Za Mediku je vjerojatno čula većina ljudi, mnogi su tamo puno puta završili tijekom noćnog izlaska (što slučajno, a što namjerno), a mnogi su današnji dvadesetogodišnjaci ‘Djeca Medike’ ondje i odrasli zalazeći u njene prostore od svojih ranih tinejdžerskih dana. No, vrlo vjerojatno većina istih ne zna kako je Medika nastala, odnosno kako ju je Attack posvojio.
Autonomni kulturni centar – Attack! nestranačka je i neprofitna udruga koja se prvenstveno bavi poticanjem razvoja i prakticiranja alternativne kulture, mišljenja, djelovanja i izražavanja, a koja djeluje još od 1997. (kao Autonomna tvornica kulture). Samo neki od ciljeva Attacka! su promicanje (alternativnog) glazbenog, scenskog i likovnog stvaralaštva te pružanje ljudima, osobito mladima, prostor za stvaralačko izražavanje.
Nakon gubitka prostora u Pogonu Jedinstvo 2003. godine Attack! je šest godina ‘spavao na kaučevima’ različitih centara i klubova kao što su Močvara, Studentski centar i KSET te je nakon niza akcija odvijanih po gradu Zagrebu započeo skvotiranje Medike. Nakon prvog partyja održanog kao okupacijski događaj, Medika se počela naseljavati, a 2009. godine grad Zagreb im konačno dodjeljuje prostor te stare tvornice u Pierrotijevoj ulici.
Medika je postala prostor koji privlači i okuplja različite subkulture, pripadnike/ce nezavisnih scena, umjetnike/ce, itd., a među njima i graffitere koji su neke od svojih prvih događaja i projekata organizirali u prostorima cijele Medike pa tako i Grey Roomu (prije formalnog postojanja Galerije Sive) te održavati Graffiti Jamove na vanjskim zidovima.
Galerija Siva, koja je sve samo ne siva, jedno je od najaktivnijih i najraznolikijih izlagačkih prostora u Zagrebu. Ondje ćete u maglici dima (jer u Sivoj je dozvoljeno pušenje) s, najvjerojatnije, bocom pive u ruci gledati djela formalnih umjetnika i „amatera“, dobra i ona malo manje dobra, ali uvijek će njezina boemština nahraniti vaše oči i uši. U želji za njenim širim predstavljanjem porazgovarala sam s Chezom – jednim od naših istaknutih graffitera, ali i osnivača Sive Galerije.
Kako je nastala Galerija Siva i koji su bili njeni glavni ciljevi?
‘Negdje u 2012. smo frend Ivan i ja dobili ideju, prepoznali priliku za odvajanje jednog dijela kao maksimalno sređenog prostora namijenjenog isključivo za izlaganja. Prije dok je sve to bio jedan prostor, Grey Room, organizirala bi se tu neka izložba, a sutra party ili koncert ili obrnuto zbog čega je prostor bio prljav i – nije dobro funkcionirao i za jedno i drugo. Zbog toga se javila ideja ‘ajmo pregradit prostor i napravit striktno galerijski dio’. Trebalo je otprilike tri mjeseca da ga nas dvoje pregradimo; sazidamo zid, pokrpamo prozore, sredimo podove, pločice, vrata pa i struju. Što se tiče financiranja, pa tu u biti ulijeće udruga Attack!. Siva je službeno postala jedan od Attackovih projekata i uspjela zaživjet uz njegovu financijsku pomoć; na taj smo način ušli u taj sustav udruga, natječaja, financiranja od strane Ministarstva kulture i sl. Osim stvaranja pogodnog prostora, jedan od ciljeva nam je bio i maksimalno gurati neafirmirane, graffiti i street art umjetnike. Naravno, u Sivu su svi dobrodošli, prostor je otvoren za sve umjetnike, ali naša je zadaća bila progurati ove umjetnike koji inače baš i nemaju prilike za prezentiranjem.’
Je li prije Sive uopće postojao takav prostor?
‘Ne, definitivno ne. Možda jedino Boonika u Veslačkoj ulici gdje su se organizirale slične stvari, ali opet nije bio specifično galerijski prostor za razliku od Sive.’
Kakav je bio odaziv umjetnika na samom početku?
‘U početku smo sami zvali ljude koje poznajemo, znači za koje smo znali da se time bave i imaju materijala za pokazat. A s vremenom su se umjetnici krenuli i sami javljat kad su primijetili da prostor postoji te se o njemu nešto pročulo. Prva izložba za samo otvorenje nam je bio Gene – mislim najstariji graffiter u Hrvatskoj, aktivan od sredine/kraja 80ih pa sve do danas, što je mislim bilo baš prikladno. A kroz cijelo su se djelovanje galerije provukli pa skoro svi graffiteri i street artisti, poznati i manje poznati, iz Zagreba i okolice pa i inozemstva.
