 I would now like to get to our online tour. Our colleagues from Rieke are already here. So we have an online virtual tour of the exhibition Fiume Fantastica, a phenomena of the city, which is also presented by our supporter and partner Rieke 2020, a European capital of culture for those who haven't been with us the first days. This is where we should have been with our real on-site conference. And I'm very happy that the organizers made it happen that we can see some of the museums and some of the exhibitions, at least virtually. So the exhibition follows the last 150 years of Rieke's urban history, during which the city experienced radical growth and became an important transport and industrial center. Felix and Rieke, can you hear me? Try again. Can you hear us now? Ah, wonderful. Obviously, but it's fine. You can hear us right. Okay, perfect. Thank you for the introduction. Hi, we are here representing the University of Rieke and the Rieke 2020 project. Thank you very much for having us here. It's a pleasure being here with you. So obviously, as you said, in the announcement and the introduction, Rieke is the 2020 capital of culture, which is probably the worst year to be a capital of culture off. So we've been trying to do most of the programs that we envisioned, at least most of the bigger ones, which are, I guess, more important to local and regional aspects of the whole project. Obviously, since a lot of the people who are meant to be here are either not allowed to travel, or also have difficulties in their work and everything. So we are here presenting the Fuma Fantastica phenomenon of the city exhibition, which is a pretty interesting story, not just because it's an exhibition, but also because the story of how we get there and why is it so important for even the place in which we are currently, which is not a typical museum. We'll get to that point a little bit later. But first, a small introduction on to why we are speaking in front of the university as well here. The Rieke 2020 project, which was kind of confirmed in 2016, was envisioned and conceptualized in the sense that it has a lot of, I guess, a lot of partnerships with local organizations, but also some important institutions, which are museums and also the university itself. It's not always the case that the university is a strategic partner of the Capital Culture Project, since obviously it's more focused on education and research, but it was very important for us to have that aspect as well, because the history of Rieke and also the many narratives that are present here are very important to kind of untangle and understand, because Rieke is on a transition. The whole city has been, as you said, also earlier and sort of an industrial and transport hub, and so by losing that in the last couple of decades, we are obviously transitioning into some other, I guess, identity of the city, which has not been clear until yet what is it is going to be more cultural tourism or more education type of city or some new industries. And so in order to kind of have these answers, it was very important for us to the whole project of Rieke 2020 to kind of try to find these answers to typical stuff like who we are, what are we doing here, what's our potential, and things like that. So the university has a large role in that aspect, because it obviously has a lot of resources and disposals that many cultural institutions do not. So we have access to students, to study programs, to various experts in various fields who were able to kind of give their contribution to the whole endeavor that we had in the last four years here. And so Moderna and I have been working for the university kind of coordinating these many experts and many artists as well and many people and partners and institutions, not just in Croatia, but also abroad, to kind of try to see what our program or at least our program, or part of the program is going to be. So we kind of concentrated on this sweet and salt area. It's called sweet and salt because there is sort of a part of the city, a very central part which has been the center for industry and the port as well, which is the largest in Croatia and also this part of the Adriatic. And so by losing its original kind of program, there is a lot of discussion of what to do with this space. And so we thought by using this cultural momentum to kind of see what the broader picture of the whole thing is. And so it's called sweet and salt because there is a river connecting to the sea in this part. And so we did many programs which I'm not going to elaborate on at this moment. You can research everything online, but we are going to focus here today is basically this warehouse which is behind me. The exhibitions that we did and the human fantastic exhibition, which is currently here in this warehouse. And what I guess is the future of or the legacy of our two year work in this warehouse and on this exhibition. And so the idea was basically to research everything for two years to try to see what the history of the city is, but not just using typical historical narratives. Since once again, it's a very complex history which we switched seven or eight regimes over the last just last hundred years. So it's a lot of switching borders, a lot of switching, I guess, different aesthetics or different sets, ideological narratives and things like that. And so we wanted to do a different reading of the city or of the city's past in order to get to this future part. And so we didn't want to do this exhibition in a museum. We wanted to do in the most difficult place where you can do an exhibition like this, which is a pretty big exhibition. So we decided to do it in the warehouse. So it's an old wood warehouse, which my colleague modern is going to tell you again a little bit more just in a few moments. But I guess the point is not just to show by using, you know, various formats to show sort of a different reading of the city. But also there is this semi hidden agenda of getting people into areas that you were not able to access before in order to show them that you can reprogram all these old warehouse old factories or old, you know, open areas in the city center, which can be used for the public and the people and the