Aleksandar Garbin, Area Neutra, 2001.

Photo by Robert Sošić

Vukoslav Ilić, 2013.

Temi krijumčarenja, Aleksandar Garbin doskočio je izlažući platno naivca Vukosava Ilića kojeg je zatekao na hrpi za otpad tijekom posthumnog pospremanja ateljea Vilka Šeferova (Mostar 1895. – Zagreb 1974.) u Rovinju.

Izlaganje tuđeg rada možemo sagledati s više strana: kao gestu gostoprimstva, uzevši u obzir da autor svoje mjesto na izložbi ustupa drugome, ali i kao način da se djelo koje s temom i mjestom nema nikakvih poveznica, prokrijumčari u muzej. Tuđi identitet Garbin prisvaja tek prividno, koristeći temu šverca kao priliku za smicalicu: izlaže tuđe djelo, ali se ne odriče autorstva, smatrajući da je njegov rad obojana podloga zida na koju je slika smještena.

Aleksandar Garbin approached the issue of smuggling by displaying a canvas made by the naive artist Vukosav Ilić, which he found on a dump pile during the posthumous cleaning of Vilko Šeferov’s (Mostar, 1895 – Zagreb, 1974) studio in Rovinj.
Exhibiting another man’s work can be taken as both a gesture of hospitality, since the author, in fact, concedes his place in the exhibition to someone else, and as the manner of smuggling a work whose theme and location are in no apparent connection with the museum. Garbin appropriates another man’s identity only seemingly, using the topic of smuggling as a chance to pull a trick: he exhibits another man’s work, but does not renounce authorship, considering his work to be the painted wall background the painting is hung on.

Area neutra, 2001.

U obliku slučajne mrlje koja nam se usput zna dogoditi pri rukovanju papirima ili knjigom, autor na zemljopisnu kartu svijeta smješta novi teritorij, fiktivnu državu-otok Area. Oponašajući kartografski način ucrtavanja, postupak poduzima kao jedva vidljivu akciju, nasumice, bez interesa za teritorijalnost, zauzimajući se za likovna rješenja vlastitih asocijacija i razmišljanja: mrlja ga asocira na teritorij i obrnuto, teritorij na mrlju. Interesno polje Aleksandra Garbina kreće se unutar dinamičkog sustava u kojem živimo, promatranjem promjena uslijed djelovanja fizikalnih zakonitosti, od kojih se voli odmicati, suprotstavljajući prirodnu nužnost slobodnoj volji (čovjeka, umjetnika).

Prema riječima autora, Area neutra je svako mjesto gdje se odvija radnja, akcija (pomicanjem predmeta s jednog na drugo mjesto oslobađa se i zauzima površina koju to tijelo fizički posjeduje). Stoga je i svaka granica, linija razgraničenja, ničija zemlja, rizomi teritorija povremeno Area neutra.

In the form of an accidental spot that can sometimes happen when we touch a piece of paper or a book, the author places a new territory on a map of the world, a fictional island state Area. By imitating cartographic drawing, he conducts this procedure as a barely visible action, randomly, without an interest in territoriality, advocating the visual solutions of his own associations and ideas: the spot reminds him of a territory and the other way around – a territory reminds him of a spot.
Aleksandar Garbin’s field of interest moves within a dynamic system we live in, observing the changes caused by the laws of physics, the ones he likes to detach from, confronting natural necessity and free will (of a man or artist).

In his own words, Area neutra is every place where action takes place (by moving an object from one place to another we liberate and occupy a surface this object physically possesses). Therefore, every boundary, borderline, no man’s land, rhizomes of territory sometimes act as Area neutra.


„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).

Dvominutni video Soho Fonda Priznanje sovjetskom podzemlju u Talinu (2013.) donosi pregled podzemne poslovne scene u sovjetskoj Estoniji te jedne od njezinih središnjih točaka u Tallinu, hotela Viru. Poslovnjaci iz Virua, kako su ih nazivali, ilegalno su distribuirali zapadnu robu koje je u Sovjetskom Savezu nedostajalo: modernu odjeću i modne dodatke, kozmetiku, kondome i plastične vrećice. Budući da Estonija ima morsku granicu s Finskom, posao se uglavnom obavljao preko finskih turista, a budući da su zapadne valute sovjetskim građanima bile zabranjene, zbog 200 finskih franaka (otprilike 40 eura) moglo se završiti u zatvoru. Traperice od poslovnjaka iz Virua često su stajale koliko i prosječna mjesečna plaća u sovjetskoj Estoniji. Estonski umjetnik Soho Fond i sam je bio poslovnjak iz Virua, a u svojim novijim praksama bavi se proučavanjem svoje nekadašnje subkulture.

