'In the Midst of a Thriving Community'

Eastern Surf: Kernel Panic Control UVOD → strana 2 INTRODUCTION → page 3 EASTERN SURF → strana 6 EASTERN SURF → page 7 HARRY WEEKS U središtu uspješne zajednice → strana 44 In The Midst of a Thriving Community → page 45 DARKO FRITZ Zapis za Eastern Surf → strana 62 A Note for Eastern Surf → page 63 ANGELA MCLANAHAN Odsutne prisutnosti → strana 74 Absent Presences → page 75 EMMA BALKIND ona je konzument, proizvođač, konzument proizvođača i proizvođač konzumenata → strana 86 she is the consumer, the producer, the consumer of producers, and the producer of consumers → page 87 IVa MarčetIć Glatki svijet → strana 92 The Smooth World → page 93 CAROLINE NEWTON, BURAK PAK Inovativne tehnologije za osnaživanje kritičkog mišljenja u arhitektonskom projektiranju → strana 102 Innovative technologies for invigorating critical thinking in architectural design → page 103 Petar JanDrIć Pitanje o anti-disciplinarnosti → strana 108 The Question Concerning Anti-Disciplinarity → page 109 HAMISH MACLEOD, CHRISTINE SINCLAIR Dijalozi. eastern Surf: pronalaženje stvarnosti virtualnog → strana 120 Dialogues. Eastern Surf: finding the reality of the virtual → page 121 IMPreSSUM → strana / page 126‒128 U SreDIŠtU USPJeŠne ZaJeDnICe Harry Weeks Harry Weeks je istraživač na doktorskoj razini na Sveučilištu u Edinburghu. Bavi se umjetničkim pregovaranjima zajednice u odnosu na paralelna kretanja u ilozoiji i sociologiji nakon 1989. U recentnim istraživanjima i publikacijama pozabavio se pitanjima kao što su istočnoeuropska suvremena umjetnost, performans, mediji bazirani na objektivu, kustoski studiji, umjetnost zajednice, postkomunistička politika i ekonomija suvremene umjetnosti. IN THE MIDST OF A THRIVING COMMUNITY Harry Weeks Harry Weeks is a Doctoral Researcher at the University of Edinburgh, UK. His thesis examines artistic negotiations of community in relation to parallel developments in philosophy and sociology since 1989. His recent research and publications have tackled issues including Eastern European contemporary art, performance, lens-based media, curatorial studies, community theory, post-communist politics, and the economics of contemporary art. U SREDIŠTU USPJEŠNE ZAJEDNICE HARRY WEEKS IN THE MIDST OF A THRIVING COMMUNITY mans je 'liminalan' ili nejasan; postoji mogućnost da neće biti jasno što se izvodi, a što ne. Slučajni prolaznik može opravdano, iako netočno, pomisliti da svjedoči ili komunicira Performans je opasan s nekim pod uobičajenim uvjetima, u skladu s normama svakodnevnog Zbog toga što su obično uvjetni, postojanja. Drugo, performans treba liminalni, opasni i dvolični, perforbiti konvencionaliziran kako bi se mansi su ograničeni konvencijama regulirala aktivnost i poništila sloboi okvirima: mjesto, sudionici i događaj predstavljaju se tako da se da izvođača – na osnovu toga da je performans tek "ikcija, igra, za zana neki način doimaju sigurnima. U takvim relativno sigurnim iktivnim bavu" – da djeluje izvan društvenih zonama, djelovanje se može dove- normi, da prekorači etičke granice i dovede djelovanje do krajnosti sti do krajnosti, čak i radi zabave. (Schechner 2003., str. xviii). Schechner 2003., str. xix Kao što je napomenuo teoretičar performansa Richard Schechner, performans može biti fundamentalno opasna praksa. Privremen je i eksperimentalan, institucija umjetnog skupa pravila i normi, suprotno onima koji upravljaju 'normalnošću', namijenjenih određenim okolnostima ili ljudima (ako takva stvar postoji. Doista, mnogo toga napisano je na temu performativnosti naše svakodnevice). Stoga treba biti "ograničen konvencijama i okvirima" (kao što su televizija, ilm ili kazalište) kako bi se neutralizirale dvije karakteristike na kojima se temelji inherentna opasnost performansa: dvosmislenost i krajnost. Prvo, mora biti postavljen u okvir kako bi se jasno odredila, označila i obilježila izvedba. Bez toga, perfor- Šezdesestih i sedamdesetih godina 20. stoljeća umjetnici su uočili potencijal u izmještanju performansa iz njegovih okvira, izbjegavanju konvencija i oslobađanju njegove inherentne opasnosti. Vito Acconci iskoristio je neupućenu javnost, transformirajući publiku u nesvjesne igrače u svojim seksualiziranim igrama, dok je Marina Abramović navela posjetitelje galerije na neprimjereno divlje i okrutno ponašanje. No kada je performans ušao u kanon povijesti umjetnosti, ponovno je postao ograničen novim skupom konvencija i okvira. U uvjerljivoj usporedbi s tendencijom kapitalizma da prisvoji sve oblike nesla- EASTERN SURF STRANA 44 HARRY WEEKS be clear what is performed and what is not. The innocent bystander may justiiably, yet incorrectly, believe that they are witnessing or interacting with someone on standard terms, accordPerformance is dangerous ing to the norms of everyday existence. Secondly, performance requires conBecause performances are usually subjunctive, liminal, dangerous, and ventionalisation in order to regulate activity and counteract the license duplicitous they are often hedged granted to