citizens. So that was kind of our goal. We didn't just do the research for the exhibition, we also did the production itself. And also there is this legacy aspect that we are going to do a book, which is going to be a already it's a 600 page book, which is going to, I guess, tell the story a little bit more deeper about the whole teams and everything that we researched. And also we created a study program, which will be able to kind of disseminate the knowledge and our experience over the last couple of years, regarding, regarding this exhibition. So that's the introduction, I guess, so that's why the university is working with record 2020. That's why we did this exhibition, which we feel is very amazing in this very difficult place to do this. And so I will give my seat to more than a now who is going to show your presentation about how it looks like so more than half. Hi. First of all, thank you. Thanks Renato for the introduction. And first of all, what we will do is going to, we are going to walk through the exhibition through one presentation short presentation with photos. And later on we are going to walk you through the exhibition since we are in size so you can get the sense of the space and the size of this space because we are talking about one hundred one thousand five hundred square meters, just for the space without the rest of the building and all the spaces for small size exhibitions. So welcome to Fima Fantastica. Fima Fantastica. Wait. Let me just share my screen with you. So, here we are. This is a photo of Rieka from the air and what you see here Mark is actually the building of expert demo. I'm showing you this because here just across the canal is the National Theater. So we are talking about one space in the nearer in the nearest center of Rieka that is Port Authority that was Port Authority and that is now a space for cultural and art events. What we also managed to do is move away the parking. So when you're today looking at this space, there is no parking anymore. This is a walking area for public we managed to open one parking lot for to general public. This is the expert demo building from the outside and this is this was taken for the opening night. This was our idea. So when we started to plan we drew this and then we actually created all the elements of the exhibition. What you need to know that we are going to walk you through 10 different pavilions that are that are going to show different approaches in using material in architectural sense and in using archive materials for the exhibition. What we discovered during our research about Rieka is that we can focus on 10 phenomena that are specific for Rieka, but that are also specific for any other cities such as infrastructure, common ground, monuments, the city itself. So we wanted to use all that information all that phenomena on Rieka as our case study. So we are going to what we did was separate each phenomena in one pavilion, which is a small size exhibition by itself, but in total, they make a little city that we created that's fewer fantastic. This is also something that we like to call the level of pavilion, which is not actually pavilion, it's a timeline created from 52 flags that will tell you the story of the last 150 years of urban history of Rieka. This part with pavilions is a phenomenology, phenomenologic part of the exhibition focused on this phenomena we like we wanted to keep this historical layer also present which we did within the timeline. So this was our team as Renato said organizer was the University of Rieka, which is actually a rare situation and where, when the university comes the strategic partner, then of course Rieka 2020 and the city of Rieka chief curators were with the team was created also with Dan Sujic, Lukas Kansi, Krija Lekko, Renato Stankovic and I. What we have to say that we since we are university, we are not museum and we actually took a space that's not museum space. We have a lot of help from the different museums from Croatia. So we are talking about Meritium and Historical Museum of Creation Literal here in Rieka, City Museum of Rieka, architectural museum in Zagreb, museum in Belgrade. They were actually really supportive and really gave us a lot of material that we had to research before the setup. The introduction was done by Delta Lab University of Rieka and our architect, the main architect was Ida Krija Lekko. And here we are. I'm sitting in the middle of the space on the other side. And, but we're going to start from that way. And here we go. On your left side is going to be our on your right side. Sorry, it's going to be your first pavilion, but you also need to know that we are going to walk you through in some kind of my scenario. There is no right or wrong way in using this exhibition for as an audience, you can, you can feel free to go left or right from the end to the top from top to the end. Each pavilion is a theme by itself, a small size exhibition and also can be walked through and walked around it. We are, we actually create a small size urbanism with this type of setup. This pavilion is called Port and Railway, since infrastructure is actually really important element in developing each city, but it was specific for Rieka because first you had the railway that created the port and after the port, then the city was created. So we are starting with this pavilion which is more focused on the historical approach and this type of generic architecture that was needed for such quicker development of port city. The right opposite, it's the pavilion that we called Borders, which was done completely from metal scraps that we found at the shipyard, the Threshemai here in Rieka. And inside, we're talking about this historical element also, which was the border that was going through Rieka for 17 years, right through the city. What's really interesting to us is the difference in architecture in this left to right part of the city. We wanted to show this political and historical story part of history through architecture that is really different in this fuma area and in Sushak area. After the borders, the metal pavilion we are going to containers. The pavilion, the green one is focused on a theme called networks. So we are what we wanted to show is