Adria Airways In-Flight Magazine by Adria Airways

VAŠ BREZPLAČNI IZVOD/YOUR PERSONAL COPY

Adria Airways In-Flight Magazine februar, marec • February, March 2011

Naših

 let

Our First Fifty Years

Janez Pukšič – Puška Priština • Prishtina

Planinske koče • Mountain Lodges Pokljuka Biatlon • Biathlon

Film o Sfingi • Filming the Sphinx Circus Fantasticus • Silent Sonata

Golota • Nudity Pisarne • Offices Ruanda • Rwanda

Atwork workI Idon’t don’t have choice whereIof I sit At work I don’t haveof aofchoice where I sit At have aachoice where sit But with Star Alliance Upgrade Awards But Alliance with StarUpgrade Alliance Awards Upgrade Awards But with Star Across 20 member airlines worldwide 20 airlines member airlines worldwide Across 20Across member worldwide Now I do. Now I do. Now I do. I’veearned earned it. I’veit. earned it. I’ve

Tak Sato Tak u m a Sato Tak uu mm a aSato ternat ionalraci ngd ri dional ri ver and Star l l ian ce Gol dAStatu s Gol d Statu s I nI n ternat ional ng ver and Star lver ian ce Gol d Statu s ce Iraci n ternat raci ng dAril A and Star l l ian

starall ian l iance.com ce.com staral staral l ian ce.com

{ Pismo } Spoštovane potnice in potniki!

Dear Passenger,

Prisrčno pozdravljeni in dobrodošli na našem letalu!

Warm greetings and welcome on board!

In 2010, Adria Airways carried 1,170,235 passengers on its aircraft. That is 2% more than in 2009, despite the fact that there was a sharp decline in the number of passengers in April due to the volcanic ash cloud in Iceland and the renovation of the runway at the Ljubljana Jože Pučnik Airport. This year has brought major challenges to the global economy, but also many opportunities. Above all, this is a time of change in both the wider and local environment. The first major change at Adria occurred at the beginning of January, when the Management Board appointed a new management team. On 20 January 2011, the Slovenian Government drafted a clear stance and defined the importance of Adria as the airline for the Slovenian economy, Slovenian citizens and guests from abroad. In its decision, it made clear its intention to ensure that Adria remains the airline of Slovenia. In this regard, the Government emphasised the need to take into account global economic developments and the processes of globalisation. Its decision therefore envisages the integration of a strategic partner in the future. As a regional European airline, Adria maintains its standard network of scheduled flights throughout Europe, despite the challenging business conditions and the difficult position it faces. In addition to previously established departure airports in Ljubljana, Prishtina and Vienna, the company intends to expand to other airports in the region this year. Our first and most important task remains ensuring the highest level of air safety and care for the well-being and comfort of our passengers. We have assumed the positions of CEO and Executive Director because, despite the adverse market conditions, we believe in the continuation of Adria’s 50-year tradition as a successful and safe airline. It gives us great pleasure to begin our term at the company’s helm in the year in which it will celebrate its 50th anniversary. Anniversaries also represent a turning point, confronting issues from the past and making plans for the future. A new era is opening before us; our task is to demonstrate what we are capable of achieving. We remain optimistic at Adria, as we know that we are a company of highly trained technological experts with a sense of belonging. We will strive to fulfil the expectations of all stakeholders, in particular those of our loyal passengers. foto: Branko Čeak in Domen Pal

Za nami je leto 2010, v katerem je Adria prepeljala s svojimi letali 1.170.235 potnikov. To je za 2 odstotka več kot v letu 2009, čeprav smo imeli aprila močan izpad potnikov zaradi izbruha vulkanskega prahu na Islandiji in zaradi prenove vzletno-pristajalne steze na Letališču Jožeta Pučnika Ljubljana. Leto 2011 prinaša svetovnemu gospodarstvu velike izzive in hkrati mnoge priložnosti. Predvsem pa je to čas sprememb v širšem in tudi v ožjem prostoru. Tako je prišlo v Adrii do prve večje spremembe že v začetku januarja letos, ko je upravni odbor družbe imenoval novo poslovodstvo. 20. 1. 2011 je Vlada Republike Slovenije jasno oblikovala svoje mnenje o pomenu Adrie kot letalskem prevozniku za slovensko gospodarstvo, državljane RS in za goste iz tujine. V svojem sklepu je podala namero, naj Adria ostane slovenski letalski prevoznik. Pri tem je poudarila potrebo po upoštevanju svetovnih gospodarskih gibanj in procesov globalizacije, zato njen omenjeni sklep predvideva za prihodnost tudi vključitev strateškega partnerja. Adria kot evropski regionalni prevoznik kljub neprijaznim poslovnim razmeram in težkemu položaju ohranja svojo standardno mrežo letalskih prevozov po Evropi. Poleg že uveljavljenih odhodnih letališč v Ljubljani, Prištini in na Dunaju nameravamo v tem letu razširiti letenje še z drugih letališč v regiji. Naša prva in osnovna naloga pa ostaja zagotavljanje najvišje stopnje varnosti letenja in skrb za dobro počutje in udobje potnikov. Vlogo izvršnih direktorjev sva prevzela, ker sva kljub zaostrenim razmeram na trgu prepričana v nadaljevanje 50-letne tradicije Adrie kot uspešnega in varnega prevoznika. Veseli naju, da se je najin mandat pričel prav v tem letu, ko družba praznuje pol stoletja svojega obstoja – obletnice so namreč tudi čas prelomnic, soočenja s preteklostjo in kovanja načrtov za prihodnost. Pred nami se odpira novo obdobje, naša naloga pa je, da pokažemo, kaj znamo narediti. V Adrii ostajamo optimisti, saj vemo, da smo družba visoko tehnološko usposobljenih ljudi, ki čutijo pripadnost svojemu podjetju. Trudili se bomo, da bi izpolnili pričakovanja vseh, predvsem pa naših zvestih potnikov. Hvala vam, ker letite danes z nami, in kmalu spet na svidenje.

Thank you for flying with us today; we hope to see you again soon.

Robert Vuga,

Klemen Boštjančič,

Robert Vuga,

izvršni direktor

glavni izvršni direktor

CEO

Executive Director

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Vsebina/Contents 32

Adrijin potnik/Adria Passenger

Janez Pukšič – Puška Janez Pukšič – Puška Grega Bulc

Priština/Prishtina

Med kavarnami in umetnostjo Art Comes to the Cafés Meta Krese

Janez Pukšič

Planinske koče Mountain Lodges Marjan Žiberna

Adria Airways In-Flight Magazine Revija Adria Airways In-Flight Magazine je namenjena potnikom na poletih z Adrio Airways. Adria In-flight Magazine is complimentary on Adria Airways flights.

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Izdajatelj/Published: Adria Airways, Slovenski letalski prevoznik, d.d. Adria Airways, The Airline of Slovenia Zgornji Brnik 130h, 4210 Brnik - Aerodrom Uredništvo / Editorial: Barbara Mihevc Bukovec Tel. / Phone + 386 4 259 4541 E- mail: barbara.bukovec@adria.si Urednica / Edited by: Meta Krese Oglaševanje / Advertising: Alenka Dvoršak Tel. / Phone + 386 4 259 4526 E- mail: alenka.dvorsak@adria.si Oblikovanje in AD /Design and AD: LUKS Studio Prevod /Translated by: Amidas Lektorica/Language editing: Vera Samohod Fotoliti /Lithography: Schwarz d.o.o. Tisk /Printed by: Schwarz d.o.o.

ISSN 1318-0789

Pokljuka

Kjer ima zima mlade

Where Winter Really is Winter Rafael Marn

Film o Sfingi

Filming the Sphinx Urban Golob

Nastajanje filma/The Origin of the Film

Circus Fantasticus Silent Sonata Janez Burger

Golota/Nudity

Gole Maje na platnih in cestah

Naked Majas on Canvases and in the Streets Darinka Kladnik

Mnenja, izražena v tej publikaciji, so zgolj mnenja avtorjev ali intervjuvancev in ne odsevajo nujno stališč Adrie Airways. Razmnoževanje brez pisnega dovoljenja je prepovedano. Izdajatelj ne prevzema nikakršne odgovornosti za nenaročeno gradivo. The opinions expressed in this publication are those of the authors or persons interviewed only and do not necessarily reflect the views of Adria Airways. Reproduction without written permission is prohibited. The publ isher accepts no responsibility for unsolicited material. Brezplačen izvod /Your personal copy

Delovni prostori/Work Spaces

Pisarne – socialni mejniki novega stoletja Offices – Social Landmarks of the New Century Lora Power

100

Ruanda/Rwanda

Internet v Ruandi Rwanda Internet Matteo Fagotto

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100

Adria Airways Novosti/News

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Zimski vozni red in napoved poletnega voznega reda

Winter timetable and what’s in store for the summer timetable

Zimski vozni red je v veljavi le še do 26. marca 2011. V njem vam nudimo 185 rednih tedenskih letov iz Ljubljane na 20 destinacij, večinoma po Evropi. Štirikrat dnevno leti Adria v Frankfurt, trikrat dnevno na Dunaj, v Muenchen in v Zuerich, dvakrat dnevno v Bruselj, deset letov na teden opravi v Pariz, osemkrat tedensko leti v Moskvo, sedemkrat tedensko v Amsterdam, Istanbul, Prištino, Skopje in Tirano, šestkrat v Beograd in Sarajevo, štirikrat v Banjaluko, London in v Varšavo. Trikrat tedensko povezuje Ljubljano s Podgorico in Koebenhavnom, dvakrat na teden pa leti v Marseille. Na progi med Dunajem in Frankfurtom leti trinajstkrat na teden. V decembru je Adria vzpostavila redne povezave iz Prištine v Muenchen, Frankfurt in Duesseldorf. Za vse, željne toplih krajev tudi pozimi, organiziramo v sodelovanju s turističnimi agencijami čarterske polete v priljubljeni počitniški destinaciji v Egiptu – Sharm el Sheikh in Hurgado. V poletnem voznem redu, ki bo v veljavi od 27. marca do 29.oktobra 2011, ponovno načrtujemo redne poletne povezave v Atene, Barcelono, Dublin, Manchester in Stockholm in polete na prilubljene čarterske destinacije v Grčiji (Zachintos, Samos, Miltilini, Kos, Rhodos, Karpathos, Santorini, Heraklion, Chania, Kavala, Lefkas, Kefalonia, Chios, Skiatos), Španiji (Palma de Mallorca, Menorca) in Turčiji (Antalya, Dalaman).

The winter timetable will be operated only up until 26 March 2011. With the winter timetable we offer 185 scheduled flights a week from Ljubljana to 20 destinations, mostly in Europe. Adria flies four times a day to Frankfurt, three times a day to Vienna, Munich and Zurich and twice a day to Brussels, and operates ten flights a week to Paris, eight a week to Moscow, seven flights a week to Amsterdam, Istanbul, Priština, Skopje and Tirana, six a week to Belgrade and Sarajevo, and four flights a week to Banjaluka, London and Warsaw. There are three flights a week from Ljubljana to Podgorica and Copenhagen, and two a week to Marseille. Adria flies 13 times a week between Vienna and Frankfurt. In December Adria started up scheduled services from Prishtina to Munich, Frankfurt and Düsseldorf. Anyone in need of some winter warmth can book one of our charter flights, operated in cooperation with travel agents, to the popular Egyptian holiday destinations of Sharm el Sheikh and Hurghada. For the summer timetable, which will be operated from 27 March to 29 October 2011, we are again planning scheduled services to Athens, Barcelona, Dublin, Manchester and Stockholm, and flights to popular charter destinations in Greece (Zakyinthos, Samos, Mytilene, Kos, Rhodes, Karpathos, Santorini, Heraklion, Chania, Kavala, Lefkas, Kefalonia, Chios, Skiatos), Spain (Palma de Mallorca, Menorca) and Turkey (Antalya, Dalaman).

Iščemo najstarejšo letalsko vozovnico Adrie Airways Adria Airways je bila ustanovljena 14. marca 1961. Svoje jubilejno leto bomo obeležili z vrsto aktivnosti. Z Muzejem novejše zgodovine Slovenije ob svoji 50-letnici pripravljamo razstavo, kjer se bomo predstavili širši javnosti. Ob tej priložnosti želimo poiskati najstarejšo adrijsko letalsko vozovnico, ki jo bomo kot razstavni eksponat vključili v razstavo. Adria Airways je julija 2009 Muzeju novejše zgodovine Slovenije podarila zbirko uniform kabinskega osebja in pilotov. Ob tej priložnosti se je porodila zamisel o tem, da bi skupaj z Muzejem ob 50. obletnici družbe pripravili razstavo posvečeno Adrii Airways. Najstarejša letalska vozovnica je dragocen dokument, ki ga želimo predstaviti v okviru razstave. Lastnik najstarejše letalske vozovnice bo za nagrado lahko letos poletel na izbranem rednem poletu Adrie Airways. Podatke o vozovnici do 31. marca 2011 sprejemamo na elektronski naslov info@adria.si ali na telefonsko številko 04 259 4506 in na elektronski naslov uprava@muzej-nz.si ali na telefonsko številko 01 300 96 33. Razstava bo svoja vrata odprla v drugi polovici aprila.

Search is on for the oldest Adria Airways ticket Adria Airways was established on 14 March 1961. We will be marking this jubilee year with a range of activities. In cooperation with Slovenia's Museum of Contemporary History, we will be staging an exhibition to mark our 50th anniversary, and this will be designed for the general public. As part of this exhibition we are hoping to find the oldest Adria ticket, which we will include in the exhibition as a special exhibit. In July 2009 Adria Airways donated to the Museum of Contemporary History a collection of cabin crew and pilot uniforms. That occasion prompted the idea of working with the Museum to set up an exhibition devoted to Adria Airways, in honour of the 50th anniversary. The oldest air ticket is a precious document that we wish to showcase within the exhibition. The owner of the oldest air ticket will be rewarded by being able to fly this year on a selected Adria Airways scheduled flight. We will be accepting information about the ticket up until 31 March 2011 at the e-mail address info@adria.si or by telephone on 04 259 4506, as well as at the e-mail address uprava@muzej-nz.si or by telephone on 01 300 96 33. The exhibition will open in the second half of April.

Pridružite se nam na Facebooku Ljubitelji Facebooka lahko najdejo Adrijino stran tudi na tem popularnem družbenem omrežju. Postanite naš prijatelj in delite z nami svoja mnenja, občutke in doživetja, mi pa vas bomo obveščali o zanimivih novostih, akcijah in nagradnih igrah. Naš naslov je http:// www.facebook.com/AdriaAirways.

Join us on Facebook Facebook users can find the Adria page on this popular social-networking site. Become our friend and share with us your opinions, feelings and experiences, and we will keep you informed of interesting new features, special offers and prize games. Our address is http://www.facebook.com/AdriaAirways.

Aktualne ponudbe/Latest Offers V vsaki številki revije vas bomo seznanjali z najnovejšimi ugodnimi ponudbami, ki jih za vas pripravljamo skozi vse leto. / We will keep you up to date with our latest special offers in each issue of the magazine. Special offers are available throughout the year.

Ujemi ugoden polet! Na vseh Adrijinih rednih linijah imamo ugodne ponudbe po načelu »Kupi prej, potuj ceneje«. Da bi našo ponudbo še bolj približali vašim potrebam, imamo na voljo znižane ponudbe tudi za potovanje med tednom.

Adria Airways Special Offers! Special offers are available on all of Adria’s scheduled services on a “buy early, fly for less” basis. To make our services even more attractive, reduced fares are available for travel during the week.

Delujem ekonomično, potujem poslovno! Za nakup letalske vozovnice vsaj sedem dni pred začetkom vašega potovanja vam za ceno potovanja v ekonomskem razredu nudimo polet v poslovnem. Ponudba velja za nakup vozovnice v ekonomskem razredu po najvišji ceni. Edina omejitev je nakup vozovnice najmanj sedem dni pred odhodom; spremembe rezervacij so brezplačne.

Varčujem, a ne na račun kakovosti! Več o ponudbi preberite na www.adria.si ali pa pokličite tel. št. 080 13 00.

Work economically, travel in business!

Preživite hladne zimske dni v toplih krajih!

When you buy a ticket at least seven days in advance, you can travel in business class for the price of an economy-class fare. This offer applies to economy-class tickets purchased at the highest rate. The only restriction is that you must purchase your ticket at least seven days before you travel. Changes to the reservation can be made free of charge.

Adria vas v sodelovanju z našimi partnerji popelje tudi v oddaljene tople kraje. Preko našega rezervacijskega centra lahko rezervirate in opravite nakup tudi za destinacije, kamor Adria ne leti direktno. Za več informacij pokličite našo brezplačno telefonsko številko 080 13 00 in skupaj z vami bomo poiskali najboljšo možno povezavo do željene destinacije.

Savings, no change in quality!

Try somewhere warm during these cold winter days! In cooperation with our partners, Adria can take you to far-off, warm locations. Through our reservation centre you can book and purchase flights for destinations that Adria does not fly to directly. For details, call our toll-free telephone 080 13 00 and we will work with you to find the best possible connection to the destination you want.

LJUBLJANA– PARIZ OD FROM

EUR 130

LJUBLJANA– AMSTERDAM OD FROM

EUR 187

For more information visit www.adria.si or call us on 080 13 00.

Adrijine E-novice Vabimo vas, da obiščete naše spletne strani www.adria.si in se prijavite na Adrijine E-novice. S tem boste enkrat mesečno obveščeni o naših novostih in posebnih ponudbah. E-novice bodo za vas vir dragocenih informacij in idej pri načrtovanju potovanja ali počitnic. Naj bo obveščenost vaša prednost!

Adria E-news Why not visit our website www.adria.si and subscribe to Adria’s E-news service? Once a month you will receive updates on new services and special offers – straight to your inbox! This means that E-news will be a valuable source of information and ideas when you are planning a journey or holiday.

Let information be to your advantage!

BEOGRAD– LJUBLJANA– FRANKFURT OD FROM

EUR 250

SARAJEVO– LJUBLJANA– PARIZ OD FROM

EUR 224

Zgoraj navedene cene so najnižje veljavne cene na Adrijinih poletih, vključujejo pa prevoz in vse ostale dajatve, razen stroška rezervacije. Število ponujenih sedežev po tej ceni je omejeno. The prices given above are the lowest valid prices for Adria flights, and include flight and all other taxes and fees, except for booking fees. There are limited seats available at this price.

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{ Adria Airways }

Naših 50 let A

dria Airways letos praznuje. 50 let bo, odkar smo v Sloveniji dobili svojo prvo letalsko družbo. Čeprav so bile sanje o letenju že

dolgo prisotne v teh krajih – vse od prvih poskusov letenja bratov Rusjan pa do razmaha športnega letalstva profesionalen pristop k letalstvu dozorele šele v začetku šestdesetih let prejšnjega stoletja.

Foto: arhiv Adria Airways

in projektiranja lahkih letal –, so razmere za bolj

Foto: arhiv Adria Airways

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Foto: arhiv Adria Airways

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Foto: arhiv Adria Airways

Začetki Zgodovina največje slovenske letalske družbe se je začela pisati 14. marca 1961, ko je Izvršni svet Ljudske republike Slovenije potrdil ustanovitev podjetja ADRIA AVIOPROMET. 20. marca 1961 je bilo podjetje uradno registrirano pri sodišču kot gospodarska organizacija. Od ustanovitve družbe pa do prvih letov je preteklo še nekaj mesecev, ki je bilo vezanih na nakup in sprejem letal ter pridobitev letalskega in tehničnega kadra. Adria je pri nizozemski letalski druži KLM kupila štiri rabljena letala tipa 6 B. Prvo letalo je priletelo iz Amsterdama 8. avgusta 1961, takrat še z nizozemsko posadko. Še nekaj časa je bilo potrebnega do prvega leta z domačo posadko, ki je bil opravljen v decembru istega leta. Adrijina letala so v začetku poslovanja vzletala z zagrebškega letališča Pleso, ki je bilo tedaj naše matično letališče. Šele v letu 1964 so se naša letala preselila na novozgrajeno ljubljansko letališče. Eni izmed prvih letov so bili namenjeni potrebam konference neuvrščenih držav v Beogradu. V letih ki so sledila, je Adria postopoma osvajala tržišča turističnih letov iz Nemčije, Anglije, Nizozemske in skandinavskih dežel na letališča na jadranski obali. Adria je kot pretežno čarterski prevoznik vpeljala svojo prvo redno linijo med Ljubljano in Beogradom v letu 1968.

{ Adria Airways }

Foto: arhiv Adria Airways

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Adria Airways je danes zanesljiv evropski mrežni letalski prevoznik s sodobno floto. Sedež družbe je na Letališču Jožeta Pučnika Ljubljana, predstavništva so v Parizu, Moskvi, Frankfurtu, Zagrebu, Zürichu in Bruslju, njena prodajna mesta pa skoraj v vseh evropskih državah. Na rednih poletih z ljubljanskega letališča poleti 200-krat na teden. Poleg obstoječih rednih povezav opravlja tudi čarterske lete, večinoma v sredozemske letoviške kraje. Z letalsko vozovnico Adrie Airways lahko potniki potujejo po celem svetu. To omogočajo mednarodni sporazumi, sklenjeni z več kot sto svetovnimi letalskimi prevozniki, ter letenje pod skupno oznako »code share«, ki ga Adria opravlja z letalskimi družbami, kot so Lufhansa, Austrian Airlines, SAS Skandinavian Airlines, Swiss, Aeroflot Russian Airlines, Lot Polish Airlines, Montenegro Airlines, Ukraine International Airlines in Jat Airways. Adrijino sodobno, ekonomično in okolju prijazno floto sestavljajo letala tipa Airbus in letala tipa Canadair Regional Jet CRJ. V operativni floti so: dve letali tipa Airbus A-319, štiri letala tipa Canadair Regional Jet CRJ-900 in šest letal tipa Canadair Regional Jet CRJ-200 .

Foto: D. Dubokovič

Adria danes

Prav v letu svojega 50. rojstnega dneva pa se je Adria znašla na prelomnici. Težak gospodarski položaj tako v svetu kot doma je postavil celotno letalsko industrijo v nezavidljiv položaj. Spremenjene okoliščine že ves čas krize najbolj občutijo srednje veliki regionalni prevozniki, od katerih jih je kar nekaj v naši soseščini že klonilo. Adria je bila v svoji polstoletni zgodovini bila že večkrat na prelomnici. Pa vendar je vedno znova pokazala, da se zna prilagoditi spremembam in uspeti tudi v spremenjenih okoliščinah. Verjamemo, da bo našla pot, ki bo vzdržala tekmo s konkurenco.

Pa srečno, Adria!

Kronologija razvoja

Chronology of development

• 1961 • Ustanovljena čarterska letalska družba Adria Aviopromet z

• 1961 • founding of charter airline Adria Aviopromet with DC6 aircraft, at

letali DC 6; konec šestdesetih nakup letal DC 9. • 1970–1980 • Adria je eden izmed najzanesljivejših čarterskih prevoznikov v Evropi. • 1980–1990 • Domači redni poleti znotraj Jugoslavije, začetek mednarodnih rednih prog; Adria postane članica IATA; flota: letala DC 9, MD 80, Dash 7. • 1989 • Nakup prvih letal tipa Airbus A-320. • 1991 (25. junij) • Republika Slovenija razglasi neodvisnost, Adria je iz političnih razlogov prizemljena za tri mesece. • 1992 • Konec januarja ponovno vzpostavi operacijo na bistveno zmanjšanem trgu; struktura poslovanja se občutno spremeni: iz pretežno čarterskega prevoznika postane prevoznik večinoma na rednih progah. • 1995 • Začetek sodelovanja z Lufthanso, vključevanje v evropske integracijske procese.

the end of the 60s purchase of DC 9 aircraft. • 1970 – 1980 • Adria one of the most reliable charter airlines in Europe. • 1980 – 1990 • domestic scheduled flights within Yugoslavia, start of international scheduled services; Adria becomes a member of IATA; fleet: DC 9, MD 80 and Dash 7 aircraft. • 1989 • purchase of first Airbus A-320. • 1991 (25 June) • Republic of Slovenia declares independence; for political reasons Adria is grounded for three months. • 1992 • at the end of January operations re-start in a significantly reduced market; the structure of operations is changed markedly from primarily a charter carrier to mainly a scheduled service operator. • 1995 • start of cooperation with Lufthansa, inclusion in European integration processes. • 1998 – 2005 • purchase of five new Canadair Regional Jet 200 aircraft. • 2000 – 2004 • focus on providing regional scheduled flights, primarily

• 1998–2005 • Nakup petih novih letal tipa Canadair Regional Jet 200.

across Europe, continuous adding of new destinations and frequencies

• 2000–2004 • Osredotočeni na opravljanje regionalnih rednih poletov

on existing routes; enhancing of cooperation with European airlines,

predvsem po Evropi, stalno dodajanje novih destinacij in frekvenc na obstoječih linijah; intenziviranje sodelovanja z evropskimi letalskimi prevozniki, še posebno z Lufthanso. • 2001 (november) • Prva redna linija znotraj EU – med Dunajem in Frankfurtom. • 2002 • Adria izbrana kot prvi evropski pooblaščeni Bombardierjev vzdrževalni center za letala CRJ. • 2004 (december) • Adria se kot regionalna članica pridruži globalnemu združenju letalskih prevoznikov Star Alliance. • 2006 (december) • Adria prvič v samostojni Sloveniji prepelje več kot milijon potnikov. • 2007–2009 (junij) • V floto Adrie Airways se uspešno vpeljejo štiri nova 86-sedežna letala CRJ-900, s katerimi se povečajo oz. optimizirajo kapacitete predvsem na linijah Bruselj, Moskva, Pariz, London, Skopje, Dunaj, München in Frankfurt. • 2007 (december) • Adria postane uradni prevoznik Vlade RS ob predsedovanju EU. • 2008–2009 • Adria širi svojo mrežo poletov: uvedene nove redne linije v Atene, Bukarešto, Madrid, Stockholm in Oslo. • 2009 (maj) • predstavniki vodstva Bombardier so Adrii že drugič zapored podelili priznanje za najzanesljivejšega prevoznika v kategoriji letal Canadair Regional Jet CRJ-100/200 (prvič za leto 2008). • 2010 (januar) • Adria postane polnopravna članica globalnega združenja letalskih prevoznikov Star Alliance. • 2010 (marec) • Ponovno vzpostavljena redna letalska povezava med Ljubljano in Beogradom; na tej liniji je Adria letela od leta 1968 vse do začetka devetdesetih let prejšnjega stoletja. • 2010 (april, maj) – Adrijini floti se pridružita dve novi sodobni letali Airbus A-319, vsako s po 135 sedeži. • 2010 (december) • Adria vzpostavi novo vozlišče v Prištini, od koder začne z direktnimi poleti v München, Frankfurt in Duesseldorf.

especially Lufthansa. • 2001 (November) • first scheduled service within the EU, between Vienna and Frankfurt. • 2002 • Adria selected as the first authorised European Bombardier maintenance centre for CRJ aircraft. • 2004 (December) • Adria joins Star Alliance, the global airline association, as a regional member. • 2006 (December) • Adria carries more than a million passengers for the first time in independent Slovenia. • 2007 – 2009 (June) • the Adria Airways fleet is successfully enhanced with four new 86-seat CRJ-900 aircraft, increasing and optimising capacities, especially on services to Brussels, Moscow, Paris, London, Skopje, Vienna, Munich and Frankfurt. • 2007 (December) • Adria becomes the official carrier of the Slovenian Government during its Presidency of the EU. • 2008 – 2009 • Adria expands its network of flights. New scheduled services are introduced to Athens, Bucharest, Madrid, Stockholm and Oslo. • 2009 (May) • management representatives of the Bombardier company recognise Adria for the second time running as the most reliable carrier in the Canadair Regional Jet CRJ100/200 aircraft category (first time in 2008). • 2010 (January) Adria becomes a full member of the global airline group, Star Alliance • 2010 (March) – scheduled air service between Ljubljana and Belgrade is re-established; Adria served this route from 1968 right up until the beginning of the 1990s. • 2010 (April, May) – Adria’s fleet is joined by two new modern Airbus A-319 aircraft, each with 135 seats. • 2010 (December) – Adria establishes a new hub in Prishtina, from where it starts flying directly to Munich, Frankfurt and Düsseldorf.