the performer - on the basis in with conventions and frames: ways of making the places, the par- that performance is simply 'make-believe, in play, for fun' – to act outside ticipants, and the events somewhat of societal norms, to transgress ethical safe. In these relatively safe makeboundaries and to carry actions to exbelieve precincts, actions can be tremes (Schechner 2003, p. xviii). carried to extremes, even for fun. Schechner 2003, p. xix As the performance theorist Richard Schechner noted, performance can be a fundamentally dangerous practice. It is provisional and experimental, the institution of an artiicial set of rules and norms, contrary to those governing 'normality', on a particular circumstance or people (if such a thing exists. Indeed, plenty has been written on the performativity of our daily existence). Thus it needs to be 'hedged in with conventions and frames' (such as those of television, ilm and theatre) in order to neutralise two traits in which, I wish to suggest, the inherent danger of performance is rooted: ambiguity and extremity. Firstly, it must be framed, to clearly demarcate, designate and signpost the performance. Without such framing performance is 'liminal' or ambiguous. It may not In the 1960s and 70s artists noticed the potential available through the release of performance from its frames, eschewing conventions and unleashing its inherent danger. Vito Acconci exploited an unsuspecting public, transforming the audience into oblivious players in his sexualised games, while Marina Abramović coaxed the gallery-going classes into incongruous acts of savagery and brutality. But, as performance was admitted into the canon of art history, it once again become constrained by a new set of conventions and frames. In a telling parallel with capitalism's tendency to incorporate all forms of dissent, these were modelled upon the initially trans- EASTERN SURF PAGE 45 U SREDIŠTU USPJEŠNE ZAJEDNICE ganja, ova su pravila bila osmišljena po uzoru na inicijalno transgresivne radove prvog vala umjetnosti performansa. I još jednom, performans je postao siguran. Međutim, s nastupom novog tisućljeća, i uslijed šireg zaokreta prema materijalno orijentiranim praksama – što je određujuća karakteristika suvremene umjetnosti u posljednjih dvadeset godina – nova generacija umjetnika nanovo je uspostavila opasnost koja je sastavni dio performansa, izmičući konvencijama i okvirima 'umjetnosti performansa' nakon 1960-ih toliko uspješno da performativni aspekt njihovog rada često biva u potpunosti zanemaren. Renzo Martens, Artur Żmijewski i njima slični uspjeli su, zahvaljujući manipulaciji dvama opasnim karakteristikama navedenim ranije – dvosmislenošću i krajnošću – prokrijumčariti opasnosti performansa van galerijskog prostora u javnu sferu. Dvosmislenost je pojačana. Martens i Żmijewski upotrebljavaju forme i estetiku dokumentarne metode koja je toliko česta u suvremenoj umjetničkoj praksi, zakrabuljujući svoje performanse u navodnu objektivnost i iskrenost koje izjednačujemo s dokumentarnim idiomom. Isto tako, prikrivaju perfor- HARRY WEEKS IN THE MIDST OF A THRIVING COMMUNITY mativnu prirodu likova koje igraju. U svom video radu Episode III: Enjoy Poverty (2008.), Martens oscilira između zabrinutog redatelja i nestašnog antagonista, nikad se ne umirujući dovoljno dugo da bi publika ili sudionici ilma u potpunosti mogli apsorbirati ili shvatiti prirodu njegovog lika. Żmijewski kroz svoju praksu pleše po tankoj liniji između uvjerljivosti svojih postupaka kao neizvođenih i izvođenih, a zbunjenost je pojačana manjkom bilo kakvih vizualnih indikacija da je riječ o performansu. Zaista, ni on ni Martens ne mijenjaju značajno svoj izgled tijekom izvedbe. Umaknuvši okvirima 'umjetnosti performansa' putem naglašene liminalnosti, krajnost izvedbe može biti pojačana, konvencije se mogu zaobići, "postupci se mogu dovesti do krajnosti." U svom radu 80064 (2005.), Żmijewski obnavlja tetovažu identiikacijskog broja na ruci preživjelog logoraša iz Auschwitza, što predstavlja čin koji nadilazi etičke norme društva, istovremeno uvjeravajući 92-godišnjeg starca da će nova tetovaža izgledati ljepše i zadržati autentičnost. Ponovno, ni publika ni sudionik nisu sigurni svjedoče li razrađenom performansu ili činu poremećenog psihopata. EASTERN SURF STRANA 46 gressive works of this irst wave of performance art. Once more performance had been made safe. However, with the advent of the new millennium, and in the midst of the wider turn towards materially engaged practices – the deining characteristic of contemporary art over the past twenty years – a new generation of artists has reinstated the danger integral to performance, escaping the post-1960s conventions and frames of 'performance art' so successfully that the performative character of their work is often entirely overlooked. The likes of Renzo Martens and Artur Żmijewski have, through the manipulation of the two dangerous traits of performance described above – ambiguity and extremity – consciously and strategically