The Dynamics of Slovenia’s Independent Cultural Spaces. Insights from Ljubljana, Maribor and Koper

Introduction: the research trip protocol and the purpose of this report

This report investigates autonomous cultural spaces in Slovenia, drawing from interviews with 12 key figures in Ljubljana, Koper and Maribor, conducted during a research trip in the second week of April 2024, along with existing relevant research. It features insights from NGOs, cultural veterans, independent arts entities, and young enthusiasts, emphasizing their cultural, political, and social awareness. According to Mišković and Celakoski (1), the existence of independent culture, known by various terms, such as alternative or autonomous culture, is one of the most persevering phenomena in the region (Western Balkans). While these terms are not always interchangeable, they denote similar cultural actors and trends. In this context, independent culture, as the authors argue, primarily consists of non-profit arts- and cultural organizations, along with civil society initiatives. It may also encompass for-profit entities and individual artists.

Several prominent autonomous spaces in Slovenia, created by squatting former military or industrial locations, have remained operational for more than three decades. Despite squatting being defined as unlawful occupation, Siegrist and Thorn (2) argue that long-term squats often strive to merge autonomy with public engagement, forming a counter-public sphere. Siegrist (3) further notes that many activists view these spaces as counteracting urban gentrification, which fuels their enduring commitment. They cherish independence from commercialization and official institutions, prefer self-management and horizontal decision-making, and are critical of the professionalization of civil society (4).

The study aims to identify the key elements essential for crafting a conceptual framework. It contemplates the current state of affairs and explores the potential catalysts for change within the realm of independent cultural spaces in Slovenia. The analysis offers an outsider's perspective, as its author hails from a country (5) where the ideological framework for independent spaces is still evolving. Before the study, the researcher lacked familiarity with Slovenia's cultural context and its political and social dynamics. Despite recognizing the potential limitations stemming from this viewpoint, the report aims to provide a thorough overview of Slovenia's independent cultural scene. It delves into the resources, programmes, and capabilities of cultural organizations, artists and cultural workers, intending to spark discussions and offer fresh insights to stakeholders.

The main resources used in this research were semi-structured interviews (6) and open discussions with the actors on the independent culture scene in Slovenia, who have relevant experience using the public cultural infrastructure. Across nine individual and group interviews, the researcher spoke to 12 individuals (7) and discussed 11 active and former autonomous spaces. In eight instances, the visits included touring the facilities and assessing their conditions. The report seeks to build a foundation by reflecting on the insights shared by respondents. Its goal is to establish new understanding and propose solutions, while informing new services and capacity-building programmes tailored to support independent cultural actors in their pursuit of sustainable working environments.

In Ljubljana, the researcher met with representatives from PLAC, the newest addition to autonomous spaces in Slovenia, Nataša Serec, a veteran fighter for independent spaces from AKC Metelkova mesto, and Tanja Kos and Ines Kežman from the Motovila NGO. In Koper, the researcher talked to a representative of the Heka lab (run by the PiNA NGO), a space focusing on merging art and science for the youngest, Toni Bračanov from Neodvisni Obalni Radio (NOR) and Klub Inde Drugje, Matija Grigorić from the Ræhat collective and Klub Inde Drugje, and Luka Bevk, a key figure in the former Inde squat and other regional initiatives. In Maribor, the researcher met Urška Breznik from Pekarna Magdalenske Mreže, Jan Franc Podbrežnik from the ZIZ feminist theatre collective and radio MARŠ, and Hana Repše from Zavod Mars, which operates in the remarkable heritage space of Vetrinjski Dvor managed by Narodni Dom Maribor, a public institute.

* ROADMAP

Ljubljana:

Avtonomni Kulturni Center Metelkova mesto (Autonomous Cultural Centre Metelkova mesto) is a former Yugoslav People's Army barracks on Metelkova Street, with a surface area of over 12,500 square metres. It has been occupied by various members of the independent cultural scene since 1993.

KUD Mreža (Cultural Artistic Association Mreža), a successor of the Network for Metelkova, emerged from the occupation of the former military barracks on Metelkova Street in 1993. Since 1997, KUD Mreža has worked to enhance the infrastructure and production conditions for Ljubljana's independent cultural scene through the Autonomous Cultural Centre Metelkova mesto.

PLAC – Participativna Ljubljanska Avtonomna Cona (Participatory Autonomous Zone of Ljubljana) was established in September 2022. The space is located in the abandoned Menza (workers canteen), previously part of the former CPL (Road Company Ljubljana). Prior to becoming PLAC, the building had been left vacant following the company's bankruptcy. It is located in a modernist collective housing neighbourhood.

Motovila – situated in the Šiška neighbourhood, Motovila is a non-governmental institute focused on fostering transnational and cross-sectoral collaboration within the cultural and creative fields. It operates from a city-owned building, previously a municipal administration office, conveniently situated near the renowned city-owned cultural district Kino Šiška.

Koper:

NOR – Neodvisni Obalni Radio, Ræhat Collective and Klub Inde Drugje in Koper use a shared space for alternative music and cultural events. The present location has been rented since October 2023, and was chosen for its affordability and proximity to other local music Introduction – Ms. Ali from ISLA Partnership producers. It is a single room situated in a two-storey building within Koper's industrial area. Moreover, they use the city-owned venue Skladišče Libertas for larger events.

the Heka lab – operates within a repurposed office space in Koper, collaboratively governed by PiNA to promote interdisciplinary projects and community involvement. The space opened in 2021, after PiNA secured European funding five years ago, with the aim of facilitating the decentralization of artistic and scientific endeavours in Koper. Given that its primary function is as a laboratory, the fact that the space is somewhat secluded and insufficiently illuminated does not pose a problem.

Maribor:

Kulturni Center Pekarna – (Pekarna [Bakery] Cultural Center) in Maribor occupies a large site that used to be a military barracks back in the late 19th and early 20th centuries. It was squatted by artists, musicians, and sports enthusiasts in 1994, which makes 2024 the 30th anniversary since the movement began. The site comprises about ten low-rise buildings, including former auxiliary buildings of an army bakery, arranged around a central courtyard. The offices of the Pekarna Magdalenske Mreže are in the sole renovated building, known as the administration building, managed by the MKC (Mladinski kulturni center – Youth Cultural Centre), with newly added upper floors serving as a hostel.

Pekarna Magdalenske Mreže – acts as the programme coordinator within the Pekarna Cultural Center, which currently includes only the administrative building, under the management model agreed by the municipality and the MKC public institution. In 2021, the municipality and the MKC ceased to provide replacement spaces for collectives, NGOs, and individuals, who had to relocate when the MKC moved into the administrative building. This management model outlines the roles of the programme coordinator and the Pekarna Programme Council, alongside the municipality as the owner and the MKC as the body in charge of managing the premises.

ZIZ – a feminist theatre collective operates nomadically. Initially functioning informally, it is now a legal entity. The collective utilizes spaces provided by the Narodni Dom Maribor public institute, including the Narodni Dom and Vetrinjski Dvor buildings, for performances, rehearsals, artistic residencies, and the festival it organizes.

Radio MARŠ currently operates from a modest studio within the versatile space of GT 22, which is a private space granted by the family that owns it to be used by the independent cultural scene. The radio station used various locations, including rent-free city-owned premises, before settling in GT 22. However, it plans to relocate soon to a larger space, better suited to its technological needs.

