Konzumenti i/ili građani / Consumers and/or citizens

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09-12 10 [2008]

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Mine, yours, ours is an interdisciplinary project or festival (depending on need and viewpoint) covering a different theme each year. The theme of the first edition was ownership, that of the second was transition. The project was initiated with the intention of talking about themes of social interest in a manner that differst from that of the media covering those aspects of particular problems which are, being accepted as the unchangeable givens, most often neglected. Therefore the Mine, Yours, Ours project encompasses art exhibitions, film screenings, participatory events such as round tables and public discussions to specialized lectures, workshops and seminars whosw aim is to teach people to think and express themselves.

produkcija Drugo more partneri Amandla, Filozofski fakultet Sveučilišta u Rijeci, Infoshop Škatula, Manufaktura, Mirovni inštitut Ljubljana, Savez udruga Molekula Program su podržali Grad Rijeka – Odjel za kulturu, Ministarstvo kulture RH, Nacionalna zaklada za razvoj civilnog društva, Zaklada Sveučilišta u Rijeci Medijski pokrovitelji Novi List, Radio Rijeka, Radio Svid, Radio Trsat

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Moje, tvoje, naše je interdisciplinarni projekt ili festival (ovisno o potrebi i gledanju) koji se svake godine bavi drugom temom.

Tema prvog izdanja bilo je vlasništvo, a drugog tranzicija. Projekt je pokrenut s namjerom da se progovori o temama od društvenog interesa na način koji nije prisutan u medijima tj. da se obrade oni aspekti pojedinih problema koji se najčešće zapostavljaju jer ih se prihvaća kao nepromjenjive datosti. Tako se u okviru projekta Moje, tvoje, naše organiziraju umjetničke izložbe, filmske projekcije, participativni događaji poput okruglih stolova, javnih rasprava, pa do specijaliziranih predavanja, radionica i seminara koji bi ljude trebali obučiti da razmišljaju, da se izražavaju.

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consumers and/or citizens

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konzumenti i/ili građani

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Tema/The theme

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Ove godine temu projekta Moje, tvoje, naše nazvali smo Konzumenti i/ili građani pokušavajući zahvatiti odnos između dvaju koncepcija koje određuju naše bivanje u javnoj sferi.

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This year’s theme of the Mine, Yours, Ours project is titled Consumers and/or Citizens, in an attempt to grasp a relation between two concepts that define our being in the public sphere.

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The project Mine, Yours, Ours project includes the Independent Publishing Fair organized by Infoshop Kabuli and Amanda, dominated by vegan food, punk sounds and anarchist iconography. The fair is a living organism which became, during the past two years, one of the regional gathering points of an unusual group of young antiglobalists and anarchists (mostly by their conviction), an event that simply stimulates a lively exchange of thoughts and ideas. The fair is a chance to feel all the weaknesses of today’s activism, but also a possibility to get convinced in the existence of noncommodified human interrelation.

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U okviru projekta Moje, tvoje, naše održava se i Sajam nezavisnog izdavaštva kojeg organiziraju udruge Infoshop Škatula i Amandla. Na sajmu uz vegansku kuhinju dominira punk zvuk i anarhistička ikonografija.

Sajam je živi organizam, a kroz protekle dvije godine nametnuo se kao jedno od regionalnih okupljališta neobične skupine mladih antiglobalista i anarhista, većinom po uvjerenju, koja naprosto potiče na živahnu razmjenu mišljenja i ideja. Sajam je prilika da osjetimo sve slabosti današnjeg aktivizma, ali i mogućnost da se uvjerimo u postojanje nekomodificiranog međuljudskog odnosa.

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The Mine, Yours, Ours project is accompanied by the mediating and educational programmes relating to the project’s very subject and the tools to be used for action in the public sphere.

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Projekt Moje, tvoje, naše prate medijacijski i edukacijski programi koji se odnose na samu temu projekta, ali i na alate kojima se može djelovati u javnoj sferi.

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Ključni socijalni događaj vezan uz Moje, tvoje, naše je disko večer, uglavnom svima nam znane trash muzike 80-tih, koja je do sada uspjela rasplesati sve prisutne, a nadamo se da će tako biti i ovog puta.

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A key social event connected to Mine, Yours, Ours is the disco night, featuring the all-familiar 80s trash muswhich previously succeeded in drawing everyone to the dance floor and will hopefully continue to do so in the future.

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Program

09-12 10 [2008]

Akcija Uzmi ili ostavi traje za vrijeme cijele manifestacije i odvija se u HKD-u i Molekuli./ Take It or Leave It action goes on during the entire event at both HKD and Molekula.

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Četvrtak/ thursday

20:00

09.

10.2008.

galerija Kortil/ Kortil Gallery

petak/ friday

10:00 HKD

10.

10.2008.

10:00 molekula 11:00 hkd 15:00 hkd 19:00 hkd

20:00 hkd

Otvorenje izložbe/ exhibition opening Škart

Početak konferencije / start of the conference Konzumenti i/ili građani /Consumers and/or citizens Radionice/workshops Slobodni putujući radio/ Free travelling radio Internet radio/Internet radio Otvaranje/opening Sajma nezavisnog izdavaštva/ Independent Publishing Fair II. sesija konferencije 2nd session of the conference Konzumenti i/ili građani /Consumers and/or citizens Predstavljanje knjiga/ book presentations Kako potrošiti svijet? – mala škola ratova za resurse Dražena Šimleše How to spend a world? – small school of wars for resources by Dražen Šimleša O transrodnosti i seksualnom radu grupe autorica On Transgendering and Sexual Work by the group of authors, Queer Beograd

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petak/ friday

10.

10.2008.

subota/ saturday

11.

10.2008.

20:00 molekula 20:30 molekula

10:00 hkd 10:00 kont/hkd 10:00 molekula

11:00 korzo 12:00 kont 13:00 kont 17:30 molekula

Predstavljanje stripa/ presentation of the comic Priče iz Ž+K! Envera Krivca Stories from Ž+K by Enver Krivac Predstavljanje knjige/ book presentation Noć uz Rijeku Alena Kapidžića Night by the River by Alen Kapidžić

III. sesija konferencije/ 3rd session of the conference Konzumenti i/ili građani /Consumers and/or citizens Sajam nezavisnog izdavaštva Independent Publishing fair Radionice/ workshops: Osnove GNU/Linuxa GNU/Linux basics Recikliranje materijala/ Recycling Nastup Muških vezilja/ Male Embroiders Predstavljanje knjiga/ book presentations Janko Polić Kamov

by Vladimir Čerina Vijesti iz Nigdine/ News from Nowhere

by William Morris Teroristički manifest/ Terrorist Manifest

by Darko Pivac

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subota/ saturday

11.

10.2008.

18:00 molekula 19:00 hkd

20:00 hkd

21:00 molekula 23:00 molekula

NEDJELJA/ sUNday

12.

10.2008.

1:00 HKD 12:00 MOLEKULA 13:00 hkd

Predstavljanje/ presentation Caffe Libertad/Caffe Libertad Predstavljanje knjiga/ book presentations Obrisi pironizma/ Outlines of Pyrrhonism

by Filip Grgić Redefiniranje naših odnosa – smjernice za odgovorne otvorene odnose/Redefining Our Relationships: Guidelines for Responsible Open Relationships

by Wendy O-Matik Nastup/PERFORMANCE zbora/choir Proba Disko večer/disco night

Sajam nezavisnog izdavaštva/ Independent Publishing Fair Predstavljanje knjige/ book presentation Vodič za shoplifting/ Shoplifting Guide Predstavljanje/PRESENTATION Z magazina, te publikacija Glas radnika, Glas izbeglica i Glas studenata/Z – magazine, Voice of Workers, Voice of Exiles, Voice of Students

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izloĂŚba exhibition

ĹĄkart galerija kortil kortil gallery

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The project’s framework will include a retrospective exhibition of Škart, a Belgrade based art collective, a concert of Proba choir and a performance of male embroiderers who will make wall embroideries in front of the audience (both of these collectives are linked to Škart). Škart Collective does equally well in activist, artistic and designer spheres which are all connected through refusal to commodify their own work and through their appeal to citizens’ consciousness. Through their work the collective unrestrainedly introduces its own attitude into the public sphere not as an art conception but as a political statement with real public consequences. Škart basically uses different languages – visual, aural, tactile – to persuade us that we can exist as citizens.

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U okviru projekta održat će se retrospektivna izložba beogradskog umjetničkog kolektiva Škart, koncert zbora Proba i nastup Muških vezilja koji će pred publikom vesti zidnjake (oba ova vezana su uz djelovanje Škarta). Kolektiv Škart podjednako se dobro snalazi u aktivističkom, umjetničkom i dizajnerskom području, a ono što povezuje njihov rad u svim navedenim područjima jest odbijanje komodifikacije vlastitog rada i apel na građansku svijest. U svojim radovima Škart bez ustezanja unosi vlastiti stav u javnu sferu ne relativizirajući ga kao umjetničku koncepciju nego ga iznoseći kao politički stav s realnim javnim konzekvencama. Škart zapravo koristi različite jezike – vizualne, auralne, taktilne – kako bi nas uvjerio da možemo postojati kao građani.

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Četvrtak, 9.10.2008.

20:00 – Otvorenje izložbe: Škart, galerija Kortil Thursday, 9 October at 20:00 Exhibition opening: Škart, Kortil Gallery

škart

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Å¡kart

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muške vezilje Subota, 11. 10. 2008.

11:00 – Nastup Muških vezilja (Korzo) Saturday 11 October 11.00 Male Embroiders (Korzo)

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muĹĄke vezilje 25

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proba Subota, 11. 10. 2008.

21:00 – Nastup zbora Proba (Molekula) Saturday 11 October 21.00 Proba choir (Molekula)

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Škart* o istini u štamparskoj grešci Škart* – Truth About the Printing Error * Škart = reject, discarded, junk, trash, deadwood, waste, scrap.

