Praktične utopije / Practical utopias by Mario Aničić

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24 –27/10/2012 rijeka

galerija kortil hkd na suπaku molekula place tunel

produkcija/production Drugo more partneri/partners Domino Electra Ykon Distune promotion program su podržali/ programme support Ministarstvo kulture Republike Hrvatske/ Ministry of Culture of the Republic of Croatia Primorsko-goranska županija/ Primorsko-goranska County Grad Rijeka – Odjel za kulturu/ Department of Culture of the City of Rijeka British Council Europska komisija/European Commission medijski pokrovitelji/media support Novi list Radio Rijeka Kulturpunkt.hr Teklić.hr

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Davor Mišković

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Utopiju koristimo u značenju koje se odnosi na optiku kroz koju promatramo društveni sistem i njegovu strukturnu transformaciju te kroz koju analiziramo i zamišljamo nove oblike zajednice. Dakle utopija se odnosi, prije svega, na društvenu organizaciju i moguću transformaciju. U središtu našeg istraživanja nije ono što utopije negiraju nego su to utopijski prijedlozi za organizaciju alternativnog svijeta. Unatoč rastućem nezadovoljstvu sa stukturom društva u kasnom kapitalizmu (ili je ovo možda tek početak?) koje je elaborirano u brojnim teorijskim i umjetničkim radovima čini nam se da se nedovoljno razmišlja o alternativama, o drugim modelima organizacije društvene strukture. Vjerujemo da se i na praktičan i na fantastičan način postojeće stanje i postojeći sustav mogu reformulirati. Praktične utopije se fokusiraju upravo na te alternative, pristupajući utopiji kao političkoj viziji: kritičkom i dijagnostičkom instrurmentu koji će nam pomoći da generiramo nove vizije zajedničkog života. Termin utopija ima vlastitu povijest, koju najčešće vežemo uz grešku, uz neuspjeli pokušaj organizacije društva ili zajednice, ili pak uz nemogućnost da se ostvare ideali ili pak uz nemogućnost da se stigne do željenog mjesta. Doslovno, utopija znači ne-mjesto. Mi utopiju pokušavamo shvatiti ne kao mjesto nego kao proces

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ostvarivanja idela, kao putovanje prema željenom mjestu. Sama manifestacija nije jedinstveni glas kako bi buduće društvo ili alternativni sustav organizacije društva trebao izgledati, nego je poziv svima nama da krenemo razmišljati o praktičnim promjenama koje će nas odvesti tamo gdje želimo. Da bi odgovorili na pitanje kako izgleda mjesto na koje želimo doći trebali bi se zapitati kako izgleda ovo iz kojeg želimo otići. A ovo mjesto obilježava kriza. Kriza se obično odnosi na negativne promjene u socijalnom, ekonomskom, kulturnom, političkom i uopće svakom smislu. Svi se možemo složiti oko ovog negativnog, lošeg, ali nisam siguran da se možemo složiti i oko promjene. U čemu se ogleda ova promjena? Po mom mišljenju jedina je promjena u tome što se iscrpio govor opravdavanja postojećeg stanja. Nacionalizam i konzumerizam, ekonomska racionalnost i božanski poredak, ništa ne može opravdati i ponuditi interpretaciju stanja u kojem se nalazimo. Naprosto više ne shvaćamo svijet u kojem živimo. Naravno, interpretacije i dalje postoje, ali ni jedna nije uvjerljiva, nema autoritet. Zbog toga smo slobodni vjerovati u što hoćemo, u teoriju racionalnog izbora i tržište, znanstveni marksizam, crkveni nauk ili u priču o globalnoj zavjeri guštera. No, bez obzira na to koja nam je interpretacija najbliža vidljivo je da svaka od ovih teorija nastoji objasniti zašto su prisutne razlike

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u društvu (ili među pojedincima koji žive jedni pored drugih, da ne naljutimo Hayekove sljedbenike). Većina njih ne samo da ih nastoji objasniti nego i opravdati. Opravdanje počiva na ideji da postoji određena pravda, da je u redu što su razlike takve kakve jesu. A opravdanje je moguće samo ako su ispunjena dva uvjeta, a to je da od ovih nejednakosti bar neku korist imaju najslabiji dijelovi društva (ova korist mora biti u vezi s nekom idejom zajedničkog dobra) i da su ove nejednake pozicije u društvu dostupne svima, da ih svi mogu ostvariti. Onog trenutka kada se ljude ne može uvjeriti da imaju ikakve koristi od toga što su na dnu i kada ih se ne može uvjeriti da će moći ostvariti poziciju kojoj teže onda interpretativni mehanizam ne funkcionira. Svijet se raspada. Promjena ne znači da će nam biti bolje. Valjda smo barem toliko naučili. Zato kroz manifestaciju Moje tvoje naše ove godine želimo podsjetiti na riječi Emme Goldman da nam ne treba revolucija u kojoj nećemo moći plesati. Naravno, ples ovdje nije izgovor da ni do nikakve promjene ne treba ni doći sve dok možemo plesati, nego da u promjeni moramo sačuvati ono zajedničko dobro koje smo izgradili. I, na koncu, samo podsjetnik kako je Moje tvoje naše uvijek praktično potvrđivalo da se najbolje pleše u društvu.

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Davor MiĹĄkoviÄ&#x2021;

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Utopia here refers to a view of the social system and its structural transformation and to a way in which we analyze and imagine new forms of community. Thus utopia refers to social organization and its possible transformation. The focus of our exploration is utopian proposals for the organization of an alternate world. Despite the growing dissatisfaction with the society structure in late capitalism (or maybe this is just its beginning?) which has been elaborated in a number of theoretical and artistic works, there seems to be insufficient consideration of the alternatives, of other models of social structure organization. We believe that the current situation and the existing system can be rewritten in both practical and fantastic ways. Practical utopia focuses on alternatives, on approaching utopia as a political vision: critical and diagnostic instrument that will help us generate a new vision of life together. The term utopia has its own history that is mainly linked to a mistake, a failed attempt at social organization or community, or the inability to achieve the ideals or to get to the desired point. Literally, utopia means no-place. We see utopia not as a place but as a process of realizing ideals, a trip to the desired point. This event itself is not a unique voice of how the future society or an

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alternative system of social organization should look like, but it is a call to all of us to start thinking about practical changes that will take us to the desired point. To find out what is this desired point we first need to know where we stand presently. And presently we are amidst a crisis. The crisis usually refers to the negative changes in the social, economic, cultural and political sense. We can all agree on these negative aspects, but I’m not sure we can agree on the change. What is reflected in this change? In my opinion, the only change is that we have exhausted justifying the current situation. Nationalism and consumerism, economic rationality and divine order, nothing can justify or offer an interpretation of our current situation. We simply do not understand the world in which we live. Of course, interpretations still exist, but none are convincing, none have authority. Therefore, we are free to believe what we want, in the theory of rational choice and market, scientific Marxism, church doctrine, or the story of the global conspiracy of lizards. No matter which interpretation we choose, evidently each theory seeks to explain the present inequalities in society (or among individuals who live next to each other, not to offend the Hayek followers). Most of these theories not only try to explain these inequalities but they also try to justify them.

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The justification is based on the idea that there is some justice, that the inequalities are what they are and how they should be. But justification is possible only under two conditions: that out of these inequalities the weakest parts of society have some benefit (this benefit has to be connected to the idea of the common good) and that these unequal positions in society are accessible to all, and can be achieved by everyone. Interpretative mechanism does not work when people don’t believe they’ll have any benefit from being on the social bottom and when they can not be convinced they will be able to achieve their desired position. The world falls apart. Change does not necessarily mean things will get better. We have learned that much. Therefore, in this year’s Mine, yours, ours Festival we wish to recall the words of Emma Goldman that we do not need a revolution in which we will not be able to dance. Of course, the ability to dance here is not an excuse for change to take place; the change must preserve the common good that we have built. Finally a reminder that the Festival is a practical confirmation that dancing is always more fun in the company of others.