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{ Adria Airways }

Our First Fifty Years

his will be a year of celebration for Adria Airways: it will be 50 years since Slovenia acquired its first airline. Although people had

long dreamed of flying in this part of the world – from the very first attempts at flight by the Rusjan brothers to the blossoming of recreational flying and light-aircraft design – the right conditions for a more professional approach to aviation came only at the beginning of the 1960s.

The history of Slovenia’s biggest airline dates back to 14 March 1961, when the Executive Council of the then People’s Republic of Slovenia confirmed the founding of the company ADRIA AVIOPROMET. On 20 March 1961 the company was officially registered at the court as a commercial undertaking. Then a few months passed from the founding of the company to the first flights, as aircraft were purchased and received and aviation and technical personnel were acquired. Adria bought four used 6 B aircraft from the Dutch airline KLM. The first aircraft flew in from Amsterdam on 8 August 1961, still with a Dutch crew. Some more time was needed before the first flight with a Slovenian crew, which took off in December of that year. At the beginning of operations Adria’s aircraft took off from Zagreb’s Pleso Airport, which was at that time our home airport. It was only in 1964 that our planes moved to the newly built Ljubljana Airport. Some of the first flights were intended to serve the conference of non-aligned states in Belgrade. In the years that followed, Adria gradually captured markets for tourist flights from Germany, the UK, the Netherlands and Scandinavian countries to airports on the Adriatic coast. Adria was primarily a charter carrier, and its first scheduled service was introduced in 1968 between Ljubljana and Belgrade.

Foto: arhiv Adria Airways

How it began

Foto: arhiv Adria Airways

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Foto: D. Dubokovič Foto: B. Čeak

Foto: Ž. Intihar

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Adria today Today Adria Airways is a reliable European network airline with a modern fleet. The company is based at Ljubljana Jože Pučnik Airport, with representative offices in Paris, Moscow, Frankfurt, Zagreb, Zurich and Brussels, and sales outlets in almost all European countries. It operates approximately 200 scheduled flights each week from Ljubljana Airport. In addition to the existing scheduled services, it also operates charter flights, mostly to Mediterranean resorts. Passengers can travel all over the world with an Adria Airways ticket. This is made possible by international agreements with more than a hundred world airlines, and by operating “code share” flights, which Adria offers in cooperation with airlines such as Lufhansa, Austrian Airlines, SAS Scandinavian Airlines, Swissair, Aeroflot Russian Airlines, Lot Polish Airlines, Montenegro Airlines, Ukraine International Airlines and Jat Airways. Adria’s modern, economical and environment-friendly fleet comprises Airbus and Canadair Regional Jet CRJ aircraft. The operational fleet consists of: two Airbus A319, four Canadair Regional Jet CRJ900 and six Canadair Regional Jet CRJ200.

Right now in its 50th anniversary year, Adria has reached a turning point. The difficult economic situation both at home and around the world has placed the entire aviation industry in an unenviable position. Throughout the crisis, the changed circumstances have been felt hardest by medium-sized regional carriers, of which a number in our neighbourhood have already folded. In its half-century of operations, Adria has been on the verge of extinction several times. Yet ultimately it has always shown itself capable of adapting to changes and of succeeding in altered circumstances. This time, too, we trust that it will find a way to keep up with the competition.

Good luck, Adria!

{ Umetnost & kultura }

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Ljubljana, Tango bar, Festivalna dvorana in Grand hotel Union, od 24. do 27. marca

7. mednarodni tango festival Ljubljana

Vsa večja mesta imajo svoje milonge – odmaknjene kotičke, kjer se redno zbirajo ljubitelji tanga, da preživijo nekaj radostnih ur. Četrtek je v Ljubljani dan za tango, ko se gre na milongo v Tango bar – najbolj priljubljeno redno zbirališče tangerjev (tangueros). In v četrtek se prične tudi vsakoletni Mednarodni tango festival, ki v Ljubljano na pomlad privabi več sto ljubiteljev tanga z vsega sveta. Ljubljanski tango festival je po svetu poznan po pisani mednarodni udeležbi, vrhunskih nastopih plesnih parov, navdihujočih plesnih delavnicah, prijateljskem vzdušju, dobri organizaciji, gostoljubnih domačinih in očarljivem mestnem središču. Janja Frank, vodja tega plesnega dogodka, je letos povabila v Ljubljano tudi štiri slavne profesionalne plesalce iz Argentine: Ariadna Naveira, Fernanda Sáncheza, Bruna Tombarija in Mariángelesa Caamaña. Tango se je rodil pred stoletjem v času, ko je bilo težko zaslužiti za preživetje. V Buenos Aires in Montevideo se je zgrnila množica priseljencev, ki niso govo-

rili skupnega jezika. Iščoč človeško bližino in iskrenost v odnosu, so se objeli in prepustili glasbi. Nastal je tango, z vsako skladbo nov in neponovljiv ples. Danes imajo vsa večja mesta svoje milonge … Ljubljana, Tango Bar, Festival Hall and Grand Hotel Union, 24–27 March

7th International Tango Festival, Ljubljana

All large towns have milongas – hidden corners where tango lovers regularly gather to have some fun. At the milonga at Tango Bar – the most popular regular gathering spot for tangueros – Thursday is tango day in Ljubljana. And the annual International Tango Festival also starts on a Thursday, when hundreds of tango lovers from all over the world come to Ljubljana in the springtime. The Ljubljana Tango Festival is known around the world for its colourful international participants, top-quality performances by the dancing pairs, exciting dance workshops, friendly atmosphere, good organisation, hospitable locals and the charming town centre. Event manager Janja Frank has also invited four famous professional dancers from Argentina to the festival this year: Ariadna Naveira, Fernando Sánchez, Bruno Tombari, and Mariángeles Caamaño. The tango was born over a century ago, in times when it was difficult to make enough money to survive. Throngs of immigrants with no common language came to Buenos Aires and Montevideo. Seeking human company and sincerity, they took each other in each other’s arms and gave themselves up to the music. Thus was born the tango, a new and unique dance with every new composition. Today, all larger towns have their own milongas…

{ Art & Culture } Ljubljana, MAO (Muzej za arhitekturo in oblikovanje), do 20. marca

Odprti depoji:

predstavitev zbirk Muzeja za arhitekturo in oblikovanje

V MAO je shranjenih skoraj 150.000 različnih predmetov, od načrtov, skic in modelov zgradb do različnega pohištva, drobnih predmetov, aparatov, plakatov, različnih tiskovin in fotografij. Zastopani so skoraj vsi vidni slovenski arhitekti in oblikovalci 20. stoletja ter številni fotografi; skupaj več kot 1000 avtorjev. MAO kot državni muzej začenja program s predstavitvijo vseh svojih zbirk ter široko odpira vrata in vabi obiskovalce, da si ogledajo, kaj hrani zanje. V preprosto preoblikovanem razstavnem prostoru se obiskovalci preselijo v delovno okolje kustosov, med depojske police, regale, zabojnike in arhivske škatle z imeni, ki jih beleži in obdeluje muzej. Tako lahko na neposreden način spoznajo raznoliko gradivo, avtorje in zgodovinske trende. V depojih se nahajajo različni dokumenti o delu več kot 70 slovenskih arhitektov, tu so tudi shranjeni načrti pomembnih in zanimivih slovenskih stavb, od slovenskega Parlamenta, NUK-a, Moderne galerije pa do različnih stanovanjskih stavb, šol ter turističnih in infrastrukturnih objektov. Zbirka industrijskega oblikovanja obsega dela svetovnih avtorjev, zastopani pa so tudi staroste slovenskega oblikovanja. MAO je edina ustanova, ki v Sloveniji obdeluje vizualne komunikacije, od plakatov, celostnih grafičnih podob, knjig, katalogov, koledarjev in znamk do drugih tiskovin. Oddelek za fotografijo hrani bogato zbirko o zgodovini slovenske fotografije, v kateri je zastopano preko 400 avtorjev in avtoric, katerih delo večinoma sega v obdobje od 1930. do 1980. leta. Ljubljana, Museum of Architecture and Design (MAD), until 20 March

Open Storehouses: a presentation of the collections at the Museum of Architecture and Design

Nearly 150,000 objects are kept at the Museum of Architecture and Design, from plans, sketches and building models to various items of furniture, miscellaneous objects, devices, posters, various printed materials and photographs. Nearly all of the notable Slovenian architects and designers of the 20th century are represented, as well as numerous photographers, a total of over 1,000 creators. As a national museum, MAD is kicking off its programme with a presentation of all of its collections, throwing its doors wide open and inviting all visitors to have a look at what is stored within. In the straightforwardly redesigned exhibition area, visitors move into the curators’ work area, among the storage cabinets, shelving units, containers and archive boxes with names that are kept and processed by the museum. In this way they can learn about various materials, creators and historical trends in a very direct manner. The storage cabinets house various documents on the work of more than 70 Slovenian architects, and the plans of important and interesting Slovenian buildings, from the Slovenian Parliament, the National and University Library, and the Museum of Modern Art to various residential buildings, schools, and tourism and infrastructure facilities. The Industrial Design collection includes the work of international designers, as well as early Slovenian designs. MAD is the only institution in Slovenia that presents visual communication, from posters, corporate graphic design, books, catalogues, calendars, stamps and other printed materials. The Photography Department keeps a wide-ranging collection on the history of Slovenian photography, representing over 400 photographers whose work mainly covers the period from 1930 to 1980. www.aml.si

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{ Umetnost & kultura } Kranj, Galerija v Mestni hiši, do 6. marca

Žarko Vrezec: Ilustracije

Akademski slikar Žarko Vrezec, avtor obsežnega opusa slikarskih kompozicij, se od sredine osemdesetih let preteklega stoletja ljubiteljsko ukvarja z entomologijo (vedo o žuželkah). Leta 1990 je začel metulje, hrošče in druge žuželke tudi upodabljati v tehniki barvnega svinčnika in akrila. Sprva je v naravoslovni ilustraciji videl predvsem izziv, sčasoma pa se je upodabljanje žuželk, ptic in drugih živali spremenilo v obsežno zastavljen ilustratorski program. Likovni pristop Žarka Vrezca je natančen in hkrati likovno mikaven. Njegova barvna risba je nazorna in prepričljiva, čeprav ne gre za naturalistične upodobitve. Pri posameznem primerku so poudarjene bistvene značilnosti oblike in zgradbe, ki opredeljujejo določeno živalsko vrsto. Žarko Vrezec se je izpopolnjeval na študijskih potovanjih po Evropi, Aziji in ZDA. Od leta 1977 je razstavljal na več kot 100 samostojnih razstavah doma in na tujem. Njegova dela so v številnih javnih in zasebnih zbirkah. Razstavo poljudnoznanstvenih oziroma naravoslovnih ilustracij je leta 2008 pripravila Galerija Šivčeva hiša v Radovljici. Od takrat dalje razstava z uspehom gostuje po slovenskih galerijah in razstaviščih. Avtorica razstave je dr. Ksenija Rozman. Kranj, Town Hall Gallery, until 6 March

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Žarko Vrezec – Illustrations

Academically trained painter Žarko Vrezec, the creator of a wide-ranging oeuvre of paintings, has been an amateur entomologist since the mid-1980s. In 1990 he began painting butterflies, beetles and other insects using coloured pencil and acrylic. At first he saw nature illustrations primarily as a challenge, but gradually his images of insects, birds and other animals became an extensive focus. Vrezec’s artistic approach is precise but at the same time aesthetically appealing. His colour drawing is controlled and convincing, although it is not naturalistic depiction. The essential characteristics of form and construction which define the particular species are emphasised in the individual examples. Žarko Vrezec continued his studies in various places in Europe, Asia and the USA. Since 1977 he has held more than 100 solo exhibitions at home and abroad. His works are kept in numerous public and private collections.

Ljubljana, Jakopičevo sprehajališče v Tivoliju, konec marca

Marko Modic: Tla

Umetnik Marko Modic bo v Jakopičevem sprehajališču razstavljal 125 fotografij, s katerimi na svojstven način raziskuje primarni element: tla. Pri projektu, ki ga podpira Biotehniška fakulteta v Ljubljani, sodeluje tudi pesnik Iztok Osojnik. Gledalci lahko pričakujejo na fotografijah skrivnostne, nepričakovane detajle, pa tudi panoramske posnetke in Modičeve značilne montaže, skratka dela, ki povzročijo, da se pred gledalčevimi očmi odslikavajo silovita, globoka barvitost in raznolikost ter povsem nova realnost. Razstava bo kasneje potovala še po drugih evropskih mestih, Marko Modic pa bo projekt zaključil – kot že večkrat do zdaj – s knjigo. Marko Modic se to leto ne predstavlja le v ljubljanskem Tivoliju, temveč tudi v Kanadi v Whyte Museum of the Canadian Rockies. Do 4. aprila bo na ogled njegova retrospektivna razstava, na kateri bo visela večina njegovih del: aluminij, voda in abstraktne fotografije.

This exhibition of popular science or nature illustrations was put together in 2008 by the Šivec House Gallery in Radovljica. Since then, the exhibition has travelled to several Slovenian galleries and exhibition halls. www.gorenjski-muzej.videofon.si

Ljubljana, Jakopič Promenade in Tivoli Park, end of March

Marko Modic: Earth

The artist Marko Modic will exhibit 125 photographs in the Jakopič Promenade, taking a unique approach to the study of a primary element: earth. The project, which is supported by the Faculty of Biotechnology of the University of Ljubljana, also includes the poet Iztok Osojnik. Visitors can expect to see mysterious, unexpected details as well as panoramic views and Modic’s characteristic collages, in short pieces that confront the viewer with a powerful display of colour and diversity and, above all, a new reality. The exhibition will then travel to other European cities, and Modic will conclude the project in his standard manner – with a book. This year, Modic is exhibiting not just in Tivoli Park in Ljubljana but also in Canada at the Whyte Museum of the Canadian Rockies, where a retrospective exhibition will take place until 4 April, including the majority of his works: aluminium, water and

Žarko Vrezec, Alpski kozliček Rosaria alpina

abstract photography.

{ Art & Culture }

Ljubljana, Moderna galerija, od 25. marca do 8. maja

Marko Peljhan in sodelavci, Kodirana utopija: od Makrolaba do Iniciative arktične perspektive Projekt Makrolab (1994–2007) bo tokrat prvič celostno predstavljen v muzejskem okvirju. Predstavitev bo obsegala arhitekturo Makrolaba, dokumentacijo njegove geneze in desetletnega delovanja ter teoretsko in umetnostno-zgodovinsko artikulacijo tega kompleksnega projekta od njegovega nastanka preko prve materializacije na Dokumenti X v Kasslu do prehoda v projekte Interpolar Transnational Art Science Constellation ter Iniciative arktične perspektive (API) na obeh zemeljskih polih. Projekt Makrolab velja za enega izmed najpomembnejših projektov, ki so nastali v slovenskem kontekstu v zadnjih dveh desetletjih. Pričujoča predstavitev ga bo približala tudi širši javnosti, saj je bil projekt mednarodno dosti bolj prisoten kot doma. Zadnja faza tega procesa bi bila postavitev delujoče arhietekture Makrolaba v Sloveniji kot umetniškega dela in laboratorijskega pripomočka za študij umetnosti, taktičnih medijev, ekologije, radijskih komunikacij in fizike atmosfere. Razstava bo vključevala tudi predstavitev umetniških del in arhivov projekta Iniciativa arktične perspektive (API), ki je bil premierno predstavljen v okviru Evropske prestolnice kulture Ruhr 2010 v Dortmundu. API je mednarodna neprofitna iniciativa posameznikov in organizacij, ki želi javnost opozoriti na globalni kulturni in ekološki pomen cirkumpolarnih območij ter v teh regijah vzpostaviti odprte sisteme ustvarjalnih, komunikacijskih in distribucijskih infrastruktur. Eden izmed poglavitnih ciljev iniciative je ustvarjanje pogojev, preko katerih bodo lahko severna arktična ljudstva s pomočjo odprtih tehnologij, sistemov ustvarjanja, učenja in usposabljanja enakopravno in trajnostno sodelovala v pridobivanju in izmenjavi informacij o okolju in spremembah v njem, ki so posledica globalnih klimatskih sprememb. Kustos razstave je Igor Španjol.

Ljubljana, Museum of Modern Art, 25 March – 8 May

Marko Peljhan et al., Coded Utopia: from Makrolab to the Arctic Perspective Initiative

The Makrolab project (1994–2007) is being presented in its entirety in a museum setting for the first time. The exhibition will include the architecture of Makrolab, documentation of its genesis and ten years of operation and an art-historical articulation of this complex project, from its origin through its first materialisation at documenta X in Kassel to its transition into the projects Interpolar Transnational Art Science Constellation and the Arctic Perspective Initiative (API) at both of the Earth’s poles. The Makrolab project is the one of the most significant projects to have originated in a Slovenian context in the last two decades. This exhibition will present it to the general public as well, since the project is much better known internationally than it is at home. The final phase of this process will be the construction of Makrolab’s working architecture in Slovenia, as a work of art and a laboratory instrument for the study of art, tactile media, ecology, radio communications and atmospheric physics. The exhibition will also include a presentation of the artworks and archives of the Arctic Perspectives Initiative (API) project, which was premiered as part of the European Capital of Culture Ruhr 2010 in Dortmund. API is an international non-profit initiative made up of individuals and organisations who are trying to raise public awareness about the cultural and ecological importance of the circumpolar regions and to establish open systems of creativity, communications and distribution infrastructures in these regions. One of the main objectives of the initiative is to create conditions through which the northern arctic peoples, with the help of open-source technologies, systems of creativity, teaching and training, will be able to collaborate equally and sustainably in the acquisition and exchange of information about the environment and the changes to it that are the result of global climate change. The exhibition curator is Igor Španjol. www.mg-lj.si

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{ Umetnost & kultura } Goran Bertok, iz serije "Obiskovalci", 2010

Maribor, Fotogalerija Stolp, od 19. do do 27. februarja

Herman Pivk in Dane Zajc: V belino bi zaplaval Novo mesto, Galerija Simulaker, februar in marec

Goran Bertok,

fotografska razstava, od 17. februarja do 10. marca ( 20 )

Matija Lapuh,

intermedijska razstava, od 17. marca do 2. aprila Fotograf Goran Bertok, po izobrazbi novinar, je svojstveno fotografsko estetiko oblikoval in razvijal od devetdesetih let do danes. Njegov celotni opus zaznamujejo človeška telesa in problematika nasilja nad njimi. Predstavlja se z deli iz serije Post mortem in Obiskovalci, pri katerih se osredotoča predvsem na ozke izseke trupel, fotografiranih v mrtvašnici oziroma krematoriju; trupla pravzaprav nikoli ne ugledamo v celoti, zanimali so ga predvsem detajli, kot so oči, roke, usta in njihove karakteristike – razbrazdana koža, kožne gube, skrivenčeni prsti. Po eni strani so nastala dela v črno beli tehniki, po drugi strani pa je Bertok v seriji Obiskovalci v fotografski objektiv ujel trenutek, ko v plamenih izgineva truplo, pri čemer je zaradi učinka plamenov in osvežitve njegovega črnobelega opusa izbral barvno tehniko. V marcu gostijo v galeriji razstavo del lokalnega umetnika Matije Lapuha. Gre za mladega kiparja iz Brežic, ki se predstavlja z razstavo interaktivnih kipov/konzol, narejenih iz silikona, pri katerih so objekti obenem tudi vir zvočnih signalov. Obiskovalci, ki se sprehajajo po galerijskem prostoru mimo postavljenih objektov, s svojo prisotnostjo oziroma z lastnim gibanjem vplivajo na zvok in tako galerijski prostor spreminjajo v specifično zvočno zaveso. Novo mesto, Simulaker Gallery, February and March

Goran Bertok, photography exhibition, 17 February to 10 March Matija Lapuh, mixed-media exhibition, 17 March to 2 April

Photographer Goran Bertok, who holds a degree in journalism, has been forming and developing his photographic aesthetic since the 90s. His entire oeuvre is characterised by the human body and the problem of violence against it. The exhibition will feature works from his series Post Mortem and Obiskovalci (Visitors), in which he focuses primarily on narrow sections of the human body photographed in morgues or crematoriums, in which the entire body is never actually shown; he is interested primarily in details such as eyes, hands and mouths, and their

Hermanu Pivku je obvladovanje fotografske tehnike in posegov, s katerimi posnete prizore unikatno prilagaja svojim predstavam, samoumeven način, ki poslušno zasleduje in usmerja njegove meditativne poti po svetu. Ta svet je zanj v temelju skrivnosten in teman, a v svoji samoti estetsko povzdignjen z lučjo. Tej luči občutljivi umetnik spokorno sledi v znamenju verza »V belino bi zaplaval«, ki ga je na eno izmed podob napisal pesnik Dane Zajc (na njej se človek nad svetlo gladino, povezan z lastnim odsevom, obredno potaplja in mu s to modaliteto krsti celoten ciklus). Prav sožitje z pesnikom Danetom Zajcem daje Pivkovemu delu širšo optiko, skozi katero nam postaja njegov odmaknjeni notranji svet še bolj domač in razviden. Umetnik roma in išče v duhu ugledane poetično simbolične prizore, kot bi lovil in iskal lastne sanje. Ko jih ugleda in zrežira, pa jih občutljivo fiksira v slike, ki so v resnici podobe bivanjskih stanj duha, zajetega v likovni izraznosti narave. Ta duhovna razsežnost razkriva Pivka kot ustvarjalca, zazrtega v atmosfero samote in bolečine, v spokojnost in tišino, v kateri sluti nedosegljiv hlad večne lepote. Razsežnostim tega razgleda se razumevajoče pridružuje pesnik Zajc, ki z lastnoročno vpisanimi verzi, porojenimi ob slikah, staplja s svetlobo Pivkovih podob sorodne dimenzije svojega podobno naravnanega notranjega pogleda in potrjuje avtorjevo avtentičnost in svojo duhovno povezavo z njegovim samotnim svetom z besedami, iz katerih sijejo ista tišina, zima kot mrtvaški prt dokončnosti in spomin na zamrlo življenje v antropomorfnih oblikah narave. Milček Komelj

characteristics such as wrinkled skin, skin folds and curled fingers. In the first series Bertok uses black and white, while in the series Visitors his lens captures the moment when the body is consumed by flames, and he uses colour in order to highlight the effect of the flames and to provide some contrast to his black and white oeuvre. In March the gallery hosts an exhibition by local artist Matija Lapuh. Lapuh is a young sculptor from Brežice, whose exhibition features interactive sculptures/consoles made of silicon, which are also sources of sound

Maribor, Stolp Photo Gallery, 19–27 February

Herman Pivk and Dane Zajc: I Want to Dive Into the Whiteness

To Herman Pivk, the mastery of photographic tech-

signals. Visitors walking around the exhibition space past the installations affect the sound by their presence

niques and methods which he uses to uniquely

and/or movement, thus changing the exhibition space into a specific sound curtain.

tailor his recorded images to his ideas is a natural

www.simulaker.si

style, which harmonises with and gives direction

{ Art & Culture } Novo mesto, Klub LokalPatriot, dogodki v februarju in marcu

Jazzodrom, 17. februar ob 20. uri Vesna Zornik: Tango Apasionada, 17. marec ob 20. uri

to his meditative journeys around the world. For him this world is essentially mysterious and dark, but in its solitude aesthetically enhanced with light. The acutely perceptive artist penitentially follows this light as expressed in the line “I Want to Dive Into the Whiteness”, which was written onto one of the images by the poet Dane Zajc (the viewer, together with his or her reflection, hovers above the bright surface and is ritually submerged in it, and through this modality the entire series is baptised). The symbiosis with poet Dane Zajc gives Pivk’s

Klub LokalPatriot pripravlja v februarju in marcu številne zanimive dogodke, med katerimi velja omeniti predvsem četrtkova koncerta, ki se bosta odvila v okviru 8. Jazzinty abonmaja. Sredi februarja prihaja na klubski oder avstrijska nu jazz zasedba Jazzodrom, prepoznavna predvsem po združevanju klasičnih jazz melodij in drugih glasbenih slogov ter po spogledovanju z elektronskimi sampli in ritmi. V marcu pa bo na odru kluba LokalPatriot ena izmed bolj izraznih slovenski pevk Vesna Zornik, sicer glavna vokalistka skupine Katalena, in se predstavila s svojim prvim samostojnim albumom Tango Apasionada, posvečenem strastnemu argentinskemu tangu. VERSUS (Slovenija), 19. februar PRIMOŽ TURK IN SKRAJNEŽI (Slovenija), 26. februar NO RULES (Bosna in Hercegovina), 18. marec S.A.R.S. (Srbija), 26. marec Poleg jazz koncerta vključujejo v redni februarski program tudi dve slovenski rock skupini, Versus in Primoža Turka s Skrajneži, marca pa še dve skupini z Balkana, rokenrol bend No Rules iz Bosne in Hercegovine ter multi žanrsko skupino S.A.R.S. iz Srbije.

work a wider lens, through which his remote inner world becomes more familiar and clear. The artist wanders and searches and manipulates poetically symbolic scenes beheld in the soul, as if he were trying to search for and capture his own dreams. As he beholds and manipulates them, he delicately sets them into pictures, which are in fact images of the abodes of the soul captured in the artistic expression of nature. This spiritual breadth reveals Pivk as an artist staring into a wilderness of solitude and pain, into a tranquillity and silence, in which he discerns the unattainable chill of eternal beauty. The breadth of his outlook is shared by the poet Zajc, whose handwritten verses born in juxtaposition to the pictures combine with the light of Pivk’s images the related dimensions of his similarly oriented inner view and confirm the artist’s authenticity and spiritual connection to his lonely world through words, which

Jazzodrom

Vesna Zornik

Novo mesto, Klub LokalPatriot, events in February and March

Jazzodrom, 17 February at 8 pm Vesna Zornik: Tango Apasionada, 17 March at 8 pm

In February and March, Klub LokalPatriot is hosting several interesting events, including two Thursday evening

radiate the same silence and winter like the death

concerts as part of the 8th Jazzinty subscription. In the middle of February the Austrian “nu jazz” group Jaz-

shroud of eternity and a remembrance of frozen life in

zodrom will perform the stage. They are known for combining classical jazz melodies with other musical styles

the anthropomorphic forms of nature.

and for flirting with electronic samples and rhythms. In March, Vesna Zornik, one of Slovenia’s most expressive Milček Komelj

female vocalists and the lead singer of the popular band Katalena, will take the stage at the LokalPatriot. She will be presenting her first solo album Tango Apasionada, devoted to passionate Argentine tango.

www.galerijastolp.si

VERSUS (Slovenia), 19 February PRIMOŽ TURK AND SKRAJNEŽI (SLO), 26 February NO RULES (BIH), 18 March S.A.R.S.(SRB), 26 March In addition to the jazz concert, the regular February programme will include two Slovenian rock bands, Versus, and Primož Turk and Skrajneži, and in March two Balkan groups, the rock ’n’ roll group No Rules from Bosnia and Herzegovina, and the multi-genre group S.A.R.S. from Serbia.

www.lokalpatriot.si

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{ Umetnost & kultura / Art & Culture } Zürich, Kunsthaus Zürich Izvirna kopija: fotografije kipov od leta 1839 do danes Od 25. februarja do 15. maja Razstava predstavlja fotografije fotografov in inovativnih umetnikov, ki so ustvarjalno in izvirno uporabljali ta medij pri svojem tridimenzionalnem delu. Med njimi so: Eugène Atget, Hans Bellmer, Herbert Beyer, Constantin Brancusi, Brassaï, Manuel Alvarez Bravo, Claude Cahun, Marcel Duchamp, Peter Fischli in David Weiss, Robert Frank, David Goldblatt, Hannah Höch, André Kertész, Man Ray, Bruce Nauman, Gillian Wearing, Hannah Wilke, Ivao Jamavaki in mnogi drugi. S približno 300 izjemnimi fotografijami več kot stotih umetnikov obsega ta razstava obdobje od 19. stoletja do danes in se osredotoča predvsem na načine, kako lahko fotografija vpliva na naše dojemanje kiparstva in mu hkrati oporeka.

