Spajalica > Copula

Art interventions in public space, MMSU Rijeka


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Pehlin Kings – koncert u Tunelu / concert in Tunel


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PEHLIN KINGS, Tunel Bar, Školjić 12, Photo by Tanja Kanazir

1. 10. / 21 – 24 h / Tunel Bar, Školjić 12
PEHLIN KINGS (HRV) – Koncert / Concert

Koncertom Pehlin Kingsa spajamo se s jednodnevnim događanjem Odsjeka za kulturalne studije, Bakanalije – baka nije odavde, a uz kulinarske poslastice manjinskih zajednica pomičemo se bliže programskoj liniji Kuhinja – Centar za kreativne migracije.

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With the concert of Pehlin Kings, we connect with the one-day event of the Department of Cultural Studies titled Bachannalia – Grandma Is Not From Here and with the culinary delights of the national minorities, we shift closely to Rijeka 2020 program titled Kitchen – the Center for Creative Migration Flagship.

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Video from Moja Rijeka

Photos by Tanja Kanazir

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NIKA RUKAVINA – Vi ste sljedeći na redu / You’re Next


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NIKA RUKAVINA – Vi ste sljedeći na redu / You’re Next, Photo by Tanja Kanazir

U sedmom činu završavamo kako smo i započeli – performansom na Korzu, ispred Malog salona. Ovaj je put žutom trakom istaknuta barijera koju umjetnica Nika Rukavina želi prijeći, ali joj glas s razglasa uporno ponavlja neka pričeka još malo jer je sljedeća na redu. Ne zna se hoće li crtu uspjeti prekoračiti, vidjeti što je čeka s druge strane, niti se zna čekaju li je bolje ili lošije okolnosti. Budućnost je neizvjesna, ali strpimo se još malo, sljedeći smo na redu.

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In the seventh act, we finish just as we started – with a performance on Korzo, in front of Mali salon gallery. There is a yellow line that indicates a barrier that the artist Nika Rukavina wants to cross, but a voice from speakers keeps telling her to wait, just a bit longer, because it is her turn, she is next. We don’t know if she will succeed in crossing the line and see what is waiting for her on the other side. The future is uncertain, but let’s wait just a little bit longer, we are next.

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Pejac – Odljev mozgova / Brain Drain, Pepeo pepelu / Ashes to Ashes, Kamuflaža (Hommage René Magritteu) / Camouflage (Tribute to René Magritte)


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PEJAC – Kamuflaža (Hommage René Magritteu) / Camouflage (Tribute to René Magritte), Photo by Tanja Kanazir

Šesti čin donosi poetične intervencije koje se diskretno pojavljuju na tri lokacije unutar grada. Kompozicijama svojih upečatljivih site-specific intervencija, street umjetnik Pejac nam donosi suptilne optičke distorzije sastavljene od obrata logike prostornih elemenata koje na lokacijama pronalazi. Ispod sata na Titovom trgu iscrtava obrise srebrnkaste otrovne meduze oko kanalizacijskog ispusta kojeg pronalazi na samom pokosu korita. Njezin klobuk sugerira oblik ljudskog mozga, možda puno otrovnijeg od same meduze. Na drugoj strani korita koristi se lišajevima i raslinjem betonskog dijela pokosa kako bi iscrtao jelena u plamenu koji se naginje nad vodom, okružen apokaliptičnim pejzažem čijom rijekom, možda jednim od pritoka Rječine, pluta usamljeni kolut za spašavanje. Unutar prozorskih okvira Energane bivše tvornice Hartera, intervenira prizorom siluete dječaka koji praćkom gađa ptice sugerirajući uzrok i ostalih rupa na staklenom pročelju zgrade. Promišljenim korištenjem narativnih paralelizama, simbola i raznih elemenata nadrealizma i fantastike, Pejac se zadržava u minimalističkom vizualnom izričaju koji se ne poigrava isključivo s određenim konceptom, već sa samom percepcijom stvarnosti.

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The sixth act brings us poetic interventions that discreetly appear on three locations in the city. In the compositions of his remarkable site-specific interventions, the street artist Pejac presents subtle optical distortions that reverse the logic of the elements found on the location. Under the clock on Tito’s Square, on the slope of the river bed, the artist paints the contours of a silvery medusa around a sewer outfall. Its bell reminds of the form of human brain, which is perhaps more poisonous than medusa itself. On the other side of the river bed, he uses lichen and bushes of the concrete part of the slope to paint a deer in flames that leans over the water, surrounded by apocalyptic landscape in which a lonely lifebuoy floats on a river, perhaps one of the Rječina’s tributaries. Finally, in the window frames of Energana, energy plant of the former paper factory Hartera, he intervenes by painting the silhouette of a boy shooting birds with a slingshot, suggesting the cause of holes on the building’s front windows. In a deliberate use of narrative parallelisms, symbols and different elements of surrealism and fantasy, Pejac manages to retain a minimalist visual expression that plays not only with a specific concept, but also with the image of reality.