Zavod Mars (the Mars Institute), a non-profit entity, focuses on educational initiatives catering to families and children. It functions mainly within a single flexible space located within the historic Vetrinjski Dvor building, overseen by the Narodni Dom public institute. It frequently collaborates with the Narodni Dom Maribor public institute.

In conclusion, the researcher expresses profound gratitude for the warm reception received and the invaluable time and frank insights generously provided by the respondents. These contributions were instrumental in crafting this research report, which aims to benefit stakeholders in their ongoing development endeavours.

Key points for contemplation

The following pages reveal several recurring themes: Autonomy and Governance, Financial Instability, Community Engagement, and Institutional Pressures. Organizations emphasize self-governance and community ownership, frequently encountering challenges with municipal authorities and exploring models of collaboration with public and private partners. Financial instability is a significant issue, impacting both operations and community engagement, with ongoing efforts to secure stable funding and ownership of operational space. Community engagement is essential, focusing on balancing core values and adapting to digital and accessibility challenges. Inclusivity and community-driven governance are fundamental principles. There is significant pressure from institutions to institutionalize the independent scene. Responses to such institutional pressures vary, with some organizations refusing to form alliances with public institutions, while others establish strategic partnerships to preserve their independence.

2.1. Values – stories of creativity and resistance

The narratives of autonomous cultural spaces in Slovenia reveal a common struggle: maintaining identity and mission amid financial constraints and evolving societal needs. These organizations balance preserving core values with adapting to new challenges, such as integrating digital platforms and enhancing physical accessibility. Their resilience and commitment to community engagement highlight their crucial role in enriching Slovenia's cultural landscape. However, their sustainability is closely tied to broader economic, political, and social currents, necessitating continuous adaptation and advocacy.

The Heka arts and science laboratory, founded in 2021 by PiNA, exemplifies the integration of art, science, technology and economy in Koper. Conceptually, Heka aims to operate at the intersection of these fields, grounded in the principles of 'citizen science' (8). PiNA is a well-established NGO in this field, which aims to strengthen and contribute to the education sector. It strives to create an inclusive and democratic environment where various social groups and individuals can actively participate. Funded by European sources, the Heka lab aims to decentralize artistic and scientific activities in Slovenia, targeting young demographics and emphasizing community building through festivals and workshops. Despite funding challenges and its underground location, which affects visibility and accessibility, the Heka lab remains committed to democratizing access to art and science.

Luka Bevk's recounting of the historic squatting of Inde (previously the publicly owned Invalidske Delavnice – workshops for people with disabilities) in Koper highlights its transformation into a vibrant centre of creativity and inclusion. In October 2014, during the mayoral elections, a new collective composed of both newcomers and seasoned members began squatting the site of Invalidske Delavnice. They were motivated by a desire for increased creativity and autonomy amidst a decline in support for NGOs due to the financial crisis. They established Inde as a collaborative hub for creative minds. Inde addressed the region's lack of inclusive public spaces, fostering a community united by collective decision-making and welcoming of diverse perspectives. This inclusiveness made Inde a unique gathering point for those eager to make a difference. When the collective began squatting Inde, they faced immediate eviction threats from the state's bad bank, the DUTB (9), which owned the property. Despite garnering significant support from universities and various collectives, the situation worsened when the property was sold to private owners. The transition from public to private ownership undermined their efforts, ending Inde's existence.

Jan Podbrežnik's narrative regarding both ZIZ and Radio Marš in Maribor reveals ongoing issues regarding securing stable funding and operational space. ZIZ (10), transitioning from an informal collective to a legal entity, continues to push boundaries in feminist and activist performance art. Radio Marš, maintaining its non-commercial ethos, struggles to engage a younger audience, reflecting broader shifts within the media landscape. Financial instability and reliance on fluctuating municipal funding underscore the challenges faced by alternative media and cultural groups.

Zavod Mars Maribor, under the guidance of Hana Repše, functions as a dynamic hub for cultural and educational activities catering to children and families, emphasizing interdisciplinary learning and community involvement. Repše highlights the importance of fostering playfulness, creativity, curiosity and openness. Founded with a vision prioritizing experiential learning and mutual engagement, Mars Maribor diverges from traditional educational approaches. Despite logistical challenges such as limited storage room and a somewhat isolated location in the city, the institute remains committed to nurturing young artists and fostering innovative projects, maintaining its reputation as a dynamic cultural hub.

Pekarna Magdalenske Mreže in Maribor, an organization headed by Urška Breznik, illustrates a complex relationship with municipal authorities and the ongoing challenge of balancing autonomy with the need for infrastructural support in the Kulturni Center Pekarna (11). The current mission of Pekarna Magdalenske Mreže emphasizes fostering a supportive environment for integration, collaborative management, active participation in creative projects, and engagement in civil society activism. Celebrating its 30th anniversary, Pekarna serves as a beacon of independent culture and political engagement in Maribor. However, it has encountered significant threats of eviction, redevelopment, and gentrification from both former and current mayors, potentially jeopardizing its fundamental principles of cultural independence and community-focused programming.

NOR – Neodvisni Obalni Radio, Ræhat Collective and Klub Inde Drugje in Koper, discussed by Toni Bračanov and Matija Gregorić, focus on building a vibrant local scene for electronic music and cultural events. NOR's inception in Koper, characterized by creativity and unpredictability, stemmed from the need for a media outlet that would consistently reflect local and global perspectives, while challenging superficiality and clientelism. Despite their creative successes, they are confronted by infrastructural inadequacies and face uncertainty regarding renovations to the city-owned Skladišče Libertas, which they use for cultural events. Their narrative reflects resilience and adaptability in the face of socio-economic and political pressures.

AKC Metelkova mesto (Autonomous Cultural Center Metelkova mesto) in Ljubljana, which emerged from the occupation of a disused military barracks in 1993, has evolved into a dynamic district and an alternative cultural hub known for its artistic and social innovation spanning three decades. From the outset, it existed as a site embedded in conflicts over urban space in Ljubljana. Recognized for its vibrant nightlife, cultural events, and organizations engaged in political theory, according to Siegrist and Thörn, Metelkova today is entangled in the emerging conflicts and changes associated with neoliberal urbanism. It serves both as a part of the city's creative identity and as an autonomous space that challenges, and contrasts with, the city's political, social, and economic activities (12). Nataša Serec from KUD Metelkova Mreža highlights that throughout the past three decades, the centre has steadfastly stood against gentrification and commercialization, maintaining a strong dedication to alternative culture, inclusivity, and community-driven principles. According to art historian Nabergoj, Metelkova's universal approaches to collaboration and self-organization are crucial for understanding its cultural scene. It is marked by conflicts and occasional collaborations among various groups, which significantly influence the creative processes of its artists. This has significantly enhanced Metelkova's reputation, as noted by the author, as a Gesamtkunstwerk (German: a complete work of art), involving participation from visual artists, artisans, and visiting creatives (13). Metelkova’s continuous evolution reflects its ability to remain relevant to the needs of diverse communities, fostering a safe space for artistic expression across various spectrums, including the LGBTQ+ community and marginalized groups. However, challenges persist from the external pressures of urban development and the threat of institutionalization, which could undermine its autonomous ethos.