a different transport of things merchandise that was going through Rieka or from Rieka to all parts of the city, or all parts of the world. And all those things actually really influenced the identity of Rieka and the development of it, such as sugar, oil, container distribution, people emigrating to United States, and the ship Gallup that was the yacht that was Tito was using for his diplomatical travels. And as each city needs to have we also build a cinema. So, opposite to container the black pavilion is actually huge cinema, where we are presenting one special artist film created by Igor Bezinovich and Mayda Srabovich, especially for this exhibition that is the film talking the story about the famous characters that either destroyed or build Rieka but nevertheless all of them created its identity. This is the inside of our cinema, and on the right side, you can see the film, and just across the cinema we are going to the pavilion called Palace. Palaces are also very important element in the city development but what we did was select five palaces from different times from different years, but each palace is a symbol of different transgressions we wanted to choose palaces that stayed the visual appearance they always stayed the same, but what happened was the change of the program happening inside, such as one palace was built as a theater, then became the army house, and was there for ages till the war and then after the war what what happens is that one NGO takes over the building and creates beautiful contemporary art. We took those type of examples and presented them in this continuous exterior and continuous interior. So when you're walking around the pavilion you're walking through one collage of these five palaces, we created some kind of architectural monster. And as you enter inside you're walking through different interior of these palaces but all connect in collage. When you get outside of palaces you're going towards the pavilion called the city. The basic information that you need to know is that city of Rieka after the Second World War had to be renovated what they decided is to give this task to one architect called Igor Emili, who actually did the reconstruction of the old part of Rieka, old part of Rieka was the centuries old and but the houses were just ready to be torn down. So what he did was a very specific combination of old housing projects with combination with modernistic architecture. This was the very bold intervention that Rieka did so we presented it through the exhibition on the wall walls of outside walls of the pavilion, but as you enter inside the pavilion you're actually entering a computer game that we created. We actually made a 3D model of Rieka and computer game where you as audience can play this game as it is organized as a treasure quest. You're walking through Rieka you're answering questions about Rieka you're learning about the history streets and moving throughout the city. It's not just for children of course done because we have different layers in this computer game regarding on the interest of each audience. This is the pavilion from the outside, and just across it is the pavilion called leisure. It's a pavilion dedicated to architecture of tourism, focusing on contrast between Opatia and the islands around Rieka. Rieka was never a touristic city but what was happening that you needed Rieka to come to Rieka with the train, but the whole tourism was developing around the ring of Rieka. On the left side you have Opatia which was an Austrian monarchy symbol for leisure and health tourism. And on the other side, after the Second World War you have beautiful hotels being created in very modernistic approaches such as Haludov, which was the place for Bobogucione and Uvala Scott, which was another crazy hotel project that still exists and still being used. We wanted to show this difference in approach with this little house that was used to be placed on beaches for changing clothes, for changing bathing suits. So the exhibition is actually on the beach in this little house. All the way as you walk through the exhibition you will always see a timeline. You can feel free to enter at any point, at any year, at any time in this timeline and go then outside back to some pavilion. The pavilion made of rocks is actually called Common Ground. Common Ground is telling the story about how Rieka since geographically, Rieka is very narrow, how Rieka needed to build new places and what she did was dig out paces and put what she dug out on other places. There were no places, no new places that were being created, there were places for sports, such as Prelo Contrida where you have the swimming pool and the football field. They were always creating huge large spaces for some type of sport and community activities. On the inside of the pavilion, the model presents Rieka and all around there are these archived photos proving the different uses of these spaces. Opposites to Common Ground is a pavilion dedicated to monuments. Lukas Kansi was our chief collaborator in this project, we actually took his research as the base for more research. Each pavilion either on Rieka or around Rieka is presented with a model with a text and drawings and some archive photos. And what we wanted to emphasize here in this exhibition is the space and the relationship between the space and the monuments itself. We're not focused on the political and historical descriptions of this monument, we are focusing on their aesthetic categories and the space, how they combine and how they influence on one another. This is the last pavilion, it's called Fantastic Zones, and this pavilion is actually created as a movie set. So as you enter in our little set, you're actually entering the potential futures of Rieka that we drew as a, and created as an application. So we are playing with this movie set moment, but behind the pavilion you actually have the history of our disease, let's say it like that. It's the frustration and fascination with Fiuma Fantastika, so all these elements are actually our office, and this is the really backstage of the whole project that we did. The other line is looking like this one side is with the one side of these flags is dedicated to archive material