smuggled the dangers of performance outside of the gallery space and into the public domain. Ambiguity is heightened. Martens and Żmijewski employ the forms and aesthetics of the documentary mode so prevalent in contemporary art practice, cloaking their performances in the supposed objectivity and sincerity equated with this documentary idiom. Likewise they disguise the performative nature of the characters they play. Martens in his video piece 'Episode III: Enjoy Poverty' (2008) oscillates HARRY WEEKS between concerned ilmmaker and mischievous antagonist, never resting long enough for either the audience or the participants in his ilm to fully absorb and understand the nature of his character. Żmijewski, throughout his practice tows a ine line between his actions being credible as those of a non-performed igure and those of a performed character, a confusion heightened by the lack of any visual clues to indicate a performance. Indeed, neither he nor Martens substantially alter their appearances in the course of their performances. Having escaped the frames of 'performance art' through this heightened liminality, the extremity of the performance may be ampliied, conventions may be circumvented, 'actions can be carried to extremes'. Żmijewski, in his work '80064' (2005), renews the identiication number tattooed on the arm of an Auschwitz survivor, an act demonstrably beyond the ethical norms of society, all the while assuring the 92 year old man that the renovated tattoo will look nicer and will retain its authenticity. Again neither audience not participant is certain as to whether they are witnessing an elaborate performance or the actions of a deranged psychopath. EASTERN SURF PAGE 47 U SREDIŠTU USPJEŠNE ZAJEDNICE Upravo se unutar ove tendencije u suvremenoj umjetničkoj produkciji smješta djelovanje umjetničkog kolektiva Eastern Surf. Oni upotrebljavaju u velikoj mjeri slične strategije javnog performansa u većini svojih radova. U sklopu projekta Quartermile Rendered Ghosts (2012.), građani i glumci pozvani su da nastupe kao arhetipski stanovnici nedavno završenog stambenog i poslovnog kompleksa Quartermile u Edinburghu. Ušli su nenajavljeno na 'polu-javni' središnji trg Quartermilea – mrežu prenamijenjenih bolničkih zgrada ispresijecanih različitim novoizgrađenim visokokatnicama sa stanovima i staklom obavijenim komercijalnim prostorima – te počeli simulirati radnje preuzete iz kompjuterski generirane arhitektonske vizualizacije prostora. Muškarac vozi bicikl; žena prolazi s ključevima u ruci, usredotočena na sadržaj razgovora preko mobilnog telefona; i, doista u stilu arhitektonskih rendera, nekolicina privlačnih i dotjeranih djevojaka besciljno tumara, uživajući u ljepoti ovog idiličnog javnog prostora. Njihov performans je, poput onih Żmijewskog i Martensa, bio nenajavljen, ne zamišljen kao performans, ako izuzmemo sekundarnu HARRY WEEKS IN THE MIDST OF A THRIVING COMMUNITY publiku koja će rad vidjeti u njegovom galerijskom obliku; bio je tih i nenametljiv, kao i dokumentacija; zbog izvođenja radnji koje su u takvom prostoru uobičajene, nije se na prvi pogled doimao neobičnim ili čudnim (dvije igure na jednoj od slika nisu izvođači, već obični prolaznici, i nije odmah jasno o kome je riječ). Svi ovi čimbenici naglašavaju liminalnu prirodu performansa, što je kvaliteta koju Eastern Surf dijele s gore navedenim primjerima. Pa ipak, ishod performansa, a osobito njegova recepcija, u oštrom je kontrastu s reakcijama na performanse Martensa i Żmijewskog. Dok su ovi takozvani "zločesti dečki" (Lloyd 2010.) umjetničkog svijeta redovito izazivani i prozivani zbog etičke transgresije svojih radova (Martens je navodno nekoliko puta primio batine nakon projekcije svojih ilmova), rad Eastern Surfa primljen je dobro. Nema spomena etičkog prekoračenja, usprkos činjenici da je idiom performansa kojeg je grupa usvojila, kao što sam naveo, ne samo vezan uz etičko prekoračenje, već je u suštini isprepleten s njime. Jasno, tome pridonosi manjak krajnosti u radu grupe. Oni ne izvode akcije koje šokiraju ili zaprepašćuju u mjeri u kojoj to čini 80064. Međutim, EASTERN SURF STRANA 48 It is within this tendency of contemporary art production that the work of the artist collective Eastern Surf resides. The group has employed largely similar strategies of public performance in much of its work. For its 'Quartermile Rendered Ghosts' (2012) project members of the public and hired actors were invited to perform as archetypal residents of the recently inished Quartermile residential and commercial development in Edinburgh. They entered unheralded into the 'semi-public' central square of Quartermile – a network of converted hospital buildings interspersed with various newly built high rise lats and glass fronted commercial properties – and proceeded to simulate actions borrowed from CGI architectural visualisations of the space. A man wheels his bike across a road; a woman walks past with keys in hand, preoccupied by the content of her ongoing phone conversation; and, truly