1. = Međunarodni susret umjetnika| International Artists Meeting
Antonio Gotovac Lauer, Štaglinec
= 2011
1

2. = Međunarodni susret umjetnika| International Artists Meeting
Antonio Gotovac Lauer, Štaglinec
= 2011
Premošćivanje granica | Crossing Zones
=
Jezik | Language
=
Zemlja | Land
Milijana Babić || Hrvatska | Croatia
Anne Bean | Poshya Kakl || Engleska | Irak | England | Iraq
David Belas | Pino Ivančić || Hrvatska | Croatia
Buba | Marina || Srbija | Serbia
Jasenka Bulj || Hrvatska | Croatia
Mariel Carranza || Peru | Peru
Efi Ben David | Gina Ben David || Izrael | Israel
Vlasta Delimar | Milan Božić || Hrvatska | Croatia
Alejandra Herrera || Čile | Chile
Jason Lim || Singapur | Singapore
Marko Marković || Hrvatska | Croatia
Boris Nieslony || Njemačka | Germany
Sinead O’Donnell || S. Irska | N. Ireland
Goran Ristić || BIH | B&H
Damir Stojnić || Hrvatska | Croatia
The Smithsons | Kristina Leko | Vidan Leko Smithson | David Smithson || Hrvatska | Njemačka | SAD
| Croatia | Germany | USA
Mio Vesović || Hrvatska | Croatia
2 3

3. 4 5

4. 6 7

5. = =
J L
ezik je nešto ogromno, on je enormno anguage is something enormous, a vast
kompleksan sistem. A mi ga spontano and complex system. Yet we learn it qu-
naučimo dok smo djeca. U ranom dje- ite spontaneously as children. In our in-
tinjstvu bez ikakvog napora savladamo pravi- fancy, without any effort, we master the rules
la našeg materinskog jezika, i to mnogo prije of our native tongue, much before things like
nego neke druge stvari kao što su čitanje, pisa- reading and writing and arithmetic. We express
nje ili računanje. Jezikom izražavamo svoje misli our thoughts to others in language. And under-
drugima. I razumijemo druge kad govore istim stand others who speak the same tongue. And
jezikom. A zahvaljujući izumu pisma, možemo thanks to the invention of script, we can under-
razumjeti i zapisane misli onih koji odavno više stand the written thoughts of those who long
nisu među nama. since are no longer with us.
Mi ne možemo birati koji jezik će nam biti ma- We cannot choose our native tongue. Those
terinski. Oni koji se rode u Velikoj Britaniji imaju who are born in the UK have the luck to be able
sreću da u raznim državama mogu razgova- to talk in their own language in many countries.
rati na svom jeziku. I Austrijanci se svojim jezi- Austrians too can make themselves understood
kom mogu sporazumijevati s mnogo više ljudi in their own language with many more people
nego što ih živi u Austriji. Nasuprot njima, ma- than live in Austria. As against them, Hungar-
đarski intelektualci su svjesni da im je njihov ian intellectuals are aware that their language is
jezik prije božja kazna nego dar s neba. I kažu more of a divine punishment to them than a gift
da mi u Hrvatskoj imamo sreću s našim mate- from heaven. And they say that we in Croatia
rinskim jezikom jer ga govore i druge države: are lucky because other nations speak our na-
Srbija, Bosna i Hercegovina i Crna Gora. tive tongue: in Serbia, Bosnia and Herzegovina
and Montenegro.
Naravno da unutar svakog jezika koji se govo-
ri u više država ima nacionalnih jezičnih razli- Naturally, inside every language that is spoken
ka, često i većih nego između Hrvata i Srba. in several states, there are national linguistic
Ali te razlike ne ugrožavaju međusobnu razu- differences, quite often greater than those be-
mljivost pa se zato i dalje u lingvistici kaže da tween Croats and Serbs. But these differenc-
je riječ o jednom jeziku, policentričnom jer on es do not threaten mutual intelligibility, and so
ima nekoliko centara. Takvi su svi veći evrop- in linguistics it is still said to be one language,
ski jezici i brojni izvanevropski, pa je policentri- but polycentric, because it has several centres.
čan tip jezika čak prije normalno stanje nego This is the case with all the major European lan-
iznimka. guages, and many outside the continent, and
the polycentric type is more the norm than the
Jezični puristi nas rado uvjeravaju da ne zna-
exception.
mo svoj jezik i da trebamo način izražavanja
promijeniti onako kako oni propisuju. Među- Language purists are fond of persuading us
tim, izvorni govornici znaju jezik i raspolažu that we don’t know our own tongue and that
podsvjesnim znanjem njegovih pravila. Za us- we need to change our way of expression ac-
poredbu, to je kao kad vozite bicikl: vi znate cording to their prescriptions. But native speak-
voziti, iako ne znate navesti koje mišiće ko- ers know their language and have a subcon-
ristite dok vozite. Tako isto dok govorite, vi scious knowledge of its rules. For comparison,
podsvjesno stalno primjenjujete jezična pra- this is like when you ride a bicycle you know
vila, iako ih najčešće niste u stanju navesti ili how to ride, even if you cannot state the musc-
opisati. Naše podsvjesno znanje jezičnih pra- les you use to do so. And so it is when you spe-
vila je čak mnogo, mnogo opširnije od pra- ak, you constantly, subconsciously, apply lan-
8 9

