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20-22/10 /2011 rijeka
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galerija kortil hkd na suπaku peek&poke klub place molekula
produkcija/production Drugo more partneri/partners Rijeka DIY HC/Punk Domino donatori/support Nacionalna zaklada za razvoj civilnog društva Ministarstvo kulture rh Primorsko-goranska županija Grad Rijeka – Odjel za kulturu
medijski pokrovitelji/media support Novi List Radio Trsat www.kulturpunkt.hr
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Davor Miťković
Rad i organi
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eoretičari Nove ljevice u 60-im godinama 20. stoljeća vjerovali su da će razgradnja institucija dovesti do stvaranja zajednica – da će prevladati odnosi licem-u-lice, povjerenje i solidarnost, da će odnosi biti konstantno pregovarani i obnavljani, da će u zajednici ljudi biti osjetljivi na potrebe jedni drugih. To se nije dogodilo. Fragmentacija institucija ostavila je mnoge ljude u fragmentiranom stanju: mjesta u kojima rade više podsjećaju na autobusnu stanicu nego na selo, a obiteljski je život dezorijentiran zbog zahtjeva posla. No, sadašnje rastakanje institucija nije povratak u pred-institucionalno stanje ranog 19. stoljeća nego se radi o novom obliku organizacije rada u kojoj nestabilnost zaposlenja pojedinca nije povezana s nestabilnošću organizacije. Organizacije danas jesu nestalne (u smislu forme), ali ne i nestabilne (u smislu opstanka).
nizacija
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he theoreticians of the New Left in the 1960s believed that dismantling institutions would produce communities: where face-to-face relations of trust and solidarity would prevail, where relations would constantly be negotiated and renewed, and in which people would become sensitive to one another’s needs. This has not happened. The fragmenting of institutions has left many people in a fragmented state: the places they work resemble more bus stations than villages, as family life is disoriented by the demands of work. Taking institutions apart has not led back to the pre-institutionalised state of the early 19th century, rather to a new form of organization of work where the instability of individual’s employment is not connected to the instability of the organization itself. Organizations today are fluid (in form) but are not unstable (existence wise).
Davor Mišković
&organi
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Work nization
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This has repercussions for each individual and Richard Sennet considers that an individual today is faced with three principal challenges: O The first concerns time: how to manage short term relationships while migrating from task to task, job to job and place to place. If institutions no longer provide a long-term frame, individuals have to improvise to create their lifenarrative, or live without any sense of self. O The second concerns talent: how to develop new skills, how to obtain potential abilities, as reality demands change. In modern economy the shelf life of many skills is short; in technology and the sciences, as well as in advanced forms of manufacturing workers need to learn new skills on average every 8 to 12 years. OThe third follows from this and is concerned with letting go of the past. Practically in every company no one owns their place in the organization and past accomplishments earn no employee a guaranteed place. How can anyone positively respond to this situation?
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Ovi uvjeti imaju posljedice za svakog pojedinca i Richard Sennett smatra da se danas svaki pojedinac suočava s tri izazova: O Prvi izazov odnosi se na vrijeme: kako upravljati kratkoročnim odnosima koji nastaju kao plod migracija od zadatka do zadatka, od posla do posla i od mjesta do mjesta. Ako institucije više ne osiguravaju dugoročni okvir, individue moraju improvizacijom stvarati svoje narative ili pak živjeti bez ikakvog pojma o sebi; O Drugi izazov se odnosi na talenat: kako razvijati nove vještine, kako pronaći potencijalne sposobnosti jer stvarnost zahtjeva promjenu. U suvremenoj ekonomiji životni vijek većine vještina je kratak – u tehnologiji i znanosti, u naprednim formama proizvodnje svakih 8 – 12 godina se usvojiti posve nova znanja. O Treći izazov povezan je s prethodnim i odnosi se na ostavljanje prošlosti iza sebe. U gotovo svakoj tvrtci se zna da nitko ne posjeduje svoje mjesto u organizaciji, prošli uspjesi ne garantiraju to mjesto. Kako netko uopće može pozitivno reagirati na ovu situaciju?
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The factories of the early 19th century combined mind-numbing work routine with unstable employment. The workers lacked protection, as well as the businesses themselves that were often poorly structured and thus liable to sudden collapse. By one estimate, 40% of able-bodied workers were unemployed in London in 1850 and the rate of failure of new business was 70%. This primitive capitalism was too primitive to survive, thus it called for revolution. But, over the period of a hundred years, from 1860s to 1970s, corporations learned to maintain stability and assure longevity of business by increasing the number of employed. It would be false to assume that the free market effected this stabilisation.
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Tvornice ranog 19. stoljeća počivale su na kombinaciji zatupljujuće radne rutine i nestabilnog zaposlenja. No, nije samo radnicima nedostajala zaštita, nego je čitav poslovni svijet uglavnom bio loše strukturiran i poslovi su često propadali. Prema jednoj procjeni u Londonu je 1850. godine 40% radno sposobnog stanovništva bilo nezaposleno, a nivo propasti novo pokrenutih poslova iznosio je 70%. Ovaj primitivni kapitalizam bio je preprimitivan da preživi, on je naprosto prizivao revoluciju. No, u 100 godina, od 1860. pa do 1970. korporacije su se naučile održavanju stabilnosti i dugoročnosti konstantno povećavajući broj zaposlenih. Iluzija je da je slobodno tržište doprinjelo stabilizaciji.
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Rather, the internal organisation of businesses and their work played a significant role. Applying military models of organisation to capitalism prevented revolution. Max Weber was the one to suggest that at the end of the 19th century corporations operated like armies in which everyone had a place, and each place a defined function. Even Schumpeter’s early analyses showed that militarization of businesses turned a profit. Although the thirst for a quick dollar or franc remained, investors also hungered for more predictable long-term yields.
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Naprotiv, ključnu ulogu odigrala je unutarnja organizacija rada i poslovanja. Revolucija je izbjegnuta primjenom militarističkog modela organizacije na kapitalizam. Max Weber je pokazao kako su koncem 19. stoljeća korproracije počele ličiti na armije u kojima je svatko imao svoje mjesto, a svako je mjesto imalo definiranu funkciju. Čak je i Schumpeter u svojim ranim analizama pokazao da je militarizacija pridonjela stvaranju profita. Naime, iako je utrka za brzim dolarom ili frankom ostala, investitori su također bili gladni dugoročnih i predvidljivih prihoda.