in the style of architectural renders, several attractive and well-attired young things loiter and linger, basking in the sheer delight of this idyllic public space. Their performance was, like those of Martens and Żmijewski, unannounced, not framed as performance art except for the secondary audience HARRY WEEKS receiving their work in its gallery form; it was quiet and unobtrusive, as was the documentation; through its mimicry of actions purported to be common in such spaces it did not appear ostensibly foreign or unusual at a glance (indeed, two of the igures in one of the images are not performers but passing members of the public, and it is not immediately clear which). All these factors accentuate the liminal nature of the performance, a quality shared by Eastern Surf and the examples described above. And yet the outcome of the performance, in particular its reception, is quite startlingly in contrast to those of Martens and Żmijewski. While these so-called 'Bad Boys' (Lloyd 2010) of art have been routinely challenged and confronted regarding the ethical transgressions of their work (Martens has reportedly been on the receiving end of several ists after screenings of his ilms), Eastern Surf's work has been received thoughtfully. There is no suggestion of ethical transgression, despite the fact that the performance idiom adopted by the group, as I have argued, has not only been thoroughly associated with ethical transgression, but is also fundamentally imbricated in it. Of course, a contributory factor in this is the lack of extremity in Eastern Surf's EASTERN SURF PAGE 49 U SREDIŠTU USPJEŠNE ZAJEDNICE HARRY WEEKS otrijebim terminologiju Zygmunta Baumana, u smislu zajednice koja još to nije, koja je obilježena upravo aetičnošću koju performansi Easter čini mi se da je u igri još jedan faktor Surfa čine vidljivom. koji pomaže objasniti razliku između tih dviju različitih formi suvremenog etička uspostava zajednice Literatura koju je objavio marketinški javnog performansa. ured Quartermilea potencijalnim Premda je točna motivacija savje- stanarima ponosno nudi mogućnost snih i taktičkih etičkih transgresija da žive "u središtu uspješne zajedŻmijewskog i Martensa često nejasna nice." Uzevši u obzir čak i relativnu – što je još jedno očitovanje njihove mladost naselja, i kratak posjet samoj strateške dvosmislenosti – često se lokaciji pokazuje suprotno. Iako je 'zaopravdano navodi da su njihova jednica' postala izuzetno širok termin meta upravo etički principi koje krše. za opisivanje društvenih odnosa, niGrant Kester sugerirao je da su takve jedno od njenih značenja ne opisuje prakse motivirane "strateškom proiz- Quartermile na prikladan način. Nešto vodnjom srama ili krivnje kod gle- nedostaje. Njemački sociolog Ferdidatelja (s ciljem pobuđivanja po svoj nand Tönnies zapisao je 1887. u svojoj prilici uspavanog etičkog senzibilite- knjizi Gemeinschaft und Gesellschaft ta)" (Kester 2012.). Smatram da rad (Zajednica i civilno društvo) da: Eastern Surfa, nasuprot tome, ističe nedostatak etike, osobito osebujnu Što god da je suglasno s etičku prazninu naselja Quartermile unutarnjim karakterom odnosa u koje smještaju svoj performans, zajednice predstavlja njen zakon, a time i nebrojenih novih poslovnih i biti će poštovano kao istinska, i stambenih objekata koje se često osnovna 'volja' svih onih koji su naziva 'polu-javnim prostorima'. Da njome povezani. pojasnim, to ne znači da Quarter- tönnies 2001., str. 33 mile predstavlja prostor zagađen neetičkim ponašanjem, već da je, Tönniesovu karakterizaciju 'zakona' doslovno, lišen vladajuće etike, koda kao vezanog za zajednicu lakše je prihvatljivih društvenih praksi. Quar- izjednačiti s našim suvremenim ratermile nije neetičan, već aetičan. U drugom dijelu ovog teksta pokušati ću opisati suvremenu novogradnju EASTERN SURF koju Quartermile predstavlja, da upSTRANA 50 IN THE MIDST OF A THRIVING COMMUNITY HARRY WEEKS work. They do not perform any action which shocks or appals to the same degree as '80064'. However, it seems to me that there is another factor in play which helps to explain the difference between these two contrasting forms of contemporary public performance. that the space is devoid of a governing ethics, a code of acceptable social practices. It is not unethical, but anethical. In the second part of this paper I shall endeavour to characterise the contemporary new-build development which Quartermile is so representative of as, to use the language of Zygmunt Bauman, a 'not yet' community, deined by precisely the anethical quality Eastern Surf's performance makes visible. Although the exact motivations underlying Żmijewski and Martens' conscientious and tactical ethical transgressions are often uncertain – another manifestation of the strategic ambiguity employed by the pair – it has been reasonably argued that the target they set in their sights is in fact the very ethics they transgress. Grant Kester has suggested that such practices are motivated by the 'strategic production of shame or guilt