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Ivana Momčilović kolektiv Eimigrative art 30.09.2008, Brisel

Udarničku i višedecenijsku produkciju dvočlanog grafičkog kolektiva Škart nemoguće je nabrojiti, a još manje se na nju osvrnuti na samo jednom parčetu papira. Za celokupni prikaz trebalo bi nekoliko puta po nekoliko tabaka.

U očekivanju istinske studije (knjige) o Škart nasleđu pomenućemo samo neke. Meandrirajući između različitih žanrova i iskustava – grafičkog dizajna, performansa, poezije, muzike, veza, video zapisa, arhitektonskog senzibiliteta za novu konstrukciju društvene stvarnosti i društvenog angažmana – r(ij)eka Škart koja teče, i kojom mnogi plove, od 1990. godine napojila je brojne pritoke. No, zvučni plakati scensko-muzičko-poetskofilmski radovi (od kojih onaj Armatura), arhitektonska istraživanja o poetskom lebdenju, arhitektonska istraživanja o novom betonu grafičkog dizajna, arte-poveri samizdati (od kojih Tuge), kartonske i pak-papirske instalacije (od kojih Hello Charley – posvećeno Čarliju Gijardu, jednom od poslednjih njujorških lift vozača), različita agit-propovska pozamanterija (bedževi “Tvoj izmet tvoja odgovornost”); bonovi za “r-evoluciju, čudo, reč i ostalo”, rad na osnaživanju horskog i veziljskog potencijala narodnih masa, ipak su samo treptaji u oku onog pažljivog posmatrača koji pokuša da zadrži pogled i pre svega sagleda složeni Škart fenomen.

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Ivana Momčilović Emigrative Art Collective 30 September 2008 Brussels

The striking production of Škart, a twomember graphic collective, in the past two decades is impossible to list, let alone review on a single piece of paper.

For an integral review a few volumes probably wouldn't be enough. While waiting for the true study (book) on Škart heritage, we shall mention just a few of their achievements. Meandering between various genres and experiences – graphic design, performance, poetry, music, relations, video recordings, architectural sensibility for new construction of social reality and social engagement – the journey of Škart, along with its many travellers has influenced many since 1990. The sonorous posters, theatricalmusical-poetical works (Armature); architectural researches on poetic floating and the new concrete of graphic design; arte povera self-publication (Sorrows); cardboard and wrapping paper installations (Hello Charley, a work dedicated to Charley Giard, one of the last lift boys in New York); various agitprop accessories (badges Your Excretions – Your Responsibility); vouchers for “(r)evolution, miracle, word and all”; work on strengthening the choir and embroidery potential of the masses are all but flickers in the eye of the careful observer who attempts to hold his/her gaze and to comprehend the complex Škart phenomenon.

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Namera nam je da se ovom prigodom (prve samostalne retrospektivne izložbe Škart-a u Rijeci) na kratko zadržimo na jednom od najčešćih pristaništa Đorđa Balmazovića i Dragana Protića, onom kome se vraćaju posle svih okolnih traganja: Škart grafičko-proizvodnom pogonu.

Naime, svakome ko je bio gost u jednom od njihovih brojnih podstanarskih studija (videti rad “podstanarske tuge”), između brojnih škart-kartončića (kao onih na kojima su štampane Tuge), škart-kutijica za jednu poetsku poruku (kao onih “Poruke”), nalepnica, plakata, bedževa, ceduljica, maketa, grejalica, rešoa te

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gajbica na kojima se može sedeti, ali i prespavati, u oči ne bi upravo nikada zapala kolekcija od 300 (i slovima trista) dobro sakrivenih knjiga čije grafičko oblikovanje je Škart tandem BalmazovićProtić iznedrio. Komentar njihovog vernog štampara Radeta Košničarevića iz štamparije Standard 2, povodom ovog (slučajnog) otkrića bio je kratak: “Knjigama koje su osmislili, koje su uradili i za koje su radili moglo bi da se “poploča” 3 livade.” Imajući u vidu da Rade štampar živi i radi na Avali, planini nadomak Beograda, dakle među livadama, držimo da je znao šta govori.

Tako je, kolekcijom od “3 livade” grafički oblikovanog materijala te dragocenim

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On this occasion (the first solo retrospective exhibition of Škart in Rijeka) our intention is to briefly stop at one of the most frequent landing places of Đorđe Balmazović and Dragan Protić - Škart Graphics - Productive Plant. A place to which they return after all of their quests.

Between numerous Škart cardboards (such as those on which Sorrows have been printed), Škart boxes for a single poetical message (as in Messages), stickers, posters, badges, slips of paper, scale models, heaters, cookers and boxes on which one can sit or sleep, the collection of 300 (three hundred) well hidden books which were designed by Balmazović-Protić tandem would never catch attention of anyone who has been a guest in one of their numerous subtenant studios (see work Subtenant Sorrows). This accidental discovery was commented by their faithful printer Rade Košničarević from Standard 2 Print House as follows: “Books that those two conceived, realized and to which they contributed could be used to tile three entire meadows.” Having in mind that Rade lives and works at Avala, a mountain close to Belgrade and is therefore amongst meadows, we deem he knew what he was talking about.

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Therefore, with “3 meadows”, a collection of graphic materials and a precious sense for experiment, Škart managed to give the world a fine library with some of the most beautiful samples of new graphic sensibility. A flat book, a long book, a yellow striped book (dedicated to Belgrade Jewish Community 1941-1945), a shaggy book, a book with pockets, a book in a paper bag, a bus ticket book and many, others. To this literary opus one should definitely add wall papers, catalogues, magazines, posters, seals (various ones and especially dry ones) in order to feel sincere passion that Balmazović and Protić nurture for printed materials, as well as their respect for the printers. As a token of recognition of the greatest truth “in error”, they gave the printers an opportunity to design themselves posters they (Škart) were commissioned to do.

It is worth mentioning Škart admitted the printers design was “better” than their own. The key to Škarts art and life manifesto can be found in the scent of printing inks, amongst indiscernible printers' jargon, the noise of machines and the sweat of pressing deadlines, amongst the scraps of printed volumes (exactly those upon which they founded the axioms of Škart poetics). “The poetry will be written by all” and according to Škart everyone is going to sing and embroider (project with no audition:

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osećajem za eksperiment, Škart uspeo da ostavi ovom svetu biblioteku sa nekim od najlepših primeraka istinski novog grafičkog senzibiliteta: pljosnatu knjigu, dugačku knjigu, knjigu sa žutom trakom (posvećeno jevrejskoj zajednici Beograda 1941 – 1945.), čupavu knjigu, knjigu sa džepovima, knjigu u papirnatoj kesi, knjigu-autobusku kartu i mnoge, mnoge druge. Književnom opusu svakako treba pridodati i zidne novine, kataloge, magazine, plakate, pečate (razne i naročito one suve), da bi se osetila iskrena strast Balmazovića i Protića prema štampanom materijalu kao i živo poštovanje prema štamparskim radnicima (kojima su, kao znak priznavanja najveće istine “u grešci”, davali da sami po sopstvenom izboru u slovoslagačnici “dizajniraju” plakate za koje su bili angažovani. (Važno je napomenuti da Škartovci svedoče kako je dizajn pomenutih plakata bio “bolji” od njihovog ). U mirisu štamparske boje, među nerazgovetnim žargonom štamparskih radnika, uz buku mašina i znoju neodložnih termina, u otpatcima i restlu štamparskih tabaka (baš onih na kojima su postavili aksiome svoje škart-poetike), treba tražiti i ključ Škart umetničkog i životnog manifesta. Kao što će “poeziju svi pisati”, a prema Škartu je i svi pevati i vesti (projekat bez audicije: Horkeškart i Kuvarice), škart je jedini preostali art. On ukida dvoklasnu podelu

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na izvođače i posmatrače, eksperte i diletante. Radeći na štamparskim otpatcima, škart-papiru, na restlu (mnogo pre mode recikliranih materijala), boreći se za “pravo na štamparsku grešku”, Škart je zapravo dokazao da škarta nema. Ili da smo svi škart. Kako se uzme, u ova veoma turobna, ali i jednako buntovnička i nepristajuća vremena.

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Horkeškart and Cooks) - leaving Škart as the only remaining art. It abolishes the two-class division of performers and observers, experts and dilettantes.

Working on printing waste and scrap paper (long before the fashionable use of recycled materials), fighting for a “right to a printing error”, Škart has actually proven there is no waste. Or that we are all waste. Whichever fits us better, in these plaintive - yet also rebellious and nonconforming times.

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10-11 10 [2008]

Međunarodna konferencija International conference

građanstvo i/ili konzumerizam citizenry and/or consumerism

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One of the central events of this year’s edition of Mine, Yours, Ours project is the international conference with the theme CONSUMERS AND /OR CITIZENS, jointly organized by the Department of Cultural Studies from the Philosophical Faculty of the University in Rijeka, a nonprofit organisation Drugo more and Mirovni inťtitut from Ljubljana.

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Jedan od središnjih događaja ovogodišnjeg izdanja projekta Moje, tvoje, naše je međunarodna konferencija na temu KONZUMENTI I/ILI GRAĐANI koju zajednički organiziraju Odsjek za kulturalne studije Filozofskog fakulteta Sveučilišta u Rijeci, neprofitna organizacija Drugo more iz Rijeke i Mirovni inštitut iz Ljubljane.

