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CENTER URBANE KULTURE KINO ŠIŠKA 2009

ZGODOVINA PRIHODNOSTI A HISTORY OF THE FUTURE

CENTER URBANE KULTURE KINO ŠIŠKA 2009 KINO ŠIŠKA CENTRE FOR URBAN CULTURE 2009

KINO ŠIŠKA CENTRE FOR URBAN CULTURE 2009


Katalog 'Zgodovina prihodnosti' je posvečen 100. obletnici rojstva arhitekta Božidarja Gvardjančiča. 'A History of the Future' catalogue commemorates the 100th anniversary of the birth of Božidar Gvardjančič, architect.


CENTER URBANE KULTURE KINO ŠIŠKA 2009 KINO ŠIŠKA CENTRE FOR URBAN CULTURE 2009


ZGODOVINA PRIHODNOSTI / A HISTORY OF THE FUTURE Center urbane kulture Kino Šiška 2009 / Kino Šiška Centre for Urban Culture 2009 Izdajatelj / Publisher: Center urbane kulture Kino Šiška / Kino Šiška Centre for Urban Culture zanj Simon Kardum, direktor / on behalf of Simon Kardum, General Manager Teksti / Texts: Zoran Janković, Jure Mikuž, Simon Kardum, Piera Ravnikar Urednici / Editors: Piera Ravnikar, Barbara Jakše Jeršič Fotografija / Photography: Barbara Jakše Jeršič Produkcija / Production: ArtKontakt Portreti / Portraits: Stane Jeršič, Barbara Jakše Jeršič Prevod / Translated by: Alenka Ropret Stiki z javnostjo / Public Relations: Uroš Bonšek, uros.bonsek@kinosiska.si Tisk / Print: Tiskarna Hren Naklada / Print run: 1000 Katalog je izšel ob razstavi Zgodovina prihodnosti (otvoritev 28. avgusta 2009) / This catalogue accompanies the exhibition A history of the future (on view from 28 august 2009) Katalog je finančno podprla Mestna Občina Ljubljana / The catalogue has been supported financially by the City of Ljubljana

Center urbane kulture Kino Šiška
 Trg prekomorskih brigad 3
 SI-1000 Ljubljana T: 01 5003001 E: info@kinosiska.si
 W: www.kinosiska.si

CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 727:7.022.82 ZGODOVINA prihodnosti : Center urbane kulture Kino Šiška, 2009 = A history of the future : Kino Šiška Centre for Urban Culture / teksti / texts Zoran Janković ... [et al.] ; urednici / editors Piera Ravnikar, Barbara Jakše Jeršič ; fotografija / photography Barbara Jakše ; prevod / translated by Alenka Ropret. - Ljubljana : Center urbane kulture Kino Šiška, 2009 = Kino Šiška Centre for Urban Culture, 2009 ISBN 978-961-92703-0-1 1. Vzp. stv. nasl. 2. Ravnikar, Piera 246966784


ZGODOVINA PRIHODNOSTI

Kazalo / Contents

Pozdravna beseda župana Zorana Jankovića Address of the Mayor Zoran Janković

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Vizija in poslanstvo 16 Vision and mission 22

Kratka zgodovina 16 Short history 22

Arhitektura 17 Architecture 25

Prihodnost je v tveganju, Simon Kardum 29 The future is in taking risks, Simon Kardum 29

Minljivost za večnost, Dr. Jure Mikuž 32 Transience for eternity, Dr. Jure Mikuž 34

A HISTORY OF THE FUTURE

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14 08 2009


25.09.2008


03.08.2009


POZDRAVNA BESEDA ŽUPANA ZORANA JANKOVIĆA

Drage Ljubljančanke in Ljubljančani, ustanovitev Centra urbane kulture je eden od 22 projektov, ki sem jih obljubil pred volitvami jeseni 2006 in napovedal rok dokončanja v letu 2007. Zaradi obsežnih požarnovarnostnih zahtev in ukrepov ter tehnološko kompleksne vsebine projekt odpiramo leto in pol kasneje. Upam, da bo posebno doživetje, ki ga objekt nudi svojim obiskovalcem, našo zamudo upravičil. Vesel sem, da je prenovljeni objekt Kino Šiška ohranil prvotno obliko, pa tudi ime, ki me je v mladosti ob koncih tedna tolikokrat zvabilo pred veliko platno ter me navduševalo predvsem z zgodbami, v katerih je zmeraj zmagala pravica. Center urbane kulture namenjamo kulturnim ustvarjalcem različnih področij, predvsem mladim, ki lahko v prenovljenih prostorih s ponosom predstavljajo svoje ideje, projekte in

dosežke. Sodobna in dovršena tehnološka oprema je po besedah poznavalcev na samem evropskem vrhu in bo pritegnila ter navdušila tudi najzahtevnejše občinstvo. Kino Šiška vodijo mladi, kreativni in drzni, ki bodo zagotovo znali poskrbeti za celoleten raznolik in kakovosten program. S prenovo Kina Šiška ter ustanovitvijo in zagonom Centra urbane kulture smo izpolnili obljubo, dano Ljubljani, vsem njenim mladim in prodornim ustvarjalcem ter njihovemu občinstvu. Verjamem, da ga boste hitro vzeli za svojega in ga do zadnjega kotička napolnili s pozitivno energijo. Želim vam, da bi v Kinu Šiška doživeli veliko lepih trenutkov! Zoran Janković, župan Mestne občine Ljubljana

