Collective Domain of Cultural Memory

protagonisti izazovi prekidi

PREMA NOVOM NASLJEDU

MEĐUNARODNI SURADNIČKI PROJEKT:KOLEKTIVNA DOMENA KULTURNOG SJEĆANJA

INTERNATIONAL COLLABORATIVE PROJECT: COLLECTIVE DOMAIN OF CULTURAL MEMORY

TOWARDS A NEWHERITAGE

protagonists challenges

ruptures

PREMA NOVOM NASLJEDU

protagonisti izazoviprekidi

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Program CDCM, segment koji organizira Udruga Slobodne veze, uz simpozij u Splitu, obuhvatit će dodatna događanja kroz 2019. i 2020. godinu, poput umjetničkih rezidencija,diskusija, izložbi i stručno vođenih tura za javnost.

Collective Domain of Cultural Memory (CDCM) is an international project on the ethics of cultural heritage and the capacity of artistic practices to unfold new relations and understandings of history.

The CDCM programme, a segment organised by the Loose Associations along with the symposium in Split, will include additional events in 2019 and 2020, such as art residencies, exhibitions and expert-guided public tours.HR

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HR Zalazom modernizma kao međunarodnog pokreta i

proglašenjem niza post-pokreta od 1960ih i 1970ih godina, zamišljanje moderniteta kao aktualne sile koja ne spaja prošlo i današnje nego današnje i buduće, i samo je postalo historijskom činjenicom.

Dok je modernistički izraz u eri svoje poratne dominacije zbog estetskih ili čisto političkih razloga u starim gradovima promicao postupke distanciranja i diferenciranja (prema riječima Thomasa Willa), stvarajući u teatru pamćenja gradova nešto usporedivo s Brechtovim očuđenjem (Verfremdungseffekt), on se tada uglavnom suprotstavljao ideji spomenika, govoreći: „tu sam, trebam služiti reformiranom životu novoga društva preživjelih kao iskreni izraz svojega doba, pa i kao instrument katarze.”

Nastupanjem krize modernističkoga pokreta, njezin izravan neprijatelj – nostalgija, počeo ga je prevladavati; prvo je zauzeo njegovo mjesto tzv. post-modernizmom (učinivši ga poviješću), potom je postavio pitanje o njegovoj sudbini, odnosno njegovoj budućoj egzistenciji. To je bio prvi stupanj prepoznavanja vrijednosti i invencije dojučerašnjeg suparnika kao pokorene historijske činjenice, koja se tada mogla započeti tretirati kao kulturna baština. Time je otvorena mogućnost da se velike ambijentalne geste modernista započnu valorizirati. Proces je usporediv s prepoznavanjem industrijske baštine jer su i modernizam i industrija, od Thatcherine Britanije do Tuđmanove Hrvatske, preobrazbama u nacionalnoj ekonomiji i uspostavom post-komunističkih nacionalnih identiteta, gotovo preko noći postali drugo i anakrono.

(Marko Špikić na tribini KAKO ŠTITIMO ARHITEKTURU MODERNIZMA?,u organizaciji projekta MOTEL TROGIR i DPUH-a, 15. veljače 2017.)

U posljednjih sedam godina aktivnosti projekta Motel Trogir, ali i još dužeg razdoblja djelovanja drugih aktera, od kada se tema zaštite modernističkog arhitektonskog

i drugog kulturnog nasljeđa (druge polovice 20. stoljeća) nekako probila do šire javnosti, kako lokalno tako i u širim evropskim okvirima, učinjen je popriličan napredak. Prvenstveno, započelo je manje-više sustavno istraživanje i kritička valorizacija te baštine, pri čemu se u domaćem i regionalnom kontekstu neizostavno ušlo u polje znanstvene evaluacije, ali i „borbe za (interpretaciju) jugoslavenskog nasljeđa“. Tijekom tog razdoblja, pomalo se afirmirao pojam i praksa „baštinskog aktivizma“ koji se često vezuje upravo uz zaštitu modernistički izgrađenog okoliša, ali i politike (javnih) prostora koji su učestalo u (in)direktnoj vezi. Djelovanje istraživača i aktivista u Hrvatskoj upisuje se i u širu, globalnu, priču o potrebi zaštite modernističkog nasljeđa1 te se ove dvije razine neprestano prepliću, pritom ponekad stvarajući i trenja, zbog artikulacije različitih političkih stajališta u procesu historizacije tog nasljeđa. Ne treba izgubiti iz vida da recentni trend historizacije različitih dimenzija prostorno-fizičkog razvoja socijalističke Jugoslavije ima svoju ideološko-političku funkciju, a tu spadaju i politike i prakse konzervacije modernističke baštine. Ti užestručni koncepti i metodologije zaštite, kako ističe politički aktivist i teoretičar Milan Rakita, ne mogu se promatrati izvan općih obrazaca društvene valorizacije historijske prošlosti koji su dio još širih procesa kreiranja tzv. politike sjećanja, i koji o tim procesima ovise. Drugim riječima, ti koncepti i metodologije zaštite dio su odnosa cjelokupnog društvenog sistema prema vlastitoj historijskoj prošlosti.

Bez obzira na rasprave koje se u tom polju vode, mnogi istraživači, arhitekti i aktivisti mišljenja su da je očuvanje najboljih primjera modernističkog naslijeđa urgentno te da se s tim ciljem trebaju koristiti sve raspoložive metode. Jedna od njih, za kojom sve učestalije posežu aktivističke grupe, jest formalna zaštita tj. stjecanje statusa kulturnog

1. U navedenom razdoblju bilježimo i proliferaciju inicijativa za zaštitu „brutalističkog naslijeđa“ kako na Zapadu tako i na post- socijalistič-kom i post-sovjetskom Istoku, putem društvenih mreža, umjetničkih, aktivističkih, izdavačkih projekata, pri čemu se ovo naslijeđe nerijetko i dekontekstualizira, fetišizira, te postaje dio pop kulture P

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R dobra za istaknute objekte, kako bi se dobio kakav-takav garant institucionalne skrbi koja često izostaje kod (prezervacije) upravo ove „novije kulturne baštine“.

