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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”

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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Scena iz filma

Uspomene, fotografije i isječci iz obiteljskih i arhivskih filmova iz pograničnog područja Nove Gorice i Gorize govore o tome kako se dvije različite stvarnosti mogu istodobno naći na istom mjestu.

Sadržaj filma

Carinska zgrada na granici između dva gradića, dvije zemlje, dva društvena sustava, dva svijeta, romanskog i slavenskog, 65 godina nakon kraja rata. S 20. prosincem, kada je Slovenija ušla u zonu Schengena, Nova Gorica se po prvi puta u povijesti našla bez graničnih ograda. Iste noći ovaj se traumatični prostor pretvorio u mjesto susreta. Unutra se nalazi kamera, mikrofon, računalo i zavjesa, a ljudi s obje strane granice počinju nadirati, donoseći svoje priče i slike, darujući svoje doprinose zajedničkom fundusu sjećanja. Donirane uspomene i isječci iz obiteljskih i arhivskih filmova govore kako se dvije različite stvarnosti mogu istodobno naći na istom mjestu.

Komentar redateljice

Naša potreba da očuvamo sjećanje raste u odnosu na brzinu kojom se svijet mijenja. Početkom 20. stoljeća izumljen je film kako bi rasteretio sjećanje, no sjećanje ne govori samo o prošlosti: ono govori i o sadašnjosti, o tome zašto pamtimo određene događaje, a drugih se ne sjećamo. Sjećanje je, dakle, dio naših planova, vizija i strahova o budućnosti. Budućnost uvijek počinje ovdje i sada – potječe iz vrlo specifičnih uspomena i vrlo specifičnih trenutaka zaboravljanja.

Memories, photographies and fragments of family and archive films from the border territory of Nova Gorica and Gorizia tell how can two different realities find themselves simultaneously in the same place.

Film synopsis

A customs office building on the border between two towns, two countries, two social systems, two worlds, the Romanic and the Slavic, 65 years after the end of the war. On 20th of December with the entry of Slovenia into the Schengen area, Nova Gorica for the first time in its short history finds itself without border fences. The same night, this traumatic space transforms into a meeting place. Inside are placed a camera, a microphone, a computer and a curtain and people from both sides of the border start streaming in, bringing their stories and images, donating their contributions to the common holdings of memory. Donated memories and fragments of family and archive films tell how can two different realities find themselves simultaneously in the same place.

Director’s comment
Our need to preserve memory increases in correlation to the speed with which the world changes. In the beginning of 20th century film was invented to unburden memory, but memory speaks of more than merely the past: it also speaks of the present, of why we remember certain events and have no recollection of others. Memory is thus in correlation with our plans for, visions of and fears about the future. The future always starts here and now – stemming from very specific memories and very specific instances of forgetting.


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

Najlonke Angela Jurman1set za tehnicko crtanje Marjeta J.V.1

Tanja Vujasinović – Obiteljska arhiva, 2013.

Obiteljska arhiva (2013.) Tanje Vujasinović je arhiva šverca u obitelji umjetnice, kroz tri generacije žena. Rad se sastoji od fotografija tri prošvercana predmeta (najlonki, šestara za tehničko crtanje i visokonaponskog transformatora za neon). Ispod svake fotografije nalazi se podatak o kojem se predmetu radi, godina kada je predmet prokrijumčaren (1952., 1964. i 2009.), ime osobe koja je krijumčarila pojedini predmet (Angela Jurman , Marjeta Jurman Vujasinović i Tanja Vujasinović) i ruta krijumčarenja (Trst-Ljubljana, Trst-Ljubljana, Ljubljana-Zagreb). Zemlje koje su krijumčarenjem podijeljene ili „sukobljene“ u isto vrijeme njime su i povezane. Šverc je svakodnevica stanovnika ovih prostora i kao takav postao je dio obiteljskih povijesti. Obiteljska arhiva iskazuje šverc kao egzistencijalnu nužnost uvjetovanu često besmislenim i apsurdnim društveno-političkim ograničenjima. Uz arhiv se nalazi i prazna bilježnica koja omogućava posjetiteljima da zapišu svoja obiteljska iskustva krijumčarenja.