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Dunaj, MUMOK Neposredna umetnost Do 29. maja Na dunajske akcioniste gledamo kot na skupino umetnikov, ki so se odmaknili od slikarskega stojala ali ga povsem

Zurich, Kunsthaus Zurich The Original Copy: Photography of Sculpture, 1839 to Today From 25 February to 15 May The exhibition presents prints of famous photographers and groundbreaking artists who have used this medium in a creative and original way for their three-dimensional works: Eugène Atget, Hans Bellmer, Herbert Beyer, Constantin Brancusi, Brassaï, Manuel Alvarez Bravo, Claude Cahun, Marcel Duchamp, Peter Fischli and David Weiss, Robert Frank, David Goldblatt, Hannah Höch, André Kertész, Man Ray, Bruce Nauman, Gillian Wearing, Hannah Wilke, IwaoYamawaki and many others. With approximately 300 exceptional photographs by more than 100 artists, this exhibition spans the period from the 19th century to the present and focuses mainly on showcasing the possibilities of photography to influence our understanding of sculpture whilst simultaneously challenging it. Vienna, MUMOK Direct Art Until 29 May The Viennese Actionists are regarded as among those who moved away from or

opustili ter začeli uprizarjati umetnost v prostoru in času. Ob sopostavitvi s skrbno izbranimi deli gibanj Gutai, Nouveau Réalisme, Fluxus, Popart in Happening razkriva ta razstava del dunajskega akcionizma v galeriji MUMOK navzkrižne povezave, analogije in strukturne podobnosti med dunajskimi umetniki in hkratnimi mednarodnimi gibanji. Ob vsem tem postane jasno, da so ti umetniki, čeprav so v svojem času glede na mednarodni svet umetnosti delovali »v zakulisju«, izražali vprašanja v skladu s takrat prevladujočim dialogom, z radikalno naravo svojih umetniških postopkov in vztrajnostjo pa so včasih celo prekašali svoje sodobnike. Varšava, Center za sodobno umetnost Mirosław Bałka, FRAGMENT Do 3. aprila Bałkovo delo je dobro znano med zgodovinarji, kustosi, kritiki in zbiratelji sodobne umetnosti, čeprav gre večinoma za fragmente. Razstava Fragment, ki jo je pripravil Center za sodobno umetnost v Varšavi, je prva celovita predstavitev video del Mirosława Bałke na Poljskem in v svetu. Glede na to, da je umetnik javno izjavil, da se v prihodnje z videom ne

abandoned the easel picture in favour of staging activities in space and time. Through a confrontation with carefully selected works related to Gutai, Nouveau Réalisme, Fluxus, Pop Art and Happenings, this reassessment of MUMOK's holdings of Viennese Actionism draws attention to the cross-references, analogies and structural similarities of the work of Viennese artists to simultaneous international developments. In the process, it becomes evident that, despite the fact that at the time these artists were acting "off stage" as far as the international art world was concerned, their formulation of the questions was not only abreast of contemporary discourse, but, because of the radical nature of their artistic steps and their perseverance, occasionally even allowed them to outstrip their contemporaries. Warsaw, Centre for Contemporary Art Mirosław Bałka, FRAGMENT Until 3 April Bałka’s work is renowned among historians, curators, critics and collectors of contemporary art. Yet it is known mainly in fragments. The Fragment exhibition, presented by the Centre for Contemporary Art Ujazdowski Castle in Warsaw, is

namerava več ukvarjati, je razstava torej hkrati tudi retrospektiva celotnega umetnikovega opusa. Razstava Fragment predstavlja videe dvanajstih let Bałkovega umetniškega ustvarjanja – od začetkov leta 1998 do najnovejših del (2010) –, ki so prvič predstavljena javnosti. Pariz, Center Pompidou Mondrian/De Stijl Do 21. marca Nova razstava preučuje prepletanje napredka umetniškega gibanja De Stijl in njegovega najvidnejšega predstavnika Pieta Mondriana. Ta pomembna retrospektiva, ki osvetljuje ključni trenutek v zgodovini umetnosti 20. stoletja, je prva tovrstna razstava v Franciji. Od konca prvega desetletja 20. stoletja pa vse do dvajsetih let je gibanje De Stijl kombiniralo estetsko in socialno vizijo, se pravi, da je ustvarjalo totalno umetnost, kar je osnova za razumevanje virov sodobne umetnosti. Med letoma 1912 in 1938 je Mondrian, osrednja osebnost te avantgarde, na podlagi svojih izkušenj v Parizu opredelil besednjak in »nov abstraktni vizualni jezik«. Šlo je za radikalen podvig, ki je sprožil revolucijo v slikarstvu in umetnosti nasploh, lotil

the first comprehensive presentation of the video works of Mirosław Bałka to be held in Poland and in the world. Given the artist’s stated intent to abandon further work in video, the exhibition also represents a retrospective of a complete body of work. The Fragment exhibition presents works that span the last twelve years of Bałka’s creativity in video: from the beginnings, including the very first work, created in 1998, through to his most recent work (2010), which are on public view for the first time. Paris, Centre Pompidou Mondrian/De Stijl Until March 21 A new exhibition studies the interwoven progress of the artistic movement De Stijl and of Piet Mondrian, its leading figure. This important retrospective is the first in France to shed light on this key period in the history of 20th century art. Beginning towards the end of the century's first decade and continuing through the 1920s, De Stijl combined an aesthetic and social vision, total art, which provides a basis for understanding the sources of modern art. In Paris between 1912 and 1938, Mondrian, a central figure of this avant-garde who

pa se ga je s Theom Van Doesburgom in Gerritom Rietveldom, prav tako utemeljiteljema tega gibanja, ki je vplivalo na slikarstvo, kiparstvo, urbanizem, arhitekturo, oblikovanje pohištva in grafično oblikovanje. London, Tate Modern Gabriel Orozco Do 25. aprila Ustvarjalen, igriv in domiseln ustvarja Gabriel Orozco umetnost na ulicah, v svojem stanovanju in povsod, kjer se ga poloti navdih. Orozco, ki se je rodil v Mehiki, delal pa po vsem svetu, slovi po neskončnem eksperimentiranju z najdenimi predmeti, ki jih prefinjeno spreminja. Njegove skulpture, pogosto narejene iz vsakodnevnih stvari, ki so se umetniku zazdele zanimive, razkrivajo nove načine videnja znanih predmetov. Lobanja, skrbno porisana z geometrijskimi vzorci, klasičen avto Citroën DS, ki ga je avtor razrezal na tretjine in odstranil osrednji del, da bi poudaril njegovo aerodinamično obliko, ali pa zvitek papirja, popisan s številkami, izrezanimi iz telefonskega imenika, so le nekateri primeri njegovih edinstvenih skulptur.

drew from its experience, laid down a vocabulary and a "new abstract visual language", a radical undertaking which was to revolutionise painting and art. In this, his work was joined by that of Theo Van Doesburg and Gerrit Rietveld, the other founders of this cross-disciplinary movement, which influenced painting, sculpture, city planning, architecture, furniture design and graphic design. London, Tate Modern Gabriel Orozco Until 25 April Creative, playful and inventive, Gabriel Orozco creates art in the streets, his apartment or wherever he is inspired. Born in Mexico but working across the globe, Orozco is renowned for his endless experimentation with found objects, which he subtly alters. His sculptures, often made of everyday things that have interested him, reveal new ways of looking at the familiar. A skull with a geometric pattern carefully drawn onto it, a classic Citroën DS car that the artist has sliced into thirds, removing the central part to exaggerate its streamlined design, and a scroll filled with numbers cut out of a phone book are just some of his unique sculptures.

{ Adrijin potnik }

Janez Pukšič –

Puška Fotograf Besedilo: Grega Bulc

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Fotografije: Igor Škafar

ikakor ni napet kot puška. Čeprav stalno pod pritiskom rokov, deluje s tistim svojim nasmehom in belo brado bolj kot kak zgovoren dedek Mraz na dopustu. Dvanajst let je bil fotoreporter pri Delu. Nekoč je moral s fotomontažo dodati nekega politika na častno tribuno štadiona, ker je bil ubogi partijec za časa tekme pač na počitnicah. Fotografiral je številne jugoslovanske progresivne rock skupine in popularne popevkarje ter s fotografijami opremil pa tudi oblikoval znamenito prvo dvojno vinilno ploščo v socialistični Jugoslaviji, Pop festival Ljubljana '72. Vseeno pa Puška doma najraje prisluhne jazzu. Čeprav me osebno najbolj navdušuje njegov intrigantni opus mističnih ženskih aktov v transferni tehniki, se je v zadnjem desetletju širom sveta proslavil s fotografiranjem hrane. »Njegove« kuharice prejemajo mednarodne nagrade kot po tekočem traku. Tako so njegove fotografije že šestkrat ozaljšale najboljšo gurmansko knjigo na svetu. Ob vsem tem pa že več kot dvajset let s fotografijami opremlja tudi naslovnice magazina, ki ga držite v rokah. Puška nima spletne strani, ne boste ga našli na Facebooku, ima pa mobilca »za 25 evrov«. Strokovna besedila o fotografiji in tehniki bere v italijanščini in angleščini. Ampak v kratkem se bo vpisal na tečaj nemščine, ker mu, čeprav jo razume, manjka besedni zaklad, pravi. Poslušal sem ga ure in ure in še bi ga lahko. Pila sva vrhunski cviček iz ene izmed številnih buteljk, ki se kot nemočne žrtve blagovne menjave znajdejo v Puškinem gnezdu.

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{ Adria Passenger } Dvakrat sva se slišala po telefonu in obakrat ste za novejšo tehnologijo uporabili besedo »disgustabile«: prvič, ko ste govorili o digitalnih fotoaparatih, drugič pa o računalniku. Zakaj »šimfate« tehniko?

Bom povedal, zakaj. Pri Photoshopu in podobnih programih si lahko zelo površen in marsikaj lahko zgoljufaš, pri čemer večina ljudi potem misli, da so, recimo, barve v resnici tako žive in močne, dejansko pa seveda ni tako. Tehniko moraš obvladati. Sam imam vrhunsko tehniko: ’špica’ aparat, ’špica’ luči, ’špica’ vse! In tudi tehnologijo poznam. Montaže sem delal, ko računalnikov sploh še ni bilo. Kaj pomaga človeku najboljši pisalni stroj, če ne zna pisati! Zdi se, da ne delate veliko pri naravni svetlobi, temveč bolj v studiu.

Oh, ne, veliko delam pri naravni svetlobi. Ko delam zase, vedno. Ampak ko fotografirate hrano, jo pa umetno osvetlite?

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Ja, vso hrano pa delam v studiu, saj lahko na ta način kontroliram formo, barvo itd. Le tako zgleda hrana perfektno. Vseeno pa delam luč zelo intuitivno. Poznam tehniko in, kot rečeno, zelo jo obvladam. Vidite, tamle v kotu me čakajo tri nove tehnične knjige, ki jih moram prebrati. Ampak ko delam, delam zelo enostavno. Vedno po principu »Sonce je eno«. Priti mora pač z ene strani, to se mora čutiti in konec – ne glede na to, kaj delaš in kako delaš. Sonce je idealna luč. No, najbolje je, če sije skozi mikro rahle oblake, da ni toliko kontrasta. Ampak to je to, prima svetloba. Če gledaš proti soncu in imaš pred seboj »zmigane« prave stvari, je to čista pravljica. Zame brez kontra svetlobe enostavno ni dobre fotografije. Kakšnega jedilnika se držite takrat, ko ne obedujete ravno v prestižnih restavracijah v družbi kuharjev svetovnega slovesa?

Z ženo Jano se prehranjujeva zelo asketsko. Jaz sem pretežno vegetarijanec. Ampak tudi pri restavracijah ni vse enoznačno. Veliko je odvisno od tega, kakšna je hrana. Recimo Heinz Beck, ki ima 5 Michelinovih zvezdic in je med desetimi najboljšimi kuharji sveta, kuha po principu »Pametni gurmani živijo dlje«. Zelo pazi, katero hrano ponudi gostu, kaj sodi skupaj in kako deluje v želodcu. Najprej vpraša gosta: »Ali ste na kaj alergični?« in temu prilagodi ponudbo. Koliko gostiln ali restavracij pri nas poznate, kjer vas to na začetku vprašajo? No, kakorkoli, z Beckom ravno zdaj pripravljava knjigo o pametnem gurmanstvu. Ste avtor vseh fotografij na naslovnicah Adria In-Flight Magazina. Pa ga tudi berete?

Za Adria magazin sem delal od prve številke dalje. Do pred kratkim tudi sam nisem vedel, da sem avtor prav vseh fotografij na naslovnicah. Veste, včasih je bilo težko v tako kratkem času najti idejo za fotografijo, ki bi ustrezala aktualni temi magazina. Le z redkimi fotografijami sem bil takoj zadovoljen. Trudim se, da bi bila fotografija vedno nekaj posebnega. Zelo pazim, da se ideje ne bi ponavljale. Adria magazin seveda redno berem. Bolj počasi sicer, saj imam v ’ruzaku’ vedno veliko knjig (smeh). Knjige berem vsepovsod. Tudi v avtu. Jaz berem, Jana pa vozi. Če ni nič drugega, se pa učim iz tehničnih knjig. Najraje sicer ne bi bral tehnike, a jo seveda moram, ne gre drugače. Mnogo knjig preberem na dušek. Trenutno me navdušuje Umetnost preprostosti

Dominique Loreau, ki živi že vrsto let na Japonskem. Knjigo začne s kratkim haikujem: »V moji sobi ni ničesar. Torej imam vse.« To je prvi stavek iz knjige. Tako dobro je to napisala! Že včasih, ko sem še mislil, da bom v življenju oblikoval pohištvo, sem govoril, da človek nikoli ne bo vedel, kaj se skriva na koncu njegovih predalov ali omar, če so globoki 60 centimetrov. Vseh tistih reči, ki jih v sobi nimaš pred očmi, ne boš nikoli več pogrešal, torej jih lahko vržeš proč.

Janez Pukšič –

Puška Photographer Text: Grega Bulc

Photography: Igor Škafar

Despite his name (Puška means rifle), he is not actually locked, loaded and ready to go off. Even though he is constantly under pressure of deadlines, his smile and white beard give him more the persona of some garrulous Santa Claus on holiday. He worked for 12 years as a photojournalist for the Delo newspaper. Once he had to photomontage some politician onto the VIP podium of a stadium, because the hapless apparatchik was actually on holiday at the time of the game. He photographed many of Yugoslavia’s progressive rock groups and pop singers, and he also provided the photos and design for the famed first vinyl double-album in socialist Yugoslavia, Pop Festival Ljubljana ‘72. But at home, Puška prefers listening to jazz. Although my personal favourites are his intriguing and mystical female nudes using the transfer technique, in the past decade he has won fame throughout the world for his photographs of food. “His” cookbooks have been winning international prizes one after the other. So his photographs have embellished the best gourmet book in the world six times now. Meanwhile, for more than 20 years his photographs have adorned the cover page of the magazine you are now reading. Puška has no website or Facebook page, but he does have a “25 euro” mobile phone. He reads technical material on photography in Italian and English. Soon, however, he will be enrolling on a German course, since although he understands it, he doesn’t have the vocabulary, he says. I listened to him for hours and hours, and could have listened longer. We drank some outstanding cviček wine from one of the many bottles that end up in Puška’s nest like some powerless victims of trade.

ing through minutely soft clouds, so there is not so much contrast. But that is it, the best light. If you look towards the sun and you have the right things “animated” in front of you, it’s truly magical. For me, without a counter-light it is simply not a good photograph. What menu do you stick to when you’re not dining in some fancy restaurant in the company of world-famous chefs?

My wife Jana and I eat very ascetically. I am mainly a vegetarian. But in restaurants, too, it’s not that simple. A lot depends on what kind of food it is. For instance Heinz Beck, who has five Michelin stars and is one of the top ten chefs in the world, cooks by the principle “Smart gourmets live longer”. He is very careful about what food to offer guests, what goes together and what happens to it in the stomach. The first thing he asks a guest is whether they are allergic to anything, and then he adapts his menu to that. How many restaurants do you know where they ask you that to begin with? Well, whatever, right now I’m working with Beck on a book about being a smart gourmet. You have taken all the photographs on the covers of Adria In-Flight Magazine. Do you also read it?

We talked twice on the phone, and both times you used the word “disgustabile” for the latest technology, first when you were talking about digital cameras, and then about computers. Why do you “scorn” technology?

I’ll tell you why. With Photoshop and similar programmes, you can be really superficial and you can falsify a lot of things, so most people think that, for instance, the colours are truly that vivid and strong, but that’s actually not the case. You have to master the technical side. I have the very top technical equipment: top camera, top lights, top everything! And I’m also familiar with the technology. I did my own montages before we even had computers. What good is the best typewriter, if a person doesn’t know how to write? It seems that you don’t work much with natural light, but more in the studio.

Oh no, I use natural light a lot. When I work for myself, always. But when you photograph food, don’t you use artificial light?

Yes, I do all the food in the studio, because that means I can control the form, colour and so on. Only then does the food come out perfectly. All the same, I do the lighting very intuitively. I’m familiar with the technical side and, as I’ve said, I really know how to use it. You can see, over there in the corner there are three new technical books that I need to read. But when I work, I work very simply. Always under the principle of “one sun”. The point is, it needs to come from one side, and you have to sense that, end of story – no matter what you are doing and how you are working. The sun is the ideal light. And the best thing is if it is shin-

I’ve worked for the Adria magazine since its first issue. Until recently, I myself didn’t know that I took every single cover photo. You know, sometimes it was hard in such a short time to find an idea for a photograph that would match the current theme of the magazine. There have only been a few photographs that instantly satisfied me. I strive to make the photograph always something special. I’m very careful not to repeat ideas. And of course I read the Adria magazine regularly. Quite slowly, though, since I always have a lot of books in my satchel (laughs). I read books everywhere. Even in the car. I read, and Jana drives. If nothing else, I learn from the technical books. I would prefer not to read technical things, but of course I have to, there’s no choice. I read a lot of books in one sitting. I’m currently inspired by The Art of Simplicity by Dominique Loreau, who has lived for many years in Japan. The book begins with a short haiku: “In my room there is nothing. So I have everything.” That’s the first sentence in the book. She wrote that so well! And back at one time when I thought I was going to have a career designing furniture, I said that a person will never know what’s hidden at the back of his shelves or cupboards, if they are 60 centimetres deep. All those things that you can’t actually see in a room, you’ll never miss, so you can throw them away.

( 35 )

Priština

( 36 )

Med kavarnami in umetnostjo

o be a künstler, you have to arbeiten, je trditev kosovskega umetnika Drena Maliqija. In če hoče umetnik delati,

potrebuje prostor, bi lahko dodali. Z Drenom se spoznam v kavarni Dit’ e Nat’ (Dan in noč). Prav tako z oblikovalcem Bardhijem Halitijem, fotografinjo Majlindo Hoxho, galeristom Jetonom Rushitijem … V kavarno, pravzaprav knjigarno, me je pripeljal akademski profesor in slikar Mehmet Behluli. V kavarni Stripdepot se srečam z umetniškim kritikom Shkëlzenom Maliqijem. Pod plakatom Roya Lichtensteina. Z umetnico Nurhan Qehajo poklepetam v kavarni Tingël Tangëll. Umetniki, ki delajo, umetniki, ki ustvarjajo tudi v kavarni. To be a künstler, you have to arbeiten. Besedilo: Meta Krese

Dren Maliqi

Fotografije: Arne Hodalič

( 37 )

{ Priština } Umetnost se seli v kavarne

( 38 )

Vsi vemo, kako grozno je bilo na Kosovu v devetdesetih letih prejšnjega stoletja. Umetniki niso molčali. Na težko stanje so odgovorili odkrito in jasno. »Umetnost je bila v tem času angažirana, mladi umetniki so reagirali na posamezne dogodke in tudi na celotno situacijo. S svojimi deli so se uprli srbskemu režimu, hkrati pa tudi kosovski akademski sferi, ki je bila provincialna in ni sprejemala novih oblik izražanja,« meni Shkëlzen Maliqi. M'vyn ndrim radikal (Potrebujem radikalno spremembo) govori delo Drena Maliqija. Ikonografija upora, besa, jeze ni ostala zgolj na ravni šokiranja lokalne skupnosti: umetniki so s svojo neposrednostjo sicer rušili železna akademska pravila, a hkrati tudi zaradi svoje čustvene poštenosti vzpostavili komunikacijo s sodobnimi umetniškimi trendi v svetu. Kavarne, restavracije in druge neodvisne institucije, kjer so se pogovori začeli s politiko in končali s kulturo in umetnostjo, so prevzele vlogo umetniških galerij. Umetniki so eksperimentirali: sprejeli so video, performanse, instalacije. Mnogi med njimi so zaključili likovno akademijo, ampak s slikanjem se enostavno niso mogli izraziti. Video dela so po mnenju Shkëlzena Maliqija nekaj najboljšega, kar ima sodobna kosovska umetnost. Postali so zanimivi za Evropo. »Še najbolj v kontekstu Balkana,« razloži Shkëlzen Maliqi. »Jugoslavija je razpadala, umetniki, kuratorji pa smo se združevali na razstavah. V

stikih smo bili s predstavniki sodobne umetnosti v Beogradu, Zagrebu, Sarajevu … V Ljubljani smo že leta 1998 sodelovali z Barbaro Borčič iz zavoda SCCA.« Zdaj se umetniki počasi oddaljujejo od politike, njihova dela ostajajo vpeta v težave družbe in so vse bolj ironičen protest proti situaciji, v kateri so se znašli.

Ustvarjalni hrup Z zavidanjem začutim ustvarjalnost kavarniškega hrupa. Od kod že poznam to? Za hip se spomnim dunajskih pa berlinskih kavarn. Ne, ne gre za isto stvar. Tam se poskušam zgolj spogledati z nekim časom, ki ga ni več. Tu gre zares. »Ne morem si privoščiti studia. Zato delam doma in še več v Dit’ e Nat’,« pravi oblikovalec Bardhi Haliti, ki je končal študij grafičnega oblikovanja v New Yorku, se naveličal ameriške birokracije, s katero se je spopadal vsako leto, ko si je podaljševal delovno vizo, in se po več kot desetih letih vrnil v Prištino. Pred seboj ima odprt prenosni računalnik, na mizi kavo in obvezno cigareto. »Komercialno oglaševanje me ne zanima, želim se osredotočiti na umetnost in arhitekturo«, zatrdi. Projektov mu ne manjka; odkar je spet v Prištini, je v tem letu oblikoval več knjig predvsem za manjše založbe. »Moje delo je slabo plačano, honorar za oblikovanje knjige je, recimo, okrog 50 evrov. Ampak raje se ukvarjam s stvarmi, na katere sem ponosen,« doda Bardhi.

Mehmet Behluli

( 39 ) Bardhi Haliti

Bitko z denarjem bije večina mlajših pripadnikov sodobne umetnosti. Shkëlzen Maliqi se spomni švicarskega profesorja, ki se je navduševal nad video deli kosovskih umetnikov in se čudil, kako lahko naredijo tako rekoč zastonj dela, za katera bi njegovi študentje porabili na desettisoče frankov. Izjemno cenjena umetnica, pa čeprav komaj dvaindvajsetletna Deda Qëndresë, ki se izraža z avtoportreti v slikarski in fotografski tehniki, je že kar nekaj časa brez fotoaparata. »Delam pač fotomontažo s starimi fotografijami,« razloži. »To gre, dokler je entuziazem, potem pa … Mi jim ne moremo dati ničesar,« zaključi pogovor Shkëlzen Maliqi. Pa to ni čisto res. S prof. Mehmetom Behlulijem vodita že več let delavnice za vse tiste, ki jih zanima umetnost (in teh je bilo do sedaj že nekaj sto), v posebni čitalnici Narodne knjižnice z več kot 10.000 knjigami o moderni umetnosti. Knjige je ‘alternativni akademiji’ podaril frankfurtski etnografski muzej. Ko se je namreč direktor upokojil, niso vedeli, kaj naj počno z vso to prečudovito zbirko, ki si jo je nakupil za svoje veselje v času vodenja muzeja. In pravzaprav bi težko našli bolj pošteno rešitev.

Kosovo resnično zaprto in so nam lahko prodali katerokoli zgodbo in mi smo ji verjeli,« meni prof. Mehmet Behluli. »Zdaj se mladim težko proda neresnica ali samo ena ideologija. Razvijamo se od popolnoma zaprte v odprto družbo. Seveda še ni tako, kot bi si želeli. Težko je biti umetnik na Kosovu. Oziroma takole gre: na Kosovu smo fizično prisotni, a delujemo virtualno na globalni sceni. Kar ni narobe: problemi so tako in tako globalni.« Čeprav je globalizacija že pred leti segla v sfero kosovske kulture in oslabila moč tradicije v umetnosti, ostajajo vrata državnih institucij še vedno zaprta, no, mogoče priprta, za sodobno umetnost. Pa kaj potem, si reče marsikdo. Jeton Rushiti je s prijatelji najel podrtijo sredi Prištine. Skupaj so jo prenovili, odprli za pol leta klub z barom, med tem časom z zaslužkom odplačali investicije in uredili razstavni prostor. Tetris manipulative space se imenuje. Skoraj na 14 dni menjajo razstave, gostijo najrazličnejše festivale, predvsem pa se tu srečujejo vsi, ki želijo ali celo morajo debatirati o umetnosti, prihodnosti … »Vsak je dobrodošel,« pravi Jeton Rushiti. Pred vrati pa leži napis Drena Maliqija: Potrebujem radikalno spremembo.

Sreča v nesreči »Na vso srečo naša družba ne more biti več zaprta. To se je začelo spreminjati leta 1999. S tem, ko so prišle k nam številne vladne in nevladne organizacije, smo morali postati komunikativni, drugače ne bi bilo nobenega smisla, da so tu. To je sreča v nesreči. Ko sem bil mlad, je bilo

{ Priština }

{ Prishtina }

Art Comes to the Cafés Text: Meta Krese

( 40 )

Shkëlzen Maliqi

Photography: Arne Hodalič

o be a künstler, you have to arbeiten, asserts the Kosovan artist Dren Maliqi. And if an artist wants to work, he needs a space, we might add. I’ve come to know Dren at the Dit’ e Nat’ (Day and Night) cafe. And also designer Bardhi Haliti, photographer Majlinda Haxha and gallery manager Jeton Rushiti … I was taken to this café – in fact a bookshop – by the Academy professor and painter Mehmet Behluli. At the Stripdepot café I meet art critic Shkëlzen Maliqi. under a Roy Lichtenstein poster. I chat with artist Nurhan Qehajo in the café Tingël Tangëll. Artists who are working, artists who are doing creative work in a café. To be a künstler, you have to arbeiten.

Art moves to the café We all know how dreadful it was in Kosovo in the 1990s. The artists did not stay silent. They responded openly and clearly to the difficult situation. “At that time art was committed, with young artists reacting to specific events and also to the whole situation. Through their work they resisted the Serbian regime, and at the same time they resisted the Kosovan academic circles, which were provincial and would not accept new forms of expression,” says Shkëlzen Maliqi. M’vyn ndrim radikal (I need radical change) says the work of Dren Maliqi. And the iconography of resistance, rage and anger was not confined to just shocking the local community: through their directness, the artists were breaking the iron rules of academia, but at the same time, given their emotional honesty they were also establishing communication with contemporary artistic trends in the world. The cafes, restaurants and other independent establishments, where conversation started with politics and ended with culture and art, took on the role of art galleries. The artists experimented: they took on video, performance and installations. Many of them had graduated from the art academy, but they simply could not express themselves through painting. Shkëlzen Maliqi

believes that the video work is some of the best of Kosovo’s contemporary art. They have attracted the interest of the rest of Europe. “Particularly in the Balkan context,” explains Shkëlzen Maliqi. “Yugoslavia broke up, but artists and curators mingled at exhibitions. We had contacts with contemporary art representatives in Belgrade, Zagreb and Sarajevo … In Ljubljana we collaborated with Barbara Borčič of the SCCA institute back in 1998.”

Deda Qëndresë

( 41 ) Majlinda Haxha

Now the artists are gradually distancing themselves from politics, but their work remains bound up in the difficulties of society and is increasingly an ironic protest at the situation in which they have found themselves.

Creative hubbub With some envy I sense the creativity of the café hubbub. Where do I know this from? For a moment I recall the cafés of Vienna and Berlin. No, it’s not the same thing. There I am just trying to flirt with an age that has gone. This is for real. “I can’t afford a studio. So I work at home and even more at Dit’ e Nat”, says designer Bardhi Haliti, who studied graphic design in New York, got fed up with the American bureaucracy he had to contend with every year when he extended his work visa, and after more than ten years returned to Prishtina. He has a laptop computer open in front of him, along with a coffee and the obligatory cigarette. “Commercial advertising doesn’t interest me, I want to focus on art and architecture,” he adds. He has no shortage of projects. In the year that he has been back in Prishtina, he has designed several books, mainly for smaller publishers. “My work is badly paid. The fee for designing a book, for instance, is around 50 euros. But I do things that I’m proud of”, adds Bardhi.