PLAC, established as an autonomous zone in Ljubljana in 2022, is one of the newest additions to Slovenia’s independent cultural spaces. It was created to offer a space for political and cultural alternatives, explicitly excluding right-wing and liberal ideologies. The space champions non-hierarchical organizations and grassroots participation, hosting activities from debates to concerts, and fostering an equitable environment.

Motovila in Ljubljana is an NGO that serves as a crucial nexus for international cultural cooperation, functioning as an advocate and facilitator within the cultural sector. As the host of the Creative Europe Desk Slovenia, it bridges Slovenian cultural initiatives with European funding opportunities and collaborations. Established in 2013, Motovila focuses on capacity building, aiding cultural organizations in acquiring the skills necessary to operate successfully on an international stage. According to Tanja Kos and Ines Kežman, one of Motovila's primary challenges is navigating the intricate landscape of EU funding mechanisms, a crucial task due to the sector's persistent underfunding at the national level. The organization's efforts to promote greening and cultural mobility reflect responsive adaptation to evolving priorities within the European cultural policy framework. As an NGO, Motovila's identification with the independent cultural scene allows it to advocate effectively, although it often grapples with the scarcity of sustainable funding and infrastructural support.

The variety of cultural spaces and organizations visited across three Slovenian cities showcases the dynamic and resilient nature of the country's independent cultural scene. Each space and community, from the Heka lab in Koper to Metelkova in Ljubljana, reflects a commitment to community-driven governance, creativity and inclusivity, despite facing significant challenges such as funding instability, legal hurdles and infrastructural inadequacies. The dedication to maintaining autonomy and fostering alternative cultural expressions is evident in the efforts of organizations like Pekarna, PLAC and Metelkova mesto. These spaces navigate complex relationships with municipal authorities and external pressures, striving to preserve their unique identities and continue serving their communities. Luka Bevk's reflections on the former Inde squat, Jan Podbrežnik's insights into ZIZ and Radio Marš, and the experiences shared by Zavod Mars and Motovila (14) underscore the ongoing struggle to balance cultural innovation with operational sustainability. Collectively, these narratives illustrate the crucial role of independent cultural spaces in promoting artistic expression, social engagement and political activism in Slovenia.

2.2. Navigating autonomy and external pressures in spatial governance

Throughout the interviews, a consistent theme emerged: all organizations prioritize self-governance and grassroots management, operating with minimal hierarchical structures and emphasizing community ownership and collective decision-making. The governance challenges often arise in dealings with municipal authorities, as many of these organizations oppose institutionalization and commercialization (15), in order to preserve their distinct cultural identities. Indeed, there have been notable instances of collaboration between institutions and autonomous cultural organizations. Examples of these collaborations include the Narodni Dom Maribor public institute and the ZIZ collective, along with Zavod Mars (16). The Narodni Dom Maribor Institute supports the independent scene by providing venues such as Vetrinjski Dvor and Narodni Dom in Maribor for their activities and rehearsals. Different models of space usage and governance exist within the cultural sector, including squatting, renting, civil-public partnerships for managing city-owned spaces, managing spaces with tripartite ownership arrangements (such as Stara Mestna Elektrarna Ljubljana, managed by the Bunker Institute) (17), and utilization of spaces granted by private owners (like GT 22 in Maribor). Outlined below, derived directly from conversations with cultural workers and community representatives, are summaries of the governance and administration models, along with the observed characteristics and current conditions of the spaces serving the cultural organizations and communities examined in this report.

Mreža za Metelkovo began squatting and transforming the military barracks near Metelkova Street (18) into cultural spaces in early 1993 (19). Although their legal acquisition was thwarted by the municipal government’s decision to demolish a part of the complex, activists squatted the area, maintaining it as an autonomous cultural hub for more than 30 years (20). Since 1995, the space has operated as a self-organized autonomous zone. Although it has not secured proper legal status, it was partially designated as national cultural heritage in 2005 (21). The space covers a large area of around 12,500 sq m, with 7 buildings (22). At its centre is a spacious public area adorned with various artworks, artistic installations, graffiti. Although Metelkova's venues are modest in size, they accommodate a wide array of activities, including concerts with audiences of up to 1000, as well as exhibitions, workshops, and theatre productions, all of which address political issues and advocate for the right to utilize urban spaces.

The community within Metelkova mesto initially operated as a unified network but has since transitioned into a more fragmented structure, similar to Pekarna, where individual organizations now manage their own spaces. Nataša Serec notes the absence of written rules at Metelkova, which complicates the space's operations. Decisions concerning the whole of Metelkova are made in monthly meetings. Serec also indicates a desire for increased cohesion and developing an internal economy (23) within Metelkova. This is aimed at addressing financial needs for maintenance and other expenses.

The venue of PLAC (24) in Ljubljana is located within the premises of Menza, a former workers' canteen with origins tracing back to the Yugoslav era. This gives it a unique level of independence and responsibility, which is particularly appealing to younger individuals, unlike conventional city-managed youth centres. Although founded by young people, the community utilizing the space is quite diverse in terms of age. As mentioned in the interview, youth involvement in space management aims to foster ownership and to facilitate political and intellectual growth. They operate on a horizontal, non-hierarchical model, prioritizing informal, grassroots organization to inspire similar non-commercial spaces nationwide, reminiscent of Yugoslavian communal areas. The community emphasizes collective decision-making, accountability and ideological coherence.

Menza serves as a vibrant hub for a diverse range of cultural and political events, including poetry readings, theatre performances, debates, concerts and a library, all aimed at promoting inclusivity. The space is ample, featuring a versatile common room suitable for different organizations and activities, a kitchen frequently used to prepare meals for the community and those in need, a fitness room located underground, a library and a courtyard furnished with seating. Despite its beneficial impact, PLAC is facing legal challenges from the Slovenian National Holding (SDH), which owns the location, which intends to redevelop it into commercial housing. This situation may result in potential legal action against activists occupying the Menza space. However, the community firmly maintains that their activities serve the public interest by providing support to individuals dealing with social and mental health issues.

In Maribor, both Radio Marš (25) and particularly ZIZ (26) function with limited core groups, which collectively determine creative and programme directions. Jan Podbrežnik notes that this setup enables self-expression and communal decision-making, but the persistent issues regarding the lack of a settled premises and funding present ongoing obstacles. ZIZ operates nomadically, using spaces like Narodni Dom (27) and Vetrinjski Dvor (28) for its performances, rehearsals and workshops. This collaboration has been vital for ZIZ, providing accessible venues for performances and festivals at minimal or no cost. In contrast, Radio Marš has relocated multiple times because of financial instability. Presently, it occupies a compact studio within the GT 22 premises (29), following moves from a basement in a student dormitory to a building owned by the municipality, and then to a commercially rented space. In its current premises, Radio Marš contends with power outages and noise disruptions but thrives in a collaborative environment. Efforts are in progress to create a better-suited studio space.

Zavod Mars in Maribor operates in a single, adaptable space within Vetrinjski Dvor. Repš (Zavod Mars) recognizes the space's creative charm, blending old and modern architecture to foster an inviting artistic environment. However, heritage regulations limit the options for structural modifications, and there is insufficient space both for storage and activities. Despite securing funds for improvements, the space remains constrained. Nonetheless, the creative atmosphere is seen as beneficial, particularly for nurturing children's creativity and contributing to interdisciplinary education. Conversely, Zavod Mars collaborates with the Narodni Dom Maribor Institute. While this collaboration provides financial assistance to NGOs such as Zavod Mars, the organization still faces fluctuations in its team of collaborators and volunteers due to limited funding from other sources, despite having a stable core group.

