4.5. (sub) Uzorak – radionica dizajna
– voditelji Josip Drdić i Barbara Raad
Superorganizam je simbiotski sistem zajedničkog življenja, u kojem sva bića koja ga sačinjavaju djeluju u suradnji s drugima oko sebe prema boljitku zajedničkog postojanja. Imaginarijem Superorganizma razmatramo probleme otuđenosti kao i tehnike pozitivnog transformiranja kolektivnih procesa, koristeći superorganizam kao metaforu ravnotežu između individualnog i kolektivnog, muškog i ženskog, duhovnog i materijalnog, prirode i kulture, alat koji koristimo da bismo ohrabrili i osnažili osjećaj pripadnosti. Prva će radionica polaznicima predstaviti pojam superorganizma kroz dizajn plakata, dizajnom uzoraka i gradnjom 3D modela.
11.5. (sub) – Superorganizam vode – radionica zvuka
– voditelji Andrej Beštak i Anja Leko
Voda je spoj molekula koji se nalazi u gotovo svim živim organizmima te funkcionira poput savršenog superorganizma koji je konstantno u pokretu, ona mijenja agregatna stanja, isparava, putuje u oblacima, pada kao kiša i topi se iz ledenjaka putujući morima. U prostoru dvorišta prije mnogo godina nalazilo se Panonsko more, a neki geolozi vjeruju da je prije 650 milijuna godina u doba neoproterozoika gotovo cijela Zemlja bila prekrivena ledenjacima. Zvukovima koji će se proizvoditi na radionici pokušat će se dočarati životni tijek vode, transformacija iz agregatnih stanja dok putuje cijelim planetom.
18.5. (sub) – Petrijeva zdjelica – radionica crteža
– voditelji Domagoj Hmura i Marija Kamber
Promatrajući golim okom svijet koji nas okružuje, možemo uočiti objekte, organske i žive te anorganske i naizgled statične. Oboje su cjeloviti u načinima na koje ih vidimo i promatramo ih kao cjelovite jedinke, jedan kamen, jedno stablo, jedan čovjek. Usprkos takvoj percepciji, pogledamo li ih, blještećim pomagalima, bliže, na površini tvari ili u tkivima i strukturama, možemo uočiti carstvo elemenata koji organizam čine jedinstvenim, kristalne strukture prekrivene stanicama mahovine ili stanice živog bića i bakterije koje s njime žive u simbiozi. Radionica će u dvorištu kroz medij crteža koji započinje kao individualan i onda se uklapa u zajedničku cjelinu propitivati forme i oblike svijeta uobičajeno nevidljivog golim okom, carstvo .
25.5. (sub) – radionica If This Was My Courtyard (Da je ovo moje dvorište)
– sudjelovanje u postavljanju izložbe / instalacije uz podršku portugalske umjetnice Pauline Almeide
Ilica 37 – u galeriji / garaži i dvorištu: www.popupkamba.com
Petrinjska 38 – Udruga Sinergija: www.udrugasinergija.com
Svi programi su besplatni.
The superorganism is a strategy for collecting collective knowledge and making decisions on the community’s wellbeing, we are dealing with the problems of alienation and the techniques of positive transformation of collective processes. The program has already started with a series of workshops for artists in the field of psychology, in April it continues with workshops for children (design, sound, drawing), residencies for artists from Austria, United Kingdom, and Portugal and in May with the presentation in the form of exhibitions, performances, installations and the discourse.
1. Strengthening the capacity of artists to work with the community
Educational programme for artists is a series of 5 workshops created with the objective of creating a common pedagogical framework with the idea to combine art pedagogy and psychology into the unique interdisciplinary practice that nurtures the participative educational method and social dialogue.
Participating artists: Andrej Beštak, Josip Drdić, Domagoj Hmura, Marija Kamber, Anja Leko, Barbara Raad.
Third workshop with the artists in March
2. Workshops for children
During the program of workshops for elementary school children, we want to encourage awareness and articulation of the problems children and young people encounter in their daily lives and introduce them to creative tools that can help them get stronger, more mature and healthier. By linking art pedagogy and psychotherapy into interdisciplinary practice, we want to respond to the need that comes to the forefront of the existing education and health system. The programs will be run by artists who participate in the program of capacity building for working in the community.
3. Art Residences within the Magic Carpets project: Gemma Riggs and Matthias Krinzinger
During April and May 2019, two artists from partner organizations, Gemma Riggs (UK) and Matthias Krinzinger (AT), will come to Zagreb for the residency programme where they’ll be collaborating with local artists, experts, and community in project implementation. During the research and collaboration, curators and artists will look at the context of local history, personal stories, and memory of the space and inhabitants of Ilica 37.