{ Prishtina }

( 42 ) Jeton Rushiti

Nurhan Qehaja

( 43 ) Most of the younger people involved in contemporary art are struggling for money. Shkëlzen Maliqi remembers a Swiss professor who was enthusiastic about the video work of Kosovan artists, and was amazed that they could make them in effect for nothing, while his students would have needed tens of thousands of francs to make them. A very highly regarded artist, the barely 22-year-old Deda Qëndresë, who creates self-portraits using painting and photography, has not had her own camera for some time now. “I do photomontages with old photographs”, she explains. “This works for as long as there is some enthusiasm, but then… We can’t give them anything”, says Shkëlzen Maliqi, winding up our conversation. But that is not altogether true. For several years he and Prof. Mehmet Behluli have been running workshops for everyone interested in art (and to date this has involved several hundred people), in a special reading room of the National Library, which has more than 10,000 books on modern art. These books were donated to the ‘alternative academy’ by the Frankfurt Ethnographic Museum. When the director retired, they did not know what to do with the whole magnificent collection, which he acquired for his delight during his tenure at the museum. And in actual fact it would be hard to find a more decent solution.

Fortune in misfortune “Very fortunately our society can no longer be closed. This started to change in 1999. When a range of governmental and non-governmental organisations came here, we had to become communicative, otherwise there would have been no sense in them being here. That is fortune in

misfortune. When I was young, Kosovo was truly closed, and they could sell us any story they wanted to, and we believed it”, says Prof. Mehmet Behluli. “Now it’s hard to sell young people lies or just one ideology. We are evolving from a completely closed to an open society. Of course it’s still not like we would want it. It’s hard being an artist in Kosovo. Or rather it’s like this: we are physically present in Kosovo, but we are working virtually on the global scene. And there’s nothing wrong with this: the problems are pretty much global.” Although several years ago globalisation extended into Kosovo’s cultural arena, weakening the power of tradition in art, the doors of state institutions remain shut – or possibly just slightly open – to contemporary art. So what, many people say. Jeton Rushiti and his friends rented a ruin in the middle of Prishtina. Together they renovated it, opened a club and bar for half a year, and in that time, with their earnings they paid off the investment and arranged an exhibition space. Tetris manipulative space is its name. They change exhibitions almost every 14 days, they host a wide variety of festivals, and above all this is a meeting place for everyone who wants or even has to debate art, the future and so forth. “Everyone is welcome”, says Jeton Rushiti. In front of the door lies Dren Maliqi’s inscription: I need radical change.

Adria Airways leti na liniji Ljubljana–Priština vsak dan. Adria Airways flies between Ljubljana and Prishtina daily.

( 44 )

Planinske koče Besedilo: Marjan Žiberna

Fotografije: Rafael Marn

lovek, ki sicer rad pravi ali vsaj namigne, da mu je najljubše hoditi svoja pota, daleč stran od množic, ne prizna prav rad, da so mu bile gorske koče od nekdaj dokaj ljube. Ampak tako pač je. V gnečo, kakršna je v njih poleti ali ob še zadnjih toplih jesenskih vikendih,

nisem nikoli ravno silil, a če sem se vendarle znašel v njej, me ni motila niti približno tako, kot me moti gneča mestnih nakupovalnih središč. Med potikanjem po hribih, bodisi sam bodisi v družbi, sem pravzaprav vedno rad zavil v planinsko kočo. ’Flaše’ s ’šnopsom’, ki jo tudi mnogi novodobni gorski popotniki uvrščajo med obvezno opremo, nisem nikoli nosil s seboj, zato pa je pivo v koči vedno leglo natančno na pravo mesto. In vselej mi je bilo v veselje poklepetati z ljudmi, ki so se, dovolj daleč od mest in bližje bogu, podobno kot jaz, za nekaj časa rešili dolinskih skrbi in z njimi povezane čemernosti.

( 45 )

{ Planinske koče }

( 46 )

ajlepši čas za obisk hribov je, vsaj za moj okus, med delovnim tednom. Če si tako razkošje seveda lahko privoščite. Ker si ga sam zadnja leta le težko, je stvar še toliko bolj vabljiva, saj ima skoraj vse lastnosti nedosegljivega. A če se vam vendarle uspe izmuzniti, si med potepanjem veselje še dodatno povečate z mislijo na one, ki se ta čas s takimi in drugačnimi sitnimi opravili ubijajo doli v dolini, vi pa medtem tu gori, na svežem zraku, stran od vsakdanjih neprijetnosti ... In z mislijo na tečnega šefa, ki mu strgate korenček, »šlek, šlek, šlek …« Med tednom v gorah običajno tudi ni kaj prida ljudi, v kočah prevladujejo prijazni, zgovorni upokojenci. Od hoje ste prijetno utrujeni, greje vas ravno prav toplo sonce, naokrog se dvigajo prijazni hribi, po nebu plujejo dekorativni oblački, vi pa sproščeno klepetate s poskočnimi upokojenkami in zraven mislite še na njihove hčerke ali vnukinje. Kaj bi si lahko človek, če dobro premisli, želel še več od življenja?! Prav nič, že tako imate obilje vsakovrstnih radosti. Ena od njih je gotovo tudi raznolikost narečij, ki jih je mogoče slišati v vsaki malo bolje obiskani koči. Slovenska narečja so me vedno navduševala in zlasti pri starejših ljudeh so se ohranila takšna, kot so bila nekoč. In tako so Ribničani, s katerimi sem nazdravljal v hribih, malo povlajkli pu ribnšku, z Gorenjci smo se mau zguvarjal, oni s ’totega’ konca so rekli Čuj, ti, jaz pa sem med drugim prispeval prideste, greste, se smejeste … Pa tudi svoj primorski

g, s katerim se kontinetalci ubijajo tako, kot se ubijam sam, ko mislim, da güčim po prekmursko. Saj veste: Hozd hori, hasilc ha hasi in hovori … No, lagal bi, če bi trdil, da je bila ta idila vedno tako neskaljena. Nekoč, denimo, sem v družbi še treh ali štirih mladičev, kot smo takrat bili, prikolovratil v kočo na Prehodavcih. Za sabo smo imeli že dolgo pot, malo po markiranih poteh in veliko po raznih brezpotjih, zlezli smo na Kanjavec, Malo Špičje in še na katerega od okoliških vrhov, se malo zgubljali, pa potem spet znašli … Tako smo pozno popoldan pristali v Zasavski koči in se hitro strinjali, da tam prespimo. Bil je delovni dan, ljudi ne prav veliko, v glavnem prijazno razpoloženi starejši, pivo hladno. Sedeli smo tam, klepetali in se šalili z drugimi obiskovalci, se navduševali sami nad sabo, saj smo tistega dne prehodili in po malem pretekli res spodobno pot. In pridno naročali pivo. Potem, ko so nam čez čas namignili, da bodo šank zaprli, smo naročili še izdatno zalogo steklenic. Ceno smo zaokrožili močno navzgor, saj sicer sila prijazna gospa za šankom ni več kazala takega navdušenja nad nami kot poprej. Da bo treba iti spat, je namigovala, pogasiti luči, utišati glasove … Sonce je že pred časom ugasnilo, luči čez čas tudi, obiskovalci so se porazgubili spat. Napoved »za jutri« je dobra, so rekli, a ker se zna popoldne vreme sfižiti, bo najbolje zapreči že zgodaj. Tudi mi smo vedeli, da so najlepša jutra res zjutraj, kot je povedal pokojni Ivan Volarič – Feo (naj počiva v miru). A kaj je lepota jutrišnjega jutra, ki se mora iz

( 47 )

{ Planinske koÄ?e }

{ Planinske koče }

( 48 )

noči šele izcimiti, ko pa je lepo že tu in sedaj, ko je noč šele dobro legla?! Saj še vedno velja: Bolje drži ga, nego lovi ga. In smo veselo srkali pivo, ognjevito razpravljali o tem in onem, potihem malce zabavljali na račun onih, ki so šli spat, da bi lahko že zgodaj vstali, in se glasno krohotali lastnim domislicam. Enkrat je sicer oskrbnica koče pomolila glavo skozi vrata in strogo, a vljudno pripomnila, da naj bomo tišji, in smo rekli, da bomo, a že čez minuto, kvečjemu dve, pozabili nanjo in na svoje dobre namene. Dokler se ni iz koče nenadoma gromoglasno zaslišalo: »A bo mir tam zunaj al' ne bo? A bom moral prit' v'n, al' kaj?« Spogledali smo se in hkrati kolektivno zmrznili. V trenutku smo vsi vedeli, čigav je tisti glas. Brez dvoma je bil to možakar, ’brko’, okoli meter devetdeset in vsaj sto dvajset kil, bržkone mlajši upokojenec, za katerega pa si ni bilo težko predstavljati, da še vedno sam dvigne sveže odrtega junca in ga obesi na kavelj visoko pod strop v mesnici ter si potem zadovoljno obriše roke v okrvavljen predpasnik in se pomenljivo razgleda po strankah … Ko smo klepetali z igrivimi upokojenkami, je bilo očitno, da ga grize, ker so kazale več zanimanja za naše otroške norčije kot za njegove namige, kakšen kerlc da je še vedno. Nekdo je polglasno zagodel: »Ja, ja, saj gremo spat …« Potem ko smo se spet malo opogumili, smo se še nekaj polglasno hehetali na račun starega, a dovolj tiho, da nas ni nihče slišal. Še najmanj on. Res ni dajal videza človeka, s katerim bi radi zobali češnje, (še manj pa bi si, jasno, želeli »zobat« upokojenke). Medtem ko smo se spravljali spat, je nekdo predlagal, da bi bilo pametno iti na pot že zgodaj. Račun za nočitev smo že plačali, vreme se bo morda popoldne skvarilo, mi pa bi lahko izkoristili lep dopoldan in obleteli, preden se vrnemo v dolino, še lepo število vrhov. Tako smo vstali, vsi zmačkani in zbegani, še veliko pred ostalimi. Celo precej pred tistimi, na račun katerih smo še nekaj kratkih ur prej zabavljali, da vstajajo silno zgodaj, ker jih muči starostna nespečnost, in da morajo res pohiteti, če hočejo s svojimi betežnimi udi kam priti … Tiho smo brez reda tlačili stvari v svoje nahrbtnike, se v tišini previdno obuvali, tipali ob stenah in posteljah do vrat. Oddahnili smo si šele, ko smo stopili ven še v temno noč, samozavest prejšnjega večera pa sem nam še dolgo ni povrnila. Po tistem nisem v kočah, če sem slučajno v njih prespal, nikoli več uganjal kakšnega hrupa in mislim, da moji tovariši tudi ne. Človek pač ne bi brez razloga spet tvegal, da ga, mladega in glasnega, takole utiša upokojen mesar. Že res, da pravzaprav ni posebna sramota, če se pustite utišati možu takih razsežnosti, pa vendar ... No, ampak to je le droban, že davno obledel madež na mojem siceršnjem navdušenju nad gorskimi kočami ... Danes je zlepa ni stvari, ki bi jo v hribih sam bolj cenil, kot je mir, tišina. Ob dveh otrocih, ki vreščita huje od cele jate srak, to ni nič čudnega. Ko mi vsake kvatre enkrat uspe iti v gore, bi bili glasni mladci, ki se pred kočo dolgo v noč divje krohotajo svojim trapastim domislicam, natančno zadnja stvar, ki bi si jo želel. Zato pa ostaja moje veselje z nekaterimi rečmi neskaljeno. S hladnim pivom, ki po dolgih urah znojenja tako zelo prija, nič manj pa tudi s prisluškovanjem narečni govorici obiskovalcev gora; gorla u hribih se je, rajtam, zmeri fletn zguvarjat …

Ena od radosti je gotovo tudi raznolikost narečij, ki jih je mogoče slišati v vsaki malo bolje obiskani koči.

( 49 )

{ Mountain lodges }

Mountain Lodges F Text: Marjan Žiberna

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Photography: Rafael Marn

or a person who likes to say or at least hint that his favourite thing is to follow his own path, far from the crowds, it does not really fit this image to admit that he has, in fact, always been quite fond of mountain lodges. But that’s the way it is. I didn’t exactly seek out the kind of crowds that you get in summer or still on the last warm weekends of autumn, but if I do happen to end up among them, they don’t bother me nearly as much as the crowds in city shopping centres. While poking around the hills, either alone or in com-

pany, I always liked to stop in at the lodges. Flasks with schnapps, which many modern-day mountain hikers regard as an essential piece of equipment, were never part of my kit, so the beer in the lodge always hit the spot. And I have always been happy to chat with people who, far enough away from the cities and closer to God, like me, had for a while extricated themselves from the cares of the lowlands and their associated gloom. The nicest time to go into the mountains – at least for my tastes – is during the week. If, of course, you can afford such a luxury. Since I have had a hard time doing so in recent years, it’s even more alluring, for it has almost all the features of the unattainable. If, on the other hand, you do actually manage to slip away, you can further intensify the pleasure of rambling by thinking of those that are killing themselves down in the lowlands with this or that piffling task, while you are up there, in the fresh air, far from everyday cares. And by thinking about your overbearing boss, to whom you offer some choice hand gestures. Mid-week in the mountains there are usually not that many people, and the lodges are inhabited for the most part by friendly, talkative retirees. You’re pleasantly tired after hiking, and you’re being warmed by the sun’s perfect heat, all around you rise the lovely hills, a few decorative clouds float through the sky, and you’re having an easy chat with some spirited pensioner ladies, as you idly speculate about their daughters or granddaughters. On careful consideration, what more could you want in life?

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Absolutely nothing; you already have an abundance of myriad joys. One joy is without doubt the diversity of dialects you can hear in any of the more popular lodges. I have always been fascinated by Slovenian dialects, and they have been preserved in their original form especially among the older people. Thus the folk from Ribnica that I hailed in the mountains povlajkli pu ribnšku, or spoke their Ribnica brogue, in response; the Gorenci and I se mau zguvarjal, or chatted a little; people from Štajerska greeted me with Čuj, ti, (Hey, you); and I contributed my own prideste, greste, se smejeste (instead of pridete, etc.)… I also have my Primorska dialect “g” – or lack of – that befuddles the continental types, just as I befuddle myself when I think I’m speaking, or güčim, in the Prekmurje dialect. It’s the “g” that sounds like: Hozd hor, hasilc ha hasi in hovori …or perhaps: Het hoing before the hrowling hrizzly hets you!

OK, I would be lying if I claimed that this idyll was always so unadulterated. Once, for instance, in the company of three or four other young guys, as we were then, I wandered into the lodge on Prehodavci. We had already hiked a long way, partly by the marked trails but largely off-trail, we clambered up Kanjavec, Malo Špičje and some other of the surrounding peaks, got a little lost, then found our way again. Thus we arrived in the late afternoon at the Zasavska koča lodge, and quickly agreed that we would spend the night there. It was a weekday, with just a few people around, for the most part kindly older folk, and the beer was cold. We sat there, chatted and joked with the other visitors, and were generally thrilled with ourselves for hiking and in places running a pretty good stretch of trail. And we dutifully ordered our beers. Later, when it was clear that the bar would soon be closing, we ordered up another big round of bottles. We rounded up the price and bumped it up a lot, since the extremely pleasant lady at the bar didn’t seem to be showing as much enthusiasm for us as earlier. She hinted that it was time to get some sleep, to turn out the lights, to quieten down … the sun had gone down long ago, the lights would soon, too, and all the guests had wandered off to bed. The forecast for the morning was good, they said, and since the afternoons can turn nasty, it would be best to saddle up early. We also knew that the nicest mornings are indeed in the morning, as the late Ivan Volarič-Feo said (may he rest in peace). But who cares about the beauty of tomorrow morning, which has yet to extricate itself from the night, when it’s wonderful here and now, with the night still young? After all, it is still true: a bird in the hand is worth two in the bush. So we merrily chugged our beer, pas-

{ Mountain lodges }

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sionately debating this or that, having a sly laugh at the expense of those that had gone to bed so they could get up early, and roaring with laughter at our own conceits. Once the lodge caretaker did poke her head around the door and sternly, but politely, warned us to be quieter, and we said we would, but in a minute or two we had forgotten about her and our good intentions. Until from inside the lodge a voice suddenly thundered out: “Are you going to be quiet out there or what? Do I have to come out there, eh?” We looked at each other and instantly, collectively, froze. We immediately all knew whose voice that was. Without doubt it was the moustached man 1 metre 90 tall and at least 120 kilos, probably a young retiree whom it was not hard to imagine still lifting up a whole freshly skinned calf by himself and hanging it on the hook high up on the ceiling in a butcher’s shop, then contentedly wiping his hands on his bloodied apron and impassively looking over the customers. When we were chatting to the jolly retired ladies, it was clear that he was stung by them showing more interest in our childish nonsense than in his hints that he still had what it takes. One of us managed to murmur: “Yes, of course, we’re going to bed…” Then, when we had regained a little courage, we chuckled a little under our breath at the old guy, but not loudly enough for anyone to hear us. Least of all him. He really didn’t give the impression of a man you would want to have any issues with, to say nothing of the pensioner ladies. As we were heading off to sleep, someone suggested it might be good to get going early in the morning. We had already paid for our lodging, the weather in the afternoon might turn bad, and we could take advantage of the fine morning and scamper over a nice set of peaks before returning to the valley. So we got up, all hung over and befuddled, long before the others. Even before those we had been joking about just a few short hours earlier, joking that they got up so early because they had old-age insomnia, and they really had to hurry up if they wanted to get anywhere on their creaky limbs. We only got our breath back when we stepped out into the still dark night, and our self-confidence of the previous evening took a long time coming back. After that, if I ever happened to sleep in a mountain lodge again, I never made any kind of noise, nor do I think my pals did either. A person would need a good reason to run the risk again, when young and loud, of being silenced by a retired butcher, especially someone of the dimensions of the man in our case. Anyway, that is just a tiny, longfaded stain on my otherwise total enthusiasm for mountain lodges. Today there is pretty much nothing I would value more in the mountains than peace and quiet. Now with two children who shriek worse than a whole flock of jays, it’s no wonder. When I get the chance every month or so to go into the mountains, noisy youths guffawing at their own inanities long into the night outside the lodge is the very last thing I would want. However, my joy at certain things does remain unadulterated. At the cold beer, after long hours of sweating, that hits the spot far better than it ever could down in the valley, and certainly no less at listening to the dialects of those wandering the mountains; gorla u hribih se je, rajtam, zmeri fletn zguvarjat …up in the hills, I’ve noticed, it’s always nice to talk.

One joy is without doubt the

diversity of dialects

you can hear in any of the more popular lodges.

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Pokljuka ( 54 )

Kjer ima zima mlade Where Winter Really is Winter

okljuka ima več obrazov: poletni je prijazen do krav, ki se pasejo na planinah, zimski pa do športnikov, saj postreže s snegom v izdatnih količinah in včasih že s prav prislovičnim pokljuškim mrazom. Planoto spoštljivih razsežnosti, saj meri približno 20-krat 20 kilometrov in se gozdovi, gozdne jase in močvirja raztezajo na višini 1000 do 1400 m nadmorske višine, pozimi prekrije tudi do meter in pol debela snežna odeja.

okljuka has several faces: the summer one is friendly to the cows that graze on the Alpine pastures, and the winter one to sports people, oﬀering up abundant snow and sometimes the truly proverbial Pokljuka chill. This is an upland of respectable dimensions, measuring approximately 20 by 20 kilometres, and the forests, glades and bogs extend from 1,000 to 1,400 m above sea level, with winters seeing snow cover up to a metre and a half deep.

Besedilo in fotografije/Text and photography: Rafael Marn

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{ Pokljuka }

Kraška planota živi pozimi svoje življenje Tek na smučeh ( 56 )

okljuko sem kot smučarski tekač prvih deset let spoznaval pozimi, šele mnogo kasneje sem njeno zimsko podobo dopolnil z zeleno sliko. V moji otroški glavi je obveljala kot sinonim zime in mraza. Ker imam zimo rad in šele pozimi »oživim«, se še danes poti na Pokljuko prav otroško veselim. V dobi zelenih zim na prelomu iz osemdesetih v devetdeseta leta je gozdna cesta pod planino Klek ponujala vadbeni poligon skoraj vsem tekmovalkam in tekmovalcem, ki smo jih takrat premogli. V časih, ko si je zdajšnja šampionka Petra Majdič prvič nataknila na noge tekaške smuči, je bil smučarski tek pri nas umeščen v gozdove, daleč od gledalcev. Takrat smo se šalili, da nas vidi več medvedov kot ljudi. Smučarski tek se je na Pokljuki začel na Goreljku, kjer se je proga vila ob robovih jas, in dokler je bilo dovoljeno, tudi na hribu Macesnovec. Teh prog se spominjamo z nostalgijo, saj zaradi gnezdišč divjih petelinov v ta del Pokljuke današnje motorne sani in snežni teptalci ne sodijo več. Ko postane spomladi sneg dovolj »nosilen« in se nam ne udira

(pre)več, se na pot okrog Macesnovca podamo kar po celcu. V zadnjih letih se je uveljavilo prepričanje, da so proge na Goreljku primernejše za klasično tehniko smučarskega teka, na Rudnem polju pa prevladuje drsalni način tekaškega gibanja. Ampak roko na srce: povsod je mogoče teči na način, ki nam ustreza. Najlepše je, kadar so proge med seboj povezane in se lahko na smučeh podamo že na Mrzlem studencu. Po progi, ki se vije po smrekovem gozdu, prismučamo na Planino Javornik in tam odtečemo krog ali dva na progi, ki je zavito speljana med lesenimi stanovi. Tek nadaljujemo po cesti, ki se pod Viševnikom prevesi proti Rudnemu polju. Tako se dobri dve uri zabavamo, nato pa si omislimo in osmislimo »drugi polčas«. Tega lahko razume vsak po svoje. Na Goreljku, Javorniški planini, Kranjski dolini in spet nazaj na Goreljek je dolga leta potekal znameniti »YASSA« maraton. Kasneje se je preimenoval v Pokljuški maraton in se preselil na Rudno polje. Pokljuški maraton velja med rekreativnimi smučarji tekači za vsega spoštovanja vredno preizkušnjo. Nekdaj maratonsko razdaljo (42 km) so v zadnjih letih nadomestila dvajset kilometrov dolga tekmovanja, lani pa smo v sklopu »Svetovnih veteranskih iger« (World Master Games) tekli na 30 kilometrov.

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{ Pokljuka }

This Karstic Plateau Comes Alive in Winter Cross-country skiing ( 58 )

or the first ten years I got to know Pokljuka as a cross-country skier in winter, and only much later did I supplement that winter image with a green one. In my childhood head it was a synonym for winter and cold. Since I love winter, and only in the winter time do I “come alive”, I still get a proper childish delight at the prospect of going to Pokljuka. In the period of green winters at the end of the eighties and beginning of the nineties, the forest road below the pasture of Klek served as a training area for almost all the competitors we could muster. At the time when the current champion Petra Majdič was first clipping cross-country skis onto her feet, crosscountry skiing in Slovenia was hidden away in the forests, far from spectators. At that time we joked that there were more bears watching us than people. Cross-country skiing on Pokljuka started at Goreljek, where the route wound along the edges of clearings, and for as long as it was permitted, on the hill of Macesnovec. We remember these trails with nostalgia, since now in order to protect capercaillie nesting areas, snowmobiles and snow compactors are no longer allowed in this part of Pokljuka. In the spring, when the snow becomes sufficiently “bearing” and does not get into us (too) much, we get out onto the fresh snow crust on the road around Macesnovec. In recent years there has been a belief that the trails on Goreljek are more suited to the classical technique of cross-country skiing, while on Rudno polje the skating method of motion predominates. But hand on heart: everywhere you go, you can cross-country in the way that suits you. The best thing is when the trails are linked to each other, and you can even go skiing at Mrzli studenec. Along a trail that winds through the spruce forest, you ski up to Planina Javornik, and there you do a circuit or two on the trail that winds past the wooden

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dwellings. The cross-country trail continues along a road that heads down towards Rudno polje below Viševnik. This provides a good two hours of entertainment, then you ponder and work out the “second half”. You can interpret this any way you want. Goreljek, Javorniška planina, Kranjska dolina and back again to Goreljek was for many years the route of the famous “YASSA” marathon. Later it was renamed the Pokljuka Marathon, and was moved to Rudno polje. The Pokljuka Marathon is regarded by recreational cross-country skiers as a seriously respectable experience. The one-time marathon distance (42 km) has in recent years been replaced by a 20 kilometre competition, and last year as part of the World Master Games we covered 30 kilometres.

{ Pokljuka }

Biatlon

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a Rudnem polju je v kotanji poleg vojašnice nastalo biatlonsko strelišče, kar ne preseneča, saj biatlon še danes velja za »vojaški« šport. Prvo tekmovanje, ki je združilo smučanje in streljanje, je bilo že l. 1767, ko sta se pomerili švedska in norveška patrulja. Biatlon moderne dobe se je začel 1958. na tekmovanju v Saltfeldnu. Že čez dve leti je popestril zimske olimpijske igre v Squaw Valleyju. Biatlonci od leta 1978 med tekom ne streljajo več z vojaškimi puškami na tarče iz stekla, pač pa z orožjem malega kalibra (5,6 mm) na kovinske tarče, ki se ob zadetku prekucnejo in se črni krog spremeni v belega. V sodobnem biatlonu streljajo tekmovalke in tekmovalci z malokalibrskim orožjem na razdalji 50 metrov na tarče, ki so črno obarvane in merijo v premeru 115 mm. V ležečem položaju za streljanje morajo za uspešen strel zadeti sredinski del tarče, ki meri v premeru 45 mm; ko streljajo stoje, pa zadošča zadetek v večji krog. Biatlonsko streljanje ni mačji kašelj, saj imajo biatlonke in biatlonci ob prihodu na strelišče visok srčni utrip, tam nekje med 160 in 170 udarcev na minuto. Ko se ustavijo vsak pred svojo tarčo, napolnijo orožje in izstrelijo pet nabojev, mine pri najboljših od 22 do 25 sekund. Na večini preizkušenj so za zgrešen strel kaznovani z dodatnim 150 metrov dolgim tekom, ki ga ravno tako opravijo v približno 25 sekundah. Le na najdaljši preizkušnji, »individualni« razdalji na 20 km za fante in 15 km za dekleta, se pretečenemu času za vsako strelsko napako prišteje kazenska minuta.

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Biathlon

t Rudno polje, a biathlon shooting range was set up next to the army barracks, and this is no surprise, since the biathlon is still regarded today as a “military” sport. The first competition to combine skiing and shooting was back in 1767, when Swedish and Norwegian patrols competed against each other. But the biathlons of the modern age started in 1958 in the competition at Saaltfelden. Then just two years later, the biathlon enhanced the Winter Olympics in Squaw Valley. Since 1978 the biathlon has no longer involved stopping to shoot a military rifle at a target of glass, but a small-calibre weapon (5.6 mm) at a metal target, which when hit topples over and the previously black circle turns white. In the modern sport, biathletes shoot the small-calibre weapon at a distance of 50 metres from the target, which are black and have a diameter of 115 mm. To take a successful shot, from a prone position they must hit the middle part of the target, which has a diameter of 45 mm, while from a standing position it is enough for them to hit the bigger circle. Biathlon shooting is no laughing matter, since when competitors get

to the shooting range their heartbeat is racing at around 160 to 170 beats a minute. When the biathletes stop at their individual targets, load their weapons and fire off five rounds, even the best of them take 22 to 25 seconds. In most events, a missed shot is punished by an additional 150 metres to cover on skis, and this too is performed in around 25 seconds. Only on the longest trials, the “individual” distances of 20 km for men and 15 km for women, does each missed shot incur a penalty of an extra minute.