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program/programme

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srijeda/wednesday 24.10. 21:00 hkd na sušaku

predstava/performance BADco. Ima li života na sceni?/ Is there a life on stage? Vježbe iz oblikovanja Zemlje/Exercises in Terraforming (Hrvatska/Croatia) premijera/premier trajanje/duration 1h 30 min U suradnji s festivalom Perforacija/Cooperation with Perforacije festival

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četvrtak/thursday 25.10. 18:30 galerija kortil

otvorenje skupne izložbe/ exhibition opening From Below, as a Neighbour Babi Badalov, BADco., Bibliothek der Sachgeschichten, Kajsa Dahlberg, Öyvind Fahlström, Mark Leckey, Jennie Livingston, Carlos Motta, Pil and Galia Kollectiv, Želimir Žilnik kustosica/curator: Fatima Hellberg (Electra/London)

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20:00 hkd na sušaku

predstava/ performance Bojan Đorđev i Stipe Kostanić Psi/Dogs (Srbija/Serbia / Hrvatska/Croatia) (prema tekstu/based on the text by Hervéa Guibert “Les chiens”) U suradnji s festivalom Perforacija/Cooperation with Perforacije festival

21:00 moje, tvoje, naše tunel mine, yours, ours Tulum/Party Muziku puštaju/ Music by Ronald Panza i/and Mili Sefić (Bosna i Hercegovina Bosnia and Herzegovina)

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program/programme hkd na sušaku — strossmayerova 1 galerija kortil — strossmayerova 1 tunel — školjić 12 art kino croatia — krešimirova 2 molekula — delta 5/1 place — ružićeva 2

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petak/friday 26.10.

subota/saturday 27.10.

12:00 galerija kortil

18:00 molekula

igra/game Ykon game/ Ykon igra Slobodan ulaz uz prijavu na/ Free entrance with registration ivana@drugo-more

20:00 art kino croatia

dokumentarni film Jennie Livingston Pariz gori/ Paris is Burning trajanje/duration 78min

razgovor/conversation From Below, as a Neighbour Razgovor s kustosicom izloĹžbe/Conversation with exhibition curator Fatima Hellberg (Electra/London)

dokumentarni film 18:00 art kino Jennie Livingston croatia Pariz gori/ Paris is Burning trajanje/duration78min 20:00 hkd na suĹĄaku

predstava/performance Pil and Galia Kollectiv Terminal Ä&#x152;udnovata predstava s popularnom glazbom smaka svijeta/ A Miracle Play with Popular Music from the End of the World (Velika Britanija/ United Kingdom) premijera/premier trajanje/duration 50min

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22:00 koncert/concert place Korov (Bosna i Hercegovina Bosnia and Herzegovina)

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srijeda/wednesday 24.10. 21:00 hkd na sušaku

predstava/performance BADco. Ima li života na sceni?/ Is there a life on stage? Vježbe iz oblikovanja Zemlje/Exercises in Terraforming (Hrvatska/Croatia)

autori/authors Pravdan Devlahović izvedba i koreografija/ performance and choreography, Ivana Ivković dramaturgija/dramaturgy, Ana Kreitmeyer izvedba i koreografija/ performance and choreography, Tomislav Medak dramaturgija/dramaturgy) Goran Sergej Pristaš režija/directing, Nikolina Pristaš izvedba i koreografija/ performance and choreography, Zrinka Užbinec izvedba i koreografija/ performance and choreography.

podržali/supported by Ured za obrazovanje, kulturu i sport Grada Zagreba/ Zagreb City Council for Education, Culture and Sport; Ministarstvo kulture Republike Hrvatske/Ministry of Culture of Republic of Croatia

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premijera/premier trajanje/duration 1h 30 min U suradnji s festivalom Perforacija/Cooperation with Perforacije festival

suradnici/collaborators Daniel Turing software, Silvio Vujičić kostimi/costume design, Alan Vukelić oblikovanje svjetla/light design, Jasmin Dasović tonski tehničar/sound design. producent/company manager Lovro Rumiha koprodukcija/coproducers BADco. i/and Domino

fotkografije/photos Tomislav Medak Predstava je pripremana u Centru za kulturu Novi Zagreb/ The production was prepared at the Culture Center Novi Zagreb.

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key words terraforming, ecomimesis, imitation, atmospheric atunement, biosphere, series, gravitational clocks, choreography as an instrument

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kljuÄ?ne rijeÄ?i terraforming, ekomimeza, imitiranje, atmosferska ugoÄ&#x2018;enost, biosfera, serija, gravitacijski satovi, instrumentalna koreografija

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BADco.’s new production is an artistic exploration of two connected sets of problems: establishing the minimal conditions for life and the facticity in the theater. Our starting point is the question “What are the consequences of theater’s fictionalization of a reality such as the global environmental crisis?” Therefore our reference horizon spans artistic and media sources ranging from documentary footage of our conquests of outer space, through science-fiction prose and eco-art. The performance-series starts out from the idea of terraforming, a hypothetical process of deliberately modifying the atmosphere, temperature, surface topography or ecology of planet, moon or other body to be similar to those of Earth in order to make it habitable by terrestrial organisms. Conceived as a serial, made up of individual episodes, the production’s primary interest is to approach and exhaust the topic of establishing new conditions for life and work on stage, networks of relations, ecosystems, forms of life, communities etc. On the one hand we wish to reflect on a heightened sense of urgency

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Nova predstava BADco. umjetničko je istraživanje dva povezana skupa problema: stvaranja minimalnih uvjeta za život i činjeničnosti u kazalištu. Naše polazište je u pitanju “Koje su posljedice kazališne fikcionalizacije stvarnosti poput globalne ekološke krize?” Stoga su se obzoru predložaka našli umjetnički i medijski materijali od dokumentarnih snimki osvajanja svemira, preko S.F. proze do ekoumjetnosti. Predstava-serija svoj je začetak našla u ideji terraforminga, hipotetskog procesa ciljanog preoblikovanja atmosfere, temperature, površinske topografije ili ekologije nekog planeta ili svemirskog tijela kako bi ga se učinilo sličnim Zemlji te naseljivim zemaljskim organizmima. U namjeri da se realizira kao serijalna, epizodna struktura, predstava će iz nekoliko različitih perspektiva prići ideji scenskog iskušavanja uspostavljanja novih životnih (ali i radnih) uvjeta, međuljudskih odnosa, ekosustava, oblika života, zajednica itd. S jedne strane, cilj nam je reflektirati povišeni stupanj osjetljivosti za budućnost planeta Zemlje, a s druge, status stvarnosti u kazalištu. Dok se njegova socijalna i politička argumentacija

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to relate the global environmental crisis, on the other hand our aim is to reflect on the status of the real in theater. While theater’s social and political argumentation increasingly exhibits a passion for reality, for the documentary, for the “real people” on stage, theater always inevitably fictionalizes relations between people and things, facts and illusions. And yet, theater always is a collective act of sorts, always a

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sve više artikulira strašću za stvarnim, za dokumentarizmom i “stvarnim ljudima” na sceni, kazalište neizbježno fikcionalizira odnose među ljudima i stvarima, činjenicama i iluzijama. No paralelno tome kazalište jest uvijek svojevrsni zajednički čin, uvijek neka privremena zajednica koja ima svoje sociopoetičke posljedice. Predstava ima serijalnu strukturu čiji segmenti će se mijenjati iz prigode u prigodu,

