A PHOTOGRAPHIC MONOLOGUE
This is the youth center
in Split, Croatia.
Multimedia, center, culture, cube, platform, coalition, association, youth, culture, sport, force, zone, cinema, club, radio, community, collective, development, architecture, style, power, movement, scene, activism.
These are just some of the connotations, memories and placeholders that photographer and regular contributor, Katarina Šoškić, revisited in the context of her performative lecture at the Youth Centre in Split. This megalomanic, never to-be-completed architectural phantom was originally conceived as the House of Socialist Youth during the 1970s, devolving into a motionless state of stasis ever since, and presently being reclaimed from the side of independent cultural scene.
Renegotiating her positioning as an alien subject to the socio-political history and significance of the ill-fated building, she used video and photography as tools for mapping her visual odyssey. The cultural centre is conjured up through relational signifiers underlining the notions of home and belonging, as well as the formal elements between image and text. Within the interplay of these different formats she points at the positioning of photography and photographed, artist and the subject.
Photo: Katarina Šoškić
Text: Nina Vukelić
A PHOTOGRAPHIC MONOLOGUE
This is the youth center
in Split, Croatia.
Multimedia, center, culture, cube, platform, coalition, association, youth, culture, sport, force, zone, cinema, club, radio, community, collective, development, architecture, style, power, movement, scene, activism.
These are just some of the connotations, memories and placeholders that photographer and regular contributor, Katarina Šoškić, revisited in the context of her performative lecture at the Youth Centre in Split. This megalomanic, never to-be-completed architectural phantom was originally conceived as the House of Socialist Youth during the 1970s, devolving into a motionless state of stasis ever since, and presently being reclaimed from the side of independent cultural scene.
Renegotiating her positioning as an alien subject to the socio-political history and significance of the ill-fated building, she used video and photography as tools for mapping her visual odyssey. The cultural centre is conjured up through relational signifiers underlining the notions of home and belonging, as well as the formal elements between image and text. Within the interplay of these different formats she points at the positioning of photography and photographed, artist and the subject.
Photo: Katarina Šoškić
Text: Nina Vukelić