Event in Kamba and courtyard of Ilica 37
In collaboration with partner countries and representatives of partner organizations, we will hold a series of lectures and presentations on community art, art in public space, and the culture and policies of public spaces.
Partners: Diane Dever & Georgie Scott (Folkestone Fringe), Charly Walter & Danijela Oberhofer Tonković (Openspace Innsbruck), Paulina Almeida (AgitLab), Garage Kamba.
5. Presentation – The Superweek (21st – 25th May)
During the week in May, the artists, workshop leaders and children will present their work, processes, and explorations in a series of events and happenings, in collaboration with:
– Paulina Almeida in performance/workshop If this was my courtyard
– Gemma Riggs – video installation and happening
– Matthias Krinzinger – series of performances/happenings
– Local artists + children – exhibition/installation
The programme is realized as a part of Magic Carpets project, co-financed by the Creative Europe Programme (www.magiccarpets.eu). The programme is also supported by Ministry of Culture of Republic of Croatia, City of Zagreb and Austrian Cultural Forum.
Visual: Domagoj Hmura, Superorganism
Report by: Marija Kamber
Cover photo: Domagoj Hmura
Coddled in our dens, resisting hibernation during cold winter days, we observed the city maps, mythical tribes and walking feet of last year’s Magic Carpets programme. Lessons we learned from Paulina and Maj last year connected to experiences that came from Kamba, and the manner in which such unassuming space can achieve the transformation of surrounding space.
The courtyard of Ilica 37, where Kamba is located, is like many others in the center of Zagreb and on the axis of the street of Ilica. The facade facing outwards, to the street, is neoclassical in style, the inner yard modular and irregular, filled with few shops, garages, and the multitude of abandoned spaces. Crafts surviving, still living in the manner they did 20 or 30 years ago, are slowly dying out, related to the effects of globalization that eradicated small business owners replacing them with fast food versions of items they manufactured, leaving behind them empty shops – properties owned by the state. The return of the crafts is not an irregular occurrence in the urban fiber of the cities today but usually connected with the rise of hip(ster) neighborhoods. But these few surviving craftsmen are still holding on to the old ways of functioning, too old to adjust and be relevant, too un-hip to be considered vintage. The residents of such buildings sharing inner courtyards in Zagreb face the alienation amongst themselves caused by unclear lines in property laws (combining shared ownership and tenant laws), occurring after the war ended. The courtyards built (and in the past used) for socialization now remain as parking and a source of under-the-belt conflict (You’re in my parking spot / Who shared the ramp key to the outsider again, etc.).
Gemma Riggs, Internal Facade, 2013
And still, life preserves in places like that, old memories exist and new ones are being created, their appearance more interesting than ever, in the world that prides itself on being posh and shiny. That is the reason why the decision to make the community of courtyard of Ilica 37 the topic for our Magic Carpets residency came naturally, in order to see what and how can we contribute in transforming such spaces, while respecting the past still hidden there. In this context, we selected two artists, somewhat different in their expression and approach: Gemma Riggs, suggested to us by our this year’s partner Folkestone Fringe, and Matthias Krinzinger, coming from Openspace Innsbruck. While selecting our artists, we were focused on choosing someone who had experience in collaboration with different artistic disciplines and media and Gemma caught our eye straight away with her easy, gentle way of conveying different stories through her films. Matthias, on the other hand, we chose because one of the aspects we feel strongly about was choosing the artist who uses humor in their work, an ingredient Matthias has in abundance threaded through his performances, sculptures, and burning cars.
Matthias Krinzinger, Self-portrait on 1960ies stamp
Parallel to organizing Gemma’s and Matthias’s study visit at the end of February, we were in the last stages of defining Glitch, a skill expanding project intended for artists and public alike. In the framework of this endeavor, we applied for one of the aforementioned abandoned spaces in Ilica 37, former opticians’ den and even sooner than that, typewriter dispatcher locale. As our bureaucratical systems often tangle and untangle in very unpredictable ways, the fate of said space is still undefined but something good is definitely cooking. Stay tuned and listen for glitches in the fabric of what you hear, it may just be us.
Report by Karmen Krasić Kožul
I always feel unpleasant on airports, kind of presumed to be guilty, until you prove it otherwise, but the thought of landing to London airport made me feel even more anxious. Last time I was there, border control officials were questioning me in much detail to be sure I’m not planning to immigrate to the UK. So I landed with this feeling of being unwelcome and even though border control was easy this time, I dragged it around while I was trying to find a way to continue my journey to Folkestone. I was suspicious about kind personnel trying to help me, double checking every information they gave me. When I finally got to train to Folkestone, the question arose – what does it make you feel like a stranger – the way you are perceived, or the way you perceive others?
