itnost je nametnuti oblik vremena, ali i poziv na budnost.
U stanju hitnosti prisutan je osjećaj da smo out of time, da nema vremena ni odgode. U isto vrijeme, paradoksalno, percepcija vremena se ekspandira i sjecka do najsitnijih dijelova, nanosekunda koje postanu fraktalni beskraj. Rastvara se unutrašnjost vremenskog stroja, koji uostalom već odavno i nije mehanički, simbolička preslika univerzalne vrtnje, nego njen elektronski prijevod u liniju sastavljenu od nula i jedinica.
Hitnost, dakle, nema veze samo s brzinom reakcije, već i s promjenom u percepciji vremena.
Iako se za nju možemo unaprijed pripremati, planirati i razraditi procedure, iskustvo takvih reakcija upućuje na prostor sinkroniciteta, koincidencije ili gubljenja kontrole, volje ili apatije. Adrenalin trenutno povećava snagu, percepciju i intuiciju. Dok gasimo vatru otvara se neki drugi prostor u nama, snaga ljudskosti, zajedništva, empatije. Odjednom znamo da nismo sami.
Temu ovodišnjeg Almissa Open Art Festivala predložila sam još prošle (2019.) godine. U međuvremenu nas je imperativ hitnosti sustigao, gotovo i prestigao, njena prisutnost u svakodnevnici postala je očigledna. Izvanredno stanje i hitnost oduvijek su bili dio suvremenosti, 1940. godine W. Benjamin u svojoj osmoj Tezi o filozofiji povijesti piše: »Tradicija potlačenih uči nas da “izvanredno stanje” u kojem živimo nije iznimka, nego pravilo.«1 Izvanredno stanje koje je sada samo prekriveno hitnošću pandemije. Namjera je ovogodišnje Almisse portretirati ovaj globalno nametnuti koncept, njegove implikacije u suvremenosti i u našim životima te neizvjesnost kao polugu strategija političke i ekonomske manipulacije.
Eksperiment izolacije i iskustvo izvanjske tišine, omogućili su usmjeriti pažnju na unutrašnje prostore trajanja. Istovremeno se, kroz virtualne prozore, dogodilo ubrzanje i nezaustavljivi prodori izvanjskog. Sada još više nego ranije, u virtualnoj povezanosti i fizičkoj udaljenosti, javno zadire u privatni prostor na novim razinama. Drukčiji ritmovi i percepcije vremena, suprotne i konfliktivne temporalnosti postale su duboko osobno iskustvo: usporavanja, ubrzavanje, čekanje rezultata, vrijeme bolesti i neizvjesnosti, iscrpljenosti, nemogućnost projekcije budućnosti.
Više nego ikada prije hitnost nekih drugih postala je i naša, jasno nam ukazavši na povezanost svih na jedinoj nam planeti. Kao da je ovaj chiaroscuro scenarij osvijetlio i naglasio sjene prašine nagomilane ispod tepiha.
Već dugo smo svjedoci raspadanja tkiva na svim razinama. Zdravstvena kriza bila je već itekako pripremljena ekološkom krizom i klimatskim promjenama te izrabljivanjem prirodnih resursa, uključujući i ljudske. Iako je zaustavljanje aktivnosti na trenutak zamrzlo sliku sunovrata, po svemu sudeći ovaj virus je i posljedica narušenih ekoloških sustava u doba Antropocena. Nevidljivi virus je na jedan trenutak zaustavio mašineriju, i osvijestio povezanost, fragilnost, kao i emancipacijsku snagu ranjivosti. Ali, osvijetlio je i bolno oštar reljef nejednakosti.
Simptomi kronične bolesti modela neoliberalnog kapitalizma postali su vidljiviji: rastuće siromaštvo i nejednakost; nefunkcionalnost tržišnih modela zdravstva; rasizam i ksenofobija; nasilje prema najugroženijima – poput žena, osoba starije životne dobi, izbjeglica i migranata; porast nacionalizma i populizma, perfidnih oblika kolonijalizma, turizma - autizma svijeta, gentrifikacija gradova koja guta javne prostore i zajednice.
Budućnost može postati zastrašujuća distopija uz duboke socioekonomske probleme, prijetnja tehno(loškog)totalitarizma koji se naslanja na već prethodno uspostavljene dinamike kontrole i abolicije slobode. Voda nam je do grla, odavno je za sve prekasno, ali prekasno je i za odustajanje. Imamo li plan za jučer? Kako se može pripremiti teren (pa makar od jednog metra kvadratnog) da ne dopustimo povratak na staro sutra?
Almissa Open Art ulazi u svoje 11. izdanje, koje smo preimenovali u broj hitne službe 112, kako bismo naglasili dvije stvari – seciranje koncepta hitnosti, ali i mogućnosti umjetnosti da dijagnosticira i pokreće procese u pulsirajućoj sadašnjosti. Jean-Marie Gustave Le Clézio predviđa da ćemo »jednog dana možda saznati da nikada nije postojala umjetnost, već samo medicina.«2
Kroz intervencije, akcije, performanse i projekcije te druge hibridne forme obraćat ćemo se publici, slučajnim prolaznicima grada Omiša, govoriti glasno i šaptati o disfunkciji svijeta, tražiti nove smjerove kretanja, izazvati postojeće strukture. Dovesti u odnos umjetničke prakse direktne akcije u javnom prostoru i poetično guranje granica vremena, neophodno, uzaludno, suludo,
2 Le Clézio, Jean-Marie Gustave u Deleuze & Guattary, Što je filozofija?, Sandorf & Mizantrop, Zagreb, 2017. str. 134.
salto mortale koji može promijeniti redoslijed, alterirati sustav koji kolabira na konkretnim i nevidljivim razinama, kolektivno, individualno i potkožno.
Ovogodišnja Almissa će »pozvati na ponovno osvajanje osobnog prostora, ali i zajedničkog javnog prostora grada»3 , upućivati na brižnost kao oblik otpora i »solidarnost kao nužni preduvjet razvoja zajednice«4 . Upozorit će na sužavanje osobnih sloboda, na privremenost kao stalnost, nepouzdanost oslonca i izvjesnost lavine kao metaforu vremena koje živimo.
Uvjerena sam da umjetnost kao polje senzibiliteta i solidarnosti može pridonijeti kulturi nježnosti i jačanju spona koje nas drže zajedno. Osjećaju zajedništva, »novog čulnog tkanja u kojem prozaične aktivnosti stiču poetsku dimenziju preko koje stvaraju jedan zajednički svijet«, ono što Rancière naziva »preraspodjelom osjetilnog«.5
U doba hitnosti, čini se još važnijim, kako kaže Rancière, da se pitanje odnosa estetike i politike podigne na ovu razinu, razinu osjetilnog razgraničenja onoga što je zajedničko zajednici, oblika njezine vidljivosti i organizacije.6 Možda je upravo u vremenu kada hitnost nadglašava suvremenost, moguće anticipirati novo tkanje zajednice?
3 Iz izjave autorice ANE Elizabet
4 Iz izjave autorice Božene Končić Badurin
5 Rancier, Jacques. Politike vremena, Novi osvrt na modernost, Sveska br.6, mjesto izdavanja i godina str. 7
6 Rancière, Jacques, 2004, The Politics of Aesthetics, Distribution of the sensible, London, New York, Continuum International Publishing group. str. 18 »The important thing is that the question of the relation ship between aesthetics and politics be raised at this level, the level of the sensible delimitation of what is common to the community, the forms of its visibility and of its organization.« Prijevod autorice teksta.
mergency is an imposed form of time, but also a call to awareness. In a state of emergency there is a feeling that we are out of time, that there is no time or delay. At the same time, paradoxically, the perception of time is expanded and splintered into its tiniest parts, nanoseconds that become a fractal infinity. The interior of the time machine is open wide, and at any rate, it stopped being mechanical a long time ago, the symbolic copy of universal rotation, but is instead its electronic translation into a line composed of zeros and ones.
Emergency is, therefore, not only related to the speed of reaction, but also to changes in the perception of time. Even though we can prepare for it in advance, plan and develop procedures, the experience of such reactions points to the space of synchronicity, coincidence or loss of control, will or apathy. Adrenaline instantly increases strength, perception and intuition. As we extinguish the fire, another space opens up within us, the power of humanity, community, empathy. Suddenly we know that we are not alone.
I proposed the theme of this year’s Almissa Open Art Festival as early as last year (2019). In the meantime, the imperative of emergency caught up with us, almost overtook us, and its presence in our everyday life became obvious. The state of emergency and urgency have always been a part of contemporaneity, as W. Benjamin writes in 1940, in his eighth Thesis on the Philosophy of History: “The tradition of the oppressed teaches us that the ‘state of emergency’ in which we live is not an exception but the rule.”1 The state of emergency that is now only concealed with the urgency of the pandemic. The intention of this year’s Almissa is to portray this globally imposed concept, its implications in contemporaneity and in our lives, as well as the uncertainty as a lever for strategies of political and economic manipulation.
The experiment of isolation and the experience of external silence, facilitated focusing of attention to internal spaces of duration. At the same time, an acceleration and an unstoppable penetration of the external happened through virtual windows. Now, even more than before, while being virtually connected and physically distant, there are new levels of public encroachment into private space. Different 1 Benjamin, Walter, Eseji, Nolit Beograd,
rhythms and perceptions of time, opposite and conflicting temporalities became a deep personal experience: slowing down, accelerating, waiting for results, time of illness and uncertainty, exhaustion, inability to project the future.
More than ever before, the emergency of others has also become ours, clearly demonstrating the interconnectedness of everything on our only planet. It is as if this chiaroscuro scenario illuminated and accented the shadows of dust accumulated under the carpet.
We have long been witnessing the breakdown of tissue on all levels. The health crisis has already been well-primed by the ecological crisis and climate change, as well as the exploitation of natural resources, including those human. Even though the halting of activities momentarily froze the picture of the downturn, it is very likely that this virus is also the consequence of disturbed ecological systems in the Anthropocene era. For a moment, the invisible virus stopped the machinery, and brought connectivity, fragility, as well as the emancipatory power of vulnerability to the fore. But it also threw inequality into painfully stark relief.
Symptoms of the chronic model of the neoliberal capitalist disease became more visible: growing poverty and inequality; the dysfunctional business model of healthcare; racism and xenophobia; violence against the most vulnerable – such as women, the elderly, refugees and migrants; the rise of nationalism and populism, perfidious forms of colonialism, tourism – autism of the world, the gentrification of cities that is swallowing public spaces and communities.
The future could become a terrifying dystopia with deep socioeconomic problems, the threat of techno(logical)-totalitarianism that relies on already established dynamics of control and the abolition of freedom. We find ourselves neck-deep, it has long been too late for anything, but it is also too late to give up. Do we have a plan for yesterday? How can we prepare the terrain (even if it is only one square metre in size) without allowing for the return of the old tomorrow?
Almissa Open Art is heading into its 11th edition, that we renamed as the number of the emergency services 112, in order to emphasize two things – dissecting the concept of emergency, but also the ability of art to diagnose and initiate processes in the pulsating present. Jean-Marie Gustave Le Clézio anticipates that “one day, perhaps, we will find out there was no art, but only medicine.”2
2 “Jednog dana ćemo možda saznati da nije postojala umjetnost, već samo medicina.”, Le Clézio, Jean-Marie Gustave u Deleuze & Guat tary, Što je filozofija?, Sandorf & Mizantrop, Zagreb, 2017. p. 134.
Through interventions, actions, performances and projections, as well as other hybrid forms, we will address the public, accidental passers-by in the town of Omiš, speak loudly and whisper about the dysfunction of the world, try to find new directions of movement, and challenge the existing structures. To relate artistic practices of direct action in public space and the poetic pushing of the limits of time, the necessary, unhinged, insane, the somersault that could might the order, alter the system that is collapsing on concrete and invisible levels, collectively, individually and subcutaneously.
This year’s Almissa will “call for the recapturing of personal space, but also the common public urban space”3, pointing to care as a form of resistance and “solidarity as a necessary precondition for community development”4. It will caution against the narrowing of personal freedoms, temporality as permanence, the unreliability of support and the certainty of an avalanche as a metaphor for the times we live in.
I am convinced that art as the field of sensibility and solidarity can contribute to the culture of tenderness and strengthening the bonds that hold us together. To the feeling of community, “a new sensory fabric in which prosaic activities acquire poetic dimension through which they create a common world”, which Rancière calls “redistribution of the sensory”.5
In the time of emergency, it seems even more important, as Rancière says, that the question of the relationship between aesthetics and politics be raised at this level, the level of the sensible delimitation of what is common to the community, the forms of its visibility and of its organization.6 Perhaps it will be possible, precisely at the time when emergency is overriding contemporaneity, to anticipate the new fabric of community?
3 From the artist’s statement - ANA Elizabet
4 From the artist’s statement- Božena Končić Badurina
5 Rancier, Jacques. Politike vremena, Novi osvrt na modernost, Sves ka br. 6, mjesto izdavanja i godina p.7
6 Rancière, Jacques, 2004, The Politics of Aesthetics, Distribution of the sensible, London, New York, Continuum International Publishing group. p. 18
Rad funkcionira kao totem koji izvodi ples oko svoje osi uz pomoć vjetra koji puše s Jadranskog mora. Doslovna „Zastava sutrašnjice“ predstavlja vrata kroz koja se ulazi u unutarnju percepciju onoga što se događa sada na putanji modernih društava, u ovom kritičnom trenutku ljudske povijesti. „Zastava“ je ostatak današnjeg ponosa i spomenik pepela sutrašnjice. Inspirirana je slikom “The Triumph of Death” Pietera Bruegela, 1562. – 1563. Rad je oltar posvećen trenutnom izvanrednom stanju i hodočašće prema nikad završenom pitanju: Kamo idemo?
The work functions as a totem that performs a dance around its axis with the help of the wind blowing from the Adriatic sea. The literal ‘Flag Of Tomorrow’ represents a gate through which one enters the inner perception of what is happening in the trajectory of the modern societies today, In this critical moment in human history. The ‘flag’ is a leftover of today’s pride and as a monument of the ashes of tomorrow. Inspired by: Pieter Bruegel’s painting – “The Triumph of Death” 1562 – 1563. The work is an altar dedicated to the current state of exception and a pilgrimage to the never-ending question: Where’re we going?
Ograđivanje prostornih segmenata javnog prostora kao simbolička i performativna gesta privremenog zauzimanja; naznaka privatizacije. Participativna radna akcija je kolektivni fizički rad u javnom prostoru određen radnom normom. Tijela radnika/ performera podređena su fizičkim karakteristikama objekata i radnoj normi/koreografiji.
Tragovi u javnom prostoru upućuju na izvršen rad, ali i na rad u tijeku. Osnovna jedinica rada: zid sagrađen od palete cigala okvirnih dimenzija 5 metara.
Radna akcija: pronošenje i instalranje cigala iz završnog stupca zida na suprotan kraj zida.
Enclosing the spatial segments of public space as a symbolic and performative gesture of temporary occupation; an indication of privatization. The par ticipatory working action is a collective physical work in public space determined by the labour standard. The bodies of workers/performers are subordinated to the physical characteristics of the objects and the labour standard / choreography.
Traces in public space indicate the completed work, but also the work in progress. Basic unit of work: a wall built from the pallet of bricks measu ring approximately 5 meters.
Working action: carrying and installing bricks from the final column of the wall to the opposite end of the wall.
Ovaj slogan je izveden iz drugog događaja. Nažalost, to je bila konstatacija i proročanstvo, a sada možda stvarnost. Prvo je bio ispisan na šatoru i propitivao je Documenta u Kasselu. Izazvao je ljutnju i polemike ali i podršku. http://www.emergencyrooms.org/documenta_ kassel.html
Suvremena umjetnost sa svojom sposobno sti odgode hitnih problema je polako uronjena u drugu krizu. U svom sadašnjem obliku nije se u stanju nositi s izazovima hitnih slučajeva.Bez obzira želi li to „suvremenost“ ili ne hitni sluča jevi guraju njena vrata (ili ih zatvaraju) remete ći njenu sigurnu izolaciju od vanjskog svijeta. Prijetnje rastu i suvremenost ne može ostati indiferentna i ignorirati ih (ili simulirati brigu o njima). Umjetničke institucije koje izlažu samo odgođenu umjetnost ignorirajući hitne slučajeve koji se događaju SADA trebale bi biti solidarne s patnjom koja ih okružuje i preispitati svoje uloge i odgovornost prema zajednici. Međutim, riječi izvanredno stanje i hitnost su također postale proizvod koji sada često koriste organizatori događaja kako bi stvorili iluziju brige i emociju koja se može iskoristiti u svrhu zarade. Dakle, jedan od hitnih slučajeva je i spriječiti zloupora bu te riječi i procijeniti ono što je najvažnije. Od 1988. g. bavim se hitnim umjetničkim formatima: www.emergencyrooms.org/formats.html
This slogan has been rewritten in different occa sions. Sadly, it was a constatation and a predicti on, now maybe a reality. It was written first on a tent to question Documenta Kassel. It generates some irritations and debates but also support http://www.emergencyrooms.org/documenta_ kassel.html
Contemporary art with its delay capacity of tackling emergencies is slowly submerged with different crisis.
