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Monthly Archives: October 2013

kameleoni

„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).


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

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Ivo Deković, Igor Kirin, Nikola Ukić – Ariel, 2013.

Photo by Robert Sošić

Dokumentarni film, 16’38”, 2013

Kroz osobnu životnu priču, nakon odslužene kazne od 12 godina zatvora, Hermann Ariel Scheige pripovijeda o političkoj klimi i razvoju anarhističkih i neo-anarhističkih pokreta od šezdesetih godina naovamo, s naglaskom na europskoj situaciji. Porijeklom iz lijevo orijentirane obitelji koja se zbog političko-ekonomskih razloga krajem šezdesetih iz Urugvaja preselila u Zapadnu Njemačku, iznosi činjenice o utjecaju latinoameričkih na europske urbane gerile (pokret Tupamaros na RAF) te slabije poznate povezanosti anarho-pokreta s dilanjem i uživanjem droga, naročito nakon gašenja pokreta. I sam optužen za trgovinu 2,5 tone kokaina u 38 slučajeva u razdoblju od godine i pol dana, jasno se određuje spram životnih postupaka, tvrdeći da su bili utemeljeni u želji da bude izvan sustava. Film (16′ 38”) je prvi zajednički rad trojice umjetnika Ive Dekovića, Igora Kirina i Nikole Ukića.

Documentary film, 16’38’’, 2013.

Through a personal true story, after serving 12 years in prison, Hermann Ariel Scheige talks about the political climate and development of anarchist and neo-anarchist movements since the 1960s, underlining the situation in Europe. Coming from a leftist family who moved to West Germany from Uruguay in the late 1960s out of political and economical reasons, he exposes facts about the influence of Latin American urban guerrillas on the European ones (the Tupamaros movement on RAF) and about the lesser known connection between anarchist movements and drug dealing and abuse, especially after the movement was suspended. As he himself was accused of dealing 2.5 tons of cocaine in 38 cases in a year and a half, he takes a clear standpoint regarding his actions in life, claiming they were grounded in his wish to stay outside of the system.


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

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.


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

Mali salon 14/11 – 4/12/2013

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

Photo by Robert Sošić

Izložba donosi uvid u ‘slučaj Janša’ od 2007. do danas, u nekoliko međusobno prepletenih segmenata: osobni dokumenti, kolaborativni radovi te reakcije medija . ‘Slučaj’ poprima karakteristike vješto smišljenog krijumčarenja u kojem je ulog sam život, a cilj pretresanje granica između politike, umjetnosti i svakodnevice. Djelovanje ‘neo-Janši’ postaje sredstvo propitivanja simboličke moći imena u sustavu umjetnosti, kao i širim društveno-političkim sferama. Ukazuje na faktore koji sudjeluju u kreiranju identiteta umjetnika tj. umjetničkog rada, dok redefiniranjem poimanja autorstva i vlasništva zalazi u zone represije između individue i kolektiva, građanina i države, umjetničke geste i nacionalnog simbola.   

Projekt Janši se u prvom redu ističe kao performativan, zasnovan na ideji živog i utrostručenog ready madea – umjetnici koriste vlastito trajanje, tijelo i lik kao medij. Trojica, prije poznati kao Davide Grassi, Emil Hrvatin i Žiga Kariž, 2007. prisvajaju ime tadašnjeg premijera i predsjednika Slovenske Demokratske Stranke (SDS-a). Promjenu imena vrše paralelno učlanjivanjem u SDS, simbolički preuzimajući i geslo stranke: što nas je više, brže ostvarujemo cilj. Koristeći se pretjeranom identifikacijom ističu manje zamjetne, fatalističke momente upisane u pozadinu djelovanja nacionalno reprezentativnih obrazaca. Istovremeno, prisvajanje zadobiva potencijalno subverzivni učinak – povećavanje broja Janeza Janši postaje taktika izazivanja pomutnje u političkim redovima i proširenja prisutnosti suvremene umjetnosti. Pitanja koja naviru su; Koliko se današnje umjetničke prakse mogu infiltrirati u političku sferu i isprovocirati samorazumljivo shvaćanje nacionalnog identiteta? Može li inflacija imena oslabiti ili makar uznemiriti poziciju moći ‘pravoga Janše’? Kakve učinke ima preimenovanje za umjetničko djelovanje i za biografije autora?