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Davor Mišković

Odgovor na pitanje da li smo konzumenti (kapitalističke kulture) ili građani (države), ili oboje ovisan je o našem stavu prema javnoj sferi i mogućim oblicima participacije u javnom životu. Konzumerizam počiva na organizaciji društvenog života u kojoj je krajnji odlučitelj o pitanjima vlastitog života individua, građanstvo pak počiva na takvoj organizaciji društvenog života u kojoj odluke o životu individue donosi zajednica putem složenih i često različitih mehanizama. Osvrnemo li se oko sebe odmah

uviđamo da nas obavijaju obje forme organizacije društvenog života. Pa ipak, pitanje o odnosu konzumenta i građana ne odnosi se na sve aspekte našeg života nego na one koje vidimo kao javne. Javna sfera postaje moguća tek s nastankom moderne, racionalne forme društvene organizacije, kada se razdvajaju privatna i javna sfera. Habermas javnu sferu vidi kao diskurzivni prostor u kojem individue raspravljaju i ponekad dolaze do zajedničkog stajališta o pitanjima od zajedničkog interesa.

Javna sfera tako postaje

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prostor u kojem dolazimo do onih zaključaka koji se pretaču u političke odluke i oblikuju naš društveni život. U tako zamišljenoj javnoj sferi nema mjesta trivijalnim pitanjima ili vrlo specifičnim interesima, nego se problematiziraju područja za koja se pretpostavlja da su od javnog, našeg zajedničkog, interesa. U javnoj sferi rasprava se vodi argumentirano, a odluke se donose nakon racionalne diskusije.

Takvom javnom sferom dominira kvalitetna kultura, koja koristi komercijalne kanale distribucije, ali se ne

stvara pod imperativom profita. Nasuprot tome, nalazi se komercijalizirana i senzacionalistička kultura kojoj je primarni cilj ostvarivanje profita.

Ovisno o tome koja kultura dominira javnom sferom mijenja se i njezin sadržaj, način argumentacije i forme participacije te, naposljetku, i naš odnos prema javnoj sferi. Kao krajnju simplifikaciju taj naš odnos možemo odrediti kao binaran, tj. možemo biti pasivni konzumenti ili aktivni građani.

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Davor Miťković

The answer to the question whether we are consumers (of capitalist culture) or citizens (of the state) or both depends on our attitude towards the public sphere and possible forms of participation in public life. Consumerism is based on such organization of social life where an individual ultimately decides on the issues of his/her own life.

The citizens, on the other hand, rely upon such organization of social life where the community makes decisions on individual's life through complex and often diverse mechanisms. If we look around, we immediately

realize we are surrounded by both forms of social life organization. Yet, the question of the relation between consumers and citizens does not refer to all aspects of our life, only to those which we see as public. The public sphere becomes possible only with the rise of the modern, rational form of social organization, when private and public sphere get separated. Habermas sees the public sphere as a place of discourse where individuals discuss and sometimes reach a shared viewpoint on questions of common interest. The public sphere thus becomes a

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place where we reach those conclusions which translate into political decisions and shape our social life. Thus conceived, the public sphere leaves no space for trivial issues or very specific interests it problematizes domains which are regarded to be of public, common interest. Debate is wellargumented in the public sphere and decisions are reached after rational discussion. Quality culture dominates such public sphere using commercial distribution channels, but is not created under the imperative of profit. Contrary is the

commercialized and sensationalist culture whose primary aim is to make profit. Depending on which culture dominates the public sphere, the latter’s content changes, along with the argumentation modes and participation forms and, finally, our relation to the public sphere.

Ultimately simplified, this relation can be defined as binary i.e. we can be passive consumers or active citizens.

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• kakav je karakter suvremene kulture odnosno javne sfere • what is the character of contemporary culture i.e. public sphere

?

• kako se odvija politička participacija, na temelju kojih informacija tåe kakva je priroda diskusije u javnoj sferi • how does political participation evolve, based on what information, what is the nature of discussion in the public sphere

?

Conference CITIZENRY AND/OR CONSUMERISM will be used to problematize this relation through rational discourse as argumented by Habermas, attempting to answer some of the following questions:

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• utječe li kulturna politika na formiranje javne sfere ili se povukla u oazu visoke kulture • does cultural policy affect the forming of the public sphere or has it retreated into the oasis of high culture

?

• dominira li javnom sferom ekonomska racionalnost i je li profit jedini imperativ u javnom djelovanju?

• does economic rationality dominate the public sphere and is profit the sole imperative of public action

?

Konferencija GRAĐANSTVO I/ILI KONZUMERIZAM poslužit će nam da problematiziramo ovaj odnos kroz racionalni diskurs kakvog zagovara Habermas, te ćemo pokušati odgovoriti na neka od sljedećih pitanja:

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56 Konferencija KONZUMENTI I/ILI GRAĐANI održat će se na pozornici HKD-a. U okviru konferencije održat će se tri plenarne sesije. Konferencija će se održavati na engleskom jeziku. Evo rasporeda rada konferencije: Conference CONSUMERS AND/OR CITIZENS will be held at HKD stage. working language is english.

Conference schedule

I. sesija/1st session petak/friday (10:00 – 13:30 h) Moderator Nenad Fanuko Uvodničari/keynoters Ivana Momčilović: Politika začudnosti – vanpartijska politička participacija/ Politics of Wonderment Non-party Political Participation Stephen Wright: Be For Real – korisnik kao izazov elitnoj kulturi i konzumerizmu/ Be For Real: the user as a challenge to expert culture and consumerism Ivana Spasić: Pornografija “javnog interesa”/ Pornography of “public interest” Sanja Puljar D’Alessio: Televizijski gledatelji – konzumenti (kapitalističke) kulture i sustvaratelji javne sfere/ TV spectators – consumers of (capitalist) culture and co-creators of public sphere

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II. sesija/2nd session petak/friday (15:o0 – 18:00 h) Moderator Davor Mišković Uvodničari/keynoters Nada Švob Đokić: Kultura zaborava: kreativni prostor kulturnih promjena/ Culture of Oblivion: creative space of cultural changes Aldo Milohnić: Urbani konzumerizam u doba postfordizma/ Urban Consumerism in the Age of Post-Fordism Ognjen Čaldarović i Jana Šarinić: Javno i privatno: Što su to javni prostori u suvremenom urbanom prostoru?/ Public and private: what are public spaces in contemporary urban space?

III. sesija/3rd session subota/saturday (10:00 – 13:30 h) Moderator Aldo Milohnić Uvodničari/keynoters Maja Breznik: Između “razgovora o kulturi” i “razgovora o pravima”/ Between »culture talk« and »rights talk« Davor Mišković: Nacionalne institucije i/ili međunarodno tržište?/ National institutions and/or international market Anthony Credland: Mreže autonomije – otvaranje prostora za kritički angažman/ Networks of Autonomy - opening up spaces for critical engagement Benedikt Perak: Duhovnost prilagođena tržištu/ Market Wise Spirituality

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SaĹžetci izlaganja Summaries

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Politika začudnosti – vanpartijska politička participacija

Ivana Momčilović

Polazeći od teze Alena Badjua (Alain Badiou) da doktrina začudnosti (očuđavanja, oneobičavanja, distanciranja, V-efekta), koju Bertold Breht postavlja kao osnovni aksiom epskog teatra budućnosti, stavlja na videlo preciznu demontažu odnosa između glume i realnog, lica i maske, privida i stvarnosti baš kao što ideologija u svojoj kvaziteatralnosti na scenu postavlja figure reprezentacije pri kojima osnovno nasilje društvenih odnosa (iskorištavanje, tlačenje, cinizam nejednakosti ) uvek ostaje maskirano.

Naše izlaganje će pokušati da izloži aksiome nove politike od strane ljudi, “politike na distanci”, koju zastupaju francuski mislioci Alen Badju (Alain Badiou), Silvan Lazarus (Sylvain Lazarus) i Nataša Mišel (Natacha Michel) u svojim teoretskim radovima, a uz mnogobrojne saborce, već više od 40 godina i u praksi.

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Politics of Wonderment Non-party Political Participation

Alen Badiou thesis that the principle of wonderment (oddness, curiousness, distancing, V-effect), which Bertolt Brecht postulates as the basic axiom of the epic theatre of future, outlines a precise deconstruction of the relation between acting and real, face and mask, perception and reality. Just as ideology, with its pseudo-theatricality, stages representational figures whereby the basic violence of social relations (exploiting, oppression, cynicism of inequality) always remains masked. This exposition is, therefore, an attempt to present axioms of new politics coming from people - “politics on a distance�.

This was supported in the theoretical works of French theoreticians Alen Badiou, Sylvain Lazarus and Natasha Michel as well as in practice with numerous fellow-fighters for more than 40 years.

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Be For Real – korisnik kao izazov elitnoj kulturi i konzumerizmu

Stephen Wright

U proteklom desetljeću svjedočili smo proširenju nove kategorije političkog subjektiviteta – korisnika – koji se postavlja kao alternativa pasivnom promatraču u umjetnosti, ali i vlasniku i konzumentu općenito. Korisnik se obično uključuje u kategoriju konzumenta – osobito od strane eksperata i uopće elitne kulture – no čini mi se da je ovu predrasudu potrebno otkloniti. Korisnikov užitak proizlazi iz znanja temeljenom na ekskluzivnoj upućenosti u uslugu ili predmet koja proizlazi iz same upotrebe, što u središte vraća ključno pitanje kritičke teorije – upotrebnu vrijednost umjetnosti i kulture.

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Be For Real: the user as a challenge to expert culture and consumership

In the past decade we have witnessed the positive expansion of a new category of political subjectivity - that of a “user� as an alternative to a passive spectators in art and to an owner and consumer in general. Users tend to be written off as consumers, particularly by experts and expert culture - though it seems this prejudice should be dismissed. Users pleasure comes form knowledge based on exclusive familiarity of a service or object of use. This brings forth the core question of critical theory: the use-value of art and culture.

