Poziv je otvoren različitim interpretacijama teme, neovisno o umjetničkom mediju, a naglasak je na mogućnosti dvomjesečnog boravka u Vaasi i radu na procesima oporavka, regeneracije, rekonfiguracije i pronalaska vrijednosti u frakturama ne inzistirjući pritom na savršenstvu, naglašavaju organizatori_ce.

Umjetnička organizacija Platform omogućit će rezidentu_ici dvomjesečni boravak u centru Vaase, pokrivene troškove smještaja, putovanja, umjetnički honorar te budžet za produkciju (1000 eura). Smještaj se nalazi u centru grada i nije dijeljen, a radni studio za umjetnika_cu je oslobođen i može se koristiti svakog dana.

Po završetku rezidencije potrebno je održati javni program u obliku diskusije, performansa, radionice ili prezentacije o tijeku boravka i uvodnu riječ o dosadašnjem radu. Radni jezici programa su engleski, švedski ili finski.

U prijavi je potrebno priložiti neformalni plan projekta, motivacijsko pismo, opise i fotografije prethodnih pet projekata te životopis. Prijave se šalju u objedinjenom PDF dokumentu putem maila na platform.rf@gmail.com s naslovom Residency Application 2026.

Puni tekst natječaja pronađite ovdje.

Rok za prijavu je 30. lipnja.

Šetnji se pridružila ilustratorica Ivona Cvitković, čiju reportažu donosimo u nastavku, dok audio reportažu s ekspedicije možete poslušati ovdje.

Ekspedicija je započela na prvom katu, u Maloj dvorani, nastavila se uz improvizirani sustav odvodnje na stepeništu zgrade, a završila u podrumu #1, nekadašnjem prostoru kluba Attack. On je u našoj priči mjesto otkrića istraživačkog zapisa iz prošlosti, zapisa koji se nenadano prekida u trenutku kada se pojavljuje misteriozna, neprirodna mokra površina…

Na trodnevnom okupljanju Exposium, u studenom je u Zagrebu predstavljen niz procesa koji su se razvijali unutar našeg međunarodnog projekta Testing Ground. Projekt je posvećen razvoju “reparativnih” praksi, odnosno pristupa koji kroz otvorenost za iznenađujuće i neočekivane ishode – potaknuti radošću i užitkom prije nego strahom ili strepnjom – traže načine za suočavanje s različitim sustavnim problemima koji opterećuju odnose u kulturi i društvu te odnose prema okolišu i budućnosti.

Dio programa Exposiuma – umjetnički ciklus Rizomatske geste, niz razgovora u kojima su sudjelovale_i istraživačice i autorice koje su bile dio projekta, te eksperimentalnu močvarnu šetnju varšavskog kolektiva Zakole – pratila je naša suradnica, ilustratorica Ena Jurov. Ilustracije kojima prenosi atmosferu događanja možete pogledati u nastavku.

Reportaža je dio Kulturpunktove serije ilustriranih refleksija na programe nezavisne kulturne scene.

Prior to the premiere, we seized the opportunity and talked to with Fette about unexpected biographical trajectories, incorporating spontaneous everyday interactions into artistic practice, and her recent move from Berlin to Zagreb.

When I first googled your name it said “Fette Sans a musical artist”. However, most of your work is in photography, text, performance and video. Can you tell us a bit about how you see yourself as an artist? Has your preference for a certain medium changed during the years and how do you see them intertwining?

It sounds amazing! I’m very interested in the mess of narratives and biographies.

The first medium where I felt comfortable doing something was photography. I learned it from my dad, who gave me his camera and I really enjoyed how this could be played with; you use this mechanical object which you need to imbue with a sort of magic. It’s in this moment, within this collaboration between the mechanical and the intangible that something will take place, an image will be made, and hopefully, this image will be something else than what you saw. 

I became more concerned with the fact that, regardless of this concrete object and a certain pragmatic story of your now – this assumption that this moment exists, that doesn’t necessarily render the resulting images any real, or true. The surrounding narratives and this idea of an image residue became more interesting to me than the images themselves. Progressively I went away from the strict medium of photography and started doing things more with film, performances, installations – mediums that all discuss and play with  images within the context of the hypermediated world we’re living in.

The fact that our experience is so unreliable is beautiful to me, so I think that became the central idea. The medium I feel like I’m working with the most is memory.

