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Cultural and intangible heritage in post-industrial waterfront zones: Gdańsk Shipyard - warsztaty i konferencja


W dniach 5-8 sierpnia 2015 roku odbędzie się seminarium i warsztaty w Stoczni Gdańskiej z udziałem aktywistów, artystów i naukowców z Glasgow, których głównym tematem będzie niematerialne dziedzictwo kulturowe (w tym w szczególności Stoczni Gdańskiej). Planujemy dwa specyficzne, warsztatowe panele badawcze; feministyczny (Stocznia jest Kobietą) oraz urbanistyczno-architektoniczny (po-przemysłowe adaptacje obiektów dla utrzymania produktywności miejsca), jak również kilka artystycznych interwencji w konkretnych miejscach postoczniowego obszaru. Załączam szczegółowy program naszych działań i gorąco zapraszam do wzięcia udziału. Prezentacje i dyskusje będą w języku angielskim.

Nasze tegoroczne działania związane z postoczniowym dziedzictwem kulturowym są kontynuacją dwóch wcześniejszych edycji Letnich Szkół w Stoczni Gdańskiej (2013 i 2014) w udziałem studentów UWS oraz gdańskiej ASP i Wydziału Architektury PG. W ramach naszego programu odbyło się również w czerwcu tego roku seminarium w Glasgow-Govan z udziałem przedstawicieli organizacji aktywizmu miejskiego, sektora akademickiego oraz urzędników lokalnych. Z Gdańska udział wzięli; Barbara Tusk z Forum Rozwoju Aglomeracji Gdańskiej, Dominik Krzymiński z NIE dla burzenia Stoczni Gdańskiej, urbanista prof. Jacek Dominiczak (Akademia Sztuk Pięknych), konserwator zabytków techniki dr Waldemar Affelt (Politechnika Gdańska), Pomorski Wojewódzki Konserwator Zabytków Dariusz Chmielewski oraz (w charakterze obserwatora) z-ca Dyrektora Biura Rozwoju Gdańska Edyta Damszel-Turek.

Powyższe działania bazują na interdyscyplinanej sieci badawczej pomiędzy Glasgow i Gdańskiem dedykowanej rewitalizacji nadwodnych obszarów kulturowego dziedzictwa w północnej Europie (Interdisciplinary and Cross-Institutional Research Network Regeneration and Waterfront Heritage Zones in Northern Europe). Program ten jest zorganizowany i prowadzony przez University of the West of Scotland (UWS) oraz Creative Futures Institute (CFI) i finansowany przez Royal Society of Edinburgh (RSE). Partnerem ze strony Glasgow jest Fablevision – pozarządowa organizacja zaangażowana w rewitalizację postoczniowych terenów w Govan. Partnerami najbliższego seminarium i warsztatów ze strony Gdańska jest Akademia Sztuk Pięknych, Instytut Sztuki Wyspa oraz Metropolitanka (w ramach projektu Stocznia jest Kobietą).

Nasze główne obszary badawcze koncentrują się wokół tematyki szeroko rozumianego postoczniowego dziedzictwa kultury w Glasgow-Govan i w Gdańsku, a naszym głównym celem jest wsparcie lokalnych polityk poprzez wzmocnienie i zaangażowanie lokalnych społeczności w partycypacyjne procesy planistyczne, związane z indentyfikowaniem, generowaniem oraz ochroną szeroko rozumianego dziedzictwa postoczniowego.


Jeszcze raz gorąco zapraszam do udziału w naszym seminarium i warsztatach.

Roman Sebastyański

Informacje dla uczestników.

Z uwagi na ograniczoną liczbę miejsc, udział w seminarium 6 sierpnia oraz warsztatach 7-8 sierpnia, możliwy jest jedynie po wcześniejszym zgłoszeniu na adres rsebastyansk(at)gmail.com lub telefonicznie, pod numerem 508 804 196. Pokazy filmów 5 sierpnia, social evening (7) oraz prezentacja wyników (8) nie wymagają wcześniejszych zgłoszeń.

