Krov, tuš, roštilj, fuš je multimedijski rad s fokusom na kolonije bespravnih naselja oko Premanture, najjužnijeg mjesta u Istri. Okosnicu rada čini „trik za kameru“, odnosno strategija vikendaša kojom se simulira čvrsta gradnja za snimke iz zraka.
Godine 2012. donesen je Zakon o postupanju s nezakonito izgrađenim zgradama, popularno nazvan zakon o legalizaciji. Prema ovom zakonu svi objekti koji budu snimljeni za službeni ortofoto prikaz i time dokazani kao čvrsta gradnja, mogu ući u proces dobivanja građevinske dozvole. Iste godine snima se teren iz zraka i prema tome se uspoređuju predani zahtjevi. Za vlasnike parcela na području Južne Istre ova situacija postaje prilika da kamp kućice pretvore u solidne vikendice. Oni gotovo preko noći montiraju krovove na kamp kućice, nadstrešnice i zidove od različitih materijala koje žbukaju kako bi simulirali prave građevine i prevarili snimku iz zraka. U prostoru sive zone koju omogućuje zakon, većina njih uspijeva legalizirati vikendice, a know-how šire susjedima. Postupno nadograđivanje kućica događa se tajno i vikendom, najčešće kroz korištenje različitih i često priručnih materijala, uređivanje detalja, vrta i okućnica te ograđivanje prolaza i privatiziranje staza do plaža.
Tinker, Roofer, Shower, Builder is a multimedia artwork focused on the colonies of unlawfully built housing developments around Premantura, the southernmost village in the county of Istria. The framework consists in the so-called ‘trick for camera’, that is the strategy used by weekenders to simulate the solidity of their constructions for areal footage.
In the year of 2012 the Building Act on Illegal Housing was enacted, popularly called the act on legalisation. According to this law, all the objects photographed from air for the official orthophoto representation, and in this way proven solid, are eligible to apply for the building permit. In the same year the territory is photographed from air and the footage is compared with the submitted applications. For the owners of lots in the Southern Istria this presents an opportunity to transform their RVs into proper weekend houses. Therefore, in an overnight they mount the roofs or canopies on their RVs, and they build the walls from different material and plaster them. All of that only to imitate the solid buildings and to trick the areal footage. The grey area of the law allowed for the majority of owners to legalise their weekend houses, whereas the ‘know-how to’ word spread among neighbours. Soon after the owners continue to gradually extend their houses in secret over the weekends. They would use various materials, arrange the details and plant the garden. They would even fence in the passageways and privatize paths leading to beach.
Krov, tuš, roštilj, fuš prvi je u nizu od tri rada koja se bave divljom gradnjom u južnoj Istri.
Kroz nekoliko ciklusa bilježila sam promjene u okolišu. Dokumentirala sam kolonije bespravnih naselja: detalje u gradnji, tuševe, roštilje, grafite koje ostavlja lokalna zajednica, organizaciju života, zabrane pristupa i sl.
Tinker, Roofer, Shower, Builder is the first in a series of three works addressing‘’wild’’ settlements in southern Istria. Over time, I observed changes within the environment. I documented the settlements — construction details, improvised showers and barbecue areas, graffiti written by the local community, systems of everyday organization, access restrictions, and other traces of collective presence and habitation.
Na primjeru makete pokazujem proces postepenog nadograđivanja krova, zidova i uređenja vrta.
The model is used to show the process of gradual expansion of the RVs – the walls, the roof and the garden.
S druge strane, nasuprot ovim ilegalnim, ali malim vikendicama skrivenim u šumi Premanture, na petstotinjak metara zračne udaljenosti izgrađen je čitav kvart legalnih apartmanskih četverokatnica. One čine pravi primjer preizgrađenosti na predviđenim parcelama. Takav suodnos, pri čemu je ono legalno izgrađeno na način da eksploatira prostor i kvalitetu života u naselju, relativizira pitanje ilegalnog i otvara prostor za propitivanje o zakonskim odredbama i načinu na koji su pravila postavljena.
In contrast to the illegal, but small houses hidden in forest, at only fifty meters of air distance stands the whole newly built and legal neighbourhood of four-storey apartment buildings. These are representative example of the overbuilding on the lots. This correlation, in which what is legal exploits the space and the quality of life, relativises the issue of ‘illegal’, and offers an opportunity to question the norms set by the Act, and the ways in which they are regulated.
Držimo ceradu s printom kako bi simulirali krov za snimku iz zraka.
We hold the tarpaulin with print in order to simulate the roof for the areal footage.
Tražimo poziciju, mjesto među drugim vikendašima, nosimo frontu kampkućice u pravoj veličini.
We are trying to find the location, a place among other weekenders, we carry around the front of a RV in the life-size.
Važan mi je i autobiografski moment koje postavljam kao prolog i epilog rada. Obiteljska kuća u kojoj žive moji baka i djed u Premanturi, gradila se godinama, a prva je izgrađena baraka kako bi se građevinski materijal mogao skladištiti. Baraka gabaritima, arhitekturom i funkcijom podsjeća na ilegalne kućice. S djedom izrađujem maketu barake i nekoliko godina dokumentiram način na koji obitelj koristi prostor, posebice ljeti kada se broj privremenih stanara poveća. Osoban moment u ovom radu bitan mi je kako bih istaknula slojevitost problema bespravne gradnje i izbjegla poziciju moraliziranja. Problem je vrlo prisutan, a načini na koje ljetujemo, razmišljamo o prostoru i potencijalnoj zaradi od turizma isprepliću se.
An autobiographical element is also an important part of the project, functioning as both its prologue and epilogue. The family house in Premantura where my grandparents live had been under construction for years. Firstly, they built a hut in order to store the building material. With its architecture, function and dimensions the hut resembles the illegal houses. With my grandfather I create a model of the hut and for a few years I document the ways in which the family uses the hut. I focus on the summer periods when the number of temporary tenants rises. I find this personal moment important in order to emphasise the many layers the problem of unlawful building consist in, and to avoid the moralising position. The problem is very present, and the way in which we summer and think about the space and about the potential profit from tourism are intertwined.
Drugi dio moje obitelji generacijama postepeno prodaje zemlju u mjestu Betiga, sjeverno od Premanture. Na mjestu prodanih parcela točkasto niču vikendice, apartmanske višekatnice bez urbanističkog plana. Od posljednje prodaje dobivam dio novaca s kojim kupujem teleobjektiv. S objektivom odlazim na prodanu parcelu koja je očišćena i spremna za gradnju.
For generations now, the other part of my family sells plots in Betiga, the village on the north from Prematura. Where the plots are sold, the weekend houses and multi-storey apartment buildings are appearing without any urban planning. I receive money from the last sale, and I buy myself a telephoto lens. With the lens I am going on the sold lot, which is cleared and prepared for building.
U Splitu radim akciju Bazen za izložbu u Salonu Galić. Bazen je site specific dopuna radu Krov, tuš, roštilj, fuš izloženom za Finale nagrade Radoslav Putar 2022. Akcija je inspirirana objavom u dnevnim novinama o bespravnoj gradnji bazena u Rovinju. (Dron: Darko Škrobonja Hvala Ana Bratić i Hulu Split)
The pool is a small action situated on the roof of Salon Galić gallery in Split. It came to be as a site-specific addition to Tinker, roofer, shower, builder exhibited for the occasion of Radoslav Putar Award Finale 2022. The action was inspired by an article about illegal swimming pools in Rovinj, published in a daily newspaper. (Drone: Darko Škrobonja Thanks: Ana Bratić & Hulu Split)