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Svetovni pokal v biatlonu na Rudnem polju

a Rudnem polju so tekmovanje za svetovni pokal prvič organizirali v sezoni 1992/93. Seveda biatlonski stadion takrat ni kazal takšne podobe kot danes. Za službe, ki so potrebne za izvedbo tekmovanj, je najprej zrasel montažni objekt, oktobra 2009 pa je vrata odprl hotel, v katerem najdejo svoj prostor tudi vse tehnično osebje, vodstvo tekmovanja, novinarji in »zelo pomembne osebe«. Do sedaj največje tekmovanje je Pokljuka gostila pozimi 2000/2001. Čeprav so morali tekmovanje za svetovni pokal na začetku zime preseliti na Južno Tirolsko v Antholz/Anterselvo, je Rudno polje za svetovno prvenstvo ponudilo pravo zimsko kuliso. Prvenstva se spomnimo po uspehih Magdalene Forsberg, Pavla Rostovceva, zakoncev Poirre in popolnem polomu favorizirane nemške moške štafete. Naše biatlonke in biatlonci so nastopili zelo suvereno. V analih so zapisani rezultati Andreje Koblar, Tomasa Globočnika, Janeza Ožbolta in Saša Grajfa. Biatlon je bil že takrat močno »televizijski« šport. V naslednjem desetletju je postal v srednji Evropi (beri: v nemškem govornem področju) po gledanosti zimski šport številka ena. Nepredvidljivost in igra živcev vrhunsko treniranih športnic in športnikov je dodatna draž, ki animira milijone gledalcev, saj so na tekmovanjih v biatlonu rezultatni pomiki iz kroga v krog večji kot v ostalih podobnih športih. Dekleta so na prvem uradnem tekmovanju nastopila šele 1981. Na olimpijske igre pa so se prebila šele po razdružitvi zveze za moderni peteroboj in biatlon. Tako so doživela olimpijski krst na zimski olimpijadi v francoskem Albertvillu. Pomisleke o spretnosti pri ravnanju z orožjem so hitro ovrgla, saj po strelski statistiki prav nič ne zaostajajo za fanti.

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{ Pokljuka }

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Športni center na Rudnem polju je drugi dom slovenskih reprezentantov v biatlonu. Sodobno strelišče in asfaltirana rolkarska proga omogočata vadbo čez vso sezono, za popestritev vadbe pa so »pri roki« še desetine gozdnih cest za kolesarjenje, pa tudi gora v bližini ne manjka. Za manj tekmovalno usmerjene športnike je na Pokljuki obilo možnosti za pohodništvo, nordijsko hojo, gorsko kolesarjenje; ko zapade sneg, pa hoja in tek na smučeh, krpljanje in zimski pohodi na Viševnik, Draška vrhova, Debelo peč … Ti vrhovi so seveda dosegljivi tudi s turnimi ali »back country« smučmi, ljubitelji deskanja pa navežejo »bord« na nahrbtnik in se na izhodišče povzpnejo kar peš.

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{ Pokljuka }

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Biathlon World Cup at Rudno polje

he World Cup was first held at Rudno polje in the 1992/93 season. Of course the biathlon stadium did not quite have the look then that it does today. To accommodate the services needed to hold the competition, a prefabricated building was first erected, then in October 2009 a hotel was opened, complete with space for technical personnel, competition management, journalists and of course VIPs. To date the biggest competition hosted by Pokljuka was in the winter of 2000/2001. The calendar for that season at Pokljuka had two competi-

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tions scheduled: the World Cup (a series of races stretched out over the whole winter, with competitors accumulating points for their ranking) and the World Championship (one each winter for the biathlon), which involves one deciding event. Although the World Cup events at the beginning of winter (December) had to be moved to Antholz/Anterselva in the South Tyrol, by the end of winter (March) Rudno polje offered the proper winter backdrop for the World Championship. We remember the Championship for the success of Magdalena Forsberg, Pavel Rostovtsev, the Poirees, (husband and wife) and for the total collapse of the favourites, the German relay team. Slovenia’s biathletes made a very solid showing. Andreja Koblar, Tomas Globočnik, Janez Ožbolt and Sašo Grajf all secured results that put them in the annals of this sport. By then the biathlon had already become a major “television” sport. In the decade that followed, in Central Europe (read: the Germanspeaking area) it became the number one winter sport in viewer numbers. The unpredictability and the nerves factor for these supremely trained sports men and women are additional bait to thrill millions of viewers, since the result swings from round to round of competitions are bigger for the biathlon than for other similar sports. Women appeared in the first official competition only in 1981. They only got into the Olympic Games after the association for the modern

pentathlon and biathlon split up. So their Olympic baptism came at the Winter Games in the French city of Albertville. Any reservations about their skills in handling weapons were quickly quashed, since the shooting statistics show that the women are right up there with the men. The Rudno polje sports centre is a home from home for Slovenia’s biathlon team. The modernised shooting range and the asphalt roller ski track allow training in all seasons, and to spice up the training there are dozens of forest roads “to hand”, with no shortage of cycle paths in the nearby mountains. For those sports enthusiasts who are not quite so competitive, Pokljuka offers abundant scope for hiking, Nordic hiking and mountain biking. And when the snow starts falling, there is cross-country and ski touring, snowshoeing and winter hiking to Viševnik, Mali and Veliki Draški vrh, Debela peč and more. These peaks are of course also accessible using touring or “back country” skis, while boarding enthusiasts can strap their boards to their backpacks and just hike out to the starting point.

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Biatlon

Biathlon

Biatlonke in biatlonci streljajo z malokalibrskimi puškami (kaliber 5,6 mm) minimalne teže 3,5 kilogramov. Sila proženja mora bit najmanj 50 N.

Biathlon competitors shoot small-calibre rifles (5.6 mm calibre), with a minimum weight of 3.5 kilograms. The trigger compression must be at least 50 N.

Streljajo na razdalji 50 metrov v tarče, ki merijo v premeru 115 mm. V ležečem položaju morajo zadeti notranji del črnega kroga, ki meri v premeru 45 mm.

Biathletes shoot from a distance of 50 metres at targets measuring 115 mm in diameter. In the prone position they must hit the inner part of the black circle, which has a diameter of 45 mm.

V stoječem položaju »velja« cel krog. Če je zadetek uspešen, se tarča »pokrije« in prej črni krog postane bel.

In the standing position they can hit the entire circle. If the shot is successful, the target is “covered” and the black circle turns white.

Dekleta tekmujejo v sprintu na 7,5 km (streljanje leže in stoje ), zasledovalnem teku na 10 km (dve streljanji leže in dve stoje), individualni preizkušnji na 15 km (dve streljanji leže in dve stoje), tekmi s skupinskim startom na 12,5 km (4 streljanja) in štafeti 4-krat 6 km (streljanje leže in stoje).

Women compete in the 7.5 km sprint (shooting prone and standing), the 10 km pursuit (two rounds of prone shooting and two standing), individual trial over 15 km (two rounds of prone shooting and two standing), mass start races over 12.5 km (four rounds of shooting) and a 4 x 6 km relay (shooting prone and standing).

Fantje imajo naslednje možnosti za dokazovanje: sprint na 10 km (streljanje leže in stoje), individualno na 20 km (streljanje 2-krat leže, 2-krat stoje), zasledovalnem teku na 12,5 km (streljanje 2+2), tekmi s skupinskim startom na 15 km (streljanje 2+2) in štafetnem teku 4-krat 7,5 km (streljanje leže in stoje).

The men can test their mettle in the following events: the 10 km sprint (shooting prone and standing), the 20 km individual race (two rounds of prone shooting and two standing), pursuit over 12.5 km (2 + 2 rounds of shooting), mass start races over 15 km (2+2 rounds of shooting) and a 4 x 7.5 km relay (shooting prone and standing).

Na najdaljših preizkušnjah so za zgrešen strel kaznovani s pribitkom kazenske minute za vsak zgrešen strel. Na vseh ostalih preizkušnjah morajo za vsak zgrešen strel v kazenski krog. Dolg je 150 metrov in ga pretečejo v približno 25 sekundah (odvisno od tega, kako hiter je sneg).

In the longest races, competitors are penalised with a minute added to their time for each missed shot. In all other events, for each missed shot they must complete one penalty circuit. This is 150 metres long and is covered in approximately 25 seconds (depending on how fast the snow is).

Na štafetnih tekmah imajo na vsakem streljanju za popravo na voljo tri dodatne naboje.

In the relay races, in each shooting session competitors can use three additional rounds to correct their shots.

V sodobnem biatlonu porabijo tekmovalke in tekmovalci na vsakem streljanju za pripravo na streljanje, merjenje, proženje petih strelov od 22 do 25 sekund (podobno kot za tek v kazenskem krogu).

In the modern biathlon, competitors need between 22 and 25 seconds each time to prepare for their shot, take aim and fire five rounds (similar to the time taken to complete the penalty circuit).

Med našimi je v svetovnem pokalu osvojila največ zmag Andreja Koblar (dekliško Grašič). Tri njene zmage še čakajo na ponovitev. Poleg tega se je skupaj devetkrat uvrstila na zmagovalne stopničke.

Of the Slovenian biathletes, the most successful World Cup competitor has been Andreja Koblar (nee Grašič). Three of her victories have yet to be matched. Apart from that, she has been on the winners’ podium a total of nine times.

Med fanti ima do sedaj edino zmago Janez Marič. Uspeh na tekmi v Oestersundu 2003) je s tretjim mestom dopolnil še Marko Dolenc. Med prve tri so se uvrstili še Tadeja Brankovič, Tomas Globočnik, Matjaž Poklukar, Jakov Fak in Teja Gregorin. Med prve tri so se po dvakrat uvrstile tudi štafete naših fantov in deklet. Uspeh Teje Gregorin na svetovnem prvenstvu v Pjoengčangu v Južni Koreji je največji uspeh doslej. Na 15-kilometrski razdalji je osvojila drugo mesto.

Of the men, the only winner so far has been Janez Marič. His success at Oestersund in 2003 was also enhanced by Marko Dolenc coming in third. Meanwhile Tadeja Brankovič, Tomas Globočnik, Matjaž Poklukar, Jakov Fak and Teja Gregorin have all finished in the top three. The Slovenian men’s and women’s relay teams have also finished in the top three two times each. Teja Gregorin’s success at the World Championship in Pyeongchang, in South Korea, is the biggest success to date. She came in second in the 15 kilometre competition.

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Turistični objekti na Pokljuki: Tourist facilities at Pokljuka: Športni center Pokljuka • Pokljuka Sports Centre (Rudno polje/Pokljuka) Srednja vas v Bohinju 165/a 4267 Srednja vas v Bohinju E-pošta/E-mail: info@center-pokljuka.si

Šport hotel Goreljek 103 4247 Zgornje Gorje E-pošta/E-mail: info@sporthotel.si

Vila Triglav Goreljek 104 4247 Zgornje Gorje E-pošta/E-mail: vilatriglav@pokljuka.eu

Film o ( 70 )

SďŹ ngi Besedilo in fotografije: Urban Golob

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{ Sfinga }

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avpična in gladka ter mestoma previsna Sfinga, najbolj strm del severne stene Triglava, naše največje alpske stene, se je dolgo časa upirala alpinistom, da bi jo preplezali. Še posebej njen desni in najbolj previsni del oziroma »Sfingin obraz«, kot ga alpinisti imenujejo, ni pred plezalskimi osvajalci popustil skoraj desetletje. Končno sta ga leta 1966 preplezala slovenska alpinista Ante Mahkota in Peter Ščetinin. Pravo obleganje Sfinge pred tem vzponom in potem še mnogi zanimivi vzponi (solo, pozimi, prosti vzponi in nove smeri v Sfingi) so v kasnejših letih povzdignili ta del triglavske stene med najbolj zaželene cilje slovenskih plezalcev. Za širšo prepoznavnost Sfinginega obličja pa je poskrbela tudi knjiga – seveda z naslovom »Sfinga« – Anteja Mahkote, ki je niso brali le alpinisti in gorniki, temveč tudi marsikakšen povsem 'nižinski' človek. Tako razvpit in za slovenski alpinizem ter za vse gorništvo pomemben del naših sten seveda kar kliče po dokumentarnem filmu, ki bi prikazal zgodovino ekstremnega alpinizma, ki se je kalil v Sfinginih previsih. In prava zamisel za takšen film se je porodila pred tremi leti. Pravzaprav je nastala v dveh glavah: pri Gregorju Kresalu, ki je skupaj z Mihom Kajzerjem leta 1995 prvi prosto preplezal smer Obraz Sfinge, in pri Tinetu Marenčetu, ki je takrat pripravljal televizijsko serijo z naslovom Gorske sledi in je eno izmed nadaljevanj posvetil ravno zgodovini plezanja v Sfingi. Ideja je začela zoreti, nastal je projekt, ki pa je bil za ta dva nadobudna ustvarjalca le nekoliko prevelik. Potem pa

sta navdušila filmsko ekipo produkcijske skupine Mangart, in ko je film podprlo še Ministrstvo za kulturo Republike Slovenije, je stvar stekla. Režiser Vojko Anzeljc, ki ima že bogate izkušnje s snemanji v težkih okoliščinah, je sodeloval tudi pri pisanju končnega scenarija in navaden dokumentarec je prerasel v igrani dokumentarni film, ki so ga začeli snemati v avgustu na vrhu Sfingine stene. Organizacija takšnega filmskega projekta je velikanska. Ne samo, da je bilo treba na vrh triglavske stene spraviti veliko snemalne in plezalne opreme, šotorov in hrane za 20-člansko ekipo, potrebno je bilo tudi zagotoviti varnost za vse ljudi, ki so sodelovali pri snemanju, da samih filmskih priprav, kot je zbiranje ustreznih rekvizitov, plezalne opreme izpred 50 let, niti ne omenjam. Pripraviti je bilo treba tudi tisti del ekipe (snemalec, njegova asistentka), ki je snemal v steni. Pustimo vnemar vremenske okoliščine, ki za časa snemanja na Sfingi zaradi nestabilnega vremena in večernih neviht niso bile ravno najboljše, neizprosna je predvsem vertikala. In če je pod človekom, nevajenim plezanja, še 1000 metrov zraka vse do vznožja stene, je občutek še toliko bolj »poseben«. Vsi člani moštva so na Sfingi v nekaj dneh postali pravi gamsi in so se povsem varno sprehajali čisto po robu 1000-metrskega prepada severne triglavske stene. Ker gre pri projektu Sfinga za igrani dokumentarec, je bil v snemalni knjigi izpisan prav vsak snemalni kader. Tudi vreme ni najbolj tvorno sodelovalo, zato so morali filmarji in plezalci-igralci (Gregor Kresal, Miha Kajzelj ter Miha in Anže Marenče) izkoristiti vsak trenutek za vajo dialogov in seveda za snemanje. Ni čudno, da se je delovni dan na vrhu Sfinge začel z zoro in končal pozno ponoči, vmes pa je bilo eno samo garanje, ki pa je potekalo v precej sproščenem vzdušju. Prav tako sproščeno je bilo kasneje tudi na Vršiču, kjer so filmarji snemali bližnje posnetke plezanja, ki bi jih bilo v Sfingini steni zaradi izjemne nedostopnosti tako rekoč nemogoče posneti. Čeprav je glavnina snemanja v gorskem svetu že opravljena in so na vrsti snemalni dnevi v dolinah, se bo manjša ekipa snemalcev še enkrat vrnila na vrh Sfinge, da bi posnela še nekaj drugih manjkajočih kadrov. Glavni namen snemalcev seveda je, da bi tja pred kamero stopila tudi oba »originalna« plezalca – Peter Ščetinin in Ante Mahkota, ki sta prva uspešno opravila s Sfinginimi previsi.

{ Sfinga }

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{ Sphinx }

Filming the Sphinx Text and photography: Urban Golob

T ( 74 )

he vertical, smooth, and in places overhanging Sphinx (Slovene: Sfinga), the steepest part of the north face of Mt. Triglav, Slovenia’s highest Alpine wall, long resisted the Alpinists seeking to climb it. Particularly its right-hand and most overhanging section, or the “Sphinx’s face”, as climbers call it, held out against would-be conquerors for almost a decade. It was finally climbed in 1966 by the Slovenian Alpinists Ante Mahkota and Peter Ščetinin. A veritable siege of the Sphinx prior to that ascent and then many other noteworthy ascents (solo, in winter, free climbing and new routes) in later years placed this part of the Triglav Wall among the most sought-after objectives of Slovenian climbers. Wider recognition for the Sphinx’s features was of course provided by a book – naturally entitled Sfinga – by Ante Mahkota, which was not read just by Alpinists and mountaineers, but also by sundry entirely ‘lowland’ types. Such a notorious and, for Slovenian Alpinism and mountaineering in general, important component of Slovenia’s mountain faces of course demands a documentary film that would show the history of extreme Alpinism, as germinated in the Sphinx’s overhangs. And a real concept for this kind of film was hatched three years ago. It was in fact hatched in two minds, by Gregor Kresal, who together with Miha Kajzer was the first to free-climb the Face of the Sphinx route, in 1995, and by Tine Marenče, who was then working on a television series entitled Gorske sledi [Mountain Tracks], devoting one instalment of the series to the history of climbing on the Sphinx. The idea started taking shape, and the project was created, although it was just a little too much for the budding producers. Then they managed to inspire the film team of the Mangart production group, and when the Slovenian Ministry of Culture stepped up to support the film, the project got going. The director Vojko Anzeljc, who has a wealth of experience filming in difficult conditions, collaborated on the final screenplay, and an ordinary documentary film metamorphosed into a kind of drama-documentary, which started shooting in August on the top of the Sphinx wall. Organising this kind of film project is a mammoth task. It was not just that a lot of filming and climbing equipment, tents and food for a 20-member team had to be hauled to the top of the Triglav North Face, safety had to be ensured for everyone working on the shoot, not to mention the actual film preparations such as assembling the right props and climbing equipment from 50 years ago. The team members (camera operator and assistant) actually filming on the wall also had to be prepared. Disregarding the weather, which was unstable and stormy

in the evening, and so not exactly favourable during the filming on the Sphinx, the most unforgiving thing is the vertical drop. And if there are 1,000 metres of air between a person unused to climbing and the foot of the wall, the sensation is all the more “special”. All the members of the Sphinx team became proper mountain goats in a few days, and strolled completely safely along the edge of the 1,000-metre precipice of the Triglav North Face. Since the Sphinx project is a live-action documentary, the storyboard contains every single frame. The weather was not that cooperative in the creative process, so the production team and the climber-actors (Gregor Kresal, Miha Kajzelj and Miha and Anže Marenče) used every spare moment to rehearse for their dialogues and of course for actual filming. It was no surprise that the working day on top of the Sphinx started at sunrise and ended late at night, and in between there was a lot of hard work, albeit in a very relaxed atmosphere. There was also plenty of relaxation later on at Vršič, where the film crew shot closeups of climbing, which would have been well-nigh impossible on the Sphinx owing to its extraordinary inaccessibility. Although the main work of filming up in the high mountain areas has been done, and next on the agenda is days of filming in the valleys, a smaller film crew will return to the top of the Sphinx to shoot a few more missing frames. The main objective of the film crew, of course, is to get the on-camera appearance of the two “original” climbers – Peter Ščetinin and Ante Mahkota – who were the first to make it past the Sphinx’s overhangs.

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Nastajanje filma

CIRCUS FANTASTIC Janez Burger, scenarist in režiser

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Fotografije: Branko Čeak

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{ Nastajanje filma }

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reba je imeti zadosten izziv, da se splača vanj investirati nekaj let svojega življenja. In film Circus Fantasticus je tak izziv nedvomno bil. Gre za film, v katerem se ne izgovori niti ena beseda. Vojni film, v katerem ni vojakov. Film, ki govori o tem, da smrti ni in da je življenje večno. Precej ambiciozno zastavljen projekt v vseh pogledih. V filmskem, človeškem, duhovnem in finančnem. Ampak drugače niti ne znam početi tega, kar počnem. Precej vode je že preteklo, odkar sem odkril, da je delanje filmov zame glavni način duhovnega in človeškega razvoja. Ekstremni alpinisti se ne podajajo na Himalajo zato, da bi se nadihali svežega zraka. Tudi Martin Strel ni preplaval Amazonke, ker plavanje blagodejno vpliva na bolečine v hrbtenici. Film predstavlja v mojem življenju preveč pomembno kategorijo, da bi si lahko privoščil to početje zaradi slave, denarja, odličnih kritik ali polnih kinodvoran. Film zame ni produkt. Film je strast. Film je droga. Zelo nevarna droga. Ko jo enkrat poskusiš, ostaneš zasvojen za vedno. In hočeš z njo zasvojiti tudi druge. Moji filmi niso za tiste, ki hodijo v kino žvečit popcorn, ampak za tiste, ki se hodijo tja zadevat. Odpirat svoja obzorja. Razmišljat o različnih dimenzijah življenja. Film Circus Fantasticus se je od ideje do realizacije razvijal zelo počasi. Prvi impulz zanj sem dobil, ko sem se jeseni 2001 sveže zaljubljen prvič vozil s kolesom po neskončni beli peščeni plaži Baltskega morja. Odprtost prostora in nepopisna svoboda tistega trenutka sta me tako

zadeli, da sem si rekel: Ta občutek moram nujno spraviti na filmsko platno. Naslednji dan se je zgodil 11. september. To je bil drugi impulz za ta film. Scenarij sem napisal šele dve leti kasneje, ker sem imel vmes preveč dela z drugimi filmi, vendar sta se ves čas obe temi – svoboda in vojna – kvasili v meni in se pripravljali na to, da ju bom končno izrazil. Med pripravami na afganistansko in iraško vojno je postalo vsakomur jasno, da so besede izgubile svoj pomen in namen. Postale so orodje manipulacije in laži. Zato sem se odločil, da naredim vojni film o svobodi popolnoma brez besed. V vojni besede ne delujejo. Če bi delovale, ne bi bilo vojn. Poleg tega sem se odločil, da ne bom delal filma o neki konkretni vojni, ampak o vojni, ki je vseskozi prisotna na našem planetu. Odkar je opica zlezla z drevesa in postala človek, ni minil niti en dan brez vojne. Niti en dan popolnega vseobsegajočega miru. Niti en dan ni celega planeta zajel tisti čudoviti občutek, ki me je prevzel, ko sem se s kolesom vozil po peščeni baltski plaži. Nastal je zelo poseben,

Zdaj pa nagradno vprašanje: zakaj se filmi sploh delajo?

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{ Nastajanje filma }

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drugačen in univerzalen scenarij o soočanju s smrtjo v času vojne. Scenarij za film o preseganju smrti. Ker v njem ni bilo dialogov, je obsegal samo 20 strani. Tudi v tem smislu je bil drugačen in poseben. Začelo se je zbiranje denarja. S producentom Jožkom Rutarjem iz produkcijske hiše STARAGARA nama je bilo jasno, da je film predrag, da bi ga lahko pokrili samo s slovenskim denarjem, zato sva ga začela iskati tudi drugje. Univerzalnost in posebnost filma je relativno hitro pritegnila tuje producente in financerje, zataknilo pa se je doma. Za domače bralce in odločevalce je bil film pač preveč univerzalen in poseben. To je trajalo nekaj let. V tem času sem razvil svojo potrpežljivost do neslutenih razsežnosti. S trdoglavostjo se rodiš, potrpežljivosti pa se moraš naučiti in teh nekaj let je trajala moja ultimativna lekcija potrpežljivosti. Pri tem je pomagalo, da si kljub vsej svoji domišljiji nisem bil sposoben predstavljati, da ta film ne bi bil posnet zaradi tako banalnega razloga, kot je denar. Stvari so se končno uredile in lahko smo začeli s pripravami. Ker v filmu večinoma nastopajo vrhunski cirkuški artisti, ki jih v Sloveniji ni, smo naredili dve obsežni avdiciji v Berlinu in Parizu. Sledile so dolgotrajne vaje, kjer so se morali cirkusantje spremeniti v filmske igralce. Tudi ostali sodelavci so bili nabrani z vseh vetrov, tako da je na snemanju, ki se je začelo spomladi 2009, delala filmska ekipa iz šestnajstih držav. Snemanje je potekalo katastrofično. Za potrebe snemanja smo na nepristopni planjavi postavili hišo, ki bi nam že pred snemanjem skoraj zgorela, večkrat jo je zalila voda, orkanski vetrovi, ki so uničevali tako hišo kot tudi spremljevalne objekte, so se dogajali dan za dnem, za nameček pa so v laboratoriju še uničili posneti material. Težko si je predstavljati, kaj se dogaja v glavi režiserja, ki snema zelo subtilen film, ko ima za snemanje ključnega prizora v filmu, kjer naj bi tank plesal, na razpolago en snemalni dan. In potem ta 40-tonska zverina zažge planjavo ob hiši, da se mora cela filmska ekipa spremeniti v gasilsko brigado in polovico tega edinega snemalnega dneva reševati, kar se rešiti da. Kako potem posneti prizor do konca, da se katastrofa in pomanjkanje časa ne bosta poznala na filmskem platnu? Kako ostati zvest svoji viziji? Za to so potrebni dobri živci, fizična pripravljenost, skoncentriranost na končni cilj in železna filmska ekipa. Na srečo sem vse to imel in film smo spravili pod streho. Zdaj pa nagradno vpraša-

nje: zakaj se filmi sploh delajo? Eden izmed odgovorov je: da bi se filmski avtor izrazil. Vendar če njegovega izražanja nihče ne vidi, težko rečemo, da se je zares izrazil. Filmski avtor, tako kot vsak drug umetnik, potrebuje gledalce. Čim več gledalcev. Če slovenski film v kinu vidi več kot 100.000 gledalcev, skupaj s predvajanjem na televiziji in prodajo na DVD-jih pa 300.000, je to za domači trg, ki obsega 2 milijona ljudi, ogromen uspeh. Doslej se je to posrečilo trem filmom. Vsi trije so komedije. Circus Fantasticus ni komedija, se pa prebivalcev tega planeta bistveno bolj tiče kot katerakoli slovenska komedija. Če se ne bo zgodil čudež, lahko Circus Fantasticus v slovenskih kinih vidi 5000, maksimalno 10.000 gledalcev. Zato smo ubrali drugačno pot. Film je dobil, še predno je bil dokončan, zaradi svoje posebnosti in univerzalnosti kino distribucijo v Italiji, Irski, Finski in Švedski, kar skupaj s Slovenijo predstavlja 75-milijonski trg. Iz istih razlogov ga je vzela v svojo prodajo svetovno znana filmska prodajna agencija Fortissimo Films iz Amsterdama, ki ima svoje podružnice tudi v Londonu, New Yorku, Hong Kongu in Sidneyu. Če jim uspe prodati film samo v deželah, kjer imajo svoje podružnice, in če od Kitajske upoštevamo samo Hong Kong, se trg razširi na skoraj pol milijarde ljudi. To pa za slovenski film in zame, ki ne delam filmov zaradi slave, denarja, odličnih kritik in polnih kinodvoran, sploh ni tako slabo.