Program wydarzeń na poszczególne dni (prezentacje i dyskusje odbędą w języku angielskim):

WEDNESDAY, 5TH AUGUST

19:00-22:00 Film screenings – Buffet, Wyspa Institute of Art

Part 1 - Gdańsk Participants:

RUBBLE OF GDANSK SHIPYARD (2013) by Filip Ignatowicz (2 mins)
This film is a pseudo video commercial of a fake product - a souvenir from Gdansk - the RUBBLE OF GDANSK SHIPYARD. The video is a sort of a grotesque parody. In Berlin one can buy a piece of The Berlin Wall with a certificate. The Germans managed to redefine the connotations of the wall that divided people, they turned it into a city brand and a tourist destination. Poles that had a real memorial, a symbol, turned it into a pile of rubble. The project is composed of both; video + objects (little packages of the certified Gdansk Shipyard rubble)

NATURE OF SHIPYARD (2015) by Roman Sebastyanski (10 mins)
The film presents images of incredibly rich greenness of the famous Gdansk Shipyard area, flourishing between its great industrial and political past and its potentialities for expected urban regeneration. In its final scenes, it is a political manifesto calling to frame that beautiful Nature within a formal urban planning scheme and be further sustained and continued as substantial part of future urban living space of a new riverfront district of Gdansk. This manifesto is also a warning that it would be a shameful failure to have less green in a developed new urban human habitat than in the formerly heavy industrial plant.

THE SHIPYARD NIKE IS LEAVING (2012-2013) by Iwona Zając (5 mins)
In 2004 Iwona Zajac created "The Shipyard" – 250 square meters mural on the outside wall of the Gdansk Shipyard. This mural was a record of her conversations with Shipyard workers. She cut every single letter of selected statements and printed it on the wall. This project is was her tribute to the people and the place. Part of it called ‘The Shipyard Nike’, a nude act of Iwona Zajac with wings made of shipyard cranes, has been a well recognized symbol. The mural has become important part of Gdansk landscape. The movie shows the slow death of the shipyard area and Iwona Zajac’s farewell to the mural.

FAREWELL (2014) by Iwona Zając (5 mins)

The film shows the ritual of saying goodbye. It is probably the artist’s most radical work. Its symbolic value, the work of art that she might have thesaurized and stored at some public (or private) gallery, ceased to exist with the wall, as she painted it over, causing the workers’ words, transferred with such effort onto the blue surface, to disappear. Shortly before the destruction of the wall she decided to paint it over so the wall has become a black monument. The whole process was accompanied by the public who recorded the whole process.

SHIPYARD (2014) by Lewis Wasilewski (15 mins)
The film gives a brief outline of the events that unfolded in the Gdansk Shipyard through the eyes and lens of Boguslaw Nieznalski. The idea was to create a short film that, when be shown to anyone in the world, would in one piece introduce the viewer to the shipyard’s history, its meaning in modern culture and the current issues its faces – the debate about the heritage and its preservation or lack thereof. The film also presents fragments of interviews concerning projects of “Shipyard is the Woman” and “Metropolitan Woman”. Through interviews with different social groups, local activists, students and ex shipyard employees, the film sets out to try and find a place for the historical area in modern day Poland.

THE GATE (2015) by Michał Szlaga (10 mins)
The film is a continuation of Szlaga’s work focused on the cultural heritage of the Gdansk Shipyard. This time he analyzes of the Shipyard’s outside around the historical Gate no 2 and the Solidarity Square. It is an important public space contested by different identities groups which triggers different discourses related to the Shipyard and the Solidarity.

