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Cos'e` DK 'Zattere'? What Is DK 'Zattere'?

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Cos'e` DK 'Zattere'? What Is DK 'Zattere'? EN IT What is Cos’e` DK ‘Zattere’? DK ‘Zattere’? ‘DK’ is the abbreviation of ‘dom kul’tury’, which in Rus­ DK è l’abbreviazione di “dom kul’tury”, che in russo signi­ sian means ‘house of culture’. In Soviet times, a house of fica “casa della cultura”. Durante il periodo sovietico, le culture was a hybrid institution — community centre, gal­ Case della cultura erano istituzioni ibride a metà tra cen­ lery, theatre, workshop, library, concert hall and cinema, tro sociale, galleria d’arte, teatro, laboratorio, biblioteca all in one. The concept dates back to pre­revolutionary e perfino sala concerti e cinema. Il concetto risale alle community centres called ‘Houses for the People’ and “case del popolo” e ai circoli operai prerivoluzionari orga­ Workers’ Clubs, organised by the locals and workers nizzati dai lavoratori, ed è nato in Italia intorno alla metà themselves — a concept that was first invented in Italy del XIX secolo. Dopo la rivoluzione sovietica, il format in the mid­19th century. After the Soviet Revolution the è stato ulteriormente sviluppato in Russia sotto l’impulso format was developed further in Russia, led by the trade del movimento sindacale. Inizialmente, i centri erano ri­ union movement. Initially, such clubs were reserved for servati agli operai di una stessa fabbrica, ma i legami pro­ use by the workforce (of a certain factory, for instance), fessionali e di classe furono in seguito superati e i centri, but these class and professional ties were later dissolved diffusi in tutto il paese, divennero noti come “Case della and the clubs, which existed all over the country, became cultura” o “DK”. Alla metà del XX secolo ne esistevano più known as ‘houses of culture’ — or simply ‘DKs’. By the di 90.000 sparsi nelle città e nei paesi dell’USSR. mid­20th century, there were more than 90,000 DKs in cities, towns and villages around the USSR. Tra il 1920 e il 1930, le Case della cultura ebbero un ruolo fondamentale nel promuovere il libero accesso alla cul­ In the 1920s and 30s, houses of culture played a major tura e la partecipazione alla produzione culturale. La loro role in advancing free access to culture and participation funzione di piattaforma pubblica venne però meno du­ in cultural production. However, their function as public rante il tardo periodo stalinista e, salvo rare eccezioni, platforms diminished in the late Stalin period and all but andarono incontro alla decadenza nel brusco cambia­ a few fell into decay amid the abrupt political and eco­ mento del contesto politico ed economico seguito al nomic changes that followed the collapse of the Soviet crollo dell’Unione Sovietica. In una prospettiva a lungo Union. In a longer­term perspective, however, the evolu­ termine, tuttavia, l’evoluzione dei sistemi di produzione tion of production and labour systems in Russia and glob­ e lavoro in Russia e nel resto del mondo ha fatto sì che le ally have made cultural practice an integral part of any attività culturali diventassero parte integrante dell’econo­ economy. Cultural activity — participation in the produc­ mia. L’attività culturale, intesa come partecipazione alla tion of new culture — directly affects a person’s position produzione culturale, ha un impatto diretto sulla posizio­ both in society and in the workplace. In this context, there ne dell’individuo nella società e nel mercato del lavoro. is a need for new houses of culture — real spaces de­ Nasce in quest’ottica l’esigenza di nuove Case della signed for the public that encourage and nurture cultural cultura, spazi autenticamente pubblici che favoriscano production, not driven solely by the need to make a profit. la produzione culturale senza essere condizionati da Cultural centres, museums and other organisations have interessi prettamente economici. Centri culturali, musei the potential to be the DKs of today. e altre organizzazioni hanno tutto il potenziale per essere le DK odierne. V–A–C Foundation has drawn on the history and struc­ ture of houses of culture to design its Moscow pro­ V–A–C Foundation ha tratto ispirazione dalla storia e dalla gramme in recent years. Working with local communities, struttura delle Case della cultura per i progetti lanciati the Foundation has implemented exhibition, publishing, a Mosca negli ultimi anni. Lavorando di concerto con le research, performative and educational programmes comunità locali, la Fondazione organizza mostre, pubbli­ that transcend disciplinary boundaries. All the activities cazioni, ricerche, programmi educativi e performativi che of the 2019 yearlong project Expanding Space: Out of trascendono i confini delle singole discipline. Per esem­ the Centre took place in collaboration with Moscow DKs, pio, il progetto Espandere lo spazio: Fuori dal centro, and V–A–C aims to pursue a similar strategy in its Ven­ inaugurato nel 2019, si svolge in collaborazione con le ice space. Every autumn and winter season will see the Case della cultura di Mosca. La Fondazione intende adot­ Palazzo become DK ‘Zattere’, a