The Pekarna Cultural Centre (Kulturni Center Pekarna) (30) in Maribor occupies a large site that originally served as a military barracks from the late 19th and early 20th centuries. Abandoned by the Yugoslav army in 1991, the buildings were squatted by artists, musicians, and sports enthusiasts in 1994, meaning the movement has recently marked its 30th anniversary. The site includes around ten low-rise buildings (31) (which previously served as auxiliary buildings of the army bakery) in a poor state of repair around a common courtyard, which is currently overcrowded with parked cars, which present a persisting challenge for Pekarna. Pekarna Magdalenske Mreže‘s offices are in the only renovated building, the so-called administration building, managed by the MKC (32), with its newly added upper floors used as a hostel. This renovation and the addition of the hostel were funded through a scheme by the Ministry of Education's Youth Office, utilizing funds obtained from the EU.

As recounted by the director, Urška Breznik, Pekarna grapples with governance complexities, particularly with the municipal authorities, complicating its operational stability due to the historical significance of its buildings and threats of redevelopment, especially under mayor Franz Kangler in the early 2000s. In 2006, the organization opposed the mayor's redevelopment plans through discussions, public events, and media support, backed by the minister of culture and other cultural spaces like Metelkova. This led the municipality to seek EU renovation funds. As a member of Trans-Europe Halles, Pekarna hosted the "New Times, New Models" conference, proposing a management model where the municipality owns the space, but collectives and organizations create the programme. Officially recognized by the city council in 2010-2011, this model introduced the MKC as the body in charge of technical management. The Ministry of Education's Office for Youth decided in 2010 to establish a youth hostel, which led to the relocation of the MKC to Pekarna. The management model, which delineates the responsibilities of the programme coordinator, the Pekarna Programme Council, the municipality, programme creators, and the MKC, encountered difficulties and tensions due to the preferences of subsequent mayors, who were more inclined towards commercial development initiatives. The Programme Council, an elected body, manages community relations, organizes events, and addresses conflicts, maintaining autonomy despite the fact that the municipality both owns the space, and covers its utility expenses. However, tensions persist with the current mayor, who has openly discussed relocating Pekarna and repurposing the space for commercial ventures.

The NOR – Neodvisni Obalni Radio (33) and Ræhat Collective in Koper utilize a shared space for alternative music and cultural events, facing spatial limitations and infrastructural inadequacies that impact their operations. The present location, selected in October 2023, was chosen primarily for its affordability in rent and proximity to other local producers. It is a single room situated in a two-storey building within Koper's industrial area. Toni Bračanov and Matija Gregorić explain that the constraints of their current space, including its size, absence of separate studios, and problems with overcrowding and inadequate soundproofing, have prompted them to make adjustments. These include using headphones, occasionally using neighboring studios, and organizing larger events at the Skladišče Libertas venue. Nonetheless, they optimize their space, often receiving invitations to livestream events, expanding their audience reach.

the Heka lab (34) operates within a repurposed office space in Koper, collaboratively governed by its founders (the PiNA NGO) to promote interdisciplinary projects and community involvement. Despite facing limited space and funding, the Heka lab consistently innovates its programming and partnerships. Securing European funding five years ago was pivotal for PiNA, facilitating the decentralization of artistic and scientific endeavours and fostering collaborations with academic institutions, scientists, and artists. Significant effort was required to transform the office space into a functional interdisciplinary hub. Although its underground location lacks natural light and visibility, simulating a lab environment effectively meets its needs, though it can reduce accessibility and deter visitors. Despite these challenges, through the Heka lab, PiNA remains dedicated to merging art and science in a community-focused setting. During the interview, the lab coordinator recounted a hands-on intervention undertaken four years ago with colleagues from PiNA (35) to renovate and repurpose the former salt warehouse into an event space now known as Skladišče (warehouse) Libertas. PiNA has been producing the IZIS (36) festival for over 11 years, with the warehouse space quickly becoming the festival's primary venue.

Interviews with Luka Bevk and the NOR and Ræhat collective highlight challenges at the Skladišče Libertas space in Koper, a central hub for local alternative culture. Governance issues, particularly with municipal authorities, present significant obstacles. Bevk emphasizes the struggle to maintain autonomy amid municipal refurbishments, which often impose restrictive regulations. While he is hopeful about the alternative spaces offered by the municipality, NOR and Ræhat have expressed concerns that changes in governance post-renovation might prioritize commercial interests over cultural values, potentially alienating the artistic community. These discussions reveal deep-rooted anxieties about preserving cultural autonomy during redevelopment.

In conclusion, I would like to recall Bevk‘s compelling perspective on the governance of independent cultural spaces, informed by his experience with the Inde (37) squat and youth initiatives in Koper. He emphasizes the significance of governance grounded in horizontal decision-making and community ownership, noting challenges such as securing permanent creative spaces and resisting institutionalization. Bevk criticizes municipally run youth centres for focusing on routine tasks over cultural enthusiasm, contrasting them with the dynamic energy and autonomy exemplified by the Inde squat and similar comunities in Slovenia.

2.3. Artist-in-residency programmes within independent cultural environments

Residency programmes introduce new perspectives, stimulate interaction between local and international artists, support the creation of new artistic work, and foster cultural cooperation and local community development initiatives. Many of the entities interviewed for the purpose of this report do not provide full residency programmes. Among those that do, the structure and approach vary, reflecting the diverse missions and resources of each institution. From comprehensive initiatives like Pekarna Magdalenske Mreže's residency spaces to the “organic” hosting of artists and cultural practitioners, each programme offers a distinct contribution to the cultural scene.

The interview with Motovila provided an in-depth overview of residency programmes in Slovenia. While Motovila doesn't directly manage these programmes, it plays a crucial role in facilitating them through its network. Kos and Kežman highlight their organization's role in providing information, guidance and funding access for Slovenian artists seeking international residencies. Currently, Motovila prioritizes maintaining a thorough database of available residency programmes in Slovenia. However, the shortage of residency spaces in Slovenia persists as a significant challenge, primarily due to funding constraints. Presently, there are approximately 18 regular residency programmes in the country. Motovila underscores the importance of stronger support on both the municipal and national levels to address this issue. Although several residency initiatives are available, many lack comprehensive funding for travel and living expenses. Especially in Ljubljana, they are predominantly offered by institutional and ‘mainstream‘ actors, such as those by the International Graphic Centre and writer’s residencies within the UNESCO Literature Cities Network.

Regarding autonomous cultural spaces, there is an artist-in-residency programme in place in Metelkova mesto in Ljubljana. Nataša Serec, overseeing the residency programme, details that they provide a complete residency named Studio Asylum (38), mainly tailored to international artists. Additionally, they occasionally support local artists encountering financial difficulties or requiring temporary housing. They provide a 40-square-metre area with separate sections for living and working, although it may not be suitable for certain artistic practices like sculpting due to space constraints. On the other hand, while they cannot support long-term residencies, in the Heka lab, PiNA (Koper) hosts short-term projects and workshops with various cultural workers and educators to promote interdisciplinary innovation and community engagement. Initially, they had an apartment for residencies during their first two years of operation, but as they no longer do, they currently seek ad hoc spaces for their residency programme. Zavod Mars Maribor does not provide residency programmes; instead, it offers mobility initiatives that enable international students to gain educational experiences through their programme.