Contemporary art (as it exists now) cannot tackle the challenges of the emergencies. Whether “contemporary“ wants it or not the emergencies are pushing its doors (or closing them) disturbing its safe isolation from the outside world. The threats are growing and the contemporary cannot remain indifferent and ignore the threats (or simulate caring about them). Art institutions showing exclusively delay art ignoring the emergencies in the NOW should show solidarity with the suffering surrounding them and rethink their roles and responsibilities to the community. However, the word emergency and urgency has also become a product that is also now often used by event makers to give an illusion of caring and to create an emotion that can be used for profit. So, one of the emergencies is also not to misuse the word but to rank what is the most important. I have been working since 1988 on emergency art formats: www.emergencyrooms.org/formats.html
Odabrana lokacija prostorne intervencije je fasada Doma zdravlja u Omišu koji je ujedno i fokus rada. Zgrada je realizirana prema projektu arhitektice Zoje Dumengjić u periodu od 1957. do 1959. godine, u vremenu u kojem se u zdravstvo puno promišljenije ulagalo zbog visoko razvijene socijalne svijesti u društvu. Od tog vremena do danas gradska populacija je gotovo udvostručena a prostorni zdravstveni resursi ostali su nepromijenjeni. U medjuvremenu zgrada je doživjela je vrlo lošu obnovu koja je dobrim dijelom poništila vrijednosti izvornog projekta. Putem arhivskog materijala detektiran je element arhitekture koji je ostao nepromijenjen. Na njega se napinje crveno platno koje ističe izvornu arhitektonsku proporciju i misao.
The location chosen for the spatial intervention is the façade of the Health Centre in Omiš, which is also the focus of the work. The building was designed by architect Zoja Dumengjić in the period from 1957 to 1959, a time when much more deliberate investments were made into the healthcare system as a result of the highly developed social awareness. Between then and now, the city’s population has almost doubled and the spatial healthcare resources remained unchanged. In the meantime, the building has undergone a very poor renovation that has largely nullified the values of the original project. An element of architecture that remained unchanged was detected through archival material. A red canvas is stretched over it, emphasizing the original architectural proportion and idea.
Okosnicu zajedničkog rada čine pokretna ambulantna kola / kombi na kojem je sa obje strane apliciran znak crvenog križa i natpis Almissa Emergency. Za trajanja AOA u ambulantnim kolima koja kruže ulicama Omiša, izvode se dvije performativne intervencije:
1/ Sa razglasa u vozilu pušta se audio zapis Nitko nije siguran, Zorana Pavelića. Audio zapis je snimka rečenice “Nitko nije siguran”, prevedene na 28-tak jezika, koju izgovora spiker sa Google translatera
2/ Tijekom vožnje ambulantnim kolima, Kata Mijatović u performativnoj intervenciju “Ovdje i Sada”, uz pomoć megafona čita slijedeći tekst: Pažnja! Pažnja! Upravo sada i upravo ovdje, nalazimo se na zemaljskoj kugli koja se okreće oko vlastite osi u dubokom, beskrajnom svemiru. Milijarde i milijarde zvijezda su oko nas, neke od njih su odavno mrtve, neke se upravo rađaju, neke od njih su crne rupe. Pažnja! Ispod nas je užarena lava. Tekst je preveden na engleski, talijanski i njemački.
The centrepiece of this collaborative work consists of a mobile ambulance unit/van, marked on both sides with the red cross sign and the inscription Almissa Emergency. Two performative interventions were staged in the ambulance driving around the streets of Omiš, for the duration of AOA:
1/ Zoran Pavelić’s audio recording Nobody is Safe, is playing from the loudspeaker. The audio track is a recording of the sentence “Nobody is Safe”, translated into around 28 languages, and spoken by the Google voice translator.
2/ During the ambulance ride, in a performa tive intervention “Here and Now”, Kata Mijatović reads the following text using a megaphone: Attention! Attention! Right now and right here, we find ourselves on a globe orbiting its own axis in a deep, infinite universe. Billions and billions of stars are around us, some of them are long dead, some are just being born, some of them are black holes. Attention! Below us is red hot lava.
The text has been translated into English, Italian and German.
Iz projekta “Pitanja gravitacije” (“Matters of Gravity”), svemirska kulturna misija devet umjet nika i jednog znanstvenika iz Meksika koji promi šljaju koncept gravitacije u njezinoj odsutnosti. Nakon dvije godina priprema, rad je nastao tije kom leta u bestežinskom stanju u Centru za obuku kozmonauta Yuri Gagarin u Star Cityju u Rusiji. Na kultnoj letjelici Ilyushin 76 MDK.
Brzina kojom opažamo vrijeme u svakodnevnom životu ovisi o težini naših okolnosti. U bestežinskom stanju, dezorijentacija je prostorna i vre menska. Vrijeme prolazi neopaženo, stvarajući iluziju kratke vječnosti. Ako vrijeme doživljavamo kao entitet koji je sposoban izvršiti svoju volju, čak i definirati slučajnost događaja i onog što tek dolazi, tada je sila gravitacije njegov suučesnik u tome kako opažamo protok vremena. U odsustvu gravitacije, vrijeme se veže.
From the project “Matters of Gravity”, space cul tural mission of nine artists and one scientist from Mexico reflecting on the concept of gravity in its absence. After two years of preparations, the piece was produced during the zero-gravity flight at the Yuri Gagarin Cosmonaut Training Centre in Star City, Russia. Onboard the iconic Ilyushin 76 MDK.
The speed at which we perceive time in every day life depends on the gravity of our circumstances. In an environment of zero gravity, disorientation is spatial and temporal. Time passes by unnoticed, creating the illusion of a brief eternity. If we perceive time as an entity able to exercise its will, even able to define the randomness of events and what will come about, then the force of gravity is its accomplice in how we perceive the passage of time. In gravity’s absence, time binds itself up.
Sjedim u prostoru nasuprot TV monitora nadzirući direktan prijenos video nadzora samoga sebe.
Prostor se nalazi u bunkeru na tvrđavi Mirabela u Omišu sagrađen od strane fašista za vrijeme drugog svjetskog rata kako bi nadzirao kretanje na strateškoj poziciji Davidovog mosta koji povezuje dvije obale rijeke Cetine. Inverzno, sada objekt nadzora postaje prostor u kojem autor performativnim činom nadziranja samoga sebe sjedi pred CCTV kamerom u trajanju osam satnog radnog vremena. Preispitujući poziciju umjetnika u odnosu na pojam zaposlenja u suvremenom društvu. Što je to radno vrijeme umjetnika i koliko ono traje, kako se vrednuje i koliko cijeni, da li je uopće bitan umjetnički rad?
Ovaj rad je formalna referenca na rani rad Nam June Paika “TV Buddha” u kojem je skulptura Buddhe u tihoj meditaciji postavljena ispred TV monitora na kojem se video sustavom zatvorenog kruga prenosi njegova slika. Sam Paik tijekom izložbe “Projekt 74” u Kölnu 1974. godine, zauzima mjesto Buddhe i staje pred CCTV kameru i TV monitor. Kroz ovu referencu Meštrović se ponovno nadovezuje na početke video umjetnosti a istovremeno propituje sustave nadzora i kontrole ljudi, ograničenja slobode pod izgovorom sigurnosti za koje se suvremena tehnologija danas koristi.
I sit in the space opposite the TV monitor watching the live video surveillance transmission of myself.
The space is located in the bunker of the Mirabella Fortress in Omiš, built by fascists during World War II to monitor the movements at the strategic position of David’s Bridge which connects the two banks of the river Cetina. Inversely, the object of surveillance now becomes a space in which the author sits in front of a CCTV camera for eight hours during a performative act of placing himself under surveillance. Re-examining the position of the artist in relation to the notion of employment in contemporary society. What are the working hours of an artist and how long do they last, how is artistic work valued and what is it worth, is it important at all?
This work is a formal reference to Nam June Paik’s early work “TV Buddha” in which a sculpture of a Buddha in silent meditation is placed in front of a TV monitor on which a closed-circuit video system transmits its image. During the “Project 74” exhibition in Cologne in 1974, Paik himself took the place of the Buddha and stood in front of the CCTV camera and TV monitor. With this reference, Meštrović once again builds upon the origins of video art and simultaneously questions the systems of surveillance and control of people, the restrictions of freedom under the pretext of security for which modern technology is used today.
“Stilitas” je video kolaž koji pripada ciklusu “Kolaps” (Galerija Umjetnina Split, 2018.).
Nastao je u razdoblju COVID-19 zatvaranja (eng. lockdown). Riječ je o alegoriji o tjelesnoj i mentalnoj izolaciji, a inspiriran je filmom Luisa Buñuela Simón del Desierto, 1965.
Cijelo čovječanstvo prolazi kroz ovu oluju koju je izazvao nevidljivi neprijatelj, ali nitko nije u istom brodu, svatko plovi sam. To je odraz suvremenog društva, izolirani pojedinci koji žive svaki u svom svijetu. U ovom radu, Stilitasi su na neki način pri vilegirani likovi, zaštićeni i naoko sigurni i bez brige za druge, ali kao i ostali nisu slobodni i nemaju izlaza, žive u neizvjesnoj sadašnjosti i otkazanoj budućnosti. Ljudski rod će morati naučiti živjeti ne u novoj normalnosti već u novoj stvarnosti.
“Stilitas” is a video collage that belongs to the “Kolaps” series (Museum of Fine Arts Split, 2018).
It was created during the COVID-19 lockdown period. It is an allegory of physical and mental isolation, inspired by Luis Buñuel’s film Simón del Desierto, 1965.
All of humanity is going through this storm caused by an invisible enemy, but no one is in the same ship, everyone is sailing alone. It is a reflection of contemporary society, isolated individuals living each in their own world. In this work, Stilitas are in a way privileged characters, protected and seemingly safe and without caring for others, but like many others they are not free and have no way out, they live in an uncertain present and a can celed future. The human race will have to learn to live not in the new normal but in the new reality.
Dionica Jadranske magistrale Omiš – Split poznata je po neadekvatnoj protočnosti prometa, posebno tijekom turističke sezone. Dok se promet povećava iz godine u godinu, Magistrala ostaje jedini direktni cestovni pravac koji povezuje ta dva grada. Lokalnom stanovništvu, ali i turistima, život bi olakšala brza cesta, čija se izgradnja najavljuje desetljećima. Apsurd nerješavanja tog bitnog problema naglašen je bizarnim tunelom (koji je predviđen za izgradnju mosta omiške obilaznice), tj. rupom u stijeni iznad Omiša koja već godinama vodi „iz ničega u ništa“.
Onome tko zapne u višekilometarskoj koloni, percepcija vremena iskrivljava se – ono što inače traje dvadesetak minuta, može potrajati višestruko duže. Betonska kolona automobila, pored naglašavanja agonije nepomičnosti usred prometnog kolapsa, nadovezuje se i na preizgrađenost Dalmacije. Vozila postaju statična poput betonskih kuća koje uokviruju Magistralu...
The Omiš – Split section of the Adriatic Highway is well known for inadequate traffic flow, especially during tourist season. As traffic keeps increasing year after year, the Highway remains the only direct road connecting the two cities. For decades, the construction of an expressway has been announced, which would make life easier for the local population, but also for tourists. The absurdity of not resolving this important problem is emphasized by a bizarre tunnel (intended for the construction of the Omiš bypass), i.e. a hole in the rockface above Omiš that has been leading from “nothing to nowhere” for years now.
For those who get stuck in a kilometres-long traffic jam the perception of time gets distorted – what would normally last about twenty minutes can take much longer. In addition to emphasizing the agony of immobility in the midst of a traffic collapse, the long line of cars on the concrete road also refers to the overdevelopment of Dalmatia. The vehicles become as static as the concrete houses framing the Highway…
Rad je intervencija u nađenom objektusatu. Umjesto brojeva napisao sam tekst: everything is going to be a memory. U vrijeme nastanka rada bio sam okupiran izložbom s temom vremena, strukturom vremena, subjektivnim doživljajem vremena... Dogodila se interesantna slučajnost da je prilikom izrade rada sat stao i rad je prema mojem mišljenju dobio dodatnu dimenziju, odnosno postao boljim. Sat poziva na zaustavljanje na čitanje teksta. Sve će postati sjećanje, sve je jednako važno, svaki moment treba doživjeti. Osim toga rad se referira na digitalno doba. Moguće je zamisliti da će ljudi u budućnosti biti kolekcija sjećanja. Možda će u tom smislu biti besmrtni hologrami kao u nekom futurističkom filmu. Ideja da se rad postavi u zgradu gradske uprave, na odmorištu na stepenicama nije moja nego kustosice Neli Ružić. Ideja mi se svidjela, a sama činjenica da ideja nije moja otvara prostor za drugačije iščitavanje rada. Prihvatio sam slučajnost i tuđu ideju i u tom smislu svoju poziciju značajno pomaknuo. I ranije sam promišljao ideju da se bavim tuđim idejama, a ovo vidim kao priliku da takvo nešto i realiziram. Na mjesto postojećeg sata postavit će se rad koji se u tom slučaju može iščitati i nešto prizemnije. Ljudi iz ureda i gradonačelnik svakim pogledom na sat bude svijest o prolaznosti sebe i gradonačelnikovog mandata.
The work is an intervention into the found objectclock. I replaced the numbers with the text: everything is going to be a memory. At the time of creating this work, I was preoccupied with an exhibition dealing with the topic of time, the structure of time and the subjective experience of time … An interesting coincidence happened as the work was being created, the clock stopped and, in my opinion, the work acquired an added dimension and it actually became better. The clock invites us to stop and read the text. Everything is going to be a memory, everything is equally important, every moment has to be experienced. Besides, the work refers to the digital age. It is possible to imagine that in the future people will become a collection of memories. Maybe in that sense they will become immortal holograms like in some futuristic movie. The idea to instal the work in the city hall building, on the landing steps is not mine, but curator Neli Ružić’s. I like the idea, and the very fact that the idea was not mine opens the space for a different reading of the work. I accepted the coincidence and someone else’s idea and, in that sense, I moved my position significantly. I have previously considered working with other people’s ideas, and I see this as an opportunity to create something along those lines. The work will be installed in the place of an existing clock, and in this case, it can be read as something more pedestrian. Each time they glance at the clock, people from the office and the mayor should be aware of their own transience and that of the mayor’s mandate.
U video radu, “Centro di Permanenza Temporanea”, središnje mjesto radnje je zračna luka u San Joseu u Kaliforniji. Mnoštvo ljudi kreće se prema ste penicama za ukrcaj u zrakoplov, u tišini, stoički. Dok oni formiraju red, mi promatramo polijetanje i slijetanje aviona u pozadini. Polako, stepenice se pune migrantima i migranticama. Njihova lica odražavaju čežnju za ostvarenjem humanog živo ta bez diskriminacije i kulturalnog iskorjenjivanja. Kamera polako kruži oko samostojećih stepenica i pritom izaziva sljedeću nedoumicu: Kamo leti ovaj zrakoplov?
U svom nazivu, video rad “Centro di Permanenza Temporanea” se referira na talijanski naziv za privremene kampove za ilegalne migrante koji tjedno pristižu na talijansku obalu. Jezično, primje ćujemo paradoks u značenju, napetost između privremenog i trajnog života, napetost koju Paci održava u ovom filmu, u kojem se muškarci i žene ukrcavaju u avion za nigdje. Oni ostaju zarobljeni između prolaznog i fiksnog, stanja koje odražava dislociranost migrantske populacije širom svijeta.
