GuestRoomMaribor

Posted 19.2.2016

CORNERS/ IGRIŠČE

Namen projekta Igrišče je raziskati vlogo iger v različnih kulturah kot nosilk skupnega jezika, ki lahko prehaja med različnimi mejami, tako nacionalnimi kot tudi lokalnimi. Umetniki so zgradili multimedijsko instalacijo igrišča, ki služi kot orodje za njihovo raziskovanje ter kot sredstvo za aktivacijo javnih prostorov in njihovih uporabnikov. Z vsakim mestom, ki ga obiščejo, se zbirka iger veča, igrišče pa spreminja svojo podobo in tako ponuja edinstveno kulturno izkušnjo.Igrišče je zasnovano kot participativni projekt, v katerem občinstvo dobesedno igra glavno vlogo. Vsi obiskovalci lahko aktivno sodelujejo v projektu kot igralci v instalaciji igrišča in ga uporabljajo tako za zabavo kot za kulturno izkušnjo. Poleg tega umetniki sodelujejo tudi z lokalnimi igralnimi skupinami, spoznavajo njihove igre, jih učijo lastnih iger ter skupaj z njimi razvijajo nove kontekstno konstruirane igre, ki jih nato vključijo v svojo instalacijo igrišča.Po predstavitvi projekta vas vabimo, da preizkusite svoje igralske sposobnosti v neformalnem turnirju namiznega nogometa.Igrišče je del CORNERS, platforme za umetnike in občinstva, ki jo snujejo in poganjajo kulturne organizacije z robov Evrope.


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To explore the role of games in different cultures, seeing them as potentially possessing common languages that could cross different borders, both national and local, artists have built a multi-media playground installation serving as a tool for their research and a means to activate public spaces and participatively engage its users. As the collection of games is growing with every new place the artists visit, the playground is constantly changing its image and offering a unique cultural experienc e.The playground is designed as a participatory project in which the audience is literally playing an essential part. All visitors are welcome to actively engage in the project as players in the playground installation, using it both for fun and as a cultural experience. Furthermore, the artists collaborate with local gaming groups, learn their games, teach them their own games, and together they develop new context-constructed-games that are included in the playground installation. After the project presentation, you are invited to try out your gaming skills in an informal tournament of table football. The playground is a part of CORNERS, a platform for artists and audiences, designed and driven by cultural organizations at the edges of Europe.
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Produkcija/Production: Exodos Ljubljana
Koproducija/Co-production: ISIS Arts, Drugo More, Teatro Pubblico Pugliese
Lokalni partnerji/ Local partners: Pekarna Magdalenske mreže Maribor, GuestroomMaribor, Vetrinjski dvor/Narodni dom Maribor
INFO Exodos Ljubljana I www.exodosljubljana.si ǀ exodos@exodosljubljana.siPekarna Magdalenske mreže Maribor I www.pekarna.org Iwww.infopeka.org I guestroommaribor.siinfopeka@infopeka.si

Corners of Europe
Igre

Kaja Kraner

Predvsem v okviru estetiških prispevkov imata umetnost in igra relativno dolgo in tesno prepleteno zgodovino. Pojem igre je na primer ob začetku moderne avtonomizacije umetnostne sfere v 18. stoletju vzporedno s prevlado tržnega gospodarstva in mezdnega dela po eni strani predstavljal eno od izhodišč za vnovično legitimacijo umetnosti kot svobodnih, oziroma, v širšem smislu, eno od izhodišč za uveljavitev ideje, da bi naj bilo delo v okviru umetnosti (v nasprotju z mezdnim) kvalitativno specifično. Na tak način je torej pojem igre tudi prispeval k razširitvi koncepcije, da umetnostna sfera predstavlja nekakšen (zaščite potreben) rezervat temeljne človeške ustvarjalnosti in svobode, ki jo neprestano ogroža logika racionalnosti, ki vlada področju vsakodnevnosti.

Projekta mednarodnega umetniškega kolektiva v sestavi štirih umetnikov (Gianfranco Mirizzi iz Hrvaške, Riccardo Spagnulo iz Italije, Miha Horvat iz Slovenije in Simon Farid iz Velike Britanije), ki potuje po evropskih mestih in na terenu raziskuje lokalna obstoječa združenja, ki prakticirajo najrazličnejše uveljavljene igre, vendarle ni mogoče umestiti v to kontinuiteto, ravno tako ga je v strogem smislu težko umestiti v okvir sodobnoumetniških (kvazi)antropoloških raziskav, ki so se razširile predvsem od devetdesetih let prejšnjega stoletja. Kolektiv se je namreč v raziskovalnem procesu fenomena igre lotil na prav specifičen način  četudi se je v času rezidenčnih bivanj, vključno s tem v Mariboru, na terenu spoznaval z igralci, se vključil v njihove dejavnosti in spoznaval z njihovimi igriškimi praksami, ga namreč ni v tolikšni meri zanimal socialni, skupnostni, celo antropološki moment fenomena igre. Ni ga skratka zanimalo to, kaj igra kot (v večini primerov) sodelovalna dejavnost povzroča na ravni medčloveških relacij med sodelujočimi posamezniki, kakšne socialne vezi se lahko tvorijo preko njenega posredništva in podobno, kar bi tudi lahko predstavljalo bazo za pojasnitev dejstva, da je ta  podobno kot specifične oblike umetnostnega ustvarjanja  prisotna v praktično vseh kulturah ter krajevnih in časovnih kontekstih.