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ADDRESS OF THE MAYOR ZORAN JANKOVIĆ

Dear citizens of Ljubljana,

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To establish the Centre for Urban Culture was among the 22 projects that I promised in the autumn of 2006, before election, to be completed in 2007. Due to extensive fire protection related demands and measures, and the technological complexity of the project, the venue launch has been delayed for a year and a half. I hope that the delay proves justified through the exceptional visitor experience provided by the venue. I am delighted to see that the renovated Kino Šiška has preserved its original form as well as the name, both of which would attract me time and again to go to the movies during my teenage weekends, particularly captivating me with stories of how the good won over the bad. The Centre for Urban Culture is intended to enable cultural creators of various fields,

particularly the young ones, to take pride in presenting their ideas, projects and achievements. According to experts, the advanced and perfected technical equipment ranks among the very best in Europe, which will attract and fascinate the most demanding visitors. Kino Šiška is being run by a young, creative and bold team who will ensure a yearlong diverse and top-quality programme. By renovating Kino Šiška and launching the Centre for Urban Culture, we have fulfilled our promise to the city of Ljubljana, to all its young, promising artists and their audiences. I believe you will soon consider it your own and fill it with positive energy to the brim. I wish you to experience many nice moments in Kino Šiška! Zoran Janković The Mayor of Ljubljana


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CENTER URBANE KULTURE KINO ŠIŠKA 2009

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Vizija in poslanstvo Center urbane kulture Kino Šiška je središče sodobne in urbane ustvarjalnosti v Ljubljani ter v širšem slovenskem prostoru. Je prvi in edini projekt svoje vrste v regiji, namenjen koncertnim, gledališkim, plesnim in eksperimentalnim dogodkom, skrbel pa bo tudi za produkcijske pogoje (vadbo, laboratorije in studie). S svojim programom Kino Šiška predstavlja in združuje urbanost, multikulturnost, politično neobremenjenost, tehnološko naprednost in vzpodbuja inovativnost, kreativnost ter mednarodna povezovanja. Z arhitekturnimi in tehnološkimi inovacijami na kar 2.468 m2 se Kino Šiška uvršča med večje in tehnično najsodobnejše objekte svoje vrste v Evropi. V veliki dvorani Katedrali premore 800 stojišč oziroma 450 sedišč na 743 m2, ki se lahko prilagajajo posameznim, večinoma glasbenim in gledališkim dogodkom, v mali dvorani Komuni pa 150 sedišč na 205 m2 za intimnejše, pretežno eksperimentalne in debatne dogodke. Pričakovano povprečno letno število obiskovalcev je 100 000. Kratka zgodovina Leta 1961 je podjetje Ljubljanski kinematografi dobilo od mesta Ljubljane v upravljanje Kino Šiška, kjer so od 1964 do konca 80-ih let predvajali filme, nato pa je zmanjševanje obiska pripeljalo do tega, da so kino zaprli in ga oddajali samo še za razne prireditve in predavanja. Kino so nato leta 1994 zopet usposobili. Po odprtju ljubljanskega Koloseja 2001 je kino Šiška s svojimi 725 sedeži že drugič zaključil svojo zgodbo. V času od oktobra 2002 do 2007 so v prostorih Kina Šiška nastajali umetniški projekti, odvijale so se plesne in gledališke ustvarjalne delavnice, obnovitvene vaje za

predstave skupin in posameznikov in plesne akcije. Takrat je med drugim stavba nekdanjega kina prešla v last MOL. Civilna iniciativa, v kateri je bil vseskozi aktiven današnji mestni svetnik Dr. Gregor Tomc, pa si je že v času mandata Vike Potočnik in Danice Simšič prizadevala, da bi Ljubljana dobila center urbane kulture. Prve zamisli o ustanovitvi takega centra segajo v leto 1995, ko se je Ljubljana pripravljala na organizacijo Evropskega meseca kulture (1997). Leta 2004 je Kino Šiška postal eden od infrastrukturnih ukrepov, zapisanih v Nacionalnem programu za kulturo. "Mrežno organizirani Center sodobnih umetnosti naj bi poleg Stare elektrarne vključeval se Metelkovo 6 in bivši Kino Šiška. Zapuščene prostore naj bi spremenili v večnamenski prostor za gledališke in plesne predstave, video dela in instalacije, uredili pa naj bi tudi bar, cyber caffe, prostor za vadbo in garderobe. Obnavljanje je načrtovano za konec leta 2005. Za investicije v mrežno organizirani Center sodobnih umetnosti se predvidevajo sredstva Evropskih skladov." (A. Rihter, Delo: 20 avgust 2004) Z mrtve točke se je projekt v izvedbeno fazo premaknil šele 2006 s prihodom novega ljubljanskega župana Zorana Jankovića, ki je projekt uvrstil med prednostne v svojem programu. Sedanjost Z rekonstrukcijo, prenovo in novo namembnostjo Kina Šiška postaja Ljubljana kulturno živo, živahno in senzibilno mesto srednje Evrope in tako poskuša zasidrati in institucionalizirati novo, drugačno,