In his video, “Centro di Permanenza Temporanea”, the central setting is an airport in San Jose, CA. A crowd of people moves toward an aircraft boar ding staircase, in a silent, stoic manner. They form a queue while we can observe planes taking off and landing in the background. Slowly, the stairs fill up with migrant men and women. The peoples faces mirror their yearning for the fulfilment of a humane life without discrimination and cultural uprooting. The camera slowly circles around the free-standing staircase and, in doing so, elicits a subsequent perplexity: Where is this plane going?
In its title the video “Centro di Permanenza Temporanea” refers to the Italian name for the temporary camps for illegal immigrants arriving weekly on the Italian coasts. Linguistically, it offers up a paradox of meaning, a tension between a temporary and permanent existence, a tension that Paci maintains in this film, where men and women board a plane to nowhere. They remain trapped between the transitory and the fixed, a state which speaks to the dislocation of migrant peoples across the globe.
U radu “Što ova mladost ima zaboravit’?” s fotografija na gradskim plakatnim mjestima stanovnicima grada i festivalskoj publici kratkom izjavom ili pitanjem obraća se nekoliko Omišanki i Omišana starijih od 70 godina. S plakata nas gledaju nasmijani i mladi (fotografije su snimljene tijekom 1940ih i 1950ih) i šalju poruku kojom komentiraju sadašnjost, svoj trenutni socijalni status ili pak opisuju vlastitu perspektivu budućnosti u trenutku snimanja fotografije. Osobe starije životne dobi u hrvatskom društvu jedna su od najranjivijih društvenih skupina, najpogođenija siromaštvom, često socijalno isključena što je u okolnostima pandemije korona virusa samo još snažnije došlo do izražaja. Koristeći okvir Almissa Open Art Festivala ovaj rad nekoliko osoba starije životne dobi nakratko postavlja na vidljivo mjesto u javnom prostoru skrećući pažnju na potrebu jačanja međugeneracijskih veza i solidarnosti kao nužnih preduvjeta razvoja zajednice. Rad je ujedno i podsjetnik na potrebu sagledavanja starosti kao vrijednog društvenog resursa jer osobe starije životne dobi svojim životnim iskustvom i znanjem ne samo da mogu doprinijeti zajednici, nego to pohranjeno iskustvo može biti temelj za promišljanje mogućih razvojnih modela društva, pogotovo u kriznim vremenima.
In the work “What Does This Youth Have to Forget?”, several residents of Omiš, in their 70s, address their fellow citizens and the festival audience with a short statement or question, from photographs at urban poster locations. They look down at us from the posters, smiling and young (the photos were taken during the 1940s and 1950s), and send a message that comments on the present time, their current social status or they describe their own future prospects at the time the photo was taken. Elderly people are one of the most vulnerable social groups in Croatian society, most affected by poverty, often socially excluded, which only became more pronounced in the circumstances of the ongoing Coronavirus pandemic. Using the framework of the Almissa Open Art Festival, this work briefly positions several elderly people in a visible place in public space, drawing attention to the need to strengthen intergenerational ties and solidarity, as necessary preconditions for community development. The work is also a reminder of the need to consider old age as a valuable social resource because elderly people with their life experiences and knowledge can not only contribute to the community, but this accumulated knowledge can be the basis for considering possible models of social development, especially in times of crisis.
Rad “Dišeš?” svojevrsni je podsjetnik - pomagač s namjerom da makar na trenutak osvijetli, a isto vremeno i osvijesti, unutarnji prostor promatrača.
Pitanje je ujedno i poziv na budnost, prisutnost, preuzimanje odgovornosti i kreaciju vlastitog života.
Antireklama “Dišeš?” poziva na ponovno osvajanje osobnog prostora, ali i zajedničkog javnog prostora grada.
The work “Are You Breathing?” is a kind of remin der-aid with the intention of illuminating, and at the same time enlightening, the observers’ inner space.
The question is also a call to awareness, presen ce, taking responsibility and creating one’s own life.
The anti-advertisment “Are You Breathing?” calls for the reclamation of personal space, but also the common public urban space.
Radnja je smještena na gradskoj omiškoj plaži, točnije u moru na dubini od cca. 160170 cm. Prostor u kome se odvija performans je kvadratnog oblika cca. 5 x 5 m2, omeđen plutajućom zaštitnom ogradom. Izvođači, njih petnaestak, stoje u moru svečano odjeveni i ležerno ćaskaju uz pjenušac i kanapee koje konobar raznosi na pladnju. Žamor i smijeh miješaju se sa zvucima glazbe ljetnih terasa iz nekog prošlog vremena. Sa čašom u ruci i vodom do grla, gosti ovog svečanog okupljanja ničime ne odaju dojam da okolnosti u kojima se nalaze ne odgovaraju njihovu ponašanju. Prizor je začudan, iščašen, pomalo groteskan. O čemu se radi..? Što se slavi kada je voda do grla? Je li hinjeno ignoriranje činjeničnog stanja djetinji pokušaj zatvaranja očiju pred neželjenim sadržajem u nadi da će sve biti u redu kad ih se ponovo otvori? Ili odluka da se neizbježna katastrofa dočeka u svečanom tonu.. ili možda diverzija koja ukazuje na imperativ hitnosti kao jedne u nizu nametnutih poluga globalne manipulacije.
The action is set at the city beach in Omiš, more precisely in the sea at the approx. depth of 160 -170 cm. The space in which the performance is taking place is the square area of approx. size of 5 x 5 m2, enclosed by a floating guardrail. The performers, around fifteen of them, stand in the sea dressed in formal attire and casually chat over champagne and canapés that the wai ter is serving on a tray. Murmur and laughter mix with the sounds of music from summer terraces of some bygone era. With a glass in their hands and neck deep in water, the guests of this festive gathering do not give an impression that circum stances that they find themselves in are incompa tible with their behaviour. The scene is outlandish, distorted, somewhat grotesque. So what is going on here..? What is celebrated when the water is neck deep? Is pretending to ignore the facts just a childish attempt to shut one’s eyes to the things we don’t want to see in the hope that everything will be fine once we open them again? Or a deci sion to welcome the inevitable catastrophe in a solemn tone.. or perhaps a diversion that points to the imperative of emergency as one in a series of imposed levers of global manipulation.
edanaesto izdanje umjetničkog festivala Almissa u
Omišu kontekstualno je postalo sto i dvanaesto, naime, slijedeći ovogodišnju temu “Hitnost”, jedanaestici je pridodana dvojka, pa ispada broj hitne pomoći.
Kustosica Neli Ružić prilikom otvorenja kaže da je na ideju došla još lani, prije globalne prijetnje, pa bi se moglo reći kako su okolnosti poluopsadna stanja na neočekivan način nažalost potvrdile, štoviše, inaugurirale hitnost kao ključnu dimenziju stvarnosti.
Jedni tvrde da se alarm već mnogo puta oglasio i da je odavno za sve već prekasno. Drugi misle da nas takva spoznaja prati otkad znamo za sebe, da ćemo smak svijeta upravo mi doživjeti. Nasuprot tome, treći smatraju da je tek subjektivni doživljaj nas trenutno postojećih kako ovaj puta uistinu nema više vremena. Scenarij nas sve iznenađuje, preskače po tri stepenice odjednom, opasnost je stvarno globalnih razmjera, ovakav slučaj još stvarno nismo imali i stvarno ga hitno treba riješiti.
Voditelj Almisse Vice Tomasović, pod pritiskom regula koje ne preporučaju okupljanja, odustaje od uobičajenih modela javnog oglašavanja programa, najava događanja i slično, prebacuje ih na društvene mreže, a intervencije ili izvedbe u javnom prostoru se pojavljuju po principu pop-up-a. Međutim, o svim se nastupima rade reportažni prilozi, uključujući i autorske izjave, koji će biti dostupni na mrežnim stranicama festivala i na taj način omogućiti, ne samo Omišanima i njihovim gostima, nego i široj suvremenoj sceni uvid u realizacije. S jedne strane intervencije i izvedbe nenajavljeno, organski izranjaju iz gradskog tkiva, a s druge, njihova publika nisu samo slučajni prolaznici, nego su oni i njihove reakcije zajedno s radovima čimbenici onoga što potom, kao cjelinu, promatra buduća publika. Radovi jesu izvedeni i prepušteni svojoj sudbini, ali su se na ovaj načlin upisali u otvorenu knjigu suvremene umjetnosti.
Ako načas na stranu maknemo pandemiju, koja je na stranu maknula ostala goruća pitanja, hitnost bismo mogli protumačiti kao jednu od poluga današnjeg vremena. Bez obzira na to što smo zaključani unutra, u sebi i dalje hrlimo prema onome prema čemu i inače žurimo, i dalje u sebi osjećamo poriv da budemo sve brži, kao da se zemlja sve brže okreće i moramo uhvatiti korak, moramo biti suvremeni. I koliko god bili ažurirani neprestano
kasnimo, trčimo za onime što je odredilo sadašnjost, jer sve više imamo osjećaj da se ona negdje konkretno i određuje.
Stoga bi se taj ‘nametnuti’ model života autorski moglo interpretirati pozivom na akciju, izražavanjem nužnosti da se nešto učini, pomakne, da rad bude otponac koji će nešto promijeniti, izravno djelovati na negativne tendencije koje su i dovele do toga da je stanje hitno.
Druga bi mogućnost bila portret konteksta, demistifikacija tih razloga, prokazivanje elemenata, mehanizama ili modela današnjeg vremena kojima se ono služi da bi u nama izazvalo osjećaj hitnosti.
Poput svojevrsna uvoda, odnosno manifestnog postavljanja okvira u kojem bi se trebala potražiti pitanja što ih festival postavlja, već nas na Jadranskoj magistrali nešto prije ulaza u Omiš dočekuje jumbo plakat na kojem je rukom ispisano: “The Emergency Will Replace The Contemporary”, rad francusko danskog umjetnika Thierryja Geoffroyja Colonela.
Poluga se, dakle, pobunila, jedna od dimenzija vremena želi preuzeti kontrolu.
Rad Ale de la Puente “Un infinito” također je predstavljen odmah na početku programa. Ali nasuprot Colonelovom jumbo plakatu, njen je video postavljen u formalnom i simboličkom centru, u Galeriji muzeja grada Omiša, stoga ga također upisujemo u kategoriju javnih intervencija.
Video predstavlja klepsidru snimljenu u bestežinskom stanju, čime ne samo da se anulira hitnost, nego se na aspurdnoj razini dokazuje da bez sile teže nema niti vremena. Naš se doživljaj hitnosti ogleda u apsolutnim mjerama, što bismo mogli shvatiti i kao kustosku platformu festivala. Koja će se razvijati jednako na tragu tog koncepta, kao što će ispunjavati i prostor Omiša, poput ispunjavanja križaljke sa zadanim pojmovima. Pri čemu te dvije, naoko suprotstavljene, optike zapravo govore isto: kao što je pijesak izluđen nemogućnošću mjerenja vremena, tako je i suvremenost izluđena nemjerljivom hitnošću.
Gostoljubivost nalaže prvo predstaviti radove stranih autora. Osim danskog Francuza i Meksikanke, intervencijom u javni prostor predstavlja se i Kosovar Driton Selmani, instalacijom “Flag of Tomorrow”, smještenom na vrhu mula kod kampa Galeb. Na tankom metalnom nosaču, poput onoga za vjetrokaz, metalnim je slovima jednake debljine napisan naziv, u prijevodu: ‘zastava sutrašnjice’. Idealna lokacija, iza nje je more, a kad se dan ugasi, iza zastave nije ništa, ona je ‘at the end of the land’, iza
nje je samo sutra, odnosno sutrašnje jutro. Prijevod iz vizualna simbola u riječi efikasno je upozorenje, kao da je zastava nestala, kao da ju je današnjica spalila, ostao je samo njen kostur.
Video albansko talijanskog umjetnika Adriana Pacija, “Centro di permanenza temporanea” projiciran u crkvi Svetog Duha, predstavlja situaciju aerodromske piste na koju izlazi kolona ljudi. Oni se potom penju na stepenice koje vode do ulaza u avion, kojeg međutim, nema. U pozadini vidimo avione koje se kreću po pisti, uzlijeću ili slijeću, a ljudi i dalje čekaju. Izmjena totala, srednjih i krupnih planova sugerira narativne slojeve, univerzalnu i individualnu perspektivu, portret konteksta i poziciju pojedinaca u njemu. Uočavamo kontrast, to nisu lica uobičajenih avionskih putnika, nego onih s periferije svijeta, već i otvrdnulih teškim životom. Njihov izgled i ponašanje ne odgovaraju aerodromskoj situaciji, oni joj ne pripadaju, izvađeni su iz svog okruženja i stavljeni u sasvim drugačije. Izmiješteni iz autobusne stanice kakve južnoameričke provincije, pa kao i autobus na cesti, avion čekaju na pisti. Ili, izrezani iz svog života i stavljeni u video život, koji sugerira njihov budući život. Kao putnici kroz vrijeme koji su stigli iz prošlosti, no avion za budućnost ne dolazi.
Meksikanac Eric del Castillo, koji već desetak godina živi u Splitu i tek je porijeklom stranac, predstavlja se video radom “Stillitas”. Projekcija na plazmi preuzima format intervencije u javnom prostoru, situaciono je postavljena u usku kalu starog dijela Omiša, pa jednako pozicijom kao i sadržajem predstavlja neočekivani prizor prolaznicima (domaćim i stranim).
Riječ Stilitas označava redovnike koji su duže vrijeme provodili na stupovima u molitvi ili meditaciji.
Ispred ubrzane snimke oblaka, na vrhovima okruglih grčkih stupova se postupno pojavljuju protagonisti, reklo bi se, ažurirani redovnici: dječak s maskom na glavi, čovjek koji igra golf, jedan koji usisava pod, žena što prolazi kao na modnoj pisti, žena koja u meditativnom položaju čita knjigu... Proizlazi da su im svakodnevne aktivnosti meditacija. Video je višeslojan, snimka oblaka je ubrzana, stupovi su fotografija, a akteri u gifu ponavljaju jednu radnju. Portret odgovara stvarnosti, Zemlja se vratolomnom brzinom okreće, grčki stupovi su vječni, a ljudi poput mehaničkih kokoši stalno kljucaju isto. Nekadašnju religiju zamijenila je ona tržišna, neprijateljske bogove zamijenila je opća opasnost. No po prizoru sudeći ništa drugo se ne mijenja. Osim što svaka osoba na svom stupu poslušno odgovara okolnostima zaraze, ne može biti izoliranija.
Božena Končić Badurina također predstavlja instalaciju u javnom prostoru, točnije, uzurpira uobičajena oglašavačka mjesta u glavnoj ulici, gdje postavlja seriju od šest velikih plakata pod zajedničkim imenom “Što ova mladost ima zaboraviti?”. Plakatima dominiraju fotografije Omišanki i Omišana iz pedesetih godina prošlog stoljeća, snimljene, dakle, u vrijeme njihove mladosti. Osim fotografija, kako Cvjetanović kaže, ‘iz škafetina’, plakati donose i njihove pojedinačne izjave. One su izdvojene iz razgovora što ih je u razvoju projekta s protagonistima vodio Vice Tomasović. Ponekad nostalgične, ponekad ‘proročanske’, izgovorene u sadašnjosti i pridružene njihovim slikama iz prošlosti, preskaču period zrelosti poput vremenskog stroja. Na to se i odnosi naslovna izjava jednog od protagonista, kao da to pitanje iz vremešne dobi postavlja sasvim mladome sebi na fotografiji. Plakati privlače pozornost prolaznika, oni se zaustavljaju, prepoznaju, komentiraju, čak je i devedesetsedmogodišnja Katica došla pogledati postav i fotografirati se ispred svog izdanja iz mladosti.
Nešto niže u ulici Fošal, na boku starije trokatnice postavljen je i rad Ane Elizabet “Dišeš?”. Simulirajući format ulične reklame, neonskim, ili preciznije, argonskim, svjetlećim slovima ispisan je naziv. Iako format neonske reklame i vizualno oblikovanje podsjeća na logotip neke modne kuće ili slično, poruka je privatna, ne obraća se svima, nego svakome ponaosob. Iako je svjetlo snažno, pitanje je izgovoreno tiho. Iako je iz perspektive hitne službe to svakako prvo i najvažnije pitanje, na koje je bilo kakav odgovor spasonosna potvrda prisustva života, na prenesenoj se razini odgovor može shvatiti kao potvrda činjenice da smo svedeni tek na disanje. Da nije potrebno misliti da bi se postojalo, nego tek disati. Otklanjajući aluzije komercijalne agresije na razini elementarna postojanja, prevladava dojam intimnosti, sve je u redu, dišeš. Ta intimnost kao da se zadržava iako dignuta na razinu javne intervencije.