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od izvedbe do izvedbe. Predstava je već u dva navrata prezentirana u radnim uvjetima, a riječka premijera otvara ciklus javnih izvedbi u teatru. Inicijalni projektni prijedlozi razvijeni su kroz niz radionica i suradnji s umjetnicima i stručnjacima izvan kolektiva. Predstava će se nadalje razvijati kroz niz radionica s publikom i drugim stvaraocima, a rezultirajući, novoproizvedeni segmenti će se uključivati u serijalnu i izmjenjivu strukturu predstave. Predstava je namijenjena za izvođenje u kazalištima, galerijama, ali i drugim otvorenim i zatvorenim javnim prostorima.

temporary community with its own set of sociopoetic consequences. The performance has a serial structure whose segments will be changing from occasion to occasion, from venue to venue. The production has already been presented twice as a work-in-progress, while the Rijeka performance opens a cycle of public showings in theaters. The initial project propositions were developed through a number of workshops and collaborations with artists and experts outside of the collective. The performance will remain open after its premiere, through continuous workshops with the audience and other creators. The resulting inew segments will be added to the serial and permutable structure of the performance. It is adaptable to performance and gallery venues, but also other open-air and indoor public spaces.

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BADco. is a Zagreb-based theatre collective. The collective, a confluence of interests in choreography, dramaturgy and philosophy, is nowadays made up of Pravdan Devlahović, Ivana Ivković, Ana Kreitmeyer, Tomislav Medak, Goran Sergej Pristaš, Nikolina Pristaš, Lovro Rumiha and Zrinka Užbinec. Since it was founded in 2000, it has systematically focused on theatrical and dance performance as a problem-generating rather than problem-solving activity questioning the established ways of performing, representing and spectating. BADco. approaches the theatrical act as an unstable communicational exchange, a complex imaginary, challenging the spectator to look beyond the homogenising media reality and reclaim her or his freedom of spectating.

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BADco. je kolaborativna izvedbena skupina koja radi u Zagrebu. Jezgru skupine čine: Pravdan Devlahović, Ivana Ivković, Ana Kreitmeyer, Tomislav Medak, Goran Sergej Pristaš, Nikolina Pristaš, Lovro Rumiha i Zrinka Užbinec. Od svog osnutka u 2000. godini, BADco. se kroz suradnju četvero koreografa /plesača, dvoje dramaturga i jednog filozofa sistematično bavi istraživanjem protokola izvođenja, predstavljanja i gledanja strukturirajući svoje projekte unutar različitih formalnih i percepcijskih odnosa i sklopova. Rekonfiguracija etabliranih odnosa izvedbe i publike, preispitivanje perspektivnih datosti i arhitektonike izvedbe, problematizacija komunikacijskih struktura - sve to čini BADco. međunarodno relevantnim umjetničkim fenomenom i jedinstvenim izvedbenim doživljajem.

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četvrtak/thursday 25.10. 18:30 galerija kortil

petak/friday 26.10. 12:00 galerija kortil

razgovor/conversation From Below, as a Neighbour Razgovor s kustosicom izložbe/Conversation with exhibition curator Fatima Hellberg (Electra/London)

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Izložba From below, as a neighbour bavi se fragilnom institucijom: strateškim odvajanjima koja se izvode unutar privremenih prostora djelovanja i potpore. Izložba je najnovija etapa kontinuiranog istraživanja utopističke misli i prakse, koje je započeto na prvome Samitu mikronacija (Summit of Micronations), kongresu za projekte mikronacija koji se održao u Helsinkiju 2003. godine. Uzimajući taj model kao polazište, izložba From below, as a neighbour nastoji radikalno proširiti pojam mikronacije kao oblika samoorganizacije, istražiti alternativne pristupe koji potkopavaju i destabiliziraju normirane strukture. U izloženim radovima prisutna je želja da se stvore oblici znanja koji razmještaju sam pojam znanja i kao praksu i kao ideju dijeljene autonomije. Time se naglašava uloga nježnosti u kolektivnim politikama, politikama temeljenim ne toliko na mogućnosti pomirenja već na stalnoj napetosti između samodeterminacije i solidarnosti. Izložba obuhvaća site-specific instalaciju zagrebačkog kolektiva BADco., film Armina Maiwalda koji je nastao kao dio dugo prikazivane serije Bibliothek der Sachgeschichten, koreografiju Mao-Hope March Öyvinda Fahlströma te istraživanje potencijala reprezentacijske nevidljivosti Kajse Dahlberg. Izložba također uključuje vizualnu poeziju i kolaže Babi Badalov, seriju grafika Carlosa Motta We Who Feel Differently, Fiorucci Made me Hardcore Marka Leckeya te rad pionira Crnog vala, redatelja i aktivista Želimira Žilnika. Pil i Galia Kollectiv sudjeluju s predstavom Terminal koja preuzima oblik futurističke predstave o moralu te se bavi distopijom kao ritualom i vježbom. Premijera predstave, koja je dijelom film, a dijelom izvedba biti će u HKDu. Osim izložbe i predstave, u Art Kinu Croatia bit će prikazan dokumentarni film Jennie Livingston Paris is Burning iz 1991. godine.

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From Below, as a Neighbour turns to the fragile institution: strategic detachments practised within temporary spaces of agency and relief. The exhibition forms the latest chapter in an ongoing exploration of utopian thought and practice extending from the first ‘Summit of Micronations’, a congress for new country projects held in Helsinki in 2003.  Taking this model as a point of departure, From Below, as a Neighbour seeks to radically expand on the micronation as a form of selforganisation, to explore alternative approaches that subvert and destabilize normative structures. In the works, the desire to produce forms of knowledge that also displace the knowledge itself, is present both as a practice and fantasy of shared autonomy. It is a take on utopia that emphasises the role of tenderness in collective politics, as a politics based not on the possibility that we might be reconciled, but on a continuous and nervous tension between self-determination and solidarity.    From Below, as a Neighbour , brings together a site-specific installation by Zagreb-based performance collective BADco.; an Armin Maiwald film realised as part of his long-running series Bibliothek der Sachgeschichten or ‘Library of Factual Stories’; Öyvind Fahlström’s choreographed street parade, Mao-Hope March; and Kajsa Dahlberg’s exploration of the potential of representational invisibility. Also included is visual poetry and collages by Babi Badalov; We Who Feel Differently, a series of prints by Carlos Motta; Mark Leckey’s Fiorucci Made me Hardcore; as well as work by pioneering Black Wave filmmaker and activist Želimir Žilnik.   Pil and Galia Kollectiv’s contribution, part film, part performance Terminal takes the form of a future morality play, one which turns to dystopia as a ritual and excercise, and premieres at HKD Teatar.    Accompanying the exhibition are cinema screenings of Jennie Livingston’s 1991 documentary film Paris is Burning at Art Kino Croatia.

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Ovogodišnji program kojeg kurira Fatima Hellberg iz britanske umjetničke organizacije Electra, samo je jedan dio Praktičnih utopija kontinuirane suradnje Drugog mora, Electre i finskog umjetničkog kolektiva YKON. Sljedeće događanje u projektu bit će četverodnevni Samit Praktičnih utopija koji će se održati na Brijunima u ljeto 2013.

From Below as a Neighbour is realised as part of Practical Utopias, an ongoing collaboration between YKON (Finland), Electra (UK) and Drugo More (Croatia). The next chapter of this ongoing collaboration will take the form of the Summit of Practical Utopias, a four-day utopian assembly on the island of Brioni in the late Summer of 2013.