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


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

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Antologije krijumčarenja / Smuggling Anthologies /Antologie di contrabando
Nositelj projekta: MMSU Rijeka (HR)
Partneri: Trieste Contemporanea (IT), Mestni muzej Idrija (SLO)

Kustoski tim: Giuliana Carbi /Trst/, Ana Peraica /Split/, Marija Terpin /Idrija/, Sabina Salamon /Rijeka/.

Izložba: MMSU i Mali salon, 22. 10. – 4. 12. 2013., otvorenje: u 19 sati

Performans: Krešo Kovačiček & suradnici: Tobacco Standard, performans, Terminal, željeznički most, četvrtak 24.10. u 19 sati

Simpozij, 23. i 24. 10., Astronomski centar Rijeka, Brdo Sveti Križ

Izložba: Janez Janša, Janez Janša, Janez Janša, Rad, Mali salon, 14. 11. – 4. 12. 2013, otvorenje u 19 sati

Art kino Croatia, 18. – 20. 11. u 20.30 sati, dokumentarni program
18.11. Moja granica, autorice: Nadja Velušček i Anja Medved
19.11. Raskršća željezne zavjese, autor: Robert Tasnádi
20.11. Ariel, autori: Ivo Deković, Igor Kirin, Nikola Ukić

Podijelite s nama sjećanja i anegdote šverca kao strategije preživljavanja.  Svaki ponedjeljak od 10 – 13 sati u Malom salonu.
Zanima nas šverc kao jedna od glavnih ekonomskih metoda preživljavanja u svijetu. Vodeći se idejom o načinima, vremenima i opstanku šverca kao nelegalne ekonomije na stjecištu mediteransko –alpske, slavenske i talijanske kulture, projekt je okupio tridesetak sudionika – umjetnika, povjesničara, etnologa, krijumčara i filozofa koji će nastupiti na izložbi i simpoziju te s nama podijeliti znanje i iskustvo o aktivnosti na raznim krajevima kontinenta.

Dijelom je tema krijumčarenja na područje Istre, Slovenskog primorja i Tršćanskog zaljeva postavljena u kontekst novonastalih administrativno-političkih karata i razlikovanja EU – ne-EU, a većim dijelom na činjenicu da su se na tom području donedavno odvijale aktivnosti krijumčarenja na relaciji more – kontinent, Istok – Zapad, Jugoslavija – Italija, socijalizam – kapitalizam,  čime je nadilazio postojeće administrativno – politička situacije i režime.

Projekt je a zamišljen je kao kombinacija simpozija i izložbi koje će se sukcesivno događati na tri lokacije :
– MMSU Rijeka, 2013;
– Trieste Contemporanea, Trst 2014
– Mestni muzej Idrija, 2014

Svaki od 3 događaja oslanja se na interdisciplinarni pristup temi, uzimajući u obzir povijesni kontekst, osobna svjedočanstva i umjetničku produkciju.

Šverc je moguće čitati kroz izgubljene priče, zaboravljene povijesne činjenice, robnu razmjenu, slučajeve teškog kriminala, kroz falsificiranje povijesnih činjenica, nekad i danas. U projektu se oslanjamo upravo na taj, interpretativni naboj šverca, objedinjujući osobne priče ljudi, kao i pisane izvore. Pretresti ćemo odnose između službenog i ne-službenog, zapisanog i etabliranog spram fluidnog, emotivnog, pohranjenog u memoriji.
Projekt će obuhvatiti suvremenu umjetnost, povijest, etnografiju, kulturnu baštinu, a u smislu vrste materijala sadržavati će dokumentarnost – fikciju – teorijsku interpretaciju.