Currently, you’re developing a new project that will be presented in Pogon and other than the two presentations at Organ Vida there hasn’t been much of your work publicly displayed even though you’ve been living in Croatia for a while. Can you tell me a bit more about your life in Zagreb? How did you come to live here?

Yes, I’ve been here for a year and a half now. I was living in Berlin for the past ten years and I had been angsty to leave Germany for a while. COVID took a heavy toll on me for a lot of reasons and eventually, it hit me that I did not want to die in Berlin.

Where one comes from and where one is able to go is so deeply affected by national and economic privilege. I roam in a sort of economical margin and I have to make work within that. I first came to Zagreb at the invitation of Organ Vida, and then, I met someone I felt close to. That was definitely an impetus for me to move. 

Since I have relocated here, there have been a lot of very generous things. Like the possibility to really host people, this is new to me. I never had a place truly of my own, that was big enough or warm enough to host. It feels like a new type of care I can offer myself and others. In the grand scheme of things I realized that it didn’t really matter where I would live and make work. With each move I’ve made, this so-called hierarchy of cultural centers have become more trite and irrelevant. Of course each city holds its own economical, structural, and institutional character, yet people are doing stuff everywhere.

When living in Berlin you did a lot of performance, interactive and durational work. Has something changed in your preoccupations since you moved? How does the new surrounding interact with your previous recordings and other archival materials? For instance in La reprise?

La Reprise (Dérive) is something I’m doing regardless of the location, so I’m not sure if this has changed since I’ve been mostly here. It’s an ongoing film project that started in 2020. Every week I produce a minute of film. It’s in the continuity of stuff that I pursue – pre-recorded, archival footage, unpredictable characters, layed narratives… Something about how misguided directions allow for whoever is appearing on film to become fluid, interchangeable with what their goals might be. In any case I don’t think it’s on me to say if or how my direct surroundings affect the work, or maybe I don’t care how that might appear.

A lot of your works play with the different representations of femininity such as The bitter ends of (the technology of tenderness) which was presented at Organ vida in 2022. Can you tell us a bit more about that performance/installation?

The bitter ends of (the technology of tenderness) was originally commissioned for HAUS in Vienna in September 2020. I had this idea of a customer support structure combined with the hyper gendered visuals of a hostess. So I built this room where there is this character in a lingering mode – waiting to be activated. 

The performance relies on two aspects. The studio set-up, essentially a corner in which I’m wearing the same wig and the same utilitarian type outfit, Carhartt jeans and a gray sweater that I found next to my studio. This, paired with a hyper fem head of makeup and wig. I then broadcast myself onto a large screen located in the exhibition space. I repeat a series of actions, from doing nothing, to making myself ready or washing my hands a lot. The character is waiting to be activated upon somebody entering the room and seeing the screen. 2020 gave rise to the hegemony of Zoom and I didn’t want this performance to be a Zoom performance so I made the entire screen be the broadcast.

With this performance there’s been this initial feeling of attraction and weirdness. The type of language the character is using – only in writing, is based on conversations I was having on this friends-app called Replika. The app came out in 2017 and has this eerie genesis story as PR material. This woman, Eugenia Kuyda, lost a friend and decided to create this app that would allow her to, in a sense, continue communicating with him. The AI was developed based on the archive of their communications. Replika is built to respond as if it were “your friend”, so it will feed on the personal information you’ll feed it, and is promoted as such – it is a friend that is always there when you need it. I found it both mesmerizing and extremely sinister.

A lot of online streamers are of younger age (18-34), how does this influence your image when doing representations of such work?

I’ve been online for a while now. The first time I was online I was maybe 15 years old. At the time – in the 90’s, it still felt structured around a relatively small group of people, like super nerds who had built websites that were essentially lists of things, like the best Elvis albums or something like that. All very very male.

Amidst that, I found chat rooms and they were just incredible spaces. It’s funny having been active on such platforms at a young age, and I love to find other women, people who have had the similar experience of going online to cybersex lol. Eventually I did camming, which at the time, I didn’t perceive as work, it felt like roaming the benefit and privilege of my own oblivious youth.

Labour is so heavily gendered and codified; it requires you to dress and act a certain way, no matter the labour, it demands of you that you give yourself to it. All work is work. And a lot of the stuff I do is about the line between something that looks and maybe feels glamorous, and the structures that legitimize and exploit these representations and narratives.

