism kroz međuodnose starijih i novijih radova, can find fulfillment… Without doubt, facod klasičnih medija do videa, instalacija ili tory life has had multiple manifestations, performativnih praksi. Vodi se usponima i from Oliver Twist’s nightmare, to Čapek’s zamaranjima, krivinama i krivotvorinama or Chaplin’s vision of dehumanization … koje donosi scenarij progresa. Naglašava i or, simply, boredom… A working day that tople i hladne odnose na relaciji: čovjek – can be translated into numbers of repetiradno okruženje – pripadajuća regulativa tive procedures – isn’t it sarcastic to aes– radna etika, uz usporedna pitanja: Što theticize it? Or maybe this is precisely the se dogodilo s radnim elanom? Kakvo reason why it has to aestheticized.4 Therezadovoljstvo danas pronalazimo u radu? Na razmeđu socijalističkog i neoliberalnog fore, this exhibition leaps and bounds

from recent to older works, and vice poretka radovi detektiraju različite odnoversa, moving from the classic media to se proizvodnih i socijalnih relacija te sraz videos, installations or performances. It društvene slike o umjetniku i radniku. unfolds with ascendance and decline, Tako slijedimo superradnika na Skici plawith deviations and fabrications brought kata za radne akcije Romola Venuccija by the scenario of progress. It highlights iz četrdesetih godina ili nešto kasniju the issues concernuznositu formu ing people and their Metalca Dušana work surroundings, Džamonje labor regulations (1953.) – sve and work ethics do Radnika Borisa and it draws attenCvjetanovića, serije tion to the quesfotografija koja ne tions: What has govori ...o tipu ili happened with the klasi nego o obeworking zeal? What skorijenjenosti kind of pleasure individue..., o radnidoes today’s work cima ...kao egzilan(c) 5 offer? At the crosstima u tjeskobu. roads of the socialUmjetničke priloge ist and neoliberal iz vremena intenzivorder, the artworks ne aktivnosti tvordetect changes in ničkih pogona slijethe sphere of socide oni aktualni. Naety and production; stali u takozvanim they mark the crash postindustrijskim of the society’s imuvjetima, dotiču se age of workers and sadašnje klimavosti artists. For example, društvene instituciwe can see the je rada koja odvodi (d) super-worker in The u poraz temeljna Sketch for the Youth Work Actions Poster načela ljudskih sloboda – pravo na rad i by Romolo Venucci from the 1940s and odmor, ali i mogućnosti potraživanja drukthe self-confident figure of The Metal čije budućnosti. Devastirani pogoni, prazni Worker by Dušan Džamonja (1953). Howobjekti u središtu grada, otpušteni radnici i ever, we can also see The Workers by Boprofesijama različiti suvremenici s nesigurris Cvjetanović, the series of photographs nim radnim uvjetima, mahom se ogledaju that speak not of... u radovima pozvanih umjetnika.

a type or class, but of individuals without Uglavnom su nastali od 2008. nadalje, u roots, workers... who seek asylum in anxiety.5 recesijskom razdoblju nakon svjetske financijske krize. Pogled na zanijemjela čoAlong with the works that vjeka, a ne spomeničku paradu udarnika, date back to the times of intensive acpodvlači pitanje o podmuklosti današnjeg tivity of factories, the exhibition displays sustava koji blokira potporne i zaštitne contemporary pieces, which are created mehanizme radnika. U naletima slobodin the so-called post-industrial conditions. no lebdećeg kapitalizma spotičemo se o They tackle the nove forme otuđeunsteadiness of nosti, uvjetovane social institution of prekidom komunilabor that defeats kacije između rada the basic principles i kapitala. ... jedna of human freedom strana konfiguraci– the right to work, je stekla je autonothe right to rest miju koju je možda and leisure and a oduvijek potajno chance for pursuing priželjkivala, ali a different future. nikad je prije nije Devastated factoozbiljno nagovijeries, abandoned stila. ...reprodukobjects in centers cija i rast kapitala, of cities, jobless profita i dividendi i workers and people zadovoljstvo dioniof different profesčara, sve je to posions who face the stalo uvelike neoviinsecurities of tosno o trajanju konday’s employment kretnog lokalnog (e) contracts, are mainly angažmana radne 6 depicted in the works of the invited artists, snage. Zastoj sindikalnih akcija jedan created in the period of recession following je od simptoma. Njihova vremenska pothe global economic downturn. The image dudarnost s antirecesijskim mjerama i of a numb man, instead of a monumental mjerama štednje koje su se s baznih poparade of strike workers, raises questions gona proširile na javni i obrazovni sektor, 7 as to the aggressiveness of today’s system također. Tome nasuprot pretpostavljamo that obstructs the mechanisms of workers’ umjetnički rad koji u okolnostima opće support and protection. In the era of the nesigurnosti može djelovati kao zaliha free flying capitalism, we stumble upon društvene imaginacije i inata. Tako se