Pekarna Magdalenske Mreže in Maribor offers a well-established artist-in-residence programme, Guestroom Maribor (39), which started in 2011. The programme includes living quarters and workspaces, with locations in Vetrinjski Dom, Pekarna‘s venue, and Trg Revolucije, providing monthly residencies for international artists. Despite financial challenges, the programme continues with support from the Maribor municipality and Creative Europe, fostering international cultural exchange in Maribor. Conversely, Jan Podberežnik elaborates on ZIZ's perspective regarding residencies and the complex dynamic they share with Pekarna Magdalenske Mreže. When ZIZ was informal, they used the Guestroom Maribor through Pekarna Magdalenske Mreže for their Rezidenca programme (40). Since they became an official association, their relationship with Pekarna has grown more complex. The residency programmes offered by Guestroom Maribor, which is managed by Pekarna, rely heavily on national-level funding, making the scheduling of residency dates unpredictable, leading to uncertainties regarding when ZIZ can access these spaces. Nevertheless, ZIZ persists in offering an artist-in-residency programme during the months when the space is available.

2.4. Innovative responses to the pandemic

Globally, the cultural sector and creative industries were hit hard by the COVID-19 pandemic, and Slovenia was no exception. Research conducted in 2020 by Matjaž and Kosi from the Poligon Creative Centre (41), consisting of two surveys with 3099 participants from Slovenia's cultural and creative sectors, indicates that cultural workers were already living modestly before 2020. However, the pandemic drastically worsened their financial situation, compounding the challenges they faced (42).

The COVID-19 pandemic highlighted the imperative for cultural organizations to reassess how they use space and adapt their activities to cope with limitations on physical interactions. Luka Bevk recounts how the independent cultural scene experienced significant disruptions, with social distancing measures and lockdowns hindering live events crucial for community engagement, resulting in a shift towards more isolated activities. Conversely, Kos and Kežman from Motovila highlight that the sector in Slovenia distinguished itself through proactive and innovative strategies to navigate challenges, especially during the pandemic. The cultural actors interviewed for this report detailed a variety of responses and strategies employed to sustain their operations during the pandemic. Innovations, especially the transition to digital platforms, ensured survival and introduced new methods for outreach, which continue to be actively used for community engagement and audience interaction. Examples include Ana Monro's (43) street theatre performances for residents on balconies and organizations transitioning to online events. These adjustments not only sustained cultural engagement, but also expanded audience reach.

Motovila swiftly moved its seminars and workshops online, ensuring that its advisory services continued uninterrupted and extending its reach. Metelkova Mreža in Ljubljana addressed challenges by organizing smaller gatherings and utilizing outdoor spaces, while strengthening its virtual presence through live streaming. Despite restrictions, certain activities such as the semi-public Pešak (44) gallery remained largely unaffected, as exhibits were viewable from outside. In Maribor, ZIZ and Radio Marš innovated rapidly, with ZIZ turning to virtual platforms and Radio Marš enhancing online broadcasting. Zavod Mars Maribor moved many of its activities online and organized outdoor events, maintaining its educational mission. Pekarna Magdalenske Mreže adapted by hosting smaller events and increasing online content, prompting discussions on long-term strategies. In Koper, NOR and Ræhat Collective shifted to virtual events, supporting local artists and engaging the community digitally. Finally, PLAC in Ljubljana, established in 2022, emerged as a response to isolation, with young individuals occupying a former workers' canteen to revitalize community connections.

2.5. From defiance to cooperation

The experiences of Slovenian independent cultural organizations highlighted in the report showcase varied responses to attempts at institutionalization. These range from outright resistance to strategic partnerships, with each entity navigating these pressures in alignment with their core values and missions. Through grassroots initiatives, leveraging institutional support, or negotiating collaborative ventures, these organizations exhibit resilience and adaptability in maintaining their cultural independence amidst evolving governmental landscapes. It is important to underline the predominant struggle for autonomy. In Kumer‘s research (45), the struggle for autonomy characteristic of what he terms “naturally-occuring districts” such as Metelkova was crucial in preserving the creative spirit. He argues that individuals involved in these districts link their freedom of expression, discovered in such spaces, with the lack of commercialization. During the interview, a respondent mentioned that the current Slovenian government, which identifies as left-leaning, has made unfulfilled promises to support autonomous zones, highlighting a gap between political rhetoric and action.

Luka Bevk’s past work with cultural spaces, particularly the Inde, exemplifies a staunch resistance to institutionalization. The Inde platform emerged as a response to the need for creative autonomy and dissatisfaction with existing youth centres. Amid bureaucratic obstacles and the looming prospect of eviction, the Inde community mobilized grassroots efforts to preserve their space as an inclusive and self-governing cultural centre, asserting its autonomy from governmental influence. However, their efforts proved futile as the space they squatted was eventually sold to a private company, leading to the cessation of Inde's existence.

AKC Metelkova mesto in Ljubljana epitomizes resistance to institutionalization, maintaining its independence despite persistent efforts by local authorities to exert control or redevelop the area. As highlighted by Kumer, individuals from the older generation, especially those occupying workspaces within Metelkova, stressed the significance of converting the area into a political hub to voice opposition to the government (46). Similarly, when asked in the interview whether there had been attempts to institutionalize Metelkova, Nataša Serec strongly affirmed this, saying “Yes (there had been an attempt), and it was successfully stopped!“. She explained that the northern part of Metelkova is owned by the city, and the southern part by the Ministry of Culture, due to its proximity to museums. The city sought to formalize a partnership with Metelkova, offering contracts for renovations and improved facilities. While some community members viewed this positively, signing a contract would entail relinquishing some freedoms and adhering to rules for five years. Having enjoyed 31 years of autonomy, accepting such regulations could potentially lead to eviction if they were not met.

In similar fashion, when asked about efforts to institutionalize PLAC in Ljubljana, the respondent firmly rejected the notion. They emphasized that institutionalized spaces often lose touch with their audience and users, based on their own experiences in such environments. PLAC aims to create autonomous spaces free from excessive bureaucracy and rigidity. They suggested a potential compromise where the state could develop public housing in the neighboring area while still allowing them to maintain their autonomy.

Jan Podbrežnik’s experiences with ZIZ and Radio Marš in Maribor illustrate the complexities of navigating administrative pressures. ZIZ, which began as an informal collective, became an independent legal entity to secure funding and sustain its operations. This move was necessary for financial survival, but brought with it the challenge of balancing institutional requirements with their activist and feminist foundations. Similarly, Radio Marš has faced financial instability and decreasing municipal support. The discussion on institutionalization indicates that while there have been proposals for formalizing partnerships, particularly for Marš, these have not materialized to a significant extent. Consideration has been given to partnerships for financing, especially with the student organization, mirroring the Radio Študent model in Ljubljana. However, these initiatives have encountered obstacles and remain unrealized. Despite these challenges, both ZIZ and Radio Marš have maintained their non-commercial ethos and community focus by adapting their structures to meet institutional demands without compromising their core values.