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When the lessons of strategic profit passed into the effective government, the status of civil servants rose and bureaucracy became independent from swings in politics. Schools became increasingly standardized in operation and in content and professions brought order to the practices of medicine, law, and science. For Weber, these forms of rationalizing institutional life were coming from the military. Time was the principal concept of this military, social capitalism. The rationalisation of time enabled people to think about their lives as narratives—not so much of what will happen as of how things should happen. It became possible to define how the stages of a career would progress, to correlate long term service to increased wealth. To many manual workers this was the first time they could actually own a house.
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Kada su se lekcije iz strateškog profita prevele u efektivnu vladu porastao je status civilnih službenika, a birokracija se osamostalila od političkih previranja. Škole su postale sve standardiziranije u načinu prijenosa znanja i u sadržaju, uveden je red u profesije poput medicine, prava i znanosti. Za Webera radi se o racionalizaciji institucionalnog života, a izvor ove racionalizacije Weber nalazi u vojsci. Vrijeme je središnji koncept ovog militarističkog, socijalnog kapitalizma. Racionalizacija vremena omogućila je ljudima da vlastiti život shvate kao narativ – ne toliko narativ o tome što će se dogoditi nego kako se stvari trebaju dogoditi. Tako je postalo moguće definirati kako će se razvijati stupnjevi u karijeri, bilo je moguće izvesti korelaciju između službe i povećanog bogatstva. Za mnoge je manuelne radnike to doba kada po prvi put dolaze u posjed kuće.
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In the real world, particularly in the business world, of course reality did not proceed according to plan, but now the idea of being able to plan defined the realm of our individual agenda. The German term Bildung, or the formation of a young person that would enable him or her for a particular lifelong conduct of life, acquired and institutional form within the organisation. The institutions that enabled these lifenarratives have now vanished into thin air, and the militarization of social time has come to an end.
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Naravno, u tokovima stvarnog života i poslovnog svijeta stvarnost se ne odvija prema planu, ali sada je postojala ideja o planu koji definira našu individualnu agendu. Ono što Njemci nazivaju Bildung, tj. formiranje mlade osobe u osobnost koja će voditi život na određeni način, odvijao se u okviru insitucionalne forme, u okviru organizcije. Institucije koje su omogućavale ove životne narative danas su isparile, a militarizacija socijalnog vremena došla je do kraja.
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There are a few obvious facts that support this: O The first and foremost is the fact that there no longer exist lifelong employments. O The second is that the safety networks of the welfare state have become more short-term and erratic. O The third concerns personal relationships, which have been replaced by transactions, to use Soros’ words. O The fourth fact is that on the global scale the institutionalised control has become less coherent and thus has enabled an unprecedented number of anomalies (for example the huge so-called gray economies of large cities).
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Nekoliko je očitih činjenica koje ovo potvrđuju: O Prva i najvažnija činjenica je svakako nestanak doživotnog zaposlenja. O Druga je činjenica da su sigurnosne mreže države blagostanja sve kratkotrajnije i hirovitije . O Treće, u osobnim odnosima, da s poslužimo Sorosovim riječima, transakcije su zamjenile odnose. O Četvrto, na globalnoj razini institucionalna kontrola je posve nekoherentna i ona omogućuje mnošto anomalija npr. ogromnu sivu servisnu ekonomiju velikih gradova.
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In Weber’s model all functions are fixed and static. They have to be to hold the organization together, no matter who occupies particular offices. What the pyramid enables, and what Bismarck first practiced in the organisation of state, is the absorption of ever more people at the lower ranks, just as an army can absorb ever more infantry. These structures can become obese for the sake of social inclusion (Croatia being a perfect example). The political and social reasoning behind this obese bureaucracy is thus inclusion rather than efficiency.
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U Weberovom modelu sve su funkcije fiksne, statične. One moraju biti takve jer drže na okupu organizaciju bez obzira tko radi u pojedinačnim kancelarijama. Ono što piradmida omogućuje, a što je prvi primjenio Bismarck u organizaciji države, jest apsorpciju sve većeg broja ljudi na nižim pozicijima. Kao što vojska može apsorbirati uvijek još pješaka. Na taj način ova struktura može postati pregojazna zbog socijalne inkluzije (čega je Hrvatska odličan primjer). Politička i socijalna logika koja se krije iza gojazne birokracije nije efikasnost nego inkluzija.
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Weber was aware of the problems arising from this structure on a personal level, and he therefore coined the metaphor of the iron cage that describes a person’s position in the bureaucratic system. What he meant by this metaphor is that a person in a bureaucracy lives a life someone else designed. And yet people are willing to accept such a life. The question is why? Weber explains it is because bureaucracies teach the discipline of delayed gratification. Instead of judging if our immediate activities are important to us, we think of future rewards that will come if we obey orders. If these rewards ever come, but that is an entirely different subject.
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Weber je bio svjestan problema koje proizvodi ovakva struktura na indiviualnoj razini te je zbog toga i razvio metaforu o željenom kavezu koja opisuje čovjekov položaj u birokratiziranom sustavu. Time je htio reći da ljudi u birokraciji žive život koji je netko drugi oblikovao. Pa ipak, ljudi su spremni prihvatiti takav život. Zašto? Weber odgovora da je to zato što nas birokacija uči disciplini odgođenog zadovoljstva. Umjesto da procjenjujemo da li su naše sadašnje aktivnosti važne za nas mi stvari procjenjujemo na način da razmišljamo o budućim nagradama do kojih će doći ako se pokorimo naredbama. Ako uopće do njih dođe, ali to je jedna druga tema.