CENTER URBANE KULTURE KINO ŠIŠKA 2009

sodobno kulturo v širši javnosti. Center urbane kulture Kino Šiška je medgeneracijsko kulturno stičišče, namenjeno ljubiteljem, ustvarjalcem in somišljenikom sodobnih urbanih kulturnih trendov. Javni zavod Center urbane kulture Kino Šiška je bil ustanovljen na seji mestnega sveta MO Ljubljana 4. februarja 2008. Šele s tem odlokom je bilo omogočeno delovanje centra pod okriljem lastnika in pretežnega financerja. Sledila je registracija javnega zavoda in vpis institucije v poslovni register. V letu 2008 je intenzivno potekala priprava na investicijo, od pridobivanja potrebnih elaboratov, soglasij in projektov, do pričetka gradbenih del v septembru. Arhitektura Po letu 1957, ko se je Ljubljana razdelila na več mestnih občin, je tudi Šiška dobila svojo upravno enoto. Po ureditvenih načrtih za center občine Šiška je proti koncu 50ih let zraslo novo urbano komunalno središče, locirano med glavni prometnici med Spodnjo in Zgornjo Šiško. Okoli glavnega trga oziroma ploščadi se zvrstijo: upravna enota – občina, trgovska hiša, kino dvorana, samski dom, ki kasneje dobi še prizidek in spremeni namembnost v hotel. V zaledju kasneje zgradijo še pošto, zdravstveni dom, osnovno šolo in vrtec. Kino Šiška je bil zgrajen leta 1961 in sodi med prvovrstne objekte, ki jih je zaznamovala modernistična arhitektura. Kino Šiška je delo slovenskega arhitekta Božidarja Gvardjančiča. Objekt ima tako lokacijo v predmestnem središču, z glavno fasado pa se preko trgovske hiše odpira proti Celovški cesti.

Nova podoba Nova podoba Kina Šiška v Center urbane kulture je v arhitekturnem smislu (avtorici idejne zasnove sta arhitektki Anja Planišček in Apolonija Šušteršič) predstavlja predvsem funkcionalne izboljšave, povezane z novo namembnostjo. Vsi zunanji elementi arhitekture, kot so zasteklitev vhodne prizme, omet in zasteklitve ovala, so ostali nespremenjeni. Prav tako so se ohranili vsi atraktivni elementi vhodnih prostorov, kot so mozaično obloženi stebri, venecijanski tlak v pritličju in nadstropju ter dominantno stopnišče v vhodni avli, poleg njih pa tudi ovalni obod dvorane in izhodni rampi, ki sledita obliki dvorane. Piera Ravnikar, vodja projektov

Viri: Arhiv časopisa Dnevnik Foto dokumentacija DELO Interno glasilo javnega holdinga Ljubljana in MOL Jana Pleško (1996) Obnova kina Šiška Manca Bežek (2005) Nacionalni program za kulturo: Politični in kulturni vidik Mestna občina Ljubljana Urbanistični oddelek in arhiv občine Šiška Zgodovinski arhiv Ljubljana

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KINO ŠIŠKA CENTRE FOR URBAN CULTURE 2009

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Vision and mission Kino Šiška Centre for Urban Culture is a centre for contemporary and urban creativity serving Ljubljana and Slovenia in general. It is the first and only project of the kind in the region, primarily dedicated to music, theatre, dance and experimental events, while it will also ensure production facilities (rehearsal, labs and studios). The programme of Kino Šiška represents and combines the urban life, multiculturalism, a politically unbiased attitude and advanced technology, at the same time encouraging innovation, creativity and international cooperation. Featuring 2,468 m2 of architectural and technological innovations, Kino Šiška ranks among largest and technically most advanced venues of its kind in Europe. The large Katedrala hall with its 743 m2 can hold up to 800 visitors standing or 450 seating in various configurations, adapting to individual events, mostly music and theatre performances, whereas the small Komuna hall can hold up to 150 seats at 205 m2 for more intimate, mostly experimental events or discussions. The annual number of visitors is expected to reach 100,000. Short history In 1961, Ljubljanski kinematografi (Ljubljana Cinematographic Company) was appointed by the city of Ljubljana to manage the Kino Šiška cinema, where films were being screened from 1964 to the end of 1980’s. The cinema was then closed down due to a decrease in the number of visitors, and the venue was being rented for various events and lectures. In 1994 the cinema was launched again. After Kolosej multiplex cinema opened in 2001, the story of Kino Šiška with 725 seats was again brought to an end. Between 2002 and

