2 –5/10/2013 rijeka
art-kino croatia muzej moderne i suvremene umjetnosti molekula
produkcija/production Drugo more partneri/partners Galerija Galženica Galženica Gallery Nacionalni centar Oleksandr Dovženko Oleksandr Dovzhenko National Centre Savez udruga Klubtura/Clubture Art-kino Croatia Muzej moderne i suvremene umjetnosti, Rijeka Museum of Modern and Contemporary Art, Rijeka donatori/donors Zaklada Kultura nova Kultura nova Foundation Europska kulturna fondacija European Cultural Foundation Ministarstvo kulture Republike Hrvatske Ministry of Culture of the Republic Croatia Grad Rijeka — Odjel za kulturu Department of Culture of the City of Rijeka Hrvatski audiovizualni centar Croatian Audiovisual Centre Primorsko–goranska županija Primorsko–goranska County medijski pokrovitelji/media support Novi list | Radio Rijeka | Kulturpunkt.hr | Korzo.net | Teklić.hr
Davor Mišković
Moje, tvoje, naše se u protekle dvije godine bavi utopijama i nakon niza utopijskih programa koji iz današnje perspektive gledaju u budućnost ovogodišnje riječko izdanje festivala okrenuto je u prošlost, zagledani smo u utopijske vizije socijalizma. Na pitanje što nam je to utopijsko ostavio socijalizam pokušat ćemo odgovoriti kroz predavanja i okrugle stolove, filmski program i izložbu o Jugoslavenskom omladinskom tisku. Sam termin utopija koristimo u značenju koje se više odnosi na optiku kroz koju promatramo društveni sistem i njegovu strukturnu transformaciju te kroz koju analiziramo i zamišljamo nove oblike zajednice. Dakle, odnosi se, prije svega, na društvenu organizaciju i moguću transformaciju. U središtu našeg istraživanja nije ono što utopije negiraju nego su to utopijski prijedlozi za organizaciju alternativnog svijeta. Unatoč
rastućem nezadovoljstvu sa strukturom društva u kasnom kapitalizmu (ili je ovo možda tek početak?) koje je elaborirano u brojnim teorijskim i umjetničkim radovima čini nam se da se nedovoljno razmišlja o alternativama, o drugim modelima organizacije društvene strukture. Vjerujemo da se i na praktičan i na fantastičan način postojeće stanje i postojeći sustav mogu reformulirati. Socijalizam se temeljio na utopijskoj viziji boljeg svijeta i u tom je smislu ostavio prostora za razne oblike društvene organizacije – neke uspješne, a neke neuspješne. Nestankom socijalizma kao da je nestao i interes za postignuća socijalizma, za njegove vizije boljeg svijeta, koje svijet čine boljim bez obzira kako ga zvali. Ovim programom želimo afirmirati interes za utopijske vizije socijalizma koje i naše sadašnje društvo, bez socijalizma mogu učiniti boljim.
Davor Mišković
The past two editions of Mine, yours, ours Festival have been exploring utopias and after a series of utopian programmes that looked to the future, this year’s edition is turned to the past, specifically to utopian visions of socialism. What utopias has socialism left us? We will try to offer some answers through lectures, round tables, films and an exhibition on Yugoslavian youth press. We use the term utopia in the sense more relevant to the standpoint from which we view the social system and its structural transformation and from which we analyze and imagine new forms of community. So, it primarily refers to social organization and a possible transformation. The focus of our research is not what utopias negate rather utopian proposals for the organization of an alternative world. Despite the growing dissatisfaction with the social structure of late
capitalism (or maybe this is just the beginning?), which has been elaborated in a number of theoretical and artistic works, it seems insufficient consideration is given to alternatives, to new models of organizing social structures. We believe that the current situation and the existing system can be reformulated in both practical and fantastical ways. Socialism was based on a utopian vision of a better world and in that sense it left space for various forms of social organization - some successful and some not. It seems as though the interest for the accomplishments of socialism and its visions of a better world no matter how we call it disappeared with socialism. This year’s festival programme aims to affirm the interest for utopian visions of socialism, which could make today’s society better even without socialism itself.
program/programme
Filmski ciklus Film series
IzloĹžba Exhibition
Razgovori Rasprave Predavanja
Talks Discussions Lectures
Party
program/programme
srijeda/wednesday 2.10.
19:00 art-kino croatia
Sovjeti plus elektrifikacija/ Les Soviets Plus L’électricité Nicolas Rey, 2001. 175min uvod/ introduction
Dragan Rubeša
četvrtak/thursday 3.10.
