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Pdf Download 1 SADRŽAJ / CONTENTS 4 Nekontrolirano: UrbanFestival 11, uvodnik 6 Out of Control: UrbanFestival 11, preface KATALOG / CATALOGUE 8 Urbani povrtnjak / Urban Vegetable Patch 10 Cefas / Cepheus, DB Indoš i Tanja Vrvilo 12 Procjep / Gap, Dušica Dražić 14 Gospodaru, želim te obogatiti / Master I Want to Make You Rich, Rafaela Dražić 18 The Big Picture, Ana Zubak 20 Hair Project, Clémence Agnez 22 Prijedlog nacrta za pučku školu s pravom javnosti uz glazbenu pratnju / Draft Proposal for a Public School with Musical Accompaniment, Nicole Hewitt 28 Kraj povijesti / The End of History, Jonas Staal 30 Ilica 1, Michelle Teran 34 Nekoliko stvari koje znam o neboderima... / A Few Things I Know About Skyscrapers..., Dubravka Sekulić 38 O zgradama i ljudima / On Buildings and People, Petar Milat 40 ‘Walk Like an Egyptian’. Više gradova, jedna borba? / ‘Walk Like an Egyptian’. Several Cities, One Struggle?, Srećko Horvat 42 Urbanizam – tko riskira, profitira / Who Dares Wins Urbanism, This Is Not a Gateway 44 Arhitektura u službi ideologije / Architecture in the Service of Ideology, Irfan Hošić 46 Sedam dana stvaranja / Seven Days of Creation, David Belas 48 S onu stranu gradilišta / Beyond the Construction Site, KUD Obrat 50 Refleksije o tekućem festivalu – festivalski okvir i njegova izmicanja / Reflecting on the Current Urban Festival – Festival Framework and Its Evasions, Bojan Mucko 2 ČITANKA / READER 53 Biti Tihomir Simčić - reprezentacija ili demokratizacija?, Bojan Mucko 63 Being Tihomir Simčić – Representation or Democratization?, Bojan Mucko 74 Procjep: Kordunska 15, V. kat, razgovor s Dušicom Dražić 79 The Gap: 15 Kordunska Street, 5th floor, an interview with Dušica Dražić 85 Progresivna propaganda, razgovor s Jonasom Staalom 91 Progressive Propaganda, an interview with Jonas Staal 97 Hod po drški noža: Između akcije i reprezentacije, razgovor s Tanjom Vrvilo i Damirom Bartolom Indošem 103 Walking on the Knife Handle: Between Action and Representation, interview with Tanja Vrvilo and Damir Bartol Indoš 109 Misliti svoje stanovanje, intervju s Dubravkom Sekulić 113 Reflecting Upon One’s Housing, an interview with Dubravka Sekulić 118 Povrćem protiv parkirališta, intervju s ekipom Urbanog povrtnjaka 124 Vegetables vs. Parking Lots, an interview with the Urban Vegetable Patch crew 131 Javni razgovor uz glazbenu pratnju, razgovor s Nicole Hewitt 134 A Public Conversation with Musical Accompaniment, an interview with Nicole Hewitt 138 Znanje-i-vještine i bez-metodnost (Know-how i No-how): privremene improvizirane bilješke o ‘metodi’ u vizualnim umjetnostima kao proizvodnji znanja, Sarat Maharaj* 153 PRILOZI U BOJI / COLOR PLATES 169 Biografije 175 Biographies 181 Impressum * Croatian translation only 3 UVODNIK NEKONTROLIRANO: URBANFESTIVAL 11 UREDNICE Kroz program UrbanFestivala 11 ove smo godine širili polje umjetničkih intervencija u ‘mnogostrukost društvenih prostora’,1 svjesni heterogenosti i kompleksnosti ‘javnog konteksta umjetnosti’.2 Inzistirali smo na nedosljed- nosti, ispadali iz uobičajenog ritma i remetili uspostavljene granice između umjetnosti i aktivizma. Inzistirali smo na dugotrajn(ij)oj prisutnosti u javnoj sferi, istaživali mogućnosti participativnih projekata, razvijali metodu terapije šoka, otvorili pitanje političkog potencijala slučajnih prolaznika, intervenirali u medije, pokrenuli eksperimentalni edukacijski projekt, otvorili pitanje o vizu- alnoj umjetnosti kao produkciji znanja, izvukli na površinu skrivenu memoriju grada, za javnost otvorili privatna dvorišta pa i stanove… Struktura kataloga koji je pred vama odražava sam festival: UrbanFestival 11 započeo je u proljeće, projektom Urbani povrtnjak koji je realiziran kroz dugo- trajni kontinuirani rad na urbanom vrtu, a završio autorefleksivno, serijom pre- davanja, prezentacija umjetničkih projekata i diskusija u četverodnevnom pro- gramu u Kinu Grič u listopadu. Ne sasvim završio – projekti Nacrt prijedloga za pučku školu s pravom javnosti uz glazbenu pratnju i Urbani povrtnjak nastavljaju svoje trajanje samostalno. I dalje se alternativno obrazujemo, a vrt je samo u zimskom mirovanju. Ovakva raspršena struktura odraz je želje da se granice festivalskog formata raste- gnu do (ne)mogućeg, da se istraživanje, proces, uvjeti proizvodnje, a onda i reflek- sija, zatim učinci, reakcije i značenjski slojevi vidljivi tek s vremenskim odmakom učine jednako vidljivima kao i sam produkt – izvedba ili objekt. Drugim riječima, u vremenu kulturne produkcije koja se prilagođava zakonima tržišta, inzistiramo na dugom trajanju, procesualnosti, istraživanju, preispitivanju, samokritici. 