VARAŽDIN.STOP. 2001.-2012. STOP. PERFORMANSI.STOP. SLIJEDI PROVJERA.STOP.

VARAŽDIN.STOP. 2001.-2012. STOP. PERFORMANSI.STOP. SLIJEDI PROVJERA.STOP.

IMPRESUM Izdavač Publisher

GALERIJSKI CENTAR VARAŽDIN

Urednik Editor-in-chief IVAN MESEK Fotografije Photography

HDLU VARAŽDIN

Lektor Proof reader

SPOMENKA DRAGOVIĆ

Prevoditelj Translator

MARTINA MARČEC

Oblikovanje Design

TANJA BUNJEVAC

Tisak Print

TISKARA ZELINA

Naklada

500 PRIMJERAKA

Varaždin, 2013.

Priprema i izrada ove knjige sufinancirana je sredstvima Ministarstva kulture Republike Hrvatske.

Making and editing of this book have been co-financed by the Ministry of Culture of the Republic of Croatia.

VARAŽDIN.STOP. 2001.-2012. STOP. PERFORMANSI.STOP. SLIJEDI PROVJERA.STOP. VARAŽDIN.STOP. 2001-2012. STOP. PERFORMANCES.STOP. STANDBY FOR A CHECK.STOP.

In art, performance art is a performance presented to an audience, traditionally interdisciplinary.

Performance may be either scripted or unscripted, random or carefully orchestrated; spontaneous or otherwise carefully planned with or without audience participation. The performance can be live or via media; the performer can be present or absent. It can be any situation that involves four basic elements: time, space, the performer’s body, or presence in

Počeli smo 2001. godine u sklopu međunarodnog projekta UTISAK-OTISAK. Probuđeni HDLU Varaždin htio je unijeti dašak suvremenosti u Varaždin. Kroz jednodnevno događanje nazvano Dan hrvatskog performansa htjeli smo prikazati hrvatsku scenu performansa, a jednako tako dati podršku varaždinskim autorima koji su njegovali ovaj izričaj. U početku su pod „performans“ ubačeni i projekti koji se i ne bi mogli strogo svrstati u tu formu. Tako je bilo i urbanih akcija, suvremenog plesa…

Već prvo izdanje potvrdilo je opravdanost, gotovo nužnost prezentiranja suvremenosti u Varaždinu, ali i adekvatnost Varaždina kao scene koja pruža bogatu lepezu mogućnosti realizacije projekata: od zatvorenih prostora, trgova, ulica, galerija, HNK, napuštenih prostora, a sve u kompaktnoj urbanoj jezgri grada.

Osnovni koncept jednodnevnog „maratona“, smotre hrvatskih autora zadržali smo do 5. izdanja festivala, sukcesivno pročišćujući festival kroz prezentiranje projekta koje možemo „pravovjerno“ nazvati performansom. Novitet u 4. izdanju bilo je određenje središnje povezne teme, koja je u konkretnom slučaju glasila MIRRORING. U petom izdanju DAN hrvatskog performansa, postaju DANI - kao vikend događanje s koncepcijom: petak: gosti (autori iz inozemstva); subota: središnja tema; nedjelja: varaždinska matineja.

5. dani hrvatskog performansa nosili su naziv GREATEST HITS, za koje smo nastojali dovesti najznačajnije hrvatske autore performansa da izvedu svoj „najdraži“ performans; gosti perfomeri dolazili su iz Mađarske. Zadržavši isti koncept, središnja tema 6. Dana performansa glasila je JUNFER, a temeljena je na ideji da projekte izvode autori koji do tada nikada nisu izveli performans. Petak je bio posvećen autorima iz Walesa, dok je nedjelju obilježila SIMULTANKA: istovremeno izvođenje performansa svih sudionika festivala na Stančićevom trgu.

7. dani hrvatskog performansa održani su pod temom Igra u dvoje i tu polako gubimo dah. Nositelj organizacije u početku je bio HDLU Varaždin, dok od 6. izdanja organizaciju preuzima Galerijski centar Varaždin (uz pratnju HDLU Varaždin). 2008. godinu preskačemo, te novu koncepciju dočekujemo 2009. godine, kada nastupamo zajedno s umjetničkom organizacijom VRUM (Sanja Tropp Frühwald), kao PERFORM-D-ANCE, festival performansa i suvremenog plesa s, kako se pokazalo, preambicioznom idejom o 4 godišnja izdanja festivala, koji bi se održavali početkom svakog godišnjeg doba. Uspjeli smo te godine izdržati „proljeće“ i „ljeto“, pri čemu je naglasak izdanja bio je na suvremenom plesu, kao istinski potrebnom novitetu na varaždinskoj kulturnoj sceni. Ta dva izdanja kronološki smo označili kao 8. Dani performansa. Novitet je i u uklanjanju predznaka hrvatski iz naziva Festivala, čime je određena njegova internacionalizacija, a što je zorno predočeno samim programom.

9. Dana performansa, kojom prilikom i samom koncepcijom, a i autorima definiramo 3 sljedeća područja: projekti nacionalnih autora, projekti autora iz regije, i internacionalni umjetnici. U Koncepciji je zadržan, uz dominaciju projektata performansa, i pokoji projekt suvremenog plesa, a iste godine stručnim izbornikom festivala postaje Branko Franceschi. Dani performansa i Dani suvremenog plesa 2011. nastavljaju svaki svojim putem, zadržavši tek oblik „labave konfederacije“ pod nazivom PERFORM-D-ANCE. Zadržavajući definirani koncept, 11. dani performansa održani su pod nazivom We shall never surrender, dok je, ove, 2013. godine tema festivala Neobarok.

Ovom je suhoparnom, činjeničnom uvodu nakana ukazati na konstantnu nekonstantnost Festivala, preciznije na dinamičan život jedne ideje kojoj je uspjelo razviti se u respektabilnu platformu performansa u Hrvatskoj, ali i regiji. Bili smo svjedoci nekih projekata koji će zasigurno ponijeti epitet „antologijskih“, jednako kao što je bilo i onih brzo zaboravljenih. Vrata su bila otvorena kako onima koji su gotovo likovni „anonimci“, jednako kao i autorima predstavljenim i u udžbenicima o suvremenoj umjetnosti.

Performans u Varaždinu nije više stranac, bez obzira na to što se u njemu često osjeća strano.

mg. Ivan Mesek autor i organizator Dana performancea

5

a medium, and a relationship between performer and audience.

Performance art can happen anywhere, in any venue or setting and for any length of time. The actions of an individual or a group at a particular place and in a particular time constitute the work.