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Kajsa Dahlberg, Female Fist, 2006, video/video still, ljubaznoĹĄÄ&#x2021;u umjetnika/ courtesy of the artist

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Kajsa Dahlberg, Female Fist, 2006, video/video still, ljubaznoĹĄÄ&#x2021;u umjetnika/ courtesy of the artist

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Öyvind Fahlström, Mao-Hope March, 1966, 16 mm, ljubaznošću/ courtesy of the Sharon Avery-Fahlström Collection

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Mark Leckey, Fiorucci Made me Hardcore, 1999, video/video still, ljubaznoĹĄÄ&#x2021;u umjetnika/courtesy of the artist i/ and Cabinet Gallery

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Jennie Livingston, Paris is Burning, 1991, video/still, ljubaznoĹĄÄ&#x2021;u umjetnika/courtesy of the artist

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Jennie Livingston, Paris is Burning, 1991, video/still, ljubaznoĹĄÄ&#x2021;u umjetnika/courtesy of the artist

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Carlos Motta, We Who Feel Differently (Illustrations), 2011, serija plakata/poster series, ljubaznoĹĄÄ&#x2021;u umjetnika/ courtesy of the artist

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Carlos Motta, We Who Feel Differently (Illustrations), 2011, serija plakata/poster series, ljubaznoĹĄÄ&#x2021;u umjetnika/ courtesy of the artist

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Bibliothek der Sachgeschichten, Achterbahn, 1992, video/still, ljubaznoĹĄÄ&#x2021;u/ courtesy of WDR mediagroup dialog GmbH

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Želimir Žilnik, Inventory (Inventur Metzstrasse), 1974, 16 mm, ljubaznošću umjetnika/courtesy of the artist

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Babi Badalov, Visual Poetry, 2012, ljubaznoĹĄÄ&#x2021;u umjetnika/ courtesy of the artist

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Babi Badalov (b. 1959, Azerbaijan) is an artist and poet living in Paris. His visual poetry often takes the form of a diary, created every day through a combination of his own linguistic research of manipulated pictorial material, mainly with political content. He has exhibited in Thessaloniki, Tallinn, Athens, Amsterdam, San Francisco, Istanbul, St Petersburg, Dresden, Cardiff, Milan and Graz, amongst others. His works have been collected in museums and private collections such as the Russian Museum, St Petersburg; Azerbaijan State Museum of Art, Baku; Museum of Art, Emden, Germany; and Martigny Art Museum, Switzerland, and Museum of Modern Art in Antwerp, previously MuHKA. Bibliothek der Sachgeschichten, or ‘Library of Factual Stories’ was a long-running German television programme (1969- 2009) conceived by Armin Maiwald. Each episode explored things in the world in alphabetical order, starting with A, and moving straight through to Z. On display in From Below, as a Neighbour is the 1992 short film Achterbahn – the ‘factual story of the roller coaster’ - narrated through the journey of two children, a surreal trip speaking of possible transcendence whilst remaining in the same place. Kajsa Dahlberg (b. 1973, Sweden) uses both fiction and documentary strategies in her moving image, sound and text based works. She investigates historically evolved concepts such as gender, class and modes of owner-

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ship in the context of the ongoing reworking of cultural meanings and social memories in current politics. Dahlberg went to the Malmö Art Academy and attended the Whitney program in 2007/08. Her work has been shown in exhibitions and biennials including: Lunds Konsthall, Sweden; Manifesta 8, Murcia; Bienal do Mercosul, Porto Alegre; Montehermoso, Vitoria; The Kitchen, New York; The Power Plant in Toronto; The 1st Athens Biennial, amongst others. Öyvind Fahlström (1928-1976, Sweden and Brazil) was born in São Paulo, Brazil to Scandinavian parents. Between 1949 and 1952 he studied art history and classical studies at the University of Stockholm and worked as a journalist. After a twoyear stay in Paris, he moved to New York in 1961. It was during this time that he began to integrate comic strip and mass media elements into his artwork. It was also at this point that he introduced three-dimensional components into his works, often presenting playful scenarios, shortly followed by experimentation with ‘Happenings’. His work has been shown in exhibitions and biennials: with major retrospective shows at the Moderna Museet, Stockholm; Centre Georges Pompidou, Paris; MACBA, Barcelona; Walker Art Centre, Minneapolis; and Guggenheim Museum, New York, to mention a few. Mark Leckey (b. 1964, UK) was awarded the Turner Prize in 2008. His work has been widely exhibited internationally, including solo exhibitions at:

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Babi Badalov (1959., Azerbajdžan) je umjetnik i pjesnik, živi u Parizu. Njegova je vizualna poezija često pisana u obliku dnevnika. Pisana svaki dan, to je kombinacija njegovog jezičnog istraživanja manipuliranog u slikovni materijal, većinom političkog sadržaja. Badalov je izlagao među ostalim i u Solunu, Tallinnu, Ateni, Amsterdamu, San Franciscu, Istanbulu, St Petersburgu, Dresdenu, Cardiffu, Milanu te Grazu. Radovi mu se nalaze u muzejskim i privatnim zbirkama poput Ruskog muzeja, St Petersburg; Azerbajdžanskom muzeju, Baku; Muzeju umjetnosti, Emden, Njemačka; Muzeju umjetnosti Martigny, Švicarska te Muzeju moderne umjetnosti, Antwerp. Bibliothek der Sachgeschichten je dugo prikazivan njemački TV program (1969.-2009.) kojeg je osmislio Armin Maiwald. Svaka epizoda istražuje različite stvari na svijetu abecednim redom. Na izložbi From Below, as a Neighbour predstavljen je kratki film iz 1992. Achterbahn - priča o vlaku smrti ispričana kroz putovanje dvoje djece, nadrealno putovanje koje govori o mogućoj transcedenciji bez kretanja. Kajsa Dahlberg (1973, Švedska) u svojim radovima temeljenim na pomičnim slikama, zvuku i tekstu koristi dokumentarističke i fikcijske strategije. Istražuje povijesno razvijene ideje poput roda, staleža i modela vlasništva u kontekstu stalnog prerađivanja značenja i društvenih sjećanja današnje

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politike. Dahlberg je studirala na Umjetničkoj Akademiji u Malmu te je 2007.-2008. sudjelovala u programu Whitney. Radove je predstavljala na izložbama i bijenalima poput: Lunds Konsthall, Švedska; Manifesta 8, Murcia; Bienal do Mercosul, Porto Alegre; Montehermoso, Vitoria; The Kitchen, New York; The Power Plant u Torontou; Prvi bijenale u Ateni. Öyvind Fahlström (1928.-1976., Švedska i Brazil) je Šveđanin rođen u São Paulu, Brazil. Između 1949. i 1952. studirao je povijest umjetnosti i klasičnu filologiju na Sveučilištu u Stockholmu te je radio kao novinar. Nakon dvogodišnjeg boravka u Parizu 1961. preselio je u New York. Tada je u svojim radovima počeo spajati elemente stripa i masovnih medija. U to je vrijeme također uveo trodimenzionalne komponente u svoje radove koji su često prikazivali razigrane scenarije koji su kasnije prerasli u happeninge. Radove je izlagao na izložbama i bijenalima: velika retrospektiva u Moderna Museet, Stockholm; Centre Georges Pompidou, Pariz; MACBA Barcelona; Walker Art Centre, Minneapolis te Guggenheim Museum, New York. Mark Leckey (1964., UK) 2008. osvojio je nagradu Turner. Radovi su mu predstavljani na međunarodnim izložbama, ali i na samostalnim izložbama: Banff Centre, Alberta, 2012.; Serpentine Gallery, London, 2011.; Kölnischer Kunstverein, Cologne, 2008. i u Le Consortium, Dijon, 2007. Performansi su mu nedavno predstavljeni u New Yorku

