U nedovršenoj kući na rubu Pule ostavila sam nepregledno mnogo projekcija kroz naše cijelo istovremeno postojanje.
U svim oblicima, samo dvije parcele dalje od one u kojoj sam odrasla, djetinjstvo gleda na poznato kao stalnost. Strah je opasnost.
Svi oni kojima je Disco Pavle ikada pružao utočište u ranjivostima raznih priroda prošli su kroz njega kao ljudi kroz igdje.
Dok se nestalni hologram Mie Mars gubi u cyberprostoru, ovdje ga se materijalno nastoji oformiti u oblik pop-up izložbe kako bi se izazvala komunikacija s nepoznatim. Sudionici fotografije uništavaju, trgaju, kradu i vraćaju u moj vrt.
Ne poznajemo se, koliko dodirnih točaka osim ruševine imamo uopće? Jesam li ja to gdje odrastam? Tko su svi ti ljudi koji prolaze toliko blizu? Nakon čega ovdje dolaze? Hoće li im nedostajati ta nedovršena ruševina?
In an unfinished house in the outskirts of Pula I left endlessly numerous projections during the whole period of our mutual existence.
In every shape, only two parcels away from the one I grew up at, childhood looks at common as permanent. Fear is danger.
All of those to whom Disco Pavle ever gave a shelter in vulnerabilities of various natures went through it like people through anywhere.
While the unstable hologram of Mia Mars gets lost in the cyberspace, here it is striven to physically form it as an exhibition in order to communicate with the unknown. Participants destroy, tear, steal and return the photos to my garden.
We don’t know each other, how many things in common do we even have apart the ruins? Am I where I grew up at? Who are those living so close? After what do they come here? Will they miss that unfinished ruin?
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29.4.2016. Postavljena pop-up izložba u napuštenoj kući Disco Pavle, u Facchinettijevoj ulici u Puli. Uz pomoć Eve ČaČe, u prostor je instalirano dvadeset devet fotografija u A4 formatu. Fotografije su fiksirane na mjesta gdje su prvotno fotografirane u periodu od osam godina unatrag. Kroz gerila eksperiment nastoji se potaknuti komunikacija s prolaznicima te se predviđa vođenje dnevnika postojanosti izložbe.
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9.5.2016. Fotka najbliže ulici (br. 5) bačena u grmlje, fotka broj 13 otkačena i visi samo na jednom čavlu, stanje ostalih nepromijenjeno od postava.
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29 April 2016 A pop-up exhibition has been set-up in an abandoned house Disco Pavle, Facchinettijeva st. in Pula, Croatia. With the help of Eva Čače, there have been installed twenty-nine photos in A4 format. Photos are fixed on the spots where they were initially taken during the last eight years. Through guerilla experiment it is striven to encourage a communication with the passers and the plan is to keep a diary of events.
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9 May 2016 The photo closest to the street (#5) was thrown into the bushes, #13 unhooked and hanging only on one nail, the rest is unchanged.
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19.5.2016. Fale sve fotografije s kata izuzev broja 26, njih trinaest, te fotke br. 11, 10 i 28 iz prizemlja.
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19 May 2016 All the thirteen photos from the 1st floor are missing, except #26, and #11, 10 and 28 from the ground floor.
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23.5.2016. Nedostaje fotka br. 14 iz prizemlja.
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23 May 2016 Photo #14 missing from the ground floor.
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25.5.2016. Nakon odlaska na more u prolasku primjećujem da fali jedina preostala fotografija s kata (br. 26) pa obilaskom saznajem da nedostaju br. 12, 6, 9. Izlaskom iz Disco Pavle srećem dva dječaka koji me pozdravljaju iako se ne poznajemo. Dvanaestogodišnjaci to shvate te me skrivajući se prate do ulaska u dvorište.
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25 May 2016 While passing near after going to the beach I notice the lack of the only photo from the 1st floor (#26) so touring I see that #12, 6 and 9 are also absent. Exiting the lot I meet two boys who greet me even though we don’t know each other. Twelve-year-olds realize it and follow me to my front yard while hiding.
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30.5.2016. Stigla sam kući ujutro a mami je susjed Cukerić dao pet fotografija za koje je rekao da mu ih je netko ubacio u vrt. Fotke su vidno pokidane s čavala ali nisu uništene na ijedan drugi način. Radi se o fotografijama koje su nestale iz postava zadnji put kada sam posjetila mjesto (br. 26, 12, 8, 9, 5). Razmišljam što napraviti s fotkama koje su mi vraćene, ponovo ih postaviti i ako da, treba li to biti na istom mjestu? Uz preostalih sedam netaknutih, ovih pet svejedno ne bi činilo većinu originalnog postava. U namjeri da vraćene izloške postavim na mjesto, u prizemlju primjećujem manjak br. 21, 8 i 6 te br. 17 u travi dvorišta u prizemlju. Vraćam brojeve 6, 17, 8, 5, 26 i 12 na njihova mjesta prilikom čega dolazi susjeda jer joj “kuckam na zid” i pita me znam li da je ovo privatan posjed, imam li dozvolu i što točno radim. Odgovaram joj da radim eksperiment jer živim dvije kuće niz ulicu i da nisam sigurna je li prostor privatan jer je ostavljen da zjapi otkad znam za sebe. Zid na koji sam zabijala fotke nije zid njene kuće jer je vidno dvoslojan i derutan, od istog materijala kao cijela ruševina Disco Pavle. Kažem joj da me ne brine jer se ovdje odavno skupljaju razne marginalne skupine i da moj projekt nije taj koji treba prijaviti u cijeloj priči. Žena kaže da je vidjela djecu kako čupaju fotografije sa zida.