Pokretna jedinica pod imenom “Almissa Emergency” zajednički je projekt Kate Mijatović i Zorana Pavelića. Pokretna jedinica je kombi na kojem je, ispod crvenog križa, ispisan naziv akcije. Radi se o diptihu, njegov je format ready made, ali ne kao predmet nego kao kontekst, ne kao kombi, nego kao hitna. Pokretna jedinica prolazi Omišem, a iz megafona se jednog dana čuje Katin, a drugog dana Zoranov audio rad.
Pa se tako, dok kombi kruži gradom, iz megafona ori Katin glas: Pažnja! Pažnja! Upravo sada i upravo ovdje, nalazimo se na zemaljskoj kugli koja se okreće oko vlastite osi u dubokom, beskrajnom svemiru. Milijarde i milijarde zvijeza su oko nas,
neke od njih su odavno mrtve, neke se upravo rađaju, neke od njih su crne rupe. Pažnja! Ispod nas je užarena lava.
Proizlazi da postojimo na neizmjerno tankom pojasu između užarene magme i svemirskog beskraja. A po svemu sudeći neprestano ga sami stanjujemo. Čini se da to često zaboravljamo. Istodobno, upozorenje je zapravo anticipacija onoga čemu ‘hitna’ inače služi, posljedici.
Ono, međutim, što se iz Zoranove hitne čuje kao da dolazi iz nekog post festuma, trenutak nakon kataklizme. To više nije njegov glas, nego generički, Google prevoditelj glasnovno prevodi rečenicu ‘Nitko nije siguran.’ na dvadest osam jezika. Sve je propalo, svi su opasni. Na svim jezicima, da svi znaju.
Osim što bi se moglo reći kako se radi o interpretaciji mas medija koji nas drže u pokornosti plasmanom novih i novih opasnosti, taj zvuk simulira sirenu hitne pomoći, no ono što umjetni glas govori kao da dolazi iz vremena nakon sirene sveopće opasnosti.
Toni Meštrović izvodi performans “Samokontrola” u bunkeru ispod tvrđave Mirabella. Lokacija izvedbe prilično je važna, osim što je scenografija vizualno vrlo upečatljiva, ona je i narativno djelatna, razlog bunkera jest kontrola nekog područja, u ovom slučaju ima i povijesne konotacije, nadgledanje starog mosta iznad Cetine. No, umjesto uobičajene kontrole nad onime vani, sada se kontrolira ono unutra, odnosno ono unutar onoga koji se nalazi unutra. To je autor, on sjedi nasuprot monitoru koji uživo reproducira njegovu snimku dok sjedi ispred monitora, kao da nastoji ustanoviti kontrolu nad ‘monitorskim’ sobom, odnosno materijalizacijom onog drugog u nama, onog koji nas obično promatra iz ogledala.
Općoj se temi prilazi iz pojedinačne perspektive, ono što prethodi zajedničkoj akciji, što je zapravo već i njen dio, jest ona individualna, osobni je zadatak savladati neprijatelja u sebi, a neprijatelj je dobro maskiran, treba vremena da ga se prepozna, stoga performans i traje osam sati.
Trajanje aktivne meditacije nedvojbeno je odredio zadatak što ga naziv postavlja, no njime kao da se izražava i osobna odgovornost, odnosno odgovornost njega kao umjetnika, bez obzira na činjenicu da svijet od njegova posla možda i neće imati previše koristi, on ipak sjedi puno radno vrijeme.
Tehnologija izvedbe također je primjerena. Za razliku od uobičajenih Meštrovićevih multimedijalnih instalacija gdje sofisticirana tehnologija igra veliku ulogu, ovdje je ona
odgovarajuće jednostavna, analogna, izravna komunikacija između čovjeka i njegova medijska odraza.
Bojan Mucko i Vanja Babić izvode performans “Terenski rad” na molu što vodi prema svjetioniku, na kraju velike pješčane plaže. Izvedba traje četiri sata, oni uzimaju cigle s pripremljene palete i po sredini mola ih slažu u zid visine 150 cm, dužine 5 m. Gledajući iz perspektive zemljopisa terenski rad bi se mogao shvatiti kao kontinentalno gostovanje na mediteranu. Ili, kroz sociološku prizmu, kao novokomponirani suhozid. Međutim, dovršetak ciglenog suhozida na molu nije završetak izvedbe, ne radi se o tome da bi taj uzdužni zid trebao nešto rastavljati na dva dijela, niti predstavljati kakvu granicu, zato što je njegov dovršetak zapravo tek početak prave akcije. Bojan i Vanja ga tije kom četiri sata konstantno premještaju, uzimaju cigle s njegova kraja i pokreću ga prema naprijed. Nova konstrukcija dekonstru ira staru, svjedočimo procesu. Zid je moguće protumačiti i kao cilj i kao problem, a njihova djelatnost kao da se nadovezuje na onu Tonija Meštrovića. Dok on u punom radnom vremenu obavlja ono što bismo mogli nazvati umjetničkim poslom, kao uostalom i Mladen Stilinović u svom “Umjetniku pri radu”, Mucko i Babić prihvaćaju njegovu Sizifovsku prirodu, koju svojim fizičkim naporom potvrđuju, emitirajući pritom neku vrst opće empatije, primjerom pozivaju na zajedničku solidarnost. To im čak i uspijeva, prolaznici im krenu pomagati, žele dati svoj doprinos tom apsurdnom poslu.
U zgradi gradske uprave postavljen je rad Dine Bićanića “Everything Is Going to Be A Memory”. U stubištu, na mjestu gdje se ranije nalazio zidni sat, na čavao što je ostao u zidu, obješen je Bićanićev sat, formatom jednak onom prošlom, no umjesto brojeva ukrug brojčanika, u smjeru okretanja napisan je naziv. U čvrstu je vezu dovedena dimenzija sjećanja s feno menom vremena, čak bi se izjava mogla prebaciti iz futura u prezent, kao da ovoga trena, kroz nevidljiva vrata prezenta ulazi ono što se događa i postaje sjećanje. Na raspolaganju i imamo samo ono što je bilo.
Pa ako bismo pratili kazaljku za sekunde, kad ona napravi cijeli krug, došla je i na kraj rečenice, pa kao da su to komadići vremena koje jednog za drugim odlažemo u sjećanje. U tu vreću bez dna.
Kazaljka se, međutim, ne miče, vrijeme stoji i u svojoj nepomičnosti akumulira vrijeme u prošlosti, kao da se nalazimo u sadašnjoj budućnosti koja više nema što upisati.
S druge strane, sudeći po lokaciji, okolnostima uprave, administracije i slično, moguće se misli na zajedničku memoriju,
na arhivu koja onda uzima u obzir ipak veće cikluse, periode, i postavlja se pitanje kako će ta zajednička arhiva ovaj naš period okvalificirati. Pa i tko će taj njen posao kasnije provjeravati.
Zajednička se memorija, alias virtualna arhiva, neprestano puni sve brže, sve ide unutra, svi razgovori, svi prizori, sve ide u taj oblak. Ona je već toliko puna da nikakav arhivar ni približno ne može znati što sve čuva. Osjećamo li se ugroženima od mogućnosti da taj oblak pukne poput mjehura od sapunice, da zauvijek izgubimo memoriju?
Na Poljičkom trgu nalazi se Stup srama. Njegov okrugli, kameni postament Lana Stojićević iskoristila je kao postolje za svoju instalaciju “Kolona”, koja se sastoji od desetak identičnih maketa automobila izlivenih iz betona, poredanih ukrug. Instalacija se očito referira na ovu pravu kolonu, stotinjak metara dalje, na najuže grlo jadranske magistrale, na rijeku automobila na mostu iznad Cetine, koja za razliku od Cetine, više stoji nego ide. Stup srama u ovom slučaju simbolizira mjesto gdje bi se trebali naći oni koji već odavno ne uspijevaju riješiti taj problem, iako već tridesetak godina nešto grade.
Ako ideju rada izmaknemo iz lokalna značenja, generalno bismo mogli reći da fenomen kolone uključuje prisilno čekanje. Pa bi ju se čak moglo metaforički primijeniti na globalno stanje, zato što kolona obično i nastaje stoga što negdje ispred postoji rampa odnosno kontrola, nekakav punkt koji ovjerava prolazak.
Medij arhitekture, ponajprije period modernizma, već je desetak godina bitan u radovima Viktora Popovića. Kao inspiracija, sadržaj ali i njegovo oblikovanje. Ako tome pridodamo činjenicu da nekoliko većih izložbenih projekata posljednjih godina kao temu ili, preciznije kao materijal, uzimaju bolnicu, tada je posve razumljiv odabir modernističke zgrade Doma zdravlja Omiš kao lokacije njegove instalacije “Bez naziva”. Uzduž cijele zgrade na strani okrenutoj moru je terasa na koju se dolazi subištem sa strane što ga zgradi pridružuje nekoliko uzdužnih ploha, razdvojenih i postavljenih okomito spram zgrade. S unutarnje strane tih ‘pregrada’ postavljeno je veliko crveno platno, sasvim glatko, poput svile, a iza njega su dva crvena reflektora, pa cijeli bok zgrade postaje crven.
I u ranijim se radovima često pojavljivao crveni filter, što instalaciju priključuje već otpočetom nizu. A u ovom je slučaju posve prilagođeno temi hitnosti. Crvena boja već sama po sebi ima čvrste asocijacije, kad se upali crvena lampica, to znači da je mjera pređena, da se nalazimo u vrlo riskantnom prostoru,
zvučnici bi svakog trena mogli eksplodirati, benzina bi svakog trena moglo nestati. A kad je krajnja opasnost, onda se upali crveni alarm. Sada imamo crveni dom zdravlja.
I kad se zbroje crveni filter, svjetlosna instalacija, modernistička zgrada i odnos spram naslijeđa, dobili smo, reklo bi se, klasičnog Viktora Popovića. Ali i sto posto u funkciji festivala, dapače, to bi mogla biti njegova scenografija.
Festival završava, reklo bi se, svečanim, performansom “Voda do grla” Vlaste Žanić. Dvanaestak statista je u vodi do grla, u označenom kvadratičnom prostoru u moru nedaleko obale. Među njima prepoznajemo sudionike festivala, odjeveni su, daka ko, ponešto svečanije, muvaju se, čavrljaju i piju šampanjac što im ga voditelj festivala u ulozi konobara donosi. Voda im usporava kretnje pa se prizor doima poput usporena filma, kadar je izva đen iz nedefinirana vremena, glazba što se čuje priziva ambijent terasa tridesetih, no sudionici nisu kostimirani. Promatrajući taj morski party u kontekstu festivalske teme, ispada da je nešto odavno hitno trebalo poduzeti i taj je trenutak odavno prošao, kazna je donešena, a ovo je posljednja želja.
Pojavljuje se i asocijacija na Titanik, na elegantnu grupu s gornje palube koja se nije ni pokušala spasiti, potonuli su u svečanim odijelima sa šampanjcem u rukama. Već je i svim galebovima jasno da nam civilizacija tone kao Titanik, jedino što nema Ufovaca u ulozi Carpathie da spasi preživjele.
Iz svakog detalja zajedničke izvedbe izvire dekadencija, ekstravagantna situacija, polagano gibanje, staromodna glazba, poneki plesni korak, opuštena atmosfera, šampanjac, označava li omeđeni prostor svojevrsno izmišljeno područje gdje se umjetnici opuštaju, gdje se ne čuju glasovi stvarnosti? Zapravo ne, zato što specifične okolnosti simuliraju određenu dimenziju društva, sta tisti/umjetnici pojavljuju se u funkciji ogledala u kojem društvo može prepoznati tu dimenziju. Poput metaforičkog uprizorenja izjave Slavoja Žižeka: ‘Situacija je katastrofalna, ali nije ozbiljna’.
Osim toga, party bismo mogli nazvati dvostruko završnim, s obzirom na program festivala, ali i s obzirom na svoj sadržaj, dostojno opraštanje s vremenom koje je u međuvremenu, uka zom nadležnih, ukinuto.
Što se pak tiče Almisse Open Art 112, bez obzira što je hitnost na svjetskoj pozornici ostala jednako prisutna kao i prije, cjelokupnoj ekipi, uključujući organizatore, kustosicu, autorice i autore upisujemo plus u smislu vrlo kvalitetna pokušaja popravljanja ovog pokvarenog vremena.
Contextually, the eleventh edition of the Almissa Open Art Festival in Omiš became the one hundred and twelfth, given that, following this year’s theme of “Emergency”, number two was added to eleven, so it became the number for the local emergency services.
At the opening, curator Neli Ružić said that she came up with the idea last year, before the onset of the global peril, so it could be said that the circumstances of the partial lockdown unfortunately confirmed, in an unexpected way, and even inaugurated emergency as the crucial dimension of reality. Some say that the alarm has already been sounded one too many times and it has long since been too late do to anything. Others think that this awareness has been our constant companion for as long as we can remember, and that it is precisely us who will experience the end of the world. And thirdly, there are those who, in turn, believe that the notion we are now actually running out of time, is only our subjective experience. The scenario keeps surprising us, it keeps skipping three steps ahead, the danger is truly global, we have really not experienced anything like this before and the situation does require an urgent solution.
Pressured by the regulations advising against public gatherings, Vice Tomasović, director of Almissa abandoned the usual models of advertising the program, event announcements and the like, moved them to social networks, while the interventions or performances in public space happened on the principle of popups. However, all performances are recorded, including the artists’ statements, and made available at the festival’s website, thus providing insight into the realizations for, not only the residents of Omiš and their guests, but also the broader contemporary scene. On the one hand, the interventions and unannounced performances organically emerge from the urban fabric, and on the other, their audience are not just random passers-by, but they and their reactions, together with the works, become factors of what the future audience will then observe. The works were indeed performed and resigned to their own fate, but this way they were also inscribed in the open book of contemporary art.
If we set the pandemic aside for a moment, which relegated all other burning issues to the background, we could interpret emergency as one of the levers of our times. Regardless of the
fact that we have been locked inside, we are still chasing after the usual things, we still feel the urge to be faster, as if the earth is rotating at an increasingly rapid pace and we have to keep up, we have to be contemporary. And no matter how updated we are, we are constantly behind and keep chasing after that which determines the present, because we increasingly feel that it is being determined somewhere concrete.
This ‘imposed’ model of life could therefore be interpreted by the artist as a call to action, an expression of the need to do something, to move, to have a work of art be a trigger for change, to act directly on the negative tendencies that have led to the situation being urgent.
Another possibility would be a portrait of the context, a demystification of these reasons, a denunciation of elements, mechanisms or models of the present time, that it uses to evoke in us a sense of emergency. A billboard with a handwritten slogan: “The Emergency Will Replace the Contemporary” by the French-Danish artist Thierry Geoffroy Colonel, installed on the Adriatic Highway just before the entrance to the town of Omiš, greets us like an introduction of sorts, that is, a manifest establishment of the framework in which to look for questions that the festival raises.
The lever has, therefore, rebelled, one of the dimensions of time wants to assume control.
The work of Ale de la Puente “Un infinito” is also presented at the beginning of the program. But in contrast to Colonel’s billboard, her video is showcased in the gallery of the Omiš City Museum, a formal and symbolic centre, and it can also be included in the category of public interventions.
The video presents an hourglass shot in zero-gravity, which not only annuls the urgency, but it proves, on an absurd level, that there is no time without gravity. Our experience of emergency is reflected in absolute measures, which could also be understood as the festival’s curatorial platform. Which is going to develop equally in line with that concept, just as it will fill the spaces of Omiš, like a crossword puzzle is filled with given words. And these two, seemingly opposing, optics actually convey the same thing: just as sand is exasperated by the impossibility of measuring time, so contemporaneity is exasperated by the immeasurable emergency.