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{ The origin of the film }

SILENT SONATA Janez Burger, writer and director Photography: Branko Ä&#x152;eak

A ( 82 )

challenge needs to be big enough, for it to be worth investing years of your life in it. Silent Sonata was undoubtedly such a challenge. It is a film in which not a single word is spoken. A war film in which there are no soldiers. A film which tells us that there is no death and that life is eternal. An ambitious project, in every sense: cinematically, humanly, spiritually and financially. But there is no other way for me to do what I do. A lot of water has passed under the bridge since I discovered that making films is, for me, the principle mode of spiritual and human development. Extreme alpinists do not head off to the Himalayas to breathe the fresh air. Martin Strel did not swim the length of the Amazon because swimming helps take away back pain. Film represents too important a category in my life for me to allow myself to do this for the sake of fame, money, glowing reviews or full cinemas. Film is not a product for me. Film is a passion. Film is a drug. A very dangerous drug. Once you taste it, you are hooked forever. And you want others to get hooked on it too. My films are not for people who go to the cinema to munch popcorn but for those who go there to get a fix. To open their horizons. To think about the different dimensions of life. The development of Silent Sonata from idea to realisation was very slow. I got the first impulse for this film in the autumn of 2001 when, in the first flush of a new romance, I rode a bicycle for the first time along an endless white sandy beach on the Baltic coast. The openness of the space and the indescribable freedom of that moment hit me so strongly that I told myself I simply had to bring this feeling to the cinema screen. The next day was 11 September. That was the second impulse for this film. It was not until two years later that I wrote the script, because I had too much work in the meantime with other films, but both themes â&#x20AC;&#x201C; freedom and war â&#x20AC;&#x201C; were constantly simmering away inside me and getting ready for me to finally give them expression. During the preparations for the wars in Afghanistan and Iraq it became clear to everyone that words had lost their meaning and purpose. They had become the tool of manipulation and lies. And so I decided to make a war film about freedom that would be entirely without words. Words do not work in war. If they worked, there would be no wars. I also decided that I was not going to make a film about one specific war, but about the war that is always present on our planet. Ever since the apes crept down from the trees and became human beings, not a day has passed

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{ The origin of the film }

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without war. Not a single day of total, all-embracing peace. Not a single day on which the whole planet has been seized by the wonderful feeling that I felt as I cycled along that sandy Baltic beach. The result was a very special, different and universal script about confronting death in wartime. The script for a film about transcending death. Because there was no dialogue in it, it was only 20 pages long. This was another way in which it was different and special. It was time to start getting the money together. It was evident to me and to Jo탑ko Rutar of production company Staragara that the film was too expensive for us to be able to finance it merely with money from Slovenia, so we started looking for funding elsewhere. The universality and uniqueness of the film relatively quickly attracted foreign producers and foreign funding, but we ran into problems at home. For domestic readers and decision-makers, the film was too universal and unique. This situation lasted a number of years. During that time, I developed my patience to an unimaginable degree. Stubbornness is something you are born with, but patience has to be learnt, and those years were the ultimate lesson in patience. It helped that despite my active imagination I was incapable of imagining that the film was not going to be made for such a banal reason as money. Eventually things were sorted out and we were able to begin our preparations. Because most of the performers in the film are top circus artistes, and there are none of these in Slovenia, we held two major auditions in Berlin and Paris. These were followed by lengthy rehearsals, where the circus performers had to become film actors. The other people involved in the production also came from all over the place, with the result that the crew that gathered on the set in the spring of 2009 ready to start filming was drawn from 16 different countries. The filming process was one disaster after another. The script required us to build a house on an inaccessible plain. This almost burnt down even before filming began. It was then flooded several times, and hurricaneforce winds that destroyed both the house and the other structures were an almost daily occurrence. To cap it all, the processing laboratory managed to ruin some of the material we had filmed. It is hard to imagine the thoughts that pass through the head of a director who is making an extremely subtle film, when he has just one shooting day available to film a key scene in which a tank is supposed to dance. And then this 40-tonne brute sets fire to the grassy plain by the house and the entire film crew has to transform itself into a fire brigade and spend half of the only available shooting day salvaging what can be salvaged. How to complete the scene without the catastrophe and the lack of time being apparent in the cinema? How to remain faithful to my vision? This is something that requires good nerves, physical fitness, a focus on the final goal and a film crew made of iron. Fortunately I had all of this, and filming wrapped without further incident. And now for the prize question: why do people make films? One possible answer is: so that the filmmaker can express himself. Yet if no one sees his self-expression, it is difficult to say that he has really expressed himself. The cinematic auteur, like every other artist, needs viewers. As many viewers as possible. If a Slovene film is seen at the cinema by more than 100,000 viewers, rising to 300,000 with TV broadcasts and DVD sales, this is a huge success for a domestic market of just two million people. To date, this feat has

And now for the prize question: why do people make films? been achieved by three films. All three of them are comedies. Silent Sonata is not a comedy, but it relates far more closely to the inhabitants of this planet than any Slovenian comedy does. Unless a miracle happens, Silent Sonata might be seen by between 5,000 and 10,000 cinemagoers in Slovenia. So we have taken a different route. By virtue of its uniqueness and universality, the film obtained cinema distribution in Italy, Ireland, Finland and Sweden even before it was complete. Together with Slovenia, these countries represent a market of 75 million. For the same reasons, the film was picked up by the world-famous film sales agency Fortissimo Films of Amsterdam, which also has offices in London, New York, Hong Kong and Sydney. If they succeed in selling the film merely in the countries where they have offices, and if we only include Hong Kong and ignore the rest of China, this market expands to almost half a billion people. For a Slovenian film and for me, as someone who does not make films for the sake of fame, money, glowing reviews and full cinemas, this is not bad at all.

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Golota

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Gole Maje na platnih in cestah V

umetnosti je veliko golote, vse več jo je tudi v realnosti, kjer sproža različna vprašanja: smo postali voajerji, ki oprezamo za razgaljenimi lepoticami na računalniku, na cesti, na plaži, ali trgovci z novci, ki jim golota kuje dobičke? Gre za šoke drznih, ki se slačijo, da bi se pokrili s plaščem slave, ali za klic narave, ki vabi naturiste, da ovržejo še zadnje kose oblačil? Gre za mistiﬁkacijo telesa ali za osvoboditev duha vseh predsodkov? Kje je meja, ki je ne kaže prestopiti, ko gre za gole Maje na cesti, in do kod sme erotika v umetnosti, da ne postane pornograﬁja? Besedilo: Darinka Kladnik

Fotografije: Igor Škafar

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{ Golota }

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dgovori so individualno obarvani glede na lastno mnenje o morali, etiki, estetiki ... Dejstvo pa je, da gledajo umetniki na goloto drugače kot ostali. Kipar Jirži Bezlaj pravi: »Ne poznam umetnika, ki bi ga golota vznemirila. Na model, ki ga riše, gleda kot na vrečo krompirja, zanima ga vse prej kot erotika. Erotiko sprožajo druge stvari: duhovna bližina, toplina, glas, vonj, karkoli, golota sama ne.« K temu še dodaja: »Omejitve, ki jih postavlja družba, je umetnik dolžan preseči, prav tako omejitve, ki si jih postavlja sam. Ne sme pa preseči omejitev, ki jih postavlja sama narava umetnosti. Teh se mora držati, če naj ostane umetnost to, kar umetnost je, in ne kaj banalnega. Ustvarjanje je skok na glavo v brezno v sebi, v njem naletiš na marsikaj, tudi na ogromno erotike.« Zgodovina umetnosti se ni sramovala golega telesa kot simbola vedno drugačnega koncepta lepote, kot merila, s katerim je človek vrednotil svet okoli sebe, in kot predmeta samospoznavanj. Zato se akt pojavlja v najrazličnejših videnjih, glede na to, kako je kipar ali slikar doživljal sebe in svet okoli sebe, kako je goloto razumela in sprejela družba v času nastanka umetniškega dela. Še v poznem devetnajstem in zgodnjem dvajsetem stoletju je bilo na Slovenskem upodabljanje akta drzno in pregrešno, saj ni bilo povsem jasno, kdaj je golota še spodobna in dopustna in kje se začneta nemoralnost in pohujšljivost.

vaba

Golota je za tiste, ki računajo na njene učinke.

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Eden od likovnih kritikov je opozoril slikarko Ivano Kobilco pri portretu sestre Fani, naj kot slikarka deluje moralno na občestvo in ne slika golih rok, ker da to vabi v zanke vsega hudega. Opozorilo so upoštevali tudi drugi slovenski umetniki in se ga otresli šele na tujem. Anton Ažbe je imel v Muenchnu slovito slikarsko šolo. Obiskoval jo je tudi Matej Sternen. Morda se je tam navdušil za slikanje golega telesa. Kot impresionistu mu ne bi prisodili naziva najbolj razgledanega slovenskega raziskovalca akta in drugih erotičnih motivov. Prislužil si ga je s slikami pomanjkljivo oblečenih žensk in z domnevno prvo upodobitvijo spolnega akta na Slovenskem. Ta njegova dela niso bila namenjena javnosti, ampak le izbrancem. Nasprotno pa je bil spomenik Franceta Prešerna namenjen vsesplošnemu občudovanju prvega med slovenskimi poeti, a je njegovo odkritje v Ljubljani leta 1905 spravilo v jezo nadškofa Antona Bonaventuro Jegliča in številne dame. Pesnikova muza – polakt – naj bi žalila čut ženstva, zlasti nedolžno mladino. Žene klerikalnih veljakov so muzi spletle bluzo, da bi z njo zakrile sramoto. A je muza ostala razgaljena. Kipar France Gorše je ustvaril prva portretna akta v slovenski umetnosti, za model sta mu bila baletnika Pia in Pino Mlakar. Z erotiko je prežet izjemno bogat opus slikarja in kiparja Franceta Kralja. Zasledimo jo tudi v delih številnih drugih slovenskih umetnikov. Avtor golega dečka, ki se

je dolgo pojavljal na napovedni špici slovenske televizije, je Zdenko Kalin. Skupaj s Karlom Putrihom sta ustvarila plastike na vhodnem pročelju slovenskega parlamenta. Vse figure, teh je več kot petdeset, so gole. Predstavljajo najbolj reprezentančno skupino aktov v slovenski umetnosti. Renesančni človek je pojmoval goloto drugače kot meščan ob koncu 19. stoletja ali kot jo pojmuje predstavnik nove generacije virtualnih svetov. Da se časi spreminjajo, je pokazalo tudi slikanje ženskega akta pred Magistratom v Ljubljani, ki ga je pripravila slikarska šola Zmaga Modica. Ni zbujalo nespodobnih komentarjev in zgražanja. Marsikdo je videl v tem le obogatitev poletnega dogajanja v prestolnici. Golota je vaba za tiste, ki računajo na njene učinke. Postala je medijsko zanimiva. Spremenila se je v dobro prodajano blago. Tudi upodabljanje golote, ki vključuje najbolj drzne eksperimente, ne sproža več toliko zgražanja in komentarjev kot nekdaj. Večina je neobčutljiva za umetniške šoke. In tako akt v umetnosti ostaja, umetnost pa vztraja v svojih iskanjih. Zato je vse več golih Maj na platnih in cestah.

{ Nudity }

Naked Majas

on Canvases and in the Streets Text: Darinka Kladnik

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Photography: Igor Škafar

here is a lot of nudity in art, and an increasing amount of it in real life, where it raises various questions: have we become voyeurs, spying on naked beauties on the computer, in the street, on the beach, or moneymen making a profit out of nudity? Is it about the shocks of those daring souls who remove their clothes in order to cover themselves with the cloak of fame, or the call of nature that entices naturists to cast off even their last garments? The mystification of the body or the liberation of the soul from all prejudices? Where is the boundary that must not be crossed when it comes to Naked Majas by the roadside, and how far can eroticism in art go without becoming pornography? The answers will be different for every individual, depending on our own opinions about morals, ethics, aesthetics, etc. The fact is, however, that artists see nudity differently from other people. The sculptor Jirži Bezlaj says: “I do not know any artist who would be excited by nudity. The artist looks at the model he is drawing in the same way he would look at a sack of potatoes; he is interested in anything but eroticism. Eroticism is triggered by other factors: spiritual proximity, warmth, a voice, a smell, whatever, but not merely nakedness.” To this he adds the following: “The artist is obliged to transcend the restrictions placed by society, and also the restrictions he himself places. But he cannot transcend the restrictions placed by the very nature of art. He has to abide by these, if art is to remain what it is: art, and not something banal. Creation is a headlong plunge into the abyss in the self. In it, you encounter many things, including a great deal of eroticism.” The history of art is not ashamed of the naked body as a symbol of an eternally different concept of beauty, as a measure by means of which the human being evaluated the world around him, and as a subject of self-knowledge. And so the nude appears in a great variety of guises, depending on how the sculptor or painter experienced himself and the world around him, how society understood and accepted nudity in the period in which the work was created. Even in the late nineteenth

and early twentieth centuries, the depiction of a nude was, in Slovenia, something daring and transgressive, since it was not entirely clear when nudity was seemly and permissible, and where immorality and scandal began. One art critic warned the painter Ivana Kobilca, with regard to her portrait of her sister Fani, that as an artist she should have a moral effect on the community and not paint bare arms, since this can lure people into the snares of everything wicked. This warning was also taken to heart by other Slovenian artists, and they only managed to shake it off abroad. Anton Ažbe had a famous school of painting in Munich, where Matej Sternen was among his pupils. Perhaps it was there that Sternen got his enthusiasm for painting the naked body. As an impressionist he was not a natural candidate for the title of most knowledgeable Slovenian researcher of the nude and other erotic motifs. He earned it, however, through his paintings of scantily clad women and what is allegedly the first depiction of the sexual act in Slovenia. These works of his were not intended for the public, but merely for a select few. The statue of France Prešeren, by contrast, was intended as a mark of the universal admiration for the prince of Slovene poets, but its unveiling, in Ljubljana in 1905, provoked the wrath of Archbishop Anton Bonaventura Jeglič and numerous ladies. The poet’s muse – a semi-nude – apparently offended the sensibility of womankind, in particular innocent youth. The wives of church dignitaries knitted a blouse for the muse in order to cover her shame. But the muse remained unclothed. The sculptor France Gorše created the first portrait nudes in Slovenian art. His models were the ballet dancers Pia and Pino Mlakar. The extraordinarily rich oeuvre of the painter and sculptor France Kralj is pervaded with eroticism. We also find it in the works of many other Slovenian artists. The artist responsible for the naked boy who for many years appeared in the station identification of Slovenia’s national television broadcaster is Zdenko Karlin. Together with Karl Putrih, he created the sculptures on the façade of the national parliament building. All the figures, and there are more than 50 of them, are naked. They represent the most magnificent group of nudes in Slovene art. The man of the Renaissance had a different conception of nudity from the late 19th-century burgher or the representative of the new generation of virtual worlds. A further demonstration of how times change was the painting of a female nude outside the Town Hall in Ljubljana, a project organised by the painting school of Zmago Modic. It did not provoke indecent comments or indignation. Many people saw it merely as another element adding variety to life in the capital during the summer season. Nudity is an enticement for those who count on its effects. It has become interesting in a media sense. It has been transformed into a commodity well sold. Even a depiction of nudity that includes the boldest experiments no longer causes the amount of indignation or comment that it would once have done. The majority of people are indifferent to artistic shocks. And thus the nude remains in art, and art persists in its searching. And that is why there are ever more Naked Majas on canvases and in the streets.

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enticement

Nudity is an for those who count on its effects.

Delovni prostori

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GZS, Gospodarska zbornica Slovenije

Pisarne –

socialni mejniki novega stoletja I

ndustrijska revolucija – doba Nikole Tesle, Jamesa Watta, Rudolpha Diesla, Thomasa Alve Edisona, elektrike, železnic, parnikov, avtomobilov, prvih letal in še mnogočesa – je imela je velikanski vpliv tako na ekonomski razvoj kot na kulturo, življenjski stil, okolje in mestno krajino, pišeta Jeremy Myerson in

Philip Ross v knjigi The 21st Century Office, saj je spodbudila številne iznajdbe (na primer žarnico, telefon,

tipkalni stroj ali dvigalo) ter porodila še eno novost – poslovne soseske. Nastala pa je tudi pisarna; temeljni socialni mejnik 20. stoletja, kot ji pravita avtorja, fizično okolje za vsa potrebna opravila, ki so bila v podporo industriji, podjetjem in vladam. Besedilo: Lora Power

Fotografije: Luka Cjuha

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{ Delovni prostori }

( 94 ) Stanovanje in delovni prostor umetnika Romana Uranjeka (IRWIN)

rvi, ki se jim je začel resno posvečati, je bil ameriški inženir Frederick Taylor (1856–1915), ki si je zadal za glavno nalogo izboljšanje delovne učinkovitosti ter posedel bele ovratnike v velikanske prostore. V sedemdesetih letih prejšnjega stoletja je v taylorističnem duhu spremenil pisarne tudi Herman Miller, avtor kockastega sistema – ta z nizkimi pregradnimi stenami in prilagodljivimi delovnimi površinami omogoča veliko majhnih in neosebnih delovnih mest, ki so si med seboj podobna kot jajce jajcu. O tem, kako jih poosebiti in narediti bolj prijazne, se ukvarjajo prenekateri filmi – od Delovnega dekleta (Working Girl) z Melanie Griffith do Pisarne (Office Space) Mikea Judgea ali britanske serije The Office, s katero je zaslovel Ricky Gervais.

In kakšne so videti pisarne dandanes, ko so se radikalno spremenili ekonomski pogoji ter kulturno, tehnološko in fizično okolje, z njimi pa tudi družbeni odnosi? »Na voljo so majhne in velike, stare in nove, tiste v urbanih središčih in one na periferijah, tako individualne kot mnogoštevilne enote, načrtno grajene ali one predelane,« pojasnjujeta Alexi Marmot in Joanna Eley v delu Office Space Planning. Lahko bi jih razdelili tudi na klasične, mobilne, nomadske, virtualne ali začasne, na tiste, ki so vezane na podjetje, in one, ki si jih posamezniki urejajo na domu.

Po podatkih Comission for Architecture and the Built Environment predstavlja njihova zasnova, pogojena z mobilnim načinom življenja, prenosnimi telefoni, računalniki in e-pošto, kar petindvajset odstotkov zadovoljstva zaposlenih, odgovorna pa je tudi za pet odstotkov delovnega učinka.

Toda kakšna naj bi bila pravzaprav pisarna nove dobe? Arhitektka Tina Gregorič pravi, da je smernic nešteto. Stremi se k temu, da je delovni prostor zanimiv, primerno osvetljen, in če je le možno, obogaten z lepim razgledom. »Spodbuja naj tudi druženje z večjim večnamenskim skupnim prostorom, kot so denimo knjižnice, sobe za sprostitev ali športni prostori, namenjeni jogi, fitnesu, košarki in celo varovanju otrok. V kolikor je le mogoče, naj poslovni prostor vključuje tudi atrij, balkon ali teraso, torej zunanji odprti prostor.« Ali vsaj veliko zelenja, če že ne pogleda na reko ali gozd. »Prostor mora omogočati dobro fizično komunikacijo med sodelavci,« je prepričana njena kolegica Špela Videčnik, še kako pomembni pa so estetika, prijazna svetloba in funkcionalni detajli. Takšno je recimo delovno okolje oglaševalske agencije Futura, ki so ga domislili v arhitekturnem biroju Sadar Vuga. Kot je pojasnil Jurij Sadar, omogoča njegova odprta prostorska zasnova brez predelnih sten maksi-

( 95 ) Poslovalnica Nove KBM v Ljubljani

malno integracijo med zaposlenimi in hkrati širok pogled v krošnje dreves ob Ljubljanici. »Posamezni programski sklopi, kot so knjižnica, bar, sprejemnica, družabni kot in prostor za predstavitve, so zamejeni s tako imenovanimi sekvenčnimi lupinami, ki zamejijo podprostore, vendar ne od celotnega odprtega prostora.« Novodobnega videza je tudi nedavno odprta bančna poslovalnica na Mestnem trgu v Ljubljani, ki jo je za Novo KBM zasnovala arhitektka Mojca Zavasnik. Prostor je želela približati sodobnemu življenjskemu stilu, ga narediti odprtega, funkcionalnega ter tako strankam in zaposlenim zagotoviti dobro počutje. Drugačnost, inovativnost, osebni pristop in sodobnost – to je filozofija, ki so jo skušali implementirati tudi v vizualno podobo delovnega okolja. Slednje je za uspešnost podjetja in zadovoljstvo delavcev še kako pomembno, zagotavlja vodja arhitekturnega oblikovanja v Gorenje Design Studiu. Oblikovanje kakovostne arhitekture je po mnenju Saše Hribernik eno izmed osnovnih elementov korporacijske identitete, ki ne vpliva le na fizično in psihično ugodje posameznikov, ampak tudi veča popularnost podjetja, pripadnost zaposlenih in interes kakovostnega kadra.

Kaj pa, če je vaša pisarna kar domača izba? Erica Johnson Debeljak dela od doma in velikokrat fantazira o tem, da bi si v hiši uredila pravo pisarno, a še vedno najraje piše ali prevaja za

kuhinjsko mizo. »Tudi mobilna pisarna ima prednosti,« trdi. »Spomladi, denimo, ko na vrtu cvetijo rododendroni, postavim mizo tako, da jih vidim.« Pa se ji nič ne toži po pisarniškem vrvežu, pogovorih s sodelavci, kavicah in tračih? »Ja, najtežji del je odsotnost kolektiva, socialnega stika. V elektronski dobi je pač tako, da lahko delo opravim, ga oddam, prejmem plačilo, ne da bi pri tem videla eno samo osebo.« In prednosti? Teh je, pravi, obilo. »Glavna pa je ta, da nimam šefa ne fiksnega urnika in da sem neodvisna. Ko se teh reči navadiš, se jim je zelo težko odpovedati.« Brez urnika, sodelavcev in šefa je tudi slikar Roman Uranjek (IRWIN), ki je svoj minimalistično urejeni dom razdelil na dva dela – bivalni in delovni. Staro meščansko stanovanje je v celoti prenovljeno po Romanovi zamisli, tudi pohištvo in kuhinjske elemente je domislil sam. »Preprosto,« pravi, »nisem našel pohištva, ki bi bilo po mojem okusu, pa sem ga zrisal kar sam.« Kljub belini, ki jo razbijajo razobešene sodobne umetnine predvsem slovenskih oziroma jugoslovanskih avtorjev, izreka Romanovo domovanje toplo dobrodošlico. Ker je zanj svetloba izjemnega pomena, nudijo svetlobna telesa, skrita pod spuščeni strop, dnevno luč. »Dnevna svetloba je edina svetloba, ki iz arhitekture naredi arhitekturo,« je dejal arhitekt Louis I. Kahn. In tista predstava o umetniku, ki ustvarja v temni, neogrevani podstrešni sobici? Stvar preteklosti.

{ Work spaces }

{ Work spaces } So what do offices look like nowadays, after radical changes to our economic conditions and to the cultural, technological and physical environment, and with it to our social attitudes?

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Offices – Social Landmarks

“Small and large, old and new, those in urban centres and those on the periphery, both individual and multiple units, purpose-built or adapted are all available”, explain Alexi Marmot and Joanna Eley in their work Office Space Planning. They could also be divided into classical, mobile, nomadic, virtual or temporary, into those tied to a company and those set up by individuals at home. According to data from the Comission for Architecture and the Built Environment, their design, dictated by the mobile way of life, mobile telephones, computers and e-mail, accounts for as much as 25 percent of employee satisfaction, and it is also responsible for 5 percent of productivity.

Text: Lora Power

But what, in fact, should the office of the new era look like?

of the New Century Photography: Luka Cjuha

he industrial revolution – the age of Nikola Tesla, James Watt, Rudolph Diesel, Thomas Alva Edison, electricity, railways, steamboats, cars, the first aircraft and much more – had a huge impact both on economic development and on culture, lifestyle, the environment and the urban landscape, write Jeremy Myerson and Philip Ross in their book The 21st Century Office, since it spurred numerous inventions (such as the light bulb, telephone, typewriter and lift) and gave rise to another new feature – business districts. Another thing that was created was the office – the fundamental social landmark of the 20th century, as the authors call it, a physical environment for all the tasks necessary to support industry, companies and governments. The first person to start devoting serious attention to it was the American engineer Frederick Taylor (1856–1915), who set himself the main task of improving work efficiency, and he placed white-collar workers in gigantic spaces. In the 1970s, in the spirit of Taylor, offices were further modified by Herman Miller, who came up with the cubicle system – with low partitions and adjustable work areas this allowed a multitude of small and impersonal work spaces that resembled each other like peas in a pod. The task of making them more personal and user-friendly has been the subject of quite a few films, from Working Girl with Melanie Griffith to Mike Judge’s Office Space and the British series The Office, which shot Ricky Gervais to fame.

Architect Tina Gregorič says that there are countless guidelines. She favours making the work space interesting, appropriately lit, and if at all possible, enhanced by a fine view. “It should also encourage an association with a large, multi-purpose common space, such as a library or relaxation or sports premises, intended for yoga, fitness, basketball and even childcare. If possible, business premises should also include a lobby and a balcony or terrace, in other words outside open space.” Or at least a lot of greenery, if not a view of a river or forest. “The space should allow good physical communication among coworkers”, says her colleague Špela Videčnik, with conviction, and it is highly important to consider aesthetics, pleasant lighting and functional details. This would apply, for instance, to the working environment of the advertising agency Futura, conceived at the architecture offices of Sadar Vuga. As explained by Jurij Sadar, the open plan without dividing partitions allows the maximum integration among employees and at the same time an expansive view of tree crowns along the River Ljubljanica. “Individual conceptual sections, such as the library, bar, reception room, social corner and presentation room are delineated by what are called sequential shells, which delineate sub-spaces, but do not remove them from the overall open space.”

( 97 ) Pisarna TuristiÄ?ne zveze Slovenije

DA! FotohiĹĄa

{ Work spaces }

( 98 ) Delovni prostori agencije Futura DDB

There is also something of a new era appearance to the recently opened bank branch in Ljubljana’s Mestni trg, designed for Nova KBM by architect Mojca Zavasnik. She wanted to approximate the premises to the modern lifestyle, to make it open and functional, and in that way provide customers and employees with a sense of wellbeing. A different, innovative and personal approach, as well as modernity – this is the philosophy they tried to apply, including in the visual appearance of the working environment. This is enormously important for company performance and employee satisfaction, the head of architectural design at Gorenje Design Studio assures us. In the opinion of Saša Hribernik, designing highquality architecture is one of the basic elements of the corporate identity, one that affects not just the physical and psychological wellbeing of individuals, but also increases the popularity of the company, the sense of belonging among employees, and the interest of high-quality personnel.

What then, if your office is just a room at home? Erica Johnson Debeljak works from home and often fantasises about arranging a proper office for herself in her house, but she still prefers to write or translate at the kitchen table. “A mobile office also has its advantages”, she says. “In spring, for instance, when the rhododendrons

are blooming outside, I position the table so I can see them.” But doesn’t she long for the office hubbub, chats with co-workers, coffee and gossip? “Yes, the hardest part is the absence of colleagues and social contact. In the electronic age, the fact is I can do my work, send it out and receive payment, without seeing a single person.” And the advantages? There are plenty, she says. “The main one is that I have no boss or fixed hours, and I’m independent. When you get used to these things, it’s very hard to give them up.” There are no hours, co-workers or boss for painter Roman Uranjek (IRWIN) either, and he has divided his minimalistically arranged home into two parts – living and working. The old burgher apartment has been entirely renovated to Roman’s concept, and he even thought up the furniture and cooking elements himself. “Simply put,” he says, “I didn’t find furniture to my taste, so I sketched it myself.” Despite the whiteness put out by the modern artworks, mainly by Slovenian or Yugoslav artists, hanging on his walls, Roman’s dwelling exudes a warm welcome. Since light is extremely important for him, the sources of light (hidden under a lowered ceiling) offer daylight. “Daylight is the only light that makes architecture out of architecture”, said architect Louis I. Kahn. And that image of an artist working away in a dark, unheated garret? A thing of the past.

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Ruanda

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Internet v Ruandi Besedilo: Matteo Fagotto

Fotografije: Tadej Žnidarčič

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»Prvič uporabljam ta prekleti program in ga že sovražim!« “It's the ﬁrst time I've used this damned program, and I already hate it!”

{ Ruanda }

ivčni Fulgence Ndikubvimana sedi za pisalno mizo pred popolnoma novim prenosnikom in se jezi, ko poskuša opraviti nalogo, ki mu jo je učitelj zadal za danes: ustvariti delovni list v

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excelu. Po dvajsetih minutah trpljenja in kričanja 42-letni kmetijski svetovalec končno »premaga« računalnik. Na zaslonu je datoteka v excelu, popolna in pravilna. Možakar jo modro shrani, in preden začne pomagati svojim tovarišem, si zadovoljno ogleda svojo »stvaritev«. Poleg njega se še dvajset moških in žensk ubada z enako nalogo; pred avtobusom, v kakršnih poteka pouk, pa se je zbrala skupina radovednežev, ki jih je pritegnil zeleni napis na njem: »Premostimo digitalno vrzel.« Ndikubvimana je med dvajsetimi lokalnimi voditelji, ki so bili izbrani za štirinajstdnevni računalniški tečaj v enem od treh informacijskih avtobusov, ki potujejo po Ruandi ter prebivalcem kmetijskih območij ponujajo brezplačen dostop do interneta in intenzivne računalniške tečaje. Avtobuse, ki naj bi nove tehnologije ponesli v najbolj oddaljene kotičke države, upravljata ruandski urad za informacijsko tehnologijo (RITA) in e-Ruanda, vladni program pod pokroviteljstvom Svetovne banke, ki želi Ruando pretvoriti v novo tehnološko središče vzhodne Afrike. Avtobus, ki ga upravlja Patrick Aime Kigenza, je danes v mestecu Kabaja – nizu blatnih koč 140 km severozahodno od glavnega mesta Kigali. V kraju, kjer večina hiš nima niti elektrike, bi bil v vsakdanjih okoliščinah računalniški tečaj nepredstavljivo razkošje. Avtobus, opremljen s plazemskimi zasloni, tiskalniki, optičnimi bralniki, satelitsko internetno povezavo in velikim generatorjem, je začel krožiti po Ruandi poleti 2009. Pobuda je bila velik uspeh in vlada trenutno opremlja še tri vozila, ki naj bi začela delovati v prihodnjih mesecih. »V Ruandi živi 75 odstotkov prebivalstva na podeželju brez slehernega dostopa do interneta,« razloži direktor e-Ruande Jahja Hasani. »Edina rešitev je, da splet dobesedno pripeljemo v njihove domove.« Cilj projekta je računalniško opismeniti zadostno število ljudi in ustvariti kontinuiteto, tako da bi lahko današnji tečajniki v prihodnje svojim

»Edina rešitev je, da splet dobesedno pripeljemo v njihove domove.« skupnostim predstavili računalnike. Ruandska vlada se je odločila za resna vlaganja v nove tehnologije, da bi pritegnila več investicij in spodbudila gospodarstvo, katerega letna rast znaša od leta 1994 v povprečju več kot šest odstotkov. »Nove tehnologije bodo pomagale pospešiti naše gospodarstvo in trdno smo odločeni, da jih bomo še naprej razvijali,« potrdi minister za gospodarsko načrtovanje John Ruangombva.