Gledajući i kroz sebe, iako sam se osobno maknuo od tog galerijskog dijela i pokušavam i sam postati umjetnik, generalno je užasno teško naći mjesto, odnosno prostor za izlaganje ovakve umjetnosti. Da, uvijek imam Sivu, nju sam i sam ‘napravio’, ali drugi prostori u gradu nisu baš dostupni.’
Misliš li da je situacija takva samo u Zagrebu? Ima li razlike u drugim gradovima i/ili u inozemstvu?
‘U ostatku Hrvatske nema razlike, a i vani je u principu ista stvar. Nedavno sam baš bio u Berlinu i razgovarao s nekim umjetnicima tamo i skužio kako Berlin ima skoro pa isti problem; postoje određena mjesta gdje se može izlagat i sve su to prostori sličnog ambijenta kao Medika – dakle ili skvotirani ili kulturni centri – što je odlično, ali na taj se način, po mome mišljenju, sve konstantno vrti unutar jednog zatvorenog kruga alternativaca, subkultura i sličnih scena. Trebalo bi se počet izlazit van tih granica kako bi i drugi ljudi koji ne pripadaju toj istoj sceni, a prate umjetnost, pristupili tome. Jer, i dalje postoji masa ljudi koji nikad neće doći u Mediku, koji će posjećivati sve ostale galerije u gradu, ali ne i Mediku jer jednostavno ne razumiju to mjesto. Postoji jedan otpor i predrasuda koja predstavlja problem. A taj isti problem prisutan je čak i u Berlinu. Jedini grad koji je nadišao tu granicu je, čini mi se, London. Jedino tamo funkcionira to preplitanje umjetnosti, vjerojatno zahvaljujući i samoj veličini – ima puno više takvih galerija te je cijeli grad jedan veliki mix. Osim toga galerije moraju ulagati sredstva kako bi opstale čime automatski moraju i bolje ‘izgledati’, a čime na kraju i privlače sredstva, odnosno ljude koji imaju novac i koji će zapravo i uložiti u umjetničko djelo. Zato London predstavlja puno veću mogućnost za umjetnike da izlože, prodaju i zarade te na kraju krajeva da žive od svoje umjetnosti. U Zagrebu je skoro pa i nema.’
Dakle Siva galerija u biti nudi mogućnost besplatnog izlaganja i promidžbe? To je zapravo velika stvar.
‘U biti da. I svi bi mi htjeli apsolutno svima omogućiti izložbu sam kaj to nije baš moguće jer smo i mi sami, kao i ljudi koji danas vode, to radili besplatno. Sve se zapravo svodi na volontiranje. Imali smo prostor, ali galeriju smo sami izgradili, doslovno i preneseno. Mase i mase ljudi koji bi htjeli izlagat se svakodnevno javljaju i nije moguće baš sve realizirat jer ti sam nemaš kapaciteta ni sredstva za to. Nažalost nas to prisiljava na selekciju. Bilo bi odlično da možemo biti stalno prisutni, odnosno stalno zaposleni te i sami zarađivati od toga kao i dobivati financijska sredstva za rad. Samim time bi više mogli i napraviti. Na taj način ne bi bili prisiljeni raditi druge stvari radi preživljavanja te se potpuno posvetiti samo ovome.’
A koje su to tvoje osobne okupacije u životu?
‘Trenutno samo umjetnost. I trenutno uspijevam od toga preživjeti, krpat kraj s krajem. Naravno, prisiljen si kao i svakom drugom poslu odrađivati stvari koje su ti manje drage, ali koje ti donose veću financijsku sigurnost, ali s druge strane imaš puno slobodnog vremena kojeg koristiš za stvari koje su ti najdraže i glavne. Sve se nekako izbalansira. U početku me jesu ti neki komercijalniji poslovi frustrirali jer nisu ono što ja zapravo želim, no doživio sam u jednom trenutku taj neki ‘klik’. Pomirio sam se sam sa sobom da to jednostavno ‘moram’ odradit, ali isto uspio svaki taj posao onda sam sebi učiniti zanimljivijim. I dalje je tu moja kreativnost bitna. Na taj način sada sve dobro funkcionira i sve više uspijevam unijet to nešto ‘svoje’ u svaki posao koji radim.’
Kakvi su to komercijalni poslovi? Možeš li mi možda dati neki primjer?
