The following text contains the ‘subject and initial explanation’ of the topic that was presented on April 6, 2023. Since then, the content has been developed in more detail.
“Young and avant-garde artists play a vital role in the cultural landscape of every big city. The abundance of exhibitions, galleries, museum showcases, and events draws these artists, providing them with numerous outlets for creative expression. However, life in major global cities comes with intense competition, limited opportunities for solo exhibitions, expensive rents for both living and gallery spaces, and sometimes difficult living conditions. Many artists are well aware of these challenges, but they still opt to live in the metropolis.
My longing to explore the world has been a part of me for as long as I can recall. Living in foreign countries has been a way for me to satisfy that desire. I have studied and worked in several major cities, including Amsterdam, Paris, Berlin, Vienna, New York, and Mexico City. Through these experiences, I have come to appreciate both the allure and the challenges of these cities, prompting me to consider the idea of moving to a ‘less glamorous’ location. I wondered if such a move would impact the quality of my artistic work, if I would become isolated from the art world, and if I would lose valuable contacts. However, in 2016, I decided to make the move to Bijeljina, a small town in northeastern Bosnia and Herzegovina.
Surprisingly, this life-altering decision did not hinder my artistic work; on the contrary, it enhanced it. Freed from the pressures of big cities, I found a new sense of freedom and an even stronger creative drive. I made the conscious choice to focus on smaller towns for my future projects. Small towns have been experiencing a decline in population due to migration to larger cities. What may seem unattractive about these smaller towns, such as decreased population, was remarkably appealing to me because of the surplus of vacant properties. For instance, in cities in eastern Germany like Görlitz and Zeitz, or in places like Kozarska Dubica, Orašje, Bihać, or Foča, nearly half of the shops, warehouses, and factories remain unused.
During my master’s studies, I aim to explore vacant spaces in Sarajevo, including the city center, suburbs, and surrounding villages. My goal is to repurpose these spaces in innovative ways, using them for exhibitions or pop-up events. Additionally, I plan to create a map highlighting potential locations for creative activities. If successful, this map could prove valuable to other artists, contributing to the establishment of a new environment for ongoing artistic endeavors. This project represents my efforts as a designer to present abandoned structures from a unique and engaging angle, making them more accessible to future generations of artists, regardless of their background.”
Sarajevo, April 6th, 2023
bašČARŠIJA/ SKENDERIJA
Baščaršija
With its narrow streets and colorful shops, Sarajevo’s Bazaar called Baščaršija, or just Čaršija, represents the heart of the city and a place of rich cultural diversity. Historically layered, it survived the period of the Ottoman Empire and later changes, which are reflected in its architecture. With numerous cafes, restaurants, and local workshops, Sarajevo's Bazaar is a place where the past and the present intertwine. However, today, many may not be aware that the Čaršija underwent drastic changes in the mid-20th century that shaped its current appearance.
Over the centuries, time has left its marks on the Čaršija. In the 1900s, the situation was far from ideal. Many buildings needed renovation, and the hygiene and traffic conditions were poor, which was not favorable for both people and the environment. However, while the Austrians and the first Yugoslavia focused on modernizing the area west of the old core towards Marijin Dvor, it was only in the 1960s that the city administration once again recognized the historical significance of the Čaršija. This sparked the development of the first concepts of revitalization.
Artists, writers, architects, and scientists from all over the country were involved in determining the course of action - from minor changes to complete building demolitions. A comprehensive restoration plan was presented in 1971, which envisioned drastic changes. It included the complete overhaul of sanitary and electrical installations, repaving, the demolition of certain buildings to make way for modern constructions, the creation of an amphitheater, precise determination of the visual identity of shops, and much more. There was even the consideration of a tunnel around the City Hall to completely free the area around main sqaure Sebilj from traffic. Some of these plans were implemented in 1975. What's interesting is that, for the first time, a comprehensive inventory of shops in the Čaršija was conducted, providing precise data on the number of stores and artisans.
It’s interesting to see how, alongside technical changes, concepts for the ambiance and the overall visual presence were already developing at that time. In a way, the first branding of the Čaršije was created.
Skenderija 1969.–1984.–2023.