and text descriptions, and the other side are actually glitched flags of Rieka or any country or kingdom whatever was Rieka in at that certain point. So these are just some photos of overall project with people present inside, and now we are going to have a little walkthrough, Renato is going to jump in and start. Just a second. Yeah, hopefully you can hear me now. And so basically now we were simulate at least how good we can simulate the experience of going through the exhibition. So this is sort of the entry area and what I'm going to take you on the walkthrough. So now we are in the pavilion dedicated to boats and trains to port and railway. As I said before, each pavilion and it's dedicated to board. It's actually really impressive in the same architecture. Renato, I'm not sure if you hear me but if you could slow down a bit and be close to more than talking because we just hear bits of what more than saying, so you need to follow her on the shoulder. Thank you. So now we are walking behind the pavilion borders, going towards the networks. Networks are actually made of a container, since one of the themes is actually the container transport that is very, very important to development on Rieka. So on one side, you have different archive materials proving different approaches of things that were traveling through the acre. And on the other side, you have the map of the city with a specific legend that if you decide to follow which line can actually take you to all the parts of the world, which each this things. This matters was traveling such as oil, sugar, Tito's boat, Galleb and architecture development in the countries of non reliant. Yes, we are entering the pavilion cinema. So now we are in the pavilion palace. We are in this continuous interior combined on these different five palaces. In the tablets that you're seeing on the wall, we actually get a gift that will prove the different developments of each house. These different transgressions, how the house changed from a theater to a political zone or space for contemporary art. This is the pavilion, Asia, where we are actually standing on the beach. Evo Robich is playing in the background. He's a famous creation singer of shun songs that was specific for the great terraces of hotel. On the other side, specifically dedicated to architecture of tourism in the patria, which is this type of health tourism, a very relaxed tourism. And on the other side of this little house is the architecture of hedonistic tourism that was mostly happening after the Second World War. In the islands and in the face of islands around Rieke in the county. For example, Kaludava, which was a space for a penthouse part. The city is just across. Welcome to the interior of our computer game. These are different layers of the computer game that we created. The audience can choose whether you want to play the game or you want to see somebody playing and see how he's moving through Rieke and what he's doing in answering all these questions about history of Rieke. So common ground pavilion is dedicated to these spaces of new collective socializing through sport or recreation. Rieke has them really, really a lot. And what is specific in this room, this pavilion is also one photo that will show in more to understand how Rieke is actually interesting and a bit weird and fantastic. I showed you the position of expert right across the National Theater. So look at this. This is the center of Rieke that is a space for drawing wood. Here is the National Theater, here is the residential area. Rieke wasn't a city, it was first just a port and then the city was created later on. On one side is the pavilion monuments and on the other side is the pavilion fantastic zone. We will just have a little look in the pavilion monuments and then go take it to the back to see the backstage of the project. So all the information about the monuments are either in these models, in text, in archive photos and in photos taken just today. We wanted to show the different, the wide range of monuments that was being created in Rieke and around Rieke. But all those monuments are created in public space. We were interested in this relationship with space and the monument itself. We are starting with one from the 19th century and finishing with the most recent monument created in creation history, which is the bridge of defenders in creation war of independence created by the architectural studio called Trialhade. Just to show, in this new set, we actually allow audience to play, to position themselves in different fantastic futures of Rieke that we think may happen in 20, 30, 50, 100 years, but we are actually letting people play with this idea. And behind our movie set, we are entering the documentation of our research. And once again, the timeline, the historical layer that gives you more information about Rieke and about the concept of the exhibition. And so here we are. What, sorry, can I hear you? That would be it from us. I think we actually did it in 30 minutes as it was planned. You can hear me, right? Sorry. Yes, we can. Oh, okay. You were muted, I think. Okay. So this is actually it from us. Do we have any questions? I was just looking now. Ah, okay, I have seen, okay, okay, okay. If we have any minutes or two, I will maybe answer a couple of these questions. Although I think as I was talking, I will answer some of them. As Yulia Pagels asked, did we collaborate with, of course, all our research was based on the material that we could find in museums in Rieke, in Croatia and even in some museums outside Croatia, which I must say great thank you to all of these directors of museums and curators that were willing enough to collaborate with us. And a lot of archives also I forgot to mention them. Regarding the audience, audience, I would say contributed started to contribute to the exhibition as soon as we opened because we did a setup but some of the fine tuning was actually done with the audience since what we decided to do is to do the tour guide for general public all the time and note every tour guide that we did through the exhibition was always done by somebody from the curatorial team. So it is Renato, it's me or it's Edis or it's Ida, we don't use students, our