I’ve noticed that you also use a lot of drug or pill motives that are nonchalantly placed in your works. What is their meaning and how do these motives relate to the idea of staged, maybe broken or unreliable realities?

The pill has a great convenient way to relay different references. One of the first ones is how I connect the first iphone with the pill emoji. Out of all the smileys, it’s such an imposing icon and it can impersonate many metaphors like a pill hard to swallow, relax, take a pill, it becomes THE pill. Many of these expressions do not necessarily have a gender history, but the medical institution and ideologies that established modern medicine are deeply colonial and gendered. The knowledge behind the care and the cure were held by the indigenous, rural, and non-male bodies of the communities. Shared by way of speech, by way of gestures, by way of lineages beyond blood. The institution of the medical body relied on the applications of Greek and Latin, as a way to distance the populations that could not write it, nor speak it. It enforced an authority that could be only, or predominantly, claimed by white men.

You used it as a motive in your Hotel Zoo performances as well. Can you tell us about those? 

In 2018, I did a series of performances inside Hotel Zoo in Berlin, where I lived for five months for free – a self-directed art residency. The pills became an instrument to initiate gestures during the public performances that took place at the end of each month. Sometimes one would last for 24h, sometimes, they would take place over a week and I would invite people to collaborate – Sophie Yerly and Andreas Reihse for example. During a performance, someone would enter the room and I would prepare two pills, one I would offer the person, and one I would take myself. I was interested in how a moment could become excerpted, together, under the aegis of The Pill, a moment of trust and commitment that could become more magical, than reactive. Placebo exists within this hazy fabric.

There was also the whole other economical perspective of this place I was staying at. A luxurious hotel where I was out of place, but also not completely out of place. As a white cis-woman, I could easily belong there. A lot of the performances mimicked the various measures that artists are required to perform during residencies. Like showing yourself – a bit like performing tricks, taking part in the community, giving explanations about your work, etc. The figure of the clown is something I’m fascinated by and I’ve modeled a lot of my character after it. Again, the pill helps accompany the various tropes I’m after, from “crazy woman” to “sick woman” to “tired worker.”

Can you tell us more about the video installation and performance you’re doing for the Exposium? Who did you collaborate with?

I’m very much a walker, I don’t have other modes of transportation such as owning a car and I’m not really comfortable with the bike. Walking allows for coincidences and accidents to happen and that has consistently been feeding my work.

And this is what happened with meeting Zora [Bjelousov]. I was having my coffee inside at Luta and through the glass I saw this woman talking to someone. I felt like that’s her, this character I had been writing. I felt silly somehow approaching her but I went and gave her my number saying that I was working on this film and performance and that I thought she would be perfect in it. I told her I was looking for this failed actress character, and she laughed. 

The performance will be this staged rehearsal. But with different points of entry such as: is this the final thing?

The coincidental element that Zora is herself very much in the public eye gave way to me re-writing certain parts of the script because she really gets the whole meta aspect of performing as work. It’s all been absolutely amazing. She’s just so fabulous – both in terms of her grace and generosity and for allowing me to whirlwind and bring her out of her comfort zone. We had this great shooting day at the market, at the bar downstairs Amadria and at the Laguna hotel, and you’ll be able to see the films we’ve been making during the performance.

A personal note is also visible in your work with Dedić frame exhibitions. Can you tell us a bit about this space and whether you plan on keeping up with the exhibitions there?

When I moved into my apartment in Zagreb, that’s one of the first things I saw before I entered – a little metal frame by the threshold. I had seen it in other places I visited, but mine was empty. The name Dedić simply comes from the name of the person who lived there before whose name is on the door. The apartment across from me doesn’t have this frame. You can only see the ghost of it. 

So when somebody comes to visit me, they have a show. It has no hierarchy. For instance, my parents came to see me and we had a show with the picture they took of my cat. I’ve also offered it to people who aren’t necessarily close to me. Erik Smith spent a week here. We knew each other from Berlin, from 15 years ago, but had not been in touch. He cotntacted me after I had made this post about it on instagram. We had this week of intense conversations, and he made a beautiful sound installation going beyond the metal Dedić frame.

After the series of performances at the Hotel Zoo you’ve opened it up to some other, discursive formats. Can you tell us a bit about it?

