2. Bijenale industrijske umjetnosti “Na leđima palih divova“
2nd Industrial Art Biennial “On the Shoulders of Fallen Giants”20/7/2018 – 28/10/2018
Labin, Pula, Raša, Rijeka, Vodnjan
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Umjetnici: Zanny Begg & Elise McLeod, Nina Bunjevac, CANAN, Phil Collins, Matija & Mauricio Ferlin, Fokus grupa, Ulrik Heltoft, Vlatka Horvat, Siniša Ilić, Rajkamal Kahlon, Božena Končić Badurina, Luiza Margan, Maryanto, Naeem Mohaiemen, Oscar Murillo, Nikolay Oleynikov, Daniela Ortiz, Dan Perjovschi, Laure Prouvost, Miljohn Ruperto, Selma Selman, шkart, Marko Tadić & Miro Manojlović, Želimir Žilnik
Susreti i priče: Kastav – Spomenik partizanu (Vinko Matković); Labin – Rodna kuća Giuseppine Martinuzzi, Spomenik rudaru (Quintino Bassani & Berislav Iskra), Park skulptura Dubrova; Pula – Danteov trg, Divić dizalica u Uljaniku, Sirena na Komunalnoj palači, Spomenik mornaru (Pavle Perić), Mozaik ”Kažnjavanje Dirke”, Titov park; Raša – Trg Gustavo Pulitzer Finali; Rijeka – Crkva sv. Romualda i Svih Svetih, Zgrada Jadrolinije, Spomenik trinaestorice streljanih (Zvonimir Pliskovac), Socijalističke freske u Osnovnoj školi na Sušaku (Vilim Svečnjak); Vodnjan – Palača Benussi, Zbirka Sveta Tijela, Sjedište Inkvizicije za Istru, Partizanski grafiti…
Kustosice: Što, kako i za koga /WHW
Organizatori: Labin Art Express XXI u suradnji s MMSU Rijeka i Arheološkim muzejom Istre
U sklopu projekta Rijeka Europska prijestolnica kulture 2020
Otvorenja:
Četvrtak 19/7/2018
20:00 – Apoteka, Vodnjan
Petak, 20/7/2018
12:00 Pula
18:00 Raša
21:00 Labin
– izvedba Matija Ferlin
– performans Božena Končić Badurina
Subota, 21/7/2018
20:00 MMSU Rijeka
– performans Vlatka Horvat
Labinsko bijenale industrijske umjetnosti je 2014. pokrenuo L.A.E. XXI godine sa željom da revitaliziraju bivše rudnike na području Labina i okolice. Ovogodišnje izdanje upisuje se na pozadini dugih povijesnih trajanja i smjena različitih epoha koje su oblikovale društveni i kulturni pejzaž regije: od grčkog i rimskog carstva, venecijanske, austro-ugarske, francuske i talijanske vlasti, pa sve do povijesti socijalizma i još jedne recentne epohe dugog, gotovo beskrajnog trajanja – razdoblja tzv. tranzicije.
Naslov bijenala “Na leđima palih divova“ nadovezuje se na izvorno značenje sadržano u ovoj frazi, a koje upućuje na nužnu potrebu oslanjanja na ranija dostignuća kako bi se stekli novi uvidi i znanja, prožimajući se s osjećajem nestanka horizonta budućnosti u vremenu u kojem se nekadašnji koncept društvene transformacije pretvorio u nasilno održavanje postojećeg stanja. Mentalna slika koju evociraju divovi nastoji se ispreplesti s različitim asocijacijama, kako bi se pokrenulo stvaranje novih narativa na ruševinama onih postojećih. Interes za marginalizirano, zanemareno i potisnuto veže se na postojeće priče, nadopunjuje ih te im ponekad i proturječi. Androcentristički ton sadržan u naslovu u odnosu s dominantnim maskulinim identitetom toposa rudnika, industrije i rada, bijenale rastače nizom heterogenih subjektiviteta feminističkog predznaka, poput nasljeđa pjesnikinje Giuseppine Martinuzzi, koja se borila protiv nejednakosti i sudjelovala u pobuni rudara i uspostavi Labinske republike 1921. godine, prvog organiziranog otpora fašizmu.
