aan kostrenëiê integriranje umjetnosti u æivot: msu zagreb i mmsu rijeka integrating art into ife: msu zagreb and mmsu rijeka t 1 2 1 2 MANUEL DE LANDA, A Thousand Years of Non- Linear History, Zone Books, 2003, 25, 26. BORIS GROYS, On the ogic of coecting, razgovor sa Svenom Spiekerom, objavjen na www.artmargins.com, 08. 10. 1998. MANUEL DE LANDA, A Thousand Years of Non- Linear History, Zone Books, 2003, 25, 26. BORIS GROYS, On the ogic of coecting, interview with Sven Spieker, pubished at www.artmargins.com, 8 October, 1998. 1-2. Igor FraniÊ: Muzej suvremene umjetnosti, Zagreb / Museum of contemporary art, Zagreb, 1999.- 28 Æivimo u svijetu napuëenom strukturama - u soæenoj mjeπavini geooπkih, biooπkih, druπtvenih i jeziënih zdanja, koja nisu niπta drugo do nakupine graappee koju je obikovaa i otvrdnua povijest. BuduÊi da smo uronjeni u tu mjeπavinu, prisijeni smo komunicirati na razne naëine s drugim povijesnim zdanjima koja nas okruæuju, stvarajuêi tijekom te komunikacije nove kombinacije, od kojih neke razvijaju vastita svojstva. Te sinergistiëke kombinacije, bez obzira na to jesu i judskog podrijeta ii nisu, postaju pak sirovinom za druge mjeπavine. Na taj naëin popuacija struktura koja nastanjuje naπ panet stjeëe svoju veiku raznoikost, naime tako πto unos nove graappee u mjeπavinu potiëe æivu proiferaciju novih obika. 1 t Muzej umjetnosti, onakav kakvog ga danas znamo i kakav u veêini suëajeva prevadava u naπoj sredini, tvorevina je koja potjeëe iz razdobja prosvjetitejstva, temejena na ideji sakupjanja originaa. Sijedom takvog razmiπjanja Mona Lisu ne promatramo kao primjer æenskog portreta, veê kao jedinstveno (originano) umjetniëko djeo 2 pohranjeno u muzeju. Proces uruπavanja takve ideje, odnosno neadekvatna iskjuëivost pristupa arhiviranja i izaganja, zapoëinje s avangardama poëetkom 20. stojeêa. Ideja zbirke jedinstvenih (unikatnih) objekata biva provocirana umjetniëkim praksama, poput Duchampove Fontane, u kojima objekt masovne produkcije - pisoar, samom Ëinjenicom da je izoæen u muzeju, postaje jedinstven umjetniëki artefakt. Suvremena umjetnost postupno se sve viπe udajava od ideje unikatnosti, naroëito kroz praksu umjetnika poput Beuysa, obijeæenu idejom mutipa ii njegovih environmenta, ii pak Yvesa Keina koji 1959. izaæe praznu gaeriju. Interes se sei sa sike ka patnu, na patno samo, kao kod MajeviËa. Ako prihvatimo tu promjenu koja se odvija u samoj umjetniëkoj praksi, tada je nuæno shvatiti pojavu jednog potpuno novog sustava znakova unutar muzeja. Izmjeπtanje interesa s produkta na proces u kojem patno nije viπe predmet umjetnikova interesa, i to zato πto se umjetnici okreêu njegovoj poeappeini (ai i prostoru samog muzeja, poput Keina), ukazuje na potrebu reorganizacije sistema znakovja u kojem, govoreêi McLuhanovom terminoogijom, medij postaje poruka. Suvremena umjetnost daeko viπe tematizira kontekst negoi sam umjetniëki artefakt. Samim time znaëenje i uoga muzeja danas gotovo da su We ive in a word popuated by structures - a compex mixture of geoogica, bioogica, socia and inguistic constructions that are nothing but accumuations of materias shaped and hardened by history. Immersed as we are in this mixture, we cannot hep but interact in a variety of ways with the other historica constructions that surround us, and in these interactions we generate nove combinations, some of which posses emergent properties. In turn, these synergistic combinations, whether of human origin or not, become the raw materia for further mixtures. This is how the popuation of structures inhabiting our panet has acquired its rich variety, as the entry of nove materias into the mix triggers wid proiferations of new forms. 