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By the end of the twentieth century we witnessed the collapse of the bureaucratic organisation, and authors like David Harvey, Richard Sennett, Saskia Sassen and Ulrich Beck pinpoint the causes in the following facts:
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Koncem 20. stoljeća dolazi do razgradnje birokratske organizacije, a autori poput Davida Harveya, Richarda Sennetta, Saskie Sassen i Ulricha Becka te uzorke nalaze u sljedećim činjenicama:
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O There has been a shift of power in large companies - a shift from managerial to shareholder power. This shift has a precise date: an enormous surplus of investment capital was released on a global scale when the Bretton Woods agreement fell through in the early 1970s. Wealth that had been restricted to local or national enterprises or stored in national banks could suddenly move around the globe in search of new opportunities. The banking business transformed itself to a cornucopia and became truly international. At first, managers were used to dealing with largely passive investors at annual meetings. However, investors soon became active judges with the pension funds leading the way by actively pressuring management demanding ever-greater profit margins. The sophisticated financial instruments like the leveraged buyout enabled investors to destroy corporations.
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O Došlo je do promjene moći u velikim kompanijama – težište moći je s menadžera pomaknuto na dioničare. Ovaj promjena ima precizan datum: enormni višak investicijskog kapitala koji se oslobodio na globalnoj skali onda kada je dogovor Bretton Woods propao početkom 70-ih. Bogatstvo koje je bilo ograničeno lokalnim i nacionalnim poduzetnišvom ili je bilo čuvano u nacionalnim bankama odjednom se počelo kretati svijetom i tražiti nove prilike za bogaćenjem. Bankarstvo se transformiralo u rog izobilja i postalo po prvi puta zaista internacionalno. Menadžeri su sve do tada navikli raditi s investitorima na način da se s njima susretnu jednom godišnje i da oni uglavnom imaju pasivnu ulogu. Međutim, investitori su postali aktivni suci, a u tome su prednjačili ogromni penzioni fondovi koji su počeli pritiskati menadžment zahtjevajući sve veće profitne margine. Smišljeni su sofisticirani financijski instrumenti poput leveraged buyouta koji su omogućavali investitorima da unište korproracije.
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O This shift in power turned to a second shift. The empowered investors wanted short-term rather than long-term results. They created a framework for what Bennett Harrison calls “impatient capital.� Most importantly, share price rather than corporate dividends became their measure of results. Buying and selling shares in an open, fluid market became custom. To illustrate this difference, here is a statistical fact: in 1965 American pension funds held stocks on an average for 46 months, by 2000 on an average of 3.8 months. Of course there is nothing new about looking to make some quick money, but the combined effect of so much unleashed capital and the pressure of short-term returns transformed the structure of institutions that were most attractive to empowered investors. The companies were under pressure to look beautiful in the eyes of the passing voyeur; and institutional beauty consisted in demonstrating signs of internal change and flexibility. A dynamic company became the key value.
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O Promjena u moći značila je drugu promjenu. Ojačani investitori željeli su kratkoročne umjesto dugoročnih rezultata. Oni su stvorili okvir za ono što je Bennett Harrison nazvao nestrpljivi kapital. Ono što je najvažnije, vrijednost dionica, a ne korporativna dividenda postala je mjera rezultata. Prodavanje i kupovanje dionica na otvorenom, fluidnom tržištu, a ne držanje dionica na dugi rok postala je praksa. Da ilustriramo ovu razliku evo jednog statističkog podatka: američki penzioni fondovi 1965. godine držali su dionicu u prosjeku 46 mjeseci da bi u 2000. godini dionicu držali u prosjeku 3.8 mjeseci. Naravno, ništa novo nije bilo u trci za brzim novcem, no kombinirani efekt ogromnog osolobođenog kapitala i pritiska za kratkoročnim rezultatima transformirali su strukturu institucija koje su bile najatraktivnije ojačanim investitorima. Kompanije su pritisnute da izlgedaju lijepo prolaznicima, a insititucionalna ljepota sastojala se od znakova interne promjene i fleksibilnosti, a ključna vrijendost postala je dinamična kompanija.
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O The third important shift is the technological shift. Communication on a global scale became instant. The development of communication technologies led to a much faster dissemination of information, and what was most important for organizations was it diminished the need for mediation and interpretation of commands and rules which could now be disseminated in its original versions throughout a corporation via e-mail or other derivatives. The diminished necessity for mediation and interpretation led to a new kind of centralization. The managers driven by impatient capital began issuing commands from the top, thus excluding the mediators in bureaucracy. Another shift that has affected the bureaucratic pyramid was automation. Innovations such as bar code readers, voice recognition technologies, three-dimensional object scanners reduced the need for the workforce, most importantly the workforce with no particular skills. These technological shifts resulted in reduced capacities of inclusion of the masses - a key the social element of social capitalism.
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O Treća važna promjena je ona tehnološka. Komunikacija na globalnoj skali postala je trenutačna. Razvoj komunikacija doveo je daleko brže diseminacije informacija, a ono što je za organizacije od ključne važnosti gotovo je ukinuta potreba za medijacijom i interpretacijom komandi koje su sada e-mailom ili nekim drugim alatima mogle biti diseminirane u sekundi u svojim originalnim verzijama. Smanjena potreba za medijacijom i interpretacijom dovela je do nove vrste centralizacije. Menadžeri pristisnuti nestrpljivim kapitalom počeli su izdavati komande izravno s vrha i na taj način su izbačeni posrednici u birokraciji. S druge strane, automatizacija do koje je došlo usljed primjene novih rutina poput bar-kodova, trodimenzionalnih skenera, robota i sl. smanjila je potrebu za radnom snagom i to najranjivijom radnom snagom koja nema nikakva specijalizirana znanja. Posljedica ovih tehnoloških promjena je smanjeni kapacitet inkluzije masa, ključnog socijalnog elementa socijalnog kapitalizma.
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Inequality has become the Achilles’ heel of the modern economy. It appears in different forms: massive compensation of top executives, a widening gap between wages at the top and the bottom of corporations, the stagnation of income of the middle class (relative to those of the elite). Winner-takes-all competition generates extreme material inequality, and the inequalities of wealth transcend to social inequality.