Četverodnevni simpozij / javni sastanak koji će se odvijati u Splitu i okolici od 17. do 20. listopada 2019. godine organizira Udruga za suvremene umjetničke prakse Slobodne veze iz Zagreba u okviru suradničkog projekta Kolektivna domena kulturnog sjećanja (CDCM). Skup je organiziran s namjerom kritičke refleksije, osvrta na posljednju dekadu bavljenja ovom temom - zaštitom modernizma druge polovice 20. stoljeća. Namjera nam je sagledati procese, protagoniste, metode i izazove u polju historizacije moderniteta i zaštite modernističke baštine.

S obzirom na dosadašnje djelovanje i prakse projekta Motel Trogir, simpozij će biti artikuliran oko sljedećih tema:

- Projekt Motel Trogir 2013. - 2019., kako štitimo arhitekturu modernizma?, kritička refleksija

- Mediteranska mreža modernizma: fokus na zemlje sjeverne Afrike, primjer Maroka

- Odnos između historizacije moderniteta, aktivističkih praksi zaštite modernističke arhitekture i suvremenih umjetničkih praksi, trenja i preplitanja

Sudjeluju: Doplgenger (Isidora Ilić, Boško Prostran), Ruben Arevshatyan, Ekaterina Shapiro Obermair, Imad Dahmani, Lahbib El Moumni, Meslil El Mehdi, Višnja Kukoč, Sanja Matijević Barčot, Lidija Butković Mićin, Jovanka Popova, Anastasija Pandilovska, Saša Šimpraga, Jasminka Babić, Neli Ružić, Duška Boban, Lana Stojičević, Mariana Bucat, Platforma 9,81, Udruga Kačić, Božo Benić, Morana Rozić, Aleksandar Bede, Sabina Damiani, Jelena Borota, Marjoca de Greef i drugi.

Koncept: Nataša Bodrožić za Motel Trogir/ CDCM

With the decline of modernism as an international movement and the proclamation of a series of post-movements from the 1960s and 1970s, the notion of modernity as an actual (living) force that does not merge the past and the present, but the present and the future, has itself become a historical fact.

While modernist expression promoted, for aesthetic or purely political reasons, distancing and differentiation processes in the old cities in the era of its post-war domination (according to Thomas Will), thereby creating something comparable to Brecht’s alienation effect (Verfremdungseffekt) in the theatre of city memory, it was largely opposed to the idea of the monument, by saying: “here I am, to serve the reformed life of a new society of survivors as a sincere expression of my time, and also as an instrument of catharsis.”

With the onset of the crisis of the modernist movement, its outright enemy—nostalgia—began to prevail; first it replaced it by so called “post-modernism” (making the modernist movement a history), then by questioning its fate, that is, its future existence. It was the first stage in recognizing the values and inventions of yesterday’s rival as a subjugated historical fact, which could from then on be treated as cultural heritage. This opened up the possibility for the valorisation of the great ambient gestures of the modernists. The process was comparable to the recognition of industrial heritage, considering that, from Thatcher’s Britain to Tuđman’s Croatia, transformations of the national economy and the establishment of post-communist national identities led both modernism and industry to become “the other” and anachronistic almost overnight.

(Marko Špikić at the public discussion HOW DO WE PROTECT MODERNIST ARCHITECTURE?, organised by the MOTEL TROGIR project and the Croatian Society of Art Historians, 15 February 2017)

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Significant progress has been made in the last seven years of activity of the Motel Trogir project and in the course of the even longer efforts of other protagonists – in fact, since the topic of the protection of modernist architectural and other cultural heritage (from the second half of the 20th century) somehow reached the local and wider European general public. In the first place, this period has seen the beginnings of a more or less systematic exploration and critical validation of the heritage. In the local and regional context, these inevitably drifted towards scientific evalua-tion, as well as towards a “battle for (the interpretation of) Yugoslav heritage“. The period also saw the gradual affirmation of the concept and practice of “heritage activism”, connected with the protection of the modernist built environment and the reclaiming of public spaces by the citizens. The two phenomena were often (in)directly linked. The activity of researchers and activists in Croatia has also become part of a bigger, global picture of the necessity of protecting modernist heritage.1 The two levels are constantly intertwining, sometimes causing friction due to the different political positions articulated in the process of historicizing this heritage. It should be noted that the recent trend of historicizing the different dimensions of the spatial and physical development of socialist Yugoslavia has its ideological and political function, which also involves the policies and practices of the conservation of modernist heritage. As political activist and theorist Milan Rakita pointed out, the profession-specific conservational concepts and methodologies cannot be understood without reference to the general patterns of the social validation of the historic past. These, in turn, are part of even more extensive processes of shaping what is known as the politics of memory and depend on them.

1. The mentioned period also bore witness to the proliferation of initiatives for the protection of “Brutalist heritage“, both in the West and in the post-socialist and post-Soviet East, through social networks and artistic, activist and publishing projects, where this heritage was frequently decontextualised, fetishized and incorporated into pop culture.

In other words, these conservational concepts and methodologies are part of the entire social system’s relationship to its own historical past.

Regardless of the ongoing debates in the field, many researchers, architects and activists believe that the protection of the finest works of modernist heritage is an urgent matter which calls for the deployment of all available methods. One of them, which the activists often fall back on, is the formal protection of landmarks. It involves efforts to endow them with the official status of cultural heritage, which acts as a kind of guarantee of institutional care, so often lacking in the (preservation) of such environments.

The four day symposium / public gathering which will take place in Split and the surrounding area from 17 to 20 October 2019 is organised by the Loose Associations, platform for contemporary artistic practices, as part of the Collective Domain of Cultural Memory (CDCM) collaborative project. The symposium is organised with the intent of fostering the critical reflection and examination of the last decade of dealing with the topic of protection of modernist architecture from the second half of the 20th century. We intend to consider the processes, protagonists, methods and challenges in this field (of the historicization of modernity and preservation of modernist heritage).