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the Banff Centre, Alberta, 2012; Serpentine Gallery, London, 2011; Kölnischer Kunstverein, Cologne, in 2008 and at Le Consortium, Dijon, in 2007. His performances have recently been presented in New York at the New Museum, Museum of Modern Art, Abrons Arts Center; at the Institute of Contemporary Arts, London; and at the Solomon R. Guggenheim Museum, New York. Other venues include the ICA, London, Witte de With, Rotterdam, Tate Britain, London, Museum Ludwig, Cologne amongst others. Carlos Motta (b. 1978, Colombia) is a multi-disciplinary artist whose work draws upon political history in an attempt to create counter narratives that recognize the inclusion of suppressed histories, communities, and identities. Motta’s work has been presented internationally in venues such as The New Museum, The Guggenheim Museum and MoMA/PS1 Contemporary Art Center, New York; Institute of Contemporary Art, Philadelphia; Museo de Arte del Banco de la República, Bogotá; Serralves Museum, Porto; National Museum of Contemporary Art, Athens; CCS Bard Hessel Museum of Art, Annandale-on-Hudson; San Francisco Art Institute and Hebbel am Ufer, Berlin. He is currently developing a Congress and performance, commissioned by Electra and Tate Modern, premiering in the Tate Tanks, February 2013. Želimir Žilnik (b. 1942, Serbia) has written and directed numerous feature and documentary films which have

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reaped many awards at national and international film festivals. Žilnik is renowned as an initiator of the ‘docudrama’ genre. From the very beginning his films have focused on contemporary issues, featuring social, political and economic assessments of everyday life, starting with: A Newsreel on Village Youth in Winter (1967), Little Pioneers (1968), The Unemployed (1968) and June Turmoil (1969), Black Film (1971) and Uprising in Jazak (1973), among others. Jennie Livingston (b. 1962, USA) is a New York based documentary film director. In 1991 she released her groundbreaking film, Paris is Burning, a complex and poignant look at the Harlem drag ball scene of the 1980s. The film was awarded the 1991 Sundance Grand Jury Prize and awards from the New York and LA. Her second film, Who’s on Top? (2005) premiered at the Berlinale and played over 150 international festivals. Her current project in nonfiction is Earth Camp One, a feature-length account of losing four family members in five years that includes reflections on impermanence, a hippie summer camp, an absurdist sensibility, and animation about different conceptions of the afterlife. Livingston got her degree in Studio Art from Yale and taught at Brooklyn College, Yale, and the University of Television and Film in Munich, she was awarded 2010 Stark Distinguished Film Fellow, Connecticut College.

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u New Museum, Museum of Modern Art, Abrons Arts Center; Institute of Contemporary Arts, London; Solomon R. Guggenheim Museum, New York. Ostali izložbeni prostori uključuju ICA, London; Witte de With, Rotterdam; Tate Britain, London i Museum Ludwig, Cologne.

političku i ekonomsku kritiku svakodnevice (Žurnal o omladini na selu, zimi (1967.), Pioniri maleni, mi smo vojska prava, svakog dana ničemo ko zelena trava (1968.), Nezaposleni ljudi (1968.) i Lipanjska gibanja (1969.), Crni film (1971.), Ustanak u Jasku (1973.) i drugi.

Carlos Motta (1978., Kolumbija) je multidi sciplinarni umjetnik čiji se radovi temelje na političkoj povijesti s namjerom da stvore protu priče koje prepoznaju uključivanje povijesti manjina, potlačenih zajednica i individua. Radovi su mu izlagani na međunarodnim manifestacijama poput onih u: New Museum, Guggenheim Museum iMoMA/PS1 Contemporary Art Center, New York; Institute of Contemporary Art, Philadelphia; Museo de Arte del Banco de la República, Bogotá; Serralves Museum, Porto; National Museum of Contemporary Art, Athens; CCS Bard Hessel Museum of Art, Annandale-on-Hudson; San Francisco Art Institute te Hebbel am Ufer, Berlin. Trenutno radi na projektu Congress and performance, naručitelji su Electra i Tate Modern, a premijerno će biti predstavljen u veljači 2013. u Tate Tanks.

Jennie Livingston (1962., USA) je režiserka doku mentarnih filmova iz New Yorka. Paris is Burning, njezin najpoznatiji dokumentarac, premijerno je prikazan 1991. godine. To je kronika drag scene New Yorka 1980-ih godina. Film je osvojio više nagrada: nagradu žirija na Sundance Film Festival 1991., te nagrade na festivalima u New Yorku i Los Angelesu. Njezin drugi film Who’s on Top? (2005.) premijerno je prikazan na Berlinskom bijenalu te na više od 150 različitih međunarodnih festivala. Trenutno radi na projektu Earth Camp One, dugometražnom filmu o gubitku četiri člana obitelji u pet godina koji uključuje osvrte na netrajnost, hippi ljetni kamp, apsurdnu osjetljivost i animaciju o mogućim modelima zagrobnog života. Livingston je diplomirala na Sveučilištu Yale, predavala je na Brooklyn Collegeu, Yaleu i Sveučilištu za TV i medije u Minhenu. 2010. godine dobila je nagradu Connecticut Collegea Stark Distinguished Film Fellow.

Želimir Žilnik (1942., Srbija) autor je brojnih igranih i dokumentarnih filmova nagrađenih na domaćim i međunarodnim filmskim festivalima. Jedan je od začetnika žanra doku-drama. Od samog početka profesionalnog rada na filmu, bavi se suvremenim temama, koje uključuju društvenu,

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četvrtak/thursday 25.10. 20:00 hkd na sušaku

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redatelj/director Bojan Đorđev izvođač/performer Stipe Kostanić scenski pokret/movement Selma Banich prijevod/translated by Zlatko Wurzberg fotografija/photo by Darko Vaupotić produkcija/produced by Queer Zagreb/Domino uz potporu/with the support of projekt BCC (Balcan Can Contemporary) kroz program IPA Europske unije u suradnji sa/in cooperation with MCUK Scena Travno za starije od 18 godina/ for those 18 and older trajanje/duration: 55 min

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Psi (“Les chiens”) je kratak tekst Hervéa Guiberta nastao vrlo rano u njegovoj spisateljskoj karijeri (objavljen je 1982.), otvorenog seksualnog sadržaja, o kojem je autor govorio kao o svojoj “pornografskoj knjižici”. U njemu se izravnim riječima izražava ujedno senzualnost i nasilje, žudnja i okrutnost, priželjkivanje ljubavi i seksualna energija. Opsesija tijelima osnovna je tema teksta: autor koristi svaku tjelesnu kretnju, situaciju i fantaziju za razotkrivanje sebe. No u pripovijednom ključu ovdje nije samo on, nego tekstom kolaju i iskustva bliskih i voljenih bića koja je prisvojio. Pored “ja” koje pripovijeda, ovu pluralnost tekstualne potke prepoznajemo kao lica u “ti”, “ona”, “gospodar”, “psi”. Namjena je pripovjedanja da od frustrirane žudnje stvori neku vrstu ceremonijala koji će omogućiti ostvarenje punoće erotskog doživljaja. Animalnost žudnje, iskazana u udvojenom sado-mazo odnosu, na kraju je sublimirana u vitalnosti zajedničkog hetero-homo seksualnog čina. Predstava se gradi na vrlo jednostavnoj formi: iz čiste prisutnosti glumca Stipe Kostanića na pozornici. Preko nametljivog, privlačnog i neuhvatljivog postojanja tijela koje se kreće kroz fantomatski svijet seksualno konotiranih trenutaka, u neodređenom vremenu, u atmosferi između prizora žudnje i ushićenja. Razvija se kao tjelesni performans o introspekciji duše.