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Nejednakost je Ahilova peta suvremene ekonomije. Ona se pojavljuje u raznim formama – enormnim kompenzacijama top menadžerima, u sve većoj razlici u plaćama onih na vrhu i onih na dnu organizacije, u stagnaciji plaća srednje klase (u usporedbi s plaćama elite). Winner-takes-all kompeticija generira ekstremnu nejednakost, a nejednakost u bogatstvu preseljava se na socijalnu nejednakost.
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Flexible organizations with no mediators in the chain of communication are even more territorially disconnected. The centre governs the periphery in a specific way. On the periphery people are involved in the process of labouring in their own way, without much interaction up and down the chain of command. There are no social relationships between those at the top and those at the bottom of that chain (for example the Milanese designer and the Chinese shoestitcher are in no relationship). They do not relate, they transact. In terms of power and wealth Henry Ford was as unequal to his workers on the assembly line, but in sociological terms he was closer to them, just as the general on the battlefield was connected to his troops. Sociologists call this the transfer of inequality into distance. The greater the distance, the lesser the connection between them.
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Fleksibilne organizacije u kojima su nestali medijatori iz lanca komunikacije sve su više teritorijalno rastavljene. Danas centar upravlja periferijom na vrlo specifičan način. Na periferiji su ljudi uključeni u proces rada na svoj način bez ikakve interakcije s vrhom i dnom komandnog lanca. Više ne postoje nikakvi socijalni odnosi između onih na vrhu i onih na dnu tog lanca (npr. milanski dizajner cipela nije u nikakvom odnosu s kineskim proizvođačem istih tih cipela). Oni nisu u odnosu, oni obavljaju transakciju. U terminima moći i bogatstva Henry Ford bio je jednako tako daleko od svojih radnika na pokretnoj traci, ali socijalno im je on bio daleko bliže, na način kao što je general na bojnom polju povezan sa svojim trupama. Ovdje se događa ono što sociolozi nazivaju transferom nejednakosti u udaljenost (distancu). Što je veća udaljenost manja je povezanost.
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Flexibility on the level of society leads to a shift in the value system. Stability as such is not a value, it lacks moral prestige. Interestingly, even in the stable service jobs wages decrease, and this whole sector (nursing, maintenance, transport) is left to immigrant workers, who focus on stability rather than on the cultural characterization of the work itself. Risk has become the dominant value; therefore there are ever more temporary and floating jobs that imitate the jobs of the elite. The new paradigm makes nonsense of delayed gratification as well as of the principle of self-discipline. But there also lacks the institutional framework for these values. Simplified examples for this are the problems of American private pension funds that weakened the savings for the future, the essence of the Protestant Ethic. It turns out there are no safe havens in the future.
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Fleksibilizacija na razini društva dovodi do promjene sustava vrijednosti. Stabilnost danas ne predstavlja vrijednost i stabilnosti nedostaje moralni prestiž. Interesantno je da i stabilna servisna zanimanja padaju u razini plaća, a cijeli ovaj sektor (medicinske sestre, održavanje, transport) preuzimaju imigranti koji su fokusirani na stabilnost prije negoli na kulturnu karakterizaciju nekog posla. Rizik je postao dominantna vrijednost i sve je više privremenih i fluidnih poslova koji oponašaju poslove elite, iako se ljudi koji ih upražnjavaju suočavaju s posve drugim problemima. Nova paradigma u kojoj se odvijaja rad proglasila je odgođeno zadovoljstvo nonsensom kao i princip samodiscipline. No, s druge strane došlo je i do institucionalne promjene odnosno nedostaje insititucionalni okvir za ove vrijednosti. Banalan primjer toga jesu problemi privatnih penzionih fondova u Americi koji su štednju za budućnost, esenciju protestantske etike, oslabili. Pokazalo se da više ne postoji siguran raj u budućnosti.
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And yet, according to Georg Simmel, stability has not vanished from our lives, we find it in repetitive forms of our culture. Benjamin went even further, relating a child’s inclination for repetitiveness with the inclination of adults to always look at the same (technically reproduced) images (tv series use this inclination to the extreme). The thing is, repetitiveness always offers the expected, giving an illusion that a safe haven exists and is right in front of us.
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Pa ipak, stabilnost nije nestala iz naših života, nju pronalazimo u repetitivnim formama naše kulture, na što je upozoravao još Simmel, a Benjamin do kraja razradio povezavši dječju sklonost k repetitivnosti sa sklonošću odraslih da uvijek gledaju iste, tehnički reproducirane, slike (logika televizijaskih serija ovu ljudsku sklonost repetitivnosti iskorštava do krajnjih granica). Uvijek se radi o tome da repetitivnost pruža očekivano čime stvara iluziju da siguran raj ipak postoji i da je tu pred nama.
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The workers are expected to adjust to the new working conditions. They are expected to take over responsibilities (if the management avoids to), to cooperate (if there are fewer intermediate layers) and above all to be creative and to contribute to the overall development of the organization. Only then can the worker keep his/her job.
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Na poslu se od radnika traži da se prilagodi novim uvjetima: od njega se traži da preuzme odgovornost (kada to već uprava izbjegava), da razvija suradnju na poslu (kada je već nestao sloj medijatora) i otvoreno ga se poziva da bude inovativan i na taj način dalje pridonose razvoju organizacije. Samo u tom slučaju možda može zadržati posao.
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Ono što je danas posebno važno za radnika jest moment suradnje koji kod Marxa ima dvije forme: objektivnu, prema kojoj svaki radnik obavlja specifičan posao koji inžinjer stvalja u odnos prema drugim poslovima i na taj način transcendira individualni rad; i subjektivnu, prema kojoj svaki rad u sebi sadrži socijalnu dimenziju odnosno u samom radu postoji svijest o potrebi za razvojem i intenziviranjem suradnje. Danas, kako ističe Paolo Virno, prevladava ova potonja dimenzija suradnje tj. od radnika se traži da kontinuirano stvaraju nove suradničke procedure. Na taj način u prvi plan dolaze radnikove socijalne (lingivističke) kompetencije i one danas pretežu nad vještinama i znanjima o samoj tehničkoj dimenziji rada. Danas je svaki rad prije svega socijalan.