in the viewer (in order to awaken a presumably dormant ethical sensibility)' (Kester 2012). I contend that the work of Eastern Surf, conversely, serves to highlight a lack of ethics, speciically the peculiar ethical void of the Quartermile development in which they situate their performance and by extension the innumerable other new commercial and residential developments often referred to as 'semi-public spaces'. To clarify, this is not to say that Quartermile represents a space plagued with unethical behaviour, rather I mean quite literally The ethical constitution of community The literature issued by Quartermile's marketing ofice proudly offers potential residents the opportunity to live 'in the midst of a thriving community'. Even allowing for the relative youth of the development, the quickest of visits to the site seems to contradict this proclamation. Though 'community' has become the broadest of terms to describe social relations, in none of its senses does it seem an adequate descriptor of Quartermile. Something is lacking. The German sociologist Ferdinand Tönnies wrote in his 1887 tome Gemeinschaft und Gesellschaft (Community and Civil Society) that: Anything which is in agreement with the inner character of a community relationship constitutes EASTERN SURF PAGE 51 U SREDIŠTU USPJEŠNE ZAJEDNICE HARRY WEEKS IN THE MIDST OF A THRIVING COMMUNITY članova. Upravo u tom području, po pitanju etike, Quartermile fundamentalno ne uspijeva u naumu da funkcionira kao oblik zajednice, kao što će analiza izravne recepcije performansa Eastern Surfa i potvrditi. arhitektonski render Architectural render zumijevanjem 'etike' nego s bilo čim zakonodavnim. Kao što Jose Harris navodi u svom uvodu u izdanju Tönniesove knjige iz 2001., "u zajednicama (Gemeinschaften) zakon je proizišao iz zajedničkog iskustva i rada." To je "podsvjesna zajednička moralnost," a ne 'Civilno Društvo' ili Gesellschaft izmjena zakona, proizvod pravne i administrativne racionalnosti i formalnog zakonodavstva" (Tönnies 2001., str. xix). Stoga, slijedeći Tönniesovu logiku, zajednice se uspostavljaju ne na temelju identiteta, religije, etniciteta, nacionalnosti ili posjeda, već na temelju začudnog koktela svih tih i drugih faktora, koja se manifestira, nakon dužeg i organskog procesa, kao etika, kod praksi i normi koje nadziru funkcioniranje i ponašanje zajednice i njezinih Unatoč povremenom pojavljivanju stanara i mušterija različitih poslovnica u naselju, performans nije nijednom bio prekinut niti je izazvao pitanja. Iako su izvođači oponašali radnje i aktivnosti arhetipskih stanovnika kakve možemo vidjeti na kompjuterski generiranom renderu naselja, pretjerana izvještačenost – ili zaista, pretjerana konformnost – njihove izvedbe jasno obilježava događaj kao nešto neobično. Njihov performans bio je dvosmislen, no nikako nevidljiv. Usporedite ove tri slike, prva je arhitektonski render prostora, druga prikazuje sam performans, a treća uobičajeno funkcioniranje prostora. eastern Surf dokumentacija performansa Eastern Surf performance documentation EASTERN SURF STRANA 52 HARRY WEEKS its law, and will be respected as the true, essential 'will' of all those bound together in it. Tönnies 2001, p. 33 Quartermile, Srpanj, 2012. Quartermile, July, 2012. Tönnies' characterisation of 'law' as pertaining to community is more readily equated with our contemporary understanding of 'ethics' than anything legislative. As Jose Harris states in his introduction to the 2001 edition of Gemeinschaft und Gesellschaft, 'in Communities (Gemeinschaften) law emerged from common experience and shared work.' It is a 'subliminal shared morality' as opposed to the 'Civil Society' or Gesellschaft permutation of law, a 'product of juristic and administrative rationality and formal legislation' (Tönnies 2001, p. xix). Thus, following Tönnies' logic, communities are constituted not by identity, nor religion, ethnicity, nationality or property, but by a peculiar cocktail of these and other factors which manifests itself, after a lengthy and organic process, as an ethics, a code of practices and norms which govern the functioning and behaviour of the community and its members. It is on this question of ethics that Quartermile fundamentally fails in any claim to operate as a form of community, as an analysis of the on-site reception of Eastern Surf's performance will conirm. Despite the occasional passing of residents and customers of the various commercial outlets in the development the performance was not once interrupted or questioned by members of the public. While the performers were mimicking the actions and activities of archetypal residents as seen in computer generated renders of the development, the exaggerated artiiciality – or indeed, the exaggerated conformity – of their performance clearly marks it out as something unusual. Their performance was ambiguous, but by no means invisible. Compare these three images, the irst an architectural render of the space, the second an image of Eastern Surf's performance, the