In light of the up-to-date activities and practice of the Motel Trogir project, the symposium will cover the following topics:

- The Motel Trogir project 2013-2019 – how do we protect the architecture of modernism?, critical reflection

- The Mediterranean modernist network, focus on Northern Africa, the example of Morocco

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- The relationship of the historicization of modernity and the activist practices of protecting modernist architecture to contemporary artistic practices, frictions and crossovers

Participants: Doplgenger (Isidora Ilić, Boško Prostran), Ruben Arevshatyan, Ekaterina Shapiro Obermair, Imad Dahmani, Lahbib El Moumni, Meslil El Mehdi, Višnja Kukoč, Sanja Matijević Barčot, Lidija Butković Mićin, Jovanka Popova, Anastasija Pandilovska, Saša Šimpraga, Jasminka Babić, Neli Ružić, Duška Boban, Lana Stojičević, Mariana Bucat, Platforma 9,81, Udruga Kačić, Božo Benić, Morana Rozić, Aleksandar Bede, Sabina Damiani,Jelena Borota, Marjoca de Greef and many more.

Concept by Nataša Bodrožić for MOTEL TROGIR/CDCM

TOWARDS A NEW HERITAGE: PROTAGONISTS, CHALLENGES, RUPTURES

PREMA NOVOM NASLJEĐU: PROTAGONISTI, IZAZOVI, PREKIDI

Symposium by the Motel Trogir project / simpozij u okviru projekta Motel TrogirDom mladih / Beton kino, Split, Ulica slobode 2817.- 20.10. 2019.

THURSDAY/ ČETVRTAK17.10.

16:00 SPLIT 2- GUIDED TOUR WITH SANJA MATIJEVIĆ BARČOT

19:30 OPENING OF THE SYPOSIUM AT BETON KINO / DOM MLADIH, SPLIT

The tour starts at the Peristil Square

Opening: Beton kino / Dom mladih

The tour starts at the plateau of Dom mladih, Ulica slobode 28

The tour starts across Škola za dizajn, grafiku i održivu gradnju Split, Ulica Matice hrvatske 11

Panel 1 atBeton kino/ Dom mladih

12:00 - Dom mladih Tour with Platform 9,81

16:00 SPLIT 3 TOUR with Višnja Kukoč

19:00 Panel 1 - The Motel Trogir project 2013-2019 – how do we protect the architecture of modernism?

FRIDAY / PETAK18.10.

SATURDAY/ SUBOTA19.10.

17:00 Panel 2 - The Mediterranean Modernism Network, focus on Northern Africa, the example of Morocco

19:00 SNIMAK PEJZAŽA BEZ PRAPOVIJESTI/ A RECORD OF LANDSCAPE WITHOUT PREHISTORY (9 min)Video by Doplgenger(Isidora Ilić/ Boško Prostran) Co-produced by Loose Associations in the framework of the Motel Trogir AiR programTest screening

19:30 Panel 3 The relationship of the historicization of modernity and the activist practices of protecting modernist architecture to contemporary artisticpractices, frictions and crossovers

10:00 (TBD) Excursion to Trogir, guided tour to Motel Sljeme/ Trogir

SUNDAY/ NEDJELJA20.10.

Panel 2 at Beton kino/ Dom mladih

Screening at Beton kino / Dom mladih

Panel 3 at Beton kino / Dom mladih

Trogir

* Please check our Facebook page - MOTEL TROGIR and our Event page for eventual changes in the time-table.https://www.facebook.com/Motel-Trogir-599623473432948/?ref=bookmarksand https://www.facebook.com/events/407832933199408/www.slobodneveze.wordpress.com // slobodne.veze@gmail.com

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1 / Split 2 with architect Sanja Matijević Barčot

Start: Peristil / Diocletian Palace, Thursday October 17th at 4pm

2/ Dom mladih / House of Youth with Platform 9.81

Start: Dom mladih plateau, Ulica slobode 28, Friday, October 18th at noon

3 / Split 3 with architect Višnja Kukoč

Start: The tour starts across the School of Design, Graphics and Sustainable Construction (Škola za dizajn, grafiku i održivu gradnju Split), Ulica Matice hrvatske 11 at 4pm

4 / Trogir & Motel Sljeme (Soline) with the Motel Trogir team Leaving from Split on Sunday morning, exact hour TBD

Filmska projekcija. Četvrtak, 17. listopada u 20h

Betonski spavači - Nedovršene modernizacije: Split, između plana i kaosa (S2/EP3)

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Redatelj: Saša BanScenaristi: Nevenka Sablić, Saša Ban, Maroje MrduljašProducentice: Miljenka Čogelja, Dana BudisavljevićSnimatelj: Hrvoje FranjićMontažer: Nina VelnićProdukcija: Hulahop za HRT, 2018

Dokumentarna serija Betonski spavači gradi priču oko moderne arhitekture u Hrvatskoj i regiji bivše Jugoslavije, području jedinstvenom po brojnim napuštenim i ruševnim zgradama iz 20. stoljeća, iznimne arhitektonske vrijednosti.

Video projekcija, subota,19. listopada u 19h

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Video: Doplgenger (Isidora Ilić/ Boško Prostran)Ko-produkcija: Slobodne veze, u okviru umjetničke rezidencije Motel TrogirProbna projekcija

Tri različita predmeta predstavljaju tri različita materijala: zamrznuti kadar (vojno) dječjeg lječilišta na jadranskoj obali, amaterski filmski snimci jedne porodice, filmski zapis o oslobađanju otoka Visa u NOB-u. U pozadini ovih odbačenih dokumenata i jeftinih materijala zaokruženih motivom mora iskrsavaju komplicirani odnosi rata i filma, osobnog i kolektivnog sjećanja, privatnog i društvenog vlasništva. Sačinjen u spajanju raznorodnog arhivskog materijala, film kombinira found-footage i naknadno snimljeni materijal na super 8mm traci, oslanjajući se na različite montažne postupke kako bi istakao materijalnost i jezik filmskog medija kao nosioca značenjskih struktura.

SNIMAK PEJZAŽA BEZ PRAPOVIJESTI (9 min)

Screening. Thursday, October 17, 20.00h

Slumbering Concrete -Unfinished Modernizations: Split, Where Plan Meets Chaos (S2/EP3)

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Director: Saša BanScreenwriters: Nevenka Sablić, Saša Ban, Maroje MrduljašProducers: Miljenka Čogelja, Dana Budisavljević,DoP: Hrvoje FranjićEditor: Nina VelnićProduction: Hulahop for HRT, 2018.