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What is today especially important for the worker is the moment of cooperation, which according to Marx takes on two forms. The first is objective, meaning each worker has a specific job which is then related to other jobs and in that way it transcends individual labour. The second form is subjective where all work holds a social dimension, which means that in the work itself exists a need for development and increased cooperation. Today, as Paolo Virno explains, the latter form prevails. The workers are expected to continually create new cooperative procedures. In that way the workers social (linguistic) competencies are brought forth and they outbalance skills and knowledge. Today all work is primarily social.
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program/programme
Četvrtak/Thursday 20.10. 20:00 HKD na Sušaku
performans/performance
Nafta, matrica znanja Oil, the matrix of knowledge premijera/premier;
Koncept, jezično istraživanje, režija i koreografija/ Concept, language research, artistic direction and dramaturgy:
Ângelo Madureira i/and Ana Catarina Vieira
u suradnji s festivalom perforacija/ cooperation with Perforacije festival
21:00 galerija kortil
video izložba/video exhibition
Volim svoj posao I love mu job
autori/autors
Tellervo Kalleinen i/and Oliver Kochta-Kalleinen 22:00 klub place
glazbena večer/musical evening
Night w. Balkan Kolektiv dj’s & mc’s
Petak/Friday 21.10. 18:00 molekula
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tribina/panel discussion
Intelektualni rad Intellectual work moderator
Davor Mišković; uvodničari/introducers
Dejan Kršić i/and Mirko Petrić
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Petak/Friday 21.10. 20:00 HKD na Sušaku
plesna predstava/dance performance
DUET 021
koreografija i izvedba/ Choreography and performance
Rosana Hribar i Gregor Luštek u suradnji s festivalom perforacija/ cooperation with Perforacije festival
22:00 klub place
koncert/concert
La Casa Fantom, Norveška/Norway, Leechfeast, Sovenija/Slovenia.
Subota/Saturday 22.10. 16:00 peek & poke
razgovor/discussion
Miljana Babić and Pino Ivančić razgovor vodi/discussion moderator
Davor Mišković 18:00 molekula
tribina/panel discussion
Rad i kapital/ Work and Capital moderatorica/moderator
Nataša Petrinjak
uvodničari/introducers
Sandra Benčić i/and Ivica Đikić 22:00 02:00 molekula
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Disko/Disco Meltdown@Molekula
Moje, tvoje, naše/ Mine, yours, ours festival party DJ Filjo Od Clasha do Celentana/ From Clash to Celentan
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četvrtak/ thursday 20.10.
20:00 hkd na sušaku performans/ performance
Nafta, matrica znanja
u suradnji s festivalom perforacija/ cooperation with Perforacije festival
Ângelo Madureira i/and Ana Catarina Vieira
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Koncept, jezično istraživanje, režija i koreografija/ Concept, language research, artistic direction and dramaturgy
Ângelo Madureira i/and Ana Catarina Vieira Light dizajn/Light design: Juliana Augusta Vieira i/and Saša Fistrić Kostimografija/Costumes
Jasna Bajlo
Glazba i zvuk/Music and sounds
Josip Maršić and Zoran Medved Izvođači/Performers
Jorge Correa Bethencourt Vladimir Ježić Marko Kalc Tanja Kalčić Martina Rukavina Nives Soldičić
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Oil, the matrix of knowledge Tehnički direktor/ Technical director
Saša Fistrić
Projektna ideja/Project idea
Zvonimir Dobrović, Velid Đekić i Davor Mišković Dizajn/Design
André von Ah
Produkcija Rijeka/ Production Rijeka
Ivana Katić
Produkcija Zagreb/ Production Zagreb
Adriana Dobrović
Produkcija/Production
Domino/Festival Perforacije i/and Drugo More
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Nafta je prva međunarodna produkcija značajnih brazilskih koreografa Ângela Madureire i Ane Catarine Vieire sa šest hrvatskih umjetnika.U Nafti se dio njene koreografije stvara tijekom izvedbe kada dramaturgija crta kreativni proces, a pitanja se bave situacijama koje uključuju univerzalnu problematiku koja se vrti oko pitanja ‘preživljavanje’.Tema nafte se koristi kao metaforički prijedlog u kontekstu koji obuhvaća ekonomsku, socijalnu i političku situaciju ljudskog preživljavanja. Bilo u Hrvatskoj, u Brazilu ili na svijetu, situacije su slične i teže istom cilju.
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The process of blending knowledge in relation to dance that Ă‚ngelo and Ana Catarina have developed for the Croatian dancers, who come from different educational backgrounds, is borrowed from the notion of the Portuguese philosopher Boaventura de Sousa Santos, ‘ecology of knowledge’, where the exchange among Brazilian and Croatian artists brings to Oil a different way of living in different spaces, and their living in relation to survival contributes to the development of research that creates existing materials in the work. At this point, the artists demonstrate a new way: the hope of dealing with the problem that includes these situations, thus creating a dramaturgy specific to this work. When they talk about the survival of artists and portray the problems of oil, they believe that they also speak of a topic that speaks amongst themselves. Since both have irreversible consequences, according to the basic question: What is the strategy for survival when we think that our actions and choices will shape the world and make it what it is?
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Oil is the first international production from important Brazilian choreographers Ângelo Madureira and Ana Catarina Vieira, with six Croatian artists. Part of the choreography is created during the performance when as the dramaturgy shapes the creative process and the question that deals with situations involving universal issues that revolve around the question of ‘survival’. The theme of oil is used as a metaphorical suggestion in a context that includes the economic, social and political aspects of human survival. Whether in Croatia, in Brazil or anywhere else in the world, the situations are similar and aspire to the same goal. Proces stapanja znanja u odnosu s plesom koji su Ângelo i Ana Catarina razvili za hrvatske plesače koji posjeduju različito obrazovanje, posudili su od pojma portugalskog filozofa Boaventure De Souse Santosa ‘ekologija znanja’, gdje razmjena brazilskih i hrvatskih umjetnika donosi Nafti jedan drugačiji način življenja u različitim prostorima, i njihovog življenja u odnosu s preživljavanjem pridonosi razvoju istraživanja koje stvara prisutne materijale u djelu. U ovom trenutku umjetnici pokazuju jedan novi put, nadu u ulazak u problematiku koja obuhvaća ove situacije stvarajući pritom dramaturgiju specifičnu za ovo djelo. Kada govore o preživljavanju umjetnika i portretiraju problematiku s naftom, vjeruju da govore o temi koja razgovara između sebe jer oboje ima nepovratne posljedice sukladno osnovnom pitanju: Koja je strategija preživljavanja kada mislimo da će naše radnje i izbori ocrtati svijet i napraviti od njega ono što on jest?