third a photograph depicting the usual functioning of the space. It is clear from this comparison that the performance was left, for the EASTERN SURF PAGE 53 U SREDIŠTU USPJEŠNE ZAJEDNICE HARRY WEEKS IN THE MIDST OF A THRIVING COMMUNITY razumijevanje ne trebamo tražiti, kamoli mukotrpno graditi ili se za njega boriti: ono "je tamo," gotovo i spremno za upotrebu – tako da se Iz ove usporedbe jasno je da perfor- međusobno razumijemo 'bez riječi' mans nije bio ometen ne zato što ga i nikad ne trebamo pitati, uplašeno, nitko nije primijetio, već zato što ga "kako to misliš?" nitko od članova javnosti nije sma- Bauman 2001., str. 9‒10 trao 'opasnim' ili vrijednim prekidanja, da se vratim na Schechnerovu ter- Prema Baumanu, jedna od tenminologiju. Zamislite ovu hipotetsku dencija modernog kapitalizma je situaciju. Da su Eastern Surf otišli "pokušaj oživljavanja ili stvaranja u Stamford Hill, pretežno židovsko 'osjećaja zajedništva'" ab nihilo područje u Londonu, stavili jarmulke i (Bauman str. 34). Takvi pokušaji, ponašali se kao stereotipni članovi te objašnjava Austin Williams, pokazajednice, ne samo da bi izazvali puno zuju "ležerno nepoštovanje upravo više pozornosti nego u Quartermileu, prema onome što [zajednicu] čini već bi recepcija tog čina bila značajno posebnom: zajedništvo – dobronegativnija. Zašto? Jednostavno zato voljno udruživanje zainteresiranih što u židovskoj zajednici postoji etika strana" (Williams 2008., str. 7). Oni koja bi njihov čin ocijenila kao uvredljiv, traže navodne prednosti zajednice, nametljiv i prijeteći. To je jedan od uni- dok istovremeno nestrpljivo zaobiverzalnih i jednostavnih etičkih impulsa laze dugotrajni proces etičke kristalzajednice kojim se štiti od nametljivaca, izacije koja je ključna za uspostavu uljeza i sabotera. Taj impuls očigledno zajednice. To je najočitije, i pretjerano, na primjeru "uzornog sela" ne postoji u Quartermileu. (model village) kao što je Bournville, Ono što je apsolutno ključno za kroz koje su industrijalci nastojali uspostavu zajednice je da ova upregnuti vezivne moći zajednice etika zaista bude 'podsvjesna' i u vlastite industrijske i proizvodne 'zajednička'. Zygmunt Bauman re- svrhe. Poundbury u Dorsetu zanimferira se na Tönniesovu raspravu ljiv je primjer zbog toga što predstavo zajednici, opisujući etiku kao "is- lja pokušaj ideološkog nametanja pravnu i stvarnu volju onih koji su zajednice od strane Vojvodstva vezani zajedno." Nastavlja: Zajedničko, priručno (zuhanden, rekao bi Martin Heidegger) EASTERN SURF STRANA 54 HARRY WEEKS munity, describing this ethics as 'the proper and real will of those bound together'. He continues: most part, undisturbed not because it went unnoticed. Rather, it would seem that the performance was not interrupted by any members of the public because it was not deemed 'dangerous', to return to Schechner's terminology, not deemed worthy of interruption. Think of this hypothetical scenario. Were Eastern Surf to have gone to Stamford Hill, a predominantly Jewish area in London, donned yarmulkes and performed as stereotypical members of that community, they would have received not only signiicantly more attention than they did in the case of their Quartermile action, but it would have been considerably more negative. Why? Simply because an ethics exists within the Jewish community that would deem their action disrespectful, intrusive and threatening. It is one of the most universal and simple ethical impulses of communities to protect themselves from interlopers, intruders and saboteurs. Such an impulse is demonstrably absent from Quartermile. The community-style, matter-offactly (zuhanden, as Martin Heidegger would say) understanding does not need to be sought, let alone laboriously built or fought for: that understanding 'is there', readymade and ready to use – so that we understand each other 'without words' and never need to ask, apprehensively, 'what do you mean?' Bauman 2001, pp. 9–10 It is, according to Bauman, one of the tendencies of modern capitalism to 'attempt to resuscitate or create ab nihilo a "community feeling"' (Bauman p. 34). Such attempts, as Austin Williams has argued, display a 'casual disregard for the very thing that makes [community] special: communality – a voluntary association of interested parties' (Williams 2008, p. 7). They pursue all the supposed beneits of community while simultaneously and impatiently circumventing the time-consuming process of ethical crystallisation essential to the constitution of the community in the irst place. This is most apparent, and What is absolutely key to the consti- exaggerated, in the model village, tution of a community is that this ethics is truly 'subliminal' and 'shared'. The sociologist Zygmunt Bauman EASTERN SURF takes up Tönnies' discussion of comPAGE 55 U SREDIŠTU USPJEŠNE ZAJEDNICE HARRY WEEKS IN THE MIDST OF A THRIVING COMMUNITY svoju netaknutu ljepotu i pribijati na stupove poduže manifeste u kojima poziva članove da cijene njena čudesa a drugima govori neka se Cornwall i arhitekta