The documentary series Slumbering Concrete builds a story around the architecture from the period of socialist modernism in former Yugoslavia, an area unique for many dilapidated buildings of outstanding architectural value from the 20th century.

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Video screening , Saturday, October 19th, 19.00h

A RECORD OF LANDSCAPEWITHOUT PREHISTORY (9 min)

Three different items represent three different materials: a frozen shot of a (military owned) children’s health resort on the Adriatic coast, amateur film footage of one family, a movie record of the liberation of the island of Vis in the NOB. Against the backdrop of these discarded documents and cheap materials encircled by the motif of the sea, the complicated relationships of war and film, personal and collective memory, private and social property, emerge. Made in the amalgamation of heterogeneous archival material, the film combines found-footage and subsequently recorded material on a super 8mm strip, relying on various editing procedures to highlight the materiality and language of the film medium as a carrier of meaning structures.

Video by Doplgenger (Isidora Ilić/ Boško Prostran)Co- produced by Loose Associations in the framework of the Motel Trogir AiR program, 2017.- 2019.Test screening

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VLADO DANAILOV

TILMANN MAYER - FAJE

‘Dwelling without a house’, excerpt from comic-book. Sketch, 2014, Vlado Danailov

Plattenbau manufactory, installation view final presentation, Residency EKWC 2011, Tilmann Mayer - Faje

In the framework of an international collaborative project COLLECTIVE DOMAIN OF CULTURAL MEMORY, the Motel Trogir Artist in Residence Program is hosting Vlado Danailov, who will stay in Split, Trogir and its environments from October 3rd-17th.

Vlado Danailov (1990, Macedonia) is an architect and researcher. Vlado interests in theater, art and literature. After obtaining his Master degree from the Faculty of Architecture, Ss. Cyril and Methodius University in Skopje in September 2013, Vlado was enrolled as a researcher at Strelka Institute for Media, Architecture and Design in Moscow (2013/2014). As a part of the Dwelling studio he worked on develop-ing an alternative strategy ‘Dwelling without a house’: a model that offered an integrated approach to hous-ing and planning policies ꟷ an extreme and radical measure inspired by the current rules and regulatons in Russia, while also being a critique of the existing situation.

Vlado worked as an associate teaching assistant at the Chair of Public Buildings at his Alma mater. He is co-founder of the experimental studio for ar-chitecture and culture ‘Studio 90’, editor-in-chief of the monthly publication ‘Arhi.tek’, and moderator and organizer of ‘Extra-ordinary Sessions’, Architecture and Culture Talks at the Faculty of Archi-tecture in Skopje. Danailov is interested in exploring the political, social and cultural contexts in which architecture exists. In 2018 he was invited author in team project ‘Freeingspace’ – Macedonian Pavillion at the Venice Architecture Biennale.

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- FAJE

In the framework of an international collaborative project COLLECTIVE DOMAIN OF CULTURAL MEMORY, the Motel Trogir Artist in Residence Program is hosting Tilmann Meyer- Faje, who will be staying in Split and Trogir from October 11th-15th. This residence is conceived in two parts, the first being a study visit and the second focused on art production of a new, site-specific work.

Tilmann Meyer-Faje born 1971 in Germany, works and lives in Amsterdam.There he studied at Gerrit Rietveld Academie and Sandberg Institute. He focuses on the failure of utopian urban dreams. Beside his interventions to Dutch city plans from the 60’s and 70’s he is working with the industrialized urbanisation of the Soviet Union.

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Vlado Danailov & Tilmann Meyer- Faje exploring the site with members of the Motel Trogir team

Doplgenger je umjetnički dvojac iz Beograda, a čine ga Isidora Ilić i Boško Prostran. Doplgenger djeluje kao filmski / video umjetnik, istraživač, pisac i kustos. Rad Doplgengera bavi se odnosom umjetnosti i politike kroz istraživanje režima pokretnih slika i načina njihove recepcije. Oni dekonstruiraju filmski medij, jezik, strukturu i pojmove teksta kako bi otkrili načine na koje umjetnost / pokretne slike sudjeluju u stvaranju političke stvarnosti.

Ruben Arevshatyan je umjetnik, umjetnički kritičar i neovisni kustos sa sjedištem u Erevanu. Predsjednik je AICA-Armenije i predaje u Institutu za suvremenu umjetnost, Erevan. Od 1997. do 2004. Arevshatyan je bio umjetnički voditelj kulturnog centra Hay Art u Erevanu. Autor je brojnih kritičkih tekstova u domaćim i međunarodnim časopisima i publikacijama, te član uredništva e-časopisa Crvena nit. Arevshatyan je bio kustos i suradnik lokalnih i međunarodnih projekata, uključujući Great Atrophy, Parallel reality, Three Tendencies, Local Modernities, Manuals: Subjects of New Universality (armenski nacionalni paviljon na 54. umjetničkom bijenalu u Veneciji), Soviet Modernism, Trespassing Modernities, Sweet Sixties, Parallel Modernity and the Capital of Desires (armenski nacionalni paviljon na 14. arhitektonskom bijenalu u Veneciji).

Ekaterina Shapiro-Obermair (1980, Moskva) vizualna je umjetnica i doktorski kandidat na Institutu za teoriju umjetnosti i kulturološke studije na Akademiji likovnih umjetnosti u Beču. Od prosinca 2018. dobitnica je DOC stipendije Austrijske akademije znanosti (ÖAW). Većina njezinih projekata bavi se različitim aspektima sovjetske i postsovjetske umjetnosti i kulture. Zajedno s Katharinom Ritter i Aleksandrom Wachter bila je kustosica izložbe „Sovjetski modernizam 1955–1991. Nepoznate priče” u Architekturzentrum Wien (Beč, 2012–2013). Projekt je prvi put sveobuhvatno istraživao arhitekturu ne-ruskih sovjetskih republika realiziranu od kraja 1950-ih do kraja SSSR-a 1991. Trenutno istražuje performativnost i kulturu sjećanja s posebnim naglaskom na zapadnu Ukrajinu.