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Perforacije
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petak/ friday 21.10. 20:00 hkd na sušaku plesna predstava/ dance performance
u suradnji s festivalom perforacija/ cooperation with Perforacije festival
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DUET 012
Rosana Hribara i/and Gregor Luštek
koregrafija i izvedba/ choreography & performance
Rosana Hribar, Gregor Luštek redatelj videa/video director
Peter Bratuša
produkcija videa/ video production
Felina Films
glazba/music
Klasick-Jahkuzi/DJ Jamirko, Love Song/Dan D producentica/producer
Živa Brecelj
produkcija/production
Plesni Teater Ljubljana hvala/thanks to
DJ Jamirko, Tokac, Dan D, Kif Kif, Peter Bratuša, Felina Films Program Plesnog Teatra Ljubljana sufinanciraju/ The programme of Plesni Teater Ljubljana is subsidized by
Ministrstvo kulture Republike Slovenije i Grad Ljubljana/ the Ministry of Culture and the Municipality of Ljubljana
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Predstava DUET 012 podnaslovljena Različitost mišljenja je čudesna! priča je o dvanaest godina dugom profesionalnom i intimnom odnosu dvoje zrelih plesnih umjetnika, Rosane Hribar i Gregora Lušteka. Igrajući se paletom pročišćenih emotivnih situacija u prostoru trajne tranzicije između klasične i suvremene plesne estetike, autori iskreno pričaju svoje životne priče na sceni i to isključivo jezikom plesa.
The dance performance DUET 012 - Diversity of Opinions is Wonderful! It presents a twelve-year-long story of the professional and intimate relationship between two mature contemporary dance creators Rosana Hribar and Gregor Luštek. By playing through a palette of cleansed emotive situations in the space of constant transition between classic and contemporary dance aesthetics, the authors sincerely tell their personal life story on stage exclusively through dance.
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Duet 012 je dio serije uspješnih plesnih dueta koju su Rosana i Gregor počeli stvarati na osmu obljetnicu svojeg zajedničkog (plesnog i privatnog) puta. Nakon uspješnog početka (duet naslovljen 8 godina osvojio je 1. nagradu na Međunarodnom koreografskom natjecanju u Beogradu), uslijedio je duet 10 godina kojim su osvojili 2. nagradu žirija i kritike na Međunarodnom koreografskom natjecanju u Hannoveru, 2. nagradu na Međunarodnom koreografskom natjecanju u Ludwigshafenu i nagradu Povodni mož. Duet 012 je pak u travnju ove godine osvojio 2. nagradu kritike na već spomenutom natjecanju u Hannoveru. Rosana i Gregor dobili su i prestižnu Trdinovu nagradu za svoja doprinos i postignuća u suvremenom plesu. Rosana i Gregor su članovi Plesnog Teatra Ljubljana.
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DUET 012 is part of a series of successful dance duets Rosana and Gregor started to develop at the eighth anniversary of their mutual (dance and private) path. The successful start (the duet entitled 8 YEARS received the 1st Prize at the International choreographic competition in Belgrade) and was followed by the duet’s 10 YEARS, which was awarded with the 2nd Jury Prize and a Special Critics Prize at the International competition for Choreographers in Hannover; the 2nd Prize at the International choreographic competition in Ludwigshafen and the Povodni moŞ Prize. DUET 012 has also recently been awarded with the 2nd Jury Prize at the 24th International competition for Choreographers in Hannover, April 2010. Rosana and Gregor also received the prominent Trdin Prize in 2008 for their long lasting achievements in contemporary dance art. Rosana and Gregor are members of Plesni Teater Ljubljana / Dance Theatre Ljubljana.
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Perforations
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ÄŒEtvrtak/ thursday 20.10. 21:00 galerija kortil video izloĹžba/ video exhibition
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I love my job
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Volim svoj posao
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Volim svoj posao I love my job Tellervo Kalleinen Oliver Kochta-Kalleinen Veći dio odraslog života provodimo na radnome mjestu. Ono ne uključuje samo fizičku produktivnost već i kompleksne strukture društvenih hijerarhija i osjetljivih odnosa moći koji radno mjesto mogu učiniti rajem ili pak paklom. Umjetnički duo Oliver Kochta-Kalleinen i Tellervo Kalleinen pozvali su radnike i zaposlenike Göteborga and Helsinkija da režiraju kratke filmove o nekim teškim situacijama na svojim radnim mjestima. Profesionalna ekipa glumaca i ostalih filmskih djelatnika pomogla im je da realiziraju svoje vizije. Projekt je tim radnicimai zaposlenicima pružio priliku da odglume sve što su ikada htijeli napraviti ili izreći u najmračnijim trenucima svoga radnoga vijeka. Svi monolozi izgovoreni kolegama tijekom besanih noći, sve zamišljene konfrontacije u šefovom uredu kao i sve osvete koje su smišljali tijekom dugih dosadnih radnih satti, sve je to postao materijal za ove filmove. Kazališnu adaptaciju realizirali smo 2008 u Berlinu u kazalištu Hebbel am Ufer u sklopu festivala eksperimentalnog kazališta Fressen oder Fliegen. Dijelovi izložbe prikazani su u Göteborg Konsthall, Kiasma Museum of Contemporary Art, Helsinki i Wysing Arts Centre, Cambridge.
