NON PROFIT ART ORGANISATION
FUTURE REPAIRS – ROOM OF LEISURE, CARE AND PERSISTENCE
Future repairs is one of the first projects initiated by art organisation Jagoda. This artistic research explores the practice of Yugoslavian artist and actress Jagoda Kaloper* (1947 – 2016) and its unexpected correlation with contemporary artist Nina Kurtela* through the working space they share in different times.
Upon entering the former Kaloper’s artist studio, Kurtela inhabits the space with her own artistic practice while carefully acknowledging Kaloper’s overlooked art legacy. Further on, Kurtela, together with the researcher Sara Simić*, critically engages with the very space, its histories, memories, traces and leftovers while looking at it both as a physical entity but also as an experiential, conceptual and intergenerational space.
While looking at the “atelier” as a place of intermediate, hybrid and fluid exchange of strategies, they explore mechanisms of knowledge, experiences and actions transfers from one generation to another, from physical room to a Room of One’s Own.
Based on Kaloper’s self-reflexive, self-critical and politically-aware artistic practice, the goal of this research is not only to build an archive, raise visibility and give tribute to her artistic estate but also to (re)contextualize her position as a female artist in this specific historical and political context and its impact to today’s practices and working conditions of contemporary makers within the art field in local context.
As one of the research outcomes, five maps have been arranged that manifest different aspects of Kaloper’s life and practice. In correlation with the current context they aspire to open up the space for new understandings, (re)interpretations, formation, realisations and future collaborations:
Jagoda is a non-profit art organization dedicated to research, discursive exchange and slow production betwixt (and between) contemporary performing and visual arts while examining gender, class and institutional power dynamics within the field.
We explore connections between the artistic, the theoretical and the academic that intertwine, complement and fluctuate through various media and formats.
We engage in non-hierarchical exchange on process-based artistic practices in relation to the concepts of collaboration, authorship and interpretation, invisible and maintenance work and critically examine different relationships of body, space, time and performance.
We also focus on empowering the community and context in which we operate and aim to connect local and global initiatives to provide a safe, caring and inviting space for artists, researchers and local communities.
Jagoda is founded by artist Nina Kurtela who in 2017 gained the right from the City of Zagreb (Croatia) to use the studio where conceptual artist and film actress Jagoda Kaloper* worked until her final days (2007-2016). Upon entering the studio, Kurtela inherits the physical space as well as various objects residing in it, and encounters valuable but forgotten Kaloper’s artistic legacy. Referring to the monograph “In the Mirror of the Cultural Screen: Jagoda Kaloper”* , which views the artist’s oeuvre through the prism of “patriarchal, misogynistic and sexist culture”, in which: […she gained recognition as a “fresh” female body but not as a creative person whose critical thought is articulated in her own work of art and public action]”, we critically reflect on the concept of stereotyping male gaze and exploitation of the female body and politics of forgetting conditioned by gender and institutional power regimes. Thus, although this studio is only 25 m2, Kaloper’s and now Kurtela’s “room of one’s own” persists as a safe space to engage in uninterrupted development of different artistic knowledge as well as everyday life as an artistic practice.
Jagoda relies on Kaloper’s artistic legacy which stems from the context of the Yugoslav avant-garde and conceptual art scene whose interdisciplinary and internationally oriented artistic practices in the interstices between performing and visual arts were transgressive, radically political and deeply transformative phenomena. Nowadays, the post-Yugoslav independent contemporary arts scene is directly shaped by these practices and experiences as it strives to implement alternative models of organizing, producing and programming. Therefore, Jagoda also directs its own organizational culture towards the ecology of collective care and solidarity, thus attempting to resist the precarious and individualistic working conditions of the contemporary arts scene. By connecting artists from different disciplines, generations, affinities and aesthetics, as well as encouraging togetherness, discursive thinking and intermedia collaborations, we aim to create an inclusive and open space for exchanging ideas, critical thinking about one’s own and others’ work, consequently enticing transformative engagement towards related communities.
FUTURE REPAIRS TEAM
Nina Kurtela (artist)
Sara Simić (researcher)
Lana Grahek (designer)
Darija Jelinčić (photographer)
We would like to thank all the people who generously shared their time, knowledge, experiences and memories:
Leila Topić, Ana Zubić, Želimir Koščević, Leonida Kovač, Željko Serdarević, Ana Tajder, Ivor Ivezić, Lujo Parežanin, Tomislav Augustinčić, Nikolina Pahanić-Lugar (Grad Karlovac), Patricia Počanić, Jasenka Ferber-Bogdan (Arhiv za likovne umjetnosti HAZU).
Future repairs research was supported by Kultura Nova Foundation.
Nina Kurtela and Ana Letunić
Ana Letunić and Sara Simić
Lana Grahek and Leo Kirinčić
Web supported by The Ministry of Culture and Media of the Republic of Croatia
* Jagoda Kaloper (1947—2016) was a Croatian actress and visual artist best known for her leading roles in the former Yugoslav cinema. Apart from her acting career, she was an active member of the Yugoslav avant-garde and experimental art scene, producing works in various media, from sculpture to performance and public interventions. Remembered mainly for her film roles in Yugoslav films of the 1960s and 1970s, Kaloper’s artistic and conceptual career as an author has been largely neglected and overlooked.
#politics of forgetting
#gender and institutional power regimes
#discursive thinking and non-thinking
#working conditions within the art field
#room of one’s own
#everyday life as an artistic practice
* Nina Kurtela (born in Zagreb) is visual artist and a dance maker who works with choreographic and site-specific practices. Through her conceptual, often immaterial and time-based art practice she works with methodologies of endurance, presence, perseverance, rituals, daily practice and matter of chance while questioning notions of monetary values, immaterial labor, identity, belonging, home and its fictions. She creates works across a wide range of forms; namely video, installation, performance, choreography and dance. Her work is presented internationally in a variety of contexts – in museums and galleries, theater, dance and film festivals, and in public space. She is a founder of Zagreb based non-profit art organisation Jagoda. www.ninakurtela.com
* Sara Simić is Zagreb and Vienna-based feminist, audiovisual scholar, and film critic. As a graduate student at Central European University in the Department of Gender Studies, her main research interests are positioned in the intersections of women’s history, gender studies, feminist visual history, memory studies, and oral history. In recent years, she has been working on various international research projects focusing on transnational feminist artistic practices, such as Not Yet Written Stories: Women’s Artists Archive Online and Forgotten Heritage: European Avant-Garde Art Online, supported by Creative Europe, and led by Arton Foundation.
As a feminist film scholar and essay film enthusiast, she initiated a column focusing on the creative work of female directors of Southeast and East Asian regions. Through this column platform, she tends to discover new names of contemporary feminist films and create a database and scholarly archive of new female voices of overlooked cinema practices.