Hospitality dictates that the works of foreign artists be presented first. In addition to the aforementioned French Dane
and the Mexican female artist, Kosovar artist Driton Selmani is also presenting an intervention in public space titled “Flag of Tomorrow” situated atop the pier near Galeb Campsite. A thin metal support, similar to that of a weather vane, carries an inscription in metal letters of equal thickness that translates to: ‘flag of tomorrow’. It is ideally positioned, the sea its only background, and then as the day dims, there is nothing behind the flag, it is ‘at the end of the land’, behind it only tomorrow, that is, tomorrow morning. The translation from visual symbol into words is an effective warning, as if the flag had disappeared, as if today had burnt it, leaving only its skeleton behind.
The video of Albanian-Italian artist Adrian Paci titled “Centro de permanenza temporanea”, projected in the Church of the Holy Spirit, presents a situation where a line of people emerges onto an airport runway. They then ascend an aircraft boarding staircase leading to a plane that is, however, not there. In the background we see planes moving around the runway, taking off and landing, while the people continue to wait. The alternate use of long shots, medium and close-ups suggest narrative layers, a universal and individual perspective, a portrait of the context and the position of individuals in it. We observe the contrast, these are not the faces of ordinary air passengers, but of people from the global periphery, already hardened by difficult life. Their appearance and behaviour do not correspond to the airport situation, they do not belong there, they are removed from their environment and thrown into a completely different one. Displaced from a bus station in some South American province, and just like they would wait for a bus on the road, so they wait for a plane on the runway. Or, cut from their lives and pasted into a video life, which suggests their future life. As travellers through time who have arrived from the past, but the plane bound for the future is not coming.
Mexican artist Eric del Castillo, who has been living in Split for the past dozen or so years and is only a foreigner by birth, presents himself with the video work “Stilitas”. The projection on plasma display takes on the format of an intervention in public space, situationally positioned in a narrow alleyway in the old part of Omiš, thus representing, both with its position and content, an unexpected sight for passers-by (local and foreign).
The term Stilitas denotes monks who have spent long periods of time atop pillars in contemplation or meditation. In front of an accelerated recording of clouds, protagonists,
updated monks, as it were, gradually appear on tops of round Greek pillars: a boy with a mask on his head, a man playing golf, another one hoovering the floor, a woman passing by as if on a catwalk, a woman reading a book in a meditative position… It turns out that their daily activities are meditations. The video is multi-layered, the recording of clouds is accelerated, the pillars are photographs, and protagonists repeat the same action as in a gif. The portrait corresponds to reality, the Earth is rotating at breakneck speed, Greek pillars are eternal, and people like mechanical hens are constantly pecking at the same thing. Religions of the past are replaced by the market, and hostile gods are replaced by the state of emergency. However, judging by the scene, nothing else changes. Apart from the fact that each person on their pillar, obediently responding to the circumstances of the infection, cannot be more isolated.
Božena Končić Badurina also presents an installation in public space, more precisely, she usurps the usual advertising spaces on the main road, where she installs a series of six large posters under a collective title “What Does This Youth Have to Forget?”. The posters are dominated by photographs of women and men of Omiš from the 1950s, taken, therefore, during the time of their youth. In addition to the photographs taken from, as Cvjetanović says, “the drawer”, the posters also convey their individual statements. They were extracted from the conversations that Vice Tomasović had conducted with the protagonists during the project’s development. At times nostalgic, and then ‘prophetic’, uttered in the present and attached to their images from the past, they skip over the period of maturity like a time machine. One of the protagonist’s title statements even refers to this, as if his elderly self is asking this question of his younger self on the photograph. The posters draw the attention of passers-by, they stop, recognise, comment, even the ninety-seven-year-old Katica came to see the exhibition and had her photo taken in front of her younger self.
Ana Elizabet’s work “Are You Breathing?” is installed further down in Fošal Street, on the side of an ageing threestorey building. Simulating the format of an advertising sign, the inscription is written in neon, or more precisely, argon, illuminated letters. Although the format of a neon advertising sign and the visual design are reminiscent of some fashion house logo or the like, the message is private, it does not address everyone, but each person individually. Despite the fact
that the light is strong, the question is asked quietly. Although from the perspective of emergency services this is certainly the first and most important question, and any answer is a life-saving confirmation, figuratively speaking, the response can be understood as a confirmation of the fact that we have been reduced to just breathing. That it is not necessary to think in order to exist, but only to breathe. By removing allusions of commercial aggression at the level of elementary existence, the impression of intimacy prevails, everything is fine, you are breathing. This intimacy seems to be preserved even though it has been raised to the level of public intervention.
The mobile unit called “Almissa Emergency” is a joint project of Kata Mijatović and Zoran Pavelić. The mobile unit is a van marked with the red cross sign and the inscription Almissa Emergency underneath. It is a diptych, its format is readymade, not as an object but a context, not as a van, but as an ambulance. The mobile unit is driven around Omiš, one day Kata’s audio work can be heard over the loudspeaker and the next day the loudspeaker projects Zoran’s audio work.
So, as the van is circling the city, Kata’s voice booms through the megaphone: Attention! Attention! Right now and right here, we find ourselves on a globe orbiting its own axis in a deep, infinite universe. Billions and billions of stars are around us, some of them are long dead, some are just being born, some of them are black holes. Attention! Below us is red hot lava.
It turns out that we exist on an exceedingly thin strip between glowing-hot magma and cosmic infinity. And by all accounts, we are constantly making it thinner ourselves. We often seem to forget that. At the same time, the warning is actually an anticipation of what an ‘ambulance’ otherwise deals with, the consequences.
What is heard from Zoran’s ambulance, however, seems to come from a post festum, a moment after the cataclysm. It is no longer his voice, but a generic, Google voice translator recording of the sentence ‘Nobody is Safe’ in twenty eight languages. Everything has failed, everyone is dangerous. In all languages, for everyone’s information.
It could be said that the mass media interpretation keeps us obedient by constantly promoting stories of new dangers, but this sound also simulates an ambulance siren, and what the artificial voice says seems to come from a time after the siren of universal danger has been sounded.
Toni Meštrović stages the performance “Self-control” in the Mirabella Fortress’ bunker. The location of the performance is quite important, besides the stage set being rather striking visually, it is also narratively active. The purpose of a bunker is to monitor an area, and in this case, it also has historical connotations, monitoring the old bridge over river Cetina. But, instead of the usual control over what is outside, now the thing controlled is on the inside, that is, what is inside the person who is inside. It is the artist, who is sitting facing the monitor that is showing a live recording of him sitting in front of the monitor, as if trying to establish control over the ‘monitored’ self, or the materialisation of the other in us, the one who usually looks back at us from the mirror.
The general theme is approached from an individual perspective. What precedes joint action, and is actually a part of it, is an individual, personal task of subduing the enemy within, and the enemy is well disguised, it takes time to recognise him, which is why the performance continues for eight hours.
The duration of active meditation has certainly determined the task set by the title, but it also seems to express personal responsibility i.e., the responsibility of him as an artist, regardless of the fact that the world may not benefit much from his work, he still sits for the full 8-hour workday.
The technology of the performance is also appropriate. Unlike Meštrović’s usual multimedia installations wherein sophisticated technology plays a major role, here it is appropriately simple, analogue, a direct communication between man and his media reflection.
Bojan Mucko and Vanja Babić stage the performance “Field Work” on a pier leading to the lighthouse, at the end of a large sandy beach. The performance lasts four hours, they remove bricks from a prepared pallet, carry them and stack them in the middle of the pier constructing a wall 150 cm high and 5 m long. Viewed from a geographic perspective, this field work could be understood as a continental visit to the Mediterranean. Or, through a sociological prism, as a newly composed drywall. However, the completion of the brick drywall on the pier is not the end of the performance, the point of this longitudinal wall is not to divide something into two parts, or to represent some boundary, because its completion is actually just the beginning of real action. For four hours, Bojan and Vanja, keep moving it constantly, they remove bricks from its end and move it
forward. The new construction deconstructs the old one, and we witness the process. The wall can be interpreted both as a goal and as a problem, their activity seems to build on that of Toni Meštrović. While he performs, full-time, what might be called artistic work, as Mladen Stilinović ultimately did in his “Artist at Work”, Mucko and Babić accept its Sisyphean nature, which their physical work confirms, and in so doing, they emit a general empathy of sorts, calling, by example, for mutual solidarity. They even succeed, and passers-by start helping them, wanting to give their contribution to this absurd job.
Dino Bićanić’s work “Everything Is Going to Be a Memory” is installed in the city hall building. On the landing stairs, at the place where a wall clock used to be, Bićanić hangs his clock on the nail that was left behind in the wall, its format identical to the previous one, but instead of numbers around the dial we see an inscription written in the clock-wise direction. The dimension of memory is firmly associated with the phenomenon of time, the statement could even be transferred from the future to the present, as if at this moment, through an invisible door in the present, what is happening enters and becomes memory. And anyway, the only thing we have at our disposal is that which has already passed.
So, if we follow the seconds hand, as it comes full circle it reaches the end of the sentence, and it becomes pieces of time that we keep committing to memory one after the other. Into that bottomless pit.
The hand, however, does not move, time stands still, and just as this building with its function has become anachronistic, so the message has been left from somewhere in the past, and we seem to find ourselves in a future that has nothing left to write.
On the other hand, considering the location, administrative circumstances and the like, it is possible the work refers to shared memory, an archive that then takes into account larger cycles, periods, which then raises the question of how will this shared archive qualify our current period. And also, who will later verify its content. Shared memory, or its alias, the virtual archive, is filling up at an ever-increasing rate, everything goes inside, all the conversations, all scenes, everything is uploaded to that cloud. It is already so full that no archivist can even remotely know all it is safekeeping. Do we feel threatened by the possibility of this cloud bursting like a soap bubble, and our memory being lost forever?
The Pillar of Shame is located at the Poljica Square. Lana Stojićević used its round, stone pedestal as the base for her installation “Traffic Jam”, which is comprised of about a dozen identical models of cars cast in concrete and arranged in a circle. The installation obviously refers to the actual traffic jam, mere hundred metres away, at the narrowest part of the Adriatic Highway, to the river of cars crossing the bridge over Cetina, which, unlike the river, stands still more than it moves. The pillar or shame, in this case, symbolises the place that those who have long since failed to solve this problem, despite spending 30-odd years constantly building something, should be nailed to.
If we remove the idea of this work from the local context, we could generally say that the phenomenon of a traffic jam involves forced waiting. And we could even metaphorically apply it to the global condition, because traffic congestion usually occurs when there is a ramp ahead, or a control point checking for passage.
For ten years, the medium of architecture, primarily the period of modernism, has been an important factor in Viktor Popović’s works. As an inspiration, content but also at a formal level. If we add to this the fact that several of his major exhibition projects in recent years deal with the hospital as a theme, or more precisely as material, then the choice of the modernist building of the Omiš Health Centre, as the location for his installation “Untitled”, is completely understandable. Along the entire side of the building facing the sea, there is a terrace that is accessed via a staircase where the building has several longitudinal elements, separated and positioned perpendicular to the building. A large red canvas, smooth as silk, is installed on the inside of these ‘partitions’, while two red spotlights are situated behind it bathing the entire side of the building red.
A red filter often appears in his earlier works, which connects this installation to the previously started sequence. And in this case, it could not be more apt for the theme of emergency. The colour red already has strong connotations, when the lamp turns red it means some measure has been exceeded, and we find ourselves in a very risky situation, the speakers could explode at any moment, we could run out of gas at any minute. And when the danger is extreme, the red alarm goes off. Now we have a red Health Centre.
And when we add up the red filter, the light installation, the modernist building and the attitude towards heritage, the
result we get, so to speak, is classical Viktor Popović. But also, one hundred percent in the service of the festival, in fact, it could function as its stage set.
The festival ends, so to speak, with Vlasta Žanić’s festive performance “Neck Deep”. A dozen or so extras stand neck deep in the sea, in a marked square space not too far from the shore. Among them we recognise the festival participants, they are dressed, of course, in formal attire, they casually chat and drink champagne served by the festival director playing the role of a waiter. The water slows down their movements so the scene looks like a film in slow-motion, the shot taken from an unspecified time, the sound of music evokes the ambient of terraces from the 1930s, but the participants are not wearing costumes. If we consider this sea party in the context of the festival theme, it turns out that something ought to have been done urgently a long time ago, but that moment has long since passed, the punishment has been imposed, and this is the last wish.
There is also an association with the Titanic, an elegant group of people from the upper deck who did not even try to save themselves, they instead sank in formal suits with champagne in their hands. Even the seagulls know that our civilization is sinking like the Titanic, the only difference being there are no UFOs in the role of Carpathia to rescue the survivors.
Decadence springs from every detail of the group performance, an extravagant situation, slow motion, old-fashioned music, an occasional dance step, a relaxed atmosphere, champagne, does the space enclosed by a guardrail mark a fictional area of sorts where the artists relax, and the voices of reality are silent? Not really, because specific circumstances simulate a particular dimension of society, extras/artists appear in the function of a mirror in which society is able to recognise that dimension. Like a metaphorical staging of Slavoj Žižek’s statement: ‘The situation is catastrophic, but not serious.’
Moreover, the event could be described as a dual closing party, in terms of the festival program, but also given the party’s content, a dignified farewell to time, which has, in the meantime, been abolished by decree of the authorities.
As for the Almissa Open Art 112, despite the fact that emergency, on the global stage, remains as present as ever, we give a positive mark to the entire team, including the organisers, the curator, the artists, for making a remarkable attempt to fix this broken time.
Driton Selmani (1987.) živi i radi u Prištini i Doganaju. Selmani pristupa ideji percipirane stvarnosti tako što dekonstruira oblike društvenih, političkih i kulturnih tema koje su utjelovljene oko njega. Dok je bio dijete govorili su mu da mora štovati zemlju koja više nije postojala, što je kod njega stvorilo temelj skepticizma prema bilo kojoj navodno danoj stvarnosti. Kasnije je to upotrebljavao kao koristan alat za rekonstrukciju svojih uvjerenja u vizualne artefakte. 1999. g. stari su simulakrumi zamijenjeni novima; ornamenti prethodnog prostora obnovljeni su kako bi se razvili s novim značenjima, ali i novim neizvjesnostima. Selmani se suočava sa sobom kao promatračem ovog „aktualnog događaja“, i pozicionira se kao glumac, izvodeći performanse zasnovane na svojim osobnim povijestima, uvjerenjima i sumnjama. Izlagao je na samostalnim i grupnim izložbama u Stacion centru za suvremenu umjetnost u Prištini, Ludwig Múzeum u Budimpešti, Kunstraum Niederosterreich Beč, Casa São Paulo, Biennale Mediterranea 16 Ancona, U10 Beograd, 5. Marakeš Bijenale, Amsterdamski festival svjetlosti, Fabbrica del Vapore Milano, Bijenale Bregenz, Exchiesetta Polignano a Mare, Nacionalna umjetnička galerija Tirana, Centar za suvremenu umjetnost u Solunu, Eugster || Beograd, Festival svjetlosti Norrköping, La Maison des Arts Bruxelles, MMSU Rijeka, Galerija Škuc, između ostalih… http://dritonselmani.com
Vanja Babić (Zagreb, 1984.) diplomirao je na Tehničkom veleučilištu 2008. te magistrirao na Akademiji likovnih umjetnosti u Zagrebu pri Odsjeku za animirani film i nove medije, 2013. godine. Izlagački je aktivan i zapažen već za vrijeme studija, dobiva nagradu Essl Art Award i stipendiju Becks za umjetničko stvaranje. +Redovito predstavlja svoj rad kroz samostalne i grupne izložbe, te umjetničke akcije u Hrvatskoj i inozemstvu. Neke od najznačajnijih grupnih izložbi: 48. Zagrebački salon, 33. Salon Mladih, 11. THT nagrada MSU Zagreb. Godine 2017. bio je na studijskom boravku pri Akademie Schloss Solitude u Stuttgartu, a 2020. u Cite internationale des Arts u Parizu. Inspiracija i motivacija za njegov umjetnički rad proteklih nekoliko godina temelje se na preispitivanju vladajućih socijalnih i kulturoloških postavki, konzumerizma, marketinga, uloge novca u društvu, različitih vrsta rada i radnika, problema otpada i recikliranja te načina na koji ljudi oblikuju svoje živote u odnosu na te dijelove sistema. vanjababic.wordpress.com
Bojan Mucko (Varaždin, 1983.) završio je Etnologiju i kulturnu antropologiju te Filozofiju na Filozofskom fakultetu Zagrebu i studij Novih medija na Akademiji likovnih umjetnosti. Kao vanjski suradnik HRT-a, radio je kao voditelj televizijske emisije Znanstveni krugovi i novinar emisija Transfer, Prizma, 2020 za Rijeku. Tekstovi su mu do sad objavljivani u Zarezu, Orisu, ČiP-u, Etnološkoj tribini. Dugogodišnji je selektor međunarodnog festivala etnografskog filma ETNOFILm.
