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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”

Cristiano Berti – Iye Omoge, 2005. – 2006.

Foto serija Iye Omoge (2005. – 2006.) poslužila se izrazom iz jezika Edo, kojim se najčešće služe nigerijske seksualne radnice na talijanskim ulicama. Izraz se može prevesti ili kao „starija žena koja se ponaša kao djevojčica“ ili kao „majka djevojčice koja voli izgledati i odijevati se dobro“. Riječ je o afričkom nazivu za trećerazredni dio jedne torinske avenije. Ondje su radile žene u tridesetima koje su za sobom u Africi ostavile djecu. Djevojke koje su stajale na početku avenije, u područjima prvog i drugog „razreda“, ismijavale su ih i nazivale Iye Omoge. U „razrede“ su se odlučile podijeliti same žene. Kada je ulica zatvorena za promet noću, 2001. godine, Afrikanke su napustile područje i navike koje su definirale ovaj mikrokozmos, a Iye Omoge postao je jezični fosil. Ponovnim oživljavanjem ove priče Berti želi razmotriti ulogu sjećanja i njegov odnos s urbanim okolišem.

Photo series Iye Omoge (2005 – 2006) appropriates an expression used in Edo, the most common language spoken by Nigerian sex workers on the streets of Italy. The expression can be translated either as “an older woman who behaves like a young girl” or “the mother of a girl who likes looking good and dressing well”. It was the African name for the third class section of an avenue in Turin. There worked women in their thirties, who had left their children in Africa. The young girls who stood at the beginning of the avenue, in the first and second class sections, were making fun of them calling them Iye Omoge. It was the women themselves who decided the partition in “classes”. When the street was closed off to traffic at night, in 2001, the African women left the area and abandoned the habits that had defined this microcosm, transforming Iye Omoge in a linguistic fossil. By bringing this story to light once more, Berti wants to reflect on the role of memory and its relationship with the urban environment.

bertiberti3

Cristiano Berti – Iye Omoge, 2005. – 2006.

Photo by Robert Sošić


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”