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Broj preostalih fotografija: 10/29 od toga originalno na zidu ostaju samo br. 22, 7, 23 i 2.
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30 May 2016 I came home in the morning to find that our neighbor Cukerić gave my mom five photos saying that somebody left those his garden. Photos are visibly torn from the nails but otherwise undamaged. Those are the photos that went missing last time I visited the place (#26, 12, 8, 9, 5). I am thinking what to do with those that I got back, if I should set them up again and if so, should they be placed in the same spot? Along the last seven untouched, five of these nevertheless wouldn’t make the most of the original setup. With intention to return the exhibits at their posts, on the ground floor I notice the absence of #21, 8 and 6, and #17 in the grass. I put back #6, 17, 8, 5, 26 and 12 at their places during what a neighbor approaches because I’m “knocking on her wall” and asks me if I am aware that this is a private property, if I have a permit and what am I doing. I tell her about the experiment, that I live two houses down the street and am not sure that the ruin is a private property because it was left to rot at least ever since I was born. The wall I nailed the photos to is not a part of her house because it’s rotten and shabby like the rest of the Disco Pavle ruin. I tell her that I am not worried because this is a place that has been inhabited by all kinds of people and therefore my project could not be the one you call the cops on. Woman says she saw kids tearing down the photos.
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Number of leftover photos: 10/29 of that originally placed only # 22, 7, 23 and 2.
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2.6.2016. Iz originalnog postava sve su fotografije do sad bile skinute od strane nepoznatih sudionika (djeca?). Brojevi 26 i 17 prkose, u prizemlju u dvorištu nalazim fotografije u travi (22, 7, 23, 2 i 12). Budućnost…
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2 June 2016 All the photos from the original setup have been taken down by now, by unknown participants (kids?). The #26 and 17 are still holding, on the ground floor I find photos in the grass (22, 7, 23, 2 and 12). Future….
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3.6.2016. Zadatak je postaviti/vratiti pet fotografija. Postavila brojeve 12, 23, 2 i 7. Broj 22 bilo je nemoguće ponovo postaviti zbog nezgodne pozicije i krtosti zida (prenoćit će kod mene).
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3 June 2016 The task is to put back five photos. I set the #12, 23, 2 and 7 up. No 22 was impossible to nail because of the inconvenient position and brittle wall (it will stay at my place).
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Rujan 2016. Nakon posla volim doći ovdje i praviti se da ne vidim što je od Aftera ostalo.
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September 2016 I love to come here after work and pretend I don’t see what’s left of After.
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25.12.2016. Putem do none nailazim na potpuno srušen Disco Pavle. Nemoguće je pristupiti prostoru ali s ulice je vidljivo da je građevina sravnata sa zemljom. Sve što je ostalo od Aftera je pjesma i fotka br. 2. Ćao.
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25 December 2016 On my way to my grandma I encounter a completely crashed Disco Pavle. It is impossible to approach the space but it is visible that it has been demolished to the ground. All that’s left of After is the poem and photo #2. Bye.
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11.1.2017. Golema betonska ploča koja prekriva gotovo cijeli posjed je očišćena i sav je građevinski otpad bačen u okolno grmlje. Stanje preostalog Aftera nepromijenjeno.
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11 January 2017 Huge concrete bloc that covers nearly the whole area of the estate is cleaned and every bit of construction waste has been thrown in the bushes. After stays unchanged.
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29.4.2017. Točno godinu dana nakon postava, u Fažani na Vertbrandtu II prilazi mi Edo Edward Norton i govori mi: “Ša Mia Wallace, srušili su nam Disco Pavle…”. Ja i Dora ajmeamo. “Da, da, sve ja znam…”, ponavlja. Ja prekidam razgovor.
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29 April 2017 Exactly a year from the setup, at an event in Fažana, Edo Edward Norton approaches me and says:”What’s up Mia Wallace, they tore down our Disco Pavle…”. Me and Dora omg. “Yes, yes, I know everything…”, he repeats. I break off the conversation.
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Lipanj 2017. Nekad tijekom Matejevog godišnjeg srećem Fraja na pola Omladinske, pozdravljam ga i produžim. On me sustiže na bicikli i započinje sa “Ša ima” a ja odgovaram. Razgovor nakon nekoliko minuta odvede do toga da mi kaže kako mu se sviđa izložba i da to mladi danas ne znaju cijeniti. Tvrdi da su klinci porasturali sve. On je pokupio ostatke i predlaže mi da ga zovem kad i ako želim fotografije natrag. Odgovaram kako nema potrebe jer je to prirodni tok toga projekta.
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June 2017 Sometime during Matej’s vacation I meet Fraj in the middle of Omladinska street, I say hello and move on. He catches up on his bike and begins with “What’s up” and I reply. After few minutes the conversation leads to him saying that he likes the exhibition and that youth these days doesn’t know to appreciate it. Says the kids tore it down. He gathered the rest and suggests that I call him when and if I want the photos back. I say that there’s no need for that, it’s just the flow of the project.
Projekt je započet 2016 godine i smatra se nezaključenim. Veliko hvala Evi Čače i Matiji Miletiću za pomoć i podršku u realizaciji i provođenju ideja.
After je podržan od Format C i uvršten u Pivilion od 2022.