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Dogs (“Les Chiens”) is a short text by Hervé Guibert that was created very early in his writing career, containing open sexual content, and referred to by the author as his ‘pornographic book’. In a direct language the text alternates both sensuality and violence, desire and cruelty, the anticipation of love and sexual energy. An obsession with bodies is the basic theme of the text: the author uses every body movement, every situation and fantasy to reveal himself. But he is not the only focus of the narrative here; moving through the text are also the experiences of close and loved beings that he has appropriated. In addition to the “I” of the narrator, we recognise this plurality of textual weaving as the face of “you,” “her,” “master,” “dogs”. The intention of the narration is to create from frustrated desire some kind of ceremony that will enable the creation of an abundance of erotic experience. The animality of desire, expressed through the dual nature of a sado-masochistic relationship, is eventually sublimated to the vitality of the shared hetero-homo sexual act. The performance is constructed in a very simple form: the simple presence of the actor, Stipe Kostanić, on the stage. Through the intrusive, attractive and elusive existence of the body moving through a phantom world of moments of sexual connotation, indefinitely, in the atmosphere between scenes of desire and delight. It develops as a physical performance about the introspection of the soul.

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Bojan Djordjev, born in 1977 in Belgrade, is a theatre auteur who is equally active in institutional and independent theatre. He is co-founder and member of the editorial board of the TkH (Walking Theory) collective. His interest in theatre and performance include collective authorship, working with experimental playwriting and post-drama theatre. For this performance he collaborated with the actor Stipe Kostanić. He began his acting career in theatre, on television and radio, and has so far performed in theatres in Croatia, Slovenia and Serbia, and appeared at several national, European and international festivals, including the Queer Zagreb Festival in 2011, with Joseph.

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Bojan Đorđev, rođen 1977. u Beogradu, kazališni je autor koji je aktivan jednako u institucionalnom kao i nezavisnom kazalištu. Suosnivač je i član uredničkog odbora kolektiva TkH (Teorija koja hoda). Njegov interes za kazalište i performans uključuje kolektivno autorstvo, rad s eksperimentalnim dramskim pismom i postdramsko kazalište. Uz njega ovu predstavu potpisuje glumac Stipe Kostanić. Glumačku karijeru započeo je istovremenim ulogama u kazalištu, na televiziji i na radiju, te do sada glumio u kazalištima u Hrvatskoj, Sloveniji i Srbiji, te nastupao na više domaćih, europskih i svjetskih festivala, među kojima i na Queer Zagreb festivalu 2011. godine s Josephom.

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moje, tvoje, naše 21:00 mine, yours, ours tunel Tulum/Party Muziku puštaju/ Music by Ronald Panza i/and Mili Sefić (Bosna i Hercegovina Bosnia and Herzegovina)

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Ronald Panza Sound artist, jedan od osnivača zagrebačkog eksperimentalnog glazbenog kvarteta Azot kao i festivala Sine linea – platforme za eksperimentalnu glazbu. Posebno ga privlače nađeni (field recordings) zvukovi od čijeg materijala voli raditi drone kompozicije. Djelo – Fontane, fantomi – inspirirano je nefunkcijom tradicionalnih mostarskih fontana. Ovi objekti bez vode, koji zahvaljujući novim granicama nisu više centri grada, ostali su u prostoru jedino kao rezonantna tijela u kojima se ponekad može pronaći autentični fragment zvuka grada. Izdvajanjem i uobličavanjem ovog materijala na umjetnički se način pokušava osloboditi napetost zatočene memorije grada. Sound artist, one of the founders of Zagreb experimental music quartet Azot and festival Sine Linea - a platform for experimental music. Especially attracted to field recordings, which he uses to create drone compositions. Work - Fountains, phantoms - inspired by the non-traditional function of Mostar fountains. These buildings without water are no longer centres of the city due to the new borders. They remain in space only as a resonating body in which authentic fragments of city sounds can sometimes be found. This sound material when separated and formed in an artistic way tries to relieve the tension of the trapped memory of the city.

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Mili Sefić Milijevi muzički korijeni počinju u gradu odgovornom za nastanak House muzike, Chicagu. Život i rad u Chicagu Miliju pružaju priliku učiti od najboljih, a pažljivo odabranim materijalom za setove, Mili godinama slovi kao jedan od čikaških top Deep/Tech House DJ-eva. U Chicagu nastupa sa velikanima kao Sasha/Digweed, Lee Burrige, Danny Howells, itd. Nastupa i u Sjevernoj Americi na Winter Music Conference u Miami-u, Intense festival u Quebec-u, a nastupa na prvom američkom Love Parade-u u San Francisku 2004. godine. Zadnjih godina nastupa u velikim gradovima kao Amsterdam, Beč, Beograd, Sarajevo, Skopje. 2009. godine Mili izlazi sa svojim prvim vinyl izdanjem za legendarnog Jay Tripwire-a i Tonality records, a nastaljava sa izdanjima za Laus i Tonality Records. Njegov izabrani muzički žanr ne završava na Deep

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House zvuku već se kombinira sa Ambient-Post Dubstep žanrovima./ As his musical roots began in the cradle of house music, Chicago, Mili quickly built up his reputation as one of Chicago’s top deep and tech house DJs. He shared the decks with many well know artists such as Sasha, John Digweed, Lee Burrige, Danny Howells and performed at big events across North America such as the WMC Miami, Intense Festival in Quebec and the first American Love parade in San Francisco in 2004. Recently, Mili has been very busy with appearances in top venues across Europe. Along with Laus Music from London, Mili has released his music on Jay Tripwire’s Tonality Records. His musical expression combines deep house with ambient-post dubstep genres.

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petak/friday 26.10.

subota/saturday 27.10.

18:00 art kino croatia

20:00 art kino croatia

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dokumentarni film Jennie Livingston Pariz gori/ Paris is Burning trajanje/run time78min

režija/director Jennie Livingston uloge/cast Carmen and Brooke, André Christian, Dorian Corey fotografija/cinematography Paul Gibson montaža/editor Jonathan Oppenheim produkcija/production Miramax Films, Off White Productions Inc Prestige Berlinale, 1991 - nagrada Teddy za najbolji dokumentarni film/ Teddy Award for the best documentary Boston Society of Film Critics Awards, 1991 - nagrada BSFC za najbolji dokumentarni film/ BSFC Award for the best documentary GLAAD Media Awards, 1992 - nagrada za izvanredni film/ Best Documentary Gotham Awards, 1991 – nagrada/Award Open Palm Sundance Film Festival, 1991 - glavna nagrada žirija / Grand Jury Prize - Documentary

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Paris is burning zasigurno je jedan od najboljih kronika drag scene New Yorka 70-ih godina. Na velikom platnu imamo prilike pogledati svu raskoš balova, poznatog voguea, ali i čuti nade i snove protagonista. Propitivanje rase, klase, ali i pitanja subverzije roda upoznajemo kroz sudionike balova iz različitih ‘kuća’ poput Xtravaganza, Ninja… Film istražuje strukturu balskih natjecanja kroz specifične kategorije kao što je hodanje po pisti (walk), Ivy League (studenti), vojna lica, ali i kategorija ‘realno’ (realness) koja posebno ističe performativnost roda. Ovaj nevjerojatan uvid u drag scenu, osvojio je publiku i kritiku diljem svijeta te je nagrađen na brojnim filmskim festivalima. Paris is Burning odmah razjašnjava svoj ulog u izvedbi i strategiju “kao da”, odnosno potencijal da se bude ili glumi kao da je sve drugačije. Film, koji dokumentira subkulturu Latino i crnih homoseksualaca Harlema, prikazuje izvođače na raskošnim balovima, ekstravagantno odjevene i našminkane kako ‘hodaju’ po kategorijama koje se temelje na nihovim željama i fantazijama. U ovim zajednicama ne-bijeli/e žene/ muškarci odgajaju i brinu jedni za druge. Rade to ne samo kako bi se zaštitili od nasilnika koji ih doživljavaju kao seksualne otpadnike Manhattana, već kako bi se sami dotjerali do ‘legenda’ na balu. Paris is Burning prikazue i nježnost i solidarnost među članovima, ali i krhkost takvih zajednica. Kompleksna je to priča o potrebnoj i bujnoj mašti stvaranja novih stvarnosti. Priča koja istražuje kapitalističke pritiske koji također prate svoje fantazije.