We were hosted in Folkestone by our partners Folkestone Fringe, who were in the middle of the Profound Sound Festival which they produce. The programming of the festival is a perfect blend of different disciplines and formats while their placement in the early hours and walking distance locations creates an atmosphere of safety while tapping into the unknown. I was surprised to see a crowd dancing wild at 9 pm to electronic act by Brassica, quite unusual timing for this kind of act. I realized soon that the audience is generally over 30, which explained it a bit. And while PS Festival is trying to attract the younger audience by giving free tickets to under 25, I wouldn’t want to change this. Back home, I get frustrated with the lack of such opportunities for the audience over 30, as one can mostly choose between being a couch potato and going out to dance after 1 am, which is a quite challenging option when you need to balance your parental, social and professional roles. Speaking of which… Cloudy Mushrooms by Ultimate Dancer and Fritz Welch reminded me of my kids’ home theatre productions and how their expression is too often forced into the frames of standards, while this performance suggests to deconstruct the frame and open it for childlike playfulness.
London Contemporary Voices have created a magical transformative experience of poetic work with people experiencing dementia. At the entrance, we were offered little paper with verses written on it, from Living Words’ book „The things between us“. We could give it to singers and they would sing it, but I’ve decided to keep it as memorabilia. Dinner was an opportunity to get to know creative community of Folkestone and to meet Susanna Howard, founder of Living Words. We talked about the show and I was happy to receive a book from her as a present. Later, when I started to read it, I wanted to check what poem do my verses from the paper belong to, I was hungry for the meaning that could come out of this. But I couldn’t remember where have I put the paper.
One of the reasons for having emerging curators’ meeting at Folkestone was to learn how Folkestone Triennial approaches the subject of art in public space. I had a chance to explore triennial works from two perspectives – first by night when I got lost with Monika and Raluca on our way from the PS festival to the hotel, where encounters with objects happened directly and unexpectedly and second one, next morning – a guided walk by our colleague Georgie Scott, who has explained us contextual layer of each work. Both perspectives were valuable, but I was most interested to find out more about the works which I could feel strongly on the first encounter, while the second one showed they are strongly rooted in current and historical local problematic and have in common an interest to mediate around sensitive issues, to contribute to the resolution of conflict which is present but perhaps not articulated as such.
I didn’t consider myself to be a curator until Virginija Vitkienie pronounced me as such at 10. Kaunas Biennial. The workshop about the methodology of curatorship practices by Lewis Biggs and Diane Dever made me more confident about this role and the tasks being given to me in the framework of the Magic Carpets project. They shared inspiring and straightforward insights about the process of getting to know the community and the energy of the places by exploring histories and social practices, by collaborating with artists to turn this knowledge into a metaphor for something bigger, something that can make communities active and engaged and above all, by having in mind that there’s no need for permission from the art world to understand the art.
Photo credits: Raluca Dorofei, Kotryna Žemaitytė and Karmen Krasić Kožul
Meeting emerging artists in Zagreb
30.01. – 31.01. 2018
Report by Marija Kamber
This Town NeedsPosters
The studio of This Town Needs Posters crew, Sven Sorić and Hrvoje Spudić, is located in the very center of the city, in Đorđićeva Street, surrounded by everyday footsteps of thousands of passers-by, bicycle traces on concrete and clouds emerging from speeding cars. With bikes in our hands, we descended through the entryway, down to the vaulted basement filled to the brink with the objects of various character and size, a small window on the opposite wall looking at the pavement and footsteps on the street. Sven lit the small light on the shelf, next to the drawing of a bug that resembled a human heart. It spilled the warmth throughout the space, throwing shadows and creating light accents on glass jars and metal plates. Hrvoje entered the room, almost taller than the door height, and joined Sven on his side of the table, they the performers, us the audience.
While unsettling the sleeping dust by extracting the posters, fanzines, and catalogs from the background shelf, they explained how the idea of TTNP came to be a platform for experiments in analog print and design. Started by two rouge architects, their self-educated practice started with producing hand printed posters for the independent and underground cultural scene. It was prompted by the impoverished state of communication via posters, caused by the rise of digital media. Lacking any formal printing and designer education, they accept technical flaws as an integral part of their aesthetic. New knowledge of both conventional and hands-on improvised printing techniques, as well as a will to archive, publish and reproduce such work, is a solid basis for experimenting with creating a sort of anti-archive in the urban public space for material which would otherwise be seen by a far narrower audience.