Thierry Geoffroy poznat i kao Pukovnik, je dansko-francuski umjetnik koji živi u Kopenhagenu u Danskoj. Pokretačka snaga njegove umjetničke prakse je vizija stvaranja svijesti o poremećajima u svijetu kroz umjetnost. Od 1988. g. radi s umjetničkim formatima koji aktiviraju i stimuliraju hitnu umjetnost (hitna pomoć / kritična trka / bijenalist / ekstraktor / centar za trening mišića svijesti) http://www.emergencyrooms.org/formats.html
Izvorno fotograf, Geoffroy već više od desetljeća obilazi umjetničke sajmove, galerije i muzeje u mnogim zemljama. Autor nekoliko knjiga i manifesta, producirao je više od dvadeset filmova za dansku televiziju. Od 1990-ih izlagao je na brojnim samostalnim izložbama u raznim međunarodnim institucijama i muzejima. Neke od recentnijih: THE AWARENESS MUSCLE TRAINING CENTER, Museum Villa Stuck, München (2020.); Empathy /Vejle Kunst Museum/Danska; Too Late / Gallery Sabsay/Kopenhagen/Danska (2019.); The Anatomy of Prejudice /IKM Museum/Oslo/Norveška. (2018.); #documentasceptic /Gallery Sabsay/Kopenhagen/Danska (2017.); In advance of the broken arm? /Gallery Marianne Fries/Kopenhagen/Danska (2013.); Art Format: Emergency Room Poland, with Emergency Artists/Poljska (2011.); Art Format: Emergency Room Hanoi, University of Fine Arts with Emergency Artists/Hanoi/Vijetnam (2011.); Artistes de Garde / with the Yes Men and Emergency Artists. Gallery Poulsen/ Kopenhagen/Danska (2009.); Art Format: Emergency Room Hanoi with Emergency Artists. University of Fine Arts/Hanoi/Vijetnam(2009.); Emergency Room Napoli / PAN / NAPOLI, format with Emergency Artist /Napulj/ Italija (2009.); Art Format Emergency Room /Paris/Galerie Taiss/Pariz/Francuska (2008.); Gymnastic Mediatic Fotografisk center/Kopenhagen/Danska (2008); MOMA/PS1/New York Emergency Room with Emergency Artists/SAD (2007.); A Great Painter, Galerie Asbaek/Kopenhagen/Danska (2007.); THE Awareness Muscle, /Blackwood Gallery/ Toronto/Kanada (2007.); Art Format Emergency Room with Emergency Artist /Galerie Ileana Tounta/ Atena/Grčka (2007.); Emergency Room the Berlin test with Emergency Artists /Galerie Olaf Stüber/ Berlin/Njemačka (2007.); ; Emergency Room /Kunsthallen Nikolaj/Kopenhagen/Danska (2007.); Biocolonialism, Ovegaden/ Institute for Contemporay Art/Kopenhagen/ Danska (2007.); Isolation /IKM Museum Oslo/Norveška(2007.). www.colonel.dk www.emergencyrooms.org www.emergencyrooms.org/Museum_Villa_Stuck.html
Viktor Popović (Split, 1972.) diplomirao je Slikarstvo na Akademiji likovnih umjetnosti u Zagrebu 1996. godine. Od 1998. godine predaje Slikarstvo, Crtanje akta i Crtanje na Slikarskom odsjeku Umjetničke akademije u Splitu, od 2018. godine u zvanju redovitog profesora u trajnom zvanju. Od 2000. godine aktivno sudjeluje na skupnim i samostalnim izložbama u Hrvatskoj i inozemstvu. Za svoj rad više je puta nagrađivan (Nagrada 36. splitskog salona, Hrvatska udruga likovnih umjetnika Split, Split
2009.; Prva nagrada na Natječaju za izradu idejnog rješenja spomenika don Mihovilu Pavlinoviću na Trgu Mihovila Pavlinovića u Splitu (sa Ana Grgić), Grad Split, Split 2009.; Godišnja Nagrada za najboljeg mladog umjetnika, Hrvatsko društvo likovnih umjetnika, Zagreb 2006.; Godišnja Nagrada za suvremenu umjetnost Filip Trade, Zagreb 2005.; Velika nagrada VIII. trijenala hrvatskog kiparstva Gliptoteke HAZU, Zagreb 2003.). Živi i radi u Splitu. www.viktorpopovic.com
Kata Mijatović (Branjina, 1956.) vizualna umjetnica, od 1988. do 1991. članica je umjetničke grupe Močvara/ Baranja. Od 1991. - 1993. studira slikarstvo na Accademia di Belle Arti Firenze. Na ALU Zagreb diplomirala je slikarstvo 1997. godine. Od 2004. do 2010. članica je Umjetničkog odbora Baranjske umjetničke kolonije, od 2005 do 2019. voditeljica je Galerije AŽ Atelieri Žitnjak Zagreb. Od 2007. članica je Umjetničke grupe PLEH. Izlagala je na brojnim samostalnim i skupnim izložbama u zemlji i inozemstvu. Godine 2013. sudjelovala je na 55. Venecijanskom bijenalu, kao predstavnica Hrvatske s projektom ‘’Između neba i zemlje’’ (kustos Branko Franceschi). Živi i radi Zagrebu. Istraživanje složenih odnosa i interakcija između svjesnog i nesvjesnog osnovna je preokupacija njenog umjetničkog djelovanja. Poseban segment u okviru tih istraživanja čine radovi /projekti sa snovima kao osnovnim konstruktivnim i motivirajućim sadržajem; baveći se fenomenom sna ovi radovi problematiziraju percepciju stvarnosti u odnosima svjesno-nesvjesno, san-java. https://issuu.com/katamijatovic/docs/kata_portfolio_engleski_ layout_2/55
Zoran Pavelić (Osijek, 1961) multimedijalni umjetnik, 1988/1991., osnivač neformalne umjetničke grupe Močvara - Baranja. 1998., diplomirao slikarstvo na Akademiji likovnih umjetnosti u Zagrebu, u klasi Đure Sedera. Izlaže od 1984. Član je HDLU Zagreb od 1995. i HZSU od 2000. godine. Član je umjetničkog odbora Baranjske umjetničke kolonije BUK / Baranja / od 2004. do 2010. godine. Član je umjetničke organizacije Atelijeri Žitnjak od 2005. godine. Član savjeta Galerije Proširenih medija / Galerija PM / od 2000 - 2007. Umjetnički voditelj i član umjetničke organizacije PLEH od 2007. godine. Godine 2012. izašla mu je knjiga u izdanju PLEH-a, Ružica Šimunović: ‘’Zoran Pavelić - Politički govor je suprematizam’’. Dobitnik je natječaja za umjetničku memorijalnu intervenciju “Osunčana mjesta” Memorijalni park, Virtualni muzej Dotrščina 2017., a 2018. godine PKF, New York. Tendencija konceptualnog objedinjavanja pojedinih segmenata vlastitog umjetničkog rada, problematiziranje uloge umjetnika, umjetnosti i umjetničkih institucija u društveno političkom kontekstu vremena i prostora, osnovna su obilježja stvaralaštva Zorana Pavelića. Živi i radi kao samostalni umjetnik. PM Studio, Žitnjak 53, 10000 Zagreb https://issuu.com/zoranpavelic/docs/zp/25
Ale de la Puente (Mexico City, 1968.) bavi se se pojmovima vremenaprostora i pamćenja, kroz neprekidnu izgradnju poetskih odnosa između iskustava zadanih prostorom i vremenom, a s tehnološkog, znanstvenog, filozofskog i lingvističkog gledišta. Raznoliko obrazovanje de la Puente (umjetnica ste koja je studirala industrijski dizajn, zlatarstvo, brodogradnju), te interesi za vremenske i prostorne koncepte nužno su je usmjerili na suradnju sa znanstvenicima iz različitih područja, od hipnotizma, astronomije, nuklearne fizike do meteorologije i matematike. Surađivala je s institucijama kao što su Nacionalni institut za astronomiju i Nacionalni institut za nuklearnu znanost UNAM. Nagrađena je počasnim priznanjem Collide @ CERN 2013, članica je Nacionalnog sustava umjetničkih stvaralaca (Sistema Nacional de Creadores, FONCA) i dvaput joj je dodijeljena stipendija za mlade stvaraoce, oba puta iz Nacionalnog vijeća za umjetničke fondove. Također, dodijeljena joj je stipendija Zaklade Pollock-Krasner. Izlagala je na nacionalnim i međunarodnim izložbama. www.aledelapuenteartist.com
Toni Meštrović (Split, 1973.) je multimedijski umjetnik koji najčešće djeluje u formi video i zvučnih instalacija. Diplomirao je 1999. na Odsjeku za grafiku Akademije likovnih umjetnosti u Zagrebu gdje se bavio grafikom, skulpturom i instalacijom. Zbog interesa za elektronske audiovizualne medije 1997. studira Video/Digital Imaging u klasi prof. Valie Export na International Sommerakademie für Bildende Kunst u Salzburgu. 2004. završio je dvogodišnji poslijediplomski studij Medienkunst kod prof. David Larchera i prof. Anthony Moorea na Kunsthochschule für Medien, Köln gdje istražuje u videu, zvuku i video/zvučnim instalacijama osobnu percepciju mora i otoka uz koji je odrastao. Svojim povratkom u Hrvatsku 2004. godine nastavlja svoje umjetničko istraživanje u kojem se tematski bavi kulturnim nasljeđem, identitetom, te tranzicijskim promjenama na prostoru Dalmacije. Neke od kontinuiranih preokupacija Meštrovićeva rada su asimilacija linearnog i cikličnog vremena, dokidanje naracije na koju smo naviknuli te tema promjene, u širokom rasponu, od bilježenja isparavanja vode u closed circuit videoinstalaciji, do komentara društvenog konteksta. Od 1992. aktivno sudjeluje na skupnim i samostalnim izložbama te video festivalima u Hrvatskoj i inozemstvu. Dobitnik je više stipendija i nagrada, poput nagrade za mladog umjetnika Hrvatskog društva likovnih umjetnika u Zagrebu 2007., i druge nagrade na izložbi T-HTnagrada@MSU.hr 2013. godine. Živi i stvara u Rijeci i Kaštelima, a predaje u zvanju izvanrednog profesora na Odsjeku za film i video Umjetničke akademije Sveučilišta u Splitu. www.macaknara.hr
Eric del Castillo (Mexico City, 1962.) živi i radi u Splitu. Nakon studija filma i slikarstva, svoju umjetničku karijeru započeo je 1986. služeći se tehnikom kolaža, aproprijacije i remixa. Iako se u osamdesetima prvenstveno bavio performansom, intervencijama na objektima te instalacijama. Godine 1995. dobio je stipendiju Nacionalnog fonda za umjetnost i kulturu (FONCA),
Meksiko, i za sudjelovanje u programu Razmjene umjetničkih razidencija sa National Endowment for the Arts (NEA), SAD, a 1996. boravio je na rezidenciji u Headlands Center for the Arts, SAD. Godine 2018. donirao je dokumentarističku kolekciju za Arkheia Documentation Center MUAC, University Museum of Contemporary Art, UNAM (Mexico City, Meksiko): El Sindicato del Terror/Eric del Castillo Found. Performance archive of the 80´s and 90´s in Mexico about performance groups El Sindicato del Terror, Los Escombros de la Ruptura and La Sociedad Mexicana Protectora del Espectador de Performance, kao i drugim meksičkim grupama performera i umjetnicima. Od 1987. izlagao je na 15 samostalnih i sudjelovao na više od 100 grupnih izložbi na domaćoj i međunarodnoj razini, od kojih izdvajamo: 2019. Kolaps Galerija Umjetnina. Split, Hrvatska; 2019. Retro Budućnost Salon Galić. HULU Split; 2016. Equatorial Landscapes Galerija PM HDLU. Zagreb, Hrvatska; 2016. Riot! Salon Galić, HULU Split; 2014. Scherzo Vol. 2. Institut za suvremenu umjetnost. Zagreb; 2013. Scherzo. Galerija Meštrović. Split; 2016. The Reality Behind the Fantasy, La Reina del Sur. Galerie Michaela Stock. Beč, Austrija; 1998. Abductions, Instituto Cultural Mexicano, San Antonio Texas, SAD; 2005. Anthologie der Kunst. Bundeskunsthalle, Bonn, Akademie der Kunste Berlin, (2004) and Zentrum fur Medienkunst. Karlsruhe (2004.) Njemačka; 1996. Open House. Headlands Center for the Arts, San Francisco, SAD; 1995. Telling Stories/ Telling Tales, The Banff Centre for the Arts. Alberta, Kanada; 1993 Small Worlds. Galería del Progreso. Madrid, Španjolska; 1993. Collage of the 20th Century. Museo Centro Cultural Arte Contemporáneo A.C. Mexico City. www.ericdelcastillo.eu
Lana Stojićević (Šibenik, 1989.) koristi razne medije, poput kostima i arhitektonskih maketa koje izrađuje za potrebe insceniranih fotografskih serija. Neke od tema koje radovima istražuje su divlja gradnja, ekološko zagađenje, arhitektonska i industrijska baština. Izlagala je na brojnim izložbama u Hrvatskoj i inozemstvu poput Ostrale bijenala (Robotron Kantine, Dresden, 2021.), New East Photo Prize (Calvert 22 Foundation, London, 2016., 2018.) i OFF-bijenala (Teleport Galéria, Chimera-Project, Budimpešta, 2017.). Za svoj umjetnički rad primila je više nagrada, poput Nagrade Radoslav Putar (Institut za suvremenu umjetnost, Zagreb, 2021.), treće Nagrade Ivan Kožarić (MSU, Zagreb, 2021.), nagrade Metro Imaging na izložbi New East Photo Prize (Calvert 22 Foundation, London, 2016.) i godišnje nagrade za mlade umjetnike (Hrvatsko društvo likovnih umjetnika, Zagreb, 2015.). Radi kao docentica na Odsjeku za likovnu kulturu i likovnu umjetnost Umjetničke akademije u Splitu. Živi i radi u Splitu.
Dino Bićanić (Bihać, 1980.) živi i radi u Hvaru. Završio je Akademiju likovnih umjetnosti u Splitu, smjer kiparstvo u klasi Kažimira Hraste 2007. Godine. Izlagao je na 11 samostalnih izložbi u Splitu, Zagrebu, Ljubljani, Hvaru, Labinu i više skupnih izložbi. Dobitnik je jedne od tri jednakovrijedne nagrade na 39. splitskom salonu, finalist je Nagrade Radoslav Putar 2020 i ima realiziranu skulpturu u gradu Hvaru.