It all started in 2001 as part of the international IMPRESSION-EXPRESSION project. The newly awoken Croatian Association of Visual Artists in Varaždin wanted to bring a fresh breath of contemporary trends to town. Through the one-day event called The Day of Croatian Performance we wanted to show what is happening currently on the Croatian performance scene but also to support the Varaždin authors who cherished this kind of expression. In the beginning, some projects that couldn’t be strictly referred to as ‘performance’ were also part of the event. That’s why there were also some urban actions and contemporary dance as part of the programme. The very first edition of the Days of Performance justified the need for presenting contemporary art in Varaždin, but also it justified the choice of Varaždin as an adequate setting which offers wide choices when it comes to the realization of the projects: there were numerous enclosed spaces, squares, streets, galleries, the National Theatre, forlorn buildings... all of them within the small and compact urban town centre.

The basic concept of the one-day ‘marathon’ event, a review show of Croatian artists, was kept intact up to the 5th edition of the festival. With time it was also becoming more refined through the choice of the

projects that fell into the category of performance in a more narrow sense. What was introduced in the 4th edition was the choice of a common theme, in this case MIRRORING. In its 5th edition, the DAY becomes DAYS of Croatian Performance – it turned into a weekend event and its concept was the following: Friday was the day for guests (international authors); Saturday was the day for the common concept theme, Sunday was the day for the Varaždin matinee.

The 5th Days of Croatian Performance were titled THE GREATEST HITS as we tried to bring over the most prominent Croatian performance authors to do their ‘favourite’ performance shows.

Guest performers were from Hungary. Keeping the same concept, the main theme of the 6th days of the Days of Performance was VIRGIN, and it was based on the idea of performances done by the authors who have never tried this form before. Friday was dedicated to guest performers from Wales, while on Sunday there was the show called SIMULTANEOUS: all the participants of the festival performed at the same time in Stančić square.

The 7th Days of Croatian Performance were held under the theme The game for two and that is where we need to catch our breath. In the beginning, the main organizer of the Days was the Croatian Association of Visual Artists in Varaždin but from the 6th edition onwards it was taken over by the Gallery Centre in Varaždin (assisted by the Croatian Association of Visual Artists). We skip over 2008 and welcome the new concept in 2009 from when on we act in cooperation with VRUM performing arts collective (Sanja Tropp Frühwald), as PERFORM-D-ANCE, the festival of performance and contemporary dance with the idea of 4 annual editions of the festival, each one at the beginning of each season of the year. The concept proved to be too ambitious, though. That year we managed to carry out two editions, ‘the Spring’ and ‘the Summer’ and they had accents on contemporary dance which was a necessary novelty on the cultural scene of Varaždin. We marked those two editions together chronologycally as the 8th Days of Performance.

Another novelty was removing the term Croatian from the title of the festival, which determined its direction towards the international scene and became evident in the programme of the 9th Days of Performance. On that occasion we defined 3 main areas in both the concept and the choice of authors: there were domestic authors, authors from the region and international artists. What was kept as part of the Concept were, besides the obvious domination of performance shows, some contemporary dance projects, too. That same year, Branko Franceschi becomes the expert editor of the festival. In 2011, Days of Performance and Days of Contemporary Dance go on their separate ways, keepeng only the form of a ‘loose confederation’ under the name of PERFORM-D-ANCE. Keeping the defined concept, the 11th Days of Performance were held under the title We shall never surrender, while this year, 2013, the main theme of the festival is the Neo baroque.

This dry and factual introduction has the intent of showing the constant incosnistency of the Festival, or to be more precise, to show the dinamic life of an idea which managed to develop into the respectable platform for performance in both Croatia and region. We were witnesses of some projects that could easily be called ‘anthological’ as well as those that were soon forgotten. The doors were open for both those authors that were almost anonymous, and those whose names are mentioned in the study books of contemporary art.

Performance isn’t a stranger to Varaždin anymore, although it might feel strange in it sometimes.

M.A.Ivan Mesek Author and organizer of The Days of Performance

7

Text: sažetak razgovora Lidije Plavec Butković, Darwina Butkovića i Ivana Meseka, 2001.

8

[prvi]

summarised discussion by Lidia Plavec Butković, Darwin Butković and Ivan Mesek, 2001

U projektu “Dan hrvatskog performancea”, održanog 25. kolovoza sudjelovalo je 9 likovnih umjetnika iz Hrvatske koji su svojim umjetničkim manifestacijama na trgovima, ulicama, tržnici i u prostorima HNK Varaždin predstavili raznorodna ostvarenja performancea, kao bitnog izražajnog oblika suvremene umjetničke prakse. Izvedenim autorskim djelima zajednička je nit potreba umjetnika da “ispriča (svoju) priču”, koja je ponegdje jasna, dok je drugdje svjesno zatomljena i prikrivena. U zanimljivo prenesenim porukama možemo prepoznati ironiju, humor, duhovitost, nostalgiju, apsurd, patetiku...

“Dan hrvatskog performancea” nije okupio sve hrvatske umjetnike koji njeguju ovu formu. On je više od toga skrenuo pozornost na nju, pogotovo u sredini koja performance gotovo da nikad nije ni vidjela. U cijelom programu bilo je i projekata koji bi se teško svrstali u izvornu definiciju performancea, kakav je nastao 60-tih godina 20.st. No danas je uopće teško razgraničiti medijska područja i granice su sve fleksibilnije i propusnije.

Ono što ostaje je činjenica da je ova forma našla izuzetno perspektivnu scenu u jednodnevnom maratonskom aktiviranju gradskog bića Varaždina, kao više nego adekvatne pozornice za daljnja (nadamo se tradicionalna) okupljanja hrvatskih “performera”.

[prvi] dan hrvatskog performancea The Day of Croatian Performance, held August 25, gathered nine Croatian artists. They presented their performances and manifestations on the squares, streets, market place and the Varaždin theatre, thus introducing Varaždin public to this essential and expressive form of modern art.

The performances showed the artist s shared need to “tell their story“, sometimes obvisous and sometimes latent and hidden. The interestingly conveyed messages abounded in irony, humor, wit, nostalgia, absurdity and pathos.

The Day of Croatian Performance did not gather all Croatian artists who believe in this art form but it focused attention on artistic performance in a setting which has practically never been exposed to it before. The programme contained projects that could hardly be classified as performances in the original 1960s sense if the word. Today, it is difficult to draw a firm line between the media so that the boundaries are becoming more flexible and permeable. What remains is the fact that this art form found an exceptionally receptive scene in this one-day marathon stirring of the town s

2001.

being, with Varaždin proving more than a suitable stage for further (hopefully traditional) gathering of Croatian „performers“.