The NOR and Ræhat Collective in Koper have navigated institutionalization through collaboration with the municipality, balancing it with their independence. They make use of venues such as Libertas, albeit with some constraints. Meanwhile Heka’s interdisciplinary approach to blending art and science has attracted both support and regulatory interest from local authorities in Koper. Heka has collaborated with academic and scientific institutions while maintaining a level of operational independence. This balance allows Heka to leverage institutional resources without being constrained by bureaucratic limitations, fostering innovative projects that benefit the broader community.

Zavod Mars Maribor has been engaged in collaboration with the municipality since its inception. An example of this collaboration, with Narodni Dom Maribor, began in 2012, with the Kulturni Dnevnik programme that was carried out in schools. Subsequently, Mars transferred its operations to Narodni Dom Maribor, where Narodni Dom Maribor leads the projects, while Mars implements them. Mars also participates in the Art Camp, a family-oriented festival, under the leadership of Narodni Dom Maribor. Despite differences in financial approaches, particularly as Narodni Dom Maribor is a public institute, both entities effectively combine their ideas and work on projects together. Repše highlights Narodni Dom Maribor's openness and support for NGOs, aiding in the realization of ideas and enhancing the cultural vibrancy of the city.

Conversly, Kulturni Center Pekarna in Maribor faces ongoing tensions with municipal authorities over space usage and redevelopment plans. The municipal pressure was evident during the visit, as a student housing development was being constructed adjacent to the Pekarna site. Despite these pressures, Pekarna has managed to resist full institutionalization by leveraging its historical significance and community support. The management model established in 2010 aims to balance the roles of the municipality, the public institution and users. This model has faced challenges, but has helped Pekarna maintain a degree of autonomy. The organization persists in advocating for its rights and engaging in negotiations with authorities to safeguard its spaces and activities. However, it currently faces heightened pressure from the mayor, who openly supports a commercial redevelopment plan for the Pekarna site and the relocation of Pekarna to alternative venues.

Lastly, the situation with Motovila is entirely distinct. As an NGO, it functions more as a facilitator than a producer of cultural content. While not facing direct institutionalization attempts, it supports organizations that do. Acting as an intermediary between the independent cultural scene and institutions, Motovila offers guidance, facilitates international collaborations, and helps entities preserve their autonomy while leveraging national and European resources.

2.5. Difficulties, targets, and ambitions

The independent cultural sector in Slovenia faces multifaceted challenges, as outlined by interviewees in this report. Kos and Kežman from Motovila offer a comprehensive overview, underscoring issues like poor working conditions, insufficient support for young artists, and poor physical conditions or lack of cultural spaces. They argue that municipalities make substantial investments in the cultural sector, proportionally comparable to other European cities. However, the NGO culture sector, such as the contemporary dance scene, still lacks adequate infrastructure.

Some of the interviewed actors actively avoid institutionalization by refusing to enter into contracts with municipalities, which would otherwise secure renovations, in order to maintain their autonomy. Others decline to collaborate with public authorities in order to evade intricate bureaucracy. Despite this, most of the interviewees stress the importance of stability through permanent employment and infrastructure for community engagement, aiming for financial stability and creating non-commercial hubs. Their overarching goals include inspiring similar spaces nationwide and enhancing community engagement and inclusivity.

Zavod Mars Maribor experiences fluctuating enthusiasm and energy due to irregular NGO funding. Despite these challenges, the team remains dedicated, occasionally engaging part-time collaborators. Hana Repše aims to achieve stability through permanent employment for the core team to better support young artists and project development. Financial constraints and funding gaps between projects remain significant hurdles. The Heka lab's progress is deemed satisfactory, yet it encounters obstacles in efficiently utilizing allocated funds. One respondent has reported challenges stemming from inflexible financing arrangements, which complicate decision-making regarding resource allocation for activities and equipment procurement.

Both ZIZ and Radio Marš grapple with significant financial hurdles, primarily relying on shrinking municipal grants, affecting equipment maintenance and volunteer recruitment. Radio Marš maintains a non-commercial approach, but financial constraints hinder its programme sustainability. ZIZ has developed with increased participation and programme diversity, hoping to have its own premises and aiming for community engagement. Conversely, Radio Marš prioritizes financial stability, focusing on securing a new space and diversifying programmes. ZIZ dreams of fostering a communal festival vibe, while Radio Marš envisions a modern broadcasting setup. Despite the challenges, their commitment is evident, with a short-term focus on infrastructure improvement and community ties, and long-term aspirations for non-commercial, community-centric hubs. They hope to inspire similar spaces nationwide, emphasizing political activism and community cohesion. Unlimited resources would enable an all-encompassing, democratically shaped youth centre.

Pekarna Magdalenske Mreže excels in offering top-notch programmes focused on political and societal issues, aspiring to inspire similar initiatives across Maribor, countering commercial spaces. Their vision is to revamp Pekarna in a way similar to Vienna's WUK (47), emphasizing community engagement through diverse amenities such as a seniors' centre, migrant support, and more.

NOR and Ræhat Collective grapple with low morale due to heavy workloads and uncertainty regarding future spaces, notably with Skladišče Libertas earmarked for renovation. Despite these hurdles, the core team remains committed, though they seek improved support. Inadequate funding frustrates efforts to attract prominent artists and events, prompting reliance on partnerships and rentals. Long-term plans are focused on securing a new space. They aim to revamp the radio for enhanced community engagement and inclusivity.

KUD Mreža receives funding from the ministry and city through a four-year financing programme, providing some stability. However, future funding remains uncertain. Progress has been noted as a volunteer has become a paid staff member, despite ongoing salary funding challenges. Nataša Serec advocates for improved working conditions, infrastructure, and a unified approach at Metelkova. She envisions internal economies to cover expenses. Reputational challenges persist due to negative media portrayals fuelling the perception of association with crime. Rising crime and the risk of members accepting municipal contracts are key concerns, potentially compromising autonomy. Nataša Serec highlights the persistent threat of eviction and past attempts by the city to repurpose Metelkova, which the community resisted.

Finally, respondents at PLAC reflect on the varying levels of enthusiasm and motivation after a year and a half of operation in organizing events and building community connections. Although enthusiasm is not at its peak (due to reduced winter activities), it is steadily growing, indicating a sustained commitment to developing the space and its community. Their short-term goals focus on improving infrastructure and strengthening community bonds, while long-term aspirations include ensuring the space's survival and preserving its identity as a non-commercial, non-bureaucratic hub for local communities. The primary concern is the threat of eviction, which jeopardizes the space's future. In the same vein as the entities discussed earlier, the forward-looking vision seeks to go beyond Ljubljana, aspiring to motivate the establishment of comparable non-commercial, non-bureaucratic spaces throughout Slovenia. This vision is rooted in the idea of creating inclusive, accessible spaces reminiscent of communal areas in collective housing neighborhoods in ex-Yugoslavia, where people can gather without financial obstacles.

3. Intergenerational Knowledge Sharing and Additional Practical Recommendations from the Research

As a final point, here are some recommendations for further exploration and practical application of this report's findings. These include using the insights for capacity-building activities, creating new research inquiries to enhance understanding and utilizing the report's outcomes effectively.