‘Pa na primjer, kad me netko traži napravit logo, nacrtat reklamu, oslikat teretanu, kafić i sl. Ali ima i onih poput crtanja murala za kulturne centre. To su honorari sa svih strana od kojih u biti živim. Može se, ali treba se odlučit da se može. Mislim da puno ljudi ne želi pokušat jer si unaprijed u glavi stvore taj rez, postave da je nešto neizvedivo i nemoguće – meni je u početku isto tako bilo. Dok nisam stao sam sa sobom i postavio si jedan vremenski rok, za koji sam bio siguran da sam kol’ko tol’ko financijski pokriven, u kojem ću gurat sve to što radim, volim raditi i želim raditi pa ćemo vidjet. Ako se uspije zavrtit – super! Ako ne – barem znam da sam probao. I, da kucnem o drvo, zavrtilo se! Biti umjetnik je najljepši posao i najteži posao.’
Da se malo vratimo na Sivu – kako tamo funkcioniraju postavi?
‘Istina je da imamo jako puno jednodnevnih izložbi, koje se baziraju na tom jednovečernjem otvaranju, ali ne radimo samo to. Sve ovisi o dogovoru, ponekad se dogovorimo ‘a pa mogli bi ovo ostavit još koji dan’. No, tu se opet javlja onaj problem. Svi mi ovdje radimo i druge stvari u životu zbog čega si ne možemo priuštiti duže postave, ostavljati galeriju otvorenu danima ili dežurati. Meni je osobno taj jednonevni koncept samo otvorenja čak i draži. Veći je i odaziv i hype jer ljudi znaju da im je to jedina prilika za vidjeti. Bolje nego da se onak’ razvodni kroz cijeli tjedan.’
Surađuje li galerija samo s pojedinačnim umjetnicima ili i kolektivima?
‘Nema pravila. Neki ljudi funkcioniraju samo u kolektivima, briju samo na to. Npr. Artu Ditu, Trash Will Smash koji su koristili Sivu. Ne sjećam se više jel’ to bilo u ‘moje vrijeme’ ili kasnije jer i nakon što sam službeno prestao voditi Sivu, ja sam i dalje svakodnevno bio ovdje, haha.’
Kada je to točno bilo i zašto si zapravo ‘otišao’?
‘To je bilo nekada u 2014. godini, otprilike pola godine nakon što je Ivan otišao, kada je moja osobna zadnja izložba u Sivoj bila ujedno i općenito zadnja izložba koju sam tu organizirao. Odlučio sam se posvetiti sebi. Koliko god mi je bilo drago i užitak surađivati s drugim ljudima, postavljati izložbe i promatrati kako ljudi rade, pomislio sam kako i ja sam to želim i mogu raditi, možda u nekim slučajevima i bolje. Zaboravio sam u jednom trenutku da sam i sam umjetnik. I tada odlučio prepustiti taj dio Sanji i Kristijanu koji su se u rad već neko vrijeme postepeno uključivali, a posvetiti se guranju i razvoju svoje kreativnosti.’
Kakvi su se još projekti odvijali u Sivoj, osim onih izložbenih?
‘Bilo bi dobro spomenut da smo radili i hrpu radionica za sve uzraste kao i one posebno namijenjene klincima; radionice graffita, kaligrafije, i sl. Pokazali bi im osnove, radili bi skice, a one najbolje bi se zadnji dan čak crtale na vanjskim zidovima što je super iskustvo. Mislim da djeca pogotovo nemaju baš prilike upoznati se s tako nečime nigdje drugdje. Odaziva je uvijek bilo, kao i problema s ljudima koji bi se prijavili, ali ne i pojavili. Čini se da je to uvijek problem s besplatnim radionicama; ljudi ne ulože novac u to pa ne osjećaju nikakvu obavezu što je šteta za one druge ljude koji su se prijavili i nisu uspjeli dobit mjesto, a možda bi došli.
Ljudi generalno baš i ne razumiju koliko biti graffiter zahtijeva i truda i vremena. Većina ima dojam da tri dana nešto crtkaraš po papiru i onda već to prenosiš na zid. Nije baš tako lako. Mislim da smo mi, koji smo krenuli crtati u ’90-im godinama prije interneta i općenite pristupačnosti grafita, materijala, videa, fotografija i sl., i dan danas uglavnom u tome jer smo bili prisiljeni puno teže i više grebati i po najmanjim detaljima koje današnji klinci uzimaju zdravo za gotovo. Najbanalniji su primjer kapice – nekada bi jedva nabavili dvije pa bih čuvali i prali, a danas uđeš u dućan i kupiš ih dvjesto. Automatski smo takve male stvari puno više cijenili. Zato se danas tako fanatički odnosimo prema svemu tome haha. A danas je sve na ‘izvolte’; klincima je sve dostupno i jako će brzo sve to pohvatat, ali i puno brže odustat jer će im ili dosadit ili će se pojavit nešto novo, zanimljivije. Al’ to je normalno, od svake te generacije na kraju ostane bar dvoje aktivnih.’