18:00 art-kino croatia
Aerograd Oleksandr Dovzhenko, 1935. 82min
art-kino croatia
Put do raja/ Doroga v ray Yurii Belianskii, 1991. 87min
20:00
otvorenje izložbe / exhibition opening
20:00
muzej moderne i suvremene umjetnosti
21:30 molekula
Jugoslavenski omladinski tisak kao underground press/Yugoslavian youth press as underground press 1968 . –1972. Zagreb | Beograd | Ljubljana Party Ivan Krželj (dj) Denis Mikšić (vj)
program/programme
Art-kino Croatia —Krešimirova 2, Rijeka Muzej moderne i suvremene umjetnosti Museum of Modern and Contemporary Art —Dolac 1/II Rijeka Molekula —Delta 5/1, Rijeka
petak/friday 4.10.
10:00 — 11:30 muzej moderne i suvremene umjetnosti
11:30 — 14:00 muzej moderne i suvremene umjetnosti
Jugoslavenski omladinski tisak kao underground press/Yugoslavian youth press as underground press 1968 . –1972. Zagreb | Beograd | Ljubljana vođenje kroz izložbu/ guided tour by Marko Zubak rasprava/discussion Kulturno nasljeđe socijalizma/ Cultural heritage of socialism
subota/saturday 5.10.
10:00 — 12:00 muzej moderne i suvremene umjetnosti
12:00 — 14:00 muzej moderne i suvremene umjetnosti
18:00 art-kino croatia
18:00 art-kino croatia
20:00 art-kino croatia
Utopijski aspekti sovjetskih filmova/ Utopian aspects of Soviet movies predavanje/lecture by Olga Papash Borba divova/ Borotba Veletniv Victor Turin, 1926. 62min
20:00 art-kino croatia
Ostavština socijalizma/ Legacy of socialism predavanje/lecture by Ovidiu Tichindelenau Rad sa socijalističkim nasljeđem/ Working with socialist heritage predavanje/lecture by Mykhail Gluboky Ieva Astashovska Stefan Rusu Empire me/ Empire Me - Der Staat bin ich! Paul Poet 2011. 101min Strogi mladić/ Strogiy Yunosha Abram Room, 1934. 100min
Filmski ciklus Film series
Sovjeti plus elektrifikacija Les Soviets Plus L’électricité Aerograd Put do raja Doroga v ray Borba divova Borotba Veletniv Empire Me Empire Me - Der Staat bin ich! Strogi mladić Strogiy Yunosha
srijeda/wednesday 2.10.
19:00 art-kino croatia
Sovjeti plus elektrifikacija Les Soviets Plus L’électricité —Francuska, 2001. žanr/genre
Dokumentarni/ Documentary
režija, scenarij, montaža/ director, writer, montager
Nicolas Rey
trajanje/duration
175 min distribucija/distributor
Light Cone
uvod/introduction
Dragan Rubeša
berlinale, 2012. —fipresci nagrada Film je nagrađen zbog iskazanog interesa za stradale u siberijskom gulagu te zbog jednostavnog, a snažnog narativnog stila koji mudro kombinira slike i zvukove.
berlinale, 2012. —fipresci Jury Award for its interest in the survivors of a Siberian gulag and for a simple and thus forceful narrative style that sparingly and wisely combines images and sound.
Sovjeti plus elektrifikacija Les Soviets Plus L’électricité
Les Soviets Plus L’électricité filmsko je putovanje kroz Rusiju do Magadana, grada poznatog u sovjetskim vremenima kao sinonima za deportaciju. Na temelju izvadaka iz njegovog akustičnog dnevnika, dokumentarnih snimki i autobiografskih uvida s puta, lutajući novinar istražuje svoje imaginarne korijene i njihove povijesne i političke implikacije.
Soviets plus electricity is a cinematic journey through Russia to Magadan, a city famous in Soviet times for being synonymous with deportation. Based on excerpts from his acoustic diary, documentary footage and some autobiographical insights given on the way, the roving reporter searches for imaginary roots and its historical and political implications.
Sovjeti plus elektrifikacija Les Soviets Plus L’électricité
četvrtak/thursday 3.10.
18:00 art-kino croatia
Aerograd —sssr,1935. trajanje/duration
režija/director
82 min
Oleksandr Dovženko
žanr/genre
scenarij/writer
zf /sf
Oleksandr Dovženko N. Simonov glazba/music
Dmitrii Kabalevskii fotografija/cinematography
Mikhail Gindin Nikolai Smirnov Eduard Tisse uloge/cast
Stepan Shahayda Serhiy Stolyarov Stepan Shkurat Olena Maksymova Borys Dobronravov Iz fonda Nacionalnog centra Oleksandr Dovženko/ From the National Centre Oleksandr Dovzhenko Fund
Avanturistička priča smještena na sovjetski daleki istok, u budućnosti, gdje se planira gradnja futurističkog grada Aerograda. Mještani su podijeljeni u dva tabora: one koji podržavaju inicijativu sovjetske vlasti (članovi kolkhoza i komsomola – veterana sovjetskog građanskog rata 1917. – 1922.) te one koji joj se žestoko protive (kulaci, bivši monarhisti, japanski samuraj
saboteri). Ipak, protagonist Stepan Hlusak uspijeva uhvatiti dva samuraja i doprinijeti pobjedi socijalizma, iako je u svojoj misiji bio prisiljen ponašati se kao zločinac i ubiti prijatelja zbog izdaje. Inspiriran prirodom Dalekog Istoka, Aerograd je sniman u poetičnom Dovženkovom stilu karakterističnom i za filmove Zemlja i Zvenyhora.