1 The art museum, such as we know it today and as it argey prevais in our region, is a creation originating from the period of the Enightenment and based on the idea of coecting originas. Aong these ines of thought, we do not see Mona Lisa as an exampe of femae portraiture, but as a unique (origina) wok of art 2 preserved at the museum. The process of dissipation of this idea, inked with inadequate excusiveness with respect to archivization and exhibition, began with the vanguards of the eary 20th century. The idea of coecting unique items was chaenged by artistic practices such as Duchamp s Fountain, in which an object of mass production - a urina - became a unique artefact by the very fact of its being exhibited in a museum. Contemporary art graduay distanced itsef from the idea of uniqueness, especiay through the work of artists such as Beuys, characterized by the idea of the mutipe and its environments, or Yves Kein, who presented an empty gaery in 1959. The artistic interest shifted from the painting to the canvas itsef, ike with Maevich. If we accept that change in artistic practice in itsef, then we must aso acknowedge the appearance of an entirey new system of symbos within the museum. Disocation of interest and its shift from the product to the process, in which the canvas is no onger an object of interest for the artists, since they are turning towards its reverse (or the very space of the museum, ike Kein), indicates the need to reorganise the system of symbos in which, to use McLuhan s terminoogy, the medium becomes the message. Contemporary art dis-
1 2 29
3 3-4. Igor FraniÊ: Muzej suvremene umjetnosti, Zagreb / Museum of contemporary art, Zagreb, 1999.- 30 na rubu kvantnog skoka. Kontempacija umjetnosti kao primarna funkcija muzeja bitno je proπirena. Obrazovna uoga muzeja postaje sve vaænija, jednako kao i odnos prema novim medijima, od video radova do research projekata, zato πto izagati umjetnost danas ne znaëi nuæno i izravno suëejavanje s umjetniëkim predmetom. Sam naziv Muzej suvremene umjetnosti sadræi kontradikciju iskazanu paradoksom spajanja pojmova muzej i suvremeno. Abrazivnost novijih umjetniëkih praksi prema pohranjivanju, koju najdosovnije moæemo saæeti u akcionistiëki Ëin ukoriëavanja knjige u brusni papir, 3 pokazuje jasnu antipatiju prema muzejskom anesteziranju i pribadanju djea, poput mrtvog eptira, u zbirku razvrstanih drugih mrtvih predmeta. Anakrona ideja muzeja kao skadiπta povijesne memorije i otpor koji suvremena umjetnost pokazuje prema tom Ëinu skadiπtenja nastojai su razrijeπiti svi znaëajniji umjetniëki muzeji 20. stojeêa pomoêu raznih obika subverzije tradicionanih pristupa instituciji. Kroz svoju ambiciju da se pribiæi ii Ëak da postane stvarni æivot, suvremena umjetnost gotovo da teæi dekonstruiranju tradicionanog muzeja. Na koji naëin arhitektura kao discipina koja, Heideggerovim rijeëima, skanja 4 (sakupja i Ëuva) bit, u ovom suëaju - umjetnost, moæe ii mora reagirati na spomenutu cusses the context far more than the artefact itsef. By this very fact, the meaning and the roe of the museum are today practicay on the verge of a quantum eap. Contempation of art as the museum s primary function has been significanty extended. Its educationa roe has gained in importance, and so has its attitude towards the new media, from the video to research projects, since exhibiting art no onger necessariy impies a direct encounter with the artefact. The very term Museum of Contemporary Art contains a contradiction, which is expressed through the paradox of merging the notions of museum and the contemporary. The vitrioic attitude of recent artistic practices towards preservation, which can be most succincty condensed in the actionist act of binding a book in sandpaper, 3 reveas open animosity towards anaesthetising and pinning down an artefact ike a dead butterfy, in a coection of simiar dead objects -and that is what the museum typicay does. The opposition between the anachronistic idea of the museum as a storehouse of historica memory and the defiance of contemporary art towards depositing artefacts is something that a significant museums of the 20 th century have tried to sove by empoying various forms of subversion to the traditiona approaches to