A year after the performance, the hotel asked if I wanted to reclaim the rooms so I proposed this format of discussions which I called Precarious gossips, which eventually died out with COVID. The idea was to do it in a few different places – it took place at Hotel Elephant in Weimar and at the Marmara Pera in Istanbul. The hotel would provide a room for one night and I would invite people to co-host while agreeing to a more informal structure as to who would have the floor to speak. That was the initial impetus, wanting to undo some of the tightly structural aspects of lecturing and somehow reclaim the discussion of theory which is still very much gate-kept.

The bed also makes for an interesting stage, and is easier to dismantle as such by breaking with who sits on it. So I would shuffle people around, and move myself through the room, because as soon as someone would sit, or lay, in the bed, something would happen. They would feel more comfortable to speak. Someone may have something to say but it may take an hour, it may take two, which the more regular format of a Q&A post lecture doesn’t really allow for to happen. For some people, it may take four or five hours of discussion to find the space to speak in front of strangers. I really was craving this IRL discursive format, without microphones, without lights, without complacent forms of expertise.

I would really love to re-initiate it here, every other month or so. I think it’s important to find yourself in situations of “argumentative discomfort.” This definitely happened with previous stagings of Precarious Gossips. It feels like we spend most of our discussions online and most of these spaces provide very easy exits. The possibility of leaving the room shouldn’t be an excuse to depart. I see how in Berlin, this monstrous and growing anti-Palestinian sentiment has made certain people depart out of hate, shame and avoidance, when the most affected can’t literally leave the room.

Can you tell us about your plans for the future?

I’ll have a solo show in January at Kreuzberg Pavillon in Berlin. I try to go there every other month, but it’s been more and more strenuous. Exhibitions and conferences are canceled because someone made a post that read peace, or from the river to the sea. That’s complete insanity. I’m completely confounded how this genocide has created such a fracture between institutions and administrations – and currently, Germany and Europe still believe in holding the banner of righteousness.

To be an artist – for me it first came from a profound dissatisfaction with how things were around me. And of course it has evolved over time, but I still think that it comes down to this, to the importance of being vocal as a civic body as a means of being an artist in the world. So many things were determined about/for me, such as my nationality, my gender, my socio-economical upbringing, all deeply political principles. You don’t need to be making “political art” – whatever that means, but your decision to be an artist is a political one.

Predstavljanje, u kojem su podijelile_i svoje metode i znanja, bilo je dio međunarodnog projekta Repair, na kojemu su oba kolektiva surađivala i provodila svoje aktivnosti.

Kao dio programa Exposium u organizaciji udruge Kurziv (Kulturpunktovog nakladnika), 9. studenog u prostoru F22 (izvedbena scena Akademije dramske umjetnosti) u 20 sati održat će se gostovanje izvedbe Spolni odgoj II: Sposobnost.

Spolni odgoj II slovenske redateljice Tjaše Črnigoj, u koprodukciji Maske iz Ljubljane, Slovenskog mladinskog gledališča i udruge Mesto žensk, ciklus je od pet izvedbenih predavanja (Dijagnoza, Consentire, Sposobnost, Igra i Borba) koja skreću pozornost na pravo na seksualni užitak kao temeljno seksualno pravo u kontekstu ljudskih prava, iz različitih perspektiva i kroz različite izvedbene prakse. Izvedbena predavanja se temelje na razgovorima sa ženama koje su podijelile svoje osobne priče, iskustva i poteškoće, te na razgovorima sa stručnjacima iz različitih područja.

Sposobnost se temelji na pričama četiriju žena o njihovu seksualnom sazrijevanju, njihovu odnosu prema tijelu, njihovoj seksualnosti i odnosima. Ono što im je zajedničko je da sve četiri žive s invaliditetom te su stoga, kako Elena Pečarič navodi u svojem eseju Tako lijepa, a invalid, suočene s dvostrukom diskriminacijom, kao osobe s invaliditetom i kao žene. U Sloveniji je seksualnost osoba s invaliditetom zanemarena na sustavnoj razini, a seksualni odgoj je u tom području posebno manjkav, dok socijalni radnici imaju diskrecijsko pravo odlučiti hoće li ženama s invaliditetom pomoći u seksualnoj praksi, jer im to nije u opisu posla.