Part 2, Glasgow Participants:

TERMINUS (2008) by Ben Parry (12 mins)
Terminus is a cinematic reflection of the transformation of the Liverpool docklands, from port city to cultural city. The film acts as a portrait of the port as it is now that opens an imaginative space for constructing both imaginary and physical borders. By recapturing the historical journey of the former Liverpool Overhead Railway (LOR) 1893-1957, which towered above the high boundary walls and offered tourists unobstructed panoramic views of the working life of the port, the spaces of geographic dislocation and social absence are brought back to public view. The long absence and subsequent privatization of the view of the port (from high rise offices, waterfront apartments and luxury hotels) has disrupted the farseeing and quotidian connection of Liverpudlian citizens with the port, the river and the global trade connections. The film makes the invisible visible, reclaims the public view of the port and serves as an imaginative resource for constructing future place. Experienced through a real-time tracking shot filmed at an elevation of 8m that follows the original train route, the unique cinematic cartography combines cityscape and dreamscape. Merging actuality with fiction the viewer witnesses what is now, from the architectural perspective of what might have been. The film becomes a cognitive mapping process with which to understand space and place, heritage and culture through time, movement and narrative. It explores the hold of local and global histories on the current psyche of the people of Liverpool at a time when the cities urban renaissance and cultural transformation draws a new influx of inhabitants to the city. This work references the birth of cinema and Lumière’s famous tracking shot filmed from the LOR in 1897.

CIGLANA NIN (2015) by John Mullen (5 mins)
This is a video artwork inspired by an abandoned brick factory in Nin, Croatia, a strong sea trading centre since Roman times. The factory was built under Yugoslav post-war Socialism, and the land was confiscated by the authorities at that time. After the factory ceased production in 1983, it has lain empty and crumbling until now. The owners are working with developers on plans to demolish the site and construct villas and tourist facilities. Objections have arisen from locals not on concerns about conservation but about claiming the land back that was taken from them after WW2. The film is both a pictorial journey through the skeletal remains of the building and Croatia’s rich heritage, and a comment on the 19th Century romantic notion of industry in the landscape.
 
THE CANTING (2015) by Neil Mackinnon (15 mins)
The film is initiated in Govan’s Canting Basin Docks. Their forlorn condition, texture, colour and memory provides a focus for the film, alongside the culturally diverse social groups, who have inherited the remnants of Glasgow’s shipbuilding industrial complex. Located on the banks of the River Clyde, abandoned for decades, Glasgow’s iconic ‘twin’ dry dock basins utilized ingenious engineering and were formerly integral to Govan’s shipbuilding yards. The film searches along the banks of the river Clyde. Exploring the cultural diversity of the post - industrial landscape alongside new sites of regenerative urban transformation. The found voices recorded beside the river narrate the intangible cultural heritage in a personal and idiosyncratic manner. As a definitive place, passing from one generation to another, ‘The Canting’ shares a sense of continuity. Maintaining a link from the past, through the present, and potentially shaping our future. Participants respond to their environment, contributing a sense of shared identity. The film takes finally takes to the water viewing the river environment from a small boat, while a panoply of wild life serves to illuminate the genuinely regenerative power of nature.

THE LAST OF THE GOVAN CRANES
(2014) by Chris Leslie (10 mins)
Shipbuilding at the Govan Shipyard is a fraction of what it was 40 years ago. Its towering 80-ton cranes were last used in May 2008 after shipyard bosses at BAE Systems decided to decommission them. They stand as rusting relics, a health hazard and some say an eye sore and yard bosses are replacing them with newer mobile cranes. In November 2013 yard owners announce plans to cut 825 jobs at the very same time that work begins on the dismantling of all the cranes.  The future of the Govan yard looks uncertain and there is an approaching referendum that some say threatens the very future of shipbuilding in Scotland. Despite the Govan cranes being part of one the greatest industrial stories of the world there is no time or political will to discuss the legacy of the cranes and their preservation. The Last of the Govan Cranes is a specially commissioned film that explored Govan’s rich heritage in Shipbuilding alongside the demolition of the cranes. Filmed over a period of 5 months it uses multimedia and time-lapse photography with archive footage alongside interviews with former workers. Directed, filmed and edited by BAFTA Scotland (New Talent) award winning film-maker Chris Leslie. Commissioned by Glasgow Film in 2014

VISIONS OF A BLANK CANVAS (2014) by Greg Hutchison (8 mins)
The film brings together artists, urban planners & architects (participants of the project) and gives them the opportunity to record their own prospective vision of the future shipyard; thus creating a ’common voice’ (public opinion has been largely ignored in the regeneration process). The film contains short, spontaneous responses to this question (what is your vision of the shipyard?), as no-one was briefed beforehand.