history students to do that for us, we do that tour guiding. I think we did over 150 tour guides so far that's like one per day to actually per day. So we wanted to communicate with audience we wanted to see what their thoughts are we're not doing a lecture here with the exhibition we're actually doing walk through this city that we created. And also, the reason why we have a little classic things on the beach is because the children wanted to build the houses they wanted to create their own urbanism in that sense so we brought it. And one layer on the exhibition. And I will read one. Most of the time. Okay. Anilis Van der Ven. I'm sorry if I pronounce your name wrong. So whether do we have any audience research in how people move through the spaces where they spent most of the time. Actually we do, we have. This is one of the things that we asked our students that are guarding the exhibition. We have one document, the creating with them, just for research so we can do statistics afterwards. And I must say that the, what so far, we concluded is that there is a very interesting this age difference. So people form 40 to 60 more spend more time on timeline, while a younger audience actually plays more with this pavilion part of the exhibition, and younger audience is more. It's easier for them to ask direct questions. What we like really is that we start talking when we start guiding this walkthrough. We always tell our audience that they're not stupid questions feel free to ask anything this is a dialogue not the monologue. And we actually managed to do that that people in the first pavilion just start asking questions. There's something that in that system would be normally creation system is not the creation people never ask questions, trust me, but I think that we managed to case some type of diolic. There's another question about the economical support or I guess would be the, maybe the price, the final tag price or the whole thing so obviously to one of the bigger projects. So we had access to some 350,000 euros, which covered basically two years of work. So it wasn't just the setup of the exhibition. It was a lot of, you know, buying photographs, you know, paying researchers to go to Vienna to Budapest to various places, getting, you know, access to various knowledge from, from abroad so we had a lot of people from other countries, coming here, working with us on workshops. And basically this whole like so two years research plus the whole production of the exhibition plus the whole, at least one part of the marketing aspect. So the whole team working here while the exhibition is open, of course, all the cost of the multimedia equipment so everything is kind of accounted in this, I guess, 350,000 euros price. But the good thing about the exhibition is that it doesn't have to be removed since it's not a museum so it doesn't really have, you know, there are no current plans and into something that will replace this so it can easily become open, you know, next year or year after that or it can be upgraded or it can be removed, you know, so we use for any other exhibition because what we did when we started to plan the exhibition setup is our main question it was, can we use this pavilions later for something else. And the answer is actually yes, because if you tear down this walls made of plaster and if you take down our print, you actually get the construction that can be reused for any other type of exhibition, maybe there should be 10 exhibitions of different artists here in this space. This space is the expert of a building is actually think of it as a street with a roof. This was an old warehouse that was used for drying wood, it has nothing to do, it's just like a street with a roof. So what we actually wanted to do is this type of arsenale moment when you're walking like in Venice you're walking through pavilions, because we wanted to show this north south orientation as a building and put in this fantastic fuma, fantastic Rieka inside fuma is actually Rieka, the title of the city. And just to finish, there is a small follow up question going about whether you know who financed the whole the whole thing whether it had, you know, support I guess from the private sector or from people so it was mostly publicly funded we had access to some sponsorship deals which covered, you know, materials or work done on the production sense, but it was mostly financed by the public that means the city, the regional government, the Ministry of Culture and obviously the European Union covering the whole Rieka 2020 project. I think this is our time. Julia gave us the queue, we were too long. Sorry, and I hope that we didn't buggy too much with our story. There's a lot to tell at 30 minutes is really. And that's it. So hello from Rieka and enjoy the rest of the conference. Thank you for inviting us. Thank you. Thank you, Morana and Renato this was really a great tour, especially for the people who haven't been to a museum and quite a long time because most of the museums are closed in Europe. So this was especially nice to see and again, a good argument to go come to Rieka at some point. Just for before we leave you to a long lunch break, I would like to say that at 2pm, we are meeting again with the webinar how do I make my museum more sustainable please be on time because we will be starting on time at 2pm. The webinar will be facilitated by Katelyn Southwick from Key Culture. If you would like to join and you haven't registered please find the link to this webinar in the chat. And last but not least, tomorrow morning we will resume at 10am for our dedicated session on the coronavirus and museums. This session is unfortunately, or fortunately fully booked already, but I would like to take this moment to encourage all of you to really respond to our follow-up survey on the coronavirus impact on museums. The link is also in the chat and I would just like to say that the more feedback we have from the more people responding, the better arguments we can build for museums for their economic support for keeping them open for transforming their digital capacity so please go ahead and respond to them. So this is where I end. We'll see each other today at a bit later at 2pm. Thank you very much.