“U takvoj atmosferi koja sputava, žena s invaliditetom se doslovno mora boriti s vjetrenjačama kako bi izrazila svoju seksualnost, ženstvenost, dobrobit ili zadovoljstvo svojim izgledom, sobom i svojim tijelom. […] Zašto je tako teško shvatiti i prihvatiti da žena s invaliditetom može biti zadovoljna sobom ili svojim tijelom takvih kakvo jest, da se osjeća dobro, da se osjeća lijepom, privlačnom ili seksi.” (Elena Pečarič: Tako lijepa, a invalid)

U izlaganju se navode i izjave intervjuiranih stručnjaka (Elene Pečarič, Jerneja Hazimalija i Stevena De Weirdta) te ulomci iz eseja Elene Pečarič Tako lijepa, a invalid, objavljenog u časopisu Socijalni rad (slo. Socialno delo), god. 44, broj 1/2.

Projekt je dio ciklusa izvedbenih predavanja u kojima kao autorice i izvođačice sudjeluju i Nika Rozman, Sendi Bakotić i Vanda Velagić, te stručne suradnice Alja Lobnik, dr. Gabrijela Simetinger i dr. Maja Vehar.

Nakon izvedbe slijedi razgovor s umjetnicama Spolnog odgoja II: Sposobnost u vodstvu Une Bauer.

Ulaz je besplatan. Broj mjesta je ograničen i obavezna je prijava putem formulara.

Izvedbeno predavanje se realizira u suradnji Kurziva s udrugom Maska i Akademijom dramske umjetnosti.

***

Režija: Tjaša Črnigoj
Izvođačica: Lina Akif
Izvođačica zvuka i autorica glazbe: Tea Vidmar

Vizualno oblikovanje i kostimografija: Tijana Todorović
Scenografija: Barbara Kapelj
Nurin glas: Katarina Stegnar
Oblikovanje i montaža zvuka: Jure Vlahovič
Oblikovanje svjetla: Tjaša Črnigoj, Igor Remeta, Manca Vukelič, Barbara Kapelj
Prijevod: Tina Malič, Andrea Rožić, Kristina Matić
Fotografija: Nada Žgank
Produkcija: Tina Dobnik
Postprodukcija: Nastja Kotnik Minik
Tehnički tim: Igor Remeta, Klemen Švikart, Jasmin Dasović

Iskustva su podijelile Martina Piskač (i Uroš Sede), Nura, Suzana, Tjaša i Linda.

***

Sex Education II: Ability

As part of the Exposium program organized by Kurziv (the publisher of Kulturpunkt), a performance of Sex Education II: Ability will take place on November 9 at 20h in F22 (Academy of Dramatic Art).

Sex Education II by Slovenian director Tjaša Črnigoj, co-produced by the Maska Ljubljana, Mladinsko Theatre and City of Women, is a series of five lecture-performances (Diagnosis, Consentire, Ability, Play, Fight), that shed light on the right to sexual pleasure as the fundamental sexual right in the context of human rights from different perspectives and through diverse performance practices. They are based on conversations with women who shared their personal stories, experiences and difficulties, and on interviews with experts in different fields.

Ability is based on stories of four women about their sexual coming-of-age, their relationship to their bodies, their sexuality and their relationships. What the four women have in common is that they live with a disability and are thus, as Elena Pečarič says in her essay So beautiful, yet disabled, faced with double discrimination, as persons with a disability and as women. In Slovenia, the sexuality of people with disabilities is overlooked at a systemic level and sex education is particularly lacking in this area, while social care workers have discretion as to whether they help women with disabilities with sexual practice, as this is not in their job description.

“In such a stifling atmosphere, a woman with disability literally has to fight windmills to express her sexuality, femininity, well-being or satisfaction with her appearance, herself and her body. […] Why is it so difficult to understand and accept that a woman with disability can be happy with herself or her body as it is, to feel good, to feel beautiful, attractive or sexy.” (Elena Pečarič: So beautiful, yet disabled)

Included are statements by expert-interviewees (Elena Pečarič, Jernej Hazimali and Steven De Weirdt) and excerpts from Elena Pečarič’s essay So Beautiful, Yet Disabled, published in the journal Social Work, Volume 44, Issue 1/2.

The project is part of a series of lecture-performances in which also Nika Rozman, Sendi Bakotić and Vanda Velagić participate as authors and performers, and Alja Lobnik, PhD Gabrijela Simetinger and PhD Maja Vehar as expert collaborators.

After the performance, there will be a discussion with the artists of Sex Education II: Ability, led by Una Bauer.