At the same time as the development of the master plan for the Čaršija, on the opposite side of the city, another complex of buildings emerged, which would later gain historical significance for the city. This complex is called Skenderija, a diverse ensemble composed of multiple individual buildings designed for sports and music events, commerce, and entertainment. This assembly was created in the spirit of the 1960s modernism and stands out with its brutalist concrete construction and distinctive aesthetics. Of particular interest for my project is the so-called Privredni grad/Business City (more on this in the following text), constructed in the basement. It essentially represents a modern interpretation of the Čaršija, featuring small shops along various passageways offering a diverse range of products.
Initially conceived as a temporary name for the building, the name Skenderija received such a positive response upon its introduction that it eventually remained unchanged.
During the Winter Olympic Games in February 1984, Skenderija underwent several modifications to become one of the main event venues. It was here that the Olympic flame was first lit in Sarajevo, medal ceremonies were held, winner declarations were made, team competitions took place, and press conferences were held. While not as old as some other buildings in the city, Skenderija undoubtedly holds significant historical value for Sarajevo.
The current state of both complexes is as follows:
The current state of both complexes, compared to the planned condition, is, contrary to expectations. Baščaršija has maintained its economic stability as a tourist attraction, but it lacks effective control, as originally envisioned in urban planning. Arbitrary redesigns of shops, often in garish colors, contradict the former design guidelines. This results in the scene transforming into a mass of tourist kitsch. The essential historical authenticity of Baščaršija with its skillfully crafted shops is threatened in the coming years, as suggested by conversations with local artisans.
The current situation with Skenderija is also unfavorable. Although the building is almost protected as a cultural monument, it suffers from structural problems and significant neglect, deterring potential traders and tenants of business spaces. Most of the premises are vacant or used for simple and low-cost purposes. However, a recent change in management brings plans to raise the building’s profile in the public eye and in the awareness of Sarajevo's residents. This initiative aims to rekindle the appeal and interest in Skenderija and, in turn, rediscover its potential.
In my current assessment, I believe that Skenderija is an appropriate location for my pop-up store. On one hand, I see a fundamental or historical connection with my thematic intentions. On the other hand, from a technical, administrative, and financial standpoint, it is relatively straightforward to temporarily rent a space in the so-called Privredni grad (Business City).
The following text contains the ‘subject and initial explanation’ of the topic that was presented on April 6, 2023. Since then, the content has been developed in more detail.
“Young and avant-garde artists play a vital role in the cultural landscape of every big city. The abundance of exhibitions, galleries, museum showcases, and events draws these artists, providing them with numerous outlets for creative expression. However, life in major global cities comes with intense competition, limited opportunities for solo exhibitions, expensive rents for both living and gallery spaces, and sometimes difficult living conditions. Many artists are well aware of these challenges, but they still opt to live in the metropolis.
My longing to explore the world has been a part of me for as long as I can recall. Living in foreign countries has been a way for me to satisfy that desire. I have studied and worked in several major cities, including Amsterdam, Paris, Berlin, Vienna, New York, and Mexico City. Through these experiences, I have come to appreciate both the allure and the challenges of these cities, prompting me to consider the idea of moving to a ‘less glamorous’ location. I wondered if such a move would impact the quality of my artistic work, if I would become isolated from the art world, and if I would lose valuable contacts. However, in 2016, I decided to make the move to Bijeljina, a small town in northeastern Bosnia and Herzegovina.
Surprisingly, this life-altering decision did not hinder my artistic work; on the contrary, it enhanced it. Freed from the pressures of big cities, I found a new sense of freedom and an even stronger creative drive. I made the conscious choice to focus on smaller towns for my future projects. Small towns have been experiencing a decline in population due to migration to larger cities. What may seem unattractive about these smaller towns, such as decreased population, was remarkably appealing to me because of the surplus of vacant properties. For instance, in cities in eastern Germany like Görlitz and Zeitz, or in places like Kozarska Dubica, Orašje, Bihać, or Foča, nearly half of the shops, warehouses, and factories remain unused.
During my master’s studies, I aim to explore vacant spaces in Sarajevo, including the city center, suburbs, and surrounding villages. My goal is to repurpose these spaces in innovative ways, using them for exhibitions or pop-up events. Additionally, I plan to create a map highlighting potential locations for creative activities. If successful, this map could prove valuable to other artists, contributing to the establishment of a new environment for ongoing artistic endeavors. This project represents my efforts as a designer to present abandoned structures from a unique and engaging angle, making them more accessible to future generations of artists, regardless of their background.”
