umjetničko istraživanje, GMK, 2018. // art research project, GMK, 2018
Iz kataloga, kustosice Ana Kovačić, Lea Vene i Sanja Sekelj:
Umjetničko-istraživački projekt Što će nam fundus umjetnice Katerine Dude započet je 2016. godine u okviru programa Otvoreni studio u Galeriji Miroslav Kraljević. Umjetnica se fokusirala na povijest Galerije i tada aktualno iseljavanje zaposlenika iz zgrade INA-e u Šubićevoj 29. Naracije o zgradi neizbježno su otvorile i priču o povijesti galerije i povijesti Kulturno-umjetničkog društva INA, osnovanom 1977.
Iako u početku zamišljena kao izložbeni prostor za likovne umjetnike-amatere, u Galeriji početkom 1990-ih dolazi do promjene programske koncepcije te se profilira u smjeru izlaganja suvremenih umjetničkih praksi. Angažman amaterskih i profesionalnih umjetnika pridonosi stvaranju hibridnog galerijskog fundusa koji je u narednih trideset godina cirkulirao između skladišta u galeriji, ureda u INA-inoj zgradi i privatnih domova bivših zaposlenika INA-e.
Zajedno s kustosicama Galerije Miroslav Kraljević umjetnica ulazi u arhivu Galerije, razgovara s bivšim članovima i voditeljima KUD-a te bivšim kustosima/icama u Galeriji kako bi rasvijetlila ulogu INA-e u prikupljanju umjetničkih radova i odnos prema umjetnicima koji izlažu u galeriji. U kakvim su izlagačkim uvjetima djelovali umjetnici? Kako se formira tržišna i kolekcionarska vrijednost njihovih radova te tko ima pravo na fundus započet unutar samoupravnog ekonomskog sustava i paradigme ”kultura radnicima”?
From the exhibition catalogue, curators: Ana Kovačić, Lea Vene i Sanja Sekelj:
Art and research project What are we supposed to do with an art collection? was started in 2016 by Katerina Duda within the framework of Open Studio in the Gallery Miroslav Kraljević. The artist focused on the Gallery’s history and the moving out of INA’s employees from their building in Subiceva 29 which happened at that time. Narrations about the building inevitably uncovered the stories around the history of Arts and Culture Society INA established in 1977.
Although in the beginning it was envisioned only as an exhibition space for amateur visual artists the change in the conception of the program occurred in 1990s and the gallery was focused on exhibiting contemporary artistic practices. The practice of exhibiting both works of amateur and professional artists’ works contributed in creating a hybrid gallery collection that circulated in between storage spaces in the gallery, offices in INA building and private homes of former INA employees.
Together with curators in Gallery Miroslav Kraljevic the artist enters the Gallery archive, talks with the former members and directors or ACS and former curators in the Gallery in order to clarify what role INA had in collecting of the artworks and towards the artists who exhibited in the gallery. What were the conditions the artists worked and exhibited in? How is their market and collection value formed and who has the right to the collection established within the self-governing economic system and the paradigm culture to the workers?
Paralelno uz istraživanje fundusa radili smo na kratkom filmu Strujanja koji se bavi zgradom INA Naftaplina u kojoj je smještena galerija, a koja se u tom periodu iseljava i ostaju samo biljke. Kustosice GMK Ana Kovačić, Lea Vene i Sanja Sekelj u istom periodu pripremale su monografiju povodom trideset godina rada galerije. Za monografiju radila sam na prijevodu istraživanja i procesa rada na filmu u tekstualno-vizualni esej.
Alongside the research of the art collection, we worked on the short film Currents that talks about the INA Naftaplin building that housed the gallery as it slowly emptied out, leaving only the plants behind. In the same period, GMK curators Ana Kovačić, Lea Vene, and Sanja Sekelj were preparing a monograph marking thirty years of the gallery’s work. For the publication, I translated the research and the process of making the film into a textual-visual essay.
