PRVOMAJSKI INKUBATOR

MASOVNI TURIZAMMASS TOURISM

01.–18.05.2017.GALERIJA DECUMANUS, KRK

IZLOŽBA JE ORGANIZIRANA U SKLOPU SEDMOG FESTIVALA PRVOMAJSKI INKUBATOR KOJI SLAVI PRAZNIK RADA TE OBRAĐUJE TEME KOJE

NAM UKAZUJU NA STANJE TRŽIŠTA RADA, GOSPODARSTVA, PROIZVODNIH I USLUŽNIH SEKTORA I SL. OD ČETIRISTO TRIDESET RADOVA PRISTIGLIH

IZ DVADESET I PET ZEMALJA SVIJETA, ODABRANA SU ŠEZDESET I DVA UMJETNIČKA DJELA.

THE EXHIBITION IS ORGANIZED AS PART OF THE SEVENTH PRVOMAJSKI INKUBATOR / LABOUR DAY INCUBATOR FESTIVAL WHICH CELEBRATES

LABOUR DAY AND DEALS WITH SUBJECTS THAT PORTRAY THE CURRENT STATE OF THE JOB MARKET, THE ECONOMY, AS WELL AS THE

PRODUCTION AND SERVICE SECTOR, ETC. OUT OF FOUR HUNDRED AND THIRTY RECEIVED ARTWORKS FROM TWENTY-FIVE COUNTRIES

FROM AROUND THE GLOBE, SIXTY-TWO HAVE BEEN CHOSEN.

Otkad postoji čovjek, postoji i putovanje. Ljudi su oduvijek bili nomadi, selili u potrazi za hranom, skloništem, boljom klimom, bježali od ratova i prirodnih nepogoda. Postoji nešto iskonsko u sâmom činu putovanja, nešto što nas vraća u praskozorje moderne civilizacije kada smo kao vrsta bili slobodni i nevezani za jedno mjesto. U traženju tog osjećaja slobode ljudi i danas privremeno migriraju na mjesta koja pružaju zabavu, opuštanje i bijeg od svakodnevice.

Radovi izloženi na ovoj izložbi donose nam mnogo više od umjetničkog komentara na fenomen masovnog turizma. Ovaj projekt je zapravo prerastao u pravu antropološku i sociološku studiju ponašanja ljudi prilikom godišnjeg odmora. Napuštajući svoje domove, sve obaveze i brige i priključujući se rijeci ljudi koja teče ka moru, čini se da ljudi napuštaju i sposobnost rezoniranja, empatije i uranjanja u novu sredinu i kulturu. Turisti zapravo ne žele nešto autentično i stvarno, oni žele iskusiti ideju ili bolje rečeno, mit o mjestu u kojem se nalaze. Na taj način stvara se neki novi, hibridni svijet; između stvarnosti i slika u turističkim katalozima, nalazi se naš turist koji samo želi vidjeti svoje lice na toj istoj kataloškoj slici. Postavlja se pitanje, je li onda putovanje uopće potrebno? Slika iskustva danas je vrjednija od iskustva sâmog.

Iako su se izražavali u različitim umjetničkim tehnikama, jedno je zajedničko svim ovdje izloženim umjetnicima—svi se kritički i ironično osvrću na procese i posljedice masovnog turizma. Tako npr. nalazimo „čiste“ dokumentarne fotografije uvijek istih scena sa turističkih atrakcija: muzeja, hramova, plaža, skijališta, itd. gdje pretrpani prostori vrve od glava i ruku koje drže male ekrane kojima će snimiti najatraktivniju scenu za objavu na društvenim mrežama. Motiv koji je najviše zabavljao naše fotografe bio je popularni „selfie“. On je utjelovljenje suvremenog egocentrizma (kako su nam to prikazali François Beaurain ili Bourdet Brice) jer više nije važno slikati se za uspomenu, nego

MASOVNITURIZAM

mr. pov. umj.Bruna Justinić

Since there was men, there was journeys. People have always been nomads, migrating in search of food, shelter, better climate, fleeing from wars and natural disasters. There is something primordial in the very act of traveling, something that brings us back to the dawn of modern civilization when we, as a species, were free and not tied to one place. In search of that sense of free-dom, todays people temporarily migrate to places that provide entertainment, relaxation and escape from everyday life.

