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Monthly Archives: September 2013

A 11 ATLAS

List of speakers:

Aleksandra Lazar (Serbia, U.K.)
Franc Trček (Slovenia)
Ana Smokrović (Croatia)
Dragica Čeč (Slovenia)
Mira Hodnik (Slovenia)
Simona Sušec (Slovenia)
Christiano Berti (Italy)
Melita Richter (Italy)
Ksenija Šabec (Slovenia)
Robert Tasnádi (Hungary)
Petra Jurjavčič (Slovenia)
Damir Medved (Croatia)

Schedule:

23/10/     10 am – 01 pm
Dragica Čeč, Smuggling as a way of survival in the Early Modern Age
Cristiano Berti,  Black Torino: Iye Omoge and other stories
Franc Trček, (Post)transitional Identity Contraband?
Ana Smokrović,  Human Organ Trafficking
Aleksandra Lazar, From grey to pale: reflections on freedom and creativity before and after
accession towards the culture industry

Lunch break  01 – 03 pm

03 – 05 pm
Simona Sušec, The Smuggled Object and the Concept of Commodity
Robert Tasnádi, Crossroads of Iron Curtain
Melita Richter, Memories of living with/beyond the border

24/10/

10 am – 01 pm
Ksenija Šabec, Smuggling in the 20th century through the life stories of Idrija residents
Damir Medved, Rijeka’s Intangible Heritage
Mira Hodnik, Smugglers of mercury ore in the 18th century

Photo: Victor Lopez Gonzalez, Atlas


eulogo   “With the support of the Culture Programme of the European Union”

Museum of Modern and Contemporary Art

               Rijeka 22/10 – 4/12/2013

logo antologije krijumcarenja

Sudionici / list of participants:

eulogo  “With the support of the Culture Programme of the European Union”

Myth vs. Reality

 The smuggling as a model of overcoming the dichotomies such as private-collective, hidden-public, official-non-official, proved-unproved, true-false etc. with a strong argument inherited from the past – smuggling has always been one of the main sources of housekeeping economies. Yet, being illegal, there is a lack of official data regarding it; instead, it is more familiar by way of retold narratives and hidden hi(stories) than as an official fact. Therefore, it is usually rejected as hearsay, considered ‘personal’ as irrelevant, nearly mythical, and finally dismissed as highly improbable. Hence, the project is encouraged to rehabilitate meta-historical matters as part of our cultural heritage.

Those who have been smuggling have done it for the sake of survival and not for a welfare or surplus stock.

Shadow economy vs. Creativity

In the traditional sense of the word, in terms of trade, smuggling allowed people to compensate the lack; moreover, to take an advantage of limitations – borders, confines, boundaries, walls. Thus, smuggling implies creativity.

The project will include those who will testify of smuggling as a creative economy of the past: historians, theoreticians, testimonies.

Not only as trade but also on the level of the historical, philosophical (ontological) issues we can find the traces of smuggling. Already in the Classical period of Greek philosophy, rhetoric became a matter of art. There was no doubt, making an argument of a lie, in order to deny the truth for the sake of a lie, was more than merely a skill, it was rather a royal doing. Smuggling the data by distorting facts and skipping from the realm of Truth to the realm of Lie, reached its peak in the 20th century, with the media society.

The criticism of the mass media refers to the impossibility of immediate verification eventually done by the audience; thus, it makes it legitimate to argue that the data create/simulate the reality itself. One can say the media society abolished the traditional difference between a truth and a lie as the mainstays of the Classical thought of the western world.

There are facts lost/hidden behind the official truth, whether as a disavowal or as forgotten information.

One of those is the smuggling which belongs to shadow economy. How can we know that our opinion is also not smuggled by someone? Where are we? Are we dissolved in a society where information has taken power over our common sense?


eulogo   “With the support of the Culture Programme of the European Union”

smuggling logo_krug

International project (Croatia- Italy – Slovenia) about the smuggling

Project duration: 24 months

Start date: 1/02/ 2013   End date: 31/01/2015

Curatorial team: Giuliana Carbi /Trieste, Italy/, Ana Peraica /Split, Croatia/, Marija Terpin Mlinar /Idrija, Slovenia/, Sabina Salamon /Rijeka, Croatia/.

Project coordinator: Museum of Modern and Contemporary Art, Rijeka (Croatia)

Partners: Trieste Contemporanea, Trieste (Italy),  Idria Municipal Museum (Slovenia)

 

Introduction – Why smuggle and why here?
Smuggling has always been one of the important strategies of surviving, but also of overcoming existing administrative-political situations and regimes. Being motivated by this fact and facing the new political circumstances in the wider region, we have proposed to our neighbours – Trieste Contemporanea (Italy) and the IdrijaMunicipalMuseum (Slovenia) – to collaborate on deliberating the notion and practice of the smuggling.

The territory where the Mediterranean meets the Alps, the Slavic culture meets the Italian, has an important role in the project. There are two main reasons for positioning the smuggling within the territory of Istria, Gulf of Trieste and NorthSlovenianCoast:

–          contextualisation on a new geographical map where EU and  non-EU parts are clearly distinguished,

–          smuggling as a very common and widespread activity with trade-oriented communication in directions sea – continent, West – East, Yugoslavia – Italy, socialism – capitalism.

The project Smuggled Anthologies deals with a wide range of possible readings of the notion of smuggling. Being usually regarded within the scope of economy (trade) and history, the project tries to draw attention to further repercussions of it, emphasising its significant and substantial meaning that overlaps with ethnology, sociology and gives us new perspectives in understanding the activities of the European population.

Personal practices do not fit any of the ideological paths (socialism-capitalism, West-East, EU – non-EU). That is why the project consists of three sorts of data:

–          documentary,

–          fiction,

–          theoretical interpretation which encompasses both.

Each of the 3 exhibitions will assemble a different kind of material, creating a multidisciplinary event: from historical documentary material, gathered through the workshop or research, to paradigmatic examples of contemporary art practice that are differently related to the subject of smuggling. The exhibition will comprise a wide range of output.

In addition to oral arguments, susbtantial material evidences of the smuggling activities can be traced here – most of all, mobile and immobile cultural heritage. The project will try to give some outlines and to use the context of Italian-Slovenian-Croatian border, as an example of a very dense territory with a rich history of coexistence of different nationalities (Italian, Austrian, Slovenian, Croatian).


eulogo   “With the support of the Culture Programme of the European
 Union”