In recent years, the program guidelines of Cirkulacija 2 have been a fairly stable continuation of the outlined path – with some adaptations:
1. Cirkulacija 2 as a local hub: preservation of existing infrastructure options – in terms of adequate space and urban location.
2. Maintaining the technological possibilities for the production of the necessary prototype devices for the purpose of art projects – internal and external
3. Maintaining the existing diverse programming dynamics with around 30 events a year – live art.
4. Expansion of the number of local producers of Cirkulacija 2 from two to four individuals – of different generations and aesthetic fields.
5. Related to this is the expansion to the younger generations of artists and their audiences, which is already an example, but the consolidation of this situation is becoming even greater.
6. The transgenerational approach continues.
7. The former also means operating in an ‘open channels’ fashion, but fairly strictly within exploratory, experimental participatory/collaborative abstract transdisciplinary contemporary art. This primarily means giving a certain autonomy to the participating segments.
8. Co-organizations and co-productions with individuals, artistic groups and other organizations.
9. Establishment of regular international collaborations and exchanges of projects across the border. This time with a slightly different strategy: by exchanging the programs of a couple of precisely defined locations.
10. Maintain and continue to provide the possibility of fast and unpredictable ongoing productions and hosting – locally and internationally – tactical approaches. Also the possibility of quick and unpredictable expert technical assistance for other artists’ projects – i.e. support program.
11. To continue with the “tout court” principle – approximately one-week intensive group preparation of performances/events – and related short residencies, which provide new productions – or additionally developed post-productions adapted for the space.
12. Maintain the existing equal gender ratio of artists – and also the ratio of domestic and foreign artists. Generational dispersion.
13. Continue to persistently record, archive and appropriately publish data on all completed projects. Continue to publish the most interesting audio and video clips in the form of expected formats / “products” – music albums and the like.
14. Anticipate and prepare for publication a relatively extensive publication on the work, projects and motives of Cirkulacija 2 to date.
We mentioned two interesting principles: Cirkulacija 2 as a local hub and tactical approaches.
The first concerns the big issue of the disappearing spaces for independent production. This is, of course, connected with today’s situation of high gentrification, when land property has gained enormously in value, and all other (symbolic) values are in decay. Of course, this bubble will also burst one day, but in the meantime, it is still necessary to take care of preserving independent production, which, however, operates according to completely different criteria than that of the art market. Above all, awareness of collective practices, mutual help and cooperation is high on the value scale. Let’s call this an ethical moment, which is above all socially cohesive. Also typically urban. Cirkulacija 2, with its openness to collaborations, where the aesthetic code is very essential, is, in our opinion, a model for the present and the immediate future. The anti-bureaucratic approach completely separates us from the already completely bureaucratized NGOs.
Tactical approaches concern fast and lucid ways of connecting, reacting to the needs and wishes of the surroundings – related artistic groups, condensing public events when the conditions are favorable, adapting presentation forms in ways that still allow maintaining contact with the audience / scene. Half of the audience are also artists. In this way, it contributes to cohesiveness within the still very dynamic contemporary art scene in Slovenia. We reject suggestions about hyperproduction and the cultural center as intentionally divisive and conceptually ill-conceived ideas of the art market, or of the ideologues of modernist aesthetics (artist = genius loci).
Among the changes, the most important is the expansion of the group of internal producers, which we had already planned in 2018, but there were no suitable candidates. For candidates, this means that they have a desire to group and connect within the scene – so continuing the logic of the node. And of course: the producer must be an artist at the same time – not a bureaucrat. In 2021, we finally succeeded. From then on, Borut Savski, Stefan Doepner and Tatiana Kocmur are acting as local producers in the framework of Cirkulacija 2.
A few years ago, we tried to establish equivalent long-term international exchanges / productions, which happened that year. However, it limited itself to only one such case. It has become very clear that the atomization of artists into marketable commodities is very high and there are few cohesive artistic groupings today. Cirkulacija 2 is the last example, according to German artist Mike Hentz. International artists, with whom we communicate individually, perceive Cirkulacija 2 as a space of free artistic creation – and nothing more. Still, we maintain contacts with them for several years and regularly invite them to participate.
Over the past six years, more than 60 different artists have participated in the Cirkulacija 2 program on an annual basis – half of them men and women, a little less than half of them foreign artists. Diversity between generations is maintained, collaborations with other organizations are numerous. The aesthetic diversity is also great, with an insistence on abstract forms – away from predictable normalization formats. Stability is in the number of program units – around 30 per year. The total number of visitors is predictable – around 30 per event. A total of around 1,200 on an annual basis.
Out of around 30 program units per year, the direct production of Circulation 2 represents about a third. A third are hosted by other related organizations and self-producers. These are various co-organizations and co-productions. The remaining third are ongoing arrangements, which are usually called small projects and significantly influence the image of Cirkulacija 2 as an open space – a hub. This includes quick agreements on professional assistance in the production of devices in projects presented elsewhere. We also enter such projects as a partner when there is an aesthetic-ethical reason. Often these contributions are voluntary work that once again contributes to the placement of Cirkulacija 2 in the local space.
With the mentioned numbers, an optimum is reached and must be maintained, which formally is not very difficult. At the same time, the principle of openness and lucidity for continuous qualitative changes must be maintained. Quality here concerns the methods of artistic collaboration – and not artistic expressions. This could be called an ethical foundation. With intelligent artists, the quality of artwork comes naturally.