free, open space for the tare la stessa strategia nella sua sede veneziana, trasfor­ people of Venice. mandola ogni anno, per un certo periodo, in DK ‘Zattere’. The aim of DK ‘Zattere’ is not to meet the needs of Lo scopo di DK ‘Zattere’ non è quello di soddisfare le post­truth, post­capitalism nor any other ‘posts’, as esigenze della post­verità, del post­capitalismo o di such. Its sole focus is to provide a platform for self­re­ qualsiasi altro “post”, ma quello di offrire una piattafor­ flection in a modern city in today’s world. DK ‘Zattere’ ma di autoriflessione in una città moderna e nel mondo. DK ‘Zattere’ ’19 ’20 EN IT has not set out to reproduce the invisible gulf between DK ‘Zattere’ non riproporrà l’abisso invisibile tra gli iniziati initiates and non­initiates of ‘the Contemporary’. It is not e i non iniziati del “Contemporaneo”. Non è un palazzo a container or a museum but rather a space where people chiuso o un museo, bensì uno spazio di interazione che can come together on equal terms and experiment with incoraggia le sperimentazioni condivise e il dialogo pa­ the surroundings. DK is not seeking to create a refuge ritario tra comunità, cittadini e visitatori. DK non intende from others or for others. Its aim is to be a place where essere un rifugio “dagli altri” o “per gli altri”, ma un luogo people gather, hang out, engage and create new culture. dove tutti abbiano l’opportunità di fare cultura. DK ‘Zattere’ ’19 ’20 EN / IT V–A–C Foundation Artists / Artisti Curators / Curatori Legal advisors / AHRKH Kirill Adibekov Consulenti legali DK ‘Zattere’ ’19 –’20 Marianna Andrigo Yaroslav Aleshin Maria Andreeva 23 Nov 2019 – Mariele Baraziol Kristina Anilane BCL Partners 29 Feb 2020 Valentin Belousov Katerina Chuchalina Artem Bondarevskiy Teodoro Bonci del Bene Anna Ildatova Address: Constantin Brâncuși Raimundas Malašauskas Visitor services / V–A–C Zattere David Burliuk Nikita Rasskazov Servizi di accoglienza Dorsoduro 1401, Venice Kees van Dongen Dmitry Renansky Hera Service S.r.l.s. Olga Dukhovnaya Olga Tsvetkova Vaporetto: Alexandra Exter Evgeny Ukhmylin Editors / Editori Zattere / S. Basilio Elektricheskaya Sobaka Andrei Vasilenko Grigory Cheredov Bernardino Femminielli Max Zaytsev Ben Hooson [email protected] Gennady Filatov Giulia Morucchio v-a-c.org Petr Galadzhev Coordinator Artem Timonov Natalia Goncharova Giulia Morucchio Evgeny Ukhmylin HMOT Wassily Kandinsky Photo projects / Translation / Traduzione Nikolai Khalzev Progetti fotografici Ben Hooson Dina Khusein Tolyatti by Michele Cera Marina Rullo Fernand Léger & Guido Sechi Aristarkh Lentulov Keul by Grigory Sergey Lobanov Sokokolinsky Valentina Lutсenko Alex Macarte Project managers Mai Mai Mai Polina Filimonova Dasha Mamba Alisa Kekelidze MCME Amedeo Modigliani Production / Produzione Maria Molokova Giulia Gregori Georgy Petrusov Antonio Moscagiuri Vladimir Rannev Alexander Rodchenko Graphic design Egon Schiele Lyosha Kritsouk Mikhail Shankov Vasya Kondrashov Nikolay Shein Ksenia Dubrovskaya Chaïm Soutine Vadim Sushko Graphic language Anton Svetlichny Experimental Jetset Sveva Tomasella Dmitry Vlasik Printed by / Stampato da Vokrug da Okolo Elcograf S.p.A. Verona 8ULENTINA Registrar Daria Krivtsova Building manager Daniele Visotto Communications / Comunicazione Helen Weaver Gosha Slugin Digital communication / Comunicazione digitale Anna Mikheyeva Anastasia Narushevich Vladislav Zaytsev DK ‘Zattere’ ’19 ’20 EN IT Sonoric * Deprivazione** Deprivation sonora Maria Molokova Maria Molokova Interactive sound installation, 2018 – 2019 Installazione sonora interattiva, 2018 – 2019 Commissioned by V–A–C Foundation Commissionata da V–A–C Foundation Room 12 Sala 12 Sonoric Deprivation is a regular series of acoustic ses­ Deprivazione sonora consiste in una serie di sessioni sions available to visitors on all days when DK ‘Zattere’ acustiche disponibili tutti i giorni durante il programma is active. Participants can get to know the acoustics of DK ‘Zattere’. I partecipanti hanno l’opportunità di cono­ their own body via a DIY device designed by the artist — scere l’acustica del proprio corpo usando un congegno a magnetic coil that transmits recorded sound through fai­da­te progettato dall’artista: una spirale magnetica the bone of the skull, making the person’s head into che trasmette attraverso la scatola cranica il suono regi­ a resonator. strato, trasformando la testa in una cassa di risonanza. Sound waves pass directly through the body, immersing Le onde sonore attraversano direttamente il corpo senza the user in a space of new, unique sensory associations. passare per gli organi dell’udito, immergendo l’ascol­ Users can choose their own mode of perception, either tatore in un ambiente di speciali associazioni sensoriali. by seeking to recognise clues in the sound recording re­ L’ascoltatore può scegliere la propria modalità di perce­ lating to the place and time of its creation, or by abandon­ zione, cercando di rintracciare nel suono indizi sul luogo ing interpretation altogether to investigate their own body e l’epoca della sua creazione, oppure abbandonando and its response to this original listening technique.
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