6. vila koja se nude u gramatikama, rječnicima
ili drugim knjigama. Nijedan lingvist na svijetu
guage rules, although most often you are inca-
pable of listing or describing them. Our subcon-
= Govoriš li štaglinečki? = Do you speak Štaglinec language?
nije dosad bio u stanju ni približno opisati sva scious knowledge of linguistic rules goes much,
D W
pravila koja bilo koji izvorni govornik nekog je- much wider than the rules that are provided in ok mnoštvo i dalje nadograđuje «babi- hile many still upgrade »Tower of
zika nosi u glavi, a da pritom nije ni svjestan grammar books, and dictionaries. No single lonsku kulu» najmodernijim tehnikama Babel« with the most modern tech-
da posjeduje neku posebnu vještinu. linguist in the world has ever been capable of i usavršava je najpreciznijim statistič- niques, perfecting its superstructure
even approximately describing all the rules that kim izračunima, mala skupina ljudi odvratila se by the most accurate statistical calculations,
Kad netko zahtijeva navodno ispravniji i čisti- od penjanja po njoj i krenula spuštati se pre- a small group of people turned away from
any native speaker of a language carries in their
ji jezik, time usađuje u nas na perfidan način ma zemlji. Kako se po putu i po prizemljenju climbing on it, and started going back, down
head, without being aware of possessing any
netrpeljivost prema ljudima. Kad netko ra- ne bi pogubili, raspršili i nestali, dogovorili su to earth. In order not to get lost, scatter or
particular skill.
zdraženo reagira na riječi koje prepoznaje kao mjesto i vrijeme susreta: Štaglinec, 18. lipnja vanish on their way or after landing, they had
znak druge nacije, to je izraz jezične netole- When someone demands an allegedly purer 2011. godine. agreed place and time of meeting: Štaglinec,
rancije, a jezična netolerancija je često poli- and more correct language, they are insidiously 18th June 2011.
tički prihvatljiva maska za netoleranciju pre- implanting in our heads intolerance for others. I doista, do susreta je došlo. Ne, nije riječ o
ma drugoj naciji. Odbojnost prema određenoj When someone reacts with irritation to words povijesnom romanu ili futurističkoj priči. Ri- Indeed, the encounter occurred. This is not
grupi ljudi nije u demokratskim društvima pri- that he recognises as the sign of another peo- ječ je o jednom radosnom susretu. U zagr- a historical novel or a futuristic story, but a
hvatljivo direktno izricati, pa se to indirektno ple, it is an expression of linguistic intolerance, ljaju majke prirode i zagrljajima jedni drugih, text about a joyful meeting. In the embrace
čini kroz rasprave o jeziku pomoću naizgled and linguistic intolerance is often a politically ac- pripadnici naše male skupine vratili su se na of mother nature and mutual hugs, the mem-
prihvatljivijih tvrdnji fokusiranih na jezik. ceptable disguise for lack of toleration for the početke. U međuvremenu, prvobitni jezik se bers of our small group returned to the begin-
other nation. In democratic societies it is not ac- rascjepkao i odmetnuo od svoje prave naravi: nings. In the meantime, the original language
Ali jezik nije vlasništvo purista, i arogantno je kad nije više želio služiti ljudima kao živo sredstvo is split apart and perverted from its true na-
ceptable to express repulsion for a given group,
oni vjeruju da jest. Jezik je vlasništvo svih njego- komunikacije, nego se počeo okoštavati u su- ture: no longer it wanted to serve people as
and so it is done indirectly through discussions
vih govornika, dakle svih nas, i svi mi ga nepre- stave koji su težili zbuniti, zavaditi i zatim zavla- a living means of communication, but began
about language with what seem to be accept-
stano sređujemo, uređujemo, dorađujemo. To dati zavađenim jedinkama, sposobnima razu- to ossify in systems that have tended to con-
able claims focused on language.
radimo spontano, nesvjesno i nenamjerno kad mjeti jedino same sebe. Ali našoj maloj skupini fuse, alienate and then rule the warring units–
god govorimo ili pišemo. Do nastanka jezičnih But language is not the property of the purists, to nije predstavljalo problem. Svak je na svoj beings, capable of understanding only them-
pravila dolazi na isti način kao što dolazi do na- and they are being arrogant in thinking it is. Lan- način, svojom umješnošću i umjetnošću odlu- selves. But it did not present a problem to our
stanka utabanih prečica po parku. Prečice po guage is the property of all speakers, of all of us, čio učiniti sve kako bi pomogao tom ranjenom small group. Everyone in their own way, by
parku nastaju tako što veći broj pojedinaca gazi and we all incessantly settle it, work on it, polish organizmu jezika i iscijelio ga. Na taj način bi his/her skill and art, decided to do everything
travu po istom mjestu. Međutim, nijedan od tih it. We do this spontaneously, unconsciously and se donekle obnovilo međusobno razumijeva- to help the wounded body of language and
pojedinaca nije gazio travu s ciljem da nastane unintentionally when we speak or write. Linguis- nje kakvo je postojalo nekada, prije vremena heal it. That would somewhat restore mutual
prečica, nego s ciljem da u konkretnoj situaciji tic rules arise in the same way that well–trod- »babilonskoga carstva«, a kojeg nije nedosta- understanding that had existed once, before
što brže dođe do odredišta. Nastanak preči- den shortcuts in the park. These shortcuts are jalo okupljenim umjetnicima. the time of »the empire of Babylon«, the un-
ce je nenamjeravana posljedica iste radnje veli- made by most individuals walking on the grass derstanding which the assembled artists did
kog broja ljudi. Na jednak način nastaju i jezična in the same place. But none of these individuals Boris Nieslony je zaplesao s kamenjem ne bi
not lack.
pravila. I to kroz dugačka vremenska razdoblja. has stepped on the grass with the intention of li ono ispustilo prvobitni zvuk; Marko Marković
Pritom je obogaćivanje i čak profinjivanje izra- creating a shortcut, rather with the intention of je kirurškom iglom i koncem šio rane svoga Boris Nieslony was dancing with stones in or-
žajnih mogućnosti kad je u dodiru s govornici- getting, in the given situation, where he wants jezika; Sinéad O’Donnell se trudila uobličiti mi- der to make them let out their original sound;
ma drugih jezika dolazilo do razmjene jezičnog to go to as fast as possible. The creation of the sao na papir, a Jason Lim je zaustavio govor Marko Marković, with a surgical needle and
materijala. Čisti jezici ne postoje i nikada nisu shortcut is the unintentional result of the same vjetra. Gina i Efi ben David su oblikovale nova thread, was sewing the wounds of his (moth-
postojali. action by a large number of people. Language imena od grančica trešnjinog drveta. Alejan- er) tongue; Sinéad O’Donnell was trying to
rules are created in the same way. Over a long dra Herera je kontemplirala težinu nerazumije- formulate her thought on paper, and Jason
= Snježana Kordić period of time. And expressive capacities tend vanja. Buba i Marina su posudile tuđe jezike,
a tete zvane »Proljeće« krijepile su jezike sviju
Lim stopped the speech of wind. Gina and
Efi Ben David shaped the new names out of
to be enhanced and refined when, in contact
with speakers of other language, there is an ex- kako bi ustrajali i ne bi izgubili radost. Milijana cherry tree branches. Alejandra Herera was
change of language materials. Pure languages Babić je ispisala priznanje koprivom, prizna- contemplating the weight of non–understand-
do not exist, and never have existed. nje da već teško razumije čak i one s kojima ing. Buba and Marina borrowed other peo-
dijeli isti jezik. Damir Stojnić je dahom ozvu- ple’s tongues, while a group of women called
= Snježana Kordić
čio anđela, dok su Pino i David dahtali i režali
poput životinja. Mariel Carranza se, vezana za
»Spring« were invigorating all present pal-
ates so to persevere and not lose joy. Milijana
10 11
Preveo | Translated by Graham McMaster

