Naslov
Art intervention in industrial cultural heritage or, how does socially useful art come about?

Autori
Marjanić, Suzana

Izvornik
Narodna umjetnost (0547-2504) 1 (2011), 48; 29-53

Vrsta, podvrsta i kategorija rada
Radovi u časopisima, prethodno priopćenje, znanstveni

Ključne riječi
industrial heritage; art intervention; Rikard Benčić Factory (Rijeka); Labin; Sisak Steel Mill; Electric Light Factory; The Glyptotheque; Nada Dimić Factory; Paromlin (Old Steam Mill); Badel; Gorica (Zagreb)

Sažetak
The article deals with artistic projects and interventions in industrial cultural heritage in certain cities in the Republic of Croatia (in other words – due to the long-term situation – our dark community), which endeavour correctively to prompt the powers-that-be to consider the theoretical and practical evaluation of the diverse aspects of protection and/or conversion to other uses of individual industrial heritage structures. The following artistic projects are in focus: Tanja Dabo’s Urbana intervencija [Urban Intervention] (1999), which this artist carried out on doors without handles on a wall covered in barbed wire on the former Rikard Benčić Factory in Rijeka, as the future location of the Museum of Modern and Contemporary Art ; Kristina Leko’s exhibition Rudarske uspomene [Mining Memories] (2008) ; the multimedia group Labin Art Express’s project Podzemni grad XXI. [Underground City XXI] ; Marijan Crtalić’s project Nevidljivi Sisak: fenomen Željezara [Invisible Sisak: the Steel Mill Phenomenon] (2009) ; Sanja Iveković's intervention SOS Nada Dimić (2000), and, Zlatko Kopljar’s K 13 project (2010) that was inspired by the TEŽ Electric Light Factory building in Zagreb. The article also refers to the Reka – Zagreb: dvije ulice, dva mjesta, dvije sudbine [Reka – Zagreb: two streets, two places, two destinies] (2002) in which Marijan Molnar examined the links between Prvomajska Street in Reka outside of Koprivnica (the artist’s birthplace) and Medvedgradska Street in Zagreb. Namely, the newly-opened farm for raising chickens in Prvomajska Street evoked recall of the fact that the premises of today’s Croatian Academy Sculpture Museum (the Glyptotheque) were once a leather processing factory. The article also singles out the exhibition of student work on the theme of the content-related and functional conversion of paleo-industrial complexes in Zagreb (curator: Iva Prosoli), which emerged within the framework of the Zagrebačka industrijska baština: povijest, stanje, perspektive [Zagreb Industrial Heritage: History, State of Affairs, Perspectives] project (project leader: Goran Arčabić). Further, we also give a brief survey of the Nevidljivi Zagreb: vodič za skvotere [Invisible Zagreb: a squatter’s guide] drive (2003) conducted by the Platforma 9.81 collective for architecture and media, whose aim was to revitalise Zagreb’s industrial, urban heritage. In conclusion, the question in the title – How does socially useful art come about? – has been adopted from the creative thinking objectives of the multimedia artist, Kristina Leko, who has become prominent in the our (dark) community with her socially aware community art projects.

Izvorni jezik
Engleski

Znanstvena područja
Etnologija i antropologija

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