OTTO-Prod 2016
OTTO-Prod
The continued presence of OTTO-Prod in Maribor goes a decade back when the collective really wasn’t even formed yet. In 2006, a group of young artists: Luce Moreau, Paul Destieu, Monsieur Moo and Oliver Tura, visited Pekarna Magdalenske mreže through EVS the European Voluntary Service. In the semi-formalized context of a squat a former complex of the Yugoslav army, they had been given the opportunity to supplement the role of artists with the role of curators and at the same time to design their own presentation space, which they named La Vitrine because of its spatial specifics. From this point on, gradually a curatorial-artistic collective formed and also expanded its international network of artists in a dialogue between Maribor and Marseilles. Simultaneously, a tradition of one-month summer residencies within the project Working holidays was established even before 2011 when the international residency platform GuestRoomMaribor was founded.
The aforementioned semi-formalized context of the Pekarna squat offered residents relative freedom and imagination in designing their works and at the same time enabled the realization of projects that can mostly be seen in more established galleries only through documentation. Secondly, the semi-professionalized framework of the squat, which is traditionally and globally driven mostly by uncountable hours of volunteer work “out of love”, enabled the residents to connect with the squat and broader city community during the realization of their project. That is to say clearly defined (professionalized) boundaries between artists-authors, cooperators, assistants and the public gradually faded in the process of conceiving and realizing projects.
The specificity of the production, which has been created for 10 years in the frame of Working holidays, also largely derives from the artistic, creative and activistic frame of reference, from which the residents originate and which they have supported with their curatorial-presentational activity throughout the years. The local cultural-artistic community gained insight into international production through the project not only from the French milieu but from a wider European area. This production was significantly different from one formed by the prevalent educational context of the local art (the Art Academies in Ljubljana, Vienna and Venice). In addition to this, resident artists gradually began enriching the programs of other cultural institutions in Maribor.
The 10th year anniversary of OTTO-Prods’ continued presence was marked with an exhibition in Art Gallery Maribor with accompanying events in Pekarna. The outlined specificity of OTTO-Prods’ production was also the basis for a different approach to conceiving the exhibition "Good luck, archaeologists!" an archaeological approach. Or, in their words: “What remains of the artist’s experience, as he creates a work? Once free of its intention, what becomes of it? There’s its existence, marked by an environment, geography, an era, technicity. But is it meant to be discovered and taken into account by the rest of humanity, as future archaeologists?
After ten years spent working with artists, friends, activists and others, OTTO-Prod was unsure of how to transcribe its history and could see the vacuity of any attempt at theorising it beyond mythologies. It thus decided to ask a variety of people to study this art 'through its technique, based on a repertory of material remains which occasionally has to be revealed.”
Good luck, archaeologists!
Kaja KranerThe continued presence of OTTO-Prod in Maribor goes a decade back when the collective really wasn’t even formed yet. In 2006, a group of young artists: Luce Moreau, Paul Destieu, Monsieur Moo and Oliver Tura, visited Pekarna Magdalenske mreže through EVS the European Voluntary Service. In the semi-formalized context of a squat a former complex of the Yugoslav army, they had been given the opportunity to supplement the role of artists with the role of curators and at the same time to design their own presentation space, which they named La Vitrine because of its spatial specifics. From this point on, gradually a curatorial-artistic collective formed and also expanded its international network of artists in a dialogue between Maribor and Marseilles. Simultaneously, a tradition of one-month summer residencies within the project Working holidays was established even before 2011 when the international residency platform GuestRoomMaribor was founded.
The aforementioned semi-formalized context of the Pekarna squat offered residents relative freedom and imagination in designing their works and at the same time enabled the realization of projects that can mostly be seen in more established galleries only through documentation. Secondly, the semi-professionalized framework of the squat, which is traditionally and globally driven mostly by uncountable hours of volunteer work “out of love”, enabled the residents to connect with the squat and broader city community during the realization of their project. That is to say clearly defined (professionalized) boundaries between artists-authors, cooperators, assistants and the public gradually faded in the process of conceiving and realizing projects.
The specificity of the production, which has been created for 10 years in the frame of Working holidays, also largely derives from the artistic, creative and activistic frame of reference, from which the residents originate and which they have supported with their curatorial-presentational activity throughout the years. The local cultural-artistic community gained insight into international production through the project not only from the French milieu but from a wider European area. This production was significantly different from one formed by the prevalent educational context of the local art (the Art Academies in Ljubljana, Vienna and Venice). In addition to this, resident artists gradually began enriching the programs of other cultural institutions in Maribor.
The 10th year anniversary of OTTO-Prods’ continued presence was marked with an exhibition in Art Gallery Maribor with accompanying events in Pekarna. The outlined specificity of OTTO-Prods’ production was also the basis for a different approach to conceiving the exhibition "Good luck, archaeologists!" an archaeological approach. Or, in their words: “What remains of the artist’s experience, as he creates a work? Once free of its intention, what becomes of it? There’s its existence, marked by an environment, geography, an era, technicity. But is it meant to be discovered and taken into account by the rest of humanity, as future archaeologists?