Aerograd
It is an adventure story set in the Soviet Far East in the future, where a futurist Air City is going to be built. The locals form two camps: those who support the initiative of the Soviet authorities (kolkhoz and komsomol members, veterans of the 1917 – 1922 Soviet Civil War) and those who fiercely oppose it (kulaks, former monarchists, Japanese samurai saboteurs). Still,
the protagonist Stepan Hlushak manages to run down two samurais and to contribute to the victory of socialism, even though in order to complete his mission he is forced to act as a villain and kill his friend for betrayal. Inspired by the Far East nature while filming Aerograd, Dovzhenko worked in his classic poetic style known since The Earth and Zvenyhora.
Aerograd
četvrtak/thursday 3.10.
20:00 art-kino croatia
Put do raja Doroga v ray —SSSR, 1991. trajanje/duration 87 min
redatelj/director
Yurii Belianskii scenarij/writer
Yurii Belianskii fotografija/cinematography
Oleksandr Votinov glazba/music
Oleksii Zalivalov uloge/cast
Ihor Maslov (II) Lev Durov Oleksii Zalivalov Kateryna Durova Iz fonda Nacionalnog centra Oleksandr Dovženko/ From the National Centre Oleksandr Dovzhenko Fund
Ekscentrična tragikomedija iz perioda kasne Perestrojke s Ihorom Maslovim u glavnoj ulozi. Priča o čovjeku koji stalno uzrokuje sitne probleme i ne uspijeva učiniti cijelo čovječanstvo sretnim. Iako se radi o nadrealnoj i pomalo apsurdnoj priči, film se posredno osvrće na društvenu i političku situaciju u tadašnjem Sovjetskom Savezu koji je pred raspadom.
Put do raja Doroga v ray
An eccentric late  -Perestroika art house tragicomedy featuring Ihor Maslov, an outstanding actor, as protagonist. Though the story here is surreal and somewhat absurd, the film indirectly reflects the social and political situation in the ussr of the time.
Put do raja Doroga v ray
petak/friday 4.10.
20:00 art-kino croatia
Borba divova Borotba Veletniv —SSSR, 1926. žanr/genre
režija/director
Društveno – politička drama/Socio – political drama
Victor Turin
trajanje/duration
fotografija/cinematography
62min
Louis Forestier
scenarist/writer
Solomon Lazurin
uloge/cast
K. I. Platonov A.A. Dodonova L.A. Negri G. Opranze Ivan Lagytin B. Goncharov Olexander Gryzunov Fedir Drobinin Olexander Dolinin Iz fonda Nacionalnog centra Oleksandr Dovženko/ From the National Centre Oleksandr Dovzhenko Fund
Društvena distopija temeljena prema istoimenom romanu Solomona Lazurina. Dvije snažne kompanije, u vlasništvu milijardera Ringdala i Dukea, u borbi su i pokušavaju iskoristiti novo izumljeni stroj koji bi mogao zamijeniti mnoštvo manualnih radnika. Radnici s vremenom shvaćaju da im pravi neprijatelj nisu strojevi već ljudski eksploatatori... Victor Turin zbog ovog filma je gotovo eliminiran iz povijesti sovjetske kinematografije i ime
mu se rijetko spominje, osim u pojedinim referencama na Turksib, njegovo dokumentarno remek-djelo. No, istovremeno, Turin je imao iskustvo rada u Hollywoodu i bio je jedan od pionira ukrajinskog igranog filma. Borba divova prvi je igrani film Victora Turina i smatran je potpuno izgubljenim dok donedavno nije doživio cjelovitu digitalnu restauraciju u Nacionalnom centru Oleksandr Dovženko u Kijevu.
Borba divova Borotba Veletniv
Social dystopia based on the eponymous novel by Solomon Lazurin. Two powerful companies, owned by billionaires Ringdal and Duke, are struggling trying to seize the new machine made by engineer Kurtnits, which can replace lots of manual workers. Yet, with time the workers understand that they should fight the exploiters, not the machines... Victor Turin was almost eliminated from the history of Soviet cinema; his name
wasn’t mentioned apart from rare references to Turksib, his documentary masterpiece. At the same time, Turin had an experience of work in Hollywood and was one of the pioneers of Ukrainian feature cinema, as well as the author of several outstanding films. Only recently Victor Turin’s first feature film Fight of the Giants, which was considered to be lost for a long time, underwent comprehensive digital restoration at the Dovzhenko Centre in Kiev.