new forms of alienation, caused by the breakdown in communication between work and capital …where one side of the configuration acquired the autonomy it had always wanted, but never openly announced it... The reproduction and growth of capital, profits and dividends and the satisfaction of stockholders have all become largely independent from the duration of any particular local engagement with labor.6 The standstill in trade union activities is one of the symptoms. Their synchronism with anti-recession efforts and savings measures, which have spread from production sector onto public sphere and education, is also one of the symptoms.7 In contrast to that, the exhibited works may serve as the supply of social imagination and defiance in the circumstances of general uncertainty. Both recent and older artworks become forms of silent resistance to the overstrained system, to the hypertrophies of progress and automatization that does not seem to facilitate life. They point to the fragile points in the labor system, but they also detect a thread of the system’s resistance to being constantly submitted to control, discipline and the harsh logic of economy.

i stariji i mlađi radovi javljuju kao izraz tihog otpora prenapregnutostima sustava, hipertrofijama progresa i automatizacije u kojem primjena tehnologije za poboljšanje uvjeta života djeluje suvišno. Ukazuju na slabe točke radnog sustava koje bi mogle biti i točke otpora podređivanju rada dosljednoj disciplini i kontroli, pa onda i ekonomskoj logici. ...motivi strojeva, kretanja i brzine koje ih prate, karakteristika su 20. stoljeća kada se ta umjetnost rađala.8 Pritom nematerijalni aspekti, prašina, dim i para, kao da upozoravaju na topljivost naoko otpornog tvorničkog kućišta. Pažnja se preusmjerava na zapele urbane tokove i socijalne veze, neurozu i tjeskobu koje nastanjuju javni krajolik, nemalo vezane uz širenje straha od zamjenjivosti i gubitka radnog mjesta. Na psihološki deadlock, a ne manifestni prvi plan zastoja klasične industrije i njegova pravdanja po načelu nužnosti, pri čemu se nerijetko izostavlja preseljenje pogona u zemlje s jeftinim troškovima rada kao jedan od pandana pomućenih relacija ‘slobodnog tržišta’. Mimoilazeći izmaglicu političke korektnosti, umjetnički radovi djeluju poput crvenih markera na današnjoj križaljci rada. Umjesto utvrđivanja statusa quo podvlače prikrivene aspekte vezane uz tvorničko okrilje koji se pod krilaticama korisnosti, konkurentnosti i utrživosti najčešće gube iz vida. Tako u videu Gorana Škofića Sektor (2015.) radnike iz lošinjskog škvera vidimo u izvrnutoj radnoj koreografiji,

...Motifs of machines, which are inseparable from motifs of movement and speed, were the characteristic of the 20th century, when this type of art was born.8 At the same time, non-material aspects, dust, smoke and vapor, seemed to inform us of the feebleness of factory structures. However, the focus of attention 19

has now shifted to delayed urban flows and social communication gaps, highlighting the neurosis and anxiety that permeate the public landscape, caused by a fear from expandability and job loss. The focus is placed primarily on psychological deadlock, as the effect of industrial shutdowns carried out under ‘necessity’, and subsequent relocations of these industries into countries with cheap labor. Sidestepping the haze of political correctness, these works become the red signals on the dashboard of labor. Instead of describing the status quo, they reveal hidden details of factory lives, which, lost in the noise of usefulness, competitiveness and profitability, mostly remain unobserved. For instance, in Goran Škofić’s video The Sector (2015), the workers from the Lošinj shipyard are seen in quite a different choreography, choreography that respects the complex finesses of shipbuilding. The welders in the video are making an unexpected product: an audiovisual composition based on industrial noise.

