Početkom sedamdesetih godina prošlog stoljeća, pod okriljem i u organizaciji Željezare Sisak, osnovana je likovna kolonija koja je u razdoblju svog djelovanja od gotovo dvadeset godina (1971-1990) okupila oko dvije stotine renomiranih umjetnika (među kojima su bili Ivan Kožarić, Dušan Džamonja, Ratko Petrić, Peruško Bogdanić, Milena Lah i mnogi drugi) te realizirala više od dvije tisuće djela u medijima slikarstva, kiparstva i fotografije. Postojanje jednog takvog umjetničko-tvorničkog simbiotskog odnosa pruža mogućnost da se pronađu paralele između radnika i umjetnika: oboje krajnju instancu svog 'poziva', svoje djelatnosti, nalaze u proizvodnom procesu čija je finalna materijalizacija vidljiva i opipljiva, bilo da se radi o proizvodu željezarske tvornice ili skulpturi nekog od umjetnika Kolonije. Osim što je pružala sirovine umjetnicima, sudionicima Kolonije, Željezara je od njih i otkupljivala radove, te ih darivala radnicima za različita postignuća. Time kao da je dovršen ciklički proces proizvodnje: radnik - sirovina - umjetnik - umjetničko djelo - radnik.
Danas je od te plodne suradnje i kompleksnog odnosa radnika i umjetnika preostalo svega tridesetak zapuštenih i oštećenih skulptura na javnim površinama radničkog naselja Željezare, a donekle slična sudbina zadesila je i radnike Željezare čiji se broj smanjio s nekadašnjih preko 14 000 na svega 1 000 zaposlenika danas.
Izložba "Fenomen Željezara" dio je višegodišnjeg istraživačkog projekta umjetnika Marijana Crtalića pod nazivom "Nevidljivi Sisak", i predstavlja prezentaciju jednog od segmenata istraživanja - onog koji se tiče dugog, ali nedovoljno 'vidljivog' postojanja Likovne kolonije u Sisku. Putem prikupljenog obilnog arhivskog materijala, kao i dokumentiranjem i prezentiranjem stanja u kojima se Željezara te artefakti Likovne kolonije nalaze danas, umjetnik nastoji ne samo zabilježiti faze 'nekad' i 'sad', već i propitati fenomen unutar šireg dispositiva - statusa radnika danas te institucionalnih i tržišnih dinamika tranzicijskog kapitalizma i njihovih nusproizvoda i posljedica.
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MARIJAN CRTALIĆ: Invisible Sisak - The Ironworks Phenomenon
In the beginning of the 1970s and under the patronage and organization of Sisak Ironworks, an art colony was founded which, over the course of almost 20 years (1971-1990), gathered about two hundred eminent artists (among which were Ivan Kožarić, Dušan Džamonja, Ratko Petrić, Peruško Bogdanić, Milena Lah and many others) and produced more than two thousand artworks in the medium of painting, sculpture and photography. The existence of such a symbiosis between art and a factory enables us to search for parallels between a worker and artist: for both, the final instance of their 'vocation' and their work is located in the production process whose final materialization is visible and palpable, whether it concerns a metallurgic product or sculpture made by an artist associated with the Colony.Besides providing the artists (participants of the Colony) with raw material, the factory also bought their artworks, offering them as gifts to workers to reward their various achievements. This could be read as a closure of the cyclic production process: worker – raw material – artist – artwork – worker.
What remains today of this fruitful collaboration and the complex relation between worker and artist is but 30-odd derelict and damaged sculptures situated in the public area of the Ironworks workers' settlement, a destiny alike that of the factory's workers whose number used to equal more than 14000 and is today reduced to approximately 1000.
The exhibition The Ironworks Phenomenon is part of the longterm research project titled Invisible Sisak and developed by artist Marijan Crtalić. The exhibition presents one segment of the research, dealing with the long-lasting, but inadequately 'visible' existence of the Sisak Art colony. By collecting the abundant archive material, as well as documenting and presenting the present state of Sisak Ironworks and artifacts produced in its Art colony, the artist not only seeks to record the 'then' and 'now', but also wishes to question the broader dispositif -
the status of workers today as well as the new dynamics of transitional capitalism, their side effects and consequences.
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