Borba divova Borotba Veletniv
subota/saturday 5.10.
18:00 art-kino croatia
Empire me Empire Me – Der Staat bin ich! — Austrija, Luksemburg, Njemačka, 2011. žanr/genre
režija/director
Dokumentarni/ Documentary
Paul Poet
trajanje/duration
Paul Poet
101 min
uloge/cast
distribucija/distributor
Paul Poet Caledonia Curry Achim Ecker Leonard Casely Erwin Straus...
Navigator film documentaries
aubagne international film festival, 2012. —Posebno priznanje za najbolji dokumentarni film worldfest houston, 2012. —Posebna nagrada žirija europske filmske nagrade, 2012. —Nominacija za najbolji srednjoeuropski dokumentarac
scenarij/writer
aubagne international film festival, 2012. —Special Award prix du film rebell world fest houston, 2012. —Special Jury Award european film awards, 2012. —Nomination for best European documentary
Empire me Empire Me – Der Staat bin ich!
Ručno rađene utopije – filmska potraga za svjetskim fenomenom pokreta mikronacija; “uradi sam” država koje su se distancirale od ekonomskog i političkog mainstreama globalizacije.
Radi se o istovremeno kreativnom dokumentarcu i pulsirajućem kulturnom portretu koji prati novu “unplugged” generaciju – njihove motive, strahove i snove.
Handmade utopias – a filmic search for the worldwide phenomenon of the micronation movement. Do-it-yourself states that have distanced themselves from the economic and political mainstreaming of
globalization. Simultaneously creative documentary and pulsating cultural portrait, the film traces a new “unplugged” generation – their motives, their anxieties and their dreams.
Empire me Empire Me – Der Staat bin ich!
subota/saturday 5.10.
20:00 art-kino croatia
Strogi mladić Strogiy Yunosha —sssr, 1934. žanr/genre
režija/director
Drama
Abraam Room
trajanje/duration
scenarij/writer
100 min
Yuri Olesha fotografija/cinematography
Yurii Yekelchik glazba/music
Gavriil Popov uloge/cast
Yurii Yuriev Olga Zhyznyeva Dmitry Dorliak Maxim Strauch Valentin Serov Irina Volodko Aleksandr Chistyakov Iz fonda Nacionalnog centra Oleksandr Dovženko/ From the National Centre Oleksandr Dovzhenko Fund
Filozofska i romantična drama o ljubavi i ljubomori u idealnom besklasnom društvu u budućnosti, jedan je od najzanimljivijih filmova sovjetske kinematografije iz 1930-ih godina. Radnja se odvija u prekrasnoj
Strogi mladić Strogiy Yunosha
bliskoj budućnosti. S jedne strane, likovi iz prošle ere poput briljantnog kirurga Stepanova su još uvijek živi, a s druge strane rađa se pleme savršenih ljudi koji izgledaju poput junaka iz grčke mitologije i koji aspiriraju apsolutnom idealu – savršenstvu
tijela i duše. Mladi član Komsomola i njegov prijatelj Diskobol stvaraju teoriju novog komunističkog morala koju s prijateljima pokušavaju slijediti svaki dan. No, stvari se zakompliciraju kada se glavni protagonist zaljubi u ženu
profesora Stepanova... Inovativan jezik u filmu izazvao je žestoke kritike stranačkih dužnosnika i daljnja prikazivanja su bila zabranjena sljedećih 30 godina.
A philosophical and romantic drama about love and jealousy in an ideal future classless society, one of the most interesting films of 1930s Soviet cinema. The action takes place in the beautiful near future. On one side, some characters of the bygone era, such as the brilliant surgeon Stepanov, are still alive. On the other side, a new tribe of perfect people, who look like the ancient heroes of Greek mythology, has been born. These young people aspire to
the absolute ideal – perfection of body and soul. A young Komsomol member and his friend Discobolus create a new theory of communist morality, which the friends try to follow in everyday life. But then the protagonist falls in love with the wife of Professor Stepanov. The pioneering film language caused fierce criticism of the party functionaries, after which the film was prohibited for the next 30 years.
Strogi mladić Strogiy Yunosha
izložba/exhibition
Jugoslavenski omladinski tisak kao underground press Yugoslavian youth press as underground press 1968. – 1972.
Zagreb | Beograd | Ljubljana
četvrtak/thursday 3.10.
petak/friday 4.10.