Admission is free. Seating is limited, and registration is required via form.

This lecture-performance is organized in collaboration between Kurziv, Maska, and the Academy of Dramatic Art.

The program will be held in Slovenian, with Croatian and English subtitles.

Directed by: Tjaša Črnigoj
Performer: Lina Akif
Sound Performer: Tea Vidmar

Music: Tea Vidmar
Visuals and Costume design: Tijana Todorović
Set design: Barbara Kapelj
Nuri’s voice: Katarina Stegnar
Editing audio tapes and Sound design: Jure Vlahovič
Lighting design: Tjaša Črnigoj, Igor Remeta, Manca Vukelič, Barbara Kapelj
Translation: Tina Malič
Fotography: Nada Žgank
Production: Tina Dobnik
Postproduction: Nastja Kotnik Minik
Technical team: Igor Remeta, Klemen Švikart 
Production: The New Post Office (Maska Ljubljana and Mladinsko Theatre)
Co-production: City of Women

Martina Piskač (together with Uroš Sede), Nura, Suzana, Tjaša and Linda shared their experiences.

Spolni odgoj II: Sposobnost dio je projekta Testing Ground: Reparative Practices for New Cultural Ecosystem koji provode Kurziv, Maska i Krytyka Polityczna uz potporu programa Kreativna Europa Europske unije. Akademija dramske umjetnosti pridruženi je partner projekta.

Exposium je interdisciplinarni program u organizaciji udruge Kurziv (nakladnika Kulturpunkta) i predstavlja završno javno događanje međunarodnog projekta Testing Ground: Reparative Practices for New Cultural Ecosystem. Kroz ovaj projekt pokrenut je niz kreativnih procesa posvećenih promišljanju, testiranju i produkciji “reparativnih” pristupa, odnosno pristupa koji kroz otvorenost za iznenađujuće i neočekivane ishode – potaknuti radošću i užitkom prije nego strahom ili strepnjom – traže načine za suočavanje s različitim sustavnim problemima koji opterećuju odnose u kulturi i društvu te odnose prema okolišu i budućnosti.

U trodnevnom programu Exposiuma, koji se održava u prostorima Pogona Jedinstvo i Akademije dramske umjetnosti (F22) te uz jezera Savica, u susretu s publikom, neposrednim okolišem, neljudskim i više-no-ljudskim bićima, pojavama i anomalijama pokušat ćemo domisliti kako iz sada-i-ovdje, obilježenog višestrukim i uzastopnim krizama koje nam ne pružaju puno razloga za optimizam, misliti bolje tada-i-tamo. 

Umjetnički dio Exposiuma uključuje ciklus Rizomatske geste, koji predstavlja radove Maje Bojanić, Hrvoslave Brkušić, Nadije Markiewicz i Fette Sans, četiriju umjetnica koje su uz kustosicu Leu Vene u produkciji Kurziva razvijale svoje odgovore na materijale i fokuse projekta u formi izvedbi, instalacija i performativne ekspedicije, te gostovanje izvedbenog predavanja Spolni odgoj II: Sposobnost redateljice Tjaše Črnigoj i ljubljanske udruge Maska. Kolektiv Zakole, koji je kroz rad na močvarnom području Varšave razvio niz metoda opservacije i povezivanja s okolišem, svoju će metodologiju pretočiti u eksperimentalnu šetnju jezerima na Savici. 

Razgovorni program otvara se uz okrugli stol posvećen metodama i strategijama suočavanja s i djelovanja usprkos problemima u kulturnom ekosustavu, nastavlja se uz dijeljenje umjetničkih metoda i praksi umjetnica Rizomatskih gesti te predstavljanje kolektivnih praksi usklađivanja s okolišem i regenerativnog aktivizma Zakole i njihovih suradnika, a završava uz razgovor s umjetnicama Spolnog odgoja II.

Program se odvija na engleskom jeziku, uz iznimku segmenta Spolni odgoj II: Sposobnost koji se održava na slovenskom jeziku uz engleske i hrvatske titlove.

