Socialist Architecture as a Vision of Modern Emancipated Society
Visual artist Tanja Deman and Belgrade architect Vesna Jovanović are authors of the “Deserted Utopia“ exhibition which recently opened in the Zagreb Vladimir Nazor Art Gallery. The project involves rethinking socialist architecture through the lenses of a de-contextualized new reality, simulation – with a series of collage-based images, light-boxes and a joint book, all striving to create a new purpose. Overviews of Eastern Block monuments and architecture created in the 1953-1989 time-frame are juxtaposed to idyllic tourist shots, magazine models, thus generating an ambient perceived as dystopia. The exhibition refers to the ways in which contemporary society reflects on and deals with its architectural heritage, either denying it or wiping it entirely from its collective consciousness, while offering it a new purpose.
We talked with the young Split artist Tanja Deman about the exhibition and her work. Tanja Deman is currently enrolled in the postgraduate digital photography and video study program in Rotterdam, and is author to a series of site-specific projects and light installations reflecting on human perception; as well as being actively engaged in interpreting urban space and architecture. She is the winner of the Rector’s Award, the Academy of Visual Arts Award and T-HT’s general public award, while her work “No 222“ is situated in Museum of Contemporary Art’s collection in Zagreb.
The joint exhibition “Deserted Utopia“ is co-realized with fellow architect Vesna Jovanović, corresponding to the recently held “Unfinished Modernization” Conference. Thus, the matter at hand is modern architectural heritage which has become the main and most pressing issue of the post-socialist transitional society. Why is modernism the focal point of your interest? What are its features that it merits revalorization and research to such an extent?
The focal point of our interest is Eastern European modernism, i.e. experimental architecture of the region realized in the era of socialism. Likewise, we included the ex-Yugoslavian National Liberation War monuments in the project since many of them are by their very size and design on the verge of crossing over from sculpture to architecture.
It’s important to note that our first and foremost concerns are representative state-funded public purpose facilities which served as the foundation for creating the identity of a new modern socialist-based society.
Frequently it’s about buildings that were built ahead of their time, in hopes of society catching up with the ideals and visions implemented inside them, i.e. that which was supposed to represent the new social order. The structures we took into consideration are bearers of an international style and many of them are physically articulated structures and authentic experiments that have a strong psychological impact on their environment.
Today Eastern European architecture from the socialist era represents a feel-bad heritage with which post-socialist society is trying to deal with, at times attempting to eradicate it completely, all the while teetering on the verge of attempting to comprehend and valorize it. However, whether today’s society wants this heritage or no, it is inevitably and forever etched into our collective historical experience. Before letting it wither away, it doesn’t seem a half-bad idea to try and learn something from that heritage and see what kind of cultural benefits are to be had from its reinterpretation. Or else we plain wipe out 40 years of our history and a learning opportunity along with it, which neither bodes well nor seems to be a wise move.
How important do you deem raising the general population’s awareness in view of the issue of modern architecture and who should take responsibility over derelict, more often than not devastated monuments and socialist architecture? (for example, Bakić’s monument on Petrova Gora comes to mind)
I hold that while it’s certainly important to raise the general public’s awareness in regard to the problems of modern architecture, it’s even more important to make the general public aware of the value of such architecture. Frankly, why would anybody concern themselves with its problems if they’re unaware of its cultural value?
As far as responsibility goes, the state, as its owners should claim it, and of course, conservators who should take on a more active role in caring for them. However, individuals from the cultural sphere and art should be the ones raising awareness at the state apparatus level and educating society about their valuable assets, as this heritage can certainly be placed in the category of valuable assets. That is the immediate circle of individuals who can convey the value of this heritage to future generations making references to it, reinterpreting it, and ultimately, activating it through various new programs.
Your collage images and photomontage displays show de-contextualized socialist objects, situated in a consumerist-based “brave new world”, the current-day Utopia. How much has researching and documenting the past and regional context been important for the creation of this project, in which direction did the research flow?
Researching the 1945-1990 period through various spheres of interest was key to this project. Frankly, that part was even more important than creating objects for the exhibition. There were so many gaps in our knowledge of that period, and almost nothing available in view of literature on the topic at hand. We started the research with writing up, listing and collecting as much documentation as possible on architectural objects and facilities from this particular place and time. With the desire to comprehend the notions lying beneath the buildings themselves, we started researching the lifestyle of that era, its ruling ideology, as well as the political, cultural and economic relations and exchanges among Eastern European countries, as well as how they related to the rest of the world. For the most part influences came from outside the aforementioned region, while little exchange and communication was noted within, similar to today’s situation. Actually, we engaged in a group of countries with a similar history, who never actually functioned as a whole.
We ultimately decided to steer in the direction of de-contextualizing architectural objects within a Utopian scope into the area of an enlightened enthusiastic future consisting of an emancipated modern socialist society, a highly coveted place.
You quite often question architecture in your works, and particularly the notion of a city. There is often a “feel-bad” quality embodied in them and a somewhat apocalyptic ambient. The modernist city was a synonym for unease, and to what extent is it present in contemporary megalopolis’ which today serve as places where all capital production is concentrated?
I’ve been researching the modern city through its ideas and visions, through our relationship and emotional experience of that heritage, how it functions today, and in what ways are the original ideas at odds with the developed urban tissue.
The chasm separating the desired from the realized creates a certain strain within any given space. I find this attempt at raising awareness and interpretation of that precise strain exceptionally intriguing.
As far as unease of the contemporary metropolis is concerned, I researched it within the framework of my interactive audio-laser installation Residence. My focal point here was on the frenetic atmosphere of today’s landscape in overdrive, alongside control and monitoring of such an area. On the other hand, the uneasiness with which I research a modern city, e.g. in the series of works Fernweh, stems from the silence of large open spaces of nature and buildings attempting to conquer it, i.e. a city evading standards according to man.
You graduated Sculpture, however the majority of your work uses either photographs (photo-manipulation), or a completely impalpable matter –light, as a medium. How much more difficult is it to “tame” light as opposed to other more traditional sculpting materials? What role does light play in your work?
For the last five years light and space have played quite an important role in my works. I primarily use light for creating an atmosphere which for me is a very important part of the work itself, but also for modeling the exhibition space where I present my work as well. Actually, it is a medium with which I can easily and pretty much directly use to communicate with the audience on an emotional level.
How much do you use computer software in your work and how does it contribute to the end result in creating generic spaces?
I use computer software in the capacity of mere tools that make my job easier, i.e. that help in attaining my goals, but I don’t particular care for them and I don’t feel they play any significant role in my esthetical expression. If I used analog photography, the esthetics would partly change, gain warmth and softness, what I personally find attractive in other artists’ works. Lately I’ve been intensively thinking about starting up with it, although I know it will be dragged through the digital medium. Still, that relationship is brimming with potential and seems like an interesting and creative arena to me.
You’re currently enrolled at the postgraduate study program in Rotterdam. What kind of opportunities do artists abroad have as opposed to Croatia?
The main difference between Western Europe and Croatia is the existence of an art market i.e. a commercial gallery system. The possibility for artists to have very clear and orderly channels through which they can make a decent living from their art work without having to get a day job is a major advantage.
Of course, the direct approach to an international art clique where people from different world mingle, with various worldviews, backgrounds, educations and interests is certainly an inspirational and creative community for exchange of ideas.
On the other hand, I often feel that artists in the Netherlands are quite spoilt with all these opportunities which are straight up served to them on a silver platter.
You can visit the “Deserted Utopia“ exhibition in the Vladimir Nazor Gallery until Novemnber 25th, while further details on the artist can be found here.