7. zemlju, prisjećala govora bića koje postoji iz-
među životinja i anđela. Bili su tamo još mnogi
Babić wrote her confession in nettle, the con-
fession that she finds it harder and harder to
=
drugi i dali svoj doprinos, sebe. understand even those who share the same
language with her. Damir Stojnić tuned in an
Na kraju dana, u zemlji je izgaralo staro ime
angel with his breath, while Pino and David
Čovjeka (Tom) dok je Milan Božić ispirao sta- Milijana Babić || Hrvatska | Croatia
were panting and growling like animals. Mari-
ru boju sa svoje družice Vlaste Delimar. Ime je Anne Bean | Poshya Kakl || Engleska | Irak | England | Iraq
el Carranza was, tied to the ground, recalling
gutala vatra, boju je ispirala voda, u zraku je David Belas | Pino Ivančić || Hrvatska | Croatia
the speech of the beings whose existence is
lebdjela prekrasna glazba Glenna Millera koju Buba | Marina || Srbija | Serbia
between animals and angels. There were also
je izvodio tamburaški orkestar «Podravka». Jasenka Bulj || Hrvatska | Croatia
many others who gave their contribution, their
Suton je progutao sve. Boje, toplinu, zvukove. Mariel Carranza || Peru | Peru
selves.
Iz tišine, na rubu svjetlosti i mraka, rodilo se Efi Ben David | Gina Ben David || Izrael | Israel
novo ime, nova boja, novi jezik. Štaglinečki. At the end of the day, the old name of the Man Vlasta Delimar | Milan Božić || Hrvatska | Croatia
(Tom) was burning out in the ground, while Alejandra Herrera || Čile | Chile
Sveti Pavle je upozorio Korinćane da se ne
Milan Božić was washing away the old paint Jason Lim || Singapur | Singapore
razmeću poznavanjem stranih jezika, pa čak
from the body of his companion Vlasta Deli- Marko Marković || Hrvatska | Croatia
ni anđeoskih, jer uza sva ta znanja bit će tek
mar. The name was being consumed by fire, Boris Nieslony || Njemačka | Germany
hladan limeni vjetrokaz na krovu koji zveči pod
the color was being washed away by water, Sinead O’Donnell || S. Irska | N. Ireland
naletima vjetra ili instrument bez duše koji ječi
and the wonderful music of Glenn Miller per- Goran Ristić || BIH | B&H
pod udarima lošeg svirača — ako ne sjednu
formed by the tambura orchestra »Podravka« Damir Stojnić || Hrvatska | Croatia
zajedno za stol i ne podijele hranu, piće i lju-
was floating in the air. Twilight swallowed it all: The Smithsons | Kristina Leko | Vidan Leko Smithson | David Smithson || Hrvatska | Njemačka | SAD
bav. Štaglinčani bi ga, vjerujem, preduhitrili u
colours, heat, sounds. From the silence, on | Croatia | Germany | USA
pisanju te poslanice. Prije nego li bi se stigao
the edge of light and darkness, a new name, Mio Vesović || Hrvatska | Croatia
mašiti pera, već bi sjedio za dugačkim stolom,
new colour, new language was born: Štaglinec
dijelio pogaču, nazdravljao domaćim vinom i
language.
radosno pjevao. Na štaglinečkom.
St. Paul warned the Corinthians not to boast
Tečaj ovog svjetskog jezika se za sve zaintere-
with their knowledge of foreign languages,
sirane i dalje održava jednom godišnje u ma-
even angelic languages, because all that
lom mjestu Štaglinec pored Koprivnice. Dođi
knowledge will be just a cold tin vane clink-
pa nauči.
ing under the gusts of wind, or a soulless in-
strument tinkling under the beats of bad play-
= Ivana Krencer ers — unless they sit together at the table and
share food, drink, and love. The people from
Štaglinec would, I believe, have advanced him
in writing that epistle and, before he had even
come to wave his pen, he would have found
himself sitting at the long table, sharing home-
made bread, toasting with wine, and singing
joyfully. In Štaglinec language.
The course of this world language, for all con-
cerned, is still held annually in a small village
near Koprivnica called Štaglinec. Come and
learn.
= Ivana Krencer
12 13

8. = Milijana Babić Ne razumijem, riječi u koprivama. I do not understand, the words in the nettles.
= Hrvatska | Croatia Na ovogodišnju temu reagiram izjavom Ne At this year’s theme I react with the statement
razumijem. Priznajem da ne razumijem puno I do not understand. I confess that I do not
toga iako pričamo isti jezik. Pritom se koristim understand a lot even though we speak the
vizualnim jezikom koji nije razumljiv. Premošći- same language. Doing this, I use a visual lan-
vanje granica nemoguće je bez razumijevanja. guage that is not understandable. Bridging
Nerazumijevanje ima svoje posljedice. borders and limits is impossible without un-
derstanding. Misunderstanding has its con-
sequences.
14 15

9. = Anne Bean | Poshya Kakl ‘PAVES’
= Engleska | Irak | England | Iraq Trajanje: 30 minuta | Duration — 30 minutes
Anne Bean nije bila prisutna na festivalu. Da bi
bila uključena, iako ne fizički tamo, poslala je
kutije s žutim vrpcama i dva lica od papira: jed-
no papirnato lice sebe, a drugo lice od papira
bilo je lice iračko–kurdske umjetnice Poshye
Kakl. Vrpcu sam koristila za aktivnu instalaciju
kroz prozor sobe u kojoj sam izvodila svoj per-
formans cijeli dan. Uz pomoć jedne djevojčice
odmatala sam kolutove žute vrpce i puštala ih
da padaju kroz prozor na tlo.
Anne Bean was not present at the festival. In
order to be included yet not be there physi-
cally, she sent boxes of yellow ribbon and two
paper faces, one paper face of her own and
one paper face of Iraqi Kurdish artist Poshya
Kakl. I used the ribbon to make an active in-
stallation through the window in which I had
been performing all day. Assisted by a young
girl, I unleashed the yellow ribbon reels one
after the other out through the window onto
the soil.
16 17