Naslov “Na leđima palih divova“ referira se i na danas žive istarske legende i folklorne predaje. To je primjerice, poznata legenda o posljednjem motovunskom divu Velom Joži, simbolu istarskog otpora koju je literarno obradio Vladimir Nazor, u čijoj je priči sažeta i sudbina mnogih pobuna. Bijenale evocira i istarski fantastični imaginarij u kojem je identifikacija Istre kao magične zemlje (Terra Magica) usmjerena propitivanju normalizacijskih učinaka i društvene uvjetovanosti koncepata magičnog, prirode i povijesti, te se bavi i mistifikacijama Istre kao “mjesta tajni koje proizlaze iz njene unutrašnjosti” (Boris Perić i Tomislav Pletenac “Fantastična bića Istre i Kvarnera“), a koje odražavaju rastuću turističku eksploataciju ‘specifičnosti’ regije.
Pripovijedanje, povijest, poezija, turizam, magično mišljenje, pobuna, kolonijalne implikacije industrijske proizvodnje , marginalizirani identiteti, etnička čišćenja, ekstraktivizam, podzemlje, šećer, fosilna goriva, gljive, ruine, ostaci, zbirke – neki su od ključnih pojmova koji proizlaze iz lokalnog konteksta. U dosluhu s njima više od dvadeset domaćih i međunarodnih suvremenih umjetnika i umjetnica izlaže svoje radove, od kojih su mnogi nove produkcije vezane za lokalni kontekst. Bijenale ne predstavlja samo suvremene umjetnike i umjetnice već i neke od lokalnih spomenika i druge tragove prošlih vremena, koji ravnopravno sudjeluju u izložbenoj strukturi. Bijenale će polifonijom umjetničkih glasova pokušati lokalni kontekst predstaviti kao veći i širi od sebe samog, nastojeći razotkriti ‘ideološki’ višak koji (srećom) postoji u svakoj specifičnoj lokaciji i koji ga povezuje s drugim lokacijama i drugim borbama koje svuda po svijetu nastoje sačuvati mogućnost utopijskog promišljanja budućnosti.
Lokacije: KuC “Lamparna”, Narodni muzej Labin, Gradska knjižnica (Labin); napušteno kino (Raša); MMSU (Rijeka); Augustov hram, Galerija Amfiteatra Arene, SENSE – Centar za tranzicijsku pravdu (Pula); Apoteka – prostor za suvremenu umjetnost (Vodnjan)
Donatori: Ministarstvo kulture, ESF, Istarska županija, Grad Labin, Grad Vodnjan, Grad Pula, Općina Raša, Grad Rijeka, HEP d.d., OTP banka
ENGLISH:
Artists: Zanny Begg & Elise McLeod, Nina Bunjevac, CANAN, Phil Collins, Matija & Mauricio Ferlin, Fokus grupa, Ulrik Heltoft, Vlatka Horvat, Siniša Ilić, Rajkamal Kahlon, Božena Končić Badurina, Luiza Margan, Maryanto, Naeem Mohaiemen, Oscar Murillo, Nikolay Oleynikov, Daniela Ortiz, Dan Perjovschi, Laure Prouvost, Miljohn Ruperto, Selma Selman, шkart, Marko Tadić & Miro Manojlović, Želimir Žilnik
Encounters and stories: Kastav – Monument to the Partisan (Vinko Matković); Labin – Birth house of Giuseppina Martinuzzi, Monument to the Miner (Quintino Bassani & Berislav Iskra), Sculpture park Dubrova; Pula – Dante’s Square, Divić crane in Uljanik shipyard, Mermaid on the Communal Palace, Monument to the Sailor (Pavle Perić), Mosaic ”Punishment of Dirce”, Tito’s park; Raša – Square of Gustavo Pulitzer Finali; Rijeka – Church of St Romuald and All Saints, Jadrolinija building, Monument to the thirteen shot (Zvonimir Pliskovac), Sušak primary school socialist frescos (Vilim Svečnjak); Vodnjan – Benussi Palace, Corpi Santi Collection, Headquater of Istrian Inquisition, Partisan graffiti
Openings
Thursday, 19/7/2018
20:00 – Apoteka, Vodnjan
Friday, 20/7/2018
12:00 Pula
18:00 Raša
21:00 Labin
– performance Matija Ferlin
– performance Božena Končić Badurina
Saturday, 21/7/2018
20:00 MMSU Rijeka
– performance Vlatka Horvat
The 2nd Industrial Art Biennial takes the Istrian peninsula in Croatia as its starting point. It considers the region both as a context and symbol – the word peninsula literally meaning ‘almost island’ – marked by geographic and historic specificities and a place on the crossroads of empires, from the Greek, Roman, Venetian, Austro-Hungarian, French and Italian to socialism; a place both isolated and connected, similar to a ‘little continent.’ The combustion of the coal that formed in the bowels of Istria centuries ago sparked the expansion of capital, incited colonial and war campaigns, was used to process metal and sugar from further colonies, supported the industries of the fascist military and participated in building socialism – before being abandoned during the long, seemingly endless period of so-called transition.