THURSDAY, 6TH AUGUST – SYMPOSIUM Fine Art Academy of Gdansk, the Straw Tower

Panel 1: Heritage and gender Chair: Liz Gardiner

10:30-10:45 Shipyard is the woman: Her/stories of the shipyard workers and protest – Anna Miler and Joanna Ilczyszyn
10:45-11:00 Meanwhile narratives: A creative investigation into the role of women in protest movements in Govan – tara s Beall
11:00-11:15 Representing women in protest in Govan and Glasgow: Screenings. Through feminist lens - Prof. Katarzyna Kosmala
11:15-11:35 Discussion
11:35-11:45 Break


Panel 2: Discourses of cultural and intangible heritage Chair: Roman Sebastyanski

11:45-12:00 The cultural and social concepts of memory - Dominik Krzyminski
12:00-12:15 In absence of memory: Odd numbers - Lee Ivett Baxendale
12:15-12:30 Real and imagined voices (pre-industrial, early industrial, heavy industrial): How they can be heard? - Andrew McAvoy
12:30-12:50 Discussion
13:00-14:00 Lunch break

Panel 3: Intangible heritage and post-industrial waterfront zones Chair: Dr Ben Parry

14:00-14:15 Elements of intangible heritage in the Gdansk Shipyard - Dr Waldemar Affelt
14:15-14:30 The use of heritage in altering the perception of a place: The case of Leith, Scotland - John Mullen
14:30-14:45 Govan: A reconnection: A photo essay & investigations into place - Tom Manley
14:45-15:05 Discussion

Panel 4 Intangible heritage and urban planning: architectural re-use Chair: Andy McAvoy

15:05-15:20 Urban expectations towards buildings: The case of Toolmakers Street - Prof. Jacek Dominiczak
15:20-15:35 The panoptic gaze: The case of Liverpool Docklands. Decoding and response through the language of film - Dr Ben Parry
15:35-15:50 Protection of the Gdansk Shipyard Cultural heritage in the local urban planning – Elzbieta Gackowska, City Development Office (Biuro Rozwoju Gdanska)
15:50-16:10 Discussion

FRIDAY, 7TH AUGUST – WORKSHOPS AND ART INTERVENTIONS

Workshops in two panels:
1) feministic – Shipyard is the Woman, led by Prof. Katarzyna Kosmala (UWS)
2) urban-architectural – the case of Toolmakers Street, led by Prof. Jacek Dominiczak (ASP)

19:00-22:00 Social evening in Buffet of the Wyspa Institute of Art to share knowledge and continue discussions

FRIDAY, 7TH AUGUST - WORKSHOP - THE TOOLMAKERS STREET - DRIFT & DISCURSE


10:30-11:00 – Electricians Street (as a good example of revitalizing postindustrial space)
11:00-12:30 – walk in the Shipyard (mainly in the area of Toollmakers Street)
13:00-14:00 – lunch in the Old Town
14:00- 16:00 – analysis of potential prototypes for transformation of Toollmakers Street: Long Street-Long Market, Mary Street
16:00-17:30 – presentations in the Straw Tower of the Fine Art Academy:
• Jacek Dominiczak – introduction to the workshop’s theme
The Workshop will focus on defining urban analogies between the 3 key streets of Gdansk including The Toolmakers Street as well as urban expectations towards buildings of the Toolmakers Street and finally sketching architectural solutions for The Toolmaker Street’s industrial halls.
• Andrew McAvoy: What to do with utilitarian and industrial buildings?
Adaptive Re- use of Little Mill of Clinterty - An example counter to Govan where a redundant set of buildings avoided demolition. Keeping abreast of certain easily extinguished voices through surveying, commodifying, consolidating and introducing new life amidst old walls. Working with a Clyde based shipyard that understood Utility we raised the debate about who is making, how they are making and what for. Importantly the ’genus loci ’ spoke and a reduced aesthetic was found that respected the heritage and intrinsic nature of a specific place.
• Waldemar Affelt: two case studies of postindustrial sites regeneration serving local community expectations. First case: Non-Ferrous Metals Mill Szopienice SA in Katowice; its liquidation had been announced in 2008 and resulted in almost total destruction. Second case: City of Żyrardów, once the biggest flax production centre in Europe with nine thousand employees; factory buildings have been left into oblivion or turned into a shopping arcade and loft apartments. In both cases only one building reminds industrial past due to its authentic machinery preserved; this is ongoing process of conversion into event and meeting space in attractive techno-aesthetic surroundings that provides their interpretation and sustains a significance of these historical sites.
• Adam Mandziejewski and Andrzej Niegrzybowski: Wyspa Institute of Art; architectural adaptations and new forms of use: Adam will present variety of the various uses of the cultural institution in the post-industrial building (art exhibiting, public debating, neighborhood integrating, entertaining, catering, residential, etc.) and Andrzej will present the architectural challenges to house them all comfortably with respect to its defined historical values.