3.1. Fostering communication and intergenerational knowledge sharing

In her study, Sutlović emphasizes the importance of fostering communication, setting up protocols, creating working groups, assemblies, and similar initiatives (48). Intergenerational knowledge sharing is an essential tool for complementing existing knowledge, facilitating knowledge transfer and fostering diverse perspectives. Transferring expertise between generations and leveraging community engagement tools is a crucial task.

The Slovenian independent cultural scene is predominantly mature, featuring prominent activists from the early 1990s and 2000 associated with Metelkova, Pekarna, Inde, Rog (49), etc. However, there are efforts at rejuvenation, with adolescents engaging in new initiatives like PLAC, which emphasizes community engagement and excludes right-wing and liberal ideologies, promoting horizontal governance. During the interview at PLAC, the involvement of an activist from the former Avtonomna Tovarna Rog (50) was noteworthy and could be seen as a significant opportunity for knowledge transfer. Therefore, it is recommended that experienced members of the cultural scene mentor new initiatives either informally or on a project basis.

Young activists, as observed in interviews, are dismayed by the inability of established organizations to offer youth programming that resonates with current trends. Workshops focusing on communication strategies and programme relevance offer an avenue for intergenerational knowledge and experience exchange. Younger initiatives can introduce contemporary communication and programme trends, aiding more established organizations, which, as revealed in interviews (Metelkova, Pekarna, etc.), face challenges in effectively engaging youth both as volunteers and programme participants.

3.2. Challenges of municipal renovations for independent cultural organizations

Another recurring theme identified during the interviews and consulting bibliographical sources is that municipal renovations of spaces occupied by independent cultural entities often lead to their displacement without suitable alternatives being offered. This concern is currently shared by the NOR and Ræhat collectives in Koper. Renovations might be perceived by some independent entities as formalizing a relationship with authorities, potentially restricting their autonomy (e.g., Metelkova rejecting municipal contracts) and creativity. This sentiment is echoed by a municipal official interviewed in Kumer's research (51), who stated that "improving the general infrastructure would lead to demands for formalization that, in their thinking, would create limitations on their creativity." Additionally, the renovation process frequently results in the eviction of cultural organizations, with municipalities favoring public institutions post-renovation.

However, despite potential benefits, municipal renovations and formalized partnership agreements often neglect the distinct needs and creative independence of independent cultural organizations, underscoring persistent challenges in urban cultural policy and management. Therefore, city authorities should adopt a more comprehensive approach to ensure that the unique needs and creative freedoms of independent cultural organizations are adequately supported throughout municipal renovation projects and beyond.

3.3. Cultural activism and urban planning: strategies for inclusivity and resistance

Independent cultural organizations, whether established or emerging, constantly face obstacles from municipal authorities in safeguarding their spaces against urban gentrification and commercialization, which is particularly evident in cities like Ljubljana and Maribor. To safeguard their environments, independent cultural organizations often initiate community-driven efforts, employing grassroots methods for envisioning and planning their areas. For instance, in the 1990s, Metelkova collaborated with cultural activists and an international architect to devise a master plan, although it remained unrealized. Likewise, Pekarna has faced similar challenges. More recently, PLAC collaborated with students, residents, activists, and scholars to envision a neighbourhood focused on public housing and shared spaces, opposing the commercial interests of the neighbourhood’s landowners (SDH).

It is crucial for all autonomous spaces to embrace proactive community involvement as a means of resilience. Documenting past efforts and establishing new programmes that foster collaboration among these spaces, academia, and urban planning authorities are essential steps. By utilizing their resources, expertise, and community engagement strategies, autonomous spaces can spearhead innovative, community-focused initiatives and act as intermediaries when communities lack the tools to communicate their needs to city authorities.

On the other hand, extensive literature supports involving independent cultural activists, particularly artists, in urban planning, highlighting their roles as storytellers and critics of societal injustices, challenging political regimes through cultural activism where art intersects with social critique and reform efforts (52).

To sum up the preceding section, in promoting active community engagement, documenting past achievements and fostering partnerships among autonomous spaces, academia and urban planners are crucial for advancing innovative, community-centred initiatives. Moreover, city authorities' integration of independent cultural activists into urban planning processes can create an environment conducive to challenging societal injustices and objectionable neoliberal urban policies through cultural activism (53), which merges artistic expression with social critique and reform efforts.

Footnotes:

(1) Mišković D. and Celakoski T., Raport hulumtimi i skenës kulturore të Kosovës = Research report on cultural scene in Kosovo = Izveštaj istraživanja o kulturnoj sceni na Kosovu, Qendra Multimedia Prishtinë, 2020.

(2) Thörn H. (2012), “In between Social Engineering and Gentrification: Urban Restructuring, Social Movements, and the Place Politics of Open Space", Journal of Urban Affairs 34 (2): 153–68.

(3) Siegrist N., “A Tale of Two Squats: Gentrification and Urban Movements in Contemporary Ljubljana” (2023), Urban Matters Journal, issue: Class and the City, available at: https://urbanmattersjournal.com/a-tale-of-two-squats-gentrification-and-urban-movements-in-contemporary-ljubljana/

(4) Interviews with PLAC community representatives and Luka Bevk echo this sentiment.

(5) The researcher comes from Kosovo.

(6) The interviews were recorded, then transcribed. After transcription, the recordings were deleted. The transcripts have been privately archived by the report's author and will not be published or shared with third parties.

(7) Interviewees were given the option of remaining anonymous, as members of the cultural space/community, or to be identified by their names or initials. Consequently, the full names of the interviewees are only used in some instances, while in others, they are referred to only as “respondents”.

(8) The Heka lab presentation at the RUK, Network of Art and Cultural Research Centers website, https://www.mcruk.si/clanek/heka (accessed 06/06/2024)

(9) Bad banks (slabe banke in Slovenian) are specialized entities created by the state or by banks to take over commercial banks' bad loans. In Slovenia, this entity was called Družba za upravljanje terjatev (DUTB), or the Bank Claims Management Company. It was established following the 2008 financial crisis. The DUTB ceased to exist in December 2022, having merged with Slovenian State Holding (SDH).

(10) The ZIZ collective utilizes the popular method of the Theatre of the Oppressed, which involves employing theatre-based activism for educational and pedagogical goals, promoting social justice and potentially offering therapeutic benefits. https://www.culture.si/en/ZIZ_Collective (accessed 02/06/2024)

(11) Pekarna Magdalenske Mreže is the coordination of the users of the Kulturni Center Pekarna, which in turn is a squat where a number of initiatives have been active since 1993.

(12) Siegrist, N. and Thörn, H., (2020) “Metelkova as Autonomous Heterotopia”, Antipode, A Radical Journal of Geography, vol. 52, issue 6, pp. 1561-1883.

(13) Nabergoj, S., “Gesamtkunstwerk Metelkova Mesto", Časopis za kritiko znanosti, 2013, vol. 41, no. 253, https://ckz.si/docs/publications/journals/253/253-029-041.pdf (accessed 01/06/2024)

(14) Motovila official website: https://motovila.si (accessed 06/06/2024)

(15) Kumer, P., “Self-Governance and social inclusion in a post-socialist city: contradictions between city-designed and naturally-ocurring arts districts”, Teorija in Praksa, Družboslovna revija, let. 57 1/2020, pp. 205-222.