probematiku? Nadaje, koji je odnos arhitekture kao nosioca sadræaja i sadræaja samog, mora i muzej suvremene umjetnosti i sam biti suvremena umjetnost? Ovdje na neki naëin govorimo o dvije komponente arhitekture koje se meappeusobno proæimaju u svakoj dobroj arhitekturi - o utiitarnoj komponenti (funkcionanost u svoj svojoj kompeksnosti) i komponenti znakovitosti ii reprezentativnosti (obikovno-formana komponenta, pojavnost arhitekture u svoj svojoj kompeksnosti). Znakovitost arhitekture u uskoj je vezi s njenom svrhovitoπêu; Ëak πto viπe, znakovitost arhitekture eæi u reprezentiranju njezina koriπtenja kao konaënice njezine svrhe. Gotovo da bi bio moguêe metaforiëki poistovjetiti muzej umjetnosti s okvirom sike. Zgrada je svojevrstan passepartout onoga πto je izoæeno u njemu. O tome koiko je okvir 5 vaæan te na koji naëin on govori o sadræaju ii ga Ëak odreappeuje, razmatrao se popriiëno u post-strukturaistiëkom diskursu. Meappeutim, ovdje je ta tema od sasvim konkretnog i praktiënog znaëenja. Svrhovitost muzeja eæi u njegovoj organizaciji - u organizaciji rute kojom ga se doæivjava (odnosno kreêe kroz njega), a uz to i organizaciji naëina prezentiranja zbirke. Znakovitost muzeja pak eæi u njegovoj pojavnosti - u obiku. DræeÊi se ogike okvira, savrπen umjetniëki muzej bio bi neutraan kontejner 6 - bijea (ii crna, u svathe institution. It is amost as if contemporary art wanted to deconstruct the traditiona museum through its ambition to get coser to rea ife or even identify itsef with it. In what way can (or must) Architecture, as a discipine that, in Heidegger s words, safeguards 4 (spares and preserves) the Being, in this case - art, react to these issues? Moreover, what is the reationship between architecture as the carrier of meaning and the content as such, and must the museum of contemporary art be contemporary art itsef? In a way, we are referring here to the two components that are intertwined in a good architecture -the utiitarian component (functionaity in a its compexity) and the component of symboism or representativity (the structura/forma component, the appearance of architecture in a its compexity). The symboism of architecture is cosey reated to its functionaity, what is more, the symboism of architecture resides in the representation of its use as the finaization of its purpose. One coud amost identify art museum metaphoricay with the frame of a painting. The buiding is a sort of passepartout around the exhibited objects. The importance of the frame 5 and the way it expresses or even determines the content, was a rather foca topic of the poststructuraist discourse, but here it has a very concrete and practica significance. t 3 4 5 6 3 4 5 Dosjetka situacionista Guya Deborda o ukoriëavanju knjige poezije u brusni papir kako bi nagasio nemoguênost njezina stavjanja uz druge knjige. MARTIN HEIDEGGER, Graappeenje, stanovanje, miπjenje, u: Miπjenje i pevanje, Beograd, 1982., 89.-91. Tezu o okviru kao postavjanju ii utvrappeivanju granica - vidi: JACQUES DERRIDA, Istina u sikarstvu, Sarajevo, 1988., 62.-76. RijeË je o Wiiam Rubinovoj tezi o bijeoj kocki kao ideanom, neutranom nosaëu izoæaka. I am referring here to the idea of situationist Guy Debord to bind a book in sandpaper in order to show the impossibiity of its pacement next to other books. MARTIN HEIDEGGER, Bauen, Wohnen, Denken, trans. by Abert Hofstadter as Buiding, Dweing, Thinking, Harper Coophon Books, New York, 1971. On the hypothesis of the frame as something that estabishes or confirms the borders, see: JACQUES DERRIDA, The Truth In Painting, trans. by Geoff Bennington and Ian McLeod, Chicago University Press, Chicago, 1987. 4 31
5 kom suëaju akromatska, monokromatska) kutija s ideanim disperznim ateranim osvjetjenjem. Sjetimo se samo muzeja Petera Zumthora. 7 Meappeutim, naëin na koji ruta poëinje generirati obik ii pak ekspresija arhitekta koja se kroz obik poëinje odraæavati na organizaciju muzeja, dake rutu - sve viπe deformira ii poëinje odstupati od ideanog neutranog kontejnera. Sejimin Muzej suvremene umjetnosti 21. stojeêa u Kanazawi 8 svojom ekstremnom apstrakcijom i ËistoÊom prostorne organizacije gotovo predstavja ideaan prototip suvremenog umjetniëkog muzeja. Zgradu definira apstraktan krug stakenog oboda, ikonografske jasnoêe, koji sadræi niz bijeih kocaka unutar kojih su smjeπtene pojedine gaerije. Prostor izmeappeu gotovo nasumiëno postavjenih kocaka raziëitih dimenzija upisanih u kruæni tocrt poprima The purposefuness of the museum is in its organisation -the organisation of the route by which it is experienced (that is, aong which the visitors are moving through the museum), as we as the way of presenting the coection. On the other hand, the symboism of the museum resides in its appearance - in its form. If we stick to the image of the frame, then the perfect art museum woud be a neutra container 6 - a white (or back, in any case achromatic or monochromatic) box with idea dispersed and atera iumination. Let us ony reca the museum of Peter Zumthor. 