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Aleksandra Lazar – From grey to pale: reflections on freedom and creativity before and after accession towards the culture industry

Ana Smokrović – Human Organ Trafficking

Cristiano Berti – Iye Omoge

Franc Trček – (Post)transitional Identity Contraband?

Melita Richter- Memories of living with/beyond the border

Mira Hodnik – Smugglers of mercury ore in the 18th century

Róbert Tasnádi – Crossroads of the Iron Curtain

Simona Sušec – The Smuggled Object and the Concept of Commodity

Udruga Bez granica – Nonićeva tiramola


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

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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”

Crossing the Maritza river lores,Hassan

Foto Hassan A.  East of Svilengrad

Hassan Abdelghani – Istočno od Svilengrada i Prelazak preko Marice, 2012.

Dvije fotografije Hassana Abdelghanija, Istočno od Svilengrada i Prelazak preko Marice (2012.), prikazuju izbjeglice kako ilegalno prelaze rijeku Maricu.

Istočno od Svilengrada u Bugarskoj, rijeka teče istočno, tvoreći granicu između Bugarske (na sjevernoj obali) i Grčke (na južnoj obali), a zatim između Turske i Grčke. Kod Edirnea rijeka protječe kroz turski teritorij s obje obale, a zatim skreće južno i tvori granicu između Grčke na zapadnoj obali i Turske na istočnoj obali sve do Egejskog mora.

Marica je postala omiljena pristupna ruta tri četvrtine ilegalnih imigranata koji stižu u neku državu članicu EU. Više od 120.000 migranata i tražitelja političkog azila krenulo je 2010. godine prema Grčkoj, a više od 40.000 njih stiglo je kroz grčko-tursko riječno područje. Azijski i afrički migranti Maricu su počeli koristiti za ulazak u Europsku uniju nakon što su kontroverzni bilateralni sporazumi blokirali tradicionalne rute kroz Italiju i Španjolsku.

Two photographs by Hassan Abdelghani, East of Svilengrad and Crossing the Maritsa River (2012), show refugees illegally crossing the river Maritsa.
East of Svilengrad, Bulgaria, the river flows eastwards, forming the border between Bulgaria (on the north bank) and Greece (on the south bank), and then between Turkey and Greece. At Edirne, the river flows through Turkish territory on both banks, then turns towards the south and forms the border between Greece on the west bank and Turkey on the east bank to the Aegean Sea.
Maritsa has become the access of choice for about three-quarters of illegal immigrants arriving into an EU member country. Over 120,000 migrants and political asylum seekers went to Greece in 2010, and more than 40,000 of them arrived through the Greece-Turkey area of the river. Asian and African migrants have started to use Maritsa to reach the European Union after debated bilateral agreements blocked the traditional routes through Italy and Spain.


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


From the beggining of the 1980s organ transplantation became the common medical procedure thanks to the Cyclosporin – an imunosupressor which enables the rejection of the transplanted organ. Usually the act of organ transplantation is associated with altruism, but the question here is what happens when act of organ donation is being perceived from a different point of view – by focusing on the category of class?

If the possibility of organ transplantation is contextualized and situated into today’s global, neo-liberal market, we surely can talk about organ trade and therefore about organ trafficking. Looking from that perspective, we have a network of global trafficking based on inequality and exploitation of poor non-white bodies where human organs are commodified and stand as autonomous object with a price-tag. Here the dichotomy person/thing becomes fluid and surely we can talk about “bio-piracy”.


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