Leona Kriera da dive ili ušute – možete biti sigurni da iz vedra neba, ab nihilo, proizvedu zajednica više ne postoji (ili ne još). zajednicu koja bi odražavala etičke Bauman 2001., str. 11‒12 principe princa Charlesa. Performans Eastern Surfa zapravo je Suvremena urbana naselja poput bio prekinut jednom, od strane 'vratQuartermilea logični su potomci ara' koji je želio znati što se događa takvih mjesta. Često inancirana od (ili, da se vratim na ranije citirano Baustrane inancijskog sektora – Quar- manovo pitanje, "kako to misliš?"). termile je djelomično inancirala Njegova zabrinutost nije bila zasnoBank of Scotland – ona pokušavaju vana na konkretnoj pritužbi Eastern stanovnicima nametnuti etiku koja Surfu, nije izrazio nikakvo određeno potiče proizvodnju kapitala u post- negodovanje, već je imao dojam da industrijskoj ekonomiji. I poput to što rade nekako nije 'normalno,' uzornih sela, ona koriste retoriku za- da prekoračuju etičke norme koje bi jednice, gorljivo se proglašavajući is- trebale upravljati prostorom Quartertima. Židovska zajednica u Stamford milea. Ta etika je, čak i u očima vratHillu razvijala se organski više od ara, u potpunosti nejasna i doima se 200 godina i stoga je imala dovoljno arbitrarnom baš poput upotrebe izvremena i autonomije za stvaranje raza 'zajednica' u literaturi o naselju. istinski podsvjesne i zajedničke Ona apsolutno nije 'zajednička' niti etike, dok Quartermile nije imao 'podsvjesna'. Nije riječ o etici koju nijedno od toga. Doista, brošure dijele stanari, već o etici nametnutoj koje govore o "uspješnoj zajed- odozgo koju provodi plaćeno osoblje nici" objavljene su i prije dovršenja u nadi da će je jednog dana, kroz građevinskih radova, znatno prije naviku, nadzor i ophodnju, usvojiti i nego što se uselio itko od stanara sami stanari. Ne "esencijalnu volju" koji navodno tvore zajednicu. Takvo zajednice, već "proizvod pravne i adodređenje čini se prilično arbitrarnim ministrativne racionalnosti i formalili čak defenzivnim. Kao što Bauman nog zakonodavstva." komentira na tipično jedar način: Jednom kada krene hvaliti svoju jedinstvenu odvažnost, opjevavati EASTERN SURF STRANA 56 HARRY WEEKS a considerable time before any of the residents who presumably make up the membership of the community had moved in. Such a designasuch as Bournville, through which in- tion thus seems rather arbitrary, or dustrialists endeavoured to harness perhaps even defensive. As Bauman the cohesive powers of community comments in typically lusty fashion: to their own industrial and productive ends. Poundbury in Dorset is Once it starts to praise its unique an interesting case, representing as valour, wax lyrical about its prisit does an ideological imposition of tine beauty and stick on nearby community, an attempt by the Duchy fences wordy manifestoes calling its of Cornwall and the architect Leon members to appreciate its wonders Krier to concoct out of thin air, 'ab ni- and telling all the others to admire hilo', a community which would mir- them or shut up – one can be sure ror Prince Charles' own set of ethics. that the community is no more (or not yet, as the case may be). Contemporary urban developments Bauman 2001, pp. 11–12 such as Quartermile are the logical descendants of these model villages. Eastern Surf's performance was in Often funded by the inance sector - fact interrupted on one occasion, by Quartermile was part funded by the a 'concierge' wishing to know what Bank of Scotland – they attempt to was going on (or, to return to Bauimpose an ethics upon residents con- man's phrase cited earlier, 'what do ducive to the production of capital you mean?'). His concern was not in a post-industrial economy. And, founded on a concrete complaint like model villages, they speak in the against Eastern Surf's actions, he rhetoric of community, proclaiming made no speciic protestations themselves volubly as such. But while against them, rather he was under the Jewish community of Stamford the general impression that what Hill has developed organically for they were doing was somehow not over 200 years, and has thus had 'normal', was somehow in transgresthe time and autonomy to generate sion of the ethical norms supposed a truly subliminal and shared ethics, to govern the space of Quartermile. Quartermile has had neither. Indeed, the brochures which boast of a 'thriving community' were published prior EASTERN SURF to the completion of building work, PAGE 57 U SREDIŠTU USPJEŠNE ZAJEDNICE HARRY WEEKS IN THE MIDST OF A THRIVING COMMUNITY HARRY WEEKS those who question the actions of interlopers such as Eastern Surf, as opposed to security staff, will be a signiicant sign that this constituThese ethics, even in the eyes of the tion has taken place. concierge, are entirely unclear and Bauman, Zygmunt. Community: Seeking Safety in seem as arbitrary as the use of the an Insecure World. Polity: Cambridge, 2001. term community in the develop- Kester, Grant. 'The Sound of Breaking Glass, Part II: Agonism and the Taming of Dissent', e-lux ment's literature. They are absolute- #31. 