Čini li ti se ta scena danas puno razvijenija?
‘U kontekstu graffita sam u zadnjih deset godina, koliko živim u Zagrebu, primijetio ogromne oscilacije što se tiče i kvalitete i kvantitete. Pretpostavljam da to ovisi kako dođe nova generacija graffitera. Trenutno mislim da je dosta nisko, ali možda se već slijedeće godine to promijeni, možda dođu neki novi klinci koji će scenu podići. Dosta je starijih generacija otišlo „u mirovinu“, tj. prestalo biti aktivno, a mlađe generacije nisu još sasvim popunile te praznine. Što se cjelokupne scene tiče, koja uključuje i umjetnike koji se bave isključivo street artom, mislim da je u ok stanju; ima onih koji su na svjetskoj raznini, ima ih i loših. U svakom slučaju postoji raznolikost, nešto se događa i razvija u nekom smjeru, a to je najbitnije. Definitivno raste – sve je više festivala, projekata, velikih oslikavanja i akcija čime raste i popularnost. Mijenja se svijest ljudi, više se prihvaća u društvu i razlikuje od vandalizma, dok se još do prije par godina sve uporno trpalo u isti koš. Postoje graffiti i street art koji su kreativni umjetnički pravci, ali postoji još i taj ilegalni aspekt koji će tu uvijek biti. Jedno bez drugog ne ide. I graffiti i street art su nastali kao nešto ilegalno i uvijek će postojati dio scene koji ‘brije’ isključivo na to.’
Kako funkcionirate s gradom Zagrebom u pravnom aspektu?
‘Za neke prostore je potrebna gradska dozvola, a za neke ne. Dosta se toga rješava u dogovoru s vlasnicima, kao npr. Studentskim centrom. Ne možeš jednostavno doći i crtati po bilo kojem zidu, ali se možeš najaviti te dogovoriti koji dio, tj. koji zidovi su dopušteni i na raspolaganju što apsolutno poštujemo. Medika također funkcionira na sličan način s time da se njeni zidovi svake godine nanovo oslikavaju. Sad nedavno smo u sklopu festivala koji se održava svake godine, jedan vanjski zid oslikali Lonac i ja, a radili su još i Lav, Bins, Dado i mnogi drugi. Zidovi unutarnjeg dvorišta se mijenjaju čak i češće, oni funkcioniraju kao nekakav Hall of Fame, praktički kad god se nekome crta, može ondje crtat.’
Na izmaku 2016. godine te uoči našeg razgovora, Chez je nakon dugo vremena, točnije nakon dvije godine, ponovno radio svoju izložbu u Sivoj. Dok smo sjedili u hladnoj galeriji za stolom punim alata, jednom mineralnom i jednom grijalicom te okruženi njegovim platnima, Chez je na pitanje po čemu se ova izložba razlikuje od one prije dvije godine, odgovorio:
‘Razlika je općenito u tome što sam u međuvremenu otvorio atelje te počeo raditi i druge stvari osim oslikavanja zidova. Tako da sam na platnima…isto crtao graffite, ali to nisu graffiti! Haha. Pokušao sam prenijet graffite na platno, napraviti umanjenu verziju na platnu. Izvesti graffite u nekom tradicionalnom mediju što puno ljudi vani radi i dobro im leži i sve je to meni ok. Ali ja sam tijekom samog procesa shvatio da su to u biti dvije potpuno različite stvari, da ne bih uopće trebao pokušavati na slikama imitirati ono što radim na zidovima. Također sam shvatio da jedini alat kojim znam raditi je sprej; akrili, kistovi mi ne leže. No bez obzira na to, raspon mogućnosti rada sa sprejem je ogroman i pritom se ne mora nužno razmišljati o tome kao o graffitima. Najviše se zabavljam s apstrakcijom i bojama, i to bojama koje na graffitima nikada ne bih kombinirao. Na platnu su mi ruke odriješene, ne moram kao na graffitima zadovoljiti taj jedan estetski pravilnik. Koji ne postoji, al’ ajmo to tako nazvati – jedne estetske vrijednosti koje jedan graffit mora imati kao i razinu ili stil koji stoji iza mog imena kao graffitera. Ovo niti ne mora biti Chez.