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Prava glasba za ušesa Kigenze, ki je projektu posvetil svoje življenje. 28-letni šef informacijskega avtobusa je globoko prepričan, da zahteva gradnja nove Ruande osebne žrtve. »Upravljanje avtobusa je izjemno naporno,« razloži. »Poleg tega, da pomagam tečajnikom, moram skrbeti za vzdrževanje in logistiko, naročati rezervne dele in pripravljati naloge za naslednji dan. To pomeni, da lahko odidem domov le enkrat mesečno.« Stroški nastanitve niso vključeni v njegov proračun, in če Kigenza in njegov voznik ne najdeta nikogar, ki bi ju brezplačno vzel pod streho, spita na dveh prenosnih žimnicah v prtljažniku avtobusa. »A vse to je v redu, če le koristi tečajnikom,« še pristavi. »Ti ljudje še nikoli prej niso videli računalnika in v velikansko veselje mi je, ko jih opazujem pri učenju.« Po celodnevnem napornem delu se izčrpani tečajniki toplo poslovijo od Kigenze. Nekateri so se naučili osnov worda, drugi so dojeli le, kako ustvariti novo mapo na namizju. Vsi pa so srečni in ponosni, da sodelujejo pri ustvarjanju nove Ruande.

{ Ruanda }

{ Rwanda }

Rwanda Internet Text: Matteo Fagotto

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Photography: Tadej Žnidarčič

itting at his desk with a brand new laptop in front of him, a nervous Fulgence Ndikubwimana fumes while trying to perform the task the instructor assigned to him today: creating an Excel sheet. After twenty minutes of suffering and shouting, the 42 years old agrarian consultant finally manages to “overcome” the computer: the Excel file is on the screen, complete and correct. After wisely saving the file and before starting to help his colleagues, he takes a few minutes to look with satisfaction at his “creation”. Beside him, twenty men and women are struggling to cope with the same task, while outside the bus they are in, a group of curious people have gathered, attracted by the green motto written on its side: “Bridging the digital divide”. Ndikubwimana is one of the twenty local leaders selected for a twoweek computer training course on board one of the three IT buses touring Rwanda and offering free Internet connection and intensive PC courses to rural areas residents. Conceived to bring new technologies to the most remote areas of the country, the buses are managed by the Rwanda Information Technology Authority (RITA) and e-Rwanda, a government programme supported by the World Bank, which aims to turn Rwanda into the new technological hub of Eastern Africa. Managed by Patrick Aime Kigenza, the bus is today in the small town of Kabaya, a series of mud houses 140 km north-west of the capital, Kigali. In a part of the world where the majority of houses do not have electricity, a computer course would usually be an inconceivable luxury.

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{ Rwanda }

( 106 )

Equipped with plasma screens, printers, scanners, a satellite Internet connection and a powerful generator, the buses started touring Rwanda in the summer of 2009. The initiative has been a success and the government is currently equipping three more vehicles, which should commence operation within the next few months. “In Rwanda, 75 percent of the population still lives in the countryside, without any access to the Internet,” explains e-Rwanda manager Yahya Hassani. “The only solution was to literally bring the web to their homes”. The goal of the project is to train a steady number of people and then create a cascade effect by using the trainees of today to introduce computers to their respective communities. The Rwandan government has decided to invest heavily in new technologies to attract more investment and stimulate an economy that has been growing at an annual average of over 6 percent since 1994. “New technologies will help to boost our economy and we are determined to keep on developing them,” confirms Minister of Economic Planning John Rwangombwa. This is music to the ears of Kigenza, who has dedicated his life to the project. The twenty-eight-year-old IT bus manager is deeply convinced that the building of a new Rwanda requires personal sacrifices to be made. “Managing the bus is extremely tiring”, he explains. “Apart from assisting the students, I have to look at maintenance and logistics, order spare parts, prepare lessons for the following day... this means I can only go back home once a month”.

“The only solution was to literally bring the web to their homes”. Accommodation expenses are not included in his budget and if Kigenza and his driver cannot find someone to host them for free, then they have to sleep on two portable mattresses located in the boot of the bus. “But that’s fine, as long as it’s for the benefit of the students,” he says. “These people have never seen a computer before in their life, and watching them learning here is extremely satisfying”. After one day of hard work, the exhausted students greet Kigenza warmly. Some have learnt the basics of Word, while some others have just managed to understand how to create a new folder on the desktop. But all are happy and proud to be taking part in the creation of a new Rwanda.

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SLOV EN IJA Nekaj osnovnih podatkov 2

površina (v km )

gozdovi travniki polja in vrtovi sadovnjaki vinogradi

20 273 10 124 5 593 2 471 363 216

forests grassland fields and gardens orchards vineyards

546 324 235 102 46,6

with Croatia with Austria with Italy with Hungary coastline (in km)

20 273 10 124 5 593 2 471 363 216 546 324 235 102 46.6

highest point

najvišja točka

Triglav

territory area (in sq. km)

border length (in km)

dolžina meje (v km)

s Hrvaško z Avstijo z Italijo z Madžarsko obala (v km)

A few facts

2864 m

Triglav

2864 m

population density

gostota naseljenosti

(prebivalcev/km)

(inhabitants/km)

prebivalstvo

2 milijona

population

2 million

Ljubljana

capital

glavno mesto večja mesta: podnebje:

Maribor, Celje, Kranj, Velenje

alpsko, celinsko, sredozemsko

Ljubljana

major towns: climate:

Maribor, Celje, Kranj, Velenje

Alpine, Continental, Mediterranean

language:

jezik:

Uradni jezik je slovenščina, na območjih z mešanim prebivalstvom pa madžarščina in italijanščina. Pri stiku s tujci uporabljajo prebivalci Slovenije največkrat angleščino, nemščino, italijanščino in francoščino.

The official language is Slovene, as well as Hungarian and Italian in areas of mixed population. People who live in Slovenia most commonly use English to communicate with foreigners, then German, Italian and French.

denarna valuta: Denarna valuta je evro (EUR). Tuje valute lahko zamenjate na mejnih prehodih, v bankah, menjalnicah in hotelih.

currency:

prazniki

holidays

1. in 2. januar 8. februar 8. april 27. april 1. in 2. maj 25. junij 15. avgust 31. oktober 1. november 25. december 26. december

novo leto Prešernov dan, slovenski kulturni praznik velika noč dan upora proti okupatorju (druga svetovna vojna) praznik dela dan državnosti Marijino vnebovzetje dan reformacije dan spomina na mrtve božič dan samostojnosti

The currency is the euro (EUR). Foreign currency may be exchanged at border crossings, in banks, exchange offices and hotels.

January 1 & 2 February 8 April 8 April 27 May 1 & 2 June 25 August 15 October 31 November 1 December 25 December 26

New Year’s Holiday rešeren Day, P Slovene Day of Culture Easter Sunday and Monday Day of Uprising Against the Occupation (WW2) Labour Day Pentecost Statehood Day Assumption Day Reformation Day All Saints’ Day Christmas Day Independence Day

Duesseldorf

Marseille

Banjaluka

EV ROPA EU ROPE

Redni poleti / Scheduled Flights Zimski in poletni vozni red Iz/from LJUBLJANA/Brnik

Nm/km

Čas poleta/ Flight time (A320/CRJ)

Čarterski poleti / Charter Flights Winter and summer timetables Iz/from LJUBLJANA/Brnik

Nm/km

Čas poleta/ Flight time (A320/CRJ)

Amsterdam

606/1122

1.35 h

Antalya

966/1789

Athens

761/1409

2.05 h

Aqaba

1454/2692

2.35 h 3.18 h

Banjaluka

157/291

0.45 h

Cairo

1276/2363

3.25 h

Barcelona

686/1270

1.46 h

Chios

738/1367

2.10 h

Belgrade

267/494

0.65 h

Constanca

654/1211

1.55 h

Brussels

559/1035

1.26 h

Djerba

796/1474

2.20 h

Copenhagen

641/1187

1.39 h

Dubrovnik

292/541

1.05 h

Dublin

1026/1900

2.38 h

Heraklion

832/1540

2.15 h

Frankfurt

420/778

1.07 h

Hurghada

1533/2839

3.45 h

Istanbul

781/1446

1.53 h

Ibiza

799/1480

2.20 h

Kiev

730/1352

2.05 h

Karpathos

996/1844

2.35 h

London (Gatwick)

757/1402

1.56 h

Kefalonija

585/1083

1.45 h

Manchester

868/1608

2.11 h

Kerkira (Corfu)

523/968

1.35 h

Marseille

510/945

1.40 h

Kos

873/1616

2.20 h

Moscow (Sheremetyevo)

1120/2074

2.35 h

Larnaca

1197/2216

3.00 h

Munich

224/415

0.41 h

Lefkas (Preveza)

567/1050

1.40 h

Paris (C. de Gaulle)

616/1141

1.36 h

Lesbos (Mitiline)

746/1381

2.10 h

Pristina

622/1150

1.50 h

Malta

670/1241

2.00 h

Podgorica

365/676

1.25 h

Menorca

646/1196

1.55 h

Sarajevo

222/411

0.41 h

Mykonos

793/1468

1.56 h

Skopje

413/765

1.07 h

Palma de Mallorca

723/1339

2.10 h

Stockholm

910/1685

2.35 h

Rhodos

947/1753

2.30 h

Tirana

474/878

1.14 h

Samos

823/1524

2.10 h

Vienna

153/283

0.30 h

Santorini

836/1548

2.15 h

Zürich

334/619

0.56 h

Sharm el Sheikh

1505/2787

3.45 h

Warsaw

463/859

1.35 h

Vienna - Frankfurt

358/663

1.10 h

Iz/from PRIŠTINA Munich

646/1196

2.00 h

Duesseldorf

924/1711

2.40 h

Frankfurt

930/1722

2.50 h

Skiatos

632/1170

1.50 h

Split

207/383

0.50 h

Thassos (Kavala)

563/1043

1.45 h

Tel Aviv

1286/2382

2.57 h

Thessaloniki

571/1057

1.24 h

Zakinthos

632/1170

1.50h

Adria Airways has used the map of Europe exclusively as an illustration of its flight connections and without any political or other implications.

Adria Airways

{ Adria Airways }

Flota/Fleet Airbus A319 Število/Total Dolžina/Length Višina/Height

11.76 m

Razpon kril/Wingspan

34.10 m

Hitrost/Cruising speed

900 km/h

Višina poleta/Max. altitude

11 700 m

Dolet/Range

6 650 km

Št. potnikov/Passenger capacity

135

Canadair Regional Jet 900 Število/Total Dolžina/Length Višina/Height

4 32.50 m 7.57 m

Razpon kril/Wingspan

23.20 m

Hitrost/Cruising speed

882 km/h

Višina poleta/Max. altitude

12 496 m

Dolet/Range

3 600 km

Št. potnikov/Passenger capacity

Canadair Regional Jet 200 LR Število/Total Dolžina/Length Višina/Height

6 26.77 m 6.22 m

Razpon kril/Wingspan

21.21 m

Hitrost/Cruising speed

860 km/h

Višina poleta/Max. altitude

12 496 m

Dolet/Range

3 285 km

Št. potnikov/Passenger capacity

48/50

Ilustracije: Miha Žnidar

( 118 )

2 33.84 m

( 119 )

{ Adria Dobrodošli v letalu AdrieAirways Airways} Spoštovani potniki, vaše zadovoljstvo je naš uspeh. Da bi bilo potovanje z nami čim bolj prijetno, nam dovolite, da vas opozorimo na nekaj napotkov, ki so pomembni za vaše udobje in varnost pred letom, med poletom in po pristanku.

Pred letom Ekonomski in poslovni razred Na večini Adrijinih prog izmenično letijo letala tipa Airbus A-319, Canadair Regional Jet CRJ-100/200LR in CRJ-900. Vozovnica za potovanje v poslovnem razredu je izdana po veljavni tarifi za poslovni razred in velja eno leto z možnostjo rezervacije, plačila in prevzema kadarkoli, omogoča pa tudi druge ugodnosti, kot so: sprememba datumov potovanja brez doplačila, večja količina brezplačne prtljage, uporaba poslovnih salonov na letališčih idr. V ekonomskem razredu potujejo potniki z vozovnicami po ekonomskih tarifah, ki so nižje in vsebujejo določene omejitve.

Nakup vozovnice prek spleta

( 120 )

Web Check-in V Adrii Airways se zavedamo, da je pri potovanju pogosto dragocena vsaka minuta. Še posebej takrat, kadar nas na poti na letališče ovira gost promet. Web check-in je naša novost, s katero boste prihranili čas pri okencu za prijavo na let, saj se nanj lahko prijavite že od doma, z delovnega mesta oziroma povsod, kjer je vzpostavljena internetna povezava. Svoj planirani let lahko prijavite največ 24 ur in najmanj 60 minut pred poletom. Storitev web checkin je trenutno možna le za določene lete Adrie Airways. V prihodnjih mesecih bomo obstoječim destinacijam postopoma dodajali še nove.

Omejitve pri vnosu živil v EU Potnikom svetujemo, da pred potovanjem preverijo seznam artiklov, ki jih je mogoče vnesti na območje Evropske skupnosti. Strog nadzor nad uvozom mesa, mleka, rib, lupinarjev ter njihovih izdelkov je nujen za zaščito ljudi in živali pred boleznimi, ki se s temi živili lahko prenašajo. V primeru, da carinska služba pri rutinskem pregledu osebne prtljage ugotovi prisotnost nedovoljenih živil živalskega izvora, le-ta zaseže. Informativni letak “Kaj prinesti domov?” vam je na voljo na naši spletni strani. Več informacij lahko dobite na Glavnem uradu VURS-a ali na njihovi spletni strani www.vurs.gov.si pod poglavjem Javne objave/Uvoz živil za osebno rabo.

Ročna prtljaga Zaradi vaše varnosti in udobja vas vljudno prosimo, da upoštevate mednarodna pravila, ki potniku dovoljujejo imeti pri sebi en kos ročne prtljage v velikosti 55 x 40 x 20 cm in z največjo težo osem kilogramov. Ročno prtljago namestite v za to namenjeni predal nad sedežem, težje kose pa, če je le mogoče, shranite pod sedež pred sabo. Priporočamo vam, da predal s prtljago pazljivo odpirate, saj se lahko med poletom predmeti v njem premaknejo. Na letalih CRJ oddajte večjo ročno prtljago pred letalom. Tam jo takoj po izstopu iz letala tudi prevzemite. Letalsko vozovnico lahko najceneje in hitro rezervirate in kupite na Adrijinih spletnih straneh www.adria.si. To velja le za polete na Adrijinih letih. Nakup prek interneta je zaščiten z varnostnim certifikatom. Elektronske vozovnice prejme potnik po elektronski pošti. V primeru, da potrebujete letalsko vozovnico, kjer bodo vključeni tudi drugi prevozniki, vas prosimo, da pokličete naš Klicni center za rezervacije in prodajo letalskih vozovnic na telefonski številki: 386 1 369 10 10 ali 080 13 00.

Potujte z elektronsko vozovnico Na vseh rednih poletih slovenskega letalskega prevoznika je možno leteti z elektronsko vozovnico. Potnik dobi ob nakupu potniški kupon, ki velja kot račun, in načrt poti (itinerar) v ovitku Adrie Airways. Dokument lahko prejme tudi na svoj elektronski naslov in ga natisne sam. To dokumentacijo mora imeti s seboj ves čas potovanja. Pri okencu za prijavo na let se identificira s potnim listom ali osebno izkaznico. Uslužbenec izda potniku vstopni kupon za let, s katerim ta vstopi v letalo. Elektronski način dokumentiranja prodaje zagotavlja sproten vpogled v dogajanje z vozovico, hiter prenos podatkov in manjše možnosti zlorab. Najpomembnejše pri tem pa je, da so potnikovi kuponi za let shranjeni v elektronski obliki in tako varni pred izgubo.

Varnostna pravila Evropska unija (EU) je v letu 2006 sprejela nova varnostna pravila. Ta omejujejo količino tekočin, ki jo lahko vzamete s seboj na letalo. V svoji ročni prtljagi lahko prenašate samo majhne količine tekočin, ki morajo biti shranjene v posamičnih posodah z največjo prostornino 100 mililitrov. Te posode morate zapakirati v prozorno plastično vrečko, ki jo je mogoče znova zatesniti; prostornina vrečke posameznega potnika ne sme biti večja od enega litra. Med tekočine spadajo: voda in druge pijače; juhe in sirupi; kreme, losjoni in olja; parfumi; razpršilci; geli, vključno z geli za lase in tuširanje; posode z vsebinami pod pritiskom, vključno s peno za britje ter drugimi penami in dezodoranti; kreme, vključno z zobno kremo; mešanice tekočih in trdnih snovi; črtalo za veke in tuš za trepalnice; ter katerekoli druge snovi s podobno vsebnostjo. Še vedno lahko tekočine prenašate v oddani prtljagi – nova pravila se nanašajo samo na ročno prtljago. V svoji ročni prtljagi lahko prenašate: • zdravila in nujno potrebna živila, (vključno z otroško hrano), ki jih boste uporabljali med potovanjem; morda boste morali dokazati, da jih nujno potrebujete; • tekočine, kot so pijače in parfumi, (kupite jih lahko bodisi v prodajalni na letališču EU, ki je za točko, na kateri pokažete svoj vstopni kupon, ali pa na letalu, ki ga upravlja prevoznik EU).

{ Adria Airways } Če ste jih kupili zapakirane v posebni zatesnjeni vrečki, te vrečke pred pregledom ne odpirajte, sicer lahko varnostno osebje na kontrolni točki njeno vsebino zaseže. (Če na letališču EU presedate na drug let, vrečke ne odpiraj-te pred varnostnim pregledom na transfernem letališču ali na zadnjem letališču, če presedate več kot enkrat.) Če imate kakršnekoli dvome ali vprašanja, se pred potovanjem obrnite na svojega letalskega prevoznika ali potovalno agencijo.

Med letom Napotki za varnost Z najpomembnejšimi varnostnimi napotki vas bo pred poletom seznanilo naše kabinsko osebje, poleg tega pa boste v žepu sedeža pred sabo našli navodila za postopke v sili. Ker se glede na tip letala ta navodila razlikujejo, vas prosimo, da jih pred vsakim poletom pazljivo preučite. Med vzletanjem in pristajanjem si morate pripeti varnostni pas, zaradi varnosti in udobja pa vam priporočamo, da ostanete pripeti tudi med poletom. Po pristanku počakajte na svojem sedežu, dokler se letalo popolnoma ne ustavi oziroma dokler ne ugasne znak za obvezno uporabo varnostnih pasov. Kapitan letala lahko podeli potniku, ki se v letalu neprimerno vede, takoimenovani RDEČI KARTON. Ta je namenjen vsem, ki s svojim vedenjem ovirajo delo kabinskega osebja, ne spoštujejo varnostnih pravil ali pa ogrožajo varnost in udobje sopotnikov. Napad na varnost zračnega prometa je kaznivo dejanje po 330. členu Kazenskega zakonika RS (KZ-1), ki za tovrstna dejanja predpisuje zaporno kazen.

Počutje in zdravje Vašemu dobremu počutju sta namenjena ventil za uravnavanje dotoka zraka in lučka za branje, ki sta nameščena nad sedežem. Tam je tudi pozivni gumb, s katerim lahko po potrebi pokličete stevardeso. V letalu je na voljo priročna lekarna, opremljena s sredstvi za nudenje prve pomoči. Med poletom lahko včasih v ušesih občutite neprijeten pritisk, do katerega prihaja zaradi sprememb višine in zračnega pritiska v letalu; težavo boste zlahka odpravili s poudarjenim požiranjem sline ali z nakazanim zehanjem. Da bi se izognili težavam z ožiljem, ko gre za dolg polet, vam svetujemo, da se večkrat sprehodite po potniški kabini, med sedenjem pa delate vaje za raztezanje celega telesa.

Alkohol na letalu V letalu ni dovoljeno uživanje alkoholnih pijač, ki jih prinesete s sabo. Kabinsko osebje ne sme streči alkoholnih pijač osebam, ki kažejo znake vinjenosti, in osebam, mlajšim od 18 let. Dobronamerno vas opozarjamo, da alkohol zaradi nekoliko nižjega zračnega pritiska med poletom deluje na telo hitreje in bolj intenzivno kot na tleh.

Po pristanku ( 121 )

Uporaba elektronskih naprav V letalu ni dovoljeno uporabljati prenosnih telefonov (biti morajo popolnoma izključeni!), radijskih in televizijskih sprejemnikov, videoiger z daljinskim upravljanjem, računalniških tiskalnikov in drugih naprav, ki bi z elektromagnetnimi valovi lahko motile delovanje občutljivih letalskih instrumentov. Druge elektronske naprave, kot so prenosni računalniki, CD in DVD predvajalniki ter žepni kalkulatorji, je dovoljeno uporabljati le med poletom (če ne povzročajo motenj), med vzletanjem in pristajanjem pa ne. Prosimo vas, da se pred uporabo elektronskih naprav posvetujete s kabinskim osebjem in dosledno upoštevate njihove napotke.

Zamujena, izgubljena ali poškodovana prtljaga Če bi med vašim potovanjem prišlo do nepravilnega ravnanja z vašo registrirano prtljago (velja tudi za prtljago, oddano pred letalom), zadevo takoj po prihodu prijavite na letališču pri ustrezni službi (Izgubljeno/Najdeno, Lost&Found, Arrival Service). Telefonska številka + 386 (0 ) 25 94 339.

Center za stike s potniki V Adrijinem Centru za stike s potniki lahko dobite vse informacije o naši ponudbi in novostih, pa tudi pomoč ali nasvet. Sem lahko potniki posredujete pritožbo ali odškodninski zahtevek, veseli pa bomo tudi pohvale. Na naš center se lahko obrnete osebno, pisno, po elektronski pošti prc@adria.si ali po telefonu na brezplačno številko 080 13 03 za klice znotraj Slovenije oziroma kot doslej na telefonsko številko +386 (0)1 369 11 33.

Najemi avtomobilov in hoteli Nevarni predmeti Po mednarodnih varnostnih predpisih potnikom v letalu ni dovoljeno imeti (ne pri sebi ne v prtljagi) orožja in drugih nevarnih predmetov, kot so: vnetljive tekočine, pločevinke s stisnjenim ali utekočinjenim plinom, lahko vnetljive snovi, vžigalice, ki niso označene kot varne, in podobno.

Na Adrijini spletni strani smo pred kratkim dodali zavihka Rent-a-car in Hoteli, ki vam omogočata najugodnejše najeme vozil in rezervacije hotelskih namestitev. Zelo enostavno: obiščite www.adria.si in poiščite željeni zavihek. Na voljo je nekaj deset tisoč hotelskih objektov na vseh kontinentih, od tistih z eno zvezdico do prestižnih mednarodnih verig ter najemi vozil na več kot 3.400 lokacijah v 128 državah po celem svetu.

{ Adria Airways } Adria Airways Welcomes You Aboard Dear passengers, your satisfaction is our success. In order to ensure that your Adria flight is as pleasant as possible, allow us to draw your attention to certain points that are important for your comfort and safety before take-off, during the flight and after landing.

Before take-off

Republic of Slovenia or on its website http://www.vurs.gov.si/ under the section Public Announcements/Import of Foodstuffs for Personal Use.

Economy and business class

Carry-on luggage

The majority of Adria routes are served by the following aircraft: Airbus A319, Canadair Regional Jet CRJ-100/200LR and CRJ-900. A business class ticket is issued according to the current business class tariff and is valid for one year. The ticket can be booked, paid for and picked up at any time and includes other advantages such as changing the date of travel without additional charge, a larger free luggage allowance, the use of business lounges at airports, etc. Economy class is for passengers with economy class tickets, which are cheaper and carry certain restrictions.

For your safety and comfort, we ask you to observe international rules that permit passengers to have one piece of carry-on luggage of a maximum size of 55 x 40 x 20 cm and a maximum weight of 8 kg. Carry-on luggage should be placed in the overhead bins. Heavier items may be stored under the seat in front of you if possible. We recommend that you take care when opening the overhead bins as items may have moved during the flight and may fall out. If your flight is on a CRJ aircraft, larger items of carry-on luggage must be surrendered on boarding. They will be returned to you when you leave the aircraft.

Online ticketing

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The cheapest and quickest way to book a flight and buy a ticket is to visit Adria's website at www.adria.si. This only applies to flights operated by Adria. Online purchases are protected by a security certificate. Passengers receive their electronic tickets via e-mail. If you require a ticket that will also include other carriers, please contact our Call Centre for Reservations and Ticket Sales on: 386 1 369 10 10 or 080 13 00.

EU airport security rules

Travel with an electronic ticket You can travel with an electronic ticket on all Adria Airways scheduled flights. On purchasing a ticket, passengers receive a passenger coupon and itinerary in an Adria Airways cover. You can also receive the document via e-mail and print it yourself. You must keep this document with you throughout the journey. At the check-in, present your passport or identity card. The check-in personnel will issue you with your boarding pass. Electronic documentation of the ticket sale means that the ticket status can be verified at any time. It also facilitates rapid transfer of data and reduces the chance of abuse. Most importantly, there is no danger of losing the boarding pass, since it is stored in electronic form.

Web Check-in At Adria we are aware that every minute is precious when you are travelling. Especially when heavy traffic holds you up on the way to the airport. The web check-in service is a new service that lets you save time at the check-in desk: because you can check in from home or office – or anywhere with an Internet connection. You can check in as early as 24 hours and up to 60 minutes before your scheduled departure time. Web check-in is currently only available on selected Adria flights. In the coming months new destinations will gradually be added.

Restrictions on bringing food into the EU We advise passengers to check the list of articles that may be brought into the EU before travelling. Strict controls of the import of meat, milk, fish, shellfish and products derived from them is necessary to protect people and animals from the diseases that they can transmit. If customs officials discover prohibited foodstuffs of animal origin during routine luggage checks, they will be confiscated. The informative leaflet “What to bring home” is available on our website. More information is available from the Veterinary Administration of the

In 2006 the European Union adopted new security rules that restrict the amount of liquids that passengers can take aboard aircraft. You are only allowed to take small quantities of liquids in your hand luggage. These liquids must be in individual containers with a maximum capacity of 100 millilitres each. These containers must be packed in one transparent re-sealable plastic bag of not more than one litre capacity per passenger. Liquids include: water and other drinks, soups, syrups; creams, lotions and oils; perfumes; sprays; gels, including hair and shower gels; contents of pressurised containers, including shaving foam, other foams and deodorants; pastes, including toothpaste; liquid-solid mixtures; mascara; any other item of similar consistency. You can still: • pack liquids in bags that you check in – the new rules only affect hand luggage; • carry in your hand luggage medicines and dietary requirements, including baby foods, for use during the trip. You may be asked for proof that they are needed; • buy liquids such as drinks and perfumes in an EU airport shop when located beyond the point where you show your boarding pass or on board an aircraft operated by an EU airline. If they are sold in a special sealed bag, do not open it before you are screened – otherwise the contents may be

{ Adria Airways } confiscated at the checkpoint. (If you transfer at an EU airport, do not open the bag before screening at your airport of transfer, or at the last one if you transfer more than once). If you have any doubts, please ask your airline or travel agent in advance of travel.

During the flight

items such as flammable liquids, compressed or liquefied gas cylinders, highly inflammable materials, matches (except safety matches), and so on.