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LONAC – Pimplanje / Nitpicking


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LONAC– Pimplanje / Nitpicking, Photo by Saša Bogojev

U petom činu selimo se na sredinu tiho raspadajuće Ružićeve ulice, jedne od brojnih riječkih prostora-spavača u kojoj je smješten mural Pimplanje street umjetnika Lonca. Kroz osobnu poveznicu njegove obitelji s Rijekom, uvodi nas u rascjepe skrivene ispod zaglađenih površina pedantnih poteza i premaza nanesenih beskonačno preciznim nijansiranjima preko 100 kantica spreja, uredno posloženih i presloženih po tonovima. Lonac portretira svog oca koji je prvi nacrt za maketu broda nabavio baš iz Rijeke. Iako je ta prva maketa u međuvremenu nestala, sin ju zamjenjuje novom, ne bi li na muralu rekonstruirao obiteljski narativ prizorom oca koji je promatra preciznim znalačkim pogledom. Svojim radom Lonac pokazuje kako se u njegovoj obitelji osobine, poput pimplanja, prenose kroz generacije, možda kao i sama tradicija brodogradnje koja im je poveznica s Rijekom, makar kroz makete brodova. Tradicija brodogradnje godinama čini sastavni dio karaktera, identitetske površine grada koju se uporno popravlja i po kojoj se iznova pimpla, ne bi li se opsesivno zagladila, a pukotine postale manje uočljive.

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In the fifth act, we move to the middle of the decaying Ružićeva Street, one of the many sleeping spaces of Rijeka, where the street artist known as Lonac painted his mural Nitpicking. Through a personal connection that his family shares with this city, Lonac takes us into the dints and hollows hidden under the smooth, carefully applied layers of color. He portraits his father, who bought his first design for a scale model of a ship here, in Rijeka. The ship has disappeared in the meantime, but his son replaces it with a new one, in order to reconstruct the family narrative in the image of his father, who observes the scale model with a sharp eye. In this work, Lonac shows us that in his family, nitpicking is passed down from generation to generation, just like shipbuilding tradition, which symbolizes his family’s connection with Rijeka, at least through the scale model of a ship. Shipbuilding tradition has been an inseparable part of Rijeka’s identity – the identity that is nitpicked over and over again, with the hope that the cracks would become less conspicuous.

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ISAAC CORDAL – Cementne pomrčine / Cement Eclipses


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ISAAC CORDAL – Cementne pomrčine / Cement Eclipses, Photo by Saša Bogojev

U Rijeku nam u četvrtom činu migriraju novi stanovnici – minijaturni, srednjovječni, proćelavi muškarci iz poznate serije Cementne pomrčine koju nam donosi Isaac Cordal. Figurice poslovnih ljudi zagledanih u mobitele i pokunjenih građana opterećenih brigama vješto su uklopljene na povišenja riječkih fasada. Prolazeći pored njih obično ih niti ne uočavamo zaokupljeni upravo onim istim radnjama koju mali cementni sugrađani diskretno reflektiraju. Obitavajući uglavnom iznad nas, naših ustaljenih trasa i vidokruga, tvore svojevrsnu mrežu – paralelan svijet koji zrcali širu sliku društva obilježenog nelagodom. Istovremeno svojim pažljivo odabranim kompozicijama posreduju asocijacije upisane u međuprostore između lika, pozadine, i radnje koja ih prati, a nas – slučajne prolaznike, promiče u katalizatore značenja. Potičući nas da učitamo vlastite interpretacije onoga što simboliziraju, pomažu nam da se sagledamo izvana te barem donekle osvijestimo psihičke i tjelesne automatizme rutinizirane svakodnevice. Ako makar na trenutak zastanemo, možda je ono što ćemo osjetiti duboka tuga koja izvire iz samoga središta naše egzistencije. Ali barem smo stali, a empatična, nepomična solidarnost cementnih sugrađana možda će nam donijeti makar tračak optimizma prije nego nastavimo s poražavajućim rutinama dana. Uostalom, cementni čovječuljci će nas i sutra dočekati na istom mjestu, samo ako se u sveopćoj jurnjavi sjetimo na trenutak zastati i podignuti pogled.