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The most time of our adult life is spent at the work place, which is not only the physical site of production, but rather marked by the complex social structure of social hierarchies and sensitive power relations that can make the workplace heaven but also hell. The artist duo Oliver Kochta-Kalleinen and Tellervo Kalleinen invited workers and employees of GÜteborg and Helsinki to direct short films about the nightmarish situations at their work places. A professional film team and actors assisted in bringing the vision into reality. The project provided a chance for people to act out everything they ever wanted to do or say during the darkest moments of their work life. All the monologues held at sleepless nights to co-workers; all the imagined showdowns in the boss’ office and all the acts of revenge brewing in the head during long dull working hours were the material for these films. A stage adaptation of the same concept was realized in 2008 at Hebbel am Ufer Theatre in Berlin as part of the experimental theater festival Fressen oder Fliegen. Parts of the exhibition have been showed in GÜteborgs Konsthall, Kiasma Museum of Contemporary Art, Helsinki and the Wysing Arts Centre, Cambridge.
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Volim svoj posao I love my job
Oliver Kochta-Kalleinen i Tellervo Kalleinen Osim individualnih projekata zajedno surađujemo od 2003. godine. Za Sastanak mikronacija u suradnji s Muzejom ulične umjetnosti organizirali smo konvenciju šest mikronacija u Helsinkiju. Complaints Choir poziva ljude da se žale koliko god žele i da pjevaju svoje žalopojke s drugim žaliteljima. Making of Utopia odveo nas je do četiri utopijske zajednice u Australiji koje smo dokumentirali u filmu. I Love My Job poziva ljude da režiraju kratke filmove o teškim situacijam kroz koje prolaze na radnome mjestu. Za video rad Dreamland sakupili smo i dramatizirali snove ljudi u kojima se pojavio predsjednik Finske. People in White opisuje subjektivna iskustva odnosa između liječnika i pacijenta 10 sudionika s mentalnim problemima.
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Oliver Kochta-Kalleinen and Tellervo Kalleinen Beside our individual projects we have enjoyed to work in collaboration since 2003. For the Summit of Micronations we organized together with artists’ association MUU a convention of six micronations in Helsinki. The Complaints Choir invites people to complain as much as they want and to sing their complaints out loud together with fellow complainers. The Making of Utopia brought us to four utopian communities in Australia which were portrayed in a film. I love my Job invites people to direct short films about the nightmarish situations at their workplace. For the video work Dreamland we collected and dramatized dreams of people in which the President of Finland appeared. People in White describes the subjective experience of the Doctor-Patient relationship of 10 participants with a mental health care background.
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Tribina Panel Discussion
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Razgovor Discussion
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petak/friday 21.10. 18:00 molekula tribina/ panel discussion
Intelektualni rad moderator
Davor Mišković
uvodničari/introducers
Dejan Kršić i Mirko Petrić
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Intellectual work Intelektualni rad zahtjeva slobodu mišljenja i izražavanja i ona je načelno postignuta u liberalno-demokratskim društvima. No, unatoč ostvarenom načelnom prostoru slobode ona je u praksi sputana samim odnosima kapitala i intelektualnog rada, organizacijom i upravljanjem, te tematskim usmjerenjem. Sveučilišta, kulturne institucije, umjetnički svijet, instituti, istraživački centri, mediji i kutlurne industrije, svi su oni danas u funkciji stvaranja povoljne investicijske klime.
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Intellectual work requires freedom of thought and speech, which is generally accomplished in liberal democratic societies. Although in practice it is often constrained by the relationship between capital and intellectual work, organisation and management as well as by the thematic focus. Universities, cultural institutions, art world, institutes, research centres, media and cultural industries are today all oriented at creating a favourable investment climate.
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subota/ saturday 22.10. 16:00 peek & poke razgovor/ discussion
Milijana Babić & Pino Ivančić razgovor vodi/ discussion moderator
Davor Mišković
Milijanu Babić i Pina Ivančića povezuje umjetnički interes za rad. Rad je osnovna ljudska djelatnost i često je bio tema umjetničkog rada, koji je i sam rad. Rad je ključna ljudska aktivnost u kojoj se odvija prisvajanje viška vrijednosti i na taj način oblikuje cijelo društvo. Stoga je interes umjetnika za rad interes za samu
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osnovu našeg društvenog odnosa i to je upravo i način na koji radu pristupaju Milijana Babić i Pino Ivančić. Dakle, njima je rad platforma na kojoj se izgrađuju društveni odnosi, koji povratno određuju status svakog pojedinačnog rada. Rad je u radu Milijane Babić i Pina Ivančića mjesto koje otkriva cijeli univerzum, Borgesov alef.
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Artistic interest for work brings together Milijana Babić and Pino Ivančić. Work is the primary human activity and has often been the subject of artwork, which is itself work. As a primary human activity it appropriates added value and in doing so forms the whole society. Thus the interest artists show for work is really interest in
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the essence of our social relation, and is exactly how Milijana Babić and Pino Ivančić approach their work. They see work as a platform upon which to build social relations, which in turn defines the status of each particular work. Work in the works of Milijana Babić and Pino Ivančić is a place that discovers the whole universe, Borges’s Aleph.
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subota/ saturday 22.10. 18:00 molekula tribina/ panel discussion
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Rad i kapital Work and Capital moderatorica/moderator
Nataša Petrinjak
uvodničari/introducers
Sandra Benčić and Ivica Đikić
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Odnos rada i kapitala nekada je bio u središtu rasprava o ekonomskoj, socijalnoj i političkoj situaciji. Ovaj odnos kao da je iščezao iz fokusa društvenih rasprava, a težište moći se posve premjesilo na stranu kapitala. Za održanje proizvodnog procesa kapital je jednako važan poput rada, no u suvremenoj ekonomiji
proizvodni proces potčinjen je financijskom kapitalu koji je pokretljiv i nestalan u potrazi za sve većim profitnim marginama. Od trenutka kada je sama proizvdonja od drugorazredne važnosti rad je puno izgubio na vrijednosti i danas je sveden tek na jedan od uvjeta za prisutnost kapitala.
The relationship between work and capital has once been the central point in discussions on the economic, social and political circumstances. Today this relationship seems to have vanished from social discussions, and the focus has shifted towards capital only. To maintain a production process capital is as important as work
itself. But in modern economy the production process is overpowered by financial capital that is fluid and versatile and in constant search for even greater profit margins. The moment when production became degraded, work lost its value and has become just one prerequisite for the presence of capital.
