APSTRAKT (scroll down for English)
Cilj Umetničkog projekta ARHITEKTURA SEĆANjA bio je da zabeleži lični odnos umetnice prema gradu i neposrednoj okolini u kojoj obitava, kao svedok svakodnevnih promena na urbanističkom i arhitekstonskom planu, u datom istorijskom trenutku, ali i promena koje navedeni procesi ostavljaju na mentalnim mapama pojedinca i zajednice, sa specifičnim osvrtom na ličnu porodičnu istoriju i najranija sećanja.
Osnovno polazište predstavlja kuća, koja se može shvatiti i kao obrazac svojevrsne topografije unutrašnjeg bića svake jedinke, a koja je zaslužna za sve buduće modele intimnosti koje čovek vremenom formira. Početak rada na projektu se poklapa sa prvim vidljivijim tranzicionim promenama u arhitekturi grada. U pokušaju da se od zaborava sačuvaju otisci starih, već srušenih kuća, kroz foto-dokumentaristički pristup, dolazi se do obrade ličnog, emotivnog materijala, pohranjenog u porodičnim arhivama, koje bivaju iznete pred oči javnosti u vidu ambijentalne instalacije, internet prezentacije i video rada.
Projekat je realizovan kroz ilustraciju ličnog odnosa prema rodnoj kući, u kojem se ogleda i odnos prema gradu u celini, kao i prema pojedinačnom i kolektivnom sećanju i svim promenama kojima arhitektura i memorija podležu.
Zaključak je da mesto/objekat može da poseduje auru, te da se ona, kada dođe do njegovog fizičkog nestanka, preseljava i živi u našem sećanju.
Ključne reči: arhitektura, sećanje, pamćenje, grad, lično, emocije, fotografija, ambijentalna instalacija, video, vreme, topofilija, topografija.
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ABSTRACT
The goal of the ARCHITECTURE OF MEMORY art project was to record the artist’s personal relationship with the city and immediate surroundings in which she resides, witnessing the daily changes in urban planning and architecture, at a given historical moment, and also the changes that these processes leave on the mental maps of the individual and the community, with specific emphasis on personal family history and the earliest childhood memories.
The starting point is the house, which can be understood as a sort of pattern of specific inner topography of each individual, and which is responsible for all future models of intimacy that one forms during one’s lifetime. The beginning of the project coincides with the first visible transitional changes in the city’s architecture. In an attempt to preserve the imprints of the old, already destroyed dwellings from falling into oblivion, a photo-documentary approach leads to the processing of personal, emotional material stored in the family archives, which are presented to the public in the forms of ambient installation, website and video work.
The project was realized through the illustration of a personal relationship with the house of birth, which reflects the relation with the city in general as well as the relation with individual and collective memory, and with all the changes which architecture and memory succumb to.
The conclusion is that the place/the object may have an aura, and that this aura, when it comes to the place’s/the object’s physical disappearance, transfers and lives in our memories.
Key words: architecture, memory, recollection, city, personal, emotions, photography, ambient installation, video, time, topophilia, topography.