20:00
10:00 —11:30
muzej moderne i suvremene umjetnosti
muzej moderne i suvremene umjetnosti
Otvorenje izložbe/ Exhibition opening
Vođenje kroz izložbu/ Guided tour by Marko Zubak
Originalna naslovnica knjige Jerry Rubin vođe Yippies (jipija), često reproducirane u tisku/
Original book cover of Yippies leader Jerry Rubin, frequently reproduced in press
U jeku globalne studentske pobune, u ljeto 1968., u drugom broju novopokrenutog britanskog underground časopisa Black Dwarf, nedavno preminuli britanski pjesnik Christopher Logue objavio je legendarnu pjesmu Know Thy Enemy (Upoznaj svog neprijatelja). Logueova anti-kapitalistička poema otisnuta je na posteru u čijem se središtu nalazila velika fotografija šake s pečatnjakom s obrisima Che Guevare. Njegova plakatna poezija bila je odraz trenutka koji je tražio sveobuhvatnu revolucionarnu preobrazbu društva, ali i medija. Svega par mjeseci kasnije, ista se šaka pojavila na naslovnici Omladinskog tjednika, službenog glasila zagrebačkog saveza omladine, s insignijama prilagođenima domaćem ideološkom kontekstu. Logueove je stihove zamijenio usklik “Radikalno ili nikako”, a umjesto Che Guevare s prstena su u čitatelja bili upereni zvijezda i stilizirani srp i čekić. Iako ublažena, poruka je manje-više ostala ista: zahtijevale su se promjene i temeljite reforme. Ova neobična “posudba” najbolja je ilustracija leitmotive cijele izložbe: nesvakidašnje veze koja se krajem 1960-ih i početkom 1970-ih uspostavila između dva unikatna novinska žanra, nastala u sasvim drugačijim ideološkim okvirima. Glavna uloga tu pripada spletu časopisa namijenjenih omladini i izdavanih pod okriljem guste mreže omladinskih i studentskih organizacija poznatih pod nazivom omladinski tisak. Jugoslavenski komunisti spremno su prihvatili taj izvorni sovjetski koncept, nastao kao sastavni dio državnog propagandnog aparata s ciljem da se omladinu uputi na pravi put. I pritom su prihvatili i sve njegove glavne osobine. U skladu s marginalnim položajem svog izdavača, produljene ruke Partije, omladinski listovi dugo su vremena bili tek pamfleti, lišeni veće novinarske vrijednosti i stavljeni na marginu medijske scene.
In the summer of 1968, in the midst of the global student uprising, recently deceased British poet Christopher Logue published his now legendary poem Know Thy Enemy in the second issue of The Black Dwarf, a newly started London underground journal. Logue’s anti-capitalist cry was printed on a poster with a large photograph of a fist with a seal ring featuring the iconic image of Che Guevara. His poster poetry reflected a moment when a pervasive revolutionary transformation of society and media was being called for. Just a few months later, that very same fist reappeared on the cover of Omladinski tjednik (Youth Weekly), the official journal of the Zagreb socialist youth union – with insignia slightly adjusted to the local ideological context. Logue’s verses were replaced by the new journal’s motto “Radical or not at all.” Instead of Che Guevara, a stylized sickle and hammer pointed out from the seal ring towards the readers. The message, if watered down, stayed the same: the journal demand changes and thorough reforms. This unusual ‘adaptation perfectly illustrates the leitmotif of the entire exhibition: the uncanny connection between the two journalist genres developed in the late 1960s and early 1970s in completely different ideological contexts. The exhibition mainly deals with Yugoslav youth press, a common name for a range of various publications intended for the youth, and produced under the auspices of an extensive network of youth and student state organisations. Yugoslavian communists readily accepted this Soviet invention, originally devised as a part of the state propaganda apparatus, with the goal of steering the Yugoslav youth onto the righteous communist course. Along the
No, ova izložba zainteresirana je za neobičnu transformaciju koju omladinski tisak doživljava krajem 1960-ih, potaknut dotad najtemeljitijom reformom omladinskih i studentskih saveza. Nova samoupravna paradigma pokušala je omladinu uspostaviti u aktivnog igrača koji preuzima odgovornost za vlastitu sudbinu. Djelujući u specifičnom socijalističkom okružju, sve propusnijem spram zapadnih utjecaja, jugoslavenski omladinski tisak odbacuje zacrtanu transmisijsku zadaću postupno se pretvarajući u relevantni medij koji s margine odašilje svježe i dijelom subverzivne političke i kulturne poruke. Pritom mu je, ne uvijek svjesno i ne uvijek doslovno, kao svojevrsni uzor neočekivano poslužio britanski i američki underground press. Nastali na medijskoj margini i stvarani od samih aktera, časopisi poput The Berkeley Barba, Rata, Oza ili Ita bili
Grafički prilog uz tekst o underground pressu/Graphic supplement to the text on undeground press, Omladinski tjednik, 1969.