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Pornografija javnog interesa

Ivana Spasić

Tema ovog izlaganje jeste tzv. medijsko tržište u Srbiji koje, svojom prenapučenošću i izrazitim “žutilom”, nameće niz neugodnih pitanja u vezi s pojmovima kao što su sloboda štampe, javnost, javni interes, kritička misao, istraživačko novinarstvo, pravo na informaciju, dijalog, audiatur et altera pars i slično. Ove kategorije, koje se na opštem nivou mogu misliti kao neizostavni elementi demokratije i oslonci njene normativnosti, kontekstualizacijom u određenu empirijsku realnost postaju izuzetno skliski i rizični. Sudar demokratske retorike, tržišno-komercijalnih principa i podzemnih struktura moći, proizvodi, u Srbiji danas, haotično mnoštvo bučnih i jednako (ne)plauzibilnih glasova. Da li se s takvom “javnošću” može biti građanin?

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Pornography of public interest

The subject of this exposition is the so called media market in Serbia which, through its congestion and accentuated sensationalism, imposes a series of unpleasant questions relating to such notions as the freedom of the press, the public, public interest, critical thought, investigative journalism, right to information, dialogue, audiatur et altera pars and similar. These categories, generally considered as unavoidable elements of democracy and the pillars of its normativeness, become exceptionally questionable and risky when put within context of a certain empirical reality.

In today’s Serbia the clash between democratic rhetoric, market-commercial principles and underground power structures produces chaotic multitude of noisy and equally (im)plausible voices.

Can one be a citizen with such a “public” domain?

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Televizijski gledatelji – konzumenti (kapitalističke) kulture i sustvaratelji javne sfere

Sanja Puljar D’Alessio

U izlaganju će se gledanje televizije predstaviti kao ritual svakodnevice koji omogućuje simboličko sudjelovanje u nacionalnoj zajednici (i svim ostalim zajednicama) istovremenim konzumiranjem i stvaranjem kulturalnih značenja. Govorit će se o gledanju televizije kao o činu u kojem se isprepliću dvije forme organizacije društvenog života: ona temeljena na individualnosti i ona javna. Budući televizija posjeduje bardska svojstva te je kao pojava vrlo bliska oralnoj kulturi, teme kojima se bavi (pa bile one i od zajedničkog interesa) često se prenose i preoblikuju putem trača. I obratno: u ovakvoj javnoj sferi trivijalna pitanja često postaju od javnog interesa. Stoga rasprava o tome da li javnom sferom dominira tzv. kvalitetna kultura ili pak ona “komercijalizirana”, nije lako razrješiva (pogotovu uključenjem u polemiku o postojanju hijerarhije među kulturama).

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Television Spectators – Consumers of (capitalist) Culture and Co-creators of Public Sphere

The exposition will present watching TV as a quotidian ritual that enables symbolic participation in national (and other) communities via simultaneous consummation and creation of cultural connotations. TV watching will be presented as an act where two forms of social life organization intertwine: one based on individuality and the other public. Since television possesses bardic features and, as a phenomenon, is very close to oral culture, the themes it processes (even those of common interest) are often transmitted and reshaped through gossip. And vice versa: in such a public sphere trivial issues often become of public interest.

Therefore discussion on whether public sphere is dominated by the so called quality culture or is it “commercialized” does not easily yield solutions (especially if there are polemics on the existence of cultural hierarchy).

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Kultura zaborava – kreativni prostor kulturnih promjena

Nada Švob Đoki

Kultura je postala sveprisutna u suvremenom životu i označava sve ljudske aktivnosti i odnose (kultura mira, kultura rata, kultura komuniciranja, ophođenja, kultura potrošnje…). To je rezultat kulturne industrijalizacije podržane suvremenim tehnološkim razvojem. Industrijska proizvodnja kulturnih vrijednosti i dobara “izvukla” je kulturno stvaralaštvo iz sfere uzvišenog, gotovo nedodirljivog objekta užitka, divljenja, identifikacije i uvela ga u rutinu zadovoljavanja svakodnevnih potreba.

Kulturne industrije naglo rastu.

Industrijski način proizvodnje funkcionalno povezuje kulturnu kreativnost s novim tehnologijama te masovnom produkcijom, reprodukcijom i standardizacijom. Šire se tržišta kulturnih vrijednosti i dobara i potiču sve intenzivniju kulturnu potrošnju. Gotovo

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Culture of Oblivion: creative space of cultural change

Culture has become all-present in contemporary life, marking all human activities and relations (peace culture, war culture, communication culture, consumer culture...). This is a result of cultural industrialization supported by modern technological development. Industrial production of culture values and goods has “drawn out� cultural creation from a sphere of exalted, almost untouchable object of pleasure, admiration and identification and pushed it towards a routine of satisfying everyday needs. Cultural industries expand rapidly. The industrial production functionally connects cultural creativity to new technologies, mass production, reproduction and standardization. Markets of cultural values and goods are expanding and stimulating the ever intensive cultural

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bez prestanka slušamo glazbu, gledamo filmove i razne medijske programe, čitamo tekstove, komuniciramo… Naše se vrijeme “produbljuje” i intenzivira.

U njemu su kulturni izbori i ukusi ekstremno individualizirani, vrlo promjenljivi i sve neovisniji od nekog uspostavljenog kulturnog konteksta. Iz kulturnih industrija razvijaju se “industrije iskustva”.

Da bismo mogli iskusiti novo ili nepoznato, zaboravljamo već konzumirane sadržaje i značenja, eliminiramo vrijednost simboličkih poruka. One postaju sve sažetije i sve podložnije prezentaciji u različitim kulturnim kontekstima i različitim vremenima. To omogućuje globalnu distribuciju kulturnih vrijednosti i proizvoda.

O kulturi zaborava govorimo, dakle, kao o napuštanju već strukturiranih kulturnih vrijednosti i sustava (nacionalne kulture, etničke kulture), kao o otvaranju novih kreativnih prostora koji su obilježeni dinamičnom interkulturnom komunikacijom, globalnom kulturnom industrijalizacijom, a možda i nekim, iznova osmišljenim, autentičnim lokalnim odgovorima.

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consumption. We almost ceaselessly listen to music, watch movies and various media programmes, read texts, communicate... Our time “deepens” and intensifies, our selections and tastes grow extremely individualized, becoming very variable and increasingly independent from any established cultural context. Cultural industries give rise to “experiential industries”.

In order to experience new or unknown, we forget already consumed contents and meanings and eliminate the value of symbolic messages. They become simplified and more liable to presentation in various cultural contexts at different times. This enables global distribution of cultural values and products.

Therefore we speak of the culture of oblivion as of abandoning already structured cultural values and systems (of national culture, ethnical culture), as an opening of new creative spaces that are marked by dynamic intercultural communication, global cultural industrialization and perhaps some newly conceived, authentic local responses.

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Urbani konzumerizam u vrijeme postfordizma Aldo Milohnić

Prije sto godina, 1. listopada 1908., s pokretne vrpce Fordove tvornice u Detroitu izašli su prvi primjerci vozila “Model T”. Fordov automobil postao simbol masovne produkcije, a taj je oblik produkcije kasnije nazvan “fordizam”.

Prve su automobile prodali po cijeni 825 dolara, ali njihova se cijena do 1925. godine snizila na samo 260 dolara.

Zahvaljujući masovnoj produkciji Fordova vozila više nisu bili luksizna roba, dostižna samo bogatoj bruržoaziji, već su postala dostupna čak i radničkoj klasi. Drugim riječima, fordizam je stvorio sve potrebne uvjete za procvat konzumerizma. Danas, u vrijeme postfordizma, novi oblik produkcije u specifičnom je odnosu prema sferi konsumpcije. U svojem izlaganju autor će promišljati novonastalu situaciju te tražiti moguće utjecaje i povezanosti postfordizma i aktualnog procesa privatizacije javnog prostora u gradovima suvremenog kapitalističkog (neoliberalnog) društva.

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Urban Consumerism in the Age of Post-Fordism Hundred years ago, on October 1, 1908, the Ford Motor Company assembly line in Detroit released the first Model T car.

It became a symbol of mass-production which was later named “Fordism”. First cars were sold for $ 825 but by 1925 their price decreased to only $ 260.

Thanks to mass-production, Ford’s cars were not a luxury commodity anymore, affordable only to the class of reach bourgeoisie. They became available to the working class as well. In other words, Fordism created all necessary preconditions for consumerism to flourish. A new type of production is nowadays, in the age of post-Fordism, in specific relation to the sphere of consumption. In his exposition, the author will contemplate this new situation and will try to examine possible influences and interconnections between post-Fordism and the on-going process of privatization of public space in the cities of contemporary capitalist (neoliberal) societies.

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Javno i privatno – što su to javni prostori u suvremenom urbanom prostoru?

Ognjen Čaldarović Jana Šarinić

U izlaganju će se odrediti osnovne karakteristike javnih prostora te utvrditi razlike između javnog i privatnog. Poći će se od pretpostavke da su svi javni prostori strukturalno “općeniti” u pružanju potencijala ispunjavanja različitih uloga, ali istodobno i nužno posebni i specifični – “svaki za sebe”, svaki specifičan, poseban, “moj” i “tvoj”, pa onda i “naš”. A samim time i gradovi u kojima “stanuju” takvi javni prostori.

Ukazat će se na aspekte privatizacije javnih prostora te na ulogu novih aktera u preobrazbi prostora u komercijalne – privatizirane prostore. Raspravit će se posljedice takvih procesa i ukazati na neuređenost procesa u tranzicijskom društvu kakvo je hrvatsko. U prilogu će se dati ilustracije suvremenih privatizacijskih procesa u Zagrebu te ukazati na potencijalne trendove. Pažnja će biti posvećena i aspektima identiteta javnog prostora te raspravi o elementima njihovog ugrožavanja.

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Public and private: what are the public spaces in contemporary urban space?

This exposition will define the basic characteristics of public spaces and will establish differences between public and private. The presumption is that all public spaces are structurally “general” in offering the potential for the fulfilment of different roles, at the same time they are inevitably special and specific – “each for itself”, each specific, peculiar, “mine” and “yours” and therefore “ours”.

The same goes for the cities “inhabited” by such public spaces.