9

Na varaždinskoj tržnici, “placu”, u subotnje jutarnje sate domaći autor slikar Ivan Mesek provodio je akciju prodaje slika “na kile”. Iz ovog socijalno angažiranog čina izbija svojevrsni krik umjetnika kao reakcija na tužnu sliku poimanja i vrednovanja umjetnosti danas, pogotovo u manjim, konzervativnijim sredinama kakva je Varaždin.

On Saturday morning the painter Ivan Mesek sold paintings „by the kilo“ at Varaždin green market. His statement was a scream of the artist and his voiced reaction to the sad situation in modern-day

Prodajem slike

Ivan Mesek

understanding and appreciation of art, particularly in smaller and more conservative milieus such as Varaždin.

[prvi]

Alen Novoselec

Po trgovima i ulicama gradskog centra kipar Alen Novoselec, također domaći autor, izvodio je gotovo robinhoodovsko dijeljenje “Ordena slučajnog prolaznika” koji se, po svojem socijalnom aktivitetu, u propitivanju sustava vrednovanja ljudskih zasluga i njihovoj trenutačnoj devalvaciji, dobro nadovezao na Mesekov.

Alen Novoselec, also a local artist,walked the squares and streets, and, like a modern-day Robin Hood, awarded „Medals of a rendom passer-by“. This, too, was a social critisism and questioning of the system of evaluation or, rather, devaluation, of personal merits. His statement was an appropriate supplement to the message sent by Ivan Mesek.

10

Orden slucajnog prolaznika

kratki tecaj pedikure

Gordana Kovačić Macolić & Slaven Macolić

Slikari Gordana Kovačić-Macolić i Slaven Macolić na glavnom

Two painters, Gordana Kovačić Macolić and Slaven Macolić set

su varaždinskom trgu postavili cameru obscuru te potakli prolaznike

up a camera obscura on Varaždin s main sqare forcing the spectators

da gledaju pozitive stopala, motiv kojim su ovi umjetnici u posljednjim radovima gotovo fetišistički zaokupljeni. Autori su istodobnim fotografiranjem stopala slučajnih prolaznika i od njih samih učinili

to watch foot positives, a fetish motif that has been their preoccupation in recent period. Photographs of the feet of random passers-by became artefacts. This performance was conceptionally related to the one

artefakt, čime se ovaj rad nadovezao na prethodni u davanju značaja

by Novoselec in giving importance to the silent, „un-medaled“ crowd

tihoj, “neodlikovanoj” masi Varaždinaca, uz dodatne konotacije intime

of Varaždin s citizens with additional connotations of intimacy and its

i njenog sudara s javnosti.

confrontation with the public sphere.

11

Na popločenjima istog trga slikar Darwin Butković je izveo remake akcije iz 1985.g., tzv.flying art, prilagodivši ga recentnoj zaokupljenosti autora vlastitim motivom pod nazivom “SA “. Rekvizitima - ljestvama i kišobranom- umjetnik čini apsurdnu radnju oponašajući vječitu želju čovjeka da poleti vlastitom snagom. Istovremeno, skakanje je tako koncipirano da na mjestu doskoka uz korištenje metra na pločniku kredom iscrtava spomenuti motiv, dajući tako tragikomičnoj radnji sizifovski ustrajan koncept.

The stone slabs of the square were the scene for the re-make of the so-called flying art acrion from 1985 by Darwin

flying art-Sa Darwin Butković

Butković, adapted to his recent preoccupation with the motif entitled „SA“. Using props, such as ladders and umbrellas, the artist performed an absurd action illustrating man s eternal desire to fly on his own power.

The jumps were set up so that the landing place on the pavement was persistence.

12

[prvi]

Bez naslova Alen Novoselec Ivan Mesek

Mesek i Novoselec završavaju prijepodnevni dio prikazivanja “domaćih” performerskih snaga zajedničkom akcijom na Trgu Miljenka Stančića. Oni uprizoruju njegovu preobrazbu korištenjem lubenica i bala sijena kao vizualnih i konstruktivnih elemenata. Koristeći kamene kubuse, diskutabilne arhitektonske elemente zadnje rekonstrukcije najljepšeg varaždinskog trga, oni lubenicama i sijenom prostor prvo zatvaraju, stvarajući novu cjelinu, da bi ga ritualnim, koloristički efektnim prepolavljanjem lubenica počeli otvarati. Premještanjem sijena u centar, formirajući njime kvadrat i na njemu polutkama lubenica krug, autori umjetničkom akcijom trg otvaraju i obilježavaju kao moguće mjesto budućih akcija i širenja suvremene umjetnosti.

Mesek and Novoselec ended the morning of „domestic“ performance with a joint action at Miljenko Stančić square. Using watermelons and bales of hay as visual annd constructive elements they undertook to transform the square. The stone cubes on the square, those controversial architectural elements of the latest reconstruction of this loveliest of all Varaždin squares, were covered with watermelons and hey creating a new space, which was then redefined in a ritual action of arranging colorful and effective watermelon halves. Moving the hay to the centre and forming a geometric square with a circle of halved watermelons, the authors „opened“ the sqare and marked it as a possible future site for artistic actions and spreading of modern art.

13

Here i am Alen Zanjko

14

[prvi]

Nakon podnevnog smiraja, na velikoj

nestvarnih dimenzija. Uz korištenje

never revealing his „real face“. The

sceni HNK Varaždin, zagrebački

glazbe i pokreta Zanjko publiku vodi

body was positioned in the middle, in

autor Alen Zanjko u svom radu

na dinamično, transcedentalno

front of a large screen with a video

“Here I am” progovara vlastitim,

putovanje (unutarnjim) pejzažima.

projection showing an architectural

polunagim tijelom, koristeći se

In the quiet of the early afternoon,

vault of unrealistic dimensions.

maskom i njenom rotacijom, čime

Alen Zanjko performed on the

Though music and movement Zanjko

negira anatomiju tijela, dok publici

stage of the Varaždin theatre in

took the audience on a dynamic,

ne otkriva svoje “pravo lice”.

the work entitled „Here I am“. He

transcedental journey around

Tijelo postavlja u središte, ispred

spoke with his own, semi-nude

(interior) landscapes.