Namesto tega je bilo spoznavanje z najrazličnejšimi oblikami iger v različnih kulturnih kontekstih, ki jih je kolektiv tekom rezidenčnih bivanj spoznaval, osredotočeno na  pogojno rečeno  poskus najdenja nekakšne osnovne skupne, celo univerzalne strukture igre, na določitev ključnih osnovnih komponent, nujnih da igra »deluje« (kot taka). Tekom raziskovalnega procesa in v končnih rezultatih kolektiva, nekakšnemu igriškemu hibridu, ki je kot instalacija v javnem prostoru dan v uporabo zainteresiranih, tako ni na delu niti ostankov romantičnih povezovanj igre in svobode, niti romanticizma sodobnoumetniških projektov, ki poskušajo preko svojih dejavnosti na dan privleči skupnostno, ki bi naj bi bilo zakopano v nekakšni naravni dispoziciji človeka/človeškega. Podobno kot je skupnost zgodovinsko hibrid discipliniranja (nepredvidljive, a ravno zato potencialno grozeče) arbitrarnosti, je tudi sama igra v končni fazi hibrid svobode in pravil, pri čemer je prvo mogoče spoznati in prakticirati zgolj preko omejenosti ali njenega nasprotja.



Rezidenčni obisk je bil del projekta Corners of Europe, ki je nastal v sodelovanju zavoda Exodos (Ljubljana), TPP (Puglia), Drugo more (Rijeka) in Isis arts (New castle) s podporo programa SobaZaGosteMaribor.

Corners of Europe
Games

Kaja Kraner


Art and play have a long and tightly intertwined history especially in the frame of aesthetic contributions. At the beginning of the modern autonomization of the art sphere in the 18th century, the idea of play has been, in parallel with the increasing dominance of the market economy and wage labour, one of the fundaments of an re-legitimization of art as free activity; or rather, in a broader sense, it has been one of the starting points for the establishment of the idea that labour in the context of art (in comparison to wage labour) is specific in a qualitative sense. In this way the idea of games and play has contributed to the expansion of the conception that the art sphere represents a reserve (in need of protection) of basic human creativity and freedom, which is constantly endangered by the logic of rationality, which rules the quotidian sphere.

The collective consisting of four artists; Gianfranco Mirizzi (Croatia), Riccardo Spagnulo (Italy), Miha Horvat (Slovenia), and Simon Farid (Great Britain) travels through European cities and does field research of various associations, which practice a variety of established games. Their project can’t be placed in the aforementioned continuity and neither can it be, in a strict sense, placed in the frame of (pseudo)anthropological contemporary-artistic research, which began to gain momentum in the 1990s. In their research approach, the collective has tackled the phenomenon of games and play in a very specific way; even though the collective, both in Maribor and during other residencies, has met players, engaged in their activities and learned about play practices they weren’t primarily interested in the social, communal or even anthropological aspect of the phenomenon of play. In short, they weren’t interested in what effect games, seen as (mostly) cooperation based activities, have on intersubjective relations between participating individuals, what social ties can be formed on the basis of playing and similar aspects of games, which can be seen as a basis of the fact that games  as well as specific forms of artistic creation  are present in practically all cultures throughout space and time.

Instead of this the focus of researching different forms of games and play in different cultural contexts, which the collective encountered through their residential stays, was on  conditionally said  finding a common, even universal structure of games; that is, focused on identifying key components needed for the game to “function” (as such). During the research process and in its end result  a sort of game hybrid presented as an interactive installation in public space  we can see a clear absence of remnants of any romantic connections between art and play and of the romanticism of contemporary art projects, which try to expose the “common” supposedly buried in the human natural disposition. Similarly as the community is historically a hybrid of disciplining (unpredictable and because of this potentially threatening) arbitrariness, so the game is ultimately a hybrid of freedom and rules in which the former can only be known and practiced through limitation or its opposite.



The residential stay was a part of the Corners of Europe project produced by Exodos (Ljubljana), TPP (Puglia), Drugo more (Rijeka) and Isis arts (New Castle) with the support of the GuestRoomMaribor program.