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Doplgenger is an artist duo Isidora Ilić and Boško Prostran from Belgrade. Doplgenger engages as a film/video artist, researcher, writer and curator. The work of Doplgenger deals with relation between art and politics through exploring the regimes of moving images and modes of its reception. They deconstruct the film medium, language, structure and notions of text in order to discover the ways in which art/moving images participate in creating political reality.

Ruben Arevshatyan is an artist, art critic and independent curator based in Yerevan. He is the president of AICA-Armenia and teaches at the contemporary Art Institute, Yerevan. From 1997- 2004 Arevshatyan was the artistic director of the Hay Art cultural center in Yerevan. He is the author of numerous critical texts in local and international magazines and publications, and a member of the editorial board of the red thread e-journal. Arevshatyan has been the curator and associate of local and international projects including Great Atrophy, Parallel reality, Three Tendencies, Local Modernities, Manuals: Subjects of New Universality (Armenian national Pavilion at the 54th Art Biennale in Venice), Soviet Modernism, Trespassing Modernities, Sweet Sixties, Parallel Modernity and the Capital of Desires (Armenian national Pavilion at the 14th Architectural Biennale in Venice).

Ekaterina Shapiro-Obermair (1980, Moscow) is a visual artist and PhD student at the Institute for Art Theory and Cultural Studies at the Academy of Fine Arts Vienna. From December 2018 she is a recipient of a DOC Fellowship of the Austrian Academy of Sciences (ÖAW). The majority of her projects deal with different aspects of Soviet and post-Soviet art and culture. Together with Katharina Ritter and Alexandra Wachter, she was a curator of the exhibition “Soviet Modernism 1955–1991. Unknown Stories” at the Architekturzentrum Wien (Vienna, 2012–2013). The project was exploring, for the first time comprehensively, the architecture of the non-Russian Soviet republics completed between the late 1950s and the end of the USSR in 1991. Currently, she is focused on performativity and memory culture with a particular emphasis on Western Ukraine.

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Dr. sc. Sanja Matijević Barčot je arhitektica i docentica na Fakultetu građevinarstva, arhitekture i geodezije Sveučilišta u Splitu, Hrvatska.

Lidija Butković Mićin je povjesničarka umjetnosti, asistentica na Odjelu za povijest umjetnosti Sveučilišta u Zadru, Hrvatska i stručna suradnica projekta Motel Trogir. Objavljuje znanstvene i stručne priloge o povijesti hrvatske arhitekture modernizma, javnih spomenika i vizualnih umjetnosti. Autorica je izložbe i prateće monografije Ada Felice-Rošić i Nada Šilović – ženski trag u arhitekturi Rijeke (Muzej grada Rijeke, 2014.).

Dr. sc. Aleksandar Bede je arhitekt iz Novog Sada, Srbija. Istraživač je na Fakultetu tehničkih nauka Univerziteta u Novom Sadu. Autor je knjige U paru za društvo: Arhitektura Sibina Đorđevića i Milene Stanković Đorđević (Akademie Schloss Solitude, 2015.), kao i drugih istraživačkih i izložbenih projekata na temu povijesti jugoslovenskog modernizma. U rukovodstvu je Društva arhitekata Novog Sada i Udruženja arhitekata Srbije.

Saša Šimpraga je analitičar prostora i aktivist iz Zagreba, Hrvatska. Autor je knjige Zagreb, javni prostor. Suosnivač je projekta Motel Trogir.

Jovanka Popova, rođena 1980. u Skoplju, Makedonija, kustosica je i koordinatorica programa umjetničkog prostora Press to exit i suradnica kustosa u Muzeju suvremene umjetnosti Skoplje. Završila je B.A. i M.A. na Filozofskom fakultetu Instituta za povijest umjetnosti u Skoplju, gdje je bila asistentica na kolegiju Makedonska suvremena umjetnost. Kurirala je izložbe iz područja suvremene umjetnosti u Makedoniji i radila na brojnim međunarodnim kustoskim projektima. Izvršna je direktorica Udruženja nezavisne kulturne scene JADRO, Makedonija, i predsjednica je makedonske sekcije Međunarodnog udruženja kritičara umjetnosti AICA.

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Sanja Matijević Barčot, PhD, is an architect and assistant professor at the Faculty of Civil Engineering, Architecture and Geodesy of the University of Split, Croatia.

Lidija Butković Mićin is an art historian working as a research assistant at the Department of Art History, University of Zadar, Croatia and is a member of the Motel Trogir project team. She publishes articles on the history of Croatian modernist architecture, public monuments, and visual arts. She authored the exhibition and the accompanyingbook “Ada Felice-Rošić and Nada Šilović: a Woman’s Touch in the Architectural History of Rijeka” (City Museum of Rijeka, 2014).

Aleksandar Bede, PhD, is an architect from Novi Sad, Serbia. He works as a researcher at the Faculty of Techni-cal Sciences, University of Novi Sad. He is the author of the book “As a Couple, For Society: The Architecture of Sibin Djordjević and Milena Stanković Djordjević” (Akademie Schloss Solitude, 2015), as well as of a number of research and exhibition projects focused on the history of Yugoslav modernism. He is on a member of the management boards of the Association of Novi Sad Architects and the Union of Architects of Serbia.

Saša Šimpraga is a spatial analyst and activist from Za-greb, Croatia. He is the author of the book “Zagreb, Public Space”. He is the co-founder of the Motel Trogir project.

Jovanka Popova, born in 1980 in Skopje, Macedonia, is a curator and program coordinator at press to exit project space and curator collaborator at the Museum of Contemporary Art Skopje. She completed her B.A. and M.A. at the Faculty of Philosophy Institute for History of Art in Skopje, where she was an Assistant for the subject Macedonian Contemporary Art. She has curated exhibitions in the contemporary art field in Macedonia and worked on international curatorial projects. She is executive director of JADRO Association of the independent cultural scene, Macedonia, and she is a president of the Macedonian Section of the AICA International Association of Art Critics.