velikog platna s video projekcijom

body using a rotating mask and

koja prikazuje arhitektonski svod

thus negating the body anatomy but

Povratak ratnika ili zene nema Vlasta Delimar

U istom prostoru Vlasta

uobličavajući tako prošlost i

slides. From the background a

Delimar, uz svoju višegodišnju

sadašnjost, nostalgiju, tugu i želju

recorded male voice was audible,

okupiranost vlastitim tijelom

za ljudskom toplinom, Delimar

signifying relation between man

kao najdirektnijim sredstvom

podastire nekoliko razina

and woman in the context of war.

umjetničkog djelovanja, u radu

iščitavanja intimne, snažno

She combined visual and sound

“Povratak ratnika ili žene

proživljene teme.

elements with body movement on

nema” koristi također video

The same space attracted

the stage itself, creating multiple

i dijaprojekcije. Background

Vlasta Delimar, an artist for

feelings of past and present,

snimljenog muškog glasa

many years preoccupied with

nostalgia, sadness and desire

apostrofira temu odnosa muškog

her own body as the most direct

for human warmth. Her work

i ženskog spola u kontekstu

means of artistic expression. In

was to be read on several

teme rata. Kombinirajući slikovni

her work entitled „The Return

levels and revealed her most

i zvukovni zapis sa tjelesnim

of the Warrior or “There is No

intimate and personal, stongly

prikazivanjem na samoj sceni,

Woman“ she also used video and

experienced preoccupation.

15

dvoboj Vladimir Dodig Trokut

16

[prvi]

U intimistički prigušenoj

In the intimate, dimmed atmosphere of

atmosferi Podrumske scene

the Zvonimir Rogoz Club in the basement

Zvonimir Rogoz HNK-a Varaždin

of the Varaždin s Croatian National

Vladimir Dodig Trokut na

Theatre Vladimir Dodig Trokut, in the

tragu svog (ne)teatra priziva duh

manner of his anti-theatre, evoked the

anarhističkog pokreta prošlog

spirit of the anarchist movement of

stoljeća, toliko povijesno značajnog

the past century, historically so important

i sve značajnijeg u tranzicijski

and becoming even more important in

uzburkanim vremenima. Sjedeći

our stormy transitional times. Sitting in a

u invalidskim kolicima iz vlastitog

wheelchair he threw animal bones from

kaputa baca kosti životinja, dok

under his coat, while his partner, Vladimir

suradnik u djelu, Vladimir Huber,

Huber, took out of his coat mounds of

iz svog kaputa izvlači gomile knjiga

books and brochures, randomly opening

i brošura i nasumce ih otvara i

and reading them.

čita. Kontrast spontanog iznošenja

The contrasting exposition of rational

racionalne misli i iracionalnog

thought and irrational play with

igranja izvanosjetilnim iskustvima

extrasensory experience and „shaman“

i “šamanskim” činima želi

acts illustrated their attempt to draw

povući publiku u akciju, koja, u

the audience into the action, but, in true

anarhoduhu, izostaje.

anarchist spirit, no action occured.

Samo andeli znaju

Ines Domitrović

Ivan Krstitelj

Na istoj sceni svojim nastupom se nadovezuje

bijelim rupčićima. Trokutova anarho(ne)ideja

The partner played the flute while Domitrović

Ines Domitrović i njena partnerica. One

zamjetna je u ovom jednostavnom, no nimalo

chewed lipstick and let the melted mass drip

u gotovo potpunom mraku sjede leđima

banalnom aktu.

from the corners of her mouth down on her

naslonjene jedna na drugu, obučene u boje

The same site was the stage for the

chin, which she then wiped off with a white

anarhizma, crvenu i crnu. Suradnica je svirala

performance by Ines Domitrović and her lady

handkerchief. Trokut s anarchist (anti) idea

flautu istovremeno dok Domitrović žvače

partner. In almost complete darkness,

was obvious here too in this simple, yet

ruževe za usne ispuštajući rastopljenu masu

they sat with their backs to each other, dressed

anything but banal act.

na krajevima usana niz bradu i brišući se zatim

in red and black, the colours of anarchism.

Privilegija zadnjeg izvođenja performancea pripada Trokutu na Trgu Miljenka Stančića u kasnovečernjim satima, gdje prije zaključnog rock koncerta grupe ŠO!MAZGOON, pred okupljenom publikom inscenira renesansni prikaz krštenja Isusa (Huber) od strane sv. Ivana Krstitelja (Trokut).

The privilege of the last performance taking place on Miljenko Stančić sqare in the late evening was granted to trokut. Before the final rock concert of the group ŠO!MAZGOON, he performed the renaissance scene of the baptism of Jesus (Huber) by St.John the Baptist (Trokut).

Vladimir Dodig Trokut

17

n a d ] i g u [dr g o k s t a v hr a e c n a m r o f r pe 2002.

Text Vladimir Rismondo ml..

18

Načelno govoreći o umjetničkim radnjama koje

uz praksu «postkonceptualne umjetnosti»,

su se unutar internacionalne umjetničke prakse

koju općenito definiramo u kontekstu

ugnijezdile pod naslovnicom «performance»,

postmodernističkih «preispitivanja ... simboličkih

valja nam konzultirati nekoliko izvora. Naime,

sistema», odnosno razmatramo kao rukavac

pojam «performance» zapravo je složenica

široke struje postmodernih igara. Kad bismo

koja, usprkos prividnoj sličnosti, nema potpuni

potražili vezivno tkivo ovim natuknicama,

ekvivalent u latinskome jeziku. Njezin identitet

vjerojatno bismo se zauistavili na samom

potječe doduše od latinskoga prijedloga «per»,

pojmu «igre». Svaka je igra zapravo simulacija

ali i od starofrancuskoga «fournir», iz čega

realnosti, ili jednog, obično metafizičkog aspekta

nastaje iskvareno «parfournir». Prijedlog

realnosti. Zbog toga se igra smatra «radnjom

«per» označava jedan unaprijed zadani prostor,

koja simbolički kodira mapu stvarnosti». Pri tome

odnosno vrijeme unutar kojega se nešto «giba s

će malo važnosti imati kakvoća simbola kojima se

kraja na kraj». Ono starofrancusko, a zapravo

pojedina konkretna igra služi, a daleko će važnija

izvorno germansko «fournir» podrazumijeva

biti sama struktura koja simbole dovodi u vezu.