2007, art projects were being made in Kino Šiška, dance and theatre workshops took place there, as well as renewed rehearsals for group and individual performances and dance campaigns. In that period Kino Šiška also become the property of the City of Ljubljana. When Vika Potočnik and Danica Simšič consecutively held the office of mayor of Ljubljana, a civil initiative with the current city councillor Dr. Gregor Tomc as its active member, was already struggling for Ljubljana to acquire a centre for urban culture. The first ideas on establishing such a centre date back to 1995 when preparations were under way for Ljubljana to organise the European Cultural Month (1997). In 2004 Kino Šiška was added to the list of Infrastructure measures, stated in the National Programme for Culture. "The foreseen Centre for Contemporary Arts was supposed to have a network structure, comprising the Stara elektrarna institute as well as Metelkova 6 and the former Kino Šiška. The abandoned venue was to be changed into a multipurpose venue for theatre and dance performances, video works and installations, also featuring a bar, cyber café, rehearsal space and dressing rooms. Renovation was planned to begin at the end of 2005. Investments into the networkstructured Centre for Contemporary Arts were to be acquired from European funds." (A. Rihter, Delo newspaper: 20 August 2004) The deadlock was only broken in 2006 when the new mayor of Ljubljana, Zoran Janković, forwarded the project into the phase of implementation, the project having the position of a priority in his programme.


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KINO ŠIŠKA CENTRE FOR URBAN CULTURE 2009

Present The reconstruction, renovation and new purpose of Kina Šiška makes Ljubljana a lively and sensitive Central-European city with vibrant culture, thus hoping to fix and institutionalise in the public eye the new, different contemporary culture. Kino Šiška Centre for Urban Culture serves as an intergenerational cultural confluence, intended for enthusiasts, artists and supporters of contemporary urban cultural trends. Kino Šiška Centre for Urban Culture public institute was established at the City Council session of the City of Ljubljana on 4 February 2008. This decree finally allowed for the centre to operate under the auspices of its owner and major fund provider. The year 2008 saw intense preparations for the investment, including the acquisition of required studies, agreements and projects as well as the commencement of construction works in September. Architecture of Kino Šiška Ljubljana being divided into several municipalities after 1957, Šiška was also designated an individual administrative unit. Based on plans to arrange the centre of Šiška municipality, a new urban communal centre was constructed towards the end of 1950’s between the two main roads between Upper and Lower Šiška. The main square i.e. platform is surrounded by: the administrative unit – municipality, a store, a cinema and male workers lodgings, later added an extension and transformed into a hotel. Outside the central part, a post office, a health centre, a primary school and a kindergarten were constructed later on.

Constructed in 1961, Kino Šiška is considered a first-class building marked by modernist architecture. The building, designed by the Slovenian architect Božidar Gvardjančič is located in the suburban centre, its façade opening towards the Celovška street above the store in front. Redesign of Kino Šiška Architecturally, the redesign of Kino Šiška into a Centre for Urban Culture particularly introduces functional improvements with regard to its new purpose (the authors of the concept being the architects Anja Planišček and Apolonija Šušteršič). All the external architectural elements, such as the glazing of the entrance prism, the plaster and the oval glazing have remained unchanged. All the appealing elements of the entrance have also been kept, including the mosaic pillars, Venetian stones on the ground floor and first floor and the dominating staircase in the entrance lobby, as well as the oval shape of the hall and exit ramps aligned to the shape of the hall. Piera Ravnikar, Project Manager Sources: Arhiv časopisa Dnevnik Foto dokumentacija DELO Interno glasilo javnega holdinga Ljubljana in MOL Jana Pleško (1996) Obnova kina Šiška Manca Bežek (2005) Nacionalni program za kulturo: Politični in kulturni vidik Mestna občina Ljubljana Urbanistični oddelek in arhiv občine Šiška Zgodovinski arhiv Ljubljana

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Uroš Bonšek Vodja za stike z javnostjo / Head of Public Relations

Matej Bobič Tehnični vodja / Technical Manager

Simon Kardum Direktor / General Manager

Roman Škraba Glavni vzdrževalec V / Head of Maintenance V

Matjaž Manček Pomočnik direktorja za glasbeni program / Assistant Director for Music Programme

Mitja Bravhar Pomočnik direktorja za menedžment in finance / Assistant Director for Management and Finance

Piera Ravnikar Vodja projektov / Project Manager

Darinka Jurečič Poslovna sekretarka VI / Administrative Assistant VI


VIZIJA SIMON KARDUM

VISION SIMON KARDUM

Prihodnost je v tveganju Nov prostor urbane kulture je velik projekt v vseh pogledih. Velik zato, ker je vanj investirano ogromno pričakovanje zainteresirane in širše javnosti. Velik zato, ker je rekonstrukcija opustele stavbe, izvirno namenjene kinopredstavam, pokazala, da je sožitje med patinirano modernistično arhitekturno zasnovo in novimi vsebinami z nekaterimi originalnimi tehničnimi rešitvami možno. Velik zato, ker je ljubljanska oblast poskrbela za politično in finančno pokritje, priznajmo si, precej tveganega projekta.

The future is in taking risks Any way you look at it, a new space for urban culture is a great project. Great because the interested and wider public have invested so much expectation in it. Great because the reconstruction of the desolate building originally serving as a cinema has shown that patinated modernist architecture can indeed coexist with new programmes featuring some original technical solutions. Great because the city administration has ensured political and financial support for, let's admit, quite a risky project.