The emphasis of their work is on constant experimentation and the understanding of the facts behind known printing techniques in order to hack them or to use a certain technique in the right context. One of their concepts revolves around co-creation and community by producing fanzines, with their fellow artists, among others, Ana Kovačić, Hrvoslava Brkušić, and Tin Dožić, who we were about to meet the next day.
Hrvoslava Brkušić, Ida Blažićko, Tin Dožić, and Katerina Duda
It’s morning on a Wednesday, not too early, not too late, the light filling the open space, spanning the walls of polygonal office that is considerably different than the one we visited the day before. The music broadcasted on the radio is playing subtly through the hidden speakers, as we gathered around a smooth white table on which a wall of filing folders is formed on the side, on its center a bright blue plastic tray containing empty sugar wraps and straight spoons. Small plastic cups filled with coffee, a mandatory meeting medium, are located in front of all six of us sitting on three sides of a table, some of us meeting for the first time moments before.
Katerina and Tin are sitting on our right, their background a high-resolution NASA’s photograph of Venus. Ida has a hardcovered brick red notebook, its spine old looking as if it has passed a great number of hands and years, next to her Hrvoslava sitting relaxed, looking at home. Everybody is already introduced to the concept and the fundamental ideas of Magic Carpets and each of the present artists whirl some ideas concerning it around, spanning from exploring the traditional fabric production in Portugal or the Sufi dervishes in Georgia, and in that frame we altogether construct the overview of artistic practices for each artist, overlapping it with multiple suggestions and thoughts for interventions in Zagreb. As the conversation continues and the chairs are abandoned ideas gather, along with possibilities that could be realized in the months to come.
Vitar‘s studio has a deceiving position on the map, one would think its location easily reached with smooth pedaling and no sweat broken, in reality considerably elevated from the level of the city, in Voćarska Street. But once in front of a quiet house, withdrawn into the yard behind a big tree, the wide view of the city lit by street lights can be seen, looking much further away than it actually is. Vitar welcomed us on his doorstep with his fuzzy looking dog happily jumping. The area inside is filled to the brink with large objects overlapping, stacked over, under and next to each other, from which the narrow staircase leads to a wide studio with a nice, empty center and whole or fragmented pieces of artworks gathered with no visible organization on its fringes.
In a far left corner, there is a high bed that looks slightly improvised, on its foot a table surrounded by a wooden construction which is, as we later found out, a part of a previously exhibited installation. With coffee waiting for us on the table, we sat in a semi-circle, our conversation instantly drifting into Vitar’s work. He explained the mechanism of his work technique, the fascination that the human psyche holds on him and the different manners on which he implements this frame of thought into his installations, as well as thoughts for the frame of ideas of Magic Carpets. One reflecting helmet demonstration later, our coffee mugs empty, we descended down the stairs and to the meeting at Folkstone.
Photo credits: Marija Kamber
20.11. – 26.11. 2017
Report by Danijela Oberhofer Tonković
First Magic Carpets Partner Meeting was happening between 20th and 26th of November 2017. We spent six beautiful days in Kaunas, at the very end of the spectacular Kauno Bienale, which has offered us an enormous basis of inspirational content on the theme that our joint project MC deals with as well. Typical November weather, filled with fog and cold, could not harm us because of the shield of warm hospitality, emotion that we have received in abundance!
Thirteen partners gathered and started to get to know each other. Soon, it was clear to everyone that we were so pleased and surprised by such great atmosphere and vibration among all the partners who accepted each other in their differences. First loves are born. But do not think we’re just hanging around! A thick schedule of meetings, discussions, presentations, and workshops followed, wisely interwoven with cultural – artistic content and space for introducing local culinary specialties.
Kaunas Biennial (Kaunas, Lithuania), Centre of Contemporary Art (Tbilisi, Georgia), EVA International (Limerick, Ireland), Folkestone Fringe (Folkestone, Great Britain), Fundaţia Culturală META (Bucharest, Romania), Ideias Emergentes (Porto, Portugal), KUNSTrePUBLIK (Berlin, Germany), Latitudo S.r.l. (Rome, Italy), Novo Kulturno Naselje (Novi Sad, Serbia), Prague Biennale (Prague, Czech Republic) and Latvijas Jaunā teātra institūts (Riga, Latvia) we are very happy to work on this huge and important project with you!
Thank you Virginija, Neringa, Monica, Kotryna and the rest of the crew!
We definitely learned what the possibilities of a monument are!