10. = David Belas | Pino Ivančić »...dječja narodna igra : govu percepciju... trenutak kad su svi prirodni
= Hrvatska | Croatia ODUzimanje zemlje...« reflexi lišeni svih konvencionalnosti... uzet će
mi ruku i voditi kroz... osjećam radost alke-
mije krvi... ne ovdje, hajdemo dalje... sa svo-
+ poznata dječja igra oduzimanje zemlje, ov -
jeg mjesta vidim zvijezde i misli mi streme u
dje transformirana u sferu odraslih, svako–
uragan svijetla...
dnevnih aktualnosti
Krenuo sam vlastitom interpretacijom, osob-
nog rituala prisvajati zemlje oko sebe, te kroz
...kad smo bili mali... crtanje po zemlji koma-
fizičku akciju uvjeravati samoga sebe da je ta
dom drva... asfaltu kredom ili komadićem ci-
zemlja uistinu moja. Nakon obavljenog rituala,
gle... kako je bilo moguće u kojem dijelu gra-
kroz ritual dovodio sam se u stanje iz kojeg su
da il sela... i bilo je bitno »ukrasti/oduzeti« što
proizlazile sve iduće akcije, borbe, bijeg, skri-
veći komad teritorija suprotnog dijela do tre-
vanje ispod stola te nakraju nestajanja u krošnji
na kad je nekom zauzet cijeli njegov ucrta-
trešnje. Sve što mi se dogodilo zapravo je po-
ni teritorij ... bila nam je to razbibriga/igra...
sljedica izvedbe same. Osnovna ideja kojom
ta igra je samo prebačena u kontekst aktu-
sam se ravnao te pitanje na koje sam tražio
alnosti odraslog svijeta... crtanje je zamijenje-
odgovore je: Da li je ljudska potreba za prisva-
no ritualom obilježavanja/zauzimanja teritorija
janjem pa naknadno otimanje zemlje skrivena
zrnjevljem pšenice i kukuruza... od nasušne
u samom nagonu za preživljavanje te shodno
potrebe preživljavanja do čiste pohlepe i ego-
tome nastanje pojma privatnog vlasništva ili je
ističkog samozadovoljavanja... bildanje ega...
to kategorija čiste ljudske pohlepe odnosno
koji živi i stvara u beskrupuloznom svijetu i
nedostatak razumijevanja vlastitih ograniče-
uniformiranom društvu... svaka extremna si-
nja. Nakon ostvarenog performansa te na-
tuacija u kojoj se čovik nadje izoštriti će nje-
kon razmišljanja o događajima u Štaglincu,
pokušavam definirati osobni stav o temi »Je-
zik« i krenuti od onoga što tjera ljude do jezika
samog, do potrebe za komunikacijom, kako
uopće dolazimo do jezika i zašto? Nemam ne-
kog odgovora, ali možda je pitanje dovoljno,
također sjećam se osjećaja koji me pratio tije -
kom cijele izvedbe i volio bi ga nekako artikuli-
rati... da motiv, osjećaj, koji me tjerao da tako
ritualno osvojim zemlju je isti onaj koji me po-
tjerao na stablo, a zove se »PLAN ZA BIJEG«
ili način preživljavanja. STRAH.
...sama koncepcija rada dozvoljavala je slo-
bodu improvizacije i otvorenog kraja, ...i nit-
ko nije znao kako će performans završiti... on
proizlazi iz ideje, interakcije izvođača, publike,
i okoline.
materijal: — kanta / vjedro zrnjevlja kuruze
— kanta / vjedro pšeničnog zrnja
18 19

11. al I was brought into a state from which
all the following actions resulted: fight, flee,
hiding under the table and finally the disap-
pearance in the top of a cherry tree.
All that actually happened to me is a result
of the performance itself. The basic idea I
conducted myself with, and the question I
searched the answers to is:
Is the human need for appropriation and sub-
sequent abduction of the land hidden in the
»... children’s traditional play: instinct for survival and consequently the con-
CONfiscation of land ...« cept of private property is inhabited or is it a
category of pure human greed and lack of un-
+ a well–known children’s play confiscation derstanding of our own limitations. After real-
of land was here transformed into the sphere izing the performance and after thinking about
of adult daily actualities the events in Štaglinec, I have been trying
to define a personal attitude about the top-
ic of »Language« and start from what com-
... when we were little ... drawing on the gro- pels people to the language itself, the need to
und with a piece of wood ... on asphalt with communicate, how we come to the language
a piece of chalk or brick ... as was possible in and why? I do not have any particular answer,
a particular part of the city or village .... and it but the question itself is perhaps enough; I
was important to »steal / seize« as much of a also remember the feeling that accompa-
territory belonging to the opposite side, up to nied me during the whole performance and
the moment when someone’s whole marked I would like to, somehow, articulate it... yes,
territory is occupied .... it was our pastime.... the motive, feeling which forced me to occu-
that game is only transferred into the context py the land in such a ritual way is the same
of the news of the adult world .... drawing is one that chased me up a tree, and is called
replaced by the ritual of marking / occupy- »ESCAPE PLAN« or a way of survival. FEAR.
ing territory with grains of wheat and corn ... ... the very conception of work allowed free-
from the critical need to survive to pure greed dom of improvisation and open–endedness,
and egoistic masturbation ... building of ego ...and no one knew how the performance was
... who lives and works in an unscrupulous going to finish ... .. it results from the idea, the
world and uniform society ... any extreme sit- interaction of performers, audience, and en-
uation where man finds himself will sharpen vironment.
his perception ... a moment when all the natu-
ral reflexes are deprived of all conventionalities
... will take my hand and guide me through Material: — bucket / pail of corn grain
... I feel the joy of the alchemy of blood .... — bucket / pail of wheat grain
not here, let’s go further ... from my position I
see the stars and my thoughts strive into hur-
ricane of light ...
I started to occupy lands around me by
my own interpretation, a personal ritual,
and through physical action I was convinc-
ing myself that the land was truly mine. Af-
ter performing the ritual, through the ritu-
20 21

12. = Buba Čvorić | Marina Tomić »AVAZ«*
= Srbija | Serbia Mesec dana pre početka festivala »Moja ze-
mlja, Štaglinec« započele smo dnevno pisa-
ti jedna drugoj ručno pisana pisma (u peri-
odu od 11 maja do 11 juna). Pisma su bila
poslata na adresu organizatorke i umetnice
Vlaste Delimar tj. adresu festivala »Moja ze-
mlja, Štaglinec« u Hrvatskoj. Buba je pisa-
la iz Holandije a Marina uglavnom iz Švaj-
carske. Za vreme jednomesečne prepiske
prestale smo potpuno sa komuniciranjem.
Nakon tog meseca »slepe« korespodenci-
je, dve lokalne žene iz Štaglineca Nada No-
vak i Marija Polančec su sele skupa javno
čitajući jedna drugoj naša pisma. Marija Po-
lančec je bila Marinin a Nada Novak Bu-
bin glas. Taj takozvani drugi deo jednome-
sečnog performansa zbio se tokom otva-
ranja festivala i trajao je nekoliko časova.
*Avaz je turcizam, glas.
“AVAZ”*
One month before the festival “My Earth Šta-
glinec” occurred we started on a daily basis
writing hand written letters to each other (du-
ring the period from 11th May till 11th of June).
The letters were send to the organizer–artist
Vlasta Delimar i.e. on the address of the Art
organization “My Earth Štaglinec” in Croatia.
Buba was writing from The Netherlands and
Marina mostly from Switzerland. During this
one–month of correspondence, we stopped
completely to communicate with each other.
After that month of “blind” correspondence,
two local women Nada Novak and Marija Po-
lančec from Štaglinec sat together and read
our letters to each other in public. Marija Po-
lančec was Marina’s and Nada Novak was
Buba’s voice. That so–called second part of
one–month performance took place during
the opening time of the festival and it lasted a
couple of hours.
*Avaz is a Turkish word that means voice.
22 23