koreografiji koja poštuje složene finese brodograditeljskog posla. Varioce susrećemo u izvedbi neočekivanog produkta, audiovizualne kompozicije utemeljene na noise glazbi. Industrijska arheologija, dokumentarna rekonstrukcija ili dokufikcija pojedine su žanrovske trase kojima se radovi kreću. Naglašene su kao postupci i provodnici mogućih načina proigravanja ustaljenih pravila – optimizacije tijela prema načelima racionalizirane proizvodnje i proizlazećeg izvlaštenja od zadovoljstva radom. Apsurdnu kontekstualizaciju tvorničkih postavki izražava film Jenny Perlin Perseverance and How to Develop It (2003.). Nazvan je po istoimenoj knjizi koja se pojavljuje malo prije Freudova eseja Tugovanje i melankolija, a objava tog eseja koincidira s godinom uzleta Fordove pokretne trake (1917.). Zadubljena u razloge njihove vremenske podudarnosti, J. Perlin pokazuje kako u tvorničkom okrilju nalazimo klicu specifične radne etike koja kruži do današnjih dana preporučujući samodisciplinu i konformnost pravila. Pritom se veći radni uspjeh počinje poistovjećivati s onim osobnim, a ubrzanim taktom profitabilnosti nezadovoljstvo ili potištenost zadobivaju predznak individualnog, a ne sustavnog poremećaja. Moderna vremena otpisuju ih Prozacom i sličnim vrstama samopomoći pod dobro prodajnim tehničkim terminom depresije.

Industrial archeology, documentary reconstruction or documentary fiction, are some of the genres in which these works unfold. They rely on elements and procedures that challenge the habitual practices of complying to the rules of rationalized production, practices that reduce work satisfaction. The film by Jenny Perlin, Perseverance and How to Develop It (2003), named after a practical self-help book published in 26

Zadovoljstvo i rad očito su 1915, offers an absurd contextualization čudnovat par. I u prošlim i u sadašnjim of factory logic. Perlin explores the coinsustavima redovito idealiziran i u raskociding of the Freud’s essay Mourning and raku sa življenom praksom, dovodi nas Melancholia published in 1917, with the u nedoumicu: je li spomenuti parnjak expansion of Ford’s assembly line. Perlin’s uopće moguć? Možda kao izraz svojeglava film suggests that factories contain the osporavanja nedostižnih naloga učinkorudiments of a specific work ethics, which vitosti postavljenih u doba porobljenog exists even today, with recommendations tržišta rada, a slobodnog kapitala. Odnosi of self-discipline and conformity. Success između kulturalnih at work is identii ekonomskih kofied with personal dova, umjetnosti success, while i industrijske proin the accelerizvodnje teško su ated rhythm of svodivi na jednoprofitability, disglasne sporazume satisfaction and pa su i u vrijeme melancholia are socijalističkih personal disorders, programa kulture not the system’s radnicima uočljive disorders. Modern razmirice o kontimes deal with kretnim načinima this issue, presentpovezivanja “proed and sold as izvodnog” i “stva‘depression’, with ralačkog” rada. O the help of Prozac spornom odnosu and similar subprema radničkom stances. (f) i umjetničkom nasljeđu prošlog sustava govore ulomci iz Satisfaction and work are projekta Nevidljivi Sisak Marijana Crtaa strangle couple. Both in the past and lića, komentirajući uspon i pad Željezare present systems, the symbiosis of work Sisak, kao i proizlazeće Kolonije likovnih and satisfaction was in a discrepancy umjetnika (1971. – 1990.).9 with real life circumstances. We wonder, therefore, is this kinship possible? Maybe it is, in the sense of a stubborn defiance Rezime bi mogao glasiti – to the unattainable goals of efficiency, set Iz trbuha diva kruli. Podgrijavaju se odin the times of free capitalism and the ložene razine stvarnosti, zabačene ili enslaving of labor force. The relationships namjerno preskočene pojedinosti radne 27