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Glazbeni program
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Music programme
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Night w. Balkan Kolektiv DJ’s & MC’s
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inna reggae/dub/dubstep/ drumstep/dnb/grime/swing/ trip hop/hip hop...etc. Balkan kolektiv je audio – vizualni kolektiv koji djeluje kao dio Udruge za kreativno unapređenje djece, mladih i odraslih „Balkan“ a sa ciljem promicanja i distribucije urbane glazbe i kulture na području cijele Hrvatske i šire. Balkan kolektiv osnovan je 2010. godine iako se većina članova na sceni nalazi još od 2002. godine. Nekoliko mladih ljudi u Rijeci sa jasnom vizijom pokreće promociju drum&bassa, dubstepa, rocka, metala, reggaea, ska, hip hopa te inih vrsta glazbe zajedno sa vizualnim i ostalim vrstama umjetnosti.
www.youtube.com/user/BalkanKolektiv www.balkan-kolektiv.info/ www.facebook.com/balkan.kolektiv
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četvrtak/ thursday 20.10.
22:00 klub place glazbena večer/ musical evening www.klubplace.blogspot.com upad: 0 kuna/entrance free
Balkan Kolektiv is an audio-visual collective that works as part of the “Balkan” Association for the creative promotion of children, adolescents and adults to promote and distribute urban music and culture throughout Croatia and abroad. Balkan Kolektiv was founded in 2010, although most of its members have been present on the scene since 2002. A couple of young people with a clear vision went off to promote drum & bass, dub step, reggae, ska, rock, metal, hip hop music and visual arts in Rijeka, Croatia.
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petak/friday 21.10. 22:00 klub place koncert/concert www.klubplace. blogspot.com upad/entrance: 10 kuna
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La Casa Fantom Norveška www.lacasafantom.com
hardcore/punk/ downtempo
Duboko iz šumske okolice Osla, opijeni hladnoćom i vječnim istraživanjima novih mogućnosti hardkora; stižu nam ponovno predstaviti sve ono što smo tokom svih njihovih koncerata zavoljeli. Čak peti put ćemo svjedočiti soničnim promjenama pomiješanima sa mnogo doze svega i svačega. Ovo je uistinu bend koji se ne propušta. From deep within the cold forest outside of Oslo in Norway we greet again La Casa Fantom. For the fifth time they will present their never ending exploration of hardcore music, sonic changes mixed with much of this and that. This is definitely a band that shouldn’t be missed.
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10/19/11 3:15:53 PM
petak/friday 21.10.
22:00 klub place koncert/concert www.klubplace.blogspot.com upad/entrance: 10 kuna
Leechfeast Slovenija www.leechfeast.blogspot.co
sludge/stoner/punk Godinu dana nakon prvog ukazanja, sa još zajebanijim rifovljem; ovi momci uistinu znaju kako svirati vrlo mastan stoner sludge, pomičući se korak dalje od početaka gdje je zvukom još bilo tragova krasta. Sada je ovo čista sinergija muljavih orange pojačala,efektnih udaraca i paklenih vokala. Potpuni stoner pank koas. A year after their first appearance with even more fucked up riffs, these guys really know how to play real greasy stoner sludge, moving away from their crust beginnings. They now present a pure synergy of dirty orange amplifiers, effective beats and hellish vocals. A total stoner punk chaos guaranteed.
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subota/ saturday 22.10.
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22:00-02:00 DISKO/disco meltdown @ molekula Moje, tvoje, naše/ Mine, yours, ours festival party
DJ Filjo Od Clasha do Celentana/ From Clash to Celentan DJ FILJO voli dobru atmosferu i mrzi sve oblike rasizma./ DJ FILJO loves a good atmosphere and hate all forms of racism. Hitovi, hitovi i još više hitova. Pjesme na kojima smo odrastali, sa kojima smo plakali ili jednsotavno okretali glavom na spomen istih. Ipak, uz dobru dozu sarkazma sada uživamo i apsolutno se uvijek dobro zabavimo. Apsolutni klasik svakog Moje/Tvoje/Naše. Muziku pušta pulski DJ Filjo, koji je već stekao dobru reputaciju na tulumima u Molekuli.
10/19/11 3:15:55 PM
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Hits, hits and even more hits. Music we grew up with, we cried to or just couldn’t stand; now we enjoy with a dose of sarcasm and we absolutely always have fun. A classic last evening of MYO Festival. DJ FILJO from Pula who loves a good atmosphere and hates all forms of racism is always a welcomed DJ at our Molekula parties.
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Produkcija/Production
Drugo more
Partneri/Partners
Domino/Festival Perforacije i Rijeka DIY HC/Punk Koncepcija/Concept
Davor Mišković
Producent/Producer
Ivana Katić i Jana Elisa Falkenroth Odnosi s javnošću/Public relations
Ivana Katić
Asistentica producenta/ Assistant producer
Martina Vranić
Vizualni identitet/Visual identity
Mario Aničić i Jele Dominis Oprema/Equipment
HKD, SU Clubture
Tehničko vodstvo/ Technical leadership
Dalibor Fugošić i Vedran Hajduk Suradnici/Co-operation
Damir Batarelo, Leo Jelača, Nataša Petrinjak Volonteri/Volunteers
Natalija Bešlić, Sara Blažić, Vanja Brdar, Krešimir Jerić, Nina Juričić, Kristina Kleva, Tamara Kosamović, Marija Maksimović, Iva Sokač, Anamarija Tomičić, Tea Tuđa, Sandra Turkalj, Stanislav Živković Donatori/donators
Nacionalna zaklada za razvoj civilnog društva Ministarstvo kulture RH Primorsko-goranska županija Grad Rijeka – Odjel za kulturu
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Izdavač/Publisher
Drugo more
Urednik kataloga/ Catalogue Editor
Davor Mišković
Grafički urednik/Art Director
Mario Aničić
Dizajn/Design
Mario Aničić & Jele Dominis Prijevod/Translation
Jele Dominis Tisak/Print
Stega tisak, Zagreb Naklada/Edition
350 primjeraka/copies Rijeka, listopad/October, 2011.
primorsko-goranska županija
grad rijeka odjel za kulturu
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