ď ´
Omladinski tjednik, Strip: Pero Kvesić, 1971.
way, they also adopted its main features. In line with the marginal position of the youth organizations that were only formally independent but in reality served as the transmission belt of the Party, the youth press remained bereft of journalistic values and was firmly placed on the margins of the media scene. However, this exhibition is interested in the unusual transformation of the youth press that took place in the late 1960s, prompted by the reform of the youth organizations. The new self-management paradigm tried to install the Yugoslav youth as an active figure which takes responsibility for its own destiny. Acting in the unorthodox socialist environment, one that was increasingly open towards Western influence, the youth press rejected its original propagandistic
su reakcija na učmalost mainstream medija. Otvoreni za razne eksperimente u sadržaju i formi, afirmirali su lijeve radikalne ideje studentskog pokreta i novi sex&drugs&rock’n’roll svjetonazor. Omladinski novinari različitim su kanalima dobivali underground časopise, bivajući iz
Omladinski tjednik, naslovnica/ cover, 1968.
ď ł
Pop-Express, naslovnica/cover, 1969.
tasks, turning into a relevant media, that transmitted fresh and subversive political and cultural messages. British and American underground press of the time served as an unexpected, if not always conscious or literal, role model. Journals like The Berkeley Barb, Rat, Oz or It emerged as a reaction to the hidebound mainstream media. Sprouting from the margins of the scene and created by the very participants, they were prone to experiments in content and form, and promoted the radical leftist
prve ruke fascinirani drugačijim porukama, načinom prezentacije i poimanjem novinarstva. Vođeni sličnim ljevičarskom patosom i potaknuti općom revolucionarnom atmosferom, preuzimali su i adaptirali njihove teme i heroje. Uslijed sličnih uvjeta, nesigurne egzistencije i pritisaka s kojima su se susretali, instinktivno su posezali za rješenjima koja su duhom bila slična onima do kojih dolazi underground press. Sve ovo moguće je uočiti na nekoliko razina.
Tribuna (LJubljana), studentski časopis/ student magazine, naslovnica/cover 24.12.1971.
ď ł
Tribuna, 1971.
ideas of the 1960s student movements and the developing sex&drugs&rock’n’roll worldview. Youth journalists acquired the underground journals through various channels and were immediately fascinated with their different messages, manner of presentation and perception of journalism. Led by a similar leftist pathos and inspired by an all-pervading revolutionary climate, they took over and
Omladinski tisak postaje organ studentskih pokreta koji se krajem 1960-ih i početkom 1970-ih formiraju u Beogradu, Zagrebu i Ljubljani. Listovi daju medijski glas pobunjenim studentima, ali i sami organiziraju njihove akcije, stupajući u sukob sa režimom. Promoviraju se i ikone globalne studentske i anti-imperijalističke pobune, od Rudija Dutschkea do kontroverznih Black Panthers, gerilske organizacije teško spojive sa samoupravnom ideologijom. Manifest vođe Yippiesa, Jerryja Rubina, Do it: Scenarios for Revolution (Učini to: Scenariji za revoluciju) tiska se posvuda kao da je riječ o kakvom marksističkom klasiku. Za razliku od underground pressa, omladinski tisak bio je ipak primarno politički orijentiran. Mlade novinare privlačio je alternativni životni stil hipija, no mučila ih je njihova apolitička indiferentnost. I rock kultura, uz par iznimaka, dolazi na stranice omladinskog tiska tek nakon što je dokazala svoj progresivni karakter. Idealni spoj pronađen je u politiziranoj anglosaksonskoj kontra-kulturi čija se pionirska djela, poput Bomb Culture Jeffa Nuttalla ili Play Power Richarda Nevillea, prezentiraju čitateljima u nastavcima. Njujorški anarhistički pjesnik i anti- -ratni aktivist Tuli Kupferberg, koji će u Makavejevom Misteriju Organizma ironično pozivati na pokolj studenata, po prvi se put u jugoslavenskom kontekstu pojavljuje na stranicama omladinskog tiska. Časopisi postaju i zagovornici seksualnih sloboda, ponekad shvaćenih kao sastavni dio političke emancipacije. Njihova seksualna revolucija, nalik svom američkom prototipu, bila je obojena muškim seksizmom i većinom ograničena na detabuizaciju seksualnog čina i žargona. Naposljetku, omladinski tisak postaje platforma za iskušavanje novih vizualnih koncepata na tragu undergrounda. Grafički urednici inovativno su koristili postojeća tehnička ograničenja, dekonstruirajući
Tribuna, 1971.
ď ´
Vidici, 1971.
adapted many of their themes and heroes. Amidst the similar conditions, insecure existence, and the rising pressure they faced, they instinctively reached for solutions that were similar in spirit to those of the underground press. All of this could be seen on several different levels. The youth press became an organ of the local student movements that formed in Belgrade, Zagreb and Ljubljana in the late 1960s and early 1970s. The journals
uobičajene grafičke obrasce. Mihajlo Arsovski i Kostja Gatnik, svaki na svoj način, oblikuju kultna godišta Pop-Expressa i Tribune gdje neobičnom upotrebom tipografije i fluorescentnim bojama uvode duh psihodelije i flower-power estetike u socijalističko okružje. U Beogradu, Slobodan Mašić kreira osebujni vizualni identitet Susreta, a Florian Hajdu, uz pomoć Lazara Stojanovića, eksperimentira s formom, mijenjajući iz broja u broj format Vidika.