RASPORED:

Četvrtak, 7.11. | Otvorenje Exposiuma | Pogon Jedinstvo (velika dvorana)

18.30h | Here-and-now of our cultural ecosystem – how do we cope, why do we persist and where do we strive? (okrugli stol)

• sudjeluju: Pia Brezavšček, Karla Crnčević, Nina Gojić, Adrijana Gvozdenović, Hana Sirovica

20.30h | Rhizomatic Gestures I

Nadia Markiewicz: Ballad of the Withering Rose (performans i instalacija)

Hrvoslava Brkušić: Veda Zagorac (radni naslov) (instalacija)

Fette Sans: I passed the stage of disappointment long ago (instalacija)

Petak, 8.11. | Pogon Jedinstvo

18h | Mala dvorana | Rhizomatic Gestures: Practices and Methods (razgovor) 

• sudjeluju: Hrvoslava Brkušić, Nadia Markiewicz, Fette Sans, Lea Vene

19h | Mala dvorana | Swamp Gatherings (razgovor) 

• sudjeluju: članice i suradnice_i Zakole kolektiva

20.00h | Velika dvorana | Rhizomatic Gestures II  

Fette Sans: I passed the stage of disappointment long ago (izvedba)

Subota, 9.11.

11h | Jezera Savica | Overflow (eksperimentalna šetnja)*

vodstvo: Zakole kolektiv

*broj polaznika je ograničen, obavezna prethodna prijava putem formulara.

14h  | Pogon Jedinstvo | Rhizomatic Gestures III

Maja Bojanić: HIC SVNT DRACONES, no actually mld (vođena audio ekspedicija zgradom Pogona i razgovor s umjetnicom)

20h | F22 | Zatvaranje Exposiuma | Spolni odgoj II: Sposobnost (izvedbeno predavanje)* 

– nakon izvedbe održava se razgovor u vodstvu Une Bauer

*ulaz je besplatan, uz obaveznu prijavu putem formulara.

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Kurziv zahvaljuje Pogonu – Zagrebačkom centru za nezavisnu kulturu i mlade i Akademiji dramske umjetnosti na suradnji u realizaciji programa.

Vizual potpisuje Maja Maar.

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ENGLISH:

Exposium is an interdisciplinary program organized by Kurziv (publisher of Kulturpunkt) and serves as the final public event of the international project Testing Ground: Reparative Practices for New Cultural Ecosystem. This project has launched a series of creative processes focused on exploring, testing, and producing “reparative” approaches. These approaches, open to surprising and unexpected outcomes—motivated by joy and pleasure rather than fear or anxiety—seek ways to address various systemic issues that burden relationships within culture and society, as well as our relations to the environment and the future.

The three-day Exposium program takes place at Pogon Jedinstvo, the Academy of Dramatic Arts (F22) and by the Savica Lakes. Through interactions with the audience, the immediate environment, non-human and more-than-human beings, phenomena, and anomalies, we will explore how to envision a better “then-and-there” from our “here-and-now,” a time marked by multiple, successive crises that offer little reason for optimism.

The artistic part of Exposium includes the Rhizomatic Gestures cycle, which features works by Maja Bojanić, Hrvoslava Brkušić, Nadia Markiewicz, and Fette Sans. These four artists, along with curator Lea Vene, developed their responses to the project’s themes and materials in collaboration with Kurziv in the form of performances, installations, and a performative expedition. It also includes lecture-performance Sex Education II: Ability by director Tjaša Črnigoj, brought by association Maska from Ljubljana. The Zakole collective, which has developed various methods of observing and connecting with the environment through their work in Warsaw’s wetlands, will bring their methodology to Zagreb in an experimental walk around the Savica Lakes.

The discursive program opens with a round table focused on methods and strategies for addressing and acting despite challenges in the cultural ecosystem. It continues with the sharing of artistic methods and practices from the artists of Rhizomatic Gestures, presentations of collective practices of regenerative activism by the Zakole collective and their collaborators, and concludes with a conversation with the artists of Sex Education II.

The program will be held in English, except for the segment Sex Education II: Ability, which will be in Slovenian with English and Croatian subtitles.