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Jasminka Babić viša je kustosica u Galeriji umetnina u Splitu. S Brankom Franceschijem, 2017. godine, kurirala je izložbu „Arhitektura u suvremenoj umjetnosti“ koja je predstavila niz suvremenih hrvatskih i međunarodnih umjetnika koji na različite načine problematiziraju arhitekturu u okviru vizualnih umjetnosti.

Duška Boban, diplomirala je 2000. godine na Akademiji likovnih umjetnosti u Zagrebu. Na odsjeku vizualnih komunikacija pri Akademiji za likovnu umjetnosti i oblikovanje u Ljubljani 2013. godine obranila je magistarski rad pod naslovom “Javni prostor i građanska participacija: Aktivizam i kulturne prakse u Splitu posljednjeg desetljeća”. Početkom 2011. pokrenula je neformalnu “Inicijativu za Marjan”, koja je organizirala niz događanja umjetničko-aktivističkog predznaka s ciljem povećanja svijesti o važnosti očuvanja Park šume Marjan kao prirodnog i kulturnog dobra od nacionalnog značaja. Od 2013. članica je Upravnog odbora Društva Marjan, utemeljitelja zaštiteokoliša u široj regiji. U “Školi za dizajn, grafiku i održivu gradnju” u Splitu predaje stručne predmete fotografija, video i medijski projekti. Aktivna je na polju vizualnih umjetnosti, a njene se fotografije nalaze u stalnom postavu Galerije umjetnina u Splitu.

Neli Ružić, (1966.,Split). Magistrica umjetnosti, diplomirala je slikarstvo na Fakultetu Primjenjenih Umjetnosti u Beogradu, te postdiplomski studij na Fakultetu umjetnosti, UAEM, Meksiko. Do 1991.godine živi u Splitu i sudjeluje aktivno na hrvatskoj umjetničkoj sceni. Krajem devedesetih godina odlazi u Meksiko, te se vraća u Hrvatsku 2012. godine. Od 1990. imala je niz samostalnih izložbi i sudjeluje na brojnim izložbama, projektima i festivalima u Hrvatskoj i inozemstvu. U umjetničkom radu istražuje preklapanja osobnog i kolektivnog sjećanja i zaborava u odnosu na migracijske i tranzicijske identitete.

Mariana Bucat je arhitektica i aktivistica iz Splita i Lastova, Hrvatska.

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Jasminka Babić works as a senior curator at The Museum of Fine Arts in Split. With Branko Franceschi, in 2017 she co-curated the exhibition „Architecture in Contemporary art“, presenting a number of contemporary Croatian and interna-tional artists who in various ways problematize architecture within the visual arts.

Duška Boban, visual artist and activist from Split. She graduated from the Academy of Fine Arts, University of Zagreb in 2000. In 2013, she completed the postgraduate study in visual communications, Academy of Fine Arts and Design in Ljubljana, Slovenia, where she conducted a research on urban identity. In 2011, she initiated a non-formal organization “For Marjan”, which organized many actions in public space using cultural practices in order to raise awareness about local cultural and natural heritage particularly of the 20th century. She works as a teacher of Photography, Video and Media Projects in School for Design, Graphics and Sustainable Building in Split. Her photographs have been part of the art collection of the Museum of Fine arts in Split.

Neli Ružić, visual artist from Split. She graduated from the Faculty of Applied Arts in Belgrade, and a postgraduate degree from the Faculty of Arts, UAEM, Mexico. Until 1991 she lives in Split and takes an active part in the Croatian art scene. In the late 1990s she left for Mexico and returned to Croatia in 2012. Since 1990, she has held a number of solo exhibitions and has participated in numerous exhibitions, projects and festivals in Croatia and abroad. In her work, she explores the overlaps of personal and collective memory and oblivion in relation to migration and transitional identities.

Mariana Bucat is an architect and activist from Split and the island of Lastovo, Croatia.

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Lana Stojićević, vizualna umjetnica iz Splita/Šibenika. Diplomirala je 2012. godine na Akademiji umjetnosti u Splitu, smjer slikarstva, u klasi profesora Deana Jokanovića Toumina. 2015. dobila je Nagradu za mladog umjetnika koju dodjeljuje HDLU. Osvojila je drugo mjesto na izložbenom natječaju Different Worlds - Young Contemporary Photography. Osvojila je i Grand Prix na natječaju Erste fragmenti 2015. godine, te prvo mjesto na natječaju Muzeja rovinjske baštine 2011. Dobitnica je Dekanove i Rektorove nagrade 2012. Nominirana je i za nagradu Radoslav Putar 2015. godine.Arhitektonski kolektiv Platforma 9,81 svoju djelatnost temelji na pravednom i održivom raspolaganju prostornim resursima i sudjelovanju svih građana u prostornom razvoju. Platforma 9,81 zalaže se za prostornu pravdu te informirano, educirano i aktivno građanstvo uključeno u prostorni razvoj zajednice. Područje djelovanja usmjereno je razvoju modela održivog prostornog razvoja, posebice razvoja novih modela javnih i kulturnih prostora kroz stvaranje inovativnih organizacijskih osnova za djelovanje u kulturi. Utjecaj djelovanja udruge uglavnom se odnosi na promjene u društvu na područjima kulture i socijalno održivom prostornom razvoju uz participaciju građana. Platforma 9,81 je: Antun Sevšek, Damir Gamulin Gamba, Dinko Peračić, Maroje Mrduljaš, Miranda Veljačić, Jelena Botteri, Juraj Glasinović, Oleg Šuran.

Božo Benić - Arhitekt, predsjednik Društva arhitekata Dubrovnik.

Morana Rozić - Arhitektica iz Dubrovnika, angažirana na zaštiti Hotela Pelegrin u Kuparima.

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Lana Stojićević, visual artist from Split. She graduated in 2012 with a painting degree from the at Art Academy in Split, Croatia, from the class of professor Dean Jokanović Toumin. She received an award for young artist by the Croatian Association of Artists (2015). She won second place at the exhibition contest Different Worlds – Young Contemporary Photography. She won the Grand Prix from Erste fragments contest in 2015, first place by the Rovinj Heritage Museum in 2011 and Dean’s Award and Rector’s Award in 2012. She was nominated for Radoslav Putar Award in 2015.