panorame koje ističu proturječja u današnjem sustavu rada. Ujedno pozivaju na očuđavanje svakidašnjeg i normaliziranog, na ludičku obranu pred razgradnjom urbaniteta, u kojima javni i društveni prostor uzmiče pred privatizacijskim procesima. Specifičan su primjer zapeli projekti adaptacija industrijskih kompleksa u kulturne, kao u filmu Nadije Mustapić i Marina Lukanovića Rikard Benčić, na primjer (2008.), koji se referira na dugo iščekivano useljenje MMSU-a u nekadašnju tvornicu. Drukčije rečeno, odložena se građa otima brisanom prostoru. Reinterpretira se i reinscenira. Izvlači se uz propitivanje povratnih veza između logike brze zamjenjivosti i tržišne računice, podsjećajući na koncept društvene tvornice. Potaknut previranjima u sustavu rada u sedamdesetim godinama, koncept opisuje transfer logike kapitala limitiranog prostorom tvornice i standardnim radnim vremenom na šire društvene aktivnosti, uz istodobno umanjivanje političke uloge subjekata rada.10 U tom je smislu zanimljivo spomenuti film Workers Leaving the Factory Haruna Farockija (1995.) u kojem prva kamera u povijesti kinematografije, ona braće Lumière iz 1895., uperena upravo na tvornička vrata, slijedi opetovani izlazak radnika iz tvornica iz različitih razdoblja 20. stoljeća. ...prethodnica je današnjih nadzornih kamera koje automatski negledajući produciraju beskonačan broj snimaka kako bi zaštitile vlasništvo nad imovinom. U trci radnika prepoznajući odsutnu, zakrivenu mobilnost robe, novca i ideja koje cirkuliraju u industriji, Farocki upućuje

of cultural and economic codes, art and industrial production, can hardly be reduced to unanimous agreements. Even in the times of Socialism, there were disputes related to the link between “production” and “creation”. The issues of the workers’ and artists’ heritage in the past and current system are tackled in the fragments of Marijan Crtalić’s project The Invisible Sisak, which reflects the rise and fall of the Sisak Ironworks, as well as its Colony of Artists (1971 – 1990).9 In conclusion, there is a rumble and growl coming from within the giant’s belly. A different light is shed on the postponed segments of reality, on the hidden or neglected details of work panoramas. These details point to inconsistencies in today’s labor system and call for estrangement from the everydayness and normalness, encouraging us to take a luddite defense against disintegration of urbanity, where public and social space is being diminished in favor of privatization. Specific examples can be found in stacked projects of adaptations of industrial venues in cultural ones, like in the film by Nadija Mustapić & Marin Lukanović, Rikard Benčić, for example (2008), which also concerns the project for new home of the MMSU in the former factory. In other words, the delayed material is moving away from the open fire. It is being reinterpreted and restaged. It challenges the connection between the logic of expendability and the calculations of the market. This reminds of the concept of social factory. Born in 28

pitanje: s toliko ljudi koji ne mogu naći posao... kako je i moguć društveni obrat?11 Lucidno nadovezivanje pronalazimo u performansu Siniše Labrovića Dokolica / Komunistički manifest (2013.) u kojem umjetnik čita vjerojatno najprozvaniji političkih traktat ležeći na dobrovoljcima, sve dok se jedan po jedan ne pobune ili jednostavno izmore. Dokolica prevodi osijedjelu teoriju u praktičnu vježbu prianjanja i otpora. A upravo slobodno vrijeme ističe kao preduvjet mogućeg obrata.