Adrian Paci (Skadar, 1969.) studirao je slikarstvo na Akademiji likovnih umjetnosti u Tirani. 1997. g. preselio se u Milano gdje živi i radi. Tijekom svoje karijere izlagao je na brojnim samostalnim izložbama u raznim međunarodnim institucijama kao što su: Kunsthalle, Krems (2020.); Galleria Nazionale delle Arti, Tirana (2019.); Chiostri di Sant’Eustorgio, Milano (2017.); Museo Novecento, Firenca (2017.); MAC, Musée d’Art Contemporain de Montréal (2014).; Padiglione d’Arte Contemporanea - PAC, Milano (2014.); Jeu de Paume, Pariz (2013.); Nacionalna galerija Kosova, Priština (2012); Kunsthaus Zurich, Zürich (2010.); Bloomberg Space, London (2010.); Center for Contemporary Art - CCA, Tel Aviv (2009.); Museum am Ostwall, Dortmund (2007.); MoMA PS1, New York (2006.) i Contemporary Arts Museum, Houston (2005.). Među različitim grupnim izložbama, rad Adriana Pacia predstavljen je i na 14. Međunarodnoj izložbi arhitekture - La Biennale di Venezia (2014.); na 48. i 51. izdanju Međunarodne izložbe umjetnosti - La Biennale di Venezia (1999. i 2005.); na 15. Bijenalu u Sydneyu (2006.); na 15. Quadriennaleu di Roma, gdje je osvojio prvu nagradu (2008.); na Bijenalu u Lyonu (2009.); i na 4. Bijenalu suvremene umjetnosti u Solunu (2013). Njegova djela nalaze se u brojnim javnim i privatnim zbirkama, uključujući Metropolitan Museum, New York, Museum of Modern Art, New York, Musée d’Art Contemporain de Montréal, Centre Pompidou, Pariz, Israel Museum, Jeruzalem, MAXXI, Rim, Fundacio Caixa, Barcelona, Moderna Museet, Stockholm, Kunsthaus Zürich, Zurich, Švicarska, UBS Art Collection, London, Museum of Contemporary Art, Miami, New York Public Library, New York, Solomon Guggenheim Foundation, New York, Seattle Art Museum, Seattle. Adrian Paci predaje slikarstvo i likovnu umjetnost na Nuova Accademia di Belle Arti NABA u Milanu. Predavao je i likovnu umjetnost na Accademia Carrara di Belle Arti, Bergamo, 20022006, IUAV, Venecija 2003-2015, a održao je predavanja i radionice na mnogim sveučilištima, umjetničkim akademijama i institucijama u različitim zemljama.
Božena Končić Badurina (Zagreb 1967.) je vizualna umjetnica. Diplomirala je njemački i ruski jezik i književnost na Filozofskom fakultetu u Zagrebu (1995.) te grafiku na Akademiji likovnih umjetnosti u Zagrebu (1996.). Izlagala je na brojnim samostalnim i grupnim izložbama poput Art in General, New York; Umjetnička galerija, Dubrovnik; Carre d’Art, Nimes; Moderna galerija, Ljubljana; Galerija Nova, Zagreb; MSU, Zagreb; MMSU, Rijeka; Umjetnički paviljon, Zagreb; Galerija Out of Sight, Antwerpen; Lothringer13 Halle, München; Kunstaspekte, Düsseldorf; Projektraum LS43, Berlin; 104 Centquatre, Pariz itd. Dobitnica je nekoliko nagrada. Boravila je na nekoliko rezidencijalnih programa poput Art in General, New York, 2010., Kulturamt Düsseldorf, 2015., Museumsquartier, Beč, 2019. Članica je HDLU-a i HZSU-a. Živi i radi u Zagrebu. https://koncicbadurina.com
ANA Elizabet (Zagreb, 1969.) živi i radi u Zagrebu. Na Likovnoj akademiji u Beču diplomirala je kiparstvo. Izlagala je na mnogim skupnim I samostalnim izložbama te realizirala niz radova u javnom prostoru (od njih nekoliko u stalnom postavu).
Studio Ilica 227, Zagreb www.ana-elizabet.org
Vlasta Žanić (Zagreb, 1966.) diplomirala je kiparstvo na ALU u Zagrebu. Već dugi niz godina kontinuirano je prisutna na domaćoj i međunarodnoj umjetničkoj sceni. U svom radu koristi razne medije izražavanja kao što su: skulptura, instalacija, video, performans, happening i sl. istražujući dodirne točke i odnose među njima. Teme kojima se bavi kreću se u rasponu od osobnih, intimnih i feministički orijentiranih, do teoretskih i konceptualnih propitivanja o pojmu umjetnosti, mediju kiparstva, značenju i poziciji autora, publike i eksponata. Višestruko je nagrađivana za svoj rad. Radovi joj se nalaze u javnim i privatnim zbirkama suvremene umjetnosti. Od 2010. do 2018. je radila kao docentica na odsjeku kiparstva na UMASU u Splitu, a od 2018. je zaposlena kao izv. prof. art. na kiparskoj katedri ALU u Zagrebu gdje predaje na diplomskom studiju kiparstva na Nastavničkom odsjeku ALU. Članica je Umjetničke udruge ‘Atelieri Žitnjak’ od 2005. i Umjetničkog savjeta Galerije ‘AŽ’ u Zagrebu, HDLU-a u Zagrebu i HULU-a u Splitu.
Boris Greiner (Zagreb, 1959.) autorsko djelovanje započinje 1983. Zajedno sa Stanislavom Habjanom ostvaruje niz projekata u raznim medijima (grafički materijali, proza, performansi, izložbe, akcije i eksperimentalni filmovi) u okviru dvadesetogodišnjeg konceptualnog projekta Greiner&Kropilak Mailart Office. Od 1992. sa S. Habjanom i Danijelom Žeželjem djeluje u okviru umjetničke grupe Slipa Konfidenca. 2001. sa S. Habjanom, D. Žeželjem i Borisom Cvjetanovićem osniva umjetničku organizaciju Petikat. 2003. godine završava dvadesetogodišnji autorski projekt Greiner&Kropilak Mailart Office i otada uglavnom djeluje samostalno. Od 2005. objavljuje osvrte o događanjima na suvremenoj likovnoj sceni u raznim javnim medijima, te u seriji knjiga sabranih tekstova “Osvojena područja”. Od 2010. do 2013. povjerenik za eksperimentalni film u HAVC-u. Profesionalno djeluje kao grafički dizajner. Dosad je ostvario dvadesetak samostalnih izložbi i performansa, objavio petnaest knjiga i snimio šesnaest filmova.
Driton Selmani (1987) lives and works in Prishtina and Doganaj. Selmani approaches the idea of perceived reality by deconstructing formations of social, political and cultural topics that have been embodied around him. At a young age, he was told to worship a country that no longer existed, which caused him to form a basis of skepticism towards any supposedly given reality. He later used this as a beneficial tool to reconstruct his beliefs into visual artifacts. In 1999, old simulacra have been replaced by new simulacra; the ornaments of a previous space have been refurbished in order to unfold with new meanings but also new uncertainties. Selmani confronts himself as a spectator of this “on-going event”, and positions himself as an actor, enacting his performances based on his personal histories, beliefs and doubts. He has exhibited at solo and group exhibitions in Stacion Center For Contemporary Art Pristina, Ludwig Múzeum in Budapest, Kunstraum Niederosterreich Vienna, Casa São Paulo, Mediterranea Biennial 16 Ancona, U10 Belgrade, 5th Marrakesh Biennial, Amsterdam Light Festival, Fabbrica del Vapore Milan, Bregenz Biennale, Exchiesetta Polignano a Mare, National Art Gallery Tirana, Thessaloniki Center of Contemporary Art, Eugster || Belgrade, Norrköping Light Festival, La Maison des Arts Brussels, MMSU Rijeka, Škuc Gallery among others… http://dritonselmani.com
Vanja Babić (Zagreb, 1984), he graduated from the Zagreb University of Applied Sciences in 2008 and holds a Master’s degree from the Animation and New Media Department of the Academy of Fine Arts in Zagreb, from 2013. He started his exhibition activity as a student, and is the recipient of the Essl Art Award and the Becks fine arts scholarship for artistic creation. He regularly presents his work in solo and group exhibitions, and artistic actions in Croatia and abroad. Some of the most important group exhibitions he participated in are: 48th Zagreb Salon, 33rd Youth Salon, 11th THT Award, Museum of Contemporary Art, Zagreb. In 2017, he studied at the Akademie Schloss Solitude in Stuttgart, and the Cite Internationale des Arts in Paris in 2020. Inspiration and motivation for his artistic work in recent years is based on examining the governing social and cultural postulates, consumerism, marketing, role of money in society, different types of labour and workers, problem of waste and recycling, and a manner in which people shape their lives in relation to those parts of the system. https://vanjababic.wordpress.com/
Bojan Mucko (Varaždin, 1983) he holds a degree in Ethnology and Cultural Anthropology from the Faculty of Humanities and Social Sciences in Zagreb and a degree in New Media Art from the Academy of Fine Arts. As an outside associate at the Croatian Radio-television, he worked as the host of the television show Znanstveni krugovi and a journalist for the shows Transfer, Prizma, 2020 for Rijeka. So far, his texts have been published in Zarez, Oris, ČiP, and the Journal of Croatian Ethnological Society. For many years, he has selected the program for the International Ethnographic Film Festival ETNOFILm.
Thierry Geoffroy also known as Colonel, is a Danish-French artist, living in Copenhagen, Denmark. The vision of creating awareness about dysfunctions in the world through art is the driving force behind his artistic praxis. Since 1988 he has been working with art formats that are activating and stimulating emergency art (emergency room / critical run / biennalist / extracteur / the awareness muscle training center) http:// www.emergencyrooms.org/formats.html
Originally a photographer, Geoffroy has been touring art fairs, galleries and museums in many countries for over a decade. Author of several books and manifestos, he has produced more than twenty films for Danish television. From the 90s he held numerous solo shows in various international institutions and museum. More recent ones: THE AWARENESS MUSCLE TRAINING CENTER, Museum Villa Stuck, München (2020); Empathy /Vejle Kunst Museum/DK.; Too Late / Gallery Sabsay/Copenhagen/DK (2019); The Anatomy of Prejudice / IKM Museum/Oslo/NO. (2018); #documentasceptic /Gallery Sabsay/ Copenhagen/DK (2017); In advance of the broken arm? /Gallery Marianne Fries/Copenhagen/DK (2013); Art Format: Emergency Room Poland, with Emergency Artists/PO (2011); Art Format: Emergency Room Hanoi, University of fine arts with Emergency Artists/Hanoi/VN (2011); Artistes de Garde / with the Yes Men and Emergency Artists. Gallery Poulsen/CPH/DK (2009); Art Format: Emergency Room Hanoi with Emergency Artists. University of Fine Arts/Hanoi/VN(2009); Emergency Room Napoli / PAN / NAPOLI, format with Emergency Artist /Napoli/ IT (2009); Art Format Emergency Room /Paris/Galerie Taiss/Paris/FR (2008); Gymnastic Mediatic Fotografisk center/Copenhagen/DK (2008); MOMA/PS1/New York Emergency Room with Emergency Artists/USA (2007); A Great Painter, Galerie Asbaek/Copenhagen/DK (2007); THE Awareness Muscle, /Blackwood Gallery/ Toronto/CA (2007); Art Format Emergency Room with Emergency Artist /Galerie Ileana Tounta/ Athens/ GR (2007); Emergency Room the Berlin test with Emergency Artists / Galerie Olaf Stüber/ Berlin/DE (2007); ; Emergency Room /Kunsthallen Nikolaj/Copenhagen/DK (2007); Biocolonialism, Ovegaden/ Institute for Contemporay Art/Copenhagen/DK (2007); Isolation /IKM Museum Oslo/NO(2007). www.colonel.dk www.emergencyrooms.org www.emergencyrooms.org/Museum_Villa_Stuck.html
Viktor Popović (Split, 1972) holds an MFA degree in painting from the Academy of Fine Arts in Zagreb since 1996. From 1998, he has been teaching Painting, Life drawing and Drawing in the Painting department of the Arts Academy in Split, where he was appointed as a full professor with tenure in 2018. Since 2000, he has actively been participating in group and solo exhibitions in Croatia and abroad. He has received a number of distinguished awards for his work (Award of the 36th Split Salon, Croatian Association of Visual Artists, Split, 2009; First prize in the contest for
the conceptual design of the monument to don Mihovil Pavlinović at the Mihovil Pavlinović Square in Split (with Ana Grgić), City of Split, 2009; Annual Award for Best Young Artist, Croatian Association of Artists, Zagreb, 2006; Filip Trade Annual award for contemporary art, Zagreb, 2005; Grand Prix of the 8th Triennial of Croatian Sculpture, Gliptotheque of the Croatian Academy of Sciences and Arts, Zagreb, 2003). He works and lives in Split. www.viktorpopovic.com
Kata Mijatović (Branjina, 1956) visual artist, from 1988 to 1991 she was a member of the art group Swamp/Baranja. From 1991 – 1993, she studied painting at the Accademia di Belle Arti, Florence. She studied painting at the Academy of Fine Arts in Zagreb and graduated in 1997. From 2004 to 2010, she was a member of the artistic committee of the Baranja Art Colony, and between 2015 and 2019 she ran the AŽ Gallery of the artistic organization Atelieri Žitnjak, Zagreb. Since 2007, she is a member of the art group PLEH. She staged and participated in numerous solo and group exhibitions in Croatia and abroad. In 2013, she represented Croatia at the 55th Venice Biennale, with the project “Between the Sky and the Earth” /curator Branko Franceschi/. She lives and works in Zagreb. Exploring the complex relationships and interactions between the conscious and the unconscious is a fundamental preoccupation of her artistic work. A particular segment within the framework of this research consists of works / projects with dreams as the basic structural and motivating content; dealing with the dream phenomenon, these works problematize the perception of reality in the relationships between the conscious-unconscious, and dream-waking life. https://issuu.com/katamijatovic/docs/kata_portfolio_engleski_ layout_2/55
Zoran Pavelić (Osijek, 1961) is a multimedia artist. In 1988/1991 he founded an informal art group Swamp (Grupa Močvara). He studied painting at the Academy of Fine Arts in Zagreb, in the class of Đuro Seder, and graduated in 1998. Since 1984, he has been staging exhibitions. From 2004 to 2010, he was a member of the artistic committee of the Baranja Art Colony (BUK). Since 2005, he is a member of the artistic organization Atelieri Žitnjak. From 2000 – 2007, he was the advisory board member of the Extended Media Gallery; and art director and member of the art group PLEH since 2007. In 2012, a book by Ružica Šimunović: “Zoran Pavelić –Political Speech is Suprematism” was published by PLEH. In 2017, he won the competition for the artistic memorial intervention ‘Sunlit Spots’, Memorial Park, Dotrščina Virtual Museum. 2018, PKF, New York. The tendency of the conceptual unification of certain segments of his work, questioning the role of artists, arts and cultural institutions in the sociopolitical context of time and space, are the hallmarks of Zoran Pavelić’s artistic work. He lives and works as a freelance artist.