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



Janez Janša, Janez Janša, Janez Janša – Rad, 2007.

Photo by Robert Sošić

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?

Exhibition set-up

U svojem trećem zajedničkom filmu Zanny Begg (Sydney) i Oliver Ressler (Beč) fokusiraju se na poteškoće pri dobivanju državljanstva, istodobno propitujući prešutno isključivu prirodu te ideje. Film Pravo prolaza dijelom je nastao kroz niz razgovora s Ariellom Azoulay, Antoniom Negrijem i Sandrom Mezzadrom. Ti su razgovori polazišna točka rasprave u Barceloni, jednom od najnapučenijih i najmultikulturnijih europskih gradova, sa skupinom ljudi koja živi “bez papira”. Film se događa noću, dok u pozadini svijetli grad i otvara mračnu prazninu u kojoj marginalizirani i isključeni artikuliraju svoj odnos prema nasumičnoj prirodi nacionalnog identiteta i državljanstva. Španjolska je odabrana za ovaj projekt jer pleše po rubu financijskog kolapsa i iskušava granice europske kohezije.

Naslov Right of Passage odnosi se na faze ili “obrede inicijacije” koji označavaju važne događaje na putu samosvojnosti. Pretvaranje “rites” (obredi) u “rights” (prava) potvrđuje da sloboda kretanja mora postati svačije pravo – neovisno o mjestu rođenja. Kako film istražuje ova putovanja, ona mijenjaju ne samo one koji putuju, nego i mjesta gdje se nastanjuju.        

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.

smuglers confessional1

Scena iz filma


Uspomene, fotografije i isječci iz obiteljskih i arhivskih filmova iz pograničnog područja Nove Gorice i Gorize govore o tome kako se dvije različite stvarnosti mogu istodobno naći na istom mjestu.

Sadržaj filma

Carinska zgrada na granici između dva gradića, dvije zemlje, dva društvena sustava, dva svijeta, romanskog i slavenskog, 65 godina nakon kraja rata. S 20. prosincem, kada je Slovenija ušla u zonu Schengena, Nova Gorica se po prvi puta u povijesti našla bez graničnih ograda. Iste noći ovaj se traumatični prostor pretvorio u mjesto susreta. Unutra se nalazi kamera, mikrofon, računalo i zavjesa, a ljudi s obje strane granice počinju nadirati, donoseći svoje priče i slike, darujući svoje doprinose zajedničkom fundusu sjećanja. Donirane uspomene i isječci iz obiteljskih i arhivskih filmova govore kako se dvije različite stvarnosti mogu istodobno naći na istom mjestu.

Komentar redateljice

Naša potreba da očuvamo sjećanje raste u odnosu na brzinu kojom se svijet mijenja. Početkom 20. stoljeća izumljen je film kako bi rasteretio sjećanje, no sjećanje ne govori samo o prošlosti: ono govori i o sadašnjosti, o tome zašto pamtimo određene događaje, a drugih se ne sjećamo. Sjećanje je, dakle, dio naših planova, vizija i strahova o budućnosti. Budućnost uvijek počinje ovdje i sada – potječe iz vrlo specifičnih uspomena i vrlo specifičnih trenutaka zaboravljanja.

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.

Film synopsis

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.

Director’s comment
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.

Najlonke Angela Jurman1set za tehnicko crtanje Marjeta J.V.1

Tanja Vujasinović – Obiteljska arhiva, 2013.

 Obiteljska arhiva (2013.) Tanje Vujasinović je arhiva šverca u obitelji umjetnice, kroz tri generacije žena. Rad se sastoji od fotografija tri prošvercana predmeta (najlonki, šestara za tehničko crtanje i visokonaponskog transformatora za neon). Ispod svake fotografije nalazi se podatak o kojem se predmetu radi, godina kada je predmet prokrijumčaren (1952., 1964. i 2009.), ime osobe koja je krijumčarila pojedini predmet (Angela Jurman , Marjeta Jurman Vujasinović i Tanja Vujasinović) i ruta krijumčarenja (Trst-Ljubljana, Trst-Ljubljana, Ljubljana-Zagreb). Zemlje koje su krijumčarenjem podijeljene ili „sukobljene“ u isto vrijeme njime su i povezane. Šverc je svakodnevica stanovnika ovih prostora i kao takav postao je dio obiteljskih povijesti. Obiteljska arhiva iskazuje šverc kao egzistencijalnu nužnost uvjetovanu često besmislenim i apsurdnim društveno-političkim ograničenjima. Uz arhiv se nalazi i prazna bilježnica koja omogućava posjetiteljima da zapišu svoja obiteljska iskustva krijumčarenja.

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.


Tanja Vujasinović – Obiteljska arhiva, 2013.

Photo by Robert Sošić


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