Comfort and health For your comfort, an adjustable air vent and a reading light are located above your seat. There is also a button which you can use to call a member of the cabin crew if necessary. The aircraft is equipped with a first aid kit. During the flight you may feel an uncomfortable pressure in your ears. This is caused by changes in altitude and the air pressure in the aircraft; swallowing or yawning will help relieve the discomfort. In order to avoid vein problems associated with long flights, we advise you to take frequent walks up and down the cabin and to do stretching exercises for the whole body while seated.

Alcohol on board Consuming alcoholic beverages that you have brought on board the aircraft yourself is not permitted. The cabin crew is not allowed to serve alcohol to passengers who show signs of intoxication or to passengers under 18 years old. Please bear in mind that because of the lower air pressure during flight, alcohol has a faster and stronger effect than on the ground.

After landing Delayed, lost and damaged luggage Safety information Our cabin crew will give you important safety information before take-off. You will find instructions for emergency procedures in the pocket of the seat in front of you. Since these procedures differ depending on the type of aircraft, we ask you to read the instructions carefully before every flight. During take-off and landing you must fasten your seatbelt. For your own safety and comfort we also recommend that you leave it fastened during the flight. After landing, wait in your seat until the aircraft comes to a complete stop or until the seatbelt sign is switched off. The captain can issue a passenger who acts inappropriately on the aircraft with what is called a RED CARD. The red card is intended for anyone whose behaviour obstructs the work of the cabin crew, who does not observe safety instructions or who threatens the safety and comfort of passengers. Unacceptable behaviour on board an aircraft is a violation of the law. Placing air traffic in jeopardy is a criminal offence in accordance with Article 330 of the Criminal Code of the Republic of Slovenia (KZ-1), carrying with it the penalty of imprisonment.

Use of electronic devices Use of the following devices is not permitted aboard the aircraft: mobile phones (they must be switched off!), radios and televisions, video games with remote control, computer printers and other devices emitting electromagnetic waves which could interfere with sensitive aircraft systems. Other electronic devices such as portable computers, CD and DVD players and pocket calculators may only be used during the flight (if they do not cause a disturbance). They may not be used during take-off and landing. Please check with the cabin crew before using electronic devices and be sure to follow their instructions.

Hazardous items Under international safety regulations air passengers may not transport, either on their person or in their luggage, weapons and other hazardous

If problems occur with your checked luggage during your journey (also applies to luggage surrendered on boarding), contact the appropriate service as soon as you arrive at the airport (Lost & Found, Arrival Service, etc.)

Passenger Relations Centre Adria's Passenger Relations Centre provides you with news and information about our services and can also offer assistance and advice. Passengers can submit complaints or compensation claims, and praise is always welcome. You can contact the Centre in person, in writing, by e-mail to prc@adria.si, by phoning the free telephone number 080 13 03 if calling from Slovenia, +386 1 369 11 33 if calling from outside Slovenia.

Rent-a-cars and hotels We have recently added two tabs to Adria's website that enables you to book a rent-a-car or hotel accomodation throughout the world at favourable rates. Simply visit www.adria.si, click on the desired tab. Choose from among tens of thousands of hotels on every continent, ranging from one-star hotels to prestigious international hotel chains. Budget Rent-a-Car SloveniaÂ offers Adria Airways customers the best deals on car rental in more than 3,400 destinations in 128 countries!

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Adria Airways

Ostale storitve/Other services

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Prevoz tovora Blagovna služba Adrie Airways odpremi vse pošiljke hitro in kakovostno do vseh letališč po svetu. V sodelovanju z drugimi prevozniki in s pomočjo računalniško podprtega rezervacijskega sistema spremljamo vsako pošiljko od sprejema do predaje naslovniku. Naša blagovna služba in prodajna zastopništva v tujini vam bodo z veseljem pomagala odpremiti oz. dostaviti blago po najhitrejši in cenovno najugodnejši poti. ADRIA CARGO, Letališče Jožeta Pučnika Ljubljana – Prevoz tovora, telefon: 04 259 43 40, faks: 04 202 30 30, e-pošta: jp.cargo@adria.si

Cargo The Adria Airways cargo service provides fast, high quality goods transport to every airport in the world. In conjunction with other carriers, and with the help of a computerised booking system, we monitor every item from reception to delivery. Our goods service and sales offices abroad will be happy to help you dispatch or deliver goods by the fastest and most competitively priced route.

Zaposlene v družbi Adria Tehnika odlikuje vrhunsko tehnično znanje, ki temelji na več kot 40-letnih izkušnjah vzdrževanja letal proizvajalcev McDonnel Douglas, Airbus in Bombardier. Več informacij na spletni strani www.adriatehnika.com.

ADRIA CARGO, Ljubljana Jože Pučnik Airport – Cargo Transport, Telephone: + 386 (04) 259 43 40, Fax: + 386 (04) 202 30 30, e-mail: jp.cargo@adria.si

Adria Tehnika maintenance staff have superlative technical know-how deriving from more than 40 years' experience in maintaining McDonnell Douglas, Airbus and Bombardier aircraft. For more information visit www.adriatehnika.com.

Čarterski prevozi

Charters

Adria Airways ponuja potnikom, agencijam, podjetjem in drugim letalskim prevoznikom poleg svojih rednih linij tudi čarterske polete iz Ljubljane in z vseh drugih (predvsem evropskih) letališč. Z vstopom v Evropsko unijo ponujamo agencijam, podjetjem in drugim letalskim prevoznikom tudi polete z vseh drugih evropskih letališč. Odlikujejo nas zlasti prilagodljivost, ažurnost, visoka kakovost in točnost poletov. E-pošta: charter@adria.si

In addition to its scheduled services, Adria Airways offers charter flights from Ljubljana and other (mainly European) airports to passengers, agencies, companies and other carriers. Now that Slovenia is part of the European Union, we can also offer flights from all other European airports to agencies, companies and other carriers. Adria charters offer flexibility, up-to-the-minute services, high quality and punctuality. E-mail: charter@adria.si

katerega postane več članov združenja uradni prevoznik dogodka. Za vse nadaljnje informacije smo dosegljivi po elektronski pošti: events@adria.si.

Spoznajte letenje v virtualnem svetu z našimi odličnimi inštruktorji.

Official events carrier

V simulatorju letenja – v 30 minutah za samo 39 EUR (DDV je vključen v ceno) – boste spoznali osnove letenja. Za rezervacijo termina in dodatne informacije o obisku simulatorja pošljite email na naslov: ales.bobnar@adria.si; GSM: +386 (0)41 604 116. Letenje je možno po plačilu vnaprej in predhodni rezervaciji termina. Več o ponudbi preberite na spletni strani www.adrialetalskasola.si.

As a modern company we understand the needs of modern business, which increasingly takes place in the global arena. For this reason we are ideally positioned to work with organisers of conferences, congresses, fairs and other international events by becoming their official exclusive carrier and offering discounted fares and other advantages to participants and organisers. With a simple, efficient approach adapted to the needs of our customers, we make sure that the event runs smoothly, with participants arriving at their destination on time, safely and reliably. As a Star Alliance member we offer the Conventions Plus service for major international conferences, which effectively makes all Star Alliance members the official carrier for the event. For more information write to us at: events@adria.si.

Flight School Learn to fly in a virtual world with our excellent instructors. In our flight simulator you can learn the basics of flying in just 30 minutes for a mere 39 euros (VAT included). To book a session and for more information about a visit to the simulator, e-mail us at the following address: ales.bobnar@adria.si; GSM: +386 (0)41 604 116. Booking essential. Payment in advance. For more information visit www.adrialetalskasola.si.

Uradni prevoznik dogodkov Kot sodobna družba razumemo potrebe poslovnega vsakdanjika, ki se vse pogosteje odvija v globalnem prostoru. Zato stopamo naproti tistim, ki organizirajo konference, kongrese, sejme ali druge mednarodne dogodke tako, da postanemo njihov uradni ekskluzivni prevoznik, udeležencem ter organizatorju pa nudimo posebne ugodnosti. Preprosto, učinkovito in prilagojeno potrebam svojih uporabnikov poskrbimo za to, da dogodek poteka uspešno, udeleženci pa prispejo na cilj pravočasno, varno in zanesljivo. Kot članica združenja Star Alliancea lahko za večje mednarodne kongrese zagotovimo produkt »Conventions Plus™«, v sklopu

Avio taxi - Panoramski leti Z letalom Piper Turbo Arrow PA-28R-201T s tremi sedeži za potnike lahko poletite do vseh večjih mest s špotnimi letališči v Sloveniji in do bližnjih letališč sosednjih držav. Za lete se lahko naročite po telefonu: 04 23 63 460 (Adria Airways Aviotaxi) ali 041 636 420 (tel. pilota).

Aviotaxi – Panoramic flights Our Piper Turbo Arrow PA-28R-201T, with its three passenger seats, can fly you to all major towns with sports airfields in Slovenia and to nearby airports in neighbouring countries. To book flights, call us on: 04 23 63 460 (Adria Airways Aviotaxi) or 041 636 420 (pilot)

Adria Airways

Klubi zvestobe/Loyalty Clubs

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Partnerska kartica Diners Club-Adria

Diners Club-Adria Partner Card

Potniki s stalnim prebivališčem v Republiki Sloveniji se lahko odločite za skupno plačilno kartico Diners Cluba in Adrie Airways. Z uporabo partnerske plačilne kartice Diners Club-Adria lahko zbirate milje in koristite nagradne vozovnice in druge ugodnosti v programu Miles & More. Vsak porabljen evro vam bo prinesel 1 miljo. Dogovor, sklenjen med Adrio in klubom Miles & More, prinaša imetnikom partnerske kartice pomembno dodatno ugodnost: milje, zbrane z nakupi s plačilno kartico Diners Club-Adria, ne zapadejo, če ste vsaj tri mesece član, opravite z njo vsak mesec vsaj en nakup in račune poravnavate v roku. Kartica pa vam odpira vrata in nudi brezplačne storitve tudi v več kot 130 letaliških salonih po vsem svetu, kjer boste lahko v miru počakali na odhod svojega letala, brezplačno prelistali časopis, se osvežili z napitki, telefonirali ali poslali faks. Informacije: telefon 080 13 45, www.dinersclub.si, info@dinersclub.si

Passengers with permanent residence in Slovenia can obtain the joint Diners Club and Adria Airways charge card. By using the Diners Club – Adria Airways charge card, you can collect miles and enjoy bonus tickets and other privileges in the Miles & More programme. Every euro spent will give you one mile. The agreement between Adria and Miles & More brings partner card holders an important additional benefit: miles collected through purchases using the Diners Club-Adria payment card will not lapse if you have been a member for at least three months, you use the card for at least one purchase each month and you settle your account balance on time. At the same time, the card opens the door to free services in more than 130 airport lounges around the world, where you can await your departure in tranquillity, browse through newspapers, enjoy a refreshing drink, make phone calls or send faxes. Information: Telephone: 080 13 45, www.dinersclub.si, info@dinersclub.si

Star Alliance Star Alliance partnerstvo

Star Alliance partnership

Nagradne prestope v višji razred potovanja omogoča 20 prevoznikov, članov združenja Star Alliance.

Upgrade across 20 of our member airlines, with Star Alliance Upgrade Awards.

Največja nagrada, ki jo lahko dobite, ko zberete milje ali točke, je to, da jih lahko uporabite svobodno, kjer koli in kadar koli želite. V okviru združenja Star Alliance lahko sedaj svoje točke ali milje uporabite za prestov v višji razred potovanja pri 20 prevoznikih, članih združenja, za potovanja po vsem svetu. S samodejnim sistemom za prestop v višji razred potovanja v našem združenju lahko sedaj svoj prestop v višji razred uredite po telefonu ali v spletu do 24 ur pred potovanjem, če je v višjem razredu prosto mesto, pri tem pa ne potrebujete nove vozovnice ali kupona za prestop v višji razred. Več informacij o prestopu v višji razred potovanja in drugih ugodnostih, ki jih ponuja združenje Star Alliance, najdete na spletni strani staralliance.com. Zaslužili ste si!

After accumulating miles or points, the biggest reward is the freedom to use them, wherever you are, whenever you want. So with the Star Alliance network, you can now use your points or miles to upgrade to a more comfortable seat, across 20 of our member airlines to destinations around the globe. With the network’s automated upgrade system you can now arrange your upgrade over the phone or online up to 24 hours before the flight, depending on availability. And there’s no need for a new ticket or an upgrade voucher. To find out more about upgrading your travel experience and other benefits of the Star Alliance network, visit staralliance.com. You’ve earned it.

Adria Airways zaenkrat še ne nudi teh storitev na svojih letih.

For the moment, Adria Airways is not yet offering this service on flights.

Adria Airways je letalski prevoznik z več kot 49-letnimi izkušnjami v čarterskem in rednem prometu. Uspešno sodeluje v evropskih integracijskih tokovih in se partnersko povezuje z drugimi letalskimi prevozniki. Decembra 2004 se je Adria kot regionalna članica pridružila največjemu globalnemu združenju letalskih prevoznikov Star Allianceu, z januarjem 2010 pa je napredovala v polnopravno članico združenja. Potnikom tako zagotavljamo vse prednosti, ki jih prinaša izboljšan dostop do svetovnega omrežja prevoznikov, združenih v Star Allianceu. V povezavi s partnerji vam omogočamo dostop do svetovne mreže poletov 27 letalskih prevoznikov, ki z več kot 21.000 leti dnevno povezujejo 1160 destinacij v 181 državah. Poleg tega so vam na voljo ugodnosti, ki jih ponujajo prevozniki člani Star Alliancea, kot so: prijava na let do končne destinacije, priznavanje statusa, vstop v letališke salone ter zbiranje in uveljavljanje točk ali milj v okviru programov za pogoste potnike. Za številne destinacije po svetu so vam na voljo potovanja po ugodnejših cenah in posebna ponudba Star Alliancea Round the World – potovanje okoli sveta. Za več informacij smo vam na voljo na naših prodajnih mestih.

Adria Airways has more than 49 years of experience in operating both charter and scheduled flights. We are successfully participating in the process of European integration and have established partnership arrangements with other air carriers. In December 2004 Adria joined the Star Alliance, the world's largest airline alliance, as a regional member and she became a full member in January 2010. Our customers now benefit from improved access to the world-wide Star Alliance network. In connection with our partners, we offer access to a global network of flights on 27 airlines, which offer more than 21,000 flights daily serving 1,160 destinations in 181 countries. Moreover, our passengers enjoy customer benefits offered by Star Alliance member carriers, such as through check-in, status recognition, lounge access, frequent flyer accrual and redemption. Reduced-price flights are available for numerous destinations throughout the world, along with the Star Alliance Round-the-World special offer. We will be glad to provide details at any Adria sales outlet.

Dobrodošli v Miles & More Welcome to Miles & More Razlog več, da poletite z Adrio Airways

One more reason for flying Adria Airways

Adria Airways nudi svojim pogostim potnikom program Miles & More in jim s tem omogoča pestrost zbiranja in uporabljanja milj v celotni mreži poletov članic Star Alliancea. Sem spadajo tudi vse redne proge Adrie Airways.

Adria Airways is offering its frequent flyers the Miles & More programme, which makes available a variety of ways to collect and use miles on the entire flight network of Star Alliance members. All Adria Airways scheduled routes are included in this network.

Prijava v klub

Club registration

V klub se lahko prijavite s prijavnico, ki jo dobite na vseh prodajnih mestih in v letalih Adrie Airways, ali pa to storite na naslovu www.adria.si na naših spletnih straneh.

You can join the club by filling in the registration form available at all sales offices and on board Adria Airways aircraft, or by registering on-line at our website, www.adria.si.

Zbiranje milj

Collecting miles

Milje lahko zbirate na celotni mreži poletov članic Star Alliancea. Dodatne milje lahko zbirate z bivanjem v hotelih, z najemom vozil, telefoniranjem, nakupi v določenih trgovinah in z uporabo kreditnih kartic. Člani Miles & More v Sloveniji bodo milje pridobili tudi s plačilno kartico Diners Club-Adria. Vsak nakup v vrednosti 1 EUR vam bo prinesel eno miljo. Milje, zbrane z nakupi s plačilno kartico Diners Club - Adria, ne zapadejo, če ste vsaj tri mesece član, opravite z njo vsak mesec vsaj en nakup in račune poravnavate v roku. Poleg zbiranja milj imajo člani Miles & More še dodatne ugodnosti, kot so prednost na čakalnih listah, prevoz večje količine prtljage idr. Veljavnost zbranih milj je tri leta.

You can collect miles within the entire Star Alliance network. You can also collect additional miles through hotel stays, car rental, telephone calls, purchases at selected shops and using your credit cards. Miles & More members in Slovenia also receive miles when you use the Diners Club-Adria charge card. Every euro charged earns you 1 mile. Miles collected through purchases using the Diners Club-Adria payment card will not lapse if you have been a member for at least three months, you use the card for at least one purchase each month and you settle your account balance on time. In addition to collecting miles, Miles & More members enjoy additional benefits such as priority on waiting lists, excess baggage allowance and so on. Miles are valid for three years.

Koriščenje milj Zbrane milje lahko uporabite za številne nagrade: brezplačne vozovnice na progah članic Star Alliancea, potovanje v višjem razredu, počitniška potovanja, nakup različnih artiklov.

Using miles You can use the miles you have accumulated for various benefits: free tickets on Star Alliance member routes, upgrades to business class, holiday travel and various purchases.

Članske kartice Z včlanitvijo postanete član kluba in imetnik osnovne kartice. Doseženo število zahtevanih milj, zbranih v koledarskem letu, zagotavlja višje nivoje članstva, kot so: srebrni član ali Frequent Traveller, zlati član ali Senator in HON Circle Member. Višji nivo članstva vam prinese posebne ugodnosti. Člansko kartico imejte vedno pri roki, potrebujete jo za beleženje milj, uveljavljanje ugodnosti in naročanje nagrad.

Membership cards You become a club member as soon as you join. Accumulating the required number of miles in a calendar year leads to higher levels of membership: silver member or Frequent Traveller, or gold member or Senator, or HON Circle Member. A higher level of membership offers you special benefits. Always have your membership card on hand, because you’ll need it to register miles, claim benefits and request awards.

Dobrodošli na poletih Adrie Airways, članice združenja Star Alliance! Welcome aboard Adria Airways, a Star Alliance member! Informacije o zbranih miljah, novostih v klubu, naročila nagradnih vozovnic in drugih nagrad v klicnem centru Miles & More dobite na tel. št. (0)40 747 440 ali na naslovu www.adria.si. Navesti morate člansko številko in PIN številko. V delovnem času od 8. do 18. ure vam bodo informacije na voljo v slovenskem jeziku, kasneje v angleškem ali nemškem.

For information on miles, Club news, to order free tickets or other benefits, call the Miles & More call centre at +386 40 747 440 or visit our website at www.adria.si. You’ll be asked for your membership number and PIN. We’ll be happy to take your calls in Slovene from 8 am to 6 pm, and service is also available in English and German outside these hours.

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Prodaja vozovnic in rezervacije Ticket Offices and Booking Klicni center: telefon 00386 (0)1 36 91 010 Brezplačna številka v Sloveniji: 080 13 00 w w w. a d r i a . s i Adria Airways Zgornji Brnik 130h 4210 Brnik - Aerodrom Tel.: +386 (0)1 36 91 010 E-mail: booking@adria.si

Poslovalnice / Sales offices:

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LJUBLJANA Gosposvetska 6 1000 Ljubljana Klicni center: 36 91 010, 080 13 00 Tel.: +386 (0)1 23 91 910 Fax: +386 (0)1 23 21 668 E-mail: adr.gosposvetska@adria.si Letališče Jožeta Pučnika LJUBLJANA LJUBLJANA Jože Pučnik Airport Adria Airways Sales Office Klicni center: 36 91 010, 080 13 00 Tel.: +386 (0)4 25 94 245 Fax: +386 (0)4 23 63 461 E-mail: adr.prodaja@adria.si AMSTERDAM Adria Airways, Netherlands P.O. Box 75644 1118 ZR Schiphol Triport Tel.: +31 20 625 11 22 Fax: +32 2 753 23 37 E-mail: adr.amstown@adria.si Airport Ticketing Desk Amsterdam Schiphol Airport Globeground Ticketing Desk Terminal 3, opposite check-in row 20 Tel.: +31 20 79 52 600 Fax: +31 20 79 52 601 E-mail: adr.amsariport@adria.si ATHENS Adria Airways, General Sales Agent K.G. KOMPAS GREECE, 572 Vouliagmenis Ave & Karaiskaki, 164 51 Athina Argiroupoli Tel.: + 30 21 09 94 7263, Fax: + 30 21 09 94 7288, E-mail: adr.athens@adria.si BANJALUKA Bosnia and Herzegovina SKY SRPSKA Tel.: +397 (0)51 220 330 Mobile: +387 (0)65 321 817 E-mail: office@sky srpska.aero BARCELONA Adria Airways, General Sales Agent Kompas Spain C/ Paris, 162-164 Entlo 2a 08036 Barcelona Tel.: + 34 93 246 67 77 Fax: +34 93 245 41 88 E-mail: adr.barcelona@adria.si

BELGRADE Adria Airways Representative Office OKI AIR INTERNATIONAL Airport “Nikola Tesla” 11180 Belgrade 59 Tel/Fax: +381 11 2286457, 2286458, 2097457 E-mail: okiairbeg@oki.me, adr.belgrade@adria.si

KIEV General Sales Agent: AVIAREPS town office Chervonoarmijska st. 9/2 Office number 2 01004 Kiev, Ukraine Tel.: +38 044 287 07 47 Fax: +38 044 490 65 04 E-mail: jp.ukraine@aviareps.com

PODGORICA Adria Airways, General Sales Agent Oki Air International Ivana Vujoševića 46 81000 Podgorica Tel.: +382 (0) 20 201 201 Tel. & Fax: +382 (0) 20 241 154 Mobil: +382 (0)67 24 11 54 E-mail: adr.podgorica@adria.si

BRUSSELS Adria Airways Brussels Airport – Box 4 1930 Zaventem Tel.: +32 (0)2 75 32 336 Fax: +32 (0)2 75 32 337 E-mail: adr.brussels@adria.si Adria Airways Ticket Desk Airport Zaventem / Brussels Tel.: +32 (0)2 75 32 337

Adria Airways Borispol International Airport Ticketing agent: Aquavita Tel.: +38 044 230 00 49, 230 00 50 Fax: +38 044 230 00 48 E-mail: adr.kievairport@adria.si

Adria Airways Ticket Office Podgorica Airport OKI AIR INTERNATIONAL Tel. & Fax: +382 (0) 20 623 232 Mobil: +382 (0)67 24 11 54 E-mail: adr.podgorica@adria.si

LONDON, MANCHESTER, DUBLIN Adria Airways - London Gatwick Airport Ticketing Agent: Skybreak North Terminal, Zone A, Ticket Desk Tel.: +44 (0) 1293 507 182 Fax: +44 (0) 1293 507 144 Reservations: Tel: +44 (0) 1293 555 707 E-mail: info@adria.si

PRISTINA Adria representative office – town office Pal Palucij 3, 38000 Pristina Tel.: +381 (0)38 54 34 11 Tel. & Fax: +381 (0)38 54 32 85 E-mail: adr.pristina@adria.si

COPENHAGEN Adria Airways Representative and Information Antello AB, Tings Gatan 2 256 56 Helsingborg, SWEDEN Tel.: +46 (0)42 28 47 78 Fax: +46 (0)42 14 47 78 Mobil: +46 708 28 47 78 E-mail: adr.copenhagen@adria.si Adria Airways Airport Ticket Desk Copenhagen Airport Terminal 2, Floor 2, Office 230 2770 Kastrup, Denmark Tel. & Fax: +45 (0)32 51 59 59 Mobil: +46 708 28 47 78 E-mail: adr.copenhagen@adria.si FRANKFURT Adria Airways Frankfurt Airport Terminal 1, Building 201 Room 201. 4043/4044 P.O.Box 039, 60549 Frankfurt am Main Tel.: +49 (0)69 269 56 720, 269 56 721 Fax: +49 (0)69 269 56 730 E-mail: adr.frankfurt@adria.si Adria Airways Airport Ticket Desk Frankfurt Airport, Terminal 1, Hall B Sales Desk 307 P.O.Box 039, 60549 Frankfurt am Main Tel. +49 (0)69 269 56 722 ISTANBUL Adria Airways General Sales Agent Ordu Cad No. 206/1 34470 Laleli, Istanbul Tel.: +90 (0)212 51 24 232 Fax: +90 (0)212 51 24 234, 51 25 436 E-mail: adr.istanbul@adria.si

MOSCOW Adria Airways Derbenevskaja 4 113 114 Moscow Tel.: +7 495 727 08 85 Fax: +7 495 727 08 88 E-mail: adr.moscow@adria.si Adria Airways Sheremetyevo Airport 6th Floor, Room Nr. 42 (6.42) Tel.: +7 495 578 80 24 MUNICH Prosimo, obrnite se na predstavništvo v Frankfurtu. Please contact our office in Frankfurt.

Ticket issue at the airport Tel.: +381 (0) 38 548 437 Fax: +381 (0) 38 548 437 Mobile: +377 44 501 241 SARAJEVO Adria Airways Representative and Information Ferhadija 23 71000 Sarajevo Tel.: +387 (0)33 23 21 25, 23 21 26 Fax: +387 (0)33 23 36 92 E-mail: adria@bih.net.ba Adria Airways Airport Ticket Desk Sarajevo International Airport Tel. & Fax: +387 33 464 331 E-mail: adr.sarajevo@adria.si

PARIS Adria Airways 94 rue Saint Lazare 75009 Paris Stopnišče A, II. nadstropje Staircase A, 2nd floor

SKOPJE Adria Airways General Sales Agent AAM dooel Ulica Dame Gruev, Gradski Zid, blok 4/8 1000 Skopje Tel.: +389 (0)2 31 17 009, 32 29 975 Fax: +389 (0)2 31 65 531 E-mail: adr.skopje@adria.si

Tel.: +33 (0)1 47 42 95 00 Fax: +33 (0)1 47 42 00 67 E-mail: adr.paris@adria.si

Adria Airways Airport Ticket Office Skopje Airport Tel. +389 (0)2 25 50 133 STOCKHOLM Adria Airways Representative and Information Antello AB, Tings Gatan 2 256 56 Helsingborg, Sweden Tel.: +46 (0)42 28 4778 Fax: +46 0)42 14 4778 Mobil.: +46 708 28 4778 E-mail: adr.stockholm@adria.si

TEL AVIV Adria Airways Mirus Services (1996) Ltd. General Sales Agent 8 Mendele Str. Tel Aviv 63432 Tel.: +972 (0)3 52 23 161 Fax: +972 (0)3 52 40 895 Adria Airways Ticket Desk Ben Gurion Airport Laufer Aviation Ltd. Tel.: +972 (0)3 97 74 300 Fax: +972 (0)3 97 12 022 TIRANA Adria Airways Albania Europian Trade Center Street bajram Curri No. 19 Town Office Tel.: +355 4 227 4666 Tel. & Fax: +355 4 227 2666 Mobil Off.: +355 6 94076614 Airport Tel. & Fax: +355 4 238 1911 Mobil in Rinas Apt.: +355 6 94076611 E-mail: adr.tirana@adria.si VIENNA Reservations and purchase Adria Airways Station A-1300 Vienna Airport Tel.: +43 (1) 700 736 913 Fax: +43 (1) 700 736 914 E-mail: adr.vienna@adria.si WARSAW Adria Airways, General Sales Agent GLOBAIR Polska Sp z o.o. Marszalkowska St. 28, office number 1U-35 Warsaw 00-576 Tel: +48 (022) 696 85 20 Fax: +48 ( 022) 696 85 24 Mobile: +48 696 49 14 77 E-mail: adr.warsaw@adria.si www.globairgroup.com ZAGREB Adria Airways Praška 9 10000 Zagreb Tel.: +385 (0)1 48 10 011, 48 10 016 Fax: +385 (0)1 48 10 008 E-mail: adr.zagreb@adria.si ZÜRICH Adria Airways Loewenstrasse 54/II. 8001 Zürich Tel.: +41 (0)44 212 63 93 Fax: +41 (0)44 212 52 66 E-mail: adr.zurich@adria.si Adria Airways Airport Ticket Office Zürich Airport Terminal B-2-521 Tel.: +41 (0)43 81 64 437