7 However, the way in which the route begins to generate the form, or the architect s expression, which begins to work through that form on the organisation of the museum - that is, the route - wi graduay deform and depart from the idea, neutra container. Sejima s The 21 st Century Museum of Contemporary Art at Kanazawa, 8 with its extreme abstraction and purity of spatia organisation, is amost the idea archetype of a contemporary art museum. The buiding is defined through an abstract circe framed in gass, iconographicay pure, with a series of white cubes containing individua gaeries. The space between the amost randomy positioned cubes of various dimensions, inscribed in a circuar ground pan, acquires the quaity of a micro-city and eaves the route entirey open for wondering around or, as the situationists ike to say it - dérive, whereby the cassica corridors of communication are eiminated. That space, so to say ost between art containers, generates an entirey new quaity, which consist precisey in its attractive vagueness of space. That ost 9 space is iteray a magnet for unexpected events, which is just perfect for accommodating contemporary artistic practices. I wi mention two recent Croatian projects for museums of contemporary art - the 6 32
t 7 Kunsthaus Bregenz, Austrija, 1990.-1997. 8 Kazuyo Sejima, The 21st Century Museum of Contemporary Art, Kanazawa. 9 Phiip Johnson je svojedobno duhovito definirao arhitekturu kao the art of how to waste space. 10 U tekstu o Muzeju suvremene umjetnosti u Zagrebu, autor projekta Igor FraniÊ duhovito primjeêuje da je usporediti zgradu muzeja s Kniferovim meandrom jednako banano kao i usporedba Miesova stupa s MajeviËevim kriæem. Oris, VI-26, 2004., 68. kvaitetu mikro-grada i ostavja rutu potpuno otvorenom za utanja, kao πto bi situacionisti rado reki - dérive, tako da su kasiëni komunikacijski koridori eiminirani. Taj, uvjetno reëeno izgubjen prostor, izmeappeu kontejnera umjetnosti generira jednu sasvim novu kvaitetu koja se sastoji upravo u privaënoj neodreappeenosti prostora. Taj izgubjeni 9 prostor dosovce navaëi na sebe cijei niz neoëekivanih dogaappeanja koja su upravo ideana u priagodbi suvremenih umjetniëkih praksi. Dva recentna projekta muzeja suvremene umjetnosti u Hrvatskoj - MSU u Zagrebu i MMSU u Rijeci - jasno pokazuju kako se kod njih radi o bavjenju upravo tim dvjema komponentama koje generiraju pojavnost muzeja - bavjenju rutom, odnosno kretanjem kao dinamiëkom komponentom predstavjanja zbirke i bavjenju znakovitoπêu kao formano-reprezentativnom komponentom predstavjanja zbirke. ZagrebaËki Muzej suvremene umjetnosti arhitekta Igora FraniÊa, Ëije je rjeπenje izabrano na osnovi urbanistiëko-arhitektonskog natjeëaja iz sad veê daeke 1999. godine, novi je samostojeêi objekt koji operira u podruëju znakovitosti. Formana asocijacija zgrade muzeja na Kniferov meandar 10 samo je oruappee u ciju generiranja drugaëijeg urbanistiëkog doæivjavanja cijeog prostora pomoêu operiranja znakovitoπêu. Taj je postupak vro bizak pristupu MSU in Zagreb and the MMSU in Rijeka - which ceary show the architects preoccupation with the two components that generate the appearance of the museum - that with the route, i.e. movement as the dynamic component of presenting the coection, and that with symboism as the forma/representative component of presenting the coection. The Zagreb Museum of Contemporary Art by architect Igor FraniÊ, whose soution was seected on the basis of an urbanism/architecture contest from the ong-gone year of 1999, is a new, sef-standing buiding that operates in the fied of symboism. The fact that its form reminds of Knifer s meander 10 is just an instrument in the service of generating a different urban experience of the whoe space by operating