The works presented in this exhibition give us much more than pure artistic comments on the phenomenon of mass tourism. This project is actually grown into a real anthropological and sociological study of human behavior during the holidays. When tourists leave their homes, their obligations and worries and then dive into the river of people flowing towards the sea, it seems that they also leave behind their ability of reasoning, empathy and immersion in a new environment and culture. Tourists do not really want something authentic and real, they want to experience the idea, or better yet the myth of the place which they visit. In this way a new, hybrid world is created; somewhere between the reality and the image in tourist catalogs, there is our tourist who just wants to see his face on that same catalog picture. The question is: is traveling nec-essary at all? Today, the picture of an experience is more valuable than the experience itself.

Although the exhibited artists used different techniques, they have one thing in common—all of them gave a critical and ironic view on the process and consequences of mass tourism. For example, we have the “pure” documentary photographs of the eternally same scenes with tourist attractions: museums, temples, beaches, ski slopes, etc., where overcrowded space is infested with heads and hands that hold small screens which will capture the most attractive

MASS TOURISMMA in Art History

Bruna Justinić

slikati se kao dokaz da sam „JA“ bio ovdje—to je prava srž antropologije turista.

Neki su umjetnici temi pristupili s političkog i socijalnog kuta. Gaur Devashish budi empatiju prikazom iz indijskog sluma želeći potaknuti turiste na promišljanje o surovoj stvarnosti zemlje u koju putuju. Rodrigo Moreira pak, putem „zabavnog“ videa za učenje stranog jezika, suptilno ubacuje fotografije ne tako vedre povijesti svoje zemlje.

Negativnu stranu masovnog turizma vrlo su dobro prikazali radovi koji u fokusu imaju posljedice noćnih provoda i masovnih okupljanja (Prgomet Maja „Ultra Europe“; Avior Yinon „Piss“). Jamie Mareno svojim je digitalnim kolažima odlučila upozoriti na izrabljivanje sezonskih radnika koji, radeći nemoguće smjene (po 12–15h dnevno) nemaju vremena za uživanje u blagodatima ljeta.

Masovni turizam u doba konzumerizma nije ništa drugo nego još jedan instant proizvod—povijest i kultura destinacije na koju se odlazi, samo su potrošna roba koju će posjetitelj konzumirati tjedan dana, zabilježiti amaterskim fotografijama i zaboraviti do slijedećeg odlaska na godišnji odmor i novu destinaciju.

Ono što nam ovi umjetnici žele poručiti, bilo fotografijom, posterom, ilustracijom ili staklenom skulpturom vrlo je jednostavno; dokad bude postojao čovjek, postojat će i putovanje. Neka to bude smisleno i duhovno iskustvo, budimo putnici, a ne turisti.

„Mi vidimo samo ono što drugi vide. Tisuće onih koji su bili

ovdje prije nas, tisuće onih koji će doći poslije nas. Složili smo se da budemo dio kolektivne

percepcije. Ona doslovno boja naš vid. Religiozno iskustvo, na neki način, kao sav turizam. (…) „Oni

fotografiraju fotografiranje.““

Don DeLillo „White noise“

scene for publication on social networks. The motif that was the most inspira-tional for our photographers was the popular “selfie”. It is the embodiment of modern egocentrism (as shown by François Beaurain or Bourdet Brice) because it is no longer important to capture an image for a longlasting memory, but to use it as proof that “I” was there—and that is the core of the anthropology of tourists.

Some artists used a political and sociological approach. With his scene from the Indian slum, Gaur Devashish wants to evoke empathy and make tourists think about the harsh reality of the visited country. In his “fun” video for learning a foreign language, Rodrigo Moreira subtly puts photos of his country’s not so bright history.

The negative aspect of mass tourism is elaborated very well in the works that are focused on the consequences of the night life and mass gatherings (Prgomet Maja ‘Ultra Europe”, Avior Yinon “Piss”). Jamie Mareno used her digital collages to draw attention to the exploitation of seasonal workers who, working impossible shifts (12–15h a day) do not have time to enjoy the summer delights.

In the era of consumerism, mass tourism is but another instant product —the history and culture of destinations to which people go to are a mere com-modity which the visitor will consume for a week, capture in amateur photo-graphs and then forget until the next departure towards a new destination.

What these artists want to say whether by a photograph, a poster, an illustration or a glass sculpture, is very simple; for as long as man exists, there will be travel. Make it a meaningful and spiritual experience, let’s be travelers, not tourists.