After ten years spent working with artists, friends, activists and others, OTTO-Prod was unsure of how to transcribe its history and could see the vacuity of any attempt at theorising it beyond mythologies. It thus decided to ask a variety of people to study this art 'through its technique, based on a repertory of material remains which occasionally has to be revealed.”
Guillaume Stagnaro : http://stagnaro.net/Lucien
Gaudion : http://cargocollective.com/luciengaudion/Lucien-GaudionYann
Leguay : www.phonotopy.orgPierre-Étienne
Morelle : www.pemorelle.comOlivier
Morvan : www.escapologique.netGuillaume
Brunet : www.labomedia.orgJankenpopp : www.jankenpopp.comJérôme
Fino : www.azertyuiopqsdfghjklmwxcvbn.orgYves
Duranthon : http://bookfighting.blogspot.si/
Luce Moreau : http://www.lucemoreau.com/
Paul Destieu : www.pauldestieu.com
OTTO-Prod residency and the exhibition Good Luck Archaeologists! is co-produced by OTTO-Prod (www.ottoprod.com), Umetnostna galerija Maribor (www.ugm.si), and GuestRoomMaribor (www.guestroommaribor.si) / Pekarna Magdalenske mreže (www.infopeka.org).
OTTO-Prod
Kontinuirana prisotnost OTTO-Prod v Mariboru sega že desetletje nazaj, ko kolektiv še pravzaprav sploh ni bil izoblikovan. Leta 2006 je tako v okviru EVS, Evropske prostovoljne službe, skupina mladih umetnikov: Luce Moreau, Paul Destieu, Monsieur Moo in Oliver Tura prvič obiskala mariborsko Pekarno ter v polformaliziranem kontekstu skvota, bivšega prostora jugoslovanske vojske, dobila možnost, da vlogo umetnikov dopolnijo še z vlogo kuratorjev, hkrati pa zasnujejo lastni prezentacijski prostor, ki so ga zaradi prostorskih specifik poimenovali La Virtine. Od tod naprej se je v partnerskem dialogu med Mariborom in Marseillem postopoma formiral kuratorsko-umetniški kolektiv s konstantno rastočo mrežo umetniških kolegov, hkrati pa vzpostavila tradicija enomesečnih poletnih rezidenčnih gibanj v okviru projekta Delovne počitnice, še preden se je v letu 2011 izoblikovala mednarodna umetniška rezidenčna platforma SobaZaGosteMaribor.
Že omenjeni neformalizirani kontekst skvota Pekarna je gostujočim po eni strani nudil relativno proste roke in domišljijo pri snovanju, a hkrati omogočil realizacijo takšnih projektov, ki lahko v uveljavljeni galerijski kontekst praviloma zaidejo predvsem preko dokumentacije. Po drugi strani je polprofesionalizirani okvir skvota, ki se globalno tradicionalno večji del poganja predvsem na podlagi nepreštevnih ur prostovoljnega dela »iz ljubezni«, gostujočim omogočil, da se med realizacijo povežejo z v njem delujočo ter širšo mestno skupnostjo oziroma da v snovanju in realizaciji projektov postopoma zabrisujejo trdno razločene (profesionalizirane) meje med umetniki − avtorji, sodelavci, asistenti in publiko.
Specifičnost produkcije, ki že deset let nastaja v okviru Delovnih počitnic, v veliki meri ravno tako izhaja iz umetniškega, ustvarjalnega in aktivističnega referenčnega konteksta, iz katerega gostujoči prihajajo in katerega preko svoje kuratorsko-prezentacijske dejavnosti tekom let podpirajo. Zraven tega, da je preko projekta lokalna kulturno-umetniška skupnost bila seznanjena z mednarodno produkcijo, ne le iz francoskega, ampak tudi širšega evropskega prostora, s produkcijo, ki se precej razlikuje od te, ki se formira v prevladujočih izobraževalnih kontekstih lokalne umetnosti (ljubljanska, dunajska, beneška akademija), so gostujoči postopoma začeli bogatiti tudi programe ostalih mariborskih kulturnih organizacij.
Ravno orisana specifičnost produkcije OTTO-Prod je bila tudi izhodišče, da se snovanja razstave Srečno, arheologi! v Umetnostni galeriji Maribor, ki je zraven spremljajočih dogodkov v prostorih Pekarne obeležila 10-letnico njegove kontinuirane prisotnosti, lotijo nekoliko drugače – arheološko. Ali kot so za to priložnost zapisali sami: »Kaj ostane od umetnikove izkušnje med ustvarjanjem umetniškega dela? Ko se delo osvobodi namena, kaj torej ostane? Obstoj dela, ki ga zaznamujejo določeno okolje, geografija, doba, tehničnost. Toda, ali je delu namenjeno, da ga odkrije in upošteva preostanek človeštva, bodoči arheologi?