The exposition will point out some aspects of privatization of public spaces and the role new protagonists have in transforming these spaces into commercial – privatized spaces.

The consequences of such processes will be discussed, pointing out their disarrangement in a transitional society such as Croatian. The supplement will provide illustrations of contemporary privatization processes in Zagreb and point out potential trends. The attention will be given to aspects of public space identity and a discussion on the elements that endanger it.

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Između razgovora o kulturi i razgovora o pravima

Maja Breznik

Važna promjena u europskoj kulturnoj ideologiji odvija se zajedno s reformulacijom prava građana u prava konzumenta. Pravo na pristup kulturi, na primjer, ograničeno je autorskim pravom prema kojem nosiocu prava slijedi naknada za svaku upotrebu njegova rada.

Tako je participacija u kulturnom životu zajednice konzekventno transformirana u korištenje radova zaštićenih autorskim pravima te je unovčena. Zbog toga je javna politika razdirana potrebom da se građanima osigura pravo na pristup kulturi i interesima nositelja autorskih prava koji korisnika kulturnih dobara smatraju konzumentom i ne priznaju građanska prava.

Još jedan primjer opće promjene u europskoj kulturnoj ideologiji je promjena uloge kulturnih institucija. Naime, kada se korisnik kulture transformirao u konzumenta, programi europskih kulturnih institucija promijenjeni su na način da odgovore na prava konzumenta

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Between culture talk and rights talk

An important change in European cultural ideology is taking place together with the reformulation of citizen’s rights into consumers’ rights. The right to have access to culture, for example, is limited by the right of copyright holders to get remuneration for each use of their work.

“Participation in the cultural life of a community” is consequently transformed into the “use of copyright works” and monetised. As a result, public policy is torn between the citizens’ rights to have access to culture and the interests of copyright holders who consider the user of cultural goods to be a consumer and repudiate the citizens’ rights.

The role of cultural institutions is yet another example of the general change in European cultural ideology. When the cultural user became a consumer, the programs of European cultural institutions had to transform as well to meet the “rights of consumers”, meaning that their cultural preferences (populism,

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odnosno da se njihove kulturalne preferencije (populizam, star sistem, komunikativnost...) uzmu u obzir. Javne kulturne institucije prilagodile su se hegemoniji kulturnih industrija i pokazale su se nesposobne da odbrane kvalitetnu kulturnu produkciju u odnosu na komercijaliziranu kulturnu industriju.

star system, communicativeness‌) be taken into consideration. Public cultural institutions adapted to the hegemony of cultural industries and proved incapable of defending qualitative cultural production in contrast to the commercialised cultural industry.

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Nacionalne institucije i međunarodno tržište Davor Mišković

U svom izlaganju bavim se prvenstveno institucionalnim oblikom svijeta suvremene vizualne umjetnosti. Ovaj umjetnički svijet gotovo da ne postoji izvan kruga 20-tak najbogatijih zemalja svijeta te je usko vezan uz najrazvijenije kapitalističke zemlje. Tome eventualno možemo pribrojati još 20-tak zemlja čije se institucije, barem na simboličkoj razini, pokušavaju uključiti u ovaj prostor, ali s upitnim uspjehom. Već i tako površan pogled upućuje na to da je svijet suvremene vizualne umjetnosti potpuno uklopljen u tržišni i institucionalni sustav kojim vlada ekonomska racionalnost.

Sama ova činjenica ima reperkusije na organizaciju cijelog sustava i njegovih institucija – umjetničkih škola, umjetničkih i kustoskih izložbi, galerija, sajmova, lokalnih, regionalnih i internacionalnih muzeja i najznačajnijih međunarodnih manifestacija poput Venecijanskog bijenala ili Dokumente. Sa stajališta ograničenog utjecaja

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National institutions and / or international market?

Davor Miťković

In this exposition I will primarily deal with institutional form of the world of contemporary visual arts. This art world is almost nonexistent outside the circle of some 20 richest countries in the world. It is tightly related to the most developed capitalist countries.

This circle can potentially expand to another 20 countries whose institutions, at least symbolically, endeavour to enter this space, however, the result is questionable. Even such a superficial view refers to a fact that the world of contemporary visual arts is fully adaptable to the market and institutional system governed by economic rationality. This very fact has repercussions on the organization of the entire system and its institutions – art schools, art and curatorial exhibitions, galleries, fairs, local, regional and international museums. As well as the most significant international events such as Venice Biennial or Documenta.

Probably the most significant question,

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kulturne politike možda je najvažnije pitanje uloga javnih institucija i javnih sredstava u jednom ovakvom sustavu.

Da li prihvatiti ekonomsku racionalnost i razvijati institucije koje će biti uklopljene u internacionalni sustav suvremene umjetnosti ili razvijati autonomni sustav i institucije te se suočiti s čitavim nizom organizacijskih, ali i estetskih problema? Naravno, ovdje zapravo i ne postoji mogućnost izbora jer već i sama organizacijska struktura svijeta suvremene vizualne umjetnosti ne dopušta mogućnost da ovom svijetu građani pristupe drukčije nego li kao konzumenti.

from a viewpoint of a cultural policy of limited influence, is the role of public institutions and public means in such a system. To accept economic rationality and develop institutions that will be integrated into the international system of contemporary art or to develop an autonomous system and institutions and face a series of organisational, as well as aesthetical problems? We do not actually have a choice, since the very organisational structure of the contemporary visual arts world does not allow a citizen to approach this art world another way than as a consumer.

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Mreže autonomije – otvaranje prostora za kritički angažman

Anthony Credland

Ovo izlaganje predstavlja različite projekte na kojima sam radio prethodnih godina, a svaki je projekt vezan za stvaranje autonomnog prostora koji je ljudima omogućio komunikaciju i političku kreativnost. Neke od ovih projekata razvijao sam sâm, npr. Cactus Network, dok su me drugi privukli jer su izražavali slične ideale, npr. Reclaim the streets i Indymedia.

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Networks of Autonomy - opening up spaces for critical engagement

This talk presents various projects I worked on over the years. Each project can be seen as a creation of an autonomous place that offers communication and political creativity.

Some of these projects I developed my self, i.e. Cactus Network; others caught my attention as they portray similar ideals, i.e. Reclaim the streets and Indymedia.

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Benedikt Perak

Duhovnost prilagođena tržištu

Tradicionalne institucionalizirane religijske prakse u današnjem konzumentskom društvu sve više zamjenjuju novi oblici duhovnosti.

Njihova populistička privlačnost ne leži toliko u kakvim novim etičkim i doktrinarnim vrijednostima, već u sposobnosti da što izravnije omoguće iskustveno olakšanje psihološkim i fiziološkim tegobama suvremenog načina života. Različite prakse yoge prototip su takvih novih duhovnih proizvoda koji kroz svoj naglasak na iskustveni odmak od tržišnih vrijednosti sami u sebi predstavljaju tržišni antiproizvod.

Raspravljat će se o nekim obilježjima koja su omogućila tu privlačnost.

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Market Wise Spirituality

In today’s consumer society traditional institutionalized religious practices are being increasingly replaced by new forms of spirituality. The latter’s populist attractiveness lies not so much within new ethical or doctrinaire values but in the capacity to directly enable experiential alleviation of psychological and physiological hardships of contemporary life. The prototype of such new spiritual products are various yoga practices, whose own accent on experiential shift from market values presents a market anti-product in itself. Some features that enables this attraction will be discussed.

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Uzmi ili ostavi

akcija/action

Take it or leave it is a project of simple concept. It invites the citizens to freely leave everything they do not need and, in exchange, take anrything they need.

Here the organizer has the role of giver and receiver. This project may indeed be diminishing perhaps the most important meaning of giving - the creation of social obligation. Yet, on the other hand it stimulates non-commercial exchange and, we believe, helps our poorest fellow citizens. The values and the amount of things brought in or taken away are not the measure in this exchange. The essential thing is to satisfy the needs.

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Take it or Leave it

Uzmi ili ostavi je projekt jednostavne koncepcije u kojoj se građane poziva da slobodno ostave sve ono što im ne treba i da, isto tako, uzmu sve ono što im treba. Radi se zapravo o tome da organizator preuzima ulogu darovanog i darivatelja. Istina, na taj način se ukida možda i najvažnije značenje darivanja, a to je stvaranje društvene obaveze, ali se s druge strane potiče nekomercijalna razmjena i, vjerujemo, pomaže našim siromašnijim sugrađanima. U ovoj razmjeni vrijednost i količina stvari koje se donesu ili uzmu nisu mjerilo. Bitno je zadovoljiti potrebe.

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radionice/workshops

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Slobodni putujući radio Slobodni putujući radio zamišljen je kao samostalni sustav FM opreme. Cilj slobodnog putujućeg radija je podučiti kako u praksi radi FM radio prijenos, kako stvoriti program od značaja za lokalnu sredinu te kako se umrežiti s već postojećim inicijativama u svijetu i Hrvatskoj. Radionice su zamišljene kao slobodni prijenos znanja te zajednički rad na stvaranju okružja za slobodno kreiranje radijskog programa. Program se može sastojati od edukativnog, glazbenog, novinarskog, eksperimentalnog, umjetničkog programa i sl. (cjeline će kao takve biti obrađene u prezentacijama).

Zamisao putujućeg radija je pokazati kako mediji mogu i trebaju biti stvarani u lokalnoj zajednici te kako u njima moraju sudjelovati svi koji žele raditi na temeljima slobodne kulture. Putujući radio također razbija strah od korištenja medija te ukazuje da medijsko djelovanje ne mora nužno biti monopolizirano državnim ili komercijalnim medijima.

(Više: http://mmkamp.gentlejunk.net)

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Free travelling radio Free travelling radio is conceived as an independent system of FM equipment.

