Each year, Kolektiv invites a guest curator who determines the theme in accordance with their own research and leads and develops the programme in cooperation with the team of the gallery. In this way, Kolektiv Gallery opens a space for developing the research works in the field of curating/exhibiting practices within architecture.
Curator for the season 2020 is an architect and interdisciplinary researcher Anđelka Bnin-Bninski, Ph.D.
In the upcoming season (2019/20), we introduce the new exhibition space of Kolektiv Gallery at 20 Drinciceva street. While the research programme will maintain its structure, focus, and goals, its physical form will evolve, faced with the context of the gallery’s new space. The building’s sidewall, its facade, and gable will become a polygon for communicating the ideas to the audience and passersby.
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*And yet it moves (Eppur si muove) is an expression attributed to the Italian mathematician, physicist and philosopher Galileo (Galileo Galilei, 1564-1642), who sought to explain that planet Earth is not static but is moving and orbiting the Sun (This popular expression first appears in the context of architectural drawing research in 2019. It is brought up by Federica Goffi in the context of the Frascari Symposium IV, which she co-organized with Mary Vaughan Johnson on The Secret Lives of Architectural Drawings and Models, as part of the publication And yet it moves: ethics, power, and politics in the stories of collecting, archiving and displaying of drawings and models, Architecture and Culture, forthcoming Routledge Journal).
In the last few decades, drawing has been a particularly important subject in the work of numerous architects and theorists of architecture. Today, drawing is developing in parallel with the intense rethinking of the discipline and its role in contemporary society. On the one hand, the Renaissance of the drawing is celebrated, and on the other, its death is noted. Starting from Alberti, through Evans and Frascari, to many contemporary authors, the thesis that drawing is the basic architectural craft is repeatedly underlined, confirmed, and re-examined. The continual development of the drawing as a medium aims to affirm drawing as a response, formulation, and expression of a spatial statement, as the resolution of problems and processes.
How to trigger the drawing?
The conception of liminal drawing is anchored in the philosophy of (pre)liminal drawing (Benjamin), its formulations and investigations are part of a broader methodological approach to tactical work in drawing (Bnin-Bninski).
The liminal drawing activates a critical positioning of the in-betweens – among issues, spaces, and media. This drawing is set in motion on various scales of liminal relations: within the materiality of the drawing; in relation to other media (film, photography, spatial model/installation); or in relation to other drawings, text, or to the built object. The matter of motion and contingency of liminal drawing is not in search of an answer, rather, it provokes a precise formulation of questions regarding specific problems and/or spatial phenomena.
How to trigger with the drawing?
The theme of this curatorial season is to investigate triggered, dynamic states within a drawing, to experiment with the drawing that does not seek to resolve, but to complicate, the liminal state of indeterminacy, instability, and uncertainty.
How to induce the drawing from a spatial statement toward a question and critical reflection on a specific problem or phenomenon? In what way can movement, within a drawing, initiate a profound rethinking of the medium, its materiality, dimensionality, technique? Can liminal drawing motion result in an activist drawing and can it provide a context for discussion on spatial issues, between the author and the observer?
/excerpt from curator’s text/
Anđelka Bnin-Bninski, Ph.D., is an architect and interdisciplinary researcher. She is specialised in the theory of arts and media (University of Arts in Belgrade, 2009) and philosophy of architecture (École Nationale Supérieure d’Architecture de Paris-La Villette, 2014). She teaches studio design and methodology courses at the University of Belgrade – Faculty of Architecture. Her recently defended Ph.D. thesis “The role of the architectural drawing in the dynamics of living space partition” is in the fields of philosophy and theory of architectural drawing, and is based on drawing practice in the architectural analysis. Her current investigations are focused on strategies and tactics of architectural drawing research.
Kolektiv arhitekata svake sezone poziva novog kustosa 3M3 programa, koji određuje temu u skladu sa ličnim istraživačkim radom, vodi i razvija program sa učesnicima i timom galerije. Na ovaj način galerija otvara prostor za kustosko – istraživački rad u arhitekturi.
Kustos sezone 2020 je arhitekta, istraživač i predavač u oblasti arhitekture dr Anđelka Bnin-Bninski.