Architectural Collective Platform 9,81 bases its activity on the fair and sustainable use of spatial resources and the participation of all citizens in spatial development. Platform 9.81 advocates for spatial justice and informed, educated and active citizenship involved in community spatial development. The field of activity is focused on the development of sustainable spatial development models, in particular the development of new models of public and cultural spaces through the creation of innovative organizational foundations for cultural activity. The impact of the association’s activities is mainly related to changes in society in the fields of culture and socially sustainable spatial development with the participation of citizens. Platform 9.81 are: Antun Sevšek, Damir Gamulin Gamba, Dinko Peračić, Maroje Mrduljaš, Miranda Veljačić, Jelena Botteri, Juraj Glasinović, Oleg Šuran.

Božo Benić - Architect, president of the Society of Architects Dubrovnik.

Morana Rozić - Architect from Dubrovnik, dealing with the possibility of preservation of the Hotel Pelegrin in Kupari (Dubrovnik).

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Nataša Bodrožić je kustosica i kulturna radnica iz Zagreba i Trogira, Hrvatska. Inicijatorica je i suosnivačica projekta Motel Trogir, kao i Udruge za suvremene umjetničke prakse Slobodne veze. Redovito u suradnji, uredila je nekoliko knjiga iz područja suvremene umjetnosti, kulturne politike, baštinskog aktivizma: Politics of Feelings/ Economies of Love (2014.), Motel Trogir: Nije uvijek budućnost ono što dolazi (2016.), Modelling Public Space(s) in Culture: Rethinking Institutional Practices in Culture and Historical (Dis)continuities (2018.), Pejzaži potrošačke kulture u socijalističkoj Jugoslaviji (2018.) itd.

Mamma. Memoire des Architectes modernes Marocains / Sjećanje na moderne marokanske arhitekte je baštinska organizacija osnovana 2016. u Casablanci u Maroku, čiji je glavni cilj istaknuti, (re)valorizirati i sačuvati arhitekturu i urbanizam Maroka nakon neovisnosti prateći pionirsku generaciju modernih arhitekata. Osnovali su je arhitekti Imad Dahmani i Lahbib El Moumni, profesori u Arhitektonskoj školi u Casablanci zajedno s Meslil El Mehdijem.

Sabina Damiani, rođena u Kopru, 1985. Diplomirala Vizualnu umjetnost i pedagogiju umjetnosti na Likovnoj akademiji u Veneciji te završila specijalistički studij Fotografije na odsjeku za Nove medije Likovne akademije Brera u Milanu. Osim što djeluje kao samostalna umjetnica, bavi se i kustoskim i istraživačkim radom te kroz sve te izričaje propituje odnose kolektivne i osobne memorije te memorije prostora. Kroz umjetničko promišljanje istražuje pitanje nasljeđa i identiteta u današnjem fluidnom društvu. Osim suradnje sa nezavisnim i javnim institucijama u kulturi, bavi se i produkcijom u kulturi, dizajnom kao i koordinacijom umjetničkih aktivnosti i programa nekoliko festivala u Italiji i Hrvatskoj.

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Nataša Bodrožić is a curator and cultural worker from Zagreb and Trogir, Croatia. She is the initiator and co-founder of the Motel Trogir project, as well as of Loose Associations, a contemporary art platform. A strong believer in collaborative creation, she (co)curated numerous exhibitions in Croatia and abroad, and co-edited several books in the field of contemporary art, cultural policy and heritage activism, such as “Politics of Feelings / Economies of Love” (2014), “Motel Trogir: It Is Not Future that Always Comes After” (2016), “Modelling Public Space(s) in Culture: Rethinking Institutional Practices in Culture and Historical (Dis) Continuities” (2018), “Consumer Culture Landscapes in Socialist Yugoslavia” (2018) etc.MAMMA. Memoire des Architectes modernes Marocains / Memory of Modern Moroccan Architects is a heritage organization established in Casablanca, Morocco in 2016, whose main objective is to highlight, (re)valorize and preserve the architecture and urbanism of Morocco after independence through a pioneering generation of modern architects. It was founded by architects and enthousiasts Imad Dahmani and Lahbib El Moumni, professors at the Architecture School of Casablanca with Meslil El Mehdi.

Sabina Damiani, born in Kopar, 1985. Gained her BA in Visual arts and education from the Venice Fine Arts Academy and her MA in Photography at the New Media department of the Brera Fine Art Academy in Milan. She is an independent artist and curator. Through her work, she researches the correlations between personal and collective memory and the memory of places. She uses artistic research to raise questions about heritage and identity in today’s fluid society. Along with collaborations with independent and public cultural organizations, she is also a cultural producer, designer, and coordinator of the artistic programming of several festivals in Italy and Croatia.

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Marjoca de Greef koncipirala je niz izložbi za projektni prostor Suns and Stars u Amsterdamu; riječ je o „istraživačkim projektima, izložbama u zgradama povijesne, kulturne ili industrijske vrijednosti. Ishodište ovih izložbi je uvijek lokacija, praktična i materijalna, povijesna i diskurzivna. Njenu kustosku praksu karakterizira visoki stupanj otvorenosti i razmjene znanja. Od vitalnog je značaja uključiti druge u ovaj razvojni proces, stoga surađuje s umjetnicima, kulturnim radnicima, pojedincima ili organizacijama koje djeluju izvan područja vizualne umjetnosti.

Anastasija Pandilovska je vizualna umjetnica i istraživačica s adresom u Amsterdamu, čija praksa je povezana s povezana s LAPS-om, znanstvenim institutom za umjetnost i javni prostor. Njezina praksa uključuje tekst, crtež, skulpturu i instalaciju. Često se njezina umjetnička praksa spaja s praksom pisca, odgajatelja i kustosa. Njezin je rad izlagan u mnogim istaknutim nizozemskim umjetničkim prostorima, uključujući puntWG, Perdu, Arti et Amicitiae, Stedelijk Amsterdam (SMBA), Oude Kerk, zatim u Skoplju, gdje je rođena, te u inozemstvu, uključujući Helsinki, Bruxelles, Ljubljanu, Zurich, Beč, Sofiju.