«opremanje» (doslovno: «unošenje namještaja»),

Uistinu, performance jest svojevrsno igranje

ali i svako drugo «označavanje» prethodno

realnosti, a, kao i svaka igra, i on se služi trima

zadanog unutarnjeg prostora. Prevodimo li,

vrstama magijskog govora: magijom pravila,

dakle, izraz «performance» s naglaskom na

magijom maske i magijom publike kao integralnog

etimologiji, uočit ćemo kako on definira skup

činioca same igračke prakse.

radnji, postupaka ili iskaza koji daju, ali i mijenjaju

Performerska magija pravila proističe iz tzv.

identitet bezličnom ili konvencionalnom odsječku

«doslovnosti» citata iz stvarnosti: performer

prostora - vremena. S te točke gledano, svaki

najčešće citira situaciju koja se na ovaj ili onaj

naš postupak može biti «performativan» pod

način može pronaći u linearnom tijeku našeg

pretpostavkom da svjesno uočimo kako putem

doživljavanja svijeta. Uglavnom se radi o

njega zapravo mijenjamo, odnosno drugačije

«općim mjestima», radnjama i slikama koje su

označavamo naš unutarnji, uobičajeni red stvari.

marginalne, fragmentarno uklopljene u prostor

S druge strane, ne sasvim različito od gore

svagdana, te lišene pojedinačnog identiteta.

navedenih etimologijskih izvora, umjetnička će

Njihova svrhovitost nalazi se samo u činjenici da

teorija definirati performance kao «režirani

služe nečemu, odnosno da su posljedica ili uzrok

ili nerežirani događaj zasnovan kao umjetnički

drugim, jednako marginalnim radnjama. Izvaditi

rad koji umjetnik ili izvođači realiziraju pred

takvu jednu situaciju iz konteksta predstavlja

publikom». I dalje, pojam se teorijski vezuje

svojevrsno nasilje nad nepodnošljivom

19

lakoćom proživljavanja svagdana, ali u isti

putem virtualnog prepoznavanja situacije

mah ogoljuje činjenicu kako se na temelju

svagdana. Suština performerske magije

obeznačene životne slike može sagraditi

publike sadržana je u činjenici da postojanje

simbolički sustav. Magija maske u kontekstu

igre ne pruža katarzijsko opravdanje našem

performancea ukazuje se kao «tautologija»:

osjećaju kolektivnog identiteta, već, upravo

performer ne utjelovljuje niti jedan drugi lik

obrnuto, sasvim inverzno, gledatelji su

do samoga sebe. On nije «glumac univerzalne

ovdje kako bi opravdali izvođačevo

prakse», koji može jednakom snagom i

simuliranje realnosti.

uvjerljivošću navući obrazine različitih

Drugi Dan hrvatskog performancea,

karaktera, već bira uloge koje odražavaju

manifestacija koju već drugu godinu

njegovo jedinstveno poimanje stvarnosti.

organizira varaždinsko udruženje likovnih

Drugim riječima, performer ne mijenja

umjetnika, ponudio je zanimljive varijacije,

maske da bi po završetku svojeg umjetničkog

a rekli bismo i opravdanja gore navedenim

nastupanja ostao gol, već naglašavajući

tezama. Devet performerskih točaka,

stvarnost svoje izvedbe, proglašava vlastitu

izvedenih u javnim prostorima grada

golotinju za permanentnu masku. Konačno,

Varaždina, bilo je popraćeno malim priručnim

magija publike za performance je naglašeno

letkom na kojemu je, sasvim prigodno,

važna, jer ju karakterizira «inverzija».

osvanula i jedna od mnogih definicija

Ma koliko se teoretičari umjetnosti dovijali

performancea. Prema ovoj definiciji,

opravdati performerske varijacije položaja

temeljenoj na razlikama performancea

publike, ona ostaje nužna podloga igri.

i happeninga, radi se o izvođenju koje

Performer nije, naime, u mogućnosti

uprizoruje uvijek samo jedna osoba, te

afirmirati vlastito «prvo lice» izvođenja igre,

koje pretpostavlja načelnu odvojenost

ukoliko se na ovaj ili onaj način ne nalazi u

umjetnika i publike. Ne ulazeči u teorijsku

odnosu prema kolektivnom jastvu. Ovdje je

opravdanost ovakvog pristupa, recimo

važno dodati kako izvođač performerske

kako hrvatski performeri u Varaždinu i nisu

igre i njegova publika najčešće dijele

uvijek inzistirali na «auričnoj» odvojenosti

konvencije prema kojima se igra izvodi, pa

vlastita lika i djela u odnosu prema publici,

tako on nema ulogu pripovjedača koji će

ali uglavnom jesu potcrtavali vlastito prvo i

publiku uvesti u vlastitu realnost. Publika je

jedino lice, bez obzira na to da li se ono kao

s tom realnošću već upoznata, bilo izravnim,

takvo predstavilo publici, ili je pak ostalo

iskustvenim sudjelovanjem u prošlosti, ili

u anonimnosti.

20

Generally speaking, when we talk about artistic activities internationally known inside the art circles as „performance“ we need to consult several sources. This stems from the term „performance“ actually being a compound which, despite its superficial similarity, does not have a true latin equivalent. Its identity does surface from the Latin preposition „per“, but also French term „fournir“, making an awkward construct „perfournir“.

The preposition „per“ means a given space set in advance. The old French term, actually German „fournir“ means „furnishing“ (i.e. „carrying in the furniture“), but also any other „marking“ of previously set interiors.

Therefore, if we translate „performance“ into English from the etymological standpoint, we notice that it defines a group of activities, processes or statements which give, but also change identity, to an otherwise bland or conventional segment of time-space.

From that perspective, our every move can be „performable“, assuming we can clearly see how to use it to change, or differently mark our internal, normal way the things are.

On the other hand, not all different from the etymological sources, the way art theory defines performance as „directed or undirected event born as a work of art which the artist or performers realize in front of the audience“.

Furthermore, the term is tied to the practice of „post-conceptual art“, which we generally define in the context of post modernistic „re-thinking…of symbolic systems“,i.e. we look at it as a fork in a wide stream of post modernistic games. If we try to search for something to tie these snippets together, we would probalby stop at the term „play“. Every game is actually a simulation of reality, or a certain, usually metaphysical,

aspects of reality. Because of this, game is thought

the performer does not embody any other

audience performance magic lays in the fact that

to be „an act which symbolically encodes the map

character but himself. He is not a „universal actor“,

the existence oft he play does not give to our feeling

of reality“. Quality of symbols which a specific game

who can portray different characters using his

of collective identity the catharsis excuse; in fact,

uses is of small importance. Much more important

strenght and persuasiveness, but chooses roles

the opposite is true - the audience is here to justify

is the actual structure which connects symbols.

which corespond to his unique understanding

the performer’s simulation of reality.