Family Archive is an archive of smuggling in this artist’s family through three generations of women. The work consists of photographs of three smuggled objects (nylon tights, a drafting tool set and a high-voltage neon transformer). Below each photograph there is information about the object, the year it was smuggled (1952, 1964 and 2009), the name of the person who smuggled it (Angela Jurman, Marjeta Jurman Vujasinović and Tanja Vujasinović) and the smuggling route (Trieste-Ljubljana, Trieste-Ljubljana, Ljubljana-Zagreb). The countries divided or “confronted” by smuggling are at the same time connected by it. Smuggling is an everyday occurrence for the local people and as such it became part of their family histories. Family Archive portrays smuggling as an existential necessity conditioned often by senseless and absurd social and political limitations. In addition to the archive there is an empty notebook, The Book of Smuggling, enabling visitors to write down their own or their families’ smuggling experiences.

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Tanja Vujasinović – Obiteljska arhiva, 2013.

Photos by Robert Sošić


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

Društvo Bez granica osnovano s ciljem uspostavljanja Zavičajnog muzeja Drenove, prikuplja i obrađuje materijalnu i nematerijalnu baštinu Drenove i njene bliže okolice. Istraživački projekt Nonićeva tiramola (2013.) baziran je na rekonstrukciji krijumčarskih staza na temelju svjedočenja stanovnika riječkih naselja, Drenove i Pašca. Kroz interaktivnu kartu, filmski zapis u formi intervjua te dokumentarni materijal, tematizira šverc uz talijansko – jugoslavensku granicu dvadesetih i tridesetih godina 20. stoljeća. Drenova je, kao metafora grada Rijeke, u prošlom stoljeću bila nasilno podijeljena granicom na Gornju i Donju Drenovu. Stanovništvo je pronalazilo alternativne načine zarade radi golog preživljavanja. Bitan dio nove ekonomije bio je šverc koji je oduvijek cvao u pograničnim područjima.
Iz sjećanja stanovnika saznajemo jednu od anegdota, o tiramoli (konop na koloturima) pomoću koje je nonić prebacivao švercanu robu s jedne na drugu obalu Rječine (Rječina je bila granica), a sam je prelazio praznih ruku na graničnom prijelazu. Njegova je supruga (nona) gazila kroz vodu Rječine s narančama koje je vezala po tijelu. Naranče su bile cijenjena roba na jugoslavenskoj strani. Uvjerljivost anegdotama daje i govor intervjuiranih – drenovska i pašćanska čakavština.

The society Without Borders was founded with the aim of establishing the Drenova Heritage Museum, which should collect and process the tangible and intangible heritage of Drenova and its close region. The research project Nonićeva tiramola (2013) was based on a reconstruction of smuggling paths based on the testimonies of inhabitants of Rijeka’s neighbourhoods of Drenova and Pašac. Through an interactive map, a film record in the form of an interview and documentary material, it analyses smuggling along the Italian-Yugoslav border in the 1920s and the 1930s. Drenova was, as a metaphor for the city of Rijeka, in the last century forcefully divided in Upper and Lower Drenova. The citizens found alternative ways of earning money, fighting for survival. An important part of the new economy was smuggling, which has always blossomed in the bordering areas. From the people’s memories we learn one anecdote, about a tiramola (a string on a sheave) used by an old man to transfer smuggled goods to the other side of the Rječina river (Rječina used to be the borderline), while he himself crossed the border point empty-handed. His wife crossed the river with oranges tied all around her body. Oranges were considered precious goods on the Yugoslav side. The authenticity of these anecdotes is highlighted by the interviewed people’s language – ča dialect from Brenova and Pašac.

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Udruga “Bez granica” – Nonićeva tiramola, 2013.

Photo by Robert Sošić


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

smuggling logo_krugMuseum of modern and Contemporary Art

22/10 – 4/12/2013, Opening: 7 pm

Exhibition > Museum of modern and Contemporary Art & Mali salon

22/10 – 4/12/2013, Opening: 7 pm

Symposium > 23 – 24/10/  > Astronomical Center Rijeka

Sveti Križ Hill 3 km from the Rijeka city centre

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

Performance 24/10 at 7 pm

Krešo Kovačiček & associates: Tobacco Standard
Terminal, Railway bridge, 24/10 at  7 pm

Exhibition > Mali salon, 14/11 – 4/12/2013

Janez Janša, Janez Janša, Janez Janša, opening at 7 pm

Art kino Croatia > 18. – 20/11 at 8.30 pm, documentaries

18/11 Moja granica, authors: Nadja Velušček i Anja Medved
19/11 Raskršća željezne zavjese, author: Robert Tasnádi
20/11 Ariel, authors: Ivo Deković, Igor Kirin, Nikola Ukić

The project continues in 2014 in the Municipal Museum Idrija (Slovenia) and Trieste Contemporanea (Italy)




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