Tveganega v institucionalnem smislu, saj gre za prvo tako javno ustanovo v samostojni Sloveniji, ki je namenjena drugačni kulturi. Tveganega v infrastrukturnem in tehnološkem smislu, saj bo center premogel tehnološki nadstandard. Tveganega v pravnoorganizacijskem smislu, saj gre za javni zavod, torej obliko, ki pooseblja togost programiranja, poslovanja in kadrovanja. In tveganega zato, ker je projekt sicer nastal s finančno pomočjo Norveškega finančnega mehanizma in Evropskega sklada za regionalni razvoj, a je podpora dejavnosti v celoti na proračunskih plečih Mestne občine Ljubljana. Kot vemo, države (za zdaj) še ni zraven, pa čeprav je bila prenova Kina Šiška leta 2004 - takrat center sodobne umetnosti - eden od pomembnejših infrastrukturnih ciljev, zapisanih tako v Nacionalnem programu za kulturo, kot v Dogovoru o sodelovanju med Ministrstvom za kulturo in MOL. Tudi tako je lahko pozabljiva oblast.

Risky in institutional sense, this being the first public institute of the kind in independent Slovenia, dedicated to a different type of culture. Risky in infrastructural and technological sense, this being a centre featuring above-standard technology. Risky in legal-organizational sense, this being a public institute, i.e. a formation embodying rigid programme formation, operations and human resource management. And risky because the initial financial support for the project has indeed been provided by the Norwegian Financial Mechanism and the European Regional Development Fund, yet the programme in total will have to be supported within the budget of the City of Ljubljana. As we know, the state has (so far) not joined the project, although in 2004 the renovation of Kino Šiška – then a centre for contemporary art – was considered a major infrastructural objective included both in the National Programme for Culture and in the Cooperation Agreement between the Ministry of Culture and the City of Ljubljana. Authorities can be so forgetful.

Ob tej slovesni priložnosti se zahvaljujem Ljubljani, glavnemu podporniku in ustanovitelju, še posebej županu Zoranu Jankoviću in načelniku Urošu Grilcu; vsem prvoborcem, na čelu z rokerji v opoziciji; vsem tistim, ki ste v projekt verjeli (in se ob tem celo smejali, včasih pa tudi zgražali); vsem projektantom, predstavnikom investitorja, izvajalcem, podizvajalcem, dobaviteljem, koordinatorjem, nadzornikom in drugim, ki so sodelovali pri rekonstrukciji; svetnikom javnega zavoda, z Gregorjem Tomcem na čelu; vsem partnerjem, organizatorjem, producentom in ustvarjalcem, s katerimi bomo poskrbeli za razvejano in pestro programsko ponudbo, ter vsem sponzorjem in donatorjem. Posebno zahvalo namenjam zaposlenim. Zato, ker mi zaupajo in zato, ker s svojo požrtvovalnostjo dokazujejo, da na svetu obstajajo tudi drugačni javni uslužbenci. Celo taki brez pisarn.

At this occasion I express my thanks to Ljubljana, our main supporter and founder, and particularly the Mayor Zoran Janković and the Head of The Department for Culture, Uroš Grilc; to all the pioneers headed by rockers from the opposition; to everybody who believed in the project (and even laughed about it, and sometimes frowned upon it); to all the design engineers, investor representatives, contractors, subcontractors, suppliers, coordinators, superintendents and others participating in the reconstruction; to public institute councillors headed by Gregor Tomc; to all the partners, organisers, producers and artists helping us to ensure a wide and diverse programme structure and to all the sponsors and donators. Special thanks go to the staff. Because they trust me and because their selflessness proves that there are also other types of public servants. There are even the types without workplaces.

Z obžalovanjem, da danes nista z nami, na oni svet pozdravljam tudi šišenska tovariša, ki sta veliko prispevala k uresničitvi projekta: pisatelja in politika Petra Božiča († 2009) ter arhitekta in uradnika Tomaža Brateta († 2008).

Expressing my regrets that they cannot be with us, I wish to send my best wishes to the other world to my Šiška comrades who contributed much to project realisation: the writer and politician Peter Božič († 2009) as well as the architect and officer Tomaž Brate († 2008).

Simon Kardum, direktor Center urbane kulture Kino Šiška

Simon Kardum, General Manager Kino Šiška Centre for Urban Culture

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Rada bi se zahvalila vsem, ki so pomagali, da sta razstava in katalog zaživela v svetlobi resničnega sveta: županu Zoranu Jankoviću za njegovo navdušujočo vizionarsko odločenost, podžupanu Janku Möderndorferju, Urošu Grilcu in Tanji Dodig Sodnik za njihovo zaupanje, Simonu Kardumu za njegovo trmasto vztrajnost, Pieri Ravnikar za njeno žensko prefinjenost, ekipi Kina Šiška za njihovo predano podporo, Juretu Mikužu za njegovo briljantno pronicljivost, Stanetu Jeršiču za njegovo ljubeznivo prijaznost in sinu Aleksu Jeršiču, sončku mojega vesolja za njegovo dragoceno otroško ljubezen. Barbara Jakše Jeršič, fotografinja Ljubljana, 07.08.2009