Po desetih letih sodelovanja z umetniki, prijatelji, aktivisti in drugimi smo se v umetniškem kolektivu OTTO-Prod spraševali, kako naj svojo zgodovino zapišemo, saj smo dojeli nesmiselnost vsakršnega poskusa teoretiziranja onkraj mitologij. Zato smo prosili različne ljudi, da preučijo našo umetnost ''skozi prizmo tehnike, ki temelji na repertoarju materialnih ostalin in ga je občasno treba razkriti''.«
Srečno, arheologi!
Kaja KranerKontinuirana prisotnost OTTO-Prod v Mariboru sega že desetletje nazaj, ko kolektiv še pravzaprav sploh ni bil izoblikovan. Leta 2006 je tako v okviru EVS, Evropske prostovoljne službe, skupina mladih umetnikov: Luce Moreau, Paul Destieu, Monsieur Moo in Oliver Tura prvič obiskala mariborsko Pekarno ter v polformaliziranem kontekstu skvota, bivšega prostora jugoslovanske vojske, dobila možnost, da vlogo umetnikov dopolnijo še z vlogo kuratorjev, hkrati pa zasnujejo lastni prezentacijski prostor, ki so ga zaradi prostorskih specifik poimenovali La Virtine. Od tod naprej se je v partnerskem dialogu med Mariborom in Marseillem postopoma formiral kuratorsko-umetniški kolektiv s konstantno rastočo mrežo umetniških kolegov, hkrati pa vzpostavila tradicija enomesečnih poletnih rezidenčnih gibanj v okviru projekta Delovne počitnice, še preden se je v letu 2011 izoblikovala mednarodna umetniška rezidenčna platforma SobaZaGosteMaribor.
Že omenjeni neformalizirani kontekst skvota Pekarna je gostujočim po eni strani nudil relativno proste roke in domišljijo pri snovanju, a hkrati omogočil realizacijo takšnih projektov, ki lahko v uveljavljeni galerijski kontekst praviloma zaidejo predvsem preko dokumentacije. Po drugi strani je polprofesionalizirani okvir skvota, ki se globalno tradicionalno večji del poganja predvsem na podlagi nepreštevnih ur prostovoljnega dela »iz ljubezni«, gostujočim omogočil, da se med realizacijo povežejo z v njem delujočo ter širšo mestno skupnostjo oziroma da v snovanju in realizaciji projektov postopoma zabrisujejo trdno razločene (profesionalizirane) meje med umetniki − avtorji, sodelavci, asistenti in publiko.
Specifičnost produkcije, ki že deset let nastaja v okviru Delovnih počitnic, v veliki meri ravno tako izhaja iz umetniškega, ustvarjalnega in aktivističnega referenčnega konteksta, iz katerega gostujoči prihajajo in katerega preko svoje kuratorsko-prezentacijske dejavnosti tekom let podpirajo. Zraven tega, da je preko projekta lokalna kulturno-umetniška skupnost bila seznanjena z mednarodno produkcijo, ne le iz francoskega, ampak tudi širšega evropskega prostora, s produkcijo, ki se precej razlikuje od te, ki se formira v prevladujočih izobraževalnih kontekstih lokalne umetnosti (ljubljanska, dunajska, beneška akademija), so gostujoči postopoma začeli bogatiti tudi programe ostalih mariborskih kulturnih organizacij.
Ravno orisana specifičnost produkcije OTTO-Prod je bila tudi izhodišče, da se snovanja razstave Srečno, arheologi! v Umetnostni galeriji Maribor, ki je zraven spremljajočih dogodkov v prostorih Pekarne obeležila 10-letnico njegove kontinuirane prisotnosti, lotijo nekoliko drugače – arheološko. Ali kot so za to priložnost zapisali sami: »Kaj ostane od umetnikove izkušnje med ustvarjanjem umetniškega dela? Ko se delo osvobodi namena, kaj torej ostane? Obstoj dela, ki ga zaznamujejo določeno okolje, geografija, doba, tehničnost. Toda, ali je delu namenjeno, da ga odkrije in upošteva preostanek človeštva, bodoči arheologi?
Po desetih letih sodelovanja z umetniki, prijatelji, aktivisti in drugimi smo se v umetniškem kolektivu OTTO-Prod spraševali, kako naj svojo zgodovino zapišemo, saj smo dojeli nesmiselnost vsakršnega poskusa teoretiziranja onkraj mitologij. Zato smo prosili različne ljudi, da preučijo našo umetnost ''skozi prizmo tehnike, ki temelji na repertoarju materialnih ostalin in ga je občasno treba razkriti''.«