„A chameleon died from exhaustion, put on tartan“, Oscar Wilde.
Performance at Marine Terminal, railway bridge
Music by Damir Stojnić
Recording and Arangement by Miro at Filip’s
Video & Visuals by Kristian Vučković
Aditionls and support by Zoran Krema
Lights by Mrki
Logistic by MMSU
Thanks to Port authority of Rijeka
…..Tobacco smuggling in order to sign or emphasize the market and constant exchange. But also daily survival in divided city. Historical illegal market, but also our daily illegal tobacco market which is now (like in history) Bosnia – that is where we got things mach cheaper.
Ivo Andrić was only one who recoded this exchange between famous Bosnian tobaccos and Rijekan cigarette papers – quite known as famous and being the 3rd world renowned cigarette paper. Andrić wrote in his novel about this exchange where the custom officers investigated on purpose the gay they know. He swallowed a bunt of cigarette paper which causes immediate dehydration. So he had to jump into the River where he proved his guilt but saved his life. This is one scene from the border in Rijekan daily smugglers situations and is a memory of our past.
Performance is meant to be site specific as mention before where actually the border was. The location is quite loaded with memory, so we approach with respect. It is the green steel bridge that was movable, and once there was frontier.
In performance, one group of people at one side of the bridge facing another – only in order to prove constant exchange. This is a basic scene. Central scene has symbolic significance and interprets moment of swallowing a bunt of cigarette paper (beside Andrić, hit is a bit of Jean Genet re – visiting our city where he was imprisoned…once)….
Location: The arrival of the railway in the city built several railway bridges. In that time were built two drawbridges – one at the turn of the Dead canal to the Porto Baroš in 1896. Bridge are destroyed by D’Annunzio soldiers during the Bloody Christmas or the so-called “five days of Rijeka,” cinque giornate di Fiume in December of the 1920s. Several years later, the ruins of the old bridges were built new – first tentative, then constant, as was the border bridge between ltaly and Yugoslavia opened in the1926.
In a kind of confussion and unselting move, some particles come to a fore and then, precisely – since organised in a different manner – sliding a bit off, trough ludic mode – they start to show that things you see are not those ones that matter – it is a bussines that goes on underneath and noone seems to bother….A traditional shadow play and a vital drive for „more to life“ urge – disclose only a symptom of the situation that is standard – there is enough to provide trough exchange…Where there are borders – you can expect transgression – as no rule could ever limit it. (No ideology where „every day is like survival“- Boy George/Culture club).
A two-minute video A Tribute to Soviet Underground Business Scene in Tallin (2013) by Soho Fond gives an overview of Soviet Estonia’s underground business scene and one of its central points in Tallin, the Viru hotel. Viru businessmen as they were called were illegally distributing Western goods that Soviet Union had shortage of: fashionable clothes and accessories, cosmetics, condoms and most notorious plastic shopping bags. Since Estonia has a marine border with Finland, business was mostly made with Finnish tourists. Since Western currencies were forbidden for Soviet citizens, one could end up in prison for 200 Finnish Marks (app. 40 Euros). A pair of jeans from Viru businessmen could cost as much as an average monthly salary in Soviet Estonia. Estonian artist Soho Fond has himself a background of Viru businessman and has been making a research of his former subculture in his recent practices.
Mali salon 14/11 – 4/12/2013
The exhibition provides an insight into the “Janša case”, from 2007 until the present day, through several intertwined segments: personal documents, collaborative works and media responses. The “case” acquires the characteristics of skilfully planned smuggling, with life at stake and the aim of challenging the boundaries of politics, art and everyday life. The activities of “neo-Janšas” become a means to examine the symbolic power of name in the art system, as well as in broader social and political fields. They point to the factors that participate in creating identities of artists, i.e. work of art, while redefining the notion of authorship and property enters the zone of repression between the individual and the collective, citizen and state, art gesture and national symbol.
The Janša project is primarily performative, based on the idea of a living and tripled ready-made – the artists use their own duration, body and character as the medium. Three men, formerly known as Davide Grassi, Emil Hrvatin and Žiga Kariž in 2007 appropriated the name of the then prime minister and head of the Slovenian Democratic Party (SDS). As they changed their names, they simultaneously became party members, symbolically taking over the party slogan: The more we are, the faster we will reach the goal. By using excessive identification, they underline less noticeable fatalist moments instilled in the background of nationally representative patterns. At the same time, appropriation acquires a potentially subversive effect – an increase in the number of Janez Janšas becomes a tactic of causing a stir in the political circuits and expansion of contemporary art’s presence. The questions arising are: to what extent can today’s art practices infiltrate in the political sphere and provoke a self-understanding idea of national identity? Can inflation of names weaken or at least disturb the power position of “the real Janša”? What are effects of a name change to the artists’ activities and biographies?