I wish to thank everybody who have helped bring this exhibition and catalogue to life: the Mayor Zoran Janković for his enthusiastic visionary determination, to the Deputy Mayor Janko Möderndorfer, Uroš Grilc and Tanja Dodig Sodnik for their trust, to Simon Kardum for his stubborn insistence, to Piera Ravnikar for her feminine sophistication, to the Kino Šiška team for their devoted support, to Jure Mikuž for his brilliant insight, to Stane Jeršič for his loving kindness and to my son Aleks Jeršič, the sun of my universe, for his precious childish love. Barbara Jakše Jeršič, photographer Ljubljana 07/08/2009


MINLJIVOST ZA VEČNOST

Fotografije Barbare Jakše Jeršič, ki jih sama imenuje Zgodovina prihodnosti, napovedujejo delo prihodnjih arheologov, ponujajo jim videz tistega, kar nam danes ni mar, njih pa bo navduševalo, ko se bo prikazalo izpod njihovih lopatic in drugega orodja. In v tem je njeno početje več kot smiselno, saj nas vrača v čase, ko ljudem ni bilo pomembno samo tisto, kar vidijo, ampak morda še bolj že sama navzočnost nečesa, kar je pogledu skrito.

Photographs by Barbara Jakše Jeršič, which she refers to as A history of the future, herald the work of future archaeologists, offering them the sight of what we fail to care about today, yet they will be enthralled by what shows below their trowels and other tools. Considering this, what she does makes perfect sense, bringing us back to times when people not only cared about what they saw, but maybe cared even more about the presence of something hidden to the eye.

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Minljivost za večnost Vodja oddelka za fotografijo Francoske nacionalne knjižnice v Parizu Jean-Claude Lemagny je nekoč zapisal, da se ustvarjalna fotografija v odnosu do dokončane arhitekture nahaja pred njo in po njej. Pred njo, kadar beleži bogato teksturo uporabljenih materialov in elementov, ki bodo zaznamovali bitje stavbe. Po njej pa, ko bo stroga organizacija načrtov in notranjih konstrukcij prekrita in bo nov prostor zaživel v vsej svoji nepredvidljivosti in presenetljivi poeziji. Podobe Barbare Jakše Jeršič niso dokumentarni posnetki poteka gradbenih del. V njih je združila oboje, kar odlikuje umetniško fotografijo: pogled na vse, kar bo izginilo, ker bo prekrito, odstranjeno, prebarvano, in pogled na tisto, kar je videti takšno, kakršno je, prav zaradi vsega tistega, kar je zaradi njegovega nastanka prekrito, odstranjeno, prebarvano. Poiskala in posnela je drobce, manjše celote in funkcionalne dele, ki so v oblikovanju končnega zunanjega videza arhitekture nujno nevidni, torej za pogled minljivi, prav zato, da ustvarijo večnostni videz arhitekture, ki jo je Plečnik v večnem jeziku, latinščini, imenoval »architectura perennis«.

Kozmološke pripovedi o nastanku sveta in vesolja govorijo o stvarniku, ki iz kaotičnega materiala ustvarja urejen videz kozmosa. Tudi v zamisli arhitekta se neprepoznavni delci spreminjajo v prepoznavno in urejeno zgradbo. Večina jih je na videz neprivlačnih in nepomembnih, a prav vsi so za popoln videz celote funkcionalno in vizualno nepogrešljivi. Vsaka arhitektura ima, tako kot Mesec, svojo skrito stran, in v radovedni človekovi naravi je, da pogleda nanjo, čeprav je onkraj vidnega. Fotograf pa je še bolj iščoč in občutljiv kot drugi ljudje in je pripravljen stvari, ki jih je videl onkraj, deliti z njimi. Tudi Barbara Jakše Jeršič se je z aparatom podala na lov za detajli in videzi, tipičnimi za gradbišče. V njihovi znakovnosti, površini, materialnosti, v trenutnih stanjih, vizurah, odbleskih, barvnih odtenkih je našla skrite lepote in pomene, kakršne odkrijejo samo mojstri. Likovna umetnost od nekdaj uči ljudi predvsem to, da se vse, kar se jim zdi nepomembno, grdo in neprivlačno, lahko v videnju kvalitetnega ustvarjalca spremeni