13. = Jasenka Bulj Moja virtualna priča My Virtual Story We used to meet at my computer screen,
= Hrvatska | Croatia everyone was in his/her environment, his/her
surroundings. I photographed the screen and
Just as in real life, conversations via Skype
Baš kao i u stvarnom životu tako i preko the whole situation, those with whom I con-
take a different course with each person.
Skypea razgovori sa svakom osobom imaju versed. Their portraits are recorded. The vir-
drugačiji tijek. In the spring of this year I was separated from tual world of temporary communication has
my usual surroundings for two months. Co- become real. They became palpable and re-
U proljeće ove godine bila sam dva mjeseca
mmunication with friends in other parts of the corded, and when the line got disconnected
odvojena od svoje uobičajene okoline. Komu-
world took place via computer through the the faces disappeared, all that was between
nikacija s prijateljima u drugim krajevima odvi-
Skype service. us during the conversation disappeared. They
jala se preko računala putem Skype servisa.
were not aware that they were recorded in
Way of communicating across the screen is
Način komuniciranja preko ekrana uvijek je vrlo space and time.
always very personal and different. Portraits
osoban i drugačiji. Portreti koji nastanu u ta-
arising from such a situation can always be Their faces were a reflection of the moment,
kvoj situaciji uvijek mogu biti zanimljivi. Prijatelji
interesting. Friends and persons are in their conversation, mood, environment and situati-
i osobe su u svojem okruženju, a nesvjesnost
environment, unaware of the fact that a pho- on which they were surrounded with.
činjenice fotografiranja kao postupka, nedo-
tographic process is going on, so lack of awa-
statak svjesnosti o činu snimanja, omogućila When I was invited by Vlasta to Štaglinec, I
reness about the act of shooting allowed the
je drugačiju iskrenost u samoj fotografiji. felt that this was an opportunity for our mutual
different sincerity in the photograph.
communication, portraits of people who were
Bili smo na vezi u raznim razdobljima dana,
We were on the line at various times during with me in moments of conversation, and
ovisno o vremenskim zonama, nekada je bilo
the day, depending on time zones, someti- who disappeared, to be this way collected at
jutro ili pak večer, svi smo bili na raznim kraje-
mes it was morning sometimes evening, we one place in a new joint conversation that has
vima svijeta i drugim kontinentima.
were all in different parts of the world and ot- actually never occurred.
Sretali smo se na ekranu mog računala, svat- her continents.
ko je bio u svojoj okolini u svom okruženju.
Fotografirala sam ekran i cijelu situaciju, one s
kojima sam komunicirala. Njihovi portreti ostali
su zabilježeni. Virtualni svijet trenutne komuni-
kacije postao je stvaran. Postali su opipljivi i
zabilježeni, a kada se prekinula veza nestala
su lica, nestalo je sve što je bilo između nas
tijekom razgovora. Oni nisu bili svjesni da su
ostali zabilježeni u prostoru i vremenu.
Njihova lica su bila odraz trenutka, razgovo-
ra, raspoloženja, okoline i situacije koja ih je
okruživala.
Kad me je Vlasta pozvala u Štaglinec osjetila
sam da bi to bila prilika da naša zajednička
komunikacija, portreti ljudi koji su bili sa mnom
u trenutcima razgovora i koji su nestali, bude
na ovaj način skupljena na jednom mjestu u
novom zajedničkom razgovoru koji se zapra-
vo nije nikada dogodio.
24 25

14. = Mariel Carranza Mariel Carranza Mariel Carranza Joined in the pulsating/ breathing
= Peru | Peru I AM / JA JESAM I AM / JA JESAM Sensation that unified us all
Time awareness returned
As the body began vibrating
Vezana za zemlju Bound to the ground
But I no longer remembered
Užad vezana oko mojih zapešća i gležnjeva Ropes tied around my wrists and ankles
Who I was
Namotana oko kamenova Coiled around rocks
Arising and pulling the ropes
Pijesak je popustio pod težinom Sand caved in under the weight
JA JESAM JA JESAM? JA JESAM
Tijela potonulog u zemlju Of the body sunk into the earth
Unsure of which way to go
Um upetljan u svoju nepreglednost Mind entangled in its vastness
Searching contorted faces of others
Svjesnost o fizičkom sebstvu Awareness of physical self
Vibrating/repeating JA JESAM
Probuđen čisti osjećaj bivanja Awakened pure sensation of being
Fell, pulled by the ropes
Širi se u svim smjerovima Expanding in all directions
To the ground
Prepuštanje/postajanje jednoga sa svime Yielding/ becoming one in all
Raised again pulsating/
Brisanje pojmova vremena, mjesta, granica Erasing concepts of time, place, boundaries
Breathing/ vibrating,
Nebo konfigurira slike The sky configured images
Repeating JA JESAM?
Koje se rastaču u moje biće Disintegrating into my being
Slowly approaching
Kao što se moje tijelo rastače u zemlju As my body disintegrated onto the earth
The sun reflection in the window
Osjećala sam puls žarećeg sunca I felt the pulse of the brazing sun
I saw myself
Kako kuca u mom tijelu i vjetru Beat in my body and in the wind
JA JESAM
Koji ga raznosi svuda naokolo Carrying it to everything around
JA JESAM?
Kukci The insects
JA JESAM
Vrte se i migolje po mojoj koži Wriggling, squirming on my skin
Pridruženi pulsiranju/disanju
Osjećanje koje nas je sve ujedinilo
Svijest o vremenu se vratila
Kako je tijelo počelo vibrirati
Ali ja se više nisam sjećala
Tko sam
Ustajući i povlačeći užad
JA JESAM JA JESAM? JA JESAM
Nesigurna kojim putem ići
Tražeći iskrivljena lica drugih
Vibrirajući/ponavljajući JA JESAM
Pala sam, konopima povučena
Na zemlju
Dižem se opet pulsirajući/
Dišući/vibrirajući,
Ponavljajući JA JESAM?
Polako se približavajući
U odrazu sunca u prozoru
Ugledah sebe
JA JESAM
JA JESAM?
JA JESAM
26 27

15. 28 29

16. = Efi Ben David | Gina Ben David Materinji jezik — performans duljeg trajanja “Mother tongue” — Durational performance
= Izrael | Israel
Majka i kći odjevene u bijelo, rade zajedno. Mother and daughter dressed in white, are
working together.
‘Nećete pomoći mladicama da narastu time
što ćete ih vući prema gore’ “You won’t help shoots grow, by pulling them
up higher”
Kod kuće uzgajane mladice (izdanci, klice)
Mong graha (po)jedene su jedna po jedna, Home made shoots of Mong beans have been
od strane 10 prstiju obojanih crnim lakom za eaten one by one, by 10 fingers colored in
nokte, ostavljajući prazne staze koje su tvorile black nail polish, leaving empty trails that crea-
slova, riječi, taoističku kinesku poslovicu. te letters, words, a Taoist Chinese saying.
3 sata meditacije. 3 hours of meditation.
U ritmu kopanja 13 rupa u zemlji, imena umjet- To the rythem of digging 13 holes in the gro-
nika se prevode na hebrejski. U skladu s nji- und, artists’ names are being transliterate to
hovom podudarnošću sa slovima na tipkovnici Hebrew. According to their matching letters in
računala, pretvaraju se u novo ime na novom a computer keyboard, they are transformed
jeziku i oblikuju od grančica trešnjinog drveta. into a new name in a new language, and for-
med by cherry tree twigs.
13 pari nogu koje stoje u rupama prekrivaju
se zemljom. 13 pairs of feet standing in the holes are being
covered with soil.
13 umjetnika je ukorijenjeno u tlo Moje zemlje.
‘Nećete pomoći mladicama da narastu time 13 artists are rooted in MOJA ZEMLJA land.
što ćete ih vući prema gore’.
“You won’t help shoots grow, by pulling them
up higher”.
30 31