Polet, 1968.
Student, 1971.
not only provided media space to the rebellious students, but organized their actions, thus coming into conflict with the regime. They promoted iconic leaders and symbols of the global student and anti-imperialistic uprisings, from Rudi Dutschke to the more controversial Black Panthers, a guerrilla organisation that was difficult to integrate with the ruling self-management doctrine. The Yippies’ manifesto, Jerry Rubin’s Do it: Scenarios for Revolution was printed everywhere as if it were some sort of a Marxist classic. Unlike the underground press, the Yugoslav youth journals remained by and large focused on politics. The alternative hippie lifestyle attracted the youth journalists, but equally troubled them by their apolitical indifference. Likewise, with but a few exceptions, new rock culture penetrated on the pages of the youth press only after it could prove its progressive nature. The ideal combination was found in the politicized American and British counterculture, whose pioneer works like Jeff Nuttall’s Bomb Culture or Richard Neville’s Play Power were presented to the readers in sequels. New York anarchist poet and anti-military activist, Tuli Kupferberg, who would later ironically call for a slaughter of students in Dušan Makavejev’s W.R. Mysteries of the Organism, appeared for the first time in the Yugoslavian context on the pages of the youth press. Youth journals advocated sexual freedom, at times seen as an integral part of political emancipation. Their sexual revolution, like the American prototype, was marked with male sexism and rarely reached beyond the de-tabooization of the sexual act and jargon. Finally, the youth press turned into a platform for visual experiments, in line with the underground aesthetics.
Baš kao i underground press, omladinski tisak rodno je mjesto alternativnog strip izričaja. Tu se pojavljuju prvi prijevodi budućih klasika, poput Roberta Crumba, ali i pionirska domaća ostvarenja Pere Kvesića, Bálinta Szombathyja i spomenutog Kostje Gatnika alias Magne Purge. Underground urednička politika nije prošla nezapaženo od strane režima. Redakcije časopisa suočavale su se sa sve jačim pritiscima vlasti koji su kulminirali uredničkim smjenama. Politička represija u Jugoslaviji početkom 1970-ih baca u krizu i omladinski tisak koji će se od ovog udarca oporaviti tek krajem desetljeća.
Pop-Express, 1968.
Graphic editors turned the existing technical limitations to their advantage, deconstructing the usual visual patterns. Mihajlo Arsovski and Kostja Gatnik, each in their own way, introduced the psychedelic spirit and the flower-power aesthetics to a socialist environment through their unusual use of typography and fluorescent ink in Pop-Express and Tribuna. In Belgrade, Slobodan Mašić created recognizable visual identity of Susret. Florian Hajdu, assisted by the notorious film director Lazar Stojanović, experimented with form, changing the format of Vidici from one issue to the other. Just like the underground press, the youth press was a birthplace of alternative comics. It is here where one could see first translations of classics like Robert Crumb, but also original works of local authors such as Pero Kvesić, Bálint Szombathy and the aforementioned Kostja Gatnik alias Magna Purga. This new underground policy of the journals did not go unnoticed by the regime. The journals’ editorial offices faced increasing pressure from the authorities, which frequently culminated in the forceful removal of the editors. Political repression in Yugoslavia in the early 1970s stroke a severe blow to the youth press that would not recover until the end of the decade.
Razgovori Rasprave Predavanja
Talks Discussions Lectures
petak/friday 4.10.
11:30 — 14:00 muzej moderne i suvremene umjetnosti
18:00 art-kino croatia
Kulturno nasljeđe socijalizma Cultural heritage of socialism rasprava / discussion
Utopijski aspekti sovjetskih filmova Utopian aspects of Soviet movies predavnje/lecture by
Olga Papash
subota/saturday 5.10.
10:00 — 12:00
Ostavština socijalizma Legacy of socialism
muzej moderne i suvremene umjetnosti
Ovidiu Tichindelenau
12:00 — 14:00 muzej moderne i suvremene umjetnosti
predavanje/lecture by
Rad sa socijalističkim nasljeđem Working with socialist heritage predavanje/lecture by
Mykhail Gluboky Ieva Astashovska Stefan Rusu
Diskurzivni program u okviru manifestacije Moje, tvoje, naše bavi se nasljeđem socijalizma i pitanjem koliko su pojedina dostignuća i vizije socijalizma primjenjive u suvremenom društvenom kontekstu. U današnjim društvima niz je otvorenih pitanja na koja niti tržište niti državna regulacija ne daju zadovoljavajuće odgovore. Socijalizam je eksperimentirao s raspodjelom imovine, upravljanjem zajedničkim dobrima, pokušavao je utjecati na formiranje “novog” čovjeka, udarnika koji svoju motivaciju nalazi u odobravanju zajednice, tražio je načine da se ljudi ne osjećaju otuđeno od samih sebe, od drugih ljudi, od rada, nastojao je pronaći modele širokog sudjelovanja u odlučivanju o pojedinim pitanjima, itd.