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In the fourth act, new inhabitants migrate to Rijeka – the miniature, middle-aged, bald men from the well-known series Cement Eclipses by Isaac Cordal. The figurines of business people staring at their phones and gloomy citizens burdened with worries are placed with careful deliberation along the upper parts of Rijeka’s facades. We mostly do not notice them while passing by, as we are absorbed precisely in the states and activities that these figurines discreetly reflect. Hovering above us, above our firmly fixed routes, they create a parallel world that mirrors the image of the society stricken with discomfort. Through their carefully arranged compositions, these figurines mediate the associations pertaining to their character, their background and their situation, and we – random passersby, are promoted into the catalysts of meaning. By encouraging us to load our own interpretations of what they symbolize, they help us examine ourselves from the outside and, at least to some extent, become aware of mental and physical automaticism of our everydayness. If we stop, at least for a moment, perhaps what we would feel is the sadness emanating from the core of our existence. But at least we stopped, and the emphatic, motionless solidarity of our cement fellow-citizens might offer a glimpse of optimism, before we continue with our devastating routines. Anyway, these tiny fellows will wait for us tomorrow at the same place, but only if we remember to stop for a second, and raise our gaze.

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ANA PEČAR – Oštrije nego ikad / Sharper Than Ever


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Ana Pečar – Oštrije nego ikad / Sharper Than Ever, video projection;  Savjetnik na projektu / Project advisor: Jani Košnik; 1. 10. / 10 – 18 h / RiHub /exBernardi, Ivana Grohovca 1

 

Trećim činom Spajalice, video radom Ane PečarOštrije nego ikad, migriramo dalje uz Rječinu, obrnutim tokom od centra grada u kojem teče opkoljena bivšim industrijskim pogonima. Pratimo je sve do skrivenog klanca tek nekoliko koraka uzvodno, gdje se razotkriva kao subjekt velike mitološke snage i ljepote. Kadrovima slijedimo neprekidni tok rijeke suprotstavljen statičnim prizorima nepomičnog kamenja koja svoju povijest kretnje bilježe tek u brazdama koje im je utisnula voda. Povlačenjem prema izvoru pronalazimo zapanjujuće vizure, gotovo utopijske međuigre elemenata – svjetla, vode, vjetra i raznih stvorenja, životinjskih stanovnika Rječine. Obrnutim tokom postepeno se udaljavamo od posljedica logike ljudskog utjecaja na okoliš da bismo, približavajući se izvoru, pronašli fragmente iracionalne drame u kojima priroda, još uvijek prisutna, nastavlja biti ohrabrujućim simptomom opstanka. Putanju čovječanstva ne pronalazimo više u logici ideje kontinuiranog progresa, već u oštrijem nego ikad povratku svojoj osnovnoj bazi – prirodi.

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In the third act of Spajalica, the video work by Ana Pečar, Sharper Than Ever, takes us further away from the city centre, where the Rječina river flows surrounded by industrial plants. We follow it all the way to a hidden gorge, just a short walk upstream, where it reveals itself as the presence of immense mythological power and beauty. Video frames capture the unbroken river stream set against the static scenes of inert rocks whose history of movement is inscribed in its grooves by the flows of this river. Moving on towards the river source, we come across amazing vistas and we witness almost utopian interplays of elements – light, water and wind, together with a variety of creatures that inhabit the Rječina. Migrating in this direction, away from the city, we gradually remove ourselves from the consequences of human impact on the environment and, approaching the river source, we find fragments of an irrational drama in which nature continues to be a reassuring symptom of survival. The trajectory of humanity cannot be found any more in the idea of continuous progress, but in the turn, sharper than ever, backwards to its basics – nature.

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Sebas Velasco – Explorare Necesse Est / Exploration Is Neccessity


 

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18. – 22. 7. / Ulica Franje Račkog 6 > SEBAS VELASCO (ESP) – Explorare Necesse Est / Exploration Is Neccessity / Photo by Tanja Kanazir

U drugom činu migriramo prema križištu puteva na samom ulazu u staru Lujzijanu, donedavno glavnom ulazu u Grad, od kuda su brojni riječki radnici dolazili u potrazi za poslom. U središtu murala kojeg oslikava Sebas Velasco, jedan je od tih radnika koji rukom zakriva pogled usmjeren nizvodno prema lučkim skladištima. Osim fizičke pozadine rada, ostale prostorne determinante pronalazimo u noćnim vizurama u pozadini subjekta – parkirališta kod ulaza u Harteru, te poviše zaokruženog, brodogradilišta 3. maj. U prekinutom pogledu nevidljivog lica grada okruženog zaboravljenim industrijskim zonama, donosi nam metaforu društva zatočenog u kontinuiranim prekidima kretanja, neprestanom loopu posrtanja – bilo prošlosti o sadašnjost, ili obratno.

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In the second act, we migrate to a junction of paths, to the very beginning of Lujzijana road, which used to mark the entrance to the city, the point from which many workers were migrating to Rijeka, in search for jobs. One of these workers stands in the center of the mural painted by Sebas Velasco, looking downstream, in the direction of the port warehouses. Besides the location of the mural, other spatial determinants of the work are found in the nightscapes painted in the background – the parking place next to former Hartera factory and, higher above, 3. Maj shipyard. In the broken gaze of the city’s invisible face, this work stands as a metaphor of the society trapped in constant interruptions of progress, in a continuous loop of stumbling – the stumbling of the past against the present, or vice versa.

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