And truly, performance is a kind of reality game,

of reality. In other words, the performer doesnt

The (Second) Day of Croatian performance, a

and, as in every game, it uses three kinds of magic:

change masks in order to become naked at the

happening which fot the second year in the row

magic of rules, magic of masks and magic of

end of his artistic performance, but rather

organizes a Assosiation of Varaždin’s artists,

audience as integral parts of the game itself.

embraces his own nakedness as a permanent

has offered interesting variations, and even

Performance magic get its rules from the so-called

mask, emphasizing the reality of his act. Finally, the

justifications to the above mentioned views.

„literality“ of quotes from reality: the performer

magic of the audience is very important because

Nine performance acts actualised in public places

most often cites the situation which can in some

it is characterised by „inversion“. As much as art

of the city of Varaždin were suported by a small

way be found in the linear flow of our reality. This is

speculators try to warrant performing variations

leaflet, which, appropriately, contained one of

generally some „general place“, activity or display,

of audiences position, it still remains a necessary

many definitions of performance. According to

which are marginalized, fragmentally stuck into

base of the game because the performer cant

this definbition, based on the difference between

every-day setting, void of any personal identity.

establish his own „first person“ enactment unless

the performance and the happening, performance

Their purpose is found only in the fact that they are

he or she is faced, with or against, the collective.

is an act by only one person, and it demands a

an extension of something else; a result or a cause

It is important to add that the performer and his

basic separation of the artist and his audience.

of another, equally marginal activities. Taking such

audience most often share conventions under

Theoretical validity notwithstanding, we should

a situation out of its context represents a sort of

which the play is performed, and he, therefore,

point out that Croatian performers in Varaždin

violence against the unbearable ease of everyday

does not assume the role of a storyteller who

did not always insist on „aural“ separation of their

life, and at the same time it exposes the fact that

ushers the audience into his own reality. The

own faces or works in relation to the audience, but

one can built a symbolic life based on a faceless

audience is already familiar with this reality, either

did generally impress their prime and only face,

picture of life. Magic of the mask, in the context of

by direct, past experience, or by way of virtual

whether it actually introduced itself to the audience

performance, is seen as „tautology“:

recognition of everyday situations. The crux of

or not.

21

susretu, već i da oni njoj ostanu nepoznati. Drugim riječima, ne

Poruke

Nikolina Ivezić

samo da je u startu eliminirala magiju publike, već je magiju maske dovela do apsurda.

For example, Nikolina Ivezić decided to continue her practice of hiding in fronto f the audience,i.e. toying with her potential viewers.

This author is already known to our audience via her jumboposters on which she wrote

22

[drugi]

Tako je primjerice Nikolina

specific messages („Suzi, we are

Ivezić odlučila nastaviti

waiting for you in Melin“), while

svoju praksu skrivanja pred

for this particular occasion she

publikom, odnosno poigravanja s

chose a somewhat different

potencijalnim gledateljima. Ova je

approach:she left short messages

autorica našoj publici već poznata

with multiple meanings on

sa svojih jumbo-plakata na kojima

windshields of cars on one of the

je ispisivala tipizirane poruke

parking lots, which led to a possible

(«Suzi, čekamo te u Melinu»), a za

meeting time and place. And, while

varaždinsku je prigodu izabrala

in the jumbo-poster project the

ponešto drugačiji pristup: na

recipient of the message was more

jednom parkiralištu ostavila je

or less known, this time she made

kratke, ali višeznačne obavijesti

sure not only that she remaind

vozačima automobila o mjestu i

hidden to potential meeting

vremenu mogućeg susreta.

partners, but also that they remain

I dok je u projektu jumbo-plakata

unknown to her. In other words,

primatelj poruke bio više-manje

not only did she eliminate the magic

poznat, Ivezićeva se postarala ne

of the audience from the start, but

samo da sama ostane skrivena

she also brought the magic of the

pred potencijalnim partnerima u

mask to absurdity.

Nosenje

SA

Darwin Butković

jedne od slika našeg kolektivnog pamćenja, već realnoj slici patnje čovjeka koji se ni u kojem slučaju ne bi poistovječivao s božanskom osobom. Gledatelj je, dakle, bio opravdanje umjetniku, ili njegovoj stvarnoj pasiji s vlastitim djelom.

Darwin Butković emphasized the role oft he audience. Dressed in a way undoubtedly simulating Christ, he walked through the City’s main square carrying on his back Darwin Butković, pak,

his own sculpture.This tautology of

potencirao je upravo ulogu

the way to the crucifixion of christ

publike. Obučen na način koji je

was actually based on the fact that

naoko nedvosmisleno ukazivao na

literally every person on the square

vlastito poistovjećivanje s Kristom,

knew the basic gist of the act,

prehodao je gradski trg noseći

but very few knew that Butković

na leđima vlastitu skulpturu. Ova

actually did carry a burden too

tautološka simulacija Križnoga

havy for himself, one that is an

puta zapravo je počivala na

important part of his many years of

činjenici da je doslovno svakom

symbols research,i.e. representing

gledatelju na trgu bila jasna

an outtake of a wall clock and not

temeljna asocijacija radnje, ali

the Christs suffering. The audience

je tek rijetkima bilo poznato da

did not witness a vision of our

Butković uistinu nosi pretežak

collective consciousness, but in fact

teret, koji je uz to i važan dio

a very real display of a suffering

njegovog višegodišnjeg istraživanja

man who would never equal him

simbola, odnosno predstavlja

self to a deity. The audience was,

izvedenicu iz oblika zidnoga sata

therefore, an excuse for the artist,

a ne atribut Kristove patnje.

or his own passion and his

Publika nije svjedočila uprizorenju

own work.