with symboism. The procedure is very simiar to that of architect Gehry in conceiving the Guggenheim Museum in Bibao. Not because these two projects woud formay have anything in common, but because they seek to sove very simiar probems - activating the pace through the symboism of the buiding. To start with, the urban context of the industria zone of Bibao, just ike the urban vagueness of that particuar part of New Zagreb, 11 cries for some sort of attractor from which one coud begin to generate a new, perhaps heathier identity. Moreover, such an attrac- 7 6 I am referring here to the hypothesis of Wiiam Rubin about the white cube as an idea, neutra carrier for the exhibits. 7 Kunsthaus Bregenz, Austria, 1990-97. 8 Kazuyo Sejima, The 21st Century Museum of Contemporary Art, Kanazawa. 9 Phiip Johnson once wittiy defined architecture as the art of how to waste space. 10 In a text on the Museum of Contemporary Art in Zagreb, Igor FraniÊ, the author of the project, has wittiy remarked that to compare the museum buiding with Knifer s meander is as bana as comparing Mies s piar with Maevich s cross. Oris, VI-26, 2004, p. 68. 11 We can aso speak of a difference to the ikewise forma Kunsthaus project in Graz, work of architects Cook and Fournier, which is situated in an urbanisticay defined setting and was buit as a reaction to the context - in this case, the historicist Centra European part of town. 5-7. Saπa RandiÊ i Idis Turato: Muzej moderne i suvremene umjetnosti, Rijeka / Museum of modern and contemporary art, Rijeka, 2002.- 33
8 8-9. Saπa RandiÊ i Idis Turato: Muzej moderne i suvremene umjetnosti, Rijeka / Museum of modern and contemporary art, Rijeka, 2002.- 34 arhitekta Gheryja priikom koncipiranja Muzeja Guggenheim u Bibaou. Ne zato πto bi formano ta dva projekta imaa iëeg zajedniëkog, veê zbog toga πto operiraju vro siënom probematikom - aktiviranjem mjesta kroz znakovitost objekta. Za po- Ëetak, urbani kontekst industrijskog dijea Bibaoa, baπ kao i urbana neodreappeenost ovog dijea Novog Zagreba, 11 vapi za nekom vrstom atraktora iz kojeg bi se mogao po- Ëeti generirati neki novi, moæda zdraviji identitet. Nadaje, takav bi atraktor osim svoje socijano-druπtvene komponente morao imati i svoju simboiënu komponentu, morao bi postati spektakom u svim svojim vidovima - dogaappeajnim, kao i pojavnim (formanim). Identitet novozagrebaëke okacije πizofreno je podvojen izmeappeu visoke urbanosti (pretendira biti novim centrom grada) i gotovo rurane zeene zone (koja postupno gubi identitet) Bundeka. Stoga se Ëini da taj dio Zagreba inspiraciju, kao i naëin generiranja urbanosti, moæe (i mora) pronaêi sam u sebi odnosno kroz zgradu Muzeja, pri Ëemu mu je pozicija naik onoj u Bibaou. Zgrada muzeja ne pokuπava unutar tradicionanoga urbanizma stvoriti mjesto generirajuêi urbani prostor u mjeriu Ëovjeka, πto Êe reêi popunjavanjem praznine urbanog pana, veê svojom distanciranoπêu (zgrada se, naime, uzdiæe) pokuπava eviti- tor shoud, beside its socia component, aso have a symboic component: it shoud become a spectace in a its aspects - event-reated and forma ones aike. The identity of the ocaity in New Zagreb is schizophrenicay divided between high urbanity (aspiring to become a new city centre) and an amost rura green zone of Lake Bundek (graduay osing its identity). Thus, it seems that this part of Zagreb can (and must) find its inspiration, as we as a way of generating urbanity, in itsef, i.e. in the Museum buiding, in which respect its position is simiar to that of Bibao. The museum buiding is not trying to create a pace with the hep of traditiona urbanism or urban space according to human measure by fiing in a void in the urban pan, but seeks to evitate (for the buiding is striving upwards) above the terrain surface. We may say that the buiding museum, by means of its symboism, estabishes an entirey new urban reationship, defined by its scattered monoiths. Thus, it is evident that the primary meaning of the Zagreb Museum of Contemporary Art is in its appearance and its urban impact, whie its interna organisation is a resut of mutua correspondence between form and content rather than its principa generative eement.