Sudionici na izložbi u MMSU i Malom salonu:

Aleksandar Garbin (Hrvatska)
Anja Medved (Slovenija)
Azra Akšamija (Austrija)
Balázs Beöthy (Mađarska)
Can Sungu (Turska)
Christiano Berti (Italija)
Društvo Bez granica (Hrvatska)
Dušan Radovanović (Srbija)
Hassan Abdelghani (Hrvatska)
Janez Janša, Janez Janša, Janez Janša (Slovenija)
Krešo Kovačiček (Hrvatska)
Marco Cechet (Italija)
Lorenzo Cianchi i Michele Tajariol  (Italija)
Police Museum (Hrvatska)
Nikola Ukić, Ivo Deković, Igor Kirin ((Hrvatska, Njemačka)
Robert Tasnádi (Mađarska)
Soho Fond (Estonija)
Tanja Vujasinović (Hrvatska)
Tomislav Brajnović (Hrvatska)
Victor Lopez Gonzalez (Španjolska)
Zanny Begg i Oliver Ressler (Austrija)


Simpozij> 23. i 24. 10. > Astronomski centar Rijeka
Brdo Sveti Križ, 3 km od središta Rijeke

srijeda, 23. 10.

10 – 13 sati

Dragica Čeč, Krijumčarenje, način preživljavanja u Ranom novom vijeku
Cristiano Berti, Crni Torino: Iye Omoge i druge priče
Franc Trček, (Post)tranzicijski identitet šverca?
Ana Smokrović, Šverc ljudskih organa
Aleksandra Lazar, Od sivog k blijedom: refleksije o slobodi i kreativnosti prije i poslije
pristupanja kulturnoj industriji

Pauza za ručak  13 – 15

15 – 17 sati

Simona Sušec, Krijumčareni predmet i poimanje robe
Robert Tasnádi, Raskršća željezne zavjese
Melita Richter, Sjećanje na život s granicom i njezinom drugom stranom

četvrtak, 24. 10.  

10 – 13 sati

Ksenija Šabec, Krijumčarenje u 20. stoljeću kroz životne priče stanovnika Idrije
Damir Medved, Šverc, nematerijalna baština Rijeke
Mira Hodnik, Krijumčari rudačom žive u 18. Stoljeću


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

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Michele Tajariol & Lorenzo Cianchi – FalseBottom, 2013.

Projekt Lažno dno (2013.) dvojca kojeg čine Michele Tajariol i Lorenzo Cianchi bavi se odnosom krijumčara i teritorija, sposobnošću krijumčarenja, skrivanja i nezakonitog prijenosa robe. FalseBottom je istraživanje podijeljeno u dva dijela: prvenstveno izdvajanje karata koje su izradili mjesni stanovnici, koji su imali doticaja s krijumčarenjem ili su odigrali u njemu neku ulogu, te sukobljavanje sa snagama sigurnosti koje sprečavaju ilegalan promet. Usporedba karata koje su nacrtali mještani i službenih karata omogućuje umjetnicima da kreiraju i treću kartu i iskušaju neki od krijumčarskih puteva. Prema prijedlozima i uputama mještana Tajariol i Cianchi također kreiraju posebnu umjetničku prtljagu za prijenos nove karte, koja postaje i predmet trgovanja i predmet za trgovanje.

The project FalseBottom by the duo Michele Tajariol and Lorenzo Cianchi reflects on the relationship between traffickers and territories, on the capability of smuggling, hiding and transporting objects illegally. FalseBottom is a research divided in two parts: firstly the individuation of maps drawn by locals who have been in contact or played a role in smuggling and, subsequently, a confrontation with the security force who prevent illegal traffic. Comparing maps drawn by locals with official maps allows artists to create a third map and to try out one of the smugglers’ itinerary. Following locals’ suggestions and instructions Tajariol and Cianchi also create a specific art-luggage to transport the new map, which becomes both a traded and a trading object.

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Michele Tajariol & Lorenzo Cianchi – FalseBottom, 2013.

Photos by Robert Sošić


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

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.


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