23

koliko što cijeni. Ma koliko ova

unequivocally letting everyone

njegova akcija nalikovala vikanju u

know exactly what he values.

sobi tapeciranih zidova (gdje iskazi

As much as his action looked like

na plakatima ne mogu biti glasnije

a temper tantrum inside a padded

izrečena osuda kolektivnih

room (where, on the other hand,

prioriteta, a nerazumijevanje

leaflet messages represent a

slučajnih prolaznika doslovno

conviction of collective priorities,

ponavlja akustiku zvučno izolirane

one which cannot be stated any

sobe), suština ovdje ostaje ista kao

louder, and on the other, the

i u Butkovićevom slučaju: publika

misunderstanding of incidental

postoji samo kao mizanscena

passers-by dutifully repeats the

Vlado Martek također se

umjetnikove moralne pozicije.

resonance of the sound-proof

poigrao s postojanjem publike,

Vlado Martek also chose to play

padded room), the point remains

ali je fokus njegova izvođenja bio

with the existence oft he audience,

the same as with Butković: the

kolektivni mentalitet. Naime, užim

but his focus was collective

audience is only an outside low

je centrom Varaždina lijepio male

mentality. He placated small

ground oft he artist’s

plakate na kojima su se nalazili

leaflets on the walls of Varaždin

moral position.

iskazi slijedećega sadržaja:

s centre, which had the following

«Putar – Stančić 3:0»

ptinted on them:

«Varteks – Stančić 0:0»

«Putar-Stančić 3:0»

Tek je upućenijima bila jasna

«Varteks: Stančić 0:0»

aluzija na popularne varaždinske

Only those better informed

ikone – nogometni klub «Varteks»

understood the allusion to popular

i znamenitog slikara Miljenka

Varaždin s icons -„Varteks

Stančića – i to naprosto zato

„soccer club and famous painter

jer se u njihovu kontekstu našlo

Miljenko Stančić- and at that

javnosti manje poznato ime inače

only because in their midst

znamenitog teoretičara umjetnosti

was a lesser known name of an

Radoslava Putara. Martek je preko

otherwise well remarked art

igre s nogometnim rezultatima

theoretrician Radoslav Putar.

zapravo ispisivao moralne sudove,

Using this scoring game Martek

nedvosmisleno dajući do znanja

actually made moral judgements,

Putar - Stancic 2002 Vlado Martek

24

[drugi]

Hrana [kuhanje]

jednako život, podrazumijevajući pri

place. Oreb simply approached her

tome kako se život može izjednačiti

work without pretensions using a

sa svime što ga omogućuje.

classic process mantra, figuring

Odavde do izjednačavanja života,

that-if art equals life- then it must be

hranjenja i umjetnosti odista postoji

that life equals life, and it therefore

tek jedan mali korak. Štoviše,

also equals all that makes it possible.

Glorija Oreb promatra sam čin

From there to equalling life with food

pripreme hrane kao svojevrsnu

and art is really just small step away.

transmutaciju materijala, ali cilj

But more than that, Glorija Oreb

njezinog postupanja nije konačna

looks at the act of preparing the food

i neobavezna kontemplacija nad

itself as a certain transmutation of

S druge strane, Varaždin nam

estetskim (hranjivim) objektom,

materials, but the final goal of her

je ove godine ponudio i projekte

kamenom mudrosti umjetničkog

process is not the final and non-

koji se odlikuju gotovo klasičnim

artefakta, već osvještavanje naše

obligatory contemplation on the

teatarskim pristupom, ali i djela

sasvim obvezujuće tjelesnosti.

aesthetical (nourishing) object, the

s apsolutnom samozatajnošću

Konačno, nije li i sakrament Pričesti

wisdom stone of the artistic but

izvođača, gdje se u oba slučaja

zapravo svojevrsna konzumacija

awakening our unavoidable physical

izbjegava davanje moralnih

«Tijela» jedne božanske osobe?

dependency. After all, isnt the holly

sudova. Tako je Gloria Oreb

On the other hand, this year

sacrament at the Lord s table a sort

posve neprimjetno izvela vlastiti

Varaždin offered us projects of

of a consummation of the „Body“

performance u atelijeru Darwina

almost classic theatre approach,

of a holly being?

Butkovića. Ona je jednostavno

as well as thowse with absolute

pripremila hranu za posjetitelje

secrecy of performers, both

koji, zabavljeni impresivnim

without any moral judgement.

identitetom radnog prostora,

Gloria Oreb was one of these

nisu primijetili stvarni razlog

performers, staging her own

posjeta rečenome mjestu.

performance in Darwin Butković’s

Orebova je bez velikih pretenzija

atelier. She simply made food for

pošla od klasične mantre svakoj

the onlookers who, amused by the

procesualnosti, pretpostavivši

sheer impressive identity of the

da – ako je umjetnost jednako

workspace did not even notice the

život – ono mora biti i da je život

real reason they came to the said

Gloria Oreb

25

Strange Fruit Alen Zanjko

26

[drugi]

Tjelesnost je bila ishodišnom točkom i Alenu

pripovjedački tok, performance je publiku

as some fruit symbols used occasionally by the

Zanjku, koji je u paru sa svojom pratiteljicom u

uveo u sasvim intimni svijet malih, pojedinačnih

performers as props, which have become well-

podrumskoj sceni varaždinskoga HNK izveo jedan

plesnih povijesti, nekih ljudi koji na varaždinskoj

known to our tongue, but still, for the most part,

uglavnom plesni projekt. Mimička konverzacija

pozornici i nisu postojali u stvarnosti, vać samo

pure scene area actually led the act. The same

dvaju tijela temeljila se ovdje na jasno

kao ispražnjena «tijela» scenskih kostima. Ovdje

dimension, albeit in a much more subtle manner,

raspoznatljivoj ikonografiji suvremenog scenskog

zamjećujemo svojevrsnu apsurdizaciju magije

was done by a dance troupe „llinkt!“. Focusing

pokreta, na formalnom izlaganju koje je samo

maske, gdje maska - haljina ostaje kao jedini realni

on the empty scene area around the real objects

sebi svrhom i kontekstom. Jasno, nemoguće je

artefakt i alternativa postojanju.

(dance dresses), and aided by a video projection

bilo ne vidjeti i stanoviti linearitet pripovijedanja,

The physical was also the starting point for

which successfully took the part of the narrator,

te jezično ustanovljene simbolike voća koje je

Alen Zanjko, with his friend, performed

the performance led the audience into a very

povremeno izvođačima služilo kao rekvizita,

a predominantly dance act on the basement

intimate world of small, individual dance histories

ali je, ipak, najvećim dijelom fingiralo čisti

stage of Varaždin’s theatre. Mimic converstion

of some persons who have not existed in reallity,

scenski prostor. Istu je tu dimenziju, ali u daleko

of two bodies was here based on well known

but only on Varaždin’s stage as empty „bodies“ of

istančanijem vidu ocrtao i projekt plesne skupine

iconography of modern dance steps, a formal

dance costumes. This point to a certain absurdity

«llinkt!». Fokusirajući se u prazni scenski

display which was by goal and context self-

oft he magic of the masks, where the mask-dress

prostor oko realnih objekata plesnih haljina, te uz

actualised. Of course, it would be hardly possible

stays the only real artefact and the alternative

pomoć video projekcije koja je efektno zamijenila

not to see a certain linearity in the telling, as well

to existence.