The aim of free travelling radio is to teach how FM transmission works in practice, how to create a program which is meaningful in local milieu and how to network with already existent initiatives both worldwide and in Croatia. The workshops are conceived as a free transmission of knowledge and joint work on creating an environment for the free creation of radio program. The broadcast can consist of educational, musical, journalistic, experimental, artistic program and similar (actual wholes will be processed in presentations). The idea of travelling radio is to demonstrate how media can and should be created in a local community and how they should engage everyone wishing to work on the foundations of free culture. Travelling radio also destroys fear of using media and points how media action does not necessarily have to be monopolized by neither state nor commercial media.

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Radio Free Internet

radionice/workshops

Sluťanje, snimanje i emitiranje Internet radija pomoću alata za Linux i Windowse.

Listening, recording and broadcasting internet radio using Linux and Windows tools.

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Recikliranje materijala

Radionica reciklaže predstavlja odavanje časti “otpadu” pod kojim podrazumijevamo sve što smo nekom “višom silom” unijeli u naš prostor, a što većina ljudi smatra nečim sto se više ne može koristiti u bilo koje svrhe.

U većini slučajeva taj je “otpad” poput nerazgradive ambalaže, glomaznog otpada, starih tkanina itd. koristan i pogodan za reciklažu i preoblikovanje te ovom radionicom želimo ukazati na njegovu iskoristivost. Plan nam je da, zajedničkim snagama s onima koje/i žele sakupiti otpad na ulicama Rijeke, uz malo magije i trikova pretvorimo otpad u nešto što nam može poslužiti ili uljepšati prostor u kojem boravimo, a sve u svrhu dokazivanja da otpad nije smeće, shvati to čovječe – nemoj prirodu da nerviraš – otpad ti recikliraj!

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radionice/workshops

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Recycling

The Recycling Workshop is a homage to “waste” which includes everything we, by the means of some “higher force”, have introduced into our space, and is considered by the majority as unusable, whatsoever. In most cases this “waste”, such as nondegradable packing, bulky waste, old fabric etc. is useful and suitable for recycling and reshaping.

This workshop aims to demonstrate the usability of such waste. Our plan is to join forces with those who wish to collect waste on the streets of Rijeka and, with some magic and tricks, turn it into something useful or something that can decorate living spaces. Just to prove that: waste is not garbage, man – realize this and do not annoy the nature - recycle your waste!

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GNU/Linux osnove/basic Osnove GNU/Linux-a – Punk s not dead!

Kako, kada i zašto je nastao GNU/Linux? Što je to open source i free softver?

Kako instalirati GNU/Linux? Kako ga podesiti? Kako instalirati programe? Kako ga koristiti? Sve to pa čak i više od toga saznaj u instant radionici Osnove GNU/ Linuxa – Punk’s not dead!

Dođi na radionicu, nauči koristiti GNU/ Linux, riješi se virusa i baci window$e u smeće!

Punk’s not dead!

How, when and why was GNU/Linux created? What is open source and free software? How to install GNU/Linux ? How to set the parameters? How to install programs? How to use it? All this and much more can be learned during instant workshop titled GNU/Linux Basics – Punk’s not dead. Come to the workshop, learn to use GNU/Linux, get rid of viruses and throw Window$ into garbage!”

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Foto izložba Eko info

izložba/exhibition

Ekološko društvo Žmergo je udruga civilnog društva osnovana 1994. godine u Opatiji koja se bavi očuvanjem okoliša, zaštitom prirodne i kulturne baštine te promicanjem održivog razvitka.

Cilj je izložbe Eko info informirati i poticati građane da se pridruže kritičnoj masi za očuvanje i zaštitu okoliša. Izložba zagovara pravo na čist okoliš i pravo na pristup informacijama koje su povezane s usklađivanjem hrvatskog zakonodavstva s EU pravnom stečevinom o okolišu.

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Eco info photo exhibition

Ecological society Žmergo is a civil society association founded in 1994 in Opatija. Žmergo is engaged in environmental protection, protection of natural and cultural heritage and is promoting sustainable development.

The aim of Eco Info exhibition is to inform and stimulate citizens to join the critical mass for preservation and protection of the environment. The exhibition advocates the right to a clean environment, the right to access information related to the harmonization of the Croatian legislation with the EU acqui regarding the environment.

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Dražen Šimleša

predstavljanje knjiga/book presentation

Kako potrošiti svijet – mala škola ratova za resurse

Dražen Šimleša se u svojoj novoj knjizi još jednom vraća temi globalizacije i problemu kapitalizma pa kroz knjigu esejistički obrađuje razne aspekte kapitalizma i njegovog djelovanja s posebnim naglaskom na rat za resurse.

Knjiga obrađuje situaciju po regijama u svijetu i jasno govori o vezama između raznih velikih i malih diktatora, biznisa, raspodjele i sukoba oko resursa (primarno nafte i plina), trasa kojima prolaze ili bi trebali prolaziti naftovodi i plinovodi, ratovima koji se vode isključivo zbog ekonomskih razloga u tim regijama... Sve to opisuje situaciju u kojoj se svijet nalazi i objašnjava zašto nam mažu oči ratom protiv terorizma, širenjem demokracije i zastrašivanjem stalnom terorističkom prijetnjom. Svijet je u ratu za resurse.

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How to spend a world? – a small school of wars for resources In his most recent book, Dražen Šimleša revisits the theme of globalisation and the issue of capitalism. Written in essayist style this book covers different aspects of capitalism and its effect giving special attention to the war for resources.

The book covers regional circumstances around the world and clearly speaks of connections between various big and small dictators, business, division and conflict regarding resources (primarily oil and gas), paths of present or future oil pipelines and gas pipelines, wars led exclusively for economic reasons in these regions.... The book describes the present world situation and explains why we are deceived with wars against terrorism, the expansion of democracy and the intimidation with constant terrorist threat. The world is waging a war for the resources.

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Queer Beograd

predstavljanje knjiga/book presentation

O transrodnosti i seksualnom radu

Četvrti po redu Queer Beograd festival, održan je od 5. do 7. 10. 2007. u Kulturnom centru Magacin u Beogradu ovoga puta fokusirajući se na teme Transseksualnosti/ Transrodnosti i Rada u industriji seksa. Nova knjiga kolektiva sadrži transkripte diskusija na ove teme i još mnogo toga...

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On Transgendering and Sexual Work

The fourth Queer Beograd festival was held from 5 – 7 October 2007 at the Culture Centre Magacin in Belgrade. Its focus was on subjects of Transsexuality /Transgendering and Work in Sex Industry. The collective’s new book brings transcripts of those discussions and much more...

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Alen Kapidžić

predstavljanje knjiga/book presentation

Noć uz Rijeku

Roman Noć uz Rijeku se sastoji od niza kratkih, isprekidanih i kronološki malo pomaknutih kadrova koji dinamično pričaju priču te zajedno tvore cjeloviti mozaik. Često se, u prikazivanju događaja, radnja vraća nekoliko koraka unatrag da bi se scena dopunila pogledom iz drugog kuta te se radnja upotpunila i obogatila.

Cijeli roman opisuje događaje u rasponu od 6 sati (ponoć – svitanje).

Rijeka prikazana u rukopisu jest i nije Rijeka koju poznajemo. To je grad koji je teško vremenski i prostorno točno smjestiti pošto se u njemu odvijaju događaji u poznatim nam eksterijerima, ali koji nisu identični stvarnosti. Isto tako vrijeme u kojem se radnja odvija je paradoksalno što nam ostavlja mogućnost da špekuliramo o gradu Rijeci kakav bi mogao eventualno postojati u “paralelnoj stvarnosti/dimenziji” ili, možda, bliskoj budućnosti. Na fantastičnost lokacija nadovezuje se i radnja romana koja prikazuje život mladih u Rijeci kakav je ili bi, tragično, mogao biti.

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Night by the River Night by the River is made of a series of brief, interrupted and chronologically slightly shifted frames that dynamically tell the story and together make up a wholesome mosaic. In presenting the events, the narration frequently goes few steps backwards in order to supplement a scene with another viewpoint. To complement and enrichen the narration.

The entire novel describes events within a 6 hour span (from midnight to dawn).

This idiom does not reveal Rijeka we know, but a city that is rather hard to contextualize, both temporally and spatially...

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102

Enver Krivac

predstavljanje knjiga/book presentation

Priče iz Ž+K!

Strip album Priče iz Ž+K! je kolekcija zgoda i uglavnom nezgoda koje proživljavaju Živko Son-Of-A-Gun i Kazimir Da Butcha, dva osebujna zaljubljenika u vremenska putovanja. Osim toga, Priče iz Ž+K! je i prva strip knjiga riječkog Goranina, radijskog blebetala i pisca sumnjive kvalitete, Envera Krivca. Ž+K! svijet nastao je u razdoblju od 1999. do 2007. i predstavlja svojevrsnu zbirku priča, pristupa i stilova. Iako nudi nemoral, upitne zafrkancije i netočne podatke te u većini tabli vrijeđa prosječnu inteligenciju – teško joj je odoljeti.

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Stories from Ž+K!

Comic album Stories from Ž+K! is a collection of adventures and misadventures experienced by Živko SonOf-A-Gun and Kazimir Da Butcha, two peculiar aficionados of time-travelling.

This is also the first book by Enver Krivac, Rijekan highlander, radio chatterbox and writer of doubtful quality. Ž+K! world has been created between 1999 and 2007 and is a peculiar collection of stories, approaches and styles. Though offering licentiousness, dubious jocularity and incorrect data and, moreover, insulting average intelligence in most frames, this book is hard to resist.

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Vladimir Čerina

predstavljanje knjiga/book presentation

Janko Polić Kamov Vladimir Čerina (1891-1932) was born in Split and received an irregular education in Split, Zagreb and Rijeka.

Due to his pro-Yugoslavian and antiAustrian orientation he escaped to Italy after Sarajevo assassination. He spent five years in exile and in 1919 returned to Yugoslavia - his dream come true.