labor turmoil in the 1970s, it describes how the logic of capitalism, limited by factory space and standard working hours, began to spread to different social activities, while diminishing the political roles of labor subjects.10 In this context, the film Workers Leaving the Factory by Harun Farocki (1995) seems indicative. The footage of workers leaving the factories, dating from different periods of the 20th century, follow the first camera in the history of cinematography, the camera of the Lumière brothers from 1895,... it is a precursor of today’s many surveillance cameras which automatically and blindly produce an infinite number of pictures in order to safeguard ownership of property. Recognizing that the resolution of the workers’ motion represents something, that the visible movement of people is standing in for the absent and invisible movement of goods, money, and ideas circulating in industries, Farocki poses a question: …with so many jobless people… is there a possibility for a turn in social events?11 A lucid connection to that may be found in the performance by Siniša Labrović, titled Leisure / Communist Manifesto (2013), where the artist reads the well known political pamphlet lying on the bodies of volunteers, until the volunteers get tired or begin to complain. Labrović’s Leisure translates the aged revolutionary theory into practice, as a never ending set of exercises of compliance and rebellion, where leisure is the precondition of any act of defiance.

1 Sabina Salamon and K. Orelj, MMSU proposal for the candidature of the city of Rijeka for the European Capital of Culture

1 Sabina Salamon i K. Orelj, prijedlog programa MMSU za kandidaturu Rijeke za EPK 2 Treba spomenuti da su izvorno radi podizanja radne motivacije korištene i poticajne nadnice. Usp. http://www.encyclopedia.com/topic/time_and_ motion_study.aspx. Za uvid u udarništvo u doba socijalizma i razlike s kasnije uvedenim samoupravnim modelom vidi: https://www.scribd.com/doc/180481387/ Refleksije-vremena-katalog-izlo%C5%BEbe (Tomislav Anić, Junakinje i junaci rada).

2 It can be noted that employers also used awage-incentive system in order to increase worker motivation; See: http://www.encyclopedia.com/topic/ time_and_motion_study.aspx. For more details on the so-called strike labor in socialism and differences with the subsequently introduced self-managing model, see: https://www.scribd.com/doc/180481387/ Refleksije-vremena-katalog-izlo%C5%BEbe (Tomislav Anić, Junakinje i junaci rada).

3 Kako ističe autor, Novčeke je zarađivao va neposrednoj proizvodnji u Tvornici cementa „Giulio Revelante“ i Servis-TESU – Uljanik, a nakon racionalizacije postao klijent najrespektabilnijeg hrvatskog branda „HZZ-rvacki zavod za zaposlitev“ uz „plaću-naknadu“ od 1200. O Ivančićevim radničkim performansima, v. Suzana Marjanić u: Osamdesete! Slatka dekadencija postmoderne, HDLU, Zagreb, 2015., str. 140. – 141.

3 As the author says, he earned his money in the cement factory «Giulio Revelante» and Uljanik TESU, but after the rationalization he became a client of the most respectable Croatian brand, the Employment Service, living on the dole. For more details on Ivančić’s labor performances, see Suzana Marjanić in Osamdesete! Slatka dekadencija postmoderne, HDLU, Zagreb, 2015, p. 140. – 141.

4 Igor Čulig, Ka estetici industrijskog naslijeđa, u: Grad za 21. stoljeće – zbornik, Biblioteka psefizma, Karlovac, 2001., str. 51., 57.

4 Igor Čulig, Towards the Aesthetics of Industrial Heritage, in A Town for 21. Century - symposium, Biblioteka psefizma, Karlovac, 2001, p. 51., 57.

5 Usp. http://www.msu.hr/files/17139/2003CvjetanovicUzorci_new_n.pdf (Branka Slijepčević)

5 See:,http://www.msu.hr/files/17139/2003CvjetanovicUzorci_new_n.pdf (Branka Slijepčević)

6 Zygmunt Bauman, Tekuća modernost, Pelago, Zagreb, 2011., str. 146.

6 Zygmunt Bauman, Tekuća modernost, Pelago, Zagreb, 2011, p. 146.

7 Za studiju o industrijskim i sindikalnim odnosima te privatizaciji u Hrvatskoj vidi: Dragan Bagić, Industrijski odnosi u Hrvatskoj: društvena integracija ili tržišni sukob, TIM Press, Zagreb, 2010.