Mnogi od ovih pokušaja rezultirali su potpuno suprotnim učincima, ali mnogi od njih dali su važne rezultate koji zbog napuknuća cijele paradigme danas padaju u zaborav. Cijeli program ovogodišnje manifestacije Moje, tvoje, naše bavi se utopijama, vizijama bolje budućnosti koje često počivaju na romantizaciji ili prihvaćanju ideja iz prošlosti. Zbog toga u Rijeci želimo reaktualizirati naše socijalističko iskustvo kako bi izgradili bolju budućnost. Razgovori, rasprave i predavanja u okviru našeg programa prilika su za sve nas da podijelimo vlastita iskustva života u socijalizmu, naša saznanja o tom životu i da se informiramo o socijalističkim praksama koje su mnogostruke i raznovrsne jer, ne zaboravimo, nije postojao jedan socijalizam, nije postojao jedna put socijalizma nego mnogi od kojih i dalje možemo učiti.
The discursive programme of this year’s Mine, yours, ours Festival deals with the legacy of socialism and the question of how could certain achievements and visions of socialism be applied to the modern social context. Neither the market nor the state regulations provide satisfactory answers to many open questions that societies today are facing. Socialism experimented with the distribution of assets, management of shared goods; it tried to influence the formation of a “new� man, an outstanding worker whose motivation lies in the approval of the community. Socialism tried to avoid alienation from self, from others, from work; it tried to find models of wide participation in decisions on
specific issues. Many of these attempts resulted with opposite effects, but many provided important results, which have today fallen into oblivion. This year’s programme explores utopias, visions of a better future that are often based on romanticizing or accepting ideas from the past. Therefore we wish to revive our socialist experience in order to build a better future. Talks, discussions and lectures will provide an opportunity to share our own experiences and notions of life under socialism, to get informed about socialist practices that are multiple and varied, for lest we forget, there was no one socialism, nor was there one way of socialism, but many from which we can still learn.
Party
Ivan Krželj (dj) Denis Mikšić (vj)
četvrtak/thursday 3.10.
21:30 molekula
Party Ivan Krželj (dj) Denis Mikšić (vj)
produkcija/production
Drugo more partneri/partners
Galerija Galženica Galženica Gallery Nacionalni centar Oleksandr Dovženko Oleksandr Dovzhenko National Centre Savez udruga Klubtura/Clubture Art-kino Croatia Muzej moderne i suvremene umjetnosti Museum of Modern and Contemporary Art produkcija izložbe/ exhibition production
Galerija Galženica Drugo more koncepcija/concept
Davor Mišković producentica/producer
Ivana Katić asistentica producentice/ assistant producer
Petra Corva kustos izložbe/curator
Marko Zubak selekcija filmskog programa/ film selection
Dragan Rubeša, Ivan Kozlenko vizualni identitet/visual identity
Mario Aničić program su podržali/ programme is supported by
Zaklada Kultura nova Kultura Nova Foundation Europska kulturna fondacija European Cultural Foundation Ministarstvo kulture Republike Hrvatske Ministry of Culture of the Republic Croatia Grad Rijeka – Odjel za kulturu Department of Culture of the City of Rijeka Hrvatski audiovizualni centar Croatian Audiovisual Centre Primorsko-goranska županija Primorsko-goranska County medijski pokrovitelji/media support
Novi list, Radio Rijeka, Kulturpunkt.hr, Korzo.net, Teklić.hr
izdavač/publisher Drugo more urednici kataloga/catalogue editors Davor Mišković, Ivana Katić grafički urednik/art director Mario Aničić prijevod/translation Jele Dominis, Ivana Katić dizajn/design Mario Aničić, _ured grafička priprema/prepress Grafički ured, Zagreb tisak/print Printera grupa, Zagreb uvez/binding Offset tisak, Zagreb naklada/edition 300 primjeraka/copies
Program je dio međunarodnog projekta Cultural Translations. Revisiting Footnotes i organiziran je u suradnji s kulturnom platformom izolyatsia iz Donjecka (Ukrajina), Centrom za suvremenu umjetnost ksa:k iz Kišinjeva (Moldavija) i Latvijskim centrom za suvremenu umjetnost iz Rige. The programme is part of the international project Cultural Translations. Revisiting Footnotes and is organized in cooperation with the cultural platform izolyatsia, Donetsk (Ukraine), Centre for contemporary art ksa:k, Kishinev (Republic of Moldova) and Latvian centre for contemporary art, Riga.
Zaklada Kultura nova
primorsko - goranska županija
With the support of the media Programme of the European Union/ Uz potporu Programa media Europske unije
grad rijeka
www.galerijagalzenica.info www.art-kino.org