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Paris Is Burning is one of the best chronicles of the drag scene of 1970s New York City. The film presents the ball culture, the origins of “voguing” as well as interviews with key figures in the ball world who shed light on the ball culture as well as on their own hopes and dreams. The film also explores how its subjects dealt with the adversity of race, class, and gender, for example Venus Xtravaganza. The film reviews the elaborately structured ball competitions adhering to a very specific category or theme for example “walk” (like models runway), Ivy League, and criteria including the “realness” of their drag. This amazing insight into the drag scene has won audiences and critics around the world and has been awarded at numerous film festivals. Paris is Burning immediately makes clear its investment in performance and the strategy of ‘as ifness’ - the potential to be or act as if things were otherwise. The film, which documents a Harlem subculture of gay Latino and Black men, shows the performers attending elaborate balls; there, dressed in extravagantly detailed outfits and makeup, contestants ‘walk’ in categories based on their shared fantasies and desires. In these communities (wo)men of colour raise and nurture each other, not only to provide a measure of protection against the violent dangers facing them as sexual outcasts in Manhattan but also to groom themselves to become ‘legends’ at the ball. Paris is Burning shows both the tenderness and solidarity between the members as well as the fragility of these ‘families’; it is a complex story of the necessity and exuberance of inventing other realities, but also explores the capitalist pressures and tensions that also tend to follow their fantasies.

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petak/friday 26.10. 20:00 hkd na sušaku

predstava/performance Pil and Galia Kollectiv Terminal Čudnovata predstava s popularnom glazbom smaka svijeta/ A Miracle Play with Popular Music from the End of the World (Velika Britanija/United Kingdom) premijera/premier trajanje/duration 50min

izvođači/performers Pil and Galia Kollectiv s/featuring Katia Barrett, Emily Rachel Beber, Victor M. Jakeman, Joseph Lewis, Rosie Ridgway, Stefan Sadler i/and Jamie Sutcliffe

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Terminal: Čudnovata predstava s popularnom glazbom smaka svijeta je filmski i izvedbeni projekt koji istražuje politiku post-apokaliptične fikcije. To je kazališno uprizorenje predstave o moralnosti smaka svijeta i budućnosti narodne glazbe, koje revidira eshatologiju - granu teologije i filozofije koja se bavi proučavanjem smaka svijeta, kao temeljnoga mita budućeg društva. Post-apokaliptična književnost i kinematografija su utemeljeni u etosu preživljavanja. Pozivajući se na Rousseauovo stanje prirode, ili vrijeme prije vlade, te fikcije predstavljaju nasilne scenarije u kojima nuklearni holokausti, ekološke i ostale katastrofe stvaraju individualne politike čistog pragmatizma u kojima nema mjesta za demokratsko razmatranje. Terminal pripovijeda ovaj poznati scenarij, ali istovremeno i preispituje njegovu valjanost. Film sniman na crno bijelom VHSu u Merzbarnu Kurta Schwittersa u Kambriji dramatizira niz razgovora između budućih-povijesnih arhetipova o potrebama i pritiscima situacija u kojima se nalaze u trenutku smaka svijeta. Tada se izvođači skupljaju i pjevaju pjesme u čast kiselim kišama i radijacijskoj bolesti koristeći se konvencionalnim, začudnim i improviziranim sredstvima. U duhu knjiga poput Ridleya Russella Hobana i A Canticle for Liebowitz Walkera i Arthura M. Millera Mlađeg, Terminal zamišlja umjetnički izričaj i nove narodne tradicije za svijet nakon apokalipse. Pa ako je, kako kaže Slavoj Žižek lakše zamisliti smak svijeta nego kraj kapitalizma, tada ovaj projekt te dvije krajnosti postavlja jednu uz drugu kako bi isčitao kakvi to alternativni scenariji proizlaze iz suradničke prakse stvaranja kazališne predstave i glazbe u odnosu na društveni kolaps.

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Terminal: A Miracle Play with Popular Music from the End of the World is a film and live performance project exploring the politics of post-apocalyptic fiction. A theatrical staging of a morality play for end times and future folk music, it recasts eschatology, or the study of the end of history, as a foundational myth for a future society. Post-apocalyptic writing and cinema are grounded in an ethos of survivalism. Invoking Rousseau’s state of nature, or time before government, these fictions propose violent scenarios in which nuclear holocaust, environmental catastrophe and other disasters generate an individualistic politics of pure pragmatism, negating the possibility of democratic deliberation. Terminal narrates this familiar scenario, but at the same time questions its validity. The film, shot on black and white VHS at Kurt Schwitters’ Merzbarn in Cumbria, dramatises a series of conversations between future-historical archetypes about the needs and pressures of the situation in which they find themselves at the end of the world. The performers then gather to play worshipful songs about acid rain, radiation sickness and eating the dog, using a mix of conventional, obscure and makeshift instruments. In the tradition of books such as Russell Hoban’s Riddley Walker and Arthur M. Miller Jr.’s A Canticle for Liebowitz, Terminal imagines artistic expression and new folk traditions for a world to come after the apocalypse. If, as Slavoj Žižek would have it, it is easier to imagine the end of the world than to think of the end of capitalism, the project juxtaposes these two endpoints to test out how alternative scenarios might emerge from the collaborative practice of making theatre and music against a setting of social collapse.

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Pil and Galia Kollectiv are artists, writers and curators working in collaboration. Their work addresses the legacy of modernism and explores avantgarde discourses of the twentieth century and the relationship between art and politics. They often use choreographed movement and ritual as both an aesthetic and a thematic dimension, juxtaposing consumer rites and religious ceremonies. They have had solo shows, The Future Trilogy at Te Tuhi Center for the Arts, New Zealand, Svetlana, at S1 Artspace, Sheffield, 2008 and Asparagus: A Horticultural Ballet at The Showroom Gallery, London, 2007. They have also presented live work at the 5th Berlin Biennial and the 5th Montreal Biennial, as well as at Kunsthall Oslo, Arnolfini, Bristol and Late at Tate Britain. They are the directors of artist run project space xero, kline&coma and work as lecturers in Fine Art at the university of Reading. Terminal is a collaboration with a group of London based artists and musicians. Katia Barrett is an artist and a member of the bands Peepholes and Cover Girl. Victor M. Jakeman and Emily Rachel Beber are both members of WE, with Pil and Galia Kollectiv. Victor also plays with Whitby Bay, Gold Bars and Human Hair, and Emily is a writer. Joseph Lewis, Stefan Sadler and Jamie Sutcliffe make music together as Swinething, as well as pursuing individual art, writing and curatorial practices. Stefan is also a member of publishing group Famicon. Rosie Ridgway is an artist and curator at Sauna.