2012. ly not 'shared' or 'subliminal'. They Lloyd, Kirsten. 'The Ethics of Encounter', ArtPulse are not an ethics held in common Magazine. 2010. Richard. Performance Theory. Routby the residents, but rather are an Schechner, ledge: London, 2003. ethics imposed from above, and en- Tönnies, Ferdinand. Gemeinschaft und Gesellforced by paid staff, in the hope that schaft. CUP: Cambridge, 2001. one day, through habit, policing and Williams, Austin. 'Introduction' in The Future of Community: Reports of a Death Greatly Exaggerpatrolling, they will be adopted by ated, Edited by Alastair, Clements, Earnshaw and Williams. Pluto Press: London, 2008. the residents. Not an 'essential will' of the community but a 'product of juristic and administrative rationality and formal legislation'. Stoga, ono čemu svjedočimo u Quartermileu i što nam Eastern Surf eksplicitno predstavljaju je nedolično rođenje zajednice. Iako sam rekao da je uspostava zajednice putem kristalizacije etike organski proces, to ne znači da etika koja čini temelj zajednice nije artiicijelna, strana, nametnuta ili arbitrarna. Zapravo se češće događa da se zajednice stvaraju odozgo. Još ne znamo hoće li se Quartermile, zajednica koja to još nije, jednog dana u potpunosti uspostaviti kao zajednica ili neće. Trenutak u kojem stanari, a ne sigurnosno osoblje, postaju oni koji propituju postupke uljeza kao što su Eastern Surf, biti će siguran znak da je došlo do ove uspostave. Bauman, Zygmunt. Community: Seeking Safety in an Insecure World. Polity: Cambridge, 2001. Kester, Grant. 'the Sound of Breaking Glass, Part II: agonism and the taming of Dissent', e-flux #31. 2012. Lloyd, Kirsten. 'the ethics of encounter', ArtPulse Magazine. 2010. Schechner, richard. Performance Theory. routledge: London, 2003. tönnies, Ferdinand. Gemeinschaft und Gesellschaft. CUP: Cambridge, 2001. Williams, austin. 'Introduction,' u The Future of Community: Reports of a Death Greatly Exaggerated, ur. alastair, Clements, earnshaw i Williams. Pluto Press: London, 2008. EASTERN SURF STRANA 58 As such, what we witness in Quartermile, and what Eastern Surf present to us more explicitly, is the unseemly birth of a community. While I have argued that the constitution of community through the crystallisation of an ethics is an organic process, this is not to say that the ethics which form the basis of the community are not artiicial, foreign, imposed or arbitrary. Indeed, it is more often the case than not that communities are born from above. We do not know whether the 'not-yet-community' of Quartermile will one day constitute itself fully as a community or not. The moment at which residents are EASTERN SURF PAGE 59 ZaHVaLe / THANKS trg Stjepana radića 5, Velika Gorica www.galerijagalzenica.info Supported by Creative Scotland. Harry Weeks Darko Fritz Petar Jandrić Hamish Macleod Christine Sinclair Burak Pak Caroline Newton Angela McClanahan Emma Balkind Iva Marčetić Luka Smetiško Sonja Sekulić Goran načinović vjekoslav Gašparović Sven Sorić Darko Masnec Lea Vene vida Guzmić Rajan Milošević Luka Mužinić ABAK Scena Amadeo Laurie Macpherson Alex Hetherington Julie-Ann Delany Luke Cooke-Yarborough Lara Macleod Tom Nolan Catherine Payton Stephen McGarry Karen Gabbitas James Thomas Phillips Dylan Mitchell Benjamin Fallon Hazel Dowling Laura Edbrook Winifred Bernstein Klara Chomicz Katy Hassal Alex Misick Casey Miller Gary Watt The Mutual Andrew Haw Inbal Drue Elisa Lenhard Francesca Solero Federico Biasin Ante, Darinka, Jere EXHIBITION Eastern Surf: Kernel Panic Control Curators AnA KOvAČIĆ AnD ZAnA ŠAŠKIn IZLOŽBa eastern Surf: Kernel Panic Control Kustosice ANA KOVAČIĆ I ZANA ŠAŠKIN Postav izložbe KUSTOSICE I EASTERN SURF eastern Surf ANA KUZMANIĆ, SHONA MACNAUGHTON, MARTIN MRZLJAK, FRANCESCA NOBILUCCI I EWAN SINCLAIR Voditelj Galerije Galženica KLAUDIO ŠTEFANČIĆ Savjet Galerije Galženica TOMISLAV MEDAK, MLADEN MIKULIN, LJILJANA KOLEŠNIK, LEILA TOPIĆ, GUIDO QUIEN Program Galerije Galženica u 2012. ostvaren je sredstvima grada Velike Gorice, Zagrebačke županije i Ministarstva kulture rH. PUBLIKaCIJa Izdavač PUČKO OTVORENO UČILIŠTE VELIKA GORICA Za izdavača BARBARA GRđAN ODRČIĆ Urednik KLAUDIO ŠTEFANČIĆ Grafičko oblikovanje RAFAELA DRAŽIĆ Prijevod TIHANA BERTEK tisak INTERGRAFIKA naklada 150 Velika Gorica, studeni, 2012. Exhibition layout CURATORS WITH EASTERN SURF Eastern Surf AnA KUZMAnIĆ, SHOnA MAcnAUGHTON, MARTIN MRZLJAK, FRANCESCA NOBILUCCI AND EWAN SINCLAIR Director of the Galženica Gallery KLAUDIO ŠTEFAnČIĆ The Galženica Gallery Council TOMISLAV MEDAK, MLADEN MIKULIN, LJILJAnA KOLEŠnIK, LEILA TOPIĆ, GUIDO QUIEN The program of the Galženica Gallery in 2012 was funded by the City of Velika Gorica, Zagreb County and the Ministry of Culture of the Republic of Croatia. PUBLICATION Publisher THE OPEN UNIVERSITY OF VELIKA GORICA For the publisher BARBARA GRđAn ODRČIĆ Editor KLAUDIO ŠTEFAnČIĆ Graphic design RAFAELA DRAžIĆ Translation TIHANA BERTEK Print INTERGRAFIKA Circulation 150 Velika Gorica, November 2012.