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Svečano zatvaranje dvogodišnjeg EU projekta Smuggling Anthologies uz prezentaciju završne publikacije projekta Smuggling Anthologies Reader.

utorak, 20. 1. 2015. U 18 sati, MMSU

Projekt Antologije krijumčarenja odvijao se tijekom dvije godine (2013.-2015.) kao kombinacija izložbi, simpozija, istraživanja i pratećih programa. Održavao se sukcesivno, u Muzeju moderne i suvremene umjetnosti, Rijeka, Mestnom muzeju Idrija, i Trieste Contemporanea.

Četrdesetak umjetnika, povjesničara, etnologa i arhitekata bavilo se krijumčarenjem kao jednom od glavnih ekonomskih metoda preživljavanja u svijetu, s naglaskom na tradiciji ove nelegalne ekonomije na sjecištu mediteransko-alpske, slavenske i talijanske kulture.

Oslanjajući se na interdisciplinarni pristup temi, kroz tri bogato ilustrirana poglavlja, čitanka Antologije krijumčarenja predstavlja nekoliko temeljenih okosnica radova i teorijskih tekstova, uzimajući u obzir povijesni kontekst i pisane izvore, osobna svjedočanstva i umjetničku produkciju.

Knjigu će predstaviti glavna urednica publikacije, dr. sc. Ana Peraica, kustosice Sabina Salamon, Marija Terpin Mlinar, Giuliana Carbi, grafički dizajner publikacije Željko Serdarević te sudionici projekta, Anonymous i Can Sungu. Na predstavljanju će ujedno biti dodijeljena nagrada žirija za najbolji dokumentarni video projekta, a predstavljeni će biti i svi video radovi nastali u sklopu samog projekta.

Nakon predstavljanja publikacije pridružite nam se na druženju uz zakusku i izvedbu glazbenog performansa Marina Alvira.

Program:

18:00: prezentacija publikacije

18:30 predavanja:

  • Anonymous: Ilegalno i zabranjeno – ključ tabuizacije krijumčarenja
  • Can Sungu: Utjecaj krijumčarenja na novu kulturu videa u Turskoj

20:00 druženje uz zakusku i glazbeni performans riječkog glazbenika Marina Alvira

Čitanka Antologije krijumčarenja / Smuggling Anthologies Reader dostupna je za pregled i skidanje OVDJE.

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Official closing of the two-year EU project Smuggling Anthologies with the presentation of the final publication Smuggling Anthologies Reader.

Tuesday, 20/1/2015, at 6 p.m., MMSU

Project Smuggling Anthologies, a combination of exhibitions, symposiums, researches and other accompanying programs, took place in Museum of Modern Art, Rijeka, Municipal Museum, Idrija and Trieste Contemporanea, Trieste and had lasted for two years (2013 – 2015).

Around forty artists, historians, ethnologists and architects engaged in the theme of smuggling, which is one of the main economic methods of survival in the world. Participants were focusing on the said illegal economy tradition on the Mediterranean-alpine crossroads between Slavic and Italian cultures.

Smuggling Anthologies Reader presents some of the basic works and theoretical texts, respecting historical context, personal testimonies, artistic production and interdisciplinary approach through three richly illustrated chapters.

Publication will be presented by editor in chief dr. sc Ana Peraica, curators Sabina Salamon, Marija Terpin Mlinar,  Giuliana Carbi, graphic designer of the publication Željko Serdarević and project participants Anonymous and Can Sungu.  Award for the best documentary film of the project will be awarded at the presentation with other documentary films made for the project presented also.

After the presentation, please join us for the musical perfomance by Marin Alvir with refreshments to follow.

Program:

18:00: presentation of the publication

18:30 lectures:

Anonymous: Illegal and forbidden – key to tabooing of smuggling

Can Sungu: Effect of smuggling on the new video culture in Turkey 

20:00 musical performance by Marin Alvir and refreshments

Smuggling Anthologies Reader available HERE.


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

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Dušan Radovanović – Ruska šuma / Russian Forest, 2013.

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Dušan Radovanović – Ruska šuma / Russian Forest, 2013.

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Balázs Beöthy, Installation for Istanbul (Travelling secrets), (1995)

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Tanja Vujasinović, Family Archive (2013.)

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Azra Akšamija, Skalamerija (2009.)

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Azra Akšamija, Skalamerija (2009.), detail 

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Azra Alšamija, Skalamerija (2009.), detail 

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Lorenzo Cianchi, Michele Tajariol, FalseBottom (2013)

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Lorenzo Cianchi, Michele Tajariol, FalseBottom (2013), detail

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Victor Lopez Gonzales, Atlas (2013), detail

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Can Sungu, Replaying Home (2013)

Photos by Robert Sošić


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

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18/11 My Bordeline, authors: Nadja Velušček i Anja Medved, Slovenia
19/11 Crossroads of Iron Curtain, author: Robert Tasnádi, Hungary
20/11 The Smuggler of Images, author: Victor Lopez Gonzalez; Spain 15’25”
Green Border, authors:  Nikica Klobučar, Tomislav Šoban; Croatia 2006., 10’30”
Ariel, authors: Ivo Deković, Igor Kirin, Nikola Ukić; Croatia – Germany, 2013., 17′