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Pil i Galia Kollectiv su suradnički tim umjetnika, pisaca i kustosa. Njihov se rad bavi ostavštinom modernizma, istražuje avangardne diskurse dvadesetog stoljeća te odnos između umjetnosti i politike. Često se koriste koreografijom i ritualom kao estetskom, ali i tematskom dimenzijom uspoređujući konzumerističke rituale i vjerske obrede. Njihove atmostalne predstave uključuju: The Future Trilogy u Te Tuhi Center for the Arts, Novi Zeland; Svetlana, u S1 Artspace, Sheffield, 2008. godine i Asparagus: A Horticultural Ballet u The Showroom Gallery, London, 2007. godine. Osim toga predstavili su svoje radove i na 5. Berlinskom bijenalu i 5. Bijenalu u Montrealu, u Kunsthallu u Oslu, Arnolfiniju, Bristolu i Tate Britain. Direktori su umjetničkog projekta space xero, kline&coma te rade kao predavači likovne umjetnosti na Sveučilištu u Readingu. Terminal je suradnički projekt s grupom umjetnika i glazbenika sa sjedištem u Londonu. Katia Barrett je umjetnica i članica bendova Peepholes i Cover Girl. Victor M. Jakeman i Emily Rachel Beber te Pil i Gaia Kollectiv su članovi projekta WE. Victor je također član bendova Whitby Bay, Gold Bars i Human Hair, a Emily je spisateljica. Joseph Lewis, Stefan Sadler i Jamie Sutcliffe zajedno sviraju u bendu Swinething, ali imaju i svoje vlastite umjetničke, spisateljske i kustoske prakse. Stefan je član izdavačke kuće Famicon. Rosie Ridgway je umjetnica i kustosica u Sauni.

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subota/saturday 27.10. 18:00 molekula

igra/game Ykon igra/ Ykon game Slobodan ulaz uz prijavu na/ Free entrance with registration ivana@drugo-more uz potporu/ with the support of: projekt BCC (Balcan Can Contemporary) kroz program IPA Europske unije

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Ykon igra Site-specific igra, projekt finskog umjetničkog kolektiva YKON, prikazuje veze između različitih utopističkih težnji i praksi s naglaskom na ‘praktične utopije’. Koristeći formu igre radionica istražuje produktivnu napetost kao i nejasne granice između utopističkog i praktičnog. Igra Ykon inspirirana je Buckminster Fullerovom simulacijom “World Game” koju je Fuller razvio ranih 1960ih kao subverziju vojnih igara “War Games”, ali i kao mogući alternativni sistem edukacije. Umjesto da se opći problemi rješavaju direktno, igra YKON nastoji otkriti ideje na koje još nismo obratili pažnju, a one mogu biti i fantastične i užasavajuće, te nastoji otkriti pristupe istraživanju alternativa. Igra je u Rijeci već igrana 2009. godine, a u međuvremenu je ušla u finale za Nagradu DMY na Biennalu dizajna u Berlinu (na žalost nije ju i dobila). Odlučili smo se ponoviti ovu igru u novoj kraćoj verziji od one što je već igrana u Rijeci. YKON je platforma za ne-predstavljene nacije, eksperimentalne države i utopijske mislioce. Diseminacija i produkcija znanja o fragilnim identitetima putem suradnje između umjetnika i ljudi iz drugih područja je ključni interes YKON-a. YKON je u Hrvatskoj najpoznatiji putem projekta Zbor pritužbi koji je zaživio i u Zagrebu, kao i u stotinjak drugih svjetskih gradova.

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Ykon game This site-specific game, designed by artist collective YKON, charts connections between diverse utopian pursuits and practices, with an emphasis on the ‘practical utopia’. Using the game as a format, the workshop explores the productive tension, but also blurred boundaries, between the utopian and practical. The YKON Game is inspired by Buckminster Fuller’s ‘World Game’ initially developed in the early 1960s as a subversion of military ‘War Games’ and as a proposal for an alternate system of pedagogy. Instead of solving the common problems head on, the YKON Game seeks to uncover the ideas that we have not paid attention to yet - ideas that are sometimes fantastical and sometimes terrifying, as well as to uncover thoughts and approaches to explore how things could be otherwise. The game was already played in Rijeka in 2009. In 2011 it was nominated for the DMY Award at DMY Festival in Berlin (unfortunately it did not receive the award). We decided to present again the new shorter version of the game. YKON is a non-profit advocacy group for unrepresented nations, experimental countries and utopian thinkers. The dissemination and production of knowledge on such fragile entities through co-operation between the arts and all other fields of study is a key interest of YKON. Ykon is best known to Croatian public through the Complaints Choir project that was presented in Zagreb among other world cities.

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subota/saturday 27.10. 22:00 place

koncert/concert Korov (Bosna i Hercegovina Bosnia and Herzegovina)

(nastupaju i /also playing Syleth, Rijeka; Jelly Belly, SlovaÄ?ka)

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Korov je hardcore/metal sastav iz Mostara, BiH, nastao 2011. godine. Iza sebe ima brojne nastupe po BiH, te jedno EP izdanje iz 2012. godine, a trenutno radi na novom. Od samih početaka, bend je vjeran underground duhu, te DIY etici. Protiv Boga i države je prvo izdanje benda. Izbačeno na internet na treću godinu od prvog nastupa benda Bilok, benda koji je prethodio Korovu. Radi se o tekstualno konceptualnom EP-u s dosta eksperimenti ranja u glazbenom sadržaju.

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Korov is a hardcore/metal band from Mostar, Bosnia and Herzegovina, founded in 2011. The band had numerous performances in BiH, one EP release in 2012 and is currently working on a new one. The band is faithful to underground spirit and DIY ethics. Against God and the state is the first release of the band. Uploaded on the Internet three years after the first performance of Bilok band, the band that preceded Korov. It is a text-based conceptual EP with a lot of experimentation in musical content.

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produkcija/production Drugo more partneri/partners Domino, Electra, Ykon, Distune promotion koncepcija/concept Davor Mišković kustosica izložbe/exibition curator Fatima Hellberg producent/producer Petra Corva, Ivana Katić odnosi s javnošću/public relations: Petra Corva vizualni identitet/visual identity Mario Aničić oprema/equipment HKD, Cyclorama tehničko vodstvo/technical leadership Dalibor Fugošić, Alan Vukelić, Vedran Hajduk, Damir Batarelo koordinatorica volontera/ volunteer coordinator Jana Falkenroth volonteri/volunteers Petra Borovac Karlo Fabijanić Sanja Gergorić Krešimir Jerić Kristina Jugovac Marija Maksimović Mirjam Milohanić Nives Soldičić Martina Vranić program su podržali/programme support Ministarstvo kulture Republike Hrvatske/ Ministry of Culture of the Republic of Croatia Primorsko-goranska županija/ Primorsko-goranska County Grad Rijeka – Odjel za kulturu/ Department of Culture of the City of Rijeka British Council Europska komisija/European Commission medijski pokrovitelj/media coverage Novi list, Radio Rijeka, Kulturpunkt.hr, Teklić.hr

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izdavač/publisher Drugo more urednici kataloga/catalogue editors Petra Corva, 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

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This publication has been produced with the assistance of the European Union. The contents of this publication are the sole responsibility of Drugo more and can in no way be taken to reflect the views of the European Union.

primorsko-goranska Ĺžupanija

grad rijeka odjel za kulturu

this project is funded by european union

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