However, at this point his nerves were quite tattered and following the example of Ulderiko Donadini he attempted to commit suicide on few occasions, but was however always saved. Finally he was committed to the Šibenik Asylum in 1922 where he passed away on 29 February 1932. New generations did not perceive his works, while the older ones have unjustly forgotten him.

Perhaps no Croatian writer has written so many critiques of ambients and conditions of then society as did Čerina in his numerous works. Most of his works are filled with sharp accusations directed at lethargy of our “colourless, tepid, lazy and mouldy milieu” as Čerina used to put it. His book on Kamov comprises entire paragraphs that depict

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Vladimir Čerina (1891 – 1932.) rodio se u Splitu, a školovao se neredovito u Splitu, Zagrebu i Rijeci. Jugofilski i antiaustrijski orijentiran, poslije sarajevskog atentata bježi u Italiju. U izbjeglištvu je proboravio pet godina, a onda se 1919. vratio u svoj ostvareni san – Jugoslaviju. Posve živčano rastrojen u nekoliko navrata, slijedeći čin Ulderika Donadinija, pokušava se ubiti.

Najzad je smješten u duševnu bolnicu u Šibeniku 1922. gdje 29. veljače i umire.

Od novih naraštaja neprepoznat, a od starijih nepravedno zaboravljen.

Možda nitko u našoj pisanoj riječi nije iznio toliko kritika ambijenta i prilika u ondašnjem društvu kao što je to Čerina radio u svojim mnogobrojnim napisima.

Valjda ni jedan njegov napis nije bio bez oštrih optužaba upućenih umrtvljenosti naše “bezbojne, mlake, lijene, plješnjive sredine”. U njegovoj knjizi o Kamovu naići ćemo na čitave odlomke u kojima je prikazana sredina kao “mutna i mlaka kaljuža”, “nevoljna i mrtva”, “beamterska i purgerska socijalna atmosfera”. Govoreći o inteligenciji u tom društvu Čerina ni nju neće štedjeti. Za njega ta “inteligencija

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106

predstavljanje knjiga/book presentation

the milieu as “turbid and tepid mire”, “unwilling and dead milieu”, “fussy and provincial social atmosphere.” Speaking on intelligence in this society Čerina does not spare it, on the contrary. his view is that this intelligence is “endowed with a little bit of dissatisfaction, little bit of manly enthusiasm, weak, immobile, nonhuman, resembling a huge and empty tomb”. Kamov’s poetry is –”this tomb’s echo”. The book on Janko Polić Kamov was printed in 1913. It was written in the same year in Florence where Čerina collaborated with Italian futurists Giovanni Pappini and Ardengo Soffici who were gathered around famous magazine Lacerba. Today this book is of foremost importance for the history of Croatian avant-garde.

s malo osjećaja nezadovoljstva, s malo muževnog zanosa, slaba, nemobilna, neljudska, ličila je na nekakvu golemu i praznu grobnicu”. Poezija Kamova bit će “jeka te grobnice”.

Knjiga o Janku Poliću Kamovu tiskana u Rijeci 1913, napisana iste godine u Firenci gdje je Čerina surađivao s talijanskim futuristima Giovannijem Papinijem i Ardengom Sofficijem okupljenim oko znamenitog časopisa Lacerba, i danas je od prvorazrednog značaja za povijest hrvatske avangarde.

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William Morris

Vijesti iz nigdine

Sigurno je da se u Morrisovim spisima iščitava snažno libertinsko nagnuće i da je Morris bio vrlo svjestan anarhističkog stajališta protiv vlade i svake političke vlasti. Prema Peteru Marshallu nema sumnje da je Morris mrzio centraliziranu državu te stoga ne iznenađuje da su mnogi njegovi politički spisi nadahnjivali anarhiste, a upravo na takvom antietatističkom viđenju socijalizma Morris gradi svoju sliku budućega društva u utopijskom romanu Vijesti iz nigdine u kojemu “nema vlade, privatnoga vlasništva, zakona, zločina, braka, novca ili razmjene. Društvo se sastoji od federacije komuna...”

William Morris (1834 –1896.) je bio jedan od najpoznatijih i najplodnijih viktorijanskih pjesnika. Bio je najveći umjetnik-obrtnik svojega doba. Taj arhitekt, slikar, dekorater, tiskar, izdavač, pjesnik, esejist, prevodilac, romansijer, politički radnik doista zbunjuje svojim

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predstavljanje knjiga/book presentation

108

News from Nowhere

Surely works by William Morris emit strong libertine inclination as he was very aware of anarchist arguments against government and every political authority. According to Peter Marshall there is no doubt Morris hated a centralized state and it should come as no surprise that many of his political documents inspired anarchists. This anti-etatist view of socialism is the basis for Morris’ vision of future society in his utopian novel News from Nowhere where there is “no government, no private property, law, crime, marriage, money or exchange. The society is made up by the federation of communes...”

William Morris (1834-1896) was one of the most famous and prolific Victorian poets. He was the greatest artist-artisan of his era. This architect, painter, decorator, printer, publisher, poet, essayist, translator, novelist and political worker truly confounds us with his “renaissance” scope of activities, in which he engaged with equal success.

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“renesansnim” opsegom djelovanja i k tome podjednako uspješnim na svim svojim područjima. Uspješno je vodio proizvodnju dekorativnih materijala i istaknutu trgovinu na malo u središtu Londona. Bio je i strastveni socijalistički reformator, pionir brige za okoliš, pedagog i, moglo bi se reći, feminist; u pedesetoj je godini prešao “ognjenu rijeku” da bi postao revolucionarni socijalist, a završio je kao anarhist pošto je upoznao Kropotkina kojemu je ostao prijatelj do kraja života.

He managed a rewarding production of decorative materials and a prominent retail store in London’s centre. He was a passionate socialist reformer, a pioneer of environmental care, pedagogue and - one could say – a feminist. At the age of fifty he had crossed “the fire river” in order to become a revolutionary socialist.

He ended as an anarchist after meeting Kropotkin, whom he remained friends with until the end of his life.

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Darko Pivac

Teroristički manifest

predstavljanje knjiga/book presentation

Knjiga je zbilja manifest i tako se zove.

Glavni dio je dijalog između dva starija huligana i ratna veterana, sadrži još i tekst igrokaza s 5 lica, dva pogovora, jedan plakat i jedan letak. Manifesti su po prirodi pretenciozni, programatski i trebali bi donositi nove ideje...

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Terrorist Manifest

The book is truly a manifest and hence its name. The main part is a dialogue between two older hooligans and war veterans. There is also a play with 5 characters, two epilogues, one poster and one leaflet. Manifest are pretentious and programmatic by nature and should be presenting new ideas....

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Filip Grgić

predstavljanje knjiga/book presentation

Sekst Empirik: Obrisi pironizma Sekst Empirik (2. ili 3. st. n. e.) najvažniji je pripadnik pironizma, jednog od dvaju skeptičkih pravaca koji su se pojavili u antičkoj filozofiji. U svojim Obrisima pironizma nastoji pokazati da se moramo suzdržati od suda u pogledu svake tvrdnje koju iznose doktrinarni filozofi te da je suzdržavanje od suda popraćeno neuznemirenošću čije je ostvarenje krajnji cilj njegova skeptičkog pothvata.

Sekstovi sačuvani spisi jedini su pironovski tekstovi koji su nam danas dostupni. No oni nisu samo ključni izvori za poznavanje antičkog skepticizma, oni spadaju i među najvažnije izvore informacija o helenističkim filozofskim školama, prije svega stoičkoj, kao i o pojedinim predsokratovskim filozofima.

Ponovno otkrivanje i objavljivanje tih spisa u 16. stoljeću predstavljalo je jedan od najvažnijih poticaja za razvoj moderne misli. Pironovski argumenti i primjeri u prikazu Seksta Empirika otada su nezaobilazne filozofske teme.

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Sekst Empirik: Outlines of Pyrrhonism Sextus Empiricus (2nd or 3rd century A.D.) is the most important protagonist of pyrrhonism, one of two sceptic schools that rose in antique philosophy. In his Outlines of Pyrrhonism he endeavours to show that we have to suspend judgement regarding any claim by doctrinarian philosophers and that such suspension is accompanied by non-agitation, whose realization is the final goal of this sceptic endeavour.

Sextus’ preserved records are the only Pyrrhonian texts available today. They are absolutely essential for learning about the antique scepticism. They also belong to the most important sources of information on Hellenistic schools of philosophy, primarily Stoics, as well as certain pre-Socratic philosophers.

Rediscovery and publishing of these works in the 16th century was one of the most important stimuli for development of modern thought. Pyrrhonian arguments and examples presented

by Sextus Empiricus have remained unavoidable philosophical subjects ever since.

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Wendy-O Matik

predstavljanje knjiga/book presentation

Redefiniranje naših odnosa – Smjernice za odgovorne otvorene odnose Redefiniranje naših odnosa je intrigantna i korisna knjižica koja uvodi u beskrajne mogućnosti otvorenih odnosa. U društvu u kojem je monogamija bogom dani presedan i jedina prihvatljiva ljudska priroda, ona je više nego dobrodošla.

Pobija predrasude o otvorenim odnosima kao neodgovornim i površnim te pokazuje kako upravo za njih treba maksimum odgovornosti, preispitivanja, iskrenosti i razgovora. Bit takvih odnosa je istinsko prijateljstvo utemeljeno na neograničenom povjerenju koje ne prestaje bez obzira na promjene unutar tog odnosa. Ako stvarno volimo nekog, taj odnos se nikad ne prekida, samo se razvija u drugačijim smjerovima i te osobe na drugačije načine i dalje sudjeluju u našim životima. Na taj način nema povrijeđenih, ni ostavljenih.

Wendy-O Matik iz vlastitog iskustva i iz iskustva svojih prijatelja pokazuje kako monogamija nije jedina, već samo jedna od mogućnosti i da s onu stranu ogledala postoji širok spektar varijacija kojima su jedini preduvjeti povjerenje i ljubav.

