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U Gradskom muzeju Idrija 10 i 11. travnja 2014. godine su se odigrale dvije radionice u sklopu aktivnosti međunarodnog projekta Antologije krijumčarenja – Smuggling Anthologies na temu metodologije i evidentiranja ostataka nekadašnje rapalske granice i iskorištavanja nekadašnjih graničnih utvrda u održivom razvoju i turizmu. Nekadašnja rapalska granica je nasilno promijenila način života tamošnjih ljudi te su mnogu zbog nje izgubili sredstva za život, što je dovelo do procvijeta krijumčarenja.

U četvrtak, 10. travnja se održala prva radionica pod naslovom Metodologija evidentiranja i dokumentiranja ostataka nekadašnje rapalske granice. 17 sudionika se je, nakon uvodnog predavanja, uputilo na teren gdje su razgledali ostatke utvrđene rapalske granice na Idrijskom području.

U petak, 11. travnja, na drugoj stručnoj radionici pod naslovom Primjeri dobrih praksi iskorištavanja potencijala nekadašnjih graničnih utvrdi u sklopu održivog razvoja i turizma prikazani su bili pozitivni i negativni primjeri prenamjene i iskorištavanja objekata te se upozorilo na problem zapuštenih utvrda koje polako propadaju.

Program radionica se završio neformalnim druženjem sudionika, razmjenom mišljenja i zaključaka o nužnosti budućeg sudjelovanja i povezivanja sa širom zajednicom.

(http://www.smuggling.si/index.php/en/news/177-workshops-of-the-project-smuggling-anthologies-are-finished )

On 10th and 11th April 2014, Idrija Municipal Museum held two workshops on the methodology of keeping record and documenting the remains of former Rapallo border and on examples of good practice in exploitation of former borders′ forts potential in favour of sustainable development and tourism. Workshops were conducted as a part of an international project Smuggling Anthologies and presented a broader frame to the research of former fortifications residues, which were associated with smuggling routes in the ​​Idrija-Cerkno area. Former Rapallo border had an impact on people’s lives, many of them lost their source of income, which resulted in flourishing of smuggling and contraband.

On Thursday, 10th April, Idrija Municipal Museum held the first workshop on the methodology of keeping record and documenting the residues of former Rapallo border. After the initial part of workshop at the museum, 17 people participated in outdoor research activities to see the remains in situ.

On Friday, 11th April, Idrija Municipal Museum held the second workshop on examples of good practice in exploitation of former borders′ forts potential in favour of sustainable development and tourism. Examples of good and bad practices of exploitation of former fort buildings were shown, with special focus on the problem of abandoned and dilapidated forts as a result of improper conservation.

Workshop programe ended with informal part where participants exchanged impressions, opinions and conclusion about the need for cooperation and integration with wider community in future.

(http://www.smuggling.si/index.php/en/news/177-workshops-of-the-project-smuggling-anthologies-are-finished )

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

Otvorenje izložbe (Pre)tihotapljene antologije će biti 10. 9. 2014. u 19 sati u izložbenoj dvorani Nikolaja Pirnata u dvorcu Gewerkenegg u Idriji. Na izložbi će biti predstavljeni umjetnički radovi te povijesno gradivo domaćih i stranih autora. Sudjeluju: Cristiano Bert (Torino, I), Društvo Bez granica (Rijeka, HR), Marco Cechet (Berlin, GER), Victor Lopez Gonzales (Valencia, E), Anja Medved (Nova Gorica, SLO), Dušan Radovanović (Beograd, SRB), Lorenzo Cianchi i Michele Tajariol (Azzano Decimo, I), Ivo Deković, Igor Kirin i Nikola Ukić (Düsseldorf, GER), Soho Fond (Tallinn, EST), Tanja Vujasinović (Zagreb, HR), Irena Gubanc (Ljubljana, SLO) i Jan Lemitz (Berlin, GER).

„Krijumčarenje je nužno povezano s granicama – stvarnim i apstraktnim – zato na izložbi želimo izbrisati granice između dobrog i lošeg, dozvoljenog i nedozvoljenog, legitimnog i legalnog. Želimo naglasiti mnogobrojne dimenzije krijumčarenja kao sveprisutnog društvenog fenomena; od šaljivih pripovijesti krijumčara do ozbiljnih posljedica organizirane krijumčarske djelatnosti. Pri povijesnoj interpretaciji smo se usredotočili na područje Trst-Idrija-Rijeka, dok nas pri pitanju društvene tolerancije krijumčarenja zanima vidik pozitivnog vrednovanja krijumčara u slovenskoj tradiciji.“

(www.smuggling.si)

International project Smuggling Anthologies continues at the Municipal Museum Idrija, Slovenia.

Opening of the exhibition will be held on 10th of September 2014 in Nikolaj Pirnat exhibition room in Gewerkenegg castle in Idrija. Art works, documentary and historical materials of domestic and foreign authors and institutions will be presented at the exhibition. Participants: Cristiano Bert (Torino, I), Društvo Bez granica (Rijeka, HR), Marco Cechet (Berlin, GER), Victor Lopez Gonzales (Valencia, E), Anja Medved (Nova Gorica, SLO), Dušan Radovanović (Beograd, SRB), Lorenzo Cianchi i Michele Tajariol (Azzano Decimo, I), Ivo Deković, Igor Kirin i Nikola Ukić (Düsseldorf, GER), Soho Fond (Tallinn, EST), Tanja Vujasinović (Zagreb, HR), Irena Gubanc (Ljubljana, SLO) i Jan Lemitz (Berlin, GER).

“Smuggling is necessarily associated with the borders – real and abstract – and because of that, in the exhibition, we wanted to erase the borders between good and bad, allowed and unauthorised, legitimate and legal. We would like to point out different dimensions of the smuggling as a ubiquitous social phenomenon; from humorous smugglers’ tales to the serious consequences of the organized smuggling activities. Historical interpretation was focused on the area Trieste-Idrija-Rijeka, while, at the question of the social tolerance, we were interested in the positive image of the smuggler in the slovenian tradition.”

(www.smuggling.si)


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

rad1-1

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.


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