7 For a study on industrial and trade union relations, as well as privatization processes in Croatia, see: Dragan Bagić, Industrijski odnosi u Hrvatskoj : društvena integracija ili tržišni sukob, TIM Press, Zagreb, 2010

8 Usp. predgovor Daine Glavočić u katalogu Industrijski krajolik, MMSU, Rijeka, 2005., str. 3. 9 Usp. Kolonija likovnih umjetnika Željezare Sisak, Gradski muzej Sisak, 2012.; Za Crtalićev projekt, usp. http://marijancrtalic.blogspot. com/2011/04/marijan-crtalic-nevidljivi-sisak.html

8 See: Industrial Landscape catalogue, foreword by Daina Glavočić, MMSU, Rijeka, 2005, p. 3. 9 See: Art Colony of Sisak Ironwoks, Sisak Town Museum, 201.; For the project of Marijan Crtalić, see: http://marijancrtalic.blogspot.com/2011/04/ marijan-crtalic-nevidljivi-sisak.html

10 Simptomi tih promjena su privatizacija zdravstva i školstva te uvođenje poslovnih načina upravljanja i načela konkurentnosti u javne institucije. Usp. http://gerusija.com/primoz-krasovec-_nematerijalni-rad-u-operaizmu-i-postoperaizmu/?lang=hr

10 Privatization of health sector and education, as well as introduction of the principles of business management and competitiveness into public institutions are some of the symptoms of these changes; visit http://gerusija.com/primoz-krasovec-_nematerijalni-rad-u-operaizmu-i-postoperaizmu/?lang=hr

11 Usp. http://sensesofcinema.com/2002/ harun-farocki/farocki_workers/

11 Visit http://sensesofcinema.com/2002/ harun-farocki/farocki_workers/

Benčić won't mean a thing unless something is done here. If some day a Museum is opened here everyone will know that it is located in Benčić, it will be passed on from generation to generation. But if nothing is done, when I and the others say that we worked here, nobody will remember it anymore. A female worker interviewed in the film Rikard Benčić, for example

Benčić neće značiti ništa ako se ovdje nešto ne napravi. Ako se jednog dana Muzej ovdje otvori, znat će se to je u Benčiću, to će se s generacije na generaciju prenositi. Ali ako se ništa ne napravi, kada oni koji su tu radili to i kažu, nitko se neće ni sjetiti. Radnica, sugovornica u filmu Rikard Benčić, na primjer

Popis reprodukcija

Once upon a time

The list of reproductions

video documentation of the happening, 18', 2008 (still frame), part of the installation with the hectograph newspapers of the Istrian Coalmine

Luiza Margan ( 4–5 )

Raša (12. 3. 1959)

Iz trbuha diva Više od nas, ready made; ulomak instalacije uz poster Što tijelo može

Zlatko Kutnjak ( b )

inkjet print, 1100 x 1650 mm, 2013.

Pompeanac na putu u 3.maj

Within the Giant's Belly

akrilik / pakpapir, 210 x 210 mm, 1986.

More Than We Are, ready made; part of the

MMSU 3317

installation with the poster What A Body Can Do

Pompeian on the Road to 3.maj

inkjet print, 1100 x 1650 mm, 2013

acrylic, Kraft/Manila paper, 210 x 210 mm, 1986 MMSU 3317

Boris Cvjetanović ( a ) Iz serije Radnici

Edo Kovačević ( c )

c/b fotografije, 495 x 395 mm, 1982.–1989.

S pruge (URA)

DIOZ, Zagreb, 1989.

ugljen / papir, 425 x 560 mm, 1947.

Radnik u tvornici akumulatora Munja, Zagreb, 1986.