Sarajevo, April 6th, 2023
bašČARŠIJA/ SKENDERIJA
Baščaršija
With its narrow streets and colorful shops, Sarajevo’s Bazaar called Baščaršija, or just Čaršija, represents the heart of the city and a place of rich cultural diversity. Historically layered, it survived the period of the Ottoman Empire and later changes, which are reflected in its architecture. With numerous cafes, restaurants, and local workshops, Sarajevo's Bazaar is a place where the past and the present intertwine. However, today, many may not be aware that the Čaršija underwent drastic changes in the mid-20th century that shaped its current appearance.
Over the centuries, time has left its marks on the Čaršija. In the 1900s, the situation was far from ideal. Many buildings needed renovation, and the hygiene and traffic conditions were poor, which was not favorable for both people and the environment. However, while the Austrians and the first Yugoslavia focused on modernizing the area west of the old core towards Marijin Dvor, it was only in the 1960s that the city administration once again recognized the historical significance of the Čaršija. This sparked the development of the first concepts of revitalization.
Artists, writers, architects, and scientists from all over the country were involved in determining the course of action - from minor changes to complete building demolitions. A comprehensive restoration plan was presented in 1971, which envisioned drastic changes. It included the complete overhaul of sanitary and electrical installations, repaving, the demolition of certain buildings to make way for modern constructions, the creation of an amphitheater, precise determination of the visual identity of shops, and much more. There was even the consideration of a tunnel around the City Hall to completely free the area around main sqaure Sebilj from traffic. Some of these plans were implemented in 1975. What's interesting is that, for the first time, a comprehensive inventory of shops in the Čaršija was conducted, providing precise data on the number of stores and artisans.
It’s interesting to see how, alongside technical changes, concepts for the ambiance and the overall visual presence were already developing at that time. In a way, the first branding of the Čaršije was created.
Skenderija 1969.–1984.–2023.
At the same time as the development of the master plan for the Čaršija, on the opposite side of the city, another complex of buildings emerged, which would later gain historical significance for the city. This complex is called Skenderija, a diverse ensemble composed of multiple individual buildings designed for sports and music events, commerce, and entertainment. This assembly was created in the spirit of the 1960s modernism and stands out with its brutalist concrete construction and distinctive aesthetics. Of particular interest for my project is the so-called Privredni grad/Business City (more on this in the following text), constructed in the basement. It essentially represents a modern interpretation of the Čaršija, featuring small shops along various passageways offering a diverse range of products.
Initially conceived as a temporary name for the building, the name Skenderija received such a positive response upon its introduction that it eventually remained unchanged.
During the Winter Olympic Games in February 1984, Skenderija underwent several modifications to become one of the main event venues. It was here that the Olympic flame was first lit in Sarajevo, medal ceremonies were held, winner declarations were made, team competitions took place, and press conferences were held. While not as old as some other buildings in the city, Skenderija undoubtedly holds significant historical value for Sarajevo.
The current state of both complexes is as follows:
The current state of both complexes, compared to the planned condition, is, contrary to expectations. Baščaršija has maintained its economic stability as a tourist attraction, but it lacks effective control, as originally envisioned in urban planning. Arbitrary redesigns of shops, often in garish colors, contradict the former design guidelines. This results in the scene transforming into a mass of tourist kitsch. The essential historical authenticity of Baščaršija with its skillfully crafted shops is threatened in the coming years, as suggested by conversations with local artisans.
The current situation with Skenderija is also unfavorable. Although the building is almost protected as a cultural monument, it suffers from structural problems and significant neglect, deterring potential traders and tenants of business spaces. Most of the premises are vacant or used for simple and low-cost purposes. However, a recent change in management brings plans to raise the building’s profile in the public eye and in the awareness of Sarajevo's residents. This initiative aims to rekindle the appeal and interest in Skenderija and, in turn, rediscover its potential.
In my current assessment, I believe that Skenderija is an appropriate location for my pop-up store. On one hand, I see a fundamental or historical connection with my thematic intentions. On the other hand, from a technical, administrative, and financial standpoint, it is relatively straightforward to temporarily rent a space in the so-called Privredni grad (Business City).