17. 32 33

18. = Vlasta Delimar | Milan Božić Apsolutni umjetnik (sjećanje i osjećaj) Antonio Absolute Artist (Memories and Feelings) Anto- carried out during the funeral of Antonio Goto-
= Hrvatska | Croatia Gotovac Lauer nio Gotovac Lauer vac Lauer at the Mirogoj cemetery in Zagreb.
All three of us were wearing the same clot-
hes: black satin suit, white shirt, white under-
Kako nismo mogli preuzeti odgovornost da se Since we could not take the responsibility to pants, white sneakers; a choice of dressing of
brinemo za umjetničku ostavštinu koju nam je care for his artistic legacy offered to us by An- the deceased immediately before his death.
Antonio Gotovac Lauer za života ponudio, tonio Gotovac Lauer himself while alive, we The project’s aim was to carry out a num-
odlučili smo se nakon njegove smrti na jedan decided after his death on a larger project en- ber of actions and performances in Croatian
veći projekt pod naslovom Apsolutni umjetnik titled Absolute Artist (Memories and Feelings) towns where Gotovac worked (Zagreb, Rije-
(Sjećanje i osjećaj) Antonio Gotovac Lauer koji Antonio Gotovac Lauer, intended to have his ka, Koprivnica, Split and Dubrovnik).
je imao intenciju da se njegov život i rad valo- life and work validated through the prism of
After the performing actions in Croatia, we
rizira kroz prizmu drugog umjetnika. another artist.
continued in Venice, London, Paris, Suboti-
Kroz zadnjih šest godina intenzivnog druže- During six last years of intensive meetings ca and Belgrade. These are the cities whe-
nja Božić, Delimar, Lauer iz kojeg je proizašao Bozic — Delimar — Lauer, from which was re we together with him planned to continue
zajednički performans u Ilici 2.09. 2009. pod derived a joint performance in Ilica Street in our joint actions but we did not succeed, and
naslovom »Dva muškarca i jedna žena« (Hr- Zagreb on 2nd September 2009 entitled »Two are the cities where Gotovac worked before.
vatska remek — djela) nastalo je i niz tzv. pri- Men and one Woman« (Croatian Masterpie- This complex project is a commemoration on
vatnih performansa koje smo nastavili i nakon ces) a series of so–called private performan- the activity of one contemporary who had a
smrti Antonija Gotovca Lauera. Prvi posthu- ces were derived, which we continue to give specially important influence on art — perfor-
mni privatni performans izveli smo za vrijeme after the death of Antonio Gotovac Lauer. mance scene in Croatia.
samog posljednjeg ispraćaja Antonia Gotov- The first posthumous private performance we
ca Lauera na groblju Mirogoj. Svo troje bili
smo odjeveni u istu odjeću; crno saten odije-
lo, bijela košulja, bijele gaćice, bijele tenisice;
kao pokojnikov izbor odijevanja neposredno
prije smrti.
Cilj projekta bio je da se izvode akcije i per-
formansi u više gradova Hrvatske u kojima je
Gotovac djelovao (Zagreb, Rijeka, Koprivnica,
Split i Dubrovnik).
Nakon izvedenih akcija u Hrvatskoj nastavi-
li smo u Veneciji, Londonu, Parizu, Subotici i
Beogradu. To su gradovi u kojima smo zajed-
no s njime planirali nastaviti naše zajedničke
akcije ali nismo uspjeli i to su gradovi u kojima
je Gotovac prije radio.
Ovaj kompleksan projekt sjećanje je na djelo-
vanje jednog suvremenika koji je imao poseb-
no važan utjecaj na likovno — performersku
scenu u Hrvatskoj.
34 35

19. 36 37

20. = Alejandra Herrera »Prelaženje međa«
= Čile | Chile
Festival se održava u nekadašnjoj užari koja se
nalazi na velikom imanju s jednom većom ne-
dovršenom građevinom i dva manja prostora.
Mjesto je puno energije. Energija se nakupila
tijekom povijesti prostora i prethodnih festivala
koji su se tamo događali. Posjed sam temelji-
to istražila. Večer prije dana nastupa, osjećala
sam da mjesto ne odgovara za izvedbu koju
sam planirala, pa sam odlučila da ću rad izve-
sti u selu među stanovnicima. Nismo proveli
mnogo vremena u tom selu, pa sam osjetila
potrebu komunicirati s mještanima i povezati
se s njima.
Započinjem akciju oko 2 sata hoda od mjesta
gdje ću je završiti. Počinjem hodati. Nosim bi-
jelu odjeću: hlače, majicu i čarape. U ruci dr-
žim vrč pun crnog vina. Svakih 10 koraka ot-
pijem vino i pustim ga da iscuri iz mojih usta
preko bijele odjeće, bojajući je u crveno. To
činim svaki put kad prođem pored pješaka ili
automobila. Prolaznici mi nešto dovikuju, ali ja
ne razumijem što. Osjećam ljutnju i strah. Au-
tomobili usporavaju, ali ne staju. Ljudi se ne
smiješe, djeluju iznenađeno i lice im poprima
prestrašen i zbunjen izraz. Nastavljam hodati,
noge mi počinju osjećati nepravilnosti na ce-
sti. Moje ruke također osjećaju težinu vrča.
Sat vremena je prošlo i vrč s vinom je polu-
prazan. Odjeća je već dobrano boje vina i moj
izgled čini se odražava koliko vremena perfor-
mans traje. Hod je pun razmišljanja, pitanja,
kontemplacije. Cesta se promijenila, više nije
autocesta, nego seoska ulica. Nakon 2 sata
hoda stižem na odredište. Gotovo svi su vani
i čekaju početak festivala. Ulazim u prostor i
krećem se prema kuhinji gdje ljudi pripremaju
hranu. Nastavljam izvoditi performans za njih.
Vraćam se van i ostavljam prazan vrč na be-
toniranoj stazi. Krećem se dalje prema vrtu u
kojem sam ostavila veliko keramičko jaje. Ho-
dam uokolo prostora s jajetom, moleći Zdravo
Mariju na španjolskom. Vraćam se na mjesto
gdje sam ostavila vrč i bacam jaje preko ra-
mena.
38 39