1 Chantal Mouffe, Umjetnički aktivizam i agonistički prostori, u Operacija:grad, Priručnik za život u neoliberalnoj stvarnosti, Leonardno Kovačević et al. ur., Zagreb, 2008, str. 221 2 Rosalyn Deutsche, Agorafobija, u Operacija:grad, Priručnik za život u neoli- beralnoj stvarnosti, Leonardno Kovačević et al. ur., Zagreb, 2008, str. 211 4 Stoga smo festival realizirali u formama koje takvo što omogućuju: pored radionica, predavanja i diskusija i sami umjetnički projekti su u svojem kon- ceptu često sadržavali eksplicitno stvaranje diskurzivnog prostora, kao što je primjerice direktno obraćanje i pokretanje razgovora s publikom u adaptaciji predstave Cefas za javni prostor ili medijski istupi radova Gospodaru, želim te obogatiti i Kraj povijesti. Pritom su dominirala dva pristupa, srodna ali ipak različita: participacija i suradnja. Dio projekata u svom konceptu i želji, a dio i u realizaciji, redefinira pojam publike i čini je onima koji preuzimaju kon- trolu nad projektom, radi kojih on mijenja format. Dio projekata pak odmah odustaje od klasičnog autorstva i zadaje nevolje u pokušajima klasifikacije. Autorski koncept ovdje se definira kao prijedlog, poziv na suradnju, ideja koja se sa suradnicima iskušava, mijenja i kolektivno realizira. Gubitak kontrole bio je povremena pojava tijekom šest mjeseci trajanja festi- vala, ponekad namjerna, ponekad slučajna. Kontrola je ponekad suprotno željama izostala, a ponekad je nastupila nenadano. Ona se odnosi na izvedbe radova, kao i na format festivala, a odraz je konteksta u kojem radimo, u kojem govorimo o javnom prostoru. Više nije ključno pitanje kako aktivi- rati građane da djeluju, već kako to djelovanje treba izgledati da bi polučilo rezultat. Kontekst je to u kojem smo smatrali potrebnim otvoriti prostor za ‘nekontrolirano’, za neprokušanu metodu, spajanje nespojivog, neizvjesni ishod, pa i pod cijenu neuspjeha. Parafrazirajući Damira Bartola Indoša, htjeli smo s hoda po drški noža napokon prijeći na hod po njegovoj oštrici. 5 PREFACE OUT OF CONTROL: URBANFESTIVAL 11 THE EDITORS With this year’s UrbanFestival 11 we sought to broaden the field of artistic interventions to cover the ‘multiplicity of social spaces’,1 since we are aware of the heterogeneity and complexity of the ‘public context of art.’2 We insi- sted on inconsistency, kept falling out of conventional rhythm, and distur- bed the established borderlines between art and activism. We insisted on a (more) long-term presence in the public sphere, explored the possibilities of participatory projects, developed the method of shock therapy, opened up the issue of the political potential of casual passers-by, intervened into the media, launched an experimental educational project, raised the questi- on of visual art as knowledge production, dragged the hidden memory of the city into daylight, opened up private courtyards and even apartments for public… The structure of this catalogue reflects the festival itself: UrbanFestival 11 began in spring, in a working atmosphere, with the project of long and continued cultivation of an Urban Vegetable Patch, and ended in October with self-reflection: a series of lectures, presentations of art projects, and debates in a four-day programme at Kino Grič. However, it didn’t end completely – projects such as the Draft Proposal for a Public School with Musical Accompaniment and Urban Vegetable Patch will continue to evolve on their own. We are still educated in an alternative way, and the garden is only having its winter rest. 1 Chantal Mouffe, Artistic activism and agonistic spaces, in Operacija:grad, Priručnik za život u neoliberalnoj stvarnosti, Leonardno Kovačević et al. ed., Zagreb, 2008, page 221, english version at http://www.artandresearch.org.uk/v1n2/pdfs/mouffe.pdf 2 Rosalyn Deutsche, Agoraphobia, in Operacija:grad, Priručnik za život u neoliberalnoj stvarnosti, Leonardno Kovačević et al. ed., Zagreb, 2008, page 211, english version at http://doublesession.net/indexhibitv070e/files/deutsche-agoraphobia.pdf 6 Such a dispersed structure reflects our wish to stretch the borders of the fe- stival format as much as (im)possible, and to make all the research, the pro- cesses, the conditions of production, and also the reflection, effects, reactions, and layers of meaning, as visible as the product itself – be it performance or object – only from a temporal distance. In other words, in the time of cul- tural production that has succumbed to the laws of the market, we insist on long duration, processuality, research, exploration, and self-criticism. Therefore we realized our festival in forms that make these goals possible: beside workshops, lectures, and debates, the art projects themselves often included the creation of discursive space in their concept, as for example in the theatre show adaptation for public space Cepheus where the public was directly talked to and engaged in a conversation or in media actions of the works Master I want to
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