In their third collaborative film Zanny Begg (Sydney) and Oliver Ressler (Vienna) focus on struggles to obtain citizenship, while at the same time questioning the implicitly exclusionary nature of the concept. The Right of Passage is partially constructed through a series of interviews with Ariella Azoulay, Antonio Negri and Sandro Mezzadra. These interviews form the starting point for a discussion in Barcelona, one of Europe’s most densely populated and multicultural cities, with a group of people living “without papers”. The film is set at night, against a city skyline, providing a dark void from which those marginalized and excluded can articulate their own relationship to the arbitrary nature of national identity and citizenship. Spain was chosen for this project as it is teetering on the brink of financial meltdown and is testing the limits of European cohesion.
The title, The Right of Passage, refers to the stages, or “rites of passage” that mark important transitions on the path to selfhood. The exchange of “rites” with “rights” suggests that freedom of movement must become a right granted to every person – regardless of his or her place of birth. As the film explores these journeys not only transform those who embark upon them but also the places they inhabit.
In the film, the conversations around citizenship are interwoven with animated sequences.
Memories, photographies and fragments of family and archive films from the border territory of Nova Gorica and Gorizia tell how can two different realities find themselves simultaneously in the same place.
A customs office building on the border between two towns, two countries, two social systems, two worlds, the Romanic and the Slavic, 65 years after the end of the war. On 20th of December with the entry of Slovenia into the Schengen area, Nova Gorica for the first time in its short history finds itself without border fences. The same night, this traumatic space transforms into a meeting place. Inside are placed a camera, a microphone, a computer and a curtain and people from both sides of the border start streaming in, bringing their stories and images, donating their contributions to the common holdings of memory. Donated memories and fragments of family and archive films tell how can two different realities find themselves simultaneously in the same place.
Our need to preserve memory increases in correlation to the speed with which the world changes. In the beginning of 20th century film was invented to unburden memory, but memory speaks of more than merely the past: it also speaks of the present, of why we remember certain events and have no recollection of others. Memory is thus in correlation with our plans for, visions of and fears about the future. The future always starts here and now – stemming from very specific memories and very specific instances of forgetting.
Family Archive is an archive of smuggling in this artist’s family through three generations of women. The work consists of photographs of three smuggled objects (nylon tights, a drafting tool set and a high-voltage neon transformer). Below each photograph there is information about the object, the year it was smuggled (1952, 1964 and 2009), the name of the person who smuggled it (Angela Jurman, Marjeta Jurman Vujasinović and Tanja Vujasinović) and the smuggling route (Trieste-Ljubljana, Trieste-Ljubljana, Ljubljana-Zagreb). The countries divided or “confronted” by smuggling are at the same time connected by it. Smuggling is an everyday occurrence for the local people and as such it became part of their family histories. Family Archive portrays smuggling as an existential necessity conditioned often by senseless and absurd social and political limitations. In addition to the archive there is an empty notebook, The Book of Smuggling, enabling visitors to write down their own or their families’ smuggling experiences.
The society Without Borders was founded with the aim of establishing the Drenova Heritage Museum, which should collect and process the tangible and intangible heritage of Drenova and its close region. The research project Nonićeva tiramola (2013) was based on a reconstruction of smuggling paths based on the testimonies of inhabitants of Rijeka’s neighbourhoods of Drenova and Pašac. Through an interactive map, a film record in the form of an interview and documentary material, it analyses smuggling along the Italian-Yugoslav border in the 1920s and the 1930s. Drenova was, as a metaphor for the city of Rijeka, in the last century forcefully divided in Upper and Lower Drenova. The citizens found alternative ways of earning money, fighting for survival. An important part of the new economy was smuggling, which has always blossomed in the bordering areas. From the people’s memories we learn one anecdote, about a tiramola (a string on a sheave) used by an old man to transfer smuggled goods to the other side of the Rječina river (Rječina used to be the borderline), while he himself crossed the border point empty-handed. His wife crossed the river with oranges tied all around her body. Oranges were considered precious goods on the Yugoslav side. The authenticity of these anecdotes is highlighted by the interviewed people’s language – ča dialect from Brenova and Pašac.
Cigarettes, Documnets, Drugs, Food, Weapon, People, Presentation of equipment for the detection of trafficking, Steroids and other, Textiles and other goods, Textiles and other goods, Vehicle, Credit cards records, Animals.
The Police Museum, currently in the process of foundation, will collect, preserve and exhibit objects that relate to the history and current practice of the police forces in Croatia. It is actively engaged with the public, even though it does not have a dedicated gallery space. The museum displays its collections during occasional exhibitions and lectures, on the Internet, in publications and events in schools and other educational programmes. It accomplishes its objectives by communicating with its visitors and working in concert with other museum institutions, similar establishments, associations, educational institutions, and all who work in the area of public and individual safety at home and abroad.
Device used to steal credit cards informations
Marco Cechet’s Big Lie (t)To Interail documents his journey around Europe during the summer of 2004. The core of the work is a fake train ticket, artisanally self-produced and home-made. Big Lie (t)To Interail reflects the concept of true/false
and the nominal value of shared normative documentations – as for example train tickets. At the beginning of this journey the ticket was fake, but each time a train conductor endorsed it with his mark within those shared rules that regulate this normative contract, the ticket became true.
There is a similitude between this ticket and the idea of artwork: train conductors as speciﬁc operators have endorsed the authenticity of this ticket like art operators endorse the value of an artwork or an artist.