rati nad pohom terena. Moæemo reêi da zgrada muzeja svojom znakovitoπêu uspostavja jedan posve nov odnos unutar urbanizma koji odreappeuju razbacani monoiti. Stoga je jasno da je primarno znaëenje zagrebaëkog Muzeja suvremene umjetnosti u njegovoj pojavnosti, kao i u njegovom urbanistiëkom djeovanju na zateëeni kontekst, a njegova unutarnja organizacija prije je posjedica uzajamnog uskaappeivanja obika i sadræaja negoi njegov gavni generativni eement. Za raziku od zagrebaëkog, rijeëki Muzej moderne i suvremene umjetnosti operira u sasvim drugaëijoj kategoriji, a njegov probematski pandan moæemo traæiti u proπirenju Tate Modern Gaery u Londonu. Rjeπenju RandiÊa i Turata naroëito je konceptuano bisko natjeëajno rjeπenje Rema Koohaasa za Tate Gaery. 12 Taj projekt temeji se na taktici siënoj Cedric Priceovom projektu Thinkbet u kojem on reanimira napuπtenu infrastrukturu engeskog postindustrijskog pejsaæa novim programom - univerzitetom. Konceptuano poaziπte projekta sastoji se od pojaëavanja postojeêe strukture nizom infrastrukturnih povezivanja. Komunikacijski eementi - stepeniπta, pomiëne stepenice, dizaa i rampe zguπnjavaju prostor vezama, stvarajuêi onaj prijeko potreban kritiëni naboj za promjenu u sadræajnom skopu kroz otvorenost Ëitanja muzeja kroz promjenjivost / viπeznaënost rute. Na siëan naëin arhitekti RandiÊ i Turato pristupaju probemu rijeëkog muzeja. Ruta, odnosno kretanje kroz muzej ovdje je primarni operativni mode. Uazni ho provu- Ëen je kao javni pasaæ od prizemja zgrade do krova, gdje su smjeπteni bibioteka i muzejski kafiê. Time muzej od jedne zapravo popriiëno ekskuzivistiëko-eitistiëke, Unike the Zagreb museum, the Museum of Modern and Contemporary art in Rijeka operates in an entirey different category, whie its counterpart in terms of probems shoud be sought in the Tate Modern Gaery in London. The contest soution of Rem Koohaas for Tate Gaery was conceptuay especiay cose to that of RandiÊ and Turato. 12 The project is based on the strategy simiar to that of Cedric Price s project Thinkbet, in which he reanimated an abandoned infrastructure in the post-industria Engish andscape with a new programme - a university. The conceptua starting point of the project consisted of enhancing the existing structure through a series of infra-structura inks. Eements of communication -staircases, escaators, eevators, oading patforms -condense the space through those inks, creating that indispensabe critica tension for the change in the set of content through the openness of reading the museum in terms of changeabiity/ambiguity of the route. Architects RandiÊ and Turato approached the issue of the Rijeka museum in a simiar way. The route, that is, the way of moving around the museum, has been the primary mode of operation. The entry ha is drawn ike a pubic passageway from the ground eve of the buiding to the roof, where the ibrary and the cafeteria are situated. In this way, the museum coud be transformed from a rather excusivistic/eitistic, introverted institution into the possibe generator of pubic events. The attempt at baancing between the mass-cutura and the cutura/cut in this project originates in a sort of ideoogica, or better operationa patform of architects RandiÊ and Turato, whose generation was formed by the same speen t 11 Moæemo govoriti i o razici u odnosu na takoappeer formani projekt Kunsthausa u Grazu arhitekata Cooka i Fourniera, koji je smjeπten u urbano definiranu sredinu, a pojavio se kao reakcija na kontekst - u ovom suëaju srednjoeuropski historicisti Ëki gradski dio. 12 Pobjedu na natjeëaju izvojevai su πvicarski arhitekti Herzog & De Meuron. 12 The contest was won by Swiss architects Herzog & De Meuron. 9 35