MMSU 178

From the series Workers

From the railroad (Work Action)

b/w photographs, 495 x 395 mm, 1982–1989

coal on paper, 425 x 560 mm, 1947

DIOZ, Zagreb, 1989

MMSU 178

Worker at Munja Battery Factory, Zagreb, 1986 Gabriele Mucchi ( d ) Alen Floričić ( 10–11 )

Na dan štrajka

Bez naslova No. 01–07

olovka / papir, 220 x 300 mm, 1948.

video, 2'20'', 2007. (stil iz videa)

MMSU 133

Untitled No. 01–07

On the day of the strike

video, 2'20'', 2007 (still frame)

pencil on paper, 220 x 300 mm, 1948 MMSU 133

Marijan Crtalić ( 12–13 ) Nevidljivi Sisak – Fenomen željezara

Mila Kumbatović ( 20 )

Iz serije Sadašnjost povijesti

Kozmička figura

fotomontaže, 300 x 500 mm, 2013

čelik, željezo, 300 x 160 x 160 mm, 1978.

Invisible Sisak - The Ironworks Phenomenon

MMSU 1442

From the series Present Moment of the History

The Cosmic Figure

photomontage, 300 x 500 mm, 2013

steel, iron, 300 x 160 x 160 mm, 1978 MMSU 1442

Kristina Leko ( 14–15 ) Bilo jednom

Sava Šumanović ( 21 )

video-dokumentacija happeninga, 18', 2008.

Lučki agent (Čovjek u pejzažu)

(stil iz videa), ulomak instalacije, uz kopiju

ulje / platno, 1005 x 730 mm, 1921.

naslovnice šapirografiranih novina Istarskih

MMSU 306

ugljenokopa Raša od 12. ožujka 1959.

The Port Agent (A Man in the Landscape)

Matija Debeljuh ( 32–33 )

oil on canvas, 1005 x 730 mm, 1921

Grad od čelika

MMSU 306

HD video, 8', 2014. (stil iz videa) Steel City HD video, 8', 2014 (still frame)

Josip Pino Ivančić ( 22–23 ) Champi(nj)oni ready made; radna odijela, zaštitne kacige, 2002.,

Mikhail Karikis & Uriel Orlow ( 34–35 )

ulomak instalacije

Zvukovi podzemlja

Zahvala: MMC Palach, Rijeka

HD video, 6' 47'', 2011. – 2012. (stil iz videa)

Champi(gn)ons

Sounds from Beneath

ready made; workers cloths, safety helmets, 2002,

HD video, 6' 47'', 2011 – 2012 (still frame)

part of the installation Thanks to: MMC Palach, Rijeka

Harun Farocki ( 36–37 ) Arbeiter verlassen die Fabrik /

Marko Marković ( 24 )

Izlazak radnika iz tvornice

Uzorno odijelo

esejistički dokumentarni film, 36', 1995. (stilovi)

fotodokumentacija happeninga, 2011.

Zahvala: Harun Farocki GbR, Berlin

Exemplary Suit

Workers leaving the Factory (still frames)

photodocumentation of the happening, 2011

documentary film essay, 36', 1995 Thanks to: Harun Farocki GbR, Berlin

Dušan Džamonja ( 25 ) Metalac

Siniša Labrović ( 38–39 )

bronca, 90 x 160 x 510 mm, 1953.

Dokolica (Komunistički manifest)

MMSU 439

fotodokumentacija performansa, 2013.

The Metal Worker

Leisure (Communist Manifesto)

bronze, 90 x 160 x 510 mm, 1953

photodocumentation of the performance, 2013

MMSU 439 Goran Škofić ( 40–41 ) Jenny Perlin ( e )

Sektor

Upornost i kako je razviti

HD video, 5'20'', 2015. (stil iz videa)

16mm film, 14’, 2003. (stilovi iz videa)

Sector

Zahvala: Simon Preston Gallery, New York

HD video, 5'20'', 2015 (still frame)

Perseverance & How to Develop It 16mm film, 14’, 2003 (still frames)

Zlatko Kopljar ( 42–43 )

Thanks to: Simon Preston Gallery, New York

K13 HD video, 13' 21'', 2009. (stil iz videa)