U sezoni 2019/20 Galerija Kolektiva arhitekata dobija novi prostor u Drinčićevoj ulici br.20. Istraživački program 3M3 zadržava svoju strukturu, fokus i cilj, dok će se njegova forma promeniti u odnosu na novi prostor. Bočni fasadni zid zgrade u Drinčićevoj 20 sa zabatom postaće poligon za komunikaciju ideja sa publikom i prolaznicima.
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*And yet it moves (Eppur si muove) je izraz koji se pripisuje italijanskom matematičaru, fizičaru i filozofu Galileu (Galileo Galilei, 1564–1642) koji je težio da objasni da planeta Zemlja nije statična već se pokreće, okreće oko Sunca (Ovaj poznati izraz prvi put se pojavljuje u kontekstu istraživanja u arhitektonskom crtežu 2019. godine u upotrebi Federike Gofi (Federica Goffi) u okviru simpozijuma Frascari Symposium IV: The Secret Lives of Architectural Drawings and Models koji je organizovala sa Meri Von Džonson (Mary Vaughan Johnson), kao deo publikacije And yet it moves: ethics, power and politics in the stories of collecting, archiving and displaying of drawings and models, Architecture and Culture, forthcoming Routledge Journal).
Crtež u arhitekturi je poslednjih decenija naročito aktuelna tema u radu brojnih arhitekata i teoretičara arhitekture, a danas se razvija paralelno sa intenzivnim preispitivanjima discipline i njene uloge u savremenom društvu. Sa jedne strane slavi se renesansa crteža, a sa druge se konstatuje njegova smrt. Počev od Albertija (Alberti), preko Evansa (Evans) i Fraskarija (Frascari), do brojnih savremenih autora iznova se podvlači, dokazuje i preispituje teza da je crtež osnovni proizvod rada u arhitekturi. Kroz celokupni kontinuitet razvoja crtež se potvrđuje kao odgovor, kao oblikovanje i izraz mišljenja, razrešenje problema i konačni stav o prostoru.
Kako pokrenuti crtež?
Uporište koncepta liminalnog crteža zasnovano je na filozofiji (pre)liminalnog crteža (Benjamin), a ispitivanje pokrenutosti crteža deo je šireg metodološkog pristupa taktičkom radu u crtežu (Bnin-Bninski).
Liminalno stanje upućuje crtež na kritičku poziciju u graničnim odnosima tema, prostora i medija – crtež se pokreće na skalama različitih ivičnih odnosa: unutar materijalnosti crteža; unutar relacija prema drugim medijima (film, fotografija, prostorni model/instalacija); u odnosima prema drugim crtežima, prema tekstu ili izgrađenom objektu. Ispitivanje pokrenutosti liminalnog crteža ne stremi odgovoru, već provocira preciznu formulaciju pitanja o specifičnom problemu i/ili fenomenu prostora.
Kako pokretati crtežom?
Tema ove izlagačke sezone je istraživački rad o pokrenutim stanjima crteža koja ne teže razrešenju, već usložnjavanju u liminalnoj, graničnoj poziciji neodređenosti, nestabilnosti i neizvesnosti.
Kako aktivirati crtež od stava o prostoru ka pitanju i kritičkoj refleksiji o specifičnom problemu ili fenomenu? Na koji način pokret u crtežu inicira preispitivanje medija, njegove materijalnosti, dimenzionalnosti, tehnike? Da li pokret liminalnog crteža može rezultirati aktivističkim crtežom i diskusijom o pitanjima prostora između autora i posmatrača?
/iz teksta kustoskinje/
Dr Anđelka Bnin-Bninski je arhitekta, istraživač i predavač u oblasti arhitekture. Specijalizirala je teoriju umetnosti i medija na Univerzitetu umetnosti u Beogradu (2009) i filozofiju arhitekture u École Nationale Supérieure d’Architecture de Paris-La Villette u Parizu (2014). Doktorirala je na Univerzitetu u Beogradu – Arhitektonskom fakultetu (2018) sa temom disertacije „Uloga arhitektonskog crteža u dinamici podele stambenog prostora“. Na istom fakultetu je angažovana za rad u nastavi na Departmanu za arhitekturu. Sarađuje na projektima arhitektonske prakse, angažovana je kao istraživač u laboratoriji filozofije arhitekture GERPHAU u Parizu i u međunarodnoj istraživačkoj organizaciji ARENA. Aktuelni fokus njenog rada čine ispitivanja strategija i taktika rada u arhitektonskom crtežu.