21. Saturday, June 18, 2:30 PM, Staglinec, Croatia. stand anything they are saying. I sense anger
“Crossing Land Borders” and fear. Cars slow down, but don’t stop. Pe-
ople are not smiling, they act surprised and
have expressions of terror, confusion.
The festival takes place at an old rope fac-
tory. It is located on a large property with un- I keep walking, my feet start feeling the irregu-
finished construction and empty houses. The larity of the road. My arms are also feeling the
place has a lot of energy. Energy that has weight of the jug. An hour has passed and the
been contained there because of the history jug of wine is half empty. The clothes are dee-
of the space and the previous festivals that ply colored from the wine and my appearance
have taken place there. I surveyed the proper- seems to show the time that has passed thus
ty extensively. The evening before the perfor- far in the performance. The walk has been full
mances, I felt like the location was not for the of reflection, questions, contemplation.
work I was planning, so I decided that I would
The road changes, no longer a freeway but
make work in the town amongst the residents.
surface streets in the middle of the village.
We had not spent any time in the nearby
village, so I felt the need to communicate and After 2 hours of walking I arrive at my desti-
connect with its citizens. nation. Almost everyone is outside waiting for
the opening of the festival. I enter the space
I start the action approximately 2 hours wal-
and move into the dinner area where there are
king distance from where the piece will end.
people preparing food for the opening. I conti-
I begin walking.
nue the action for them.
I am wearing white clothes; pants, t–shirt
I return outside and leave the empty jug on a
and socks. I am holding a jug full of red wine.
cement path. I move to a garden where I have
Every 10 steps I take a drink of the wine and I
left a large ceramic egg. I walk around the space
let it spill out of my mouth over the white clot-
with the egg, reciting the Hail Mary in Spanish.
hes, staining the clothes red. I also engage in
I return to where the jug was left, and throw
this action each time I pass by a pedestrian or a
egg over my back.
car. Bystanders yell at me, but I don’t under-
40 41

22. = Jason Lim Stigao sam u Hrvatsku otvorenog uma, ne
= Singapur | Singapour imajući unaprijed stvorenu predodžbu o tome
što ću raditi kao performans. Prekrasan krajo-
lik Štaglinca pobudio je u meni interes odmah
pri dolasku. Na zemlji su se odvijale mnoge
aktivnosti, trajale su pripreme drugih umjetni-
ka, imanje je brujalo od razgovora i aktivno-
sti. Nakon dana provedenog u hodu, proma-
tranju i otkrivanju što zemlja ima za ponuditi,
odlučio sam da u svom komadu želim ima-
ti što manje moguće akcije. Želio sam osta-
ti nepomičan. Unutar perimetra zemljišta bilo
je obilje oborenih stabala i grana. Sviđao mi
se kontrast mrtvih stabala položenih i po-
slaganih pored polja mladih kukuruza. Slika
mene kako stojim u polju kukuruza s gra-
nom bila je prva slika koja mi je došla u pa-
met. Balansiranje velike grane na glavi odr-
žavalo me mirnim. Granu je pomicao vjetar
koji je puhao nad zemljom, čas jak, čas blag.
Činilo se da je sve u pokretu osim mene u po-
lju.
I arrived to Croatia with an open mind witho-
ut any preconceived idea of what I would do
as a performance. The beautiful landscape of
Stalignec struck an interest in me upon arrival.
At the land, there were many activities of pre-
paration by other artists, the land was buzzing
with conversation and activities. Having spent
a day of walking, looking and discovering what
the land has to offer, I decided that I want to
have minimum actions for my piece. I would
like to remain still. There was an abundance of
fallen trees and branches in the perimeter of
the land. I liked the contrast of the dead trees
lying and piling next to fields of young corns.
The image of me standing in the corn field with
a tree branch was the first image that came
into my head. Balancing a large tree branch on
my head kept me in stillness. The branch was
moved by the wind that was blowing in the
land, sometimes strong, other times gentle.
Everything else seemed to be in movement
accept for myself in the field.
42 43

23. = Marko Marković SITNI VEZ
= Hrvatska | Croatia Sitni vez u narodnoj primopredaji označava
vještinu heklanja ( šlingeraj) te vještinu sviranja
određenih dionica na tamburici.
Izvedba sitni vez spoj je tradicionalnog folklora
u suvremenom ruhu body–arta.
Uz pratnju tamburice (svira Vlado Bunić) s
kompozicijom »Podravska krv« odjeven u na-
rodnu nošnju, autor u prirodnom ambijentu
seoskog domaćinstva izvodi performance.
Sjedeći za stolom, kirurškom iglom i koncem
šije svoje ožiljke dobivene tijekom života tj do-
bivene u ranijim izvedbama. Na taj način zaši-
va stare rane te zatvara prijašnje epohe jednog
vremena: izranjajavane zemlje, ljudi i sudbina
na tim prostorima. Izvedba Sitni Vez dolazi iz
ciklusa koji se bavi folklornim tematikama što
obrađuju položaje ljudi na određenim prosto-
rima i sredinama.
FINE EMBROIDERY
Expression ‘fine embroidery’ in the folk art
handover has two connotations: it represents
the skill of crochet, and the skill of playing cer-
tain shares on a tamburica (small tamboura, a
folk instrument similar to mandolin).
Performance is a combination of tradition-
al folklore in a contemporary body–art attire.
Accompanied by tamburica, playing (played
by Vlado Bunić) the composition ‘Podravina
Blood’, dressed in a traditional costume, the
author runs performance in the natural envi-
ronment of a rural household. Sitting at the
table, he sews his scars with a surgical nee-
dle and thread, the scars received during life,
i.e. obtained in earlier versions of the perform-
ance. In this way, the old wounds get sewn
up so that he may close previous epochs of
the time of the wounded country, people and
fates in these areas. Fine Embroidery perform-
ance comes from the cycle that deals with fol-
klore themes that deal with people’s positions
in certain areas and communities.
44 45

24. = Boris Nieslony Kamenje me čekalo. Svaki pojedini kamen je
= Njemačka | Germany bio zadovoljan. Ali tužan, vrlo tužan. Dobili su
samo 20 minuta.
Oni žele ostati sa mnom satima. Igrati se sa
mnom, zabavljati se, imati duboka iskustva
s mojim pokretima, žele plesati i vrtjeti se u
zraku, biti bačeni u visinu i padati proizvodeći
ovaj prekrasan zvuk. Da, kamenje je bilo tuž-
no kad sam ga ostavio u Štaglincu. Nadam
se da se ne ljuti na mene, dok leži u vrtu s ovo
malo 20–minutnog sjećanja.
The stones had waited for me. The stones
were satisfied. The stones were sad, very sad.
They got only 20 minutes. They want to stay
with me for hours. To play with me, to have
fun, to get deep experiences with my move-
ments, they want to dance and swirl in the air,
be thrown into the high and fall down with this
wonderfull sound. Yes, the stones were sad
when I left them in Štaglinec. Hope they are
not angry with me, lying in the garden with this
little 20–minute memory.
46 47

25. = Sinead O’Donnell Materijalna Mjera
= S.Irska | N. Ireland Trajanje: 3 sata
Tema festivala je bila »jezik«. Ja sam umjet-
nica koja se predstavlja kao osoba s poteš-
koćama i svojedobno sam istraživala kako
je moja poteškoća utjecala na metodologiju
izvedbene umjetnosti. Na ovogodišnjem festi-
valu sam polako punila jednu sobu u kući gu-
žvajući bijele papire formata A4. Ovaj perfor-
mans je izrazio poteškoće s pisanjem teksta i
ujedno djelovao kao način mjerenja prostora
materijalom.
Material Measure
Duration: 3 hours.
The theme of the festival was ‘language’. I am
an artist that identifies as disabled, and I had
at time been researching how disability infor-
med my performance art methodology. For
this year’s festival I slowly filled a room insi-
de the house by crumpling white A4 pieces of
paper. This performance expressed a difficul-
ty with text and also acted as a way of mea-
suring space with material.
48 49