18:00-19:00 Dinner in the Old Town
19:00-21:00 Social evening in Buffet of the Wyspa Institute of Art to share knowledge and continue discussions

FRIDAY, 7TH AUGUST - FEMINIST PANEL - EUROPEAN SOLIDARITY CENTRE

How to tell women’s stories and make their voices important for today’s debates around the Gdansk Shipyard and in Govan, Glasgow

The projects "Metropolitanka" and "Shipyard is a Woman" are focused on collecting stories of women – former shipyard workers and participants of the strike in the Shipyard in August 1980 since 2012. Our goal is to tell their story to the wide audience and to change way of thinking about shipyard as a men’s workplace. We wonder how to create stories in the form of maps, audio guide, broadcasts or mobile application where our narrators can find their lives experience but also how to tell their stories as a contemporary, important for us today. The question is also how can we involve people working once in this area – the shipyard’ community – into the discussion about the future of this place.

About the women activist’ route concerning Gdansk shipyard
On August 14, the shipyard workers began their strike, organized by the Free Trade Unions of the Coast. The strike was an attempt to reinstate Anna Walentynowicz, recently dismissed worker. She was one of the best crane drivers and a Free Trade Unions of the Coast (WZZ) activist. Alina Pienkowska, who was a nurse and a WZZ activist, conveyed the information about strike and informed Janusz Kuroń (Committee for Defense of the Workers activist) about it. Then he passed the information further and it was broadcasted by Radio Free Europe (Radio Wolna Europa). Other employing establishments joined the movement which was supported by public opinion and the society. Strike, supposed to defend fired crane driver evolved and resulted in permission to establish NSZZ “Solidarność” (which can be translated as Independent and Self-governing Trade Union called Solidarity). It was the first organization of its kind in a country belonging to the Communist Block. Women were doing many things simultaneously: striking, writing and negotiating demands, controlling, preparing meals. Finally, they signed an agreement between the government and the workers called the August Agreement.

T.S Beall i Katarzyny Kosmala: Mapping and enacting alternative trails of women in protest – The case of Govan. Feminist political lens and intangible heritage. Reflecting on the Govan-based project, we will address ways of problematizing silences in emerging narratives as well as discuss issues associated with what can be referred to as ’ghosted frameworks’ or parallel story-lines. The presentation will also address the questions concerning future - ways of archiving and documenting the project for future generations as well as digitalizing the contents.

SATURDAY, 8TH AUGUST - THE WORKSHOP

10:30-14:00 Workshop (Straw Tower of the Academy of Fine Arts)
14:00-15:00 Lunch
15:00-17:00 Presentations and discussions with the invited public - Wyspa Institute of Art



Partnerzy i organizatorzy:


University of the West of Scotland, Creative Futures Institute, Royal Society of Edinburgh, Fablevision oraz Instytut Sztuki Wyspa, Akademia Sztuk Pięknych w Gdańsku, Metropolitanka, Stocznia jest Kobietą



_Partnerzy