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v lepo. Tako so neobdelan zid, hrapavost še nezglajenega kamna, odri, podpore, žice, cevi in vsi drugi elementi stavbe v nastajanju, postali v moderni arhitekturi velikokrat vidni, enakopravni sestavni deli celote z vso svojo obdelanostjo in nedokončanostjo. Seveda pa večina teh elementov ostaja nevidnih, prekritih z dokončno lupino zunanjščine in notranjščine, s fasado, beležem, opažem, tapetami. Na fotografijah Barbare Jakše Jeršič se zdijo kot neorganski fosili. To nas spomni, da so imeli fosili v zgodovini človeške misli od Cuvierja do Foucaulta veliko vlogo. Hegel, denimo, v svoji Filozofiji narave ni verjel, da so ostanki nekoč živih živali ali rastlin. Po njegovem jih je vtisnila v kamen narava, podobno kot bi to storil umetnik, in zato predstavljajo življenje, ne da bi bili kdaj živi. Danes se verjetno zdi tako razpravljanje odveč in marsikoga zakriti arhitekturni in funkcionalni členi ne zanimajo. Zdijo se mu obrobni in nepomembni, saj so nevidni. Verjame namreč samo v tisto, kar vidi. In šele ko reče »vidim«, to zanj

pomeni »vem«. Zato mu je dovolj, da živi, dela in se zabava v prostorih, ki jih ti elementi soustvarjajo, in izkorišča ugodnosti, ki jih omogočajo. Fotografije Barbare Jakše Jeršič, ki jih sama imenuje Zgodovina prihodnosti, napovedujejo delo prihodnjih arheologov, ponujajo jim videz tistega, kar nam danes ni mar, njih pa bo navduševalo, ko se bo prikazalo izpod njihovih lopatic in drugega orodja. In v tem je njeno početje več kot smiselno, saj nas vrača v čase, ko ljudem ni bilo pomembno samo tisto, kar vidijo, ampak morda še bolj že sama navzočnost nečesa, kar je pogledu skrito. Tudi bivališča, svetišča, delavnice, tovarne, urade, zabavišča in vse druge stavbe in prostore so obravnavali drugače, apotropejsko, s strahospoštovanjem, s praznoverjem, z upanjem in veseljem. Da bi odvrnili slabo usodo, zle duhove, nesreče in neprijeten sloves, so v temelje vzidali živo črno mačko, relief muhe, lahko pa tudi steklenico žganja, da bi z njo presenetili tistega, ki bi stavbo porušil. Jure Mikuž


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Transience for eternity Jean-Claude Lemagny, Head of the Photography Department in the French national library, Paris once wrote that as opposed to a completed building, creative photography exists beforehand and afterwards. Beforehand when recording the rich texture of materials and elements used to mark the building as a being. Afterwards when the strict structure of plans and internal constructions is concealed and the new space takes off in all its unpredictability and astonishing poetry. The images by Barbara Jakše Jeršič are no documentary shots of the course of construction. In them she has managed to merge both features of art photography – the view of everything that will disappear by being covered, removed, painted, and the view of everything that looks as it does thanks to everything that due to its existence had to be covered, removed, painted. She looked for and shot details, little totalities and functional parts, which in the process or generating the final architectural appearance have to be concealed, therefore have to be transient to the eye in order to create the eternal appearance of architecture, which Plečnik dubbed “architectura perennis” using the eternal language, Latin.

Cosmological narratives of the creation of the world and the universe feature the Creator who transforms the chaotic material into the orderly appearance of the cosmos. Likewise, the architect's idea transforms unidentifiable parts into a recognisable and orderly building. Indeed, these parts are mostly not particularly appealing or significant, yet each of them is indispensable due to its function and appearance to ensure the perfect final appearance. Just like the moon, each building features its hidden side, and is in the curiosity of human nature to look for it, although it can only be found beyond the visible. Being all the more searching and sensitive as opposed to others, a photographer is ready to share the things seen beyond. Likewise, Barbara Jakše Jeršič took the camera to go looking for details and appearances, typical of a construction site. It was in the signs, surfaces, materials, current conditions, views, reflections, colour shades that she would find hidden beauties and meanings that can only be discovered by masters. Fine art has always primarily been teaching people how everything that might seem insignificant, ugly or unattractive can be turned beautiful by an excellent creator. Being coarse and incomplete as they are, a rough wall, the coarseness of unpolished rock,


A HISTORY OF THE FUTURE

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caffolding, supports, wires, tubes and all other elements of a building-to-be, are in modern architecture thus often visible, equal component parts of the whole. Naturally, the majority of these elements remains unseen, concealed by the final shell of the exterior and interior, by the façade, whitewash, panelling, wallpaper. In the photos by Barbara Jakše Jeršič they seem inorganic fossils. Which reminds us that fossils played an important part in the history of human thought from Cuvier to Foucault. Hegel for example in his Philosophy of Nature refuses to believe that fossils were remnants of animals and plants that once lived. In his opinion they were imprinted in the rock by nature, just like an artist would have done it, therefore they represent life without ever having been alive. Such discussions might seem redundant today, and hidden architectural and functional elements are often of no interest to people. Being invisible, they seem marginal and insignificant. This is because people only believe what they see. And only when they say, “I see”, it means, “I know”. It is thus sufficient for people to live, work and entertain themselves in

spaces co-created by these elements and to exploit the benefits they provide. Photographs by Barbara Jakše Jeršič, which she refers to as A history of the future, herald the work of future archaeologists, offering them the sight of what we fail to care about today, yet they will be enthralled by what shows below their trowels and other tools. Considering this, what she does makes perfect sense, bringing us back to times when people not only cared about what they saw, but maybe cared even more about the presence of something hidden to the eye. Dwelling places, sanctuaries, workshops, factories, offices, entertainment venues as well as all other buildings and spaces used to be treated differently, apotropaically, with awe, with superstition, with hope and joy. To deter miserable destiny, evil spirits, misadventures and bad reputation, a living black cat, a relief of a fly or maybe even a bottle of spirits could have been incorporated in the foundations in order to surprise those who would demolish the building. Jure Mikuž