Nadija Mustapić & Marin Lukanović ( f )

K13

Rikard Benčić, na primjer

HD video, 13' 21'', 2009 (still frame)

HD video, 35', 2008. (stilovi iz videa) MMSU 5447 Rikard Benčić, for example HD video, 35', 2008 (still frames) MMSU 5447

Popis izloženih radova

Marko Marković

The list of exhibited works

Rad spašava fotodokumentacija performansa, 2012. Work saves

Marijan Crtalić

photodocumentation of the performance, 2012

Nevidljivi Sisak – Fenomen Željezara Industrijski raj

Vjekoslav Parać

dokumentarni film, 18', 2009.

Obnova

Invisible Sisak - The Ironworks Phenomenon

ugljen / papir, 1000 x 510 mm, 1947.

Industrial Paradise

MMSU 17

documentary film, 18', 2009

The Renewal coal on paper, 1000 x 510 mm, 1947

Sergije Glumac

MMSU 17

Lučki radnici ugljen / papir, 295 x 240 mm, oko 1940.

Rene Rusjan

MMSU 1976

U potrazi za pričom (nekih komada željeza)

The Workers at the Harbour

instalacija, emajlirano željezo, video, 1991. – 2015.

coal on paper, 295 x 240 mm, around 1940 MMSU 1976

MMSU 1691

Pawel Kowzan

installation, enamelled iron, video, 1991 – 2015

Searching for a story (of chunks of iron) MMSU 1691

Bez naslova (Sve što je čvrsto pretvara se u dim) zvučna instalacija, 2013. MMSU 7058

Romolo Venucci

Untitled (All solid melts into Air)

Rafinerija nafte

sound installation, 2013.

ulje / platno, 545 x 700 mm, 1945.

MMSU 7058

MMSU 1583 Oil Rafinery oil / canvas, 545 x 700 mm, 1945

Mila Kumbatović

MMSU 1583

Ratnik čelik, 500 x 300 x 200 mm, 1978.

Skica za plakat s radnikom

Zahvala: obitelj Bašić

pastel / papir, 876 x 745 mm, 1947. - 1949.

The Warrior

MMSU 1963

steel, 500 x 300 x 200 mm, 1978

The Sketch for the Work Actions Poster

Thanks to: Bašić family

pastel on paper, 876 x 745 mm, 1947 - 1949 MMSU 1963

Stup proizvodnje željezo, mjed, 870 x 190 x 240 mm, 1975. Zahvala: obitelj Bašić The culumn of production iron, brass, 870 x 190 x 240 mm, 1975 Thanks to: Bašić family

izdavač / publisher

Kustosica / Curated by

Muzej moderne i suvremene umjetnosti

Ksenija Orelj

Dolac 1/II, 51 000 Rijeka, Hrvatska +385 51 492 611, mmsu@ri.t-com.hr www.mmsu.hr Za izdavača / For the publisher Slaven Tolj Urednica, tekst / Editor, text Ksenija Orelj Lektura i korektura / Proofreading

Postav / Exhibition set-up Ksenija Orelj, Sabina Salamon Tehnički postav / Technical display Vanja Pužar Edukacija / Education Milica Đilas, Neva Lukić Odnosi s javnošću / Public relations Ivo Matulić, Marina Tkalčić

and language editing

Dokumentacija / Documentation

Gordana Ožbolt

Diana Zrilić

Prijevod / Translation Lidija Toman Fotografije / Photographs umjetnici / artists; Boris Cvjetanović, Goran Vranić – za radove iz zbirki / for the works from MMSU collection Grafičko oblikovanje / Graphic design Marino Krstačić-Furić & Ana Tomić Tisak / Print Kerschoffset, Zagreb Naklada / Print run 300 Broj kataloga / Catalogue No. 344

ISBN 978-953-6501-97-7 CIP zapis dostupan u računalnom katalogu Sveučilišne knjižnice Rijeka pod brojem 130716025. © MMSU, Rijeka, 2015.

Potpora / Financial support