PM Studio, Žitnjak 53, 10000 Zagreb
https://issuu.com/zoranpavelic/docs/zp/25
Ale de la Puente (Mexico City, 1968) deals with notions of time-space and memory through a continuous construction of poetic relations between experiences given by space and time from a technological, scientific, philosophical to linguistic approach. De la Puente’s diverse background (you are an artist with studies in Industrial Design, goldsmith, boatbuilding) and interests in time and space concepts had to lead her to collaborate with several scientists in different fields from hypnotism, astronomy, nuclear physics to meteorology and mathematics. She has done collaborations with institutions such as, The National Institute of Astronomy and the National Institute of Nuclear Science UNAM. She had been awarded Honorary Mention Collide@CERN 2013, she is a member of the National System of Arts Creators (Sistema Nacional de Creadores, FONCA) and Young Creators Grant twice, both from the National Council for Arts Funds. She also has been awarded by The Pollock-Krasner Foundation Grant. She has exhibited her work nationally and internationally. www.aledelapuenteartist.com
Toni Meštrović (Split, 1973) is a multimedia artist working predominantly in the form of video and sound installations. He graduated with a Graphic Arts degree from the Academy of Fine Arts in Zagreb in 1999, where he produced graphic arts, sculpture and installation. Due to his interest in electronic audio-visual media, he studied Video/Digital Imaging with prof. Valie Export at the International Summer Academy for Contemporary Art in Salzburg in 1997, and completed a two-year postgraduate diploma in Media Art with prof. David Larcher and prof. Anthony Moore at the Academy of Media Arts, Cologne in 2004. Video, sound and audio-visual installations produced during Meštrović’s postgraduate studies explore his personal perception of the sea, and the island where he grew up. After his return to Croatia in 2004, his work deals with themes of cultural heritage, identity and the transformations that have occurred in Dalmatia as a result of the period of transition. Some of his continuous thematic preoccupations are the assimilation of the linear and cyclical time and the exhaustion of a type of narrative that we are used to and expect in our daily lives, as well as the wideranging topic of change, either as a record of evaporation of water like in a closed circuit video installation, or as a commentary of social change. Since 1992, he has actively participated in group and solo exhibitions, as well as video festivals, in Croatia and abroad. He is the recipient of various scholarships and awards, such as the Annual Award for Best Young Artist of the Croatian Association of Artists in Zagreb in 2007, and other awards at the exhibition T-HTnagrada@MSU.hr in 2013. He lives and works in Rijeka and Kaštela, and is the associate professor in the Department of Film and Video, Arts Academy, University of Split. www.macaknara.hr
Eric del Castillo (Mexico City, 1962) lives and works in Split. After studying film and painting, in 1986 he began his artistic career using the techniques of collage appropriation and remix. Although his work in the 80s was dedicated to performance, object interventions and installations. In 1995, he received fellowship from the National Fund for Arts and Culture (FONCA), Mexico, and the National Endowment for the Arts (NEA), USA. In 1996, he was resident artist at the Headlands Center for the Arts in San Francisco. In 2018, he donated a documentary collection: El Sindicato del Terror/Eric del Castillo Found. Performance archive of the 80´s and 90´s in Mexico about performance groups El Sindicato del Terror, Los Escombros de la Ruptura and La Sociedad Mexicana Protectora del Espectador de Performance, as well as different groups and artists and the Mexican performance scene in general to Arkheia Documentation Center. MUAC, University Museum of Contemporary Art, UNAM. Since 1987, he has exhibited his work nationally and internationally and participated in 14 solo shows and more than 100 group exhibitions as: 2019 Kolaps Museum of Fine Arts. Split, Croatia; 2019 Retro Budućnost Salon Galić. HULU Split; 2016 Equatorial Landscapes Gallery PM HDLU. Zagreb, Croatia; 2016 Riot! Salon Galić, HULU Split; 2014 Scherzo Vol. 2. Institute for Contemporary Art. Zagreb; 2013 Scherzo. Meštrović Gallery. Split; 2016 The Reality Behind the Fantasy, La Reina del Sur. Galerie Michaela Stock. Vienna, Austria; 1998 Abductions, Instituto Cultural Mexicano, San Antonio Texas, USA; 2005 Anthologie der Kunst. Bundeskunsthalle, Bonn, Akademie der Kunste Berlin, (2004) and Zentrum fur Medienkunst. Karlsruhe (2004) Germany; 1996 Open House. Headlands Center for the Arts, San Francisco, USA; 1995 Telling Stories/Telling Tales, The Banff Centre for the Arts. Alberta, Canada; 1993 Small Worlds. Galería del Progreso. Madrid, Spain; 1993 Collage of the 20th Century. Museo Centro Cultural Arte Contemporáneo A.C. Mexico City. www.ericdelcastillo.eu
Lana Stojićević (Šibenik, 1989) uses various media, such as costumes and architectural models that she executes for the needs of staged photographic series. Some of the topics she researches in the works are illegal constructions, ecological pollution, architectural and industrial heritage. She has exhibited in numerous solo and group exhibitions in Croatia and abroad, such as Ostrale Biennale (Robotron Kantine, Dresden, 2021), New East Photo Prize (Calvert 22 Foundation, London, 2016, 2018) and OFF-Biennale (Teleport Galéria, Chimera-Project, Budapest, 2017). She has received several awards for her art work, such as the Radoslav Putar Award (Institute for Contemporary Art, Zagreb, 2021), the Third Ivan Kožarić Award (Museum of Contemporary Art, Zagreb, 2021), the Metro Imaging Mentorship Award at the New East Photo Prize exhibition (Calvert 22 Foundation, London, 2016) and the Young Artist Award (Croatian Association of Artists, Zagreb, 2015). She works as an Assistant Professor at the Arts Academy in Split, The Visual Culture and the Fine Arts Department. She lives and works in Split.
Dino Bićanić (Bihać, 1980) Lives and works in Hvar. He studied sculpture in the class of Kažimir Hraste at the Arts Academy in Split, and graduated in 2007. He staged 11 solo exhibitions in Split, Zagreb, Ljubljana, Hvar, Labin and participated in several group exhibitions. He is the recipient of one of three equivalent awards of the 39th Split Salon, and is one of the finalists of the Radoslav Putar Award 2020. He has created a public sculpture in the town of Hvar.
Adrian Paci (Shkoder, 1969) studied painting at the Academy of Art of Tirana. In 1997 he moved to Milan where he lives and works. Throughout his career he held numerous solo shows in various international institutions such as: Kunsthalle, Krems (2020); Galleria Nazionale delle Arti, Tirana (2019); Chiostri di Sant’Eustorgio, Milan (2017); Museo Novecento, Florence (2017); MAC, Musée d’Art Contemporain de Montréal (2014); Padiglione d’Arte Contemporanea – PAC, Milan (2014); Jeu de Paume, Paris (2013); National Gallery of Kosovo, Prishtina (2012); Kunsthaus Zurich, Zurich (2010); Bloomberg Space, London (2010); The Center for Contemporary Art – CCA, Tel Aviv (2009); Museum am Ostwall, Dortmund (2007); MoMA PS1, New York (2006) and Contemporary Arts Museum, Houston (2005). Amongst the various group shows, Adrian Paci’s work has also been featured in the 14th International Architecture Exhibition – La Biennale di Venezia (2014); in the 48th and the 51st edition of the International Art Exhibition – La Biennale di Venezia (respectively in 1999 and 2005); in the 15th Biennale of Sydney (2006); in the 15th Quadriennale di Roma, where he won first prize (2008); in the Biennale de Lyon (2009); and in the 4th Thessaloniki Biennale of Contemporary Art (2013). His works are in numerous public and private collections including Metropolitan Museum, New York, Museum of Modern Art, New York, Musée d’Art Contemporain de Montréal, Centre Pompidou, Paris, Israel Museum, Jerusalem, MAXXI, Rome, Fundacio Caixa, Barcelona, Moderna Museet, Stockholm, Kunsthaus Zürich, Zurich, Switzerland, UBS Art Collection, London, Museum of Contemporary Art, Miami, New York Public Library, New York, Solomon Guggenheim Foundation, New York, Seattle Art Museum, Seattle. Adrian Paci teaches painting and visual art at Nuova Accademia di Belle Arti NABA, Milan. He has been a teaching art classes at Accademia Carrara di Belle Arti, Bergamo, 2002-2006, IUAV, Venice 2003-2015 and has been giving lectures and workshops in many Universities, Art Academies and Institutions in different countries.
Božena Končić Badurina (Zagreb 1967) is a visual artist. She studied German and Russian languages and literature at the Faculty of Humanities and Social Sciences in Zagreb (graduated in 1995) and graphic arts at the Academy of Fine Arts in Zagreb (graduated in 1996). She staged and participated in numerous solo and group exhibitions such as Art in General, New York; Museum of Modern Art, Dubrovnik; Carre d’Art, Nimes; Museum of Modern Art, Ljubljana; Galerija Nova,
Zagreb; Museum of Contemporary Art, Zagreb; Museum of Modern and Contemporary Art, Rijeka; Art Pavilion, Zagreb; Gallery Out of Sight, Antwerpen; Lothringer13 Halle, München; Kunstaspekte, Düsseldorf; Projektraum LS43, Berlin; 104 Centquatre, Paris etc. She is the recipient of several awards. She participated in various residential programs such as Art in General, New York, 2010, Kulturamt Düsseldorf, 2015, Museumsquartier, Vienna, 2019. She is a member of the Croatian Association of Artists and the Croatian Freelance Artists Association. She lives and works in Zagreb. https://koncicbadurina.com
ANA Elizabet (Zagreb, 1969) lives and works in Zagreb. She holds a degree in sculpture from the Academy of Visual Arts in Vienna. She staged and participate in numerous solo and group exhibitions and realized a series of works in public space (several of which are on permanent display).
Studio: Ilica 227, Zagreb www.ana-elizabet.org
Vlasta Žanić (Zagreb, 1966) is a graduate of sculpture from the Academy of Fine Arts in Zagreb. She has been present on the national and international art scene for many years. In her work she uses different media of expression such as: sculpture, installation, video, performance, happening and the like, exploring their points of contact and their interrelationships. The themes she deals with range from personal, intimate and feminist in orientation, to the theoretical and conceptual questions about the notion of art, the medium of sculpture, the meaning and position of artists, the audience and exhibits. She is the recipient of multiple awards for her work. Her works are part of public and private collections of contemporary art. From 2010 to 2018, she worked as an assistant professor in the sculpture department of the Arts Academy in Split, and in 2018 she became an associate professor in the sculpture department of the Academy of Fine Arts in Zagreb where she teaches in the graduate course of sculpture, Department of Art Education. Since 2005, she is a member of the association ‘Atelieri Žitnjak’ and the artistic board of the ‘AŽ’ Gallery in Zagreb, the Croatian Association of Artist in Zagreb and the Croatian Association of Visual Artists in Split.
Boris Greiner (Zagreb, 1959) began working as a designer and artist in 1983. He collaborated with Stanislav Habjan on a series of projects in various media (graphic materials, prose, performance art, exhibitions, actions and experimental films) as part of the twenty-year conceptual project Greiner&Kropilak Mailart Office. From 1992 he was part of the art group Slipa Konfidenca together with S. Habjan and Danijel Žeželj. In 2001, he and S. Habjan, D. Žeželj and Boris Cvjetanović established the art workshop Petikat. In 2003 he concluded the twenty-year project
Greiner&Kropilak Mailart Office and since then he has mostly been working independently. Since 2005, he has been publishing reviews of events on the contemporary art scene in various public media, and in a series of books of collected texts “Conquered Grounds “. From 2010 to 2013, he was the commissioner for experimental film at the Croatian Audiovisual Centre (HAVC). He is a graphic designer by profession. So far, he has had about twenty solo exhibitions and performances, published fifteen books and made sixteen films.
Driton Selmani
Zastava sutrašnjice / Flag of Tomorrow, 2020. Zavarene čelične cijevi, rotacijski mehanizam / Welded steel tubes, Rotating mechanism
Dimenzije / Dimensions: 360 x 310 x 25 cm
Lokacija / Location: Šetnica Ribnjak (Lukobran na Priku) / Promenade Ribnjak (Breakwater on Prik)
Vanja Babić & Bojan Mucko Terenski rad 3 / Field Work 3, 2020.
Radna akcija u javnom prostoru / Working action in public space Vremensko trajanje rada / Duration: 4 h
Lokacija / Location: Omiška šetnica (Put svjetionika – Lukobran) / Omis Promenade (Lighthouse Road - Breakwater)
Thierry Geoffroy / Colonel
The Emergency Will Replace the Contemporary, 2016.
Lokacija / Location: Billboard na ulazu u Omiš, (Poljička cesta – Dočine) / Billboard at the entrance to Omis, (Poljica Road – Dočine)
Viktor Popović
Bez naziva (Arhiv Omiš: Dom zdravlja) / Untitled (Archive Omiš: Health Center), 2020. tkanina, svjetlo / textile, light, 410 x 595 cm
Intervencija na fasadi zgrade / Intervention on the façade of the building
Lokacija / Location: Dom Zdravlja / Health Center
Kata Mijatović & Zoran Pavelić Almissa Emergency, 2020. Pokretna jedinica, zvuk / Mobile Unit, sound
Ale de la Puente
Un infinito / An Infinity, 2014. video, HD 1080p, color, silent 02’22” loop Lokacija / Location: Gradski muzej Omis / Omis City Museum
Toni Meštrović Samokontrola / Self-control, 2020.
video performans zatvorenog kruga u trajanju od 8 sat Video dokumentacija Lokacija / Location: Tvrđava Mirabella (bunker) / Mirabella Fortress (Bunker)
Lana Stojićević Kolona / Traffic Jam, 2020 Skulpturalna intervencija u javnom prostoru / Sculptural intervention in public space Lokacija / Location: Stup Srama, Poljički trg / Pillar Of Shame
Eric del Castillo Stilitas, 2020. Videokolaž / Videocollage HD 1080p, color, stereo sound, 3’04” loop Lokacija / Location: Ulica Mile Gojsalic / Mila Gojsalic Street
Dino Bićanic Everything Is Going to Be a Memory, 2017. Intervencija / Intervention Lokacija / Location: Zgrada gradske uprave / City Hall
Adrian Paci Centro di Permanenza temporanea, 2007 Video, 5’30’’, boja, zvuk / Video, 5’30’’, colour, sound Lokacija / Location: Crkva Sv. Duha / Church of the Holy Spirit
Božena Končić Badurina Što ova mladost ima zaboravit’? / What Does This Youth Have to Forget?, 2020 Plakati / Posters
Lokacija / Location: Ulica Fošal, plakatna Mjesta / Fošal Street, Poster Locations
ANA Elizabet
Dišeš? / Are You Breathing?, 2011.
Svjetleći natpis, intervencija u javnom prostoru / Illuminated inscription, intervention in public space Lokacija: Ulica Fošal 8 / Fošal Street 8
Vlasta Žanić Voda do grla / Neck Deep, 2020. Performans / Performance
Trajanje / Duration: cca. 1 sat Lokacija: Velika plaža / City Beach
ALMISSA OPEN ART 112
OMIŠ
21.- 26. kolovoza 2020. / August 21 – 26, 2020
NASLOV / TITLE HITNOST / EMERGENCY
ORGANIZATOR/ ORGANIZER
Hrvatska udruga likovnih umjetnika – Split
Croatian Association of Visual Artists – Split
Obala hrvatskog narodnog preporoda 24/1, Split, Hrvatska +38521348177 hulusplit@gmail.com www.hulu-split.hr
RAVNATELJ FESTIVALA / FESTIVAL DIRECTOR
Vice Tomasović
KUSTOS /CURATOR
Neli Ružić
UMJETNICI / ARTISTS
Driton Selmani, Vanja Babić & Bojan Mucko, Thierry Geoffroy/Colonel, Viktor Popović, Kata Mijatović & Zoran Pavelić, Ale de la Puente, Toni Meštrović, Eric del Castillo, Lana Stojićević, Dino Bićanić, Adrian Paci, Božena Končić Badurina, ANA Elizabet, Vlasta Žanić
RAZGOVORI S UMJETNICIMA / CONVERSATIONS WITH ARTISTS
Boris Greiner
VIDEO SNIMATELJ / VIDEO
Josip Rogošić – Alter Taste
ORGANIZACIJA / LOGISTIC
Vice Tomasović
Moira Orlić
Ana Šećer Wilhelm
IDEJNI POSTAV / EXHIBITION SET UP
Neli Ružić,
Vice Tomasović
TEHNIČKI POSTAV / TECHNICAL SET-UP
Miln Stanić
Gildo Bavčević
Vanja Pagar
ZAHVALE / ACKNOWLEDGMENTS
Toni Meštrović, MNK Olmissum, Naklada Ljevak, Gradski muzej Omiš, Župni ured grada Omiša, Galerija Sikirica Sinj, Trgovački lanac Studenac
PUBLIKACIJA / PUBLICATION
NAKLADNIK / PUBLISHER
Hrvatska udruga likovnih umjetnika - Split, Obala hrvatskog narodnog preporoda 24/1, Split
ZA NAKLADNIKA / FOR THE PUBLISHER
Vice Tomasović
UREDNICA / EDITOR
Neli Ružić
TEKSTOVI / TEXTS
Neli Ružić
Boris Greiner
PRIJEVOD / TRANSLATION
Robertina Tomić
FOTOGRAFIJE / PHOTOGRAPHS
Toni Meštrović 11, 12, 13, 18, 21, 22, 23, 31, 35, 36, 37, 45, 46, 47, 49, 53, 54, 55, 57, 58, 59, 61, 69, 72, 73, 74, 75, 76, 77, 100, 117, 121)
Pablo del Castillo Ružić (str. 15, 16, 17, 19, 50, 51, 62, 63, 64, 65, 78, 79, 89)
Vanja Babić (str. 39 - 43)
Viktor Popović (str. 25 - 29)
Božena Končić B. (str. 32, 33)
Vice Tomasović (str. 67, 68)
Darko Škrobonja (str. 71)
Neli Ružić (str. 108, 120)
ANA Elizabet (121)
OBLIKOVANJE / GRAPHIC DESIGN
Nikola Križanac
Izložba i katalog ostvareni su sredstvima Ministarstva kulture i medija Republike Hrvatske, Grada Omiša i Turistička zajednica grada Omiša. / The exhibition and the catalogue have been supported by the Ministry of Culture and Media of the Republic of Croatia, the City of Omiš and the Tourist Board of the City of Omiš.
ISBN 978-953-7740-26-9
CIP zapis dostupan u računalnome katalogu Sveučilišne knjižnice u Splitu pod brojem 190401054. / CIP available at the digital catalogue of the University Library in Split, no. 190401054.