„We see only what the others see. The thousands who were

here in the past, those who will come in the future. We’ve

agreed to be part of a collective perception. It literally colors our vision. A religious experience in

a way, like all tourism. (…) “They are taking pictures of

taking pictures.“”

Don DeLillo, „White Noise“

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61 62

30 HIRO Tanaka (JAP), Around 42nd and 7th, photography, 201531 KACZMARSKA Malgorzata (PL), Pax, video, 1 min 49 sec, 201732 KEKIĆ Kitica (HR), Fishstanbul, digital photography, 201333 LACOTTE Laurent (FR), Utopia resort, poster, 201434, 35, 36 MARENO Jamie (USA), Look look!, Massive attack and Maybe, maybe tomorrow, posters, 201637 MACHALOWSKI Frank (DE), Monster Prague 1, analog photography, 201438 MEROLLA Sabrina (IT), All China’s Paradises (Disneyfication Tibet), digital photography, 201439, 40, 41 MISHURINA Evgenia (RUS), Journey in economy class train (1, 3, 5), drawings, 201442 MOREIRA Rodrigo (BRA), Vocabulart, video, 4 min 52 sec, 201643, 44, 45 MLADENOVIC Svetlana (SRB), Venice (1, 2, 3), photography, 201546, 47, 48 PRGOMET Maja (HR), Ultra Europe (1, 2, 3), digital photography, 201649 PRENNER Verena (AUT), Stuck, digital photography, 201550 RAPPOPORT Anya (RUS), Dying sea 2, digital photography, 201751 SALIERNO Vincenzo (IT), Kornati islands, peak-hour, illustration, 201752 SIEBKE Ida (NOR), New Canaria/Grand York, glass sculpture, 201753, 54, 55 TOMULIĆ Aleksandar (HR), Beach Party (1, 2) and Selfie, digital photography, 2014–201656 VERREYKEN Frank (BEL), Welcome to the beach, digital montage, 201657, 58, 59 WEYAND David (DE), Exit, Sunset and Transport, digital photography, 201760, 61, 62 ZBYLUT Agata (PL), Car (1, 2, 3), digital photography, 2015–2016

INDEX2/2

1 ALL Hervé (FR), Vague rituel, video, 2 min 5 sec, 20162 ARCHUNDIA Lourdes (MEX), Tourist no tourist 11, digital photography – montage, 20173 AVIOR Yinon (ISR), Piss, digital photography, 20154 BEAURAIN François (FR), I am a mass tourist, video – merged „ .gif “, 34 sec, 2012–20155, 6 BEORCHIA Claudio (IT), Alpine migratory fauna and Maritime migratory fauna, poster, 20107 BERROCHE Anaëlle (FR), 81, digital photography, 20178, 9, 10 BOURDET Brice (FR), Cottbus 5, Matera 700 and New York 4 (from series Homo-Touristicus), digital photography, 2013–201611, 12 BRATANOVIĆ Snježana (HR), Alles gut (2, 3), digital photography, 201213 BURSAĆ Borna (HR), Jadrolinija, digital photography, 201614, 15 CAIMI & PICCINNI (IT), Aqua Fun (2, 3), analog photography, 201616 CLEMPSON Charlene (UK), Two phones are better then one, digital photography, 201717, 18 ČAVIĆ Dejan (SRB), Cruising skyscraper and Peace and quiet, digital photography, 2015–201619 DAMIANI Sabina (HR), Personal 2, digital photography, 201520 DONCKERS Eva (BEL), Antropology of The Tourist, video, 44 sec, 201621 EFEOGLOU Elena (GR), Mass behavior 1, digital photography, 201522, 23, 24 ESPINOSA Abel (ESP), Density (4, 6, 8), digital photo-collage, 2016–201725 GAUR Devashish (IND), Play, digital photography, 201726 HAHN & HARTUNG (DE), The beauty and the beast 03, digital photography, 201627, 28, 29 HERNE Liam (AUS), Selfless in Paris, Selfless in Pisa and Selfless in Sidney, digital artwork, 2017

INDEX1/2

IMPRESSUM

NAKLADNIK Udruga Kreativni Krk Kvarnerska 17 51500 Krk www.kreativnikrk.com kreativni.krk@gmail.com Pod pokroviteljstvom Centra za kulturu Grada Krka

PREDGOVOR Bruna Justinić

DIZAJN KATALOGA Mario Depicolzuane

POSTAV Lucija Štefančić i Bruna Justinić

NAKLADA 200 primjeraka

TISAK Tiskara Sušak, Rijeka