The Industrial Art Biennial was built with the aim of revitalizing the former mines in and around the city of Labin. The title of this second edition “On the Shoulders of Fallen Giants” relates to the necessity of relying on earlier achievements to attain new insights and knowledge, while the mental image of fallen giants attempts to inspire the creation of new narratives on the ruins of existing ones. By using a variety of different subjectivities with a feminist streak, “On the Shoulders of Fallen Giants” dissolves the androcentric tone of the title and its associations with the dominant masculine identity of mining. It also recalls well-known Istrian legends, folk tales and the fantastical imaginary of Istria (Istria is known as Terra Magica), in order to question the social effects and conditions of the magical, nature, and history.
On the Shoulders of Fallen Giants is based on tales, urban legends and historical episodes. It recounts the short-lived and chaotic proto-fascist alliance of avant-garde art and politics under the leadership of the poet Gabriele D’Annunzio, who occupied Rijeka from 1919 to 1920 with a band of soldiers, artists and adventurers. Equally, it remembers the the region as the site of the first European antifascist rebellion in Labin in 1921, as well as being one of the earliest Cold War theatres in Europe and the scene of a traumatic post-war exodus – that of the Italian majority in Pula. It also marks Istria as a relative safe-haven for those who were ethnically and politically ‘undesirable’ during and after the former Yugoslav wars during the 1990s. The biennial traces all these long-lasting interconnections and pushes them into the present, when the traditional ‘tolerance’ of this region is increasingly giving way to populist political polarizations.
Over 25 contemporary artists’ works are exhibited, many of which have been produced for the exhibition. The exhibition also includes a number of existing historical and cultural locations such as antique landmarks; industrial, administrative and sacral buildings and their details; antifascist and other monuments; as well as parts of existing collections from the Archaeological Museum in Pula, the Museum of Modern and Contemporary Art in Rijeka and the People’s Museum in Labin. This extension of the exhibition does not have the ambition of discovering ‘the unseen,’ but rather seeks to appropriate the seen in order to move away from their official narratives, so that through a polyphony of artistic voices the ideological surplus that (luckily) exists in every local context is presented as larger than itself, and as connected with other locations and other struggles. “On the Shoulders of Fallen Giants “summons the ghosts of history and the future, in a summer daydream sporadically interrupted by emergency signals coming from all directions; signals to which it only seems that no-one is responding.
Venues: Cultural Center “Lamparna”, People’s Museum, City library (Labin); former cinema (Raša); The Museum of Modern and Contemporary Art (Rijeka); Augustus Temple, Amphitheatre Gallery, SENSE – The Center for Justice in Transition (Pula); Apoteka – Space for Contemporary Art (Vodnjan)
Organizer: Labin Art Express XXI, together with Museum of Modern and Contemporary Art Rijeka and Archaeological Museum of Istria, Pula / Part of the project Rijeka European Capital of Culture 2020.
Donors: Ministry of Culture, ESF, Istria County, City of Labin, City of Vodnjan, City of Pula, Raša Municipality, City of Rijeka, HEP d.d., OTP bank