(16) Zavod Mars Maribor, official website: https://www.marsmaribor.org (accessed 28/05/2024)

(17) The Bunker Institute manages Stara Mestna Elektrarna, a former power plant owned by the city of Ljubljana, the Ministry of Culture and Elektro Ljubljana. It produces dance and theatre performances, alongside organizing workshops and educational programmes centred on culture and the arts. https://www.bunker.si (accessed 06/06/2024)

(18) Metelkova Mesto official website: http://www.metelkovamesto.org (accessed 28/05/2024)

(19) In Kumer, P. (2020a).

(20) As detailed by Breznik in the article "The Role of Culture in the Strategies of 'City Regeneration'" (2007), Metelkova, the largest cultural center, was established in 1993 through squatting after unidentified officials ordered the demolition of buildings that had been promised to alternative and youth organizations.

(21) Metelkova Mesto Autonomous Zone webpage at culture.si, https://www.culture.si/en/Metelkova_mesto_Autonomous_Cultural_Zone (accessed 06/06/2024)

(22) Metelkova, the Wikipedia page, https://en.wikipedia.org/wiki/Metelkova (accessed 06/06/2024)

(23) “I am very interested in developing the internal economy of Metelkova, because we have so many possibilities and they are not all used yet. For example, we can earn money from recycling. (...) to be more self-sufficient in economical terms, and not so dependent on the city and the government,“ Autonomy vs Institutionalization, Nataša Serec‘s personal website, Culturefighter, https://www.culturefighter.eu/centres-factories-incubators-amp-initiatives/how-they-work/autonomy-vs-institutionalisation- (accessed 28/05/2024)

(24) PLAC – Participativna Ljubljanska Avtonomna Cona (Participatory Automonous Zone in Ljubljana) as featured on the radar.squat.net website, https://radar.squat.net/en/ljubljana/participativna-ljubljanska-avtonomna-cona-plac (accessed 28/05/2024)

(25) Mariborski Radio Študent, MARŠ, official website: https://www.radiomars.si/ekipa (accessed 28/05/2024)

(26) ZIZ, feminist theatre collective, official website: https://ziz.si (accessed 28/04/2024)

(27) Narodni Dom, Maribor, official website, https://nd-mb.mojekarte.si/si/celotna-ponudba.html (accessed 28/05/2024)

(28) Vetrinjski Dvor, a nationally protected building housing spaces for cultural activities and residency programmes, official website: https://www.vetrinjski-dvor.si (accessed 28/05/2024)

(29) GT 22, a multipurpose space housing various independent initiatives in Maribor. Describing itself as an interdisciplinary hub, it links art, culture, urban sports, and daily activities. By fostering community expansion and collaborative endeavours, it has formed an educational, research, and production center at Glavni trg 22 (Main Square). GT 22 is unique among independent cultural spaces in Slovenia because it is privately owned by a family who made it available for free for use by cultural organizations. Official website of GT 22: https://gt22.si/projekt-zadostopnalent/ (accessed 28/05/2024)

(30) Pekarna Magdalenske Mreže, official website: https://pekarnamm.org/o-nas (accessed 28/05/2024)

(31) The Pekarna website shows 10 buildings used ascultural spaces and some of the users of spaces, https://www.pekarna.info/objekti/ (accessed 06/06/2024)

(32) the MKC. Official website: https://mkc.si (accessed 28/05/2024)

(33) Neodvisni Obalni Radio (Independent Coastal Radio), official website: http://www.noradio.org (accessed 28/05/2024)

(34) Heka, https://www.chlaydoscope.eu/heka-koper-slovenija/ (accessed 28/05/2024)

(35) PiNA official website, https://www.pina.si/en/home/ (accessed 28/05/2024)

(36) Festival IZIS, official website: https://festival-izis.org/en/ (accessed 28/05/2024)

(37) Inde presentation at radar.squat.net website: https://radar.squat.net/en/koper/inde (accessed 28/05/2024)

(38) Studio Asylum at Metelkova Mesto official website, https://kudmreza.org/studio-asylum/ (accessed 28/05/2024)

(39) Guestroom Maribor official website, http://www.guestroommaribor.si (accessed 28/05/2024)

(40) Rezidenca – artist in residency programme of ZIZ webpage, https://ziz.si/event/rezidenca/ (accessed 28/05/2024)

(41) Matjaž, E. and Kosi, T., The art of survival: Slovenian cultural and creative workers in the time of the COVID-19 epidemic, Poligon Creative Center, 2020, available at: http://www.poligon.si/en/wp-content/uploads/2021/12/the_art_of_survival.pdf (accessed 28/05/2024).

(42) Brown, A., “Life after Covid: Who will survive?” Arts Professional, available at: https://www.artsprofessional.co.uk/magazine/article/life-after-covid-who-will-survive (accessed 28/05/2024)

(43) Gledališce Ane Monro, https://www.anamonro.si/en/ (accessed 08/07/2024)

(44) Pešak gallery official webpage: https://kudmreza.org/night-display-gallery-pesak/ (accessed 29/05/2024)

(45) Kumer, P., “Self-Governance and social inclusion in a post-socialist city: contradictions between city-designed and naturally-ocurring arts districts”, Teorija in Praksa, Družboslovna revija, let. 57 1/2020, pp. 205-222.

(46) Ibid.

(47) WUK in Vienna is one of Europe’s largest socio-cultural centres: https://www.wuk.at/en/wuk/ (accessed 06/06/2024)

(48) Sutlović, L. (2023), Weaving spaces: How regional spaces for culture shape narratives for (local) art, culture and cooperation. Kooperativa – Regional Platform for Culture & Operation City. Available at: https://operacijagrad.net/system/publication/document/14/SB_II_web.pdf (accessed 06/06/2024)

(49) Avtonomna Tovarna ROG, an autonomous space of around 7000 sq m initiated by students, artists, and cultural workers squatting in a former bicycle factory, was established in 2006. In January 2021, the community occupying the space was forcibly evicted by a private security company hired by the Municipality of Ljubljana, preventing individuals from retrieving their personal belongings. https://en.squat.net/tag/autonomous-factory-rog/ http://atrog.org/en/about-us/public-statements (accessed 06/06/2024)

(50) The story of Rog, one of the most advanced progressive social movements in the region, is complex and deeply tied to Slovenia's post-socialist transformation, which has been marked by corruption, dubious privatizations and property speculation (in Sutlović, L. (2023). Weaving spaces: How regional spaces for culture shape narratives for (local) art, culture and cooperation. Kooperativa – Regional Platform for Culture & Operation City. Available at: https://operacijagrad.net/system/publication/document/14/SB_II_web.pdf) (accessed 06/06/2024)

(51) Kumer, P., “Self-Governance and social inclusion in a post-socialist city: contradictions between city-designed and naturally-ocurring arts districts”, Teorija in Praksa, Družboslovna revija, let. 57 1/2020, pp. 205-222.

(52) Web, D. (2014), Verson, J. (2007), Readelli, E. (2019), and Kumer, P. (2020), “Hidden geographies of social justice in an urban environment: the particularities of naturally occurring arts districts", European Journal of Geography, vol. 11, issue 2, pp. 123-136.

(53) Novy, J. and Colomb, C. (2012) in Vivant, E. (2013), “Creatives in the city: urban contradictions of the creative city", City Culture and Society, vol. 4, pp. 57-63.

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