Tako da bih po tome istaknuo ovu izložbu – nema nikakve veze s graffitima osim što sam koristio sprej, dok sam prije dvije godine još uvijek pokušavao imitirati. To me na neki način prosvijetlilo, pokrenulo novi val inspiracije kada sam shvatio da mogu raditi i druge stvari. Osim toga, stvari koje naučim u ateljeu također mogu kasnije primijeniti i vani na zidovima.’
Ovo zvuči malo nelogično – zar ne pruža zid više slobode nego platno?
‘Graffiti sami po sebi jesu kao čin najveća sloboda izražavanja, ali što se estetskog dijela tiče ta me sloboda na platnu osobno baš ispunjava. Možda će stručnjaci koji se razumiju u umjetnost potpuno popljuvati ovo što sam napravio (čitaj: povjesničari umjetnosti), ali meni se sviđa. Barem nemam tu neku diplomu koja me sputava i koju moram opravdati haha. Ali da ne bih ostavio dojam da ne znam što radim; svaki detalj je promišljen i znam zašto je tu, čini logiku cjeline. Mislim da su jedino ljudi koji su i sami ozbiljno i dugo aktivni u ovom specifičnom području kompetentni ocijeniti jedan graffit, no ne i likovni kritičari! Ovo će zvučat malo…haha. Osim ako se osobno baš nisu na neki način bavili tim područjem. Ova je umjetnost jednostavno još premlada, ne postoji literatura iz koje se može naučiti o njoj.’
Moram te sada upitati jesi li posjetio izložbu ‘Street Art 2.0 – inovacija u srcu pokreta’ održanu 2015. godine u Glareiji Klovićevi dvori?
‘Igrom slučaja jesam, Lonac mi ju je spomenuo, s jednim stavom punim predrasuda, ali sam se vrlo ugodno iznenadio. Postav je bio super i sadržavao vrlo bitne povijesne činjenice i neka važna imena bitna za shvaćanje nastanka i razvoja te scene. Jako legit.’
Ta je izložba dala uvid o svjetskoj povijesti street arta i graffita, a kako je to počelo kod nas?
‘Mogao bih ti o tome pričati danima. Ali nekakav kratak sadržaj bi bio da su grafiti nastali u Americi krajem 60-ih godina, naravno ne u kontekstu graffita kakve ih znamo danas. Radilo se doslovno o potpisivanju nadimaka, fora je bila ‘ajmo se taggat po cijelom gradu’ kako bi svi primijetili da postojiš, ali ne bi znali tko se krije iza tog imena. Krenulo je dakle u Philadelphiji, New Yorku gdje su se s vremenom sami potpisi počeli stilski razvijati i nadograđivati. Počeli su ih podebljavat, nije više bila samo jedna linija, pa povećavat kako bi se više vidjeli, a onda im je palo na pamet ‘zašto se ne bi potpisivali na vlakove pa da potpisi putuju po cijelom gradu!’ Tako su se grafiti doslovno mic po mic razvijali do ovoga što su danas, high tech svega i svačega. S vremenom su se počeli fotografirat, pa objavljivat knjige, snimat dokumentarci i nekako su se upakirali u hip-hop pokret koji je tad isto bio nešto novo te na taj način došli do Europe gdje su se javili, ako se ne varam, sredinom 80-ih. Koliko sam naučio po pričama, mislim da su se kod nas prve generacije, što je zapravo bila šačica ljudi, javile u Zagrebu, nešto malo u Splitu i još manje u Rijeci, ’83.-85., s time da je u Hrvatskoj to vjerojatno bilo puno manjeg intenziteta što zbog financijskih nemogućnosti, nedostupnosti, kasnije i rata, itd. Tako da se na neko vrijeme aktivnost ‘ugasila’ da bi se ponovno pokrenula nakon rata i traje sve do danas.’
Galerija Siva sigurno je svojim aktivnostima i svojom šarolikošću potvrdila da cijela Medika služi kao radionica, ali i poligon za prikazivanje umjetnosti široj publici. Siva bi mogla biti taj most koji veže nezavisnu tzv. „underground“ scenu i onu koja često djeluje elitistički ili barem postati njegov temelj. Potrebno je preplitanje tih dviju krajnosti u našem, ali i općem, kulturnom aspektu društva; istovremena prisutnost profesora s Akademija i roditelja s djecom na otvorenjima izložba, zajedno s aktivistima, umjetnicima, graffiterima i punkerima, u istoj prostoriji Sive. Nastavak njezine priče čitajte uskoro na Kulturfluxu!
Više o udruzi Attack! možete pročitati na njezinoj službenoj web stranici.
Photo: Marta Reljanović
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