engleski

Local Platforms, Transnational Networks, and the Tactical Organizing of the Independent Cultural Scene in Zagreb

The beginning of the new millennium in Croatia was characterized by the appearance of a number of NGO’s working in the cultural field, their quick proliferation and consolidation, that resulted with a cultural complex today most commonly called the independent cultural scene. Although their legal status serves as the first identifier, the affiliation of these organizations to the independent cultural scene relies more upon their shared aesthetic and ideological preferences, which are reflected in horizontal and participatory working models, criticality toward the socio-political context, close collaboration with other sectors, co- production and program exchange on a local, regional and transnational level, as well as their joint effort to effect and advance local and national cultural policies. The independent cultural scene can thus be observed as a space within which occur complex personal, social and spatio-temporal relations. In other words, the spaces of networking of the independent scene can be observed and interpreted as ”netdoms”, a term coined by Harrison White to denote network configurations that include shared meanings and identities, thus bridging the gap between structure and culture. Taking as its starting point the local platform Zagreb – Cultural Kapital of Europe 3000 (2003 – 2005), and different programs conducted within its scope by the leading organizations of the platform (Multimedia Institute, What, How & for Whom, Center for Dramatic Arts, Platform 9.81), the objective of this presentation is to demonstrate the innovative methodology developed with the project ARTNET, conducted at the Institute of Art History in Zagreb from 2014 onward. Based upon art-historical research and subsequent interpretation, the presented research relies – from the one point – upon exploratory network analysis of the local platform Zagreb – Cultural Kapital of Europe 3000, and transnational collaborations of its leading organizations, while – from the other point – it relies upon qualitative structural analysis of interviews with key actors of the independent cultural scene, the goal of which is to bridge the gap between quantitative and qualitative analysis of networks in the cultural field.

1990's ; digital art history ; independent cultural scene ; netdoms ; qualitative structural analysis ; social network analysis

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