t 13 Suradnja izmeappeu RandiÊ&Turata i Let 3 pokazaa se vro uspjeπnom od Babe do projekta Tvornice buke. 14 Ta je tema iscrpno probematizirana u izvrsnom tekstu BORISA GROYSA, Muzej u doba masovnih medija, u:»ovjek i prostor, 05-06, 2004., 47.-53. 15 AkemiËarsku prvobitnu tvar. 13 The cooperation between RandiÊ&Turato and Let 3 proved very fruitfu, from Baba to the Factory of noise project. 14 That topic was discussed in detai in an exceent text by BORIS GROYSA entited Museum in the Age of Mass Media, trans. by Matthew Partridge, art, museum, media, Wednesday, May 05, 2004. 15 The achemists prima substance. 36 as the psycho-art-rock group Let 3 from Rijeka. 13 The idea of democratising art, even though utopian, is very important here, since it coincides with the very approach of contemporary artists to artistic practice and the position of art nowadays, especiay in its attitude towards the market situation. 14 The art of today, especiay if one views it in the context of internet communication, shoud be universay avaiabe. It is necessary that the museum shoud cease to be an aseptic, sef-sufficient box for exhibiting fossiized artefacts: it shoud become the pace of encounter and exchange of information, impressions, and opinions, space that in some way provokes or inspires artists to be active in it - in other words, it shoud primariy become a iving organism. It is far more important to take art into the streets than to conserve it. The traditiona museum has the educationa and the normative function - that of cassification and that of anaysis; however, its roe is now becoming more compex because of the process of transformation of art itsef. The museum shoud be a space of representation and study, but aso of (re)contextuaization and provocation. It is precisey in this way that RandiÊ and Turato see their project for the MMSU Rijeka. To use the words of Manue De Landa from the beginning of this text, the accumuation of historica materia and its interaction generates new combinations. Every invention uses an existing substance. Taken that into account, the idea of the museum as a storehouse for historica memory, no matter how anachronistic, epitomizes an exceptionay important materia prima 15 - be it in its acceptance, denia, or criticism. Museums are paces in which we actuay question our own cutura and socia vaues, at the same time generating cuture and identity for the future through the process of memory sedimentation. The way in which that memory is presented or, what is more important, avaiabe, wi directy determine the intensity of its impact upon the future. It is precisey that component of presentation from which we may and must expect modernity and innovation, and the same goes for the curator as the author of the coection and the architect as the author of the container receiving that coection. The museum s architecture, reaized through its spatia organisation - understood as a form of avaiabiity and interpretation of the cointroventirane institucije, postaje moguêi generator javnih dogaappeanja. Pokuπaj baansiranja izmeappeu masovnog i kuturnog/ kutnog u ovom projektu vuëe svoje korijene iz svojevrsne ideooπke ii boje reëeno iz operativne patforme arhitekata RandiÊa i Turata, generacijski formiranih istim speenom kao i rijeëka psycho-art-rock grupa Let 3. 13 Ideja demokratizacije umjetnosti, iako utopistiëka, vro je vaæna zato πto koincidira sa samim pristupom suvremenih umjetnika u odnosu na danaπnju umjetniëku praksu, ai i s pozicijom umjetnosti danas, naroëito u njenom odnosu prema træiπnoj situaciji. 14 Umjetnost danas, osobito ako ju doæivjavamo u kontekstu komunikacije internetom, treba biti opêedostupna. Nuæno je da muzej prestane biti aseptiënom sebi dovojnom kutijom za izaganje fosiiziranih umjetniëkih predmeta. On mora biti mjestom susreta, razmjene informacija, utisaka i miπjenja, mora postati prostorom koji na neki naëin provocira ii inspirira umjetnike na djeovanje u njemu - dake, prije svega mora biti jedan æivi organizam. Daeko je vaænije umjetnost izvesti na uicu, nego ju konzervirati. Tradicionani muzej ima obrazovnu i normativnu funkciju - kasifikacijsku i anaitiëku. Meappeutim, njegova uoga danas postaje sve soæenija usijed procesa