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Redefining Our relationships – guidelines for responsible open relationships Redefining our relationships is an intriguing and useful booklet introducing us to endless possibilities of open relationships. In a society in which monogamy is god-given precedent and the only acceptable human nature, it is more than welcome.

The book demolishes prejudices on open relationships as irresponsible and superficial and demonstrates how, on contrary, these require maximal responsibility, self-examination, sincerity and dialogue. The essence of these relationships is a true friendship based on unlimited trust which does not stop regardless the changes within the actual relationships. If we truly love someone, that relation never breaks, but only keeps developing in different directions and these people continue to participate in our lives in other ways. In this manner there are no hurt ones, nor those who are abandoned.

Based on her own and experience of her friends, Wendy-O Matik demonstrates how monogamy is not the only but simply one of the possibilities and that, on the other side of the looking glass, there is a wide spectrum of variations whose only preconditions are trust and love.

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Pokret za slobodu predstavlja

predstavljanje magazina/magazine presentation

Z magazin, publikacije Glas radnika, Glas izbeglica i Glas studenata Pokret za slobodu je organizacija koja radi na većem broju projekata s ciljem da unapredi borbu i položaj radnika, izbeglica i studenata te doprinese alternativnom medijskom informisanju.

Važnije publikacije Pokreta za slobodu su: Z magazin – tromesečni časopis, kao i besplatne publikacije Glas radnika, Glas izbeglica i Glas studenata. Aktivisti Pokreta za slobodu aktivno učestvuju u borbama ljudi o čijim problemima pišu ili govore na javnim okupljanjima.

Cilj njihovog učešća je podsticaj samoorganizovanog suprotstavljanja društvenim tendencijama koje ugrožavaju egzistenciju velikog broja stanovništva.

Z magazin je nezavisni tromesečni magazin posvećen protivljenju nepravdi i represiji te stvaranju slobode. Namera magazina je da pomogne naporima aktivista ka ostvarenju bolje budućnosti.

Glas izbeglica informiše o životnim uslovima izbeglica naseljenim u Srbiji, o Sporazumu o readmisiji između Srbije i Evropske Unije, o interno raseljenim

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Freedom Movement presents

Z – magazine and publications Voice of Workers, Voice of Exiles and Voice of Students Freedom Movement is an organization working on many projects aiming at advancing fight and position of workers, exiles and students, contributing to alternative media informing. More important publications of the Freedom Movement are : Z Magazine – trimestral magazine and charge-free publications Voice of Workers, Voice of Exiles and Voice of Students. Activists of the Freedom Movement take active part in battles of people whose problems they write about or speak of on public gatherings. The goal of their engagement is to stimulate the self-organized opposition to those social tendencies which endanger existence of the majority of population.

Z Magazine is an independent trimestral magazine dedicated to fight against the injustice and repression, and to creation of freedom. Magazine’s intention is to help activists’ efforts in creating a better future. Voice of Exiles informs about the life conditions of exiles settled in Serbia,

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licima sa Kosova, Izbrisanima iz Slovenije, itd. Glas radnika je publikacija koja izveštava o organizovanim radničkim otporima uništavanjima fabrika i otpuštanjima s posla.

Publikacija služi informisanju o konkretnim radničkim borbama i internom informisanju radnika angažovanih u borbi.

Glas studenata, najnovija publikacija Pokreta za slobodu, analizira neoliberalno restrukturiranje univerziteta, uvođenje školarina i bolonje... Univerzitet u najvećoj mogućoj meri postaje podređen zahtevima tržišta, nestaje i privid autonomije, reprodukuju se eksperti bez trunke kritičke svesti, nahranjeni fast food bolonjskim obrazovanjem i edukovani Readers Digest kulturom. Univerziteti sprovode naučna istraživanja koja su od direktne koristi biznisu i privatnim firmama. Sa preduzećima sklapaju ugovore o istraživanju, pružaju im konsultantske usluge, stvaraju dugoročne zajedničke projekte. Vrlo često stvaraju i sopstvena preduzeća stvorena radi komercijalne eksploatacije otkrića načinjenih na univerzitetu. I sama uprava univerziteta postaje hijerarhijska u najvećoj mogućoj meri. Univerzitetom se rukovodi kao preduzećem, a rektor postaje direktor... http://freedomfight.net/

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the Agreement on Readmission signed between Serbian and EU and internally relocated individuals from Kosovo, the Erased People of Slovenia etc. Voice of Workers is a publication reporting on organized workers’ resistance to destruction of fabrics and layoffs. It serves to inform on concrete workers’ battles and to internally inform the workers that are engaged in the fight.

Voice of Students, the newest publication of Freedom Movement is analyzing neoliberal restructuring of university, introduction of school fees and Bologna Process.... The University becomes subject to market demands, to the largest possible extent. Even the appearance of autonomy disappears, while the University produces experts deprived of even a hint critical consciousness, fed by fast food Bologna education and schooled on Riders Digest culture. Universities execute scientific researches that directly serve business and private companies. They sign contracts with enterprises on research, offer the consulting services, create long-term joint projects. Often they create their own companies in order to commercially exploit discoveries reached at the University. The very University’s management became hierarchical to the largest possible extent.

The University is managed as an enterprise, while a rector is CEO... http://freedomfigth. net/

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Disko večer dj Bunny Hojah www.myspace.com/djbunnyhojah Vrti trash disco hitove, a zalomi mu se i neki r’n’r, twist, sving i na kraju sentiš!!!

Garantirana zabava do samoga kraja jer kad počneš plesati uz najnebulozniji odabir koji je samo za tebe pripremio poznati DJ više nećeš stati...

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Disco Night dj Bunny Hojah Plays trash disco hits, bouncing at times into r’n’r twist, swing and eventually landing at cheek-to-cheek!

Guaranteed fun until the very end, because when you start dancing to the weirdest selection ever prepared for you by the famous dj, you will never ever stop again...

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Naša kava

Cafe Libertad

Projekt Cafe Libertad iz Hamburga predstavlja konkretnu alternativu kapitalističkom uvozu kave odnosno iskorištavanju uzgajivača i radnika na plantažama kave u zemljama “trećeg svijeta”. Fair-trade (u doslovnom značenju poštena razmjena) kave koju proizvode dolazi iz Zapatističkih dijelova Chiapasa u Meksiku, čime neposredno pomažu opstanak Zapatističkih zajednica i njihovu borbu. Članovi kolektiva Cafe Libertad će predstaviti svoj rad i kuhati kavu za sve nas...

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Our coffee

Cafe Libertad

Project Cafe Libertad from Hamburg presents a concrete alternative to the capitalist import of coffee i.e. to exploiting coffee farmers and workers on coffee plantations in third world countries. Fair-trade coffee they offer comes from Zapatista parts of Chiapas in Mexico. This coffee directly helps survival of Zapatista communities and their fight. Members of the Cafe Libertad collective will present their work and make coffee for everyone...

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građani

consumers

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Produkcija/Production Drugo more i Infoshop Škautla Partneri/Partners Amandla, ATTACK, Filozofski fakultet Sveučilišta u Rijeci – Odsjek za kulturalne studije, Manufaktura, Mirovni inštitut Ljubljana, Savez udruga Molekula Producenti/Producers Davor Mišković i Željko Pendić Koncepcija/Concept Davor Mišković Izvršni producenti/Executive Producers Damir Batarelo, Mato Ivanišević, Leo Jelača i Katarina Pandol Odnosi s javnošću/Public Relations Petra Corva i Katarina Pandol Vizualni identitet/Visual Identity Mario Aničić i Jele Dominis Dokumentacija/Documentation Antonio Bujan, Jadranka Lacković i Romano Perić Oprema/equipment HKD, Kongresni servis Matulji, SU Clubture Tehničko vodstvo/Technical leadership: Dalibor Fugošić, Boris Mandić, Ivan Harej Suradnici/Co-operation: Natalija Bešlić, Višnja Brzaj, Stjepan Gillich, Ivana Konstadinović, Dubravko Matanić, Bruna Nedoklan, Unita Precetti, Branko Smojver i Ana Šegrt

Donatori/Donors Ministarstvo kulture RH, Grad Rijeka – Odjel za kulturu, Nacionalna zaklada za razvoj civilnog društva, Zaklada Sveučilišta u Rijeci Medijski pokrovitelji/Media Coverage Novi List, Radio Rijeka, Radio SVID, Radio Trsat

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Sajam nezavisnog izdavaštva/ Independent Publishing Fair Organizacija/Organisation Amandla i Infoshop Škatula Organizatori/Organisers Mato Ivanišević, Leo Jelača, Željko Pendić, Bruna Nedoklan i Ana Šegrt Suradnici/Co-operation Stjepan Gillich, Aljoša Pužar, Dubravko Stašek i Janja Trkulja Odnosi s javnošću/Public Relations Mato Ivanišević Vizualni identitet/Visual Identity Paola Peršić i Nikola Tojaga

citiz

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Konferencija Konzumetni i/ili građan /Conference Consumer and/or citizens Organizacija/Organisation Drugo more, Filozofski fakultet Sveučilišta u Rijeci – Odsjek za kulturalne studije, Mirovni inštitut Ljubljana Oragnizacijski odbor/Organisational Board Nenad Fanuko, Aldo Milohnić, Davor Mišković, Sanja Puljar D'Alessio, Ivana Spasić

Izdavač/Publisher Drugo more Urednik kataloga/Catalogue editor Davor Mišković Grafički urednik/Art direction Mario Aničić Dizajn/Design Mario Aničić&Jele Dominis Prijevod/Translation Majda Jurić Lektura/Proof Reading [hr txt] Alan Kapidžić

[gb txt] Jele Dominis Tisak/printing Kerschoffset naklada/edition 700 primjeraka/copy

zens

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konzumenti

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