Moja Meja/ Il mio Confine/ My Bordeline, author: Nadja Velušček, Anja Medved
18/11at 8,30 pm

16th September 1947 – The borderline was imposed between houses and streets, between fields and gardens – between people. It has divided their world in two and thus became both a barrier and a challenge. The documentary “My Borderline” is intended for young generations who never perceived the borderline between Italy and Slovenia as problematic, but rather as a natural phenomenon, such as the Isonzo river flow which defines the course of the borderline.
This documentary is dedicated to the generation that was born and raised when this borderline was perceived as an ”iron curtain”. They too have accepted it, but only as an insurmountable obstacle.
The authors of this documentary have mainly focused on the stories of those who were born before this region was divided by the borderline, and whose lives have changed dramatically because of it. This is their message to everybody living on any side of any painful borderline, and especially to thousands of people crossing this very borderline night after night still wishing and striving for a better life.
screenplay: Nadja Velušček
director /Anja Medved, Nadja Velušček
photography / Radovan Čok
sound and second camera / HIJACINT IUSSA
music / Aleksander Ipavec
editing / Morena Fortuna
executive producer / Aleš Doktorič
production / Kino Atelje, DEŽELNI SEDEŽ RAI ZA FURLANIJO JULIJSKO KRAJINO – SLOVENSKI PROGRAM, 2002
video 50′
http://www.art-kino.org/hr/film/moja-granica

Crossroads of the Iron Curtain, author: Róbert Tasnádi
19/11/ at 8,30 pm

Hungarian-Austrian border from 1948 to 1989 was marked by fences and landmines. Number of ordinary people, even celebrities seeking better life, adventure passed the strictly guarded border. Some of them by themselves, others assisted by smugglers, locals. Eventually, some of them were captured and seized. The video material gives an insight of the era when small villages, relatives were separated from each other by fences. The former Hungarian border patrol Sándor Goják devoted his life to display and demonstrate how the Iron Curtain worked for four decades. He shares those stories which were kept in secret for long time and what are almost forgotten by now…
Robert Tasnádi is a communication researcher and journalist based in Szombathely (Hungary). In the film Crossroads of the Iron Curtain, he presents a small private museum of “Iron Curtain” in the village Felsőcsatár. The Museum is founded by Sándor Goják, who served in the border patrol in the 1960s, and later collected objects documenting (illegal) border crossings between Hungary and Austria, which existed from 1948 to 1989. The museum is a collection of objects and stories, reminiscent of the Iron Curtain, as the ideological and physical boundary between communist areas and the west during the Cold War.
(Source: Robert Tasnádi, http://www.vasfuggonymuzeum.hu/vashu.html)
Director:Róbert Tasnádi
Screenplay: Róbert Tasnádi
Photography: Jozsef Füzessy
Editing: Jozsef Füzessy, Gyula Széles
documentary film, 50′
http://www.art-kino.org/hr/film/raskrsca-zeljezne-zavjese

The Smuggler of Images, author: Victor Lopez Gonzalez                                               20/11 at 8,30 pm

The video work The smuggler of images (2012) is based on questioning the concepts of borders and frontiers using the figure of a smuggler as a symbol and allegory of a person who exceeds these limits and therefore ignores them. The video uses a labyrinthine narrative strategy with various levels of “reality” to create a common space in the time between two figures. The protagonist Antonio Giavelli, a former smuggler, tells about the problems and experiences of smuggling between Italy and France in the Stura Valley. In the temporal space of the video he encounters a fictitious smuggler of our time who tries, with the help of donkeys, to cross the boundary line, carrying as “illegal goods” an indefinite number of images. In the video installation images from different geographical regions of the Stura Valley converge with shots of high-tech industries that are located there, which suggests a common cartography for both protagonists and a way of thinking about history.

Green Border, authors:  Nikica Klobučar, Tomislav Šoban
20/11 at 8,30 pm

Short documentary movie “Green border” deals with unofficial border crossing near village Bric, in community Buje, on Croatian – Slovenian border. Narration of the movie is based on audio recording of situations and authors interview’s with three persons who live near border. All of them have there own experience and attitudes toward illegal crossing.
The young man from that area helps us to find border crossing, where is possible illegal transport of merchandise and people. Story of the Priest gives us speculations about moral attitude of local people (inhabitants) toward illegal crossing. Police employee from border sector informs us about meaning of green border in terms of law and regulations and he talks about different ways of controlling green border crossings.
Video clips are recorded with camera Canon G5 and audio materials recorded with Marantz 660 pro.

genre : documentary
lenght : 10’30”
year : 2006.

Ariel, authors: Ivo Deković, Igor Kirin, Nikola Ukić
20/11 at 8,30 pm
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. Film (16’38”) is the first collaborative work by artists Ivo Deković, Igor Kirin and Nikola Ukić.
http://www.art-kino.org/hr/film/ariel

Photos:  The Smuggler of Images, author: Victor Lopez Gonzalez  
              My Bordeline, authors: Nadja Velušček i Anja Medved


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

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”