mijenjanja umjetnosti same. Muzej bi morao biti prostor prezentiranja, studiranja, ai i (re)kontekstuaiziranja i provokacije. Upravo na takav naëin pokuπavaju reagirati RandiÊ i Turato svojim projektom za MMSU Rijeka. RijeËima Manuea De Landea s poëetka teksta, akumuacijom povijesnih materijaa i njihovom interakcijom generiraju se nove kombinacije. Svaka je invencija sastavjena od supstance postojeêeg. Samim tim ideja muzeja kao skadiπta povijesne memorije, ma koiko anakrona ona bia, predstavja neobiëno vaænu prima materiju 15 - bio kroz njeno prihvaêanje, odbacivanje ii kritiku. Muzeji su mjesta na kojima, u biti, istraæujemo naπe kuturne, kao i druπtvene vrijednosti, ai isto tako generiramo kuturu i identitet za buduênost kroz taoæenje memorije. NaËin na koji je ta memorija prezentirana i joπ vaænije, u koikoj je mjeri dostupna, izravno Êe odrediti i intenzitet njezinog utjecaja na buduênost. Upravo kroz tu komponentu prezentacije moæemo i moramo oëekivati suvremenost i inovaciju reagiranja i kustosa kao kreatora postave i arhitekta kao kreatora kontejnera koji tu postavu prihvaêa. Arhitektura muzeja kroz prostornu organizaciju muzeja - shvaêenu
kao obik pristupaënosti i tumaëenja zbirke te kroz njenu formanu pojavnost koju doæivjavamo kao obik komunikacije - odaπijanja poruke vaænosti muzeja kroz njenu znakovitost, odredit Êe sudbinu same institucije muzeja. Konkretno, svojevrsna ekstrovertiranost arhitekture moæe uveike pospjeπiti javnu percepciju institucije koja boravi u njoj, uz sve pozitivne i negativne konotacije koje nosi. Iz takve strategije nastaje kurentni trend ambematskih zgrada muzeja poput one u Bibaou ii Aiena u Grazu. Arhitektura suvremenog muzeja uopêe, pa tako i muzeja suvremene umjetnosti, mora biti aktivan sudionik u æivotu muzeja, a ne samo njezina pasivna juska.»ak πtoviπe, ona mora preuzeti uogu kataizatora u procesu sudjeovanja umjetnosti u urbanom, javnom æivotu. Drugim rijeëima, ona mora integrirati umjetnost u æivot. U maoj zemji skromnog proraëuna za kuturu, poput Hrvatske, izgradnja dvaju muzeja suvremene umjetnosti priika su, ai i ogromna odgovornost, koje proizaze iz mijenjanja statusa i percepcije suvremene umjetnosti, a time i kuture. t ection, as we as in its forma appearance, which we experience as a form of communication - and the emission of a message about the importance of the museum in its significance wi determine the fate of the very institution. Specificay, a sort of extroverted architecture can argey enhance the pubic perception of an institution housed in it, with a its positive and negative connotations. Such strategy generates the current trend of embematic museum buidings ike those of Bibao or Aien in Graz. The museum architecture of today, which incudes the architecture of museums of contemporary art, must be an active participant in its ife and not ony its passive she; moreover, it must take over the roe of the catayst in the process of participation of art in urban, pubic ife. In other words, it must integrate art into ife. In a sma country with a modest budget for cuture, such as Croatia, buiding two museums of contemporary art signifies an opportunity, but aso a huge responsibiity, resuting from a change in the status and perception of contemporary art, as we as cuture in genera. prijevod / transation: Marina Miadinov Aan KostrenËiÊ (Zagreb, 1968). Redoviti suradnik umjetniëkih Ëasopisa, autor nekoiko kratkih pripovijetki u Quorumu i sinopsisa za kratki fim Food. Godine 1977. osnovao biro KostrenËiÊ & Krebe - Arhitekti.»an uredniπtva Ëasopisa»ovjek i prostor (2000-2002, 2006), gavni urednik Ëasopisa Arhitektura - Europan (2005.) Aan KostrenËiÊ (Zagreb, 1968), writing reguary for severa art magazines. Author of the short stories in Quorum magazine, and synopsis for short movie Food. In 1997 founded KostrenËiÊ & Krebe - Arhitekti office. Member of the»ovjek i prostor editoria board (2000-2002, 2006), editor-inchief of the Arhitektura -Europan (2005). 37