Višnja Kukoč je diplomirala i doktorirala na Fakultetu za arhitekturu Sveučilišta u Ljubljani. Usavršavala se u privatnom birou u Barceloni, na Arhitektonskoj školi Danske likovne akademije u Kopenhagenu i na Odjelu građevinarstva, zgradarstva i zaštite okoliša – ICEA Sveučilišta u Padovi. Kao arhitektica i istraživačica radila je u Ljubljani i Splitu. Objavila je članke u znanstvenim i stručnim časopisima, knjigama i dnevnim novinama, držala predavanja i učestvovala na izložbama kod kuće i u inozemstvu.

Marjoca de Greef has developed a number of exhibitions for project space Suns and Stars; investigative exhibitions in buildings with historical, cultural or industrial value. The point of departure for these exhibitions is always the location, both practical and material as well as historical and discursive. Her curatorial practice is characterized by a high degree of openness and knowledge exchange. It is vital to engage others in this process of development, therefore she works in close relationship with artists, art-professionals, and individuals or organisations that operate beyond the field of visual arts.

Anastasija Pandilovska is an Amsterdam based is a visual artist and a researcher that is associated with the LAPS, scientific institute for art and public space. Her practice employes text, drawing, sculpture, and installation. Often, her artistic practice merges with the practice of writer, educator, and curator. Her work has been exhibited in many major Dutch art spaces, including puntWG, Perdu, Arti et Amicitiae, Stedelijk Museum Bureau Amsterdam (SMBA), Oude Kerk, in her home town Skopje and internationally, including Helsinki, Brussels, Ljubljana, Zurich, Vienna, Sofia.

Višnja Kukoč received her diploma and doctorate from the Faculty of Architecture, University of Ljubljana. She studied at the Barcelona private bureau, at the Danish Academy of Fine Arts, School of Architecture, in Copenhagen and at the Department of Civil Engineering, Construction and Environmental Protection - ICEA, University of Padua. She worked as architect and researcher in Ljubljana and Split. She published articles in scientific and professional journals, books and dailies, lectured and participated in exhibitions at home and abroad.

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Rođena u Ljubljani ( Slovenija) Borota je studirala arhitekturu agrada na Università IUAV u Veneciji ( Italia), a urbanističko planiranje na Institutu za geografiju i urbanističko planiranje na Sveučilištu Paris IV-La Sorbonne ( Francuska). Područje znaimanja i istraživanja uključuje procese urbane transformacije u postsocijalističkim tranzicijskim zemljama s posebnim naglaskom na javne prostore. Borota radi kao arhitekt i urbanista, razvijajući i upravljajući projektima u raznim područjima, uključujući arhitekturu, urbani dizajn i urbano planiranje.

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Jelena Borota architect and urban plannerBorn in Ljubljana (Slovenia), Borota has studied Architecture of the city at the University of IUAV, Venice (Italy) and Urban Planning at the Institute for Geography and Urban Planning at the University Paris IV – La Sorbonne (France). Her interests and research themes include urban transformation processes in post socialist transition countries with a special focus on public spaces. Borota has been working as an architect and urban planner developing and managing projects in various fields including architecture, urban design and urban and regional planning.

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G Loose Associations contemporary art practices is a self- regulated artists’, curators’ and cultural workers’ initiative. We are looking for “modes of destabilization of the system of apparent reality through mechanisms of discursive analysis (and visual representation) in order to create gaps, territories of “the possibilities undiscovered” which are to be found outside of the given choices imposed by the dominant politics of culture”. In 2013 we started the project & citizens campaign for preservation and critical re-evaluation of the late modernist architectural heritage. The project is known internationally as MOTEL TROGIR. Within this frame, we organize cultural events, exhibitions, artist in residence programs, study visits, guided tours, but the most important segment is the research of the period 1945-1990 in Croatia and publishing related to it. website: slobodneveze.wordpress.com

Press to Exit Project Space deals exclusively with a presentation, production, and education in the field of contemporary art and curatorial practices by initiating and supporting theoretical research and projects that arise from the complex socio-political, economic and cultural context. Dedicated to undertaking a critical examination and evaluation of the questions raised by contemporary artists, curators, architects, and theorists in relation to the contemporary socio-political framework in which their practices emerge. It is part of a number of international networks and forums that have been crucial in helping to develop the practice internationally and with more social consequence. It aims toward creating and establishing partner relations and mutual cooperation between Macedonian, western Balkan and international artists, curators and cultural workers, in order to continue the critical dialogue and cultural exchange knowledge.website: presstoexit.org.mk

Suns and Stars accommodates large scale exhibitions and interdisciplinary projects at places of cultural and historical value. These location inspired projects raise awareness of both our cultural heritage and contemporary art. We move fluidly around the drasticallyshifting art world, looking for new and open spaces. It is vital to engage others in this process of development, so we reach out to individuals and organisations that operate beyond the field of the visual arts. For every new project we invite new partakers to explore and co-create. The concepts are being developed from the designated space, in collaboration with all the partakers, as a set of explicit and implicit relationships with the location and between the reciprocal presentations.website: sunsandstars.nl

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Koncept:Nataša Bodrožić za Motel Trogir / CDCMOrganizacija: Slobodne veze/ Motel Trogir tim (Lidija Butković Mićin, Saša Šimpraga)

Simpozij u okviru projekta MOTEL TROGIR / udruge SLOBODNE VEZE

Simpozij je dio projekta Kolektivna domena kulturnog sjećanja, međunarodnog suradničkog projekta financiranog u okviru programa Europske unije Kreativna Europa za Europsku godinu kulturne baštine 2018.

Concept: Nataša Bodrožić for Motel Trogir / CDCMOrganizacija: Slobodne veze/ Motel Trogir team (Lidija Butković Mićin, Saša Šimpraga)

Symposium as part of the MOTEL TROGIR project / organized by LOOSE ASSOCIATIONS

The symposium is part of Collective Domain of Cultural Memory, an international collaborative project funded under the European Union programme Creative Europe for the European Year of Cultural Heritage 2018.

Overall design of the project: Anastasija Pandilovska

TOWARDS A NEWHERITAGE

SPLIT 2019

protagonists challenges

ruptures