SCHEDULE:

Thursday, November 7 | Exposium Opening | Pogon Jedinstvo (Big Hall)

18:30 | Here-and-now of our cultural ecosystem – how do we cope, why do we persist and where do we strive? (round table)

• participants: Pia Brezavšček, Karla Crnčević, Nina Gojić, Adrijana Gvozdenović, Hana Sirovica

20:30 | Rhizomatic Gestures I

Nadia Markiewicz: Ballad of the Withering Rose (performance and installation)
Hrvoslava Brkušić: Veda Zagorac (working title) (installation)
Fette Sans: I Passed the Stage of Disappointment Long Ago (installation)

Friday, November 8 | Pogon Jedinstvo

18:00 | Small Hall | Rhizomatic Gestures: Practices and Methods (artist talk)

• participants: Hrvoslava Brkušić, Nadia Markiewicz, Fette Sans, Lea Vene

19:00 | Small Hall | Swamp Gatherings (conversation)

• participants: members and collaborators of the Zakole Collective

20:00 | Main Hall | Rhizomatic Gestures II

Fette Sans: I Passed the Stage of Disappointment Long Ago (performance)

Saturday, November 9

11:00 | Savica Lakes | Overflow (experimental walk)*

• led by: Zakole Collective
  *registration required via form.

14:00 | Pogon Jedinstvo | Rhizomatic Gestures III

Maja Bojanić: HIC SVNT DRACONES, no actually mld
(guided audio expedition through Pogon building and conversation with the artist)

20:00 | F22 | Exposium Closing | Sex Education II: Ability (lecture-performance)*

• the performance will be followed by artist talk led by Una Bauer
  * entry is free of charge; registration is required via form.

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Kurziv extends its gratitude to Pogon – Zagreb Center for Independent Culture and Youth and the Academy of Dramatic Art for their support.

Design: Maja Maar

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Program Exposium je dio projekta Testing Ground: Reparative Practices for New Cultural Ecosystem koji Kurziv provodi u partnerstvu s organizacijama Maska i Krytyka Polityczna uz potporu programa Kreativne Europe Europske unije. Program se realizira uz podršku Grada Zagreba, Zaklade Kultura nova, Ministarstva kulture i medija RH te Ureda za udruge Vlade Republike Hrvatske. Pogon – Zagrebački centar za nezavisnu kulturu i mlade i Akademija dramske umjetnosti pridruženi su partneri projekta.

Exposium is part of the project Testing Ground: Reparative Practices for a New Cultural Ecosystem project, which Kurziv is implementing in partnership with Maska and Krytyka Polityczna, with support from the Creative Europe program of the European Union. The program is being carried out with the support of the City of Zagreb, Kultura Nova Foundation, Ministry of Culture and Media of the Republic of Croatia, and the Office for Non-Governmental Organizations of the Government of the Republic of Croatia. Pogon – Zagreb Center for Independent Culture and Youth and the Academy of Dramatic Art are associate partners of the project.

Početna premisa bila je sljedeća: potaknute činjenicom da je danas podjela vremena za rad i odmor gotovo nepostojeća (pogotovo u radu u umjetnosti i kulturi), u formatu nadahnutom nekadašnjim umjetničkim kolonijama, zajedničkim snagama promišljat ćemo slobodno vrijeme, odmor, dokolicu, rad i nerad, kao i vlastitu (posjetiteljsku) poziciju na otoku. Svako planiranje, promišljanje nadolazećih projekata, rokova, prijava i slično – smatra se nepoželjnim.

Skupina je uključivala istraživačice projekta Testing Ground, a u ovom nam se poduhvatu pridružila ilustratorica Ena Jurov, čiju refleksiju otočkog boravka donosimo u nastavku.

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Sadržaj je dio projekta Testing Ground: Reparative Practices for New Cultural Ecosystem koji uz potporu programa Kreativne Europe Europske unije provode Kurziv, Krytyka Polityczna i Maska Ljubljana.

Od 2023. godine ova inicijativa je postala ključni dio projekta Repair, međunarodnog projekta posvećenog razvoju kreativnih metoda koje reparativno odgovaraju na trenutne socioekonomske i ekološke izazove.

U sklopu projekta, okupila se međunarodna grupa istraživačica_a koji_e su zajedno istraživale jugofuturizam. U povodu YUFU ciklusa događanja, koje se održalo u siječnju u Ljubljani, o pojmu jugofuturizma, kao i o mašti, mogućim i nemogućim budućnostima razgovaramo s nekima od njih: Rokom Kranjcem i Verom Mevorah.

Testing Ground: Reparative Practices for New Cultural Ecosystem je projekt koji su uz potporu programa Kreativne Europe Europske unije razvili i provode Kurziv – Platforma za pitanja kulture, medija i društva, Stowarzyszenie Im. Stanislawa Brzozowskiego i Maska Ljubljana.