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IDEJNA ZASNOVA 2004 / CONCEPT 2004 Elea iC d.o.o. Arhitektura / Architectural design: Anja Planišček u.d.i.a. / BArch, Apolonija Šušteršič u.d.i.a. / BArch IDEJNI PROJEKT 2007 / PROJECT 2007 Elea iC d.o.o. Arhitektura / Architectural design: Anja Planišček u.d.i.a. / BArch, Nena Gabrovec u.d.i.a. / BArch Gradbene konstrukcije / Structural design: Elea iC d.o.o., Jana Pribakovič u.d.i.gr. / BEng Civil Elektro instalacije / Electrical installation: Eldata d.o.o., Borut Glavnik u.d.i.el. / BEng Electrical Engineering Strojne instalacije / Mechanical installation: Celarc d.o.o., Tomi Celarc u.d.i.s. / BEng Mechanical Engineering PROJEKT ZA GRADBENO DOVOLJENJE IN PROJEKT ZA IZVEDBO 2008 / DOCUMENTATION FOR CONSTRUCTION PERMIT AND PROJECT FOR EXECUTION 2008 Elea iC d.o.o.

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Glavni in odgovorni vodja projekta / Executive Project Manager: Angelo Žigon u.d.i.gr. / BEng Civil Arhitektura / Architectural design: Anja Planišček u.d.i.a. / BArch, Nena Gabrovec u.d.i.a. / BArch Gradbene konstrukcije / Structural design: Elea iC d.o.o., Jana Pribakovič u.d.i.gr. / BEng Civil Elektro instalacije / Electrical installation: Eldata d.o.o., Borut Glavnik u.d.i.el. / BEng Electrical Engineering Strojne instalacije / Mechanical installation: Celarc d.o.o., Tomi Celarc u.d.i.s. / BEng Mechanical Engineering Akustika / Acoustical design: Saša Galonja u.d.i.a. / BArch Scenska tehnika / Stage equipment: Ivo Koritnik u.d.i.a. / BArch Svetovalci za scensko in avdio tehniko / Stage and audio equipment advisors: Jaka Šimenc, Igor Remeta, Aco Razbornik, Emir Beširović Koordinator tehnične in notranje opreme / Technical and interior equipment coordinator: MK Light Sound d.o.o., Mice Karov Audio oprema / Audio equipment: Audio Pro d.o.o., Uroš Obreza Lučna oprema / Lighting equipment: SST d.o.o., Jernej Podbevšek Video oprema / Video equipment: AVC d.o.o., Jani Medič Scenski in lučni vlaki / Rail systems for stage and lighting equipment: TSE d.o.o., Tilen Vipotnik Scenska tehnika / Stage equipment: Despo d.o.o., Željko Popović Elektro instalacija za tehniko / Equipment-related electrical installation: Rudis d.o.o., Bogdan Tominšek Akustične obloge / Sound absorbers: Mupo d.o.o., Srečko Bešter Mizarska dela in gostinska tehnika / Carpentry and catering equipment: Lesnina ING d.d., Uroš Breznik IZVAJALEC GRADBENO OBRTNIŠKIH IN INSTALACIJSKIH DEL 2008 – 2009 / CONSTRUCTION AND INSTALLATION CONTRACTOR 2008 – 2009 SCT d.d. skupaj s podizvajalci / SCT d.d. in cooperation with subcontractors Predsednik upravnega odbora / Chairman of Board: Ivan Zidar u.d.i.s. / BEng Mechanical Engineering Izvršni direktor visoke gradnje / Executive Director (High-rise construction): Martin Lenaršič u.d.i.gr. / BEng Civil Vodja projekta / Project Manager: Matjaž Hafner Vodja gradbišča / Construction Site Manager: Nataša Škopelja Imovina d.o.o. Gradbeni nadzor / Construction Supervision: Damir Bijelić Elektro nadzor / Electrical Supervision: Brane Otoničar Strojni nadzor / Engineering Supervision: Milan Trdan


Katalog 'Zgodovina prihodnosti' je posvečen 100. obletnici rojstva arhitekta Božidarja Gvardjančiča. 'A History of the Future' catalogue commemorates the 100th anniversary of the birth of Božidar Gvardjančič, architect.


CENTER URBANE KULTURE KINO ŠIŠKA 2009

ZGODOVINA PRIHODNOSTI A HISTORY OF THE FUTURE

CENTER URBANE KULTURE KINO ŠIŠKA 2009 KINO ŠIŠKA CENTRE FOR URBAN CULTURE 2009

KINO ŠIŠKA CENTRE FOR URBAN CULTURE 2009

KINO SISKA  

Center for Urban Culture in Ljubljana.

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