26. = Goran Ristić FORKED TONGUE (performans/instalacija) Forked tongue (performance / installation)
= BIH | B&H FORKED TONGUE — (Rašljasti jezik) je jezik FORKED TONGUE is the language of repti-
gmazova, koji se rašlja na dvije strane i služi les, which separates in two and is used for
im za orijentaciju u prostoru, kao i raspozna- orientation, and for recognition of warm from
vanje toplog od hladnog. Ono u čemu ga naj- cold. It is most used for the biggest challen-
više koriste je najveći izazov prirode — preživ- ge of nature — survival: how to recognize the
ljavanje, kako prepoznati plijen i što većom br- prey and kill it as fast as possible, how to find
zinom ga usmrtiti, pronaći rod, usmjeriti se na your species, how to direct on the right path,
pravi put, skloniti od neprijatelja. Možda baš away from the enemy. Perhaps hence a ge-
odatle potiče genetički kod koji je kod čovjeka netic code is promoted that is in man expre-
izražen u jeziku. Indijanci su u Americi zvali bi- ssed in language. The Red Indians in America
jelce »forked tongue (jezik viljušaka)« jer su im called the whites »forked tongues« because
riječi bile podijeljene na više značenja. Jedno their words were divided into multiple meanin-
su govorili njima, drugo između sebe a treće gs. One was spoken to them (the Indians), the
su radili. Forked Tongue je rad koji se bazira other (second) was said between themselves
na historijskim političarima i njihovom govo- (the whites) and the third thing was done. For-
ru upućenom običnom narodu. Uspoređiva- ked Tongue is a work that is based on historic
nje ljudskog bića na vlasti s gmazom koji je politicians and their speech addressed to or-
u stanju da uništi čovjeka jednim ugrizom nije dinary people. Comparing a human being that
ni po čemu različito od govora predsjednika has political power with a reptile that is able
koji jednom rečenicom može da uništi na hilja- to destroy a man with one bite is no different
de ljudi. Slatko zapakovane laži i obećanja da from the speech of one president who can by
ćemo jesti zlatnim kašikama su u protivnom one sentence destroy thousands of people.
gorko nasjedanje na njihove riječi, bez ikakvog Sweetly packed lies and promises that we will
upozorenja na drugačiji ishod. Performans/ eat with golden spoons, in the otherwise can
Instalacija je moja izvedba i shvatanje pred- mean to be bitterly taken in their words, witho-
sjednika koji su bili na vlasti i bez premca nam ut any warning of a different outcome. Perfor-
obećavali a ujedno i lagali. Njihovo zaslužno mance/Installation is my performance and un-
mjesto nisu nikakvi muzeji ni svečane dvorane derstanding of the presidents who had power
već viljuška: onakvo kakav je bio i njihov jezik and were unmatchedly promising and lying at
a posebno djela. Nabijanjem na viljuške de- the same time. Their meritorious position is no
struiram i poništavam svaki njihov govor, koji museum(s) or festive hall(s), but just a fork, as
nije donio mir i dobro. it was their language and, particularly, deeds.
By jamming (their photos) on the forks, I de-
stroy and cancel all their speech, which has
not brought peace and well being.
50 51

27. = Damir Stojnić »IZG(OV)ARANJE; ANĐEO«
= Hrvatska | Croatia Jakovljeva borba s anđelom; da bi opstao u
svijetu, čovjek se bori protiv najboljeg u sebi.
Tim potiskivanjem usvaja strategije temeljene
na strahu; lukavost, agresivnost... Sinopsis;
Anđela sam napravio po vlastitoj silueti ocr-
tavši je solju, i dodao krila. Po tom crtežu po-
stavljam kamenje i pravim ognjište.
Sakupljam drva i palim vatru koju raspirujem
puhanjem u metalnu cijev koja završava uzor-
kom koji nalikuje na zmijski jezik. U Istri tu cijev
nazivaju »puhalnica« i ona zamjenjuje mjeh,
kada se loži vatra. Ona je pupčana vrpca izme-
đu mene i anđela od vatre i žara. Toplina mog
daha mi biva vraćena kroz toplinu potaknute
vatre. Stvara se anđeo od žeravice i ja započi-
njem svirati u drvenu blok–flautu. Sviram samo
tonove MI i FA koji u »Glazbi sfera« Johannesa
Koeplera predstavljaju raspon nota što ih kru-
žeći po svojoj orbiti proizvodi planeta Zemlja.
Ti tonovi su skraćenice za latinske riječi MIse-
ria i FAmae (Jad i Glad) koji vladaju zemljom.
Na kraju stavljam flautu u srce »Anđela« od že-
ravice i »puhalnicom« raspirujem vatru oko nje
istovremeno pušući u nju tako da ton zamire s
izgaranjem instrumenta. Neko vrijeme proma-
tram dogorijevanje flaute (Zemlje) i odlazim.
Oslobađajući bez straha ono najbolje u nama
što smo potisnuli, postajemo izotopom samih
sebe; oslobađanjem vlastitih anđela spaljuje- “PRONOUNCING; THE ANGEL” and I begin to play in a wooden block flute. I
mo pakao njegovom vlastitom vatrom. only play notes MI and FA, which in the “Mu-
Jacob’s struggle with the angel; in order to
sic of the Spheres” by Johannes Koepler re-
survive in the world, a man struggles against
present a range of notes that are produced
what is best in him. By such suppressing he
by Planet Earth circling in its orbit. These to-
adopts strategies based on fear: cunningness,
nes are abbreviations for Latin words MIseria
aggression ... Synopsis: I make an angel after
and FAmae (Misery and Hunger), which rule
my own silhouette, outlining it by salt, and add
the planet. In the end I put the flute in em-
wings. On the drawing I lay stones and make
ber »Angel«’s heart, fanning the fire around it
a fireplace. I collect wood and light a fire and
with a metal tube (“puhalnica”) and blowing
fan it by blowing into a metal tube that ends
directly into the flute at the same time, so that
in a sample that resembles a snake’s tongue.
the tone dies parallely with the burning (out)
In Istria, that tube/pipe is called “puhalnica” (a
of the instrument. For a while I am watching
thing to blow on) and it replaces a bag (in a
how the flute (Earth) is burning and then leave.
bag–pipe) when you light a fire. It presents the
By liberating the very best in us, what we have
umbilical cord between me and the angel of
suppressed, without fear, we become isoto-
fire and ember. The heat of my breath is be-
pes of ourselves; by releasing our own angels
ing returned to me through the heat of indu-
we burn hell with its own fire.
ced fire. The angel of ember starts to appear
52 53