Haljine 26 Llinkt!

27

Razgovor s posjetiteljima Zdenko Bužek

Najposlije, nemoguće je zaobići tri projekta,

ali zato doslovno citiraju šakački sukob. U

Finally, we cannot exclude three projects

the physical battle. In all three cases the

dijametralno suprotna u svojim formalnim

sva tri slučaja citatnost i doslovnost temeljne

diametrically opposite from one another in

translation (citation) and literal acrualisation

konotacijama, ali i projekata koji zajednički

su sastavnice performerskih igara, te, ma

their formal connotation, but also projects

of the idea are the principle building blocks

nazivnik nalaze u magiji pravila: Zdenko

koliko sirovo one djelovale gledatelju, rječito

which find their common denominator in the

of these performances, and, as much as they

Bužek sasvim neobavezno razgovara s

potkrepljuju predispozicije njihovih autora.

magic of the rules: Zdenko Bužek freely

may have appeared raw to the observer, they

gostima caffe-bara «Sermage», Vlasta

Zaista, ako se Bužeku može prispodobiti

talked with guests of the cafe „Sermage“,

do indeed enforce predispositions of their

Delimar izlaže samu sebe nagu, na

stanovita rezigniranost pred stvarnošću,

Vlasta Delimar presents herself naked

authors. To wit, if we can tack on a certain

posmrtnom odru u devastiranom prostoru

Delimarova je vlastitu stvarnost pretvorila u

on a religious (death) altar in a devastated

resignation toward reality to Bužek, Delimar

bivše varaždinske Sinagoge, a Ivan Mesek

ritmičko i pasatističko otkucavanje egzibicija,

room of former Varaždin’s synagogue, while

has made her own reality into a rhytmical

i Alen Novoselec odigravaju pravo

bez kojih bi najvjerojatnije izgubila umjetnički

Ivan Mesek and Alen Novoselec staged

and pasatical beating of exhibitions, without

boksačko nadmetanje, tijela ispisanih tezama

kredibilitet. Mesek i Novoselec, konačno,

an actual boxing match, with bodies filled with

which she would problably lose her artistic

dviju suprotstavljenih umjetničkih teorija.

iskazuju agresivnost prijemčivu činjenici

writings of their opposing artistic viewpoints.

credibility. Finally, Mesek and Novoselec

Bužek je, naime, u slijeđenju vlasititih pravila

da upravo njihova generacija predstavlja

Bužek is, in following his own rules, true

enact the aggressiveness connected to the

doslovan prema realnosti onoliko koliko se

budućnost hrvatskog performancea. Oni,

to reality as much as he can be. Vlasta

fact their generation is indeed the future

to samo može biti. Vlasta Delimar, s druge

naime, ne pitaju tko je i što radio prije njih,

Delimar, on the other hand, is literally citing

of Croatian performance. They are nbot

strane, više i ne citira vlastiti život, već

ne poigravaju se hipotezama o stvarnosti sa

her own work which has been for years

concerned with who did what before them,

doslovno citira vlastito djelo koje se već

sigurne udaljenosti, već jednostavno udaraju

recycling from the same predispositions

they do not play with reality hypotheses

godinama reciklira iz istih predispozicija

tamo gdje performance i treba djelovati

of collaborating with the body. Mesek and

from a safe distance, but simply hit where

propitivanja tijela. Mesek i Novoselec, pak,

– po bubrezima.

Novoselec turn their own bodies into quotes

performance should - to the kidneys.

pretvaraju vlastita tijela u citate tuđih misli,

28

of someone else’s mind, but figuratively cite

Tantra

Vlasta Delimar

Boks mec

Alen Novoselec & Ivan Mesek

29

Text MARIO BERDIČ

U subotu, 23. kolovoza 2003. održao se treću godinu za redom Dan hrvatskog performancea sa devet sukcesivnih nastupa u tri terminsko-lokacijske cjeline. Prijepodnevni performansi su se održavali u staroj varaždinskoj gradskoj jezgri na otvorenim javnim prostorima, kraj ili unutar povijesnih građevina (Vlatko Vincek, Ivan Mesek, Llinkt, Alen Novoselec, Darwin Butković), večernji pak unutar ili ispred zgrade HNK Varaždin (Pino Ivančić, son:DA, Ivan Mesek), dok su u noćnom terminu, u zgradi napuštene vojarne, performans izveli Vlasta Delimar i Milan Božić. Festival hrvatskog performansa se tako odvijao u okviru pravila temeljnih akcijskih lokacija: urbani prostor, namijenjen što širem gledateljstvu, posebno slučajno prolazećem, mada ovaj puta bez mogućnosti interakcije (uz iznimku Butkovićeve «roštiljade»), dostupna ali izolirana dvorana kazališta (umjesto galerije ili muzeja) namijenjena prije svega kulturnom gledateljstvu, te intimniji ambijent rezerviran za uži krug pozvanih u jednom od prostora vojarne.

Specifične lokacije su autori izabrali prije svega s obzirom na praktične mogućnosti izvođenja, neki pak i zbog adekvatnosti simbolike, kao na primjer Mesekova politično provokativna akcija pred gradskom vijećnicom, Llinktov ples između stolova pred kafićem i zadnji performans Delimar-Božić u bivšem restoranu vojarne.

[treći] dan hrvatskog performancea Svi idejni autori su bili istovremeno i glavni izvođači režiranih performansa, uz asistenciju suradnika, uglavnom bez improvizacije, uz iznimku Llinkta i video-akustičnog performasa son:DA. Potonji je bio i jedini u koji je kao posredno sredstvo bio uključen medij videa, dok su drugi, naime bili izvođeni neposredno kao događanje u realnom vremenu i prostoru. S obzirom na kriterije akcija zastupljene su postavke kao što je pokret tijela (gestikulacija, igra, ples), govor, pisani tekst, zvuk i glazba, ali ne i stvaranje likovne umjetnine, što je svojevrsni kuriozum, budući je među sudionicima bilo dosta likovnjaka. Kao jedino približavanje likovnoj umjetnini možemo uvjetno smatrati Novoselčev «body-art», a kao dovitljivi presedan mogli bi označiti Butkovićev ironično kulinarski «artefakt»: pečeni kotlet. Posljedica takvog radikalno performacijskog koncepta festivala je činjenica da za njim nije ostalo nikakvih neposrednih tragova stvaranja, postoji tek dokumentacija u obliku videozapisa i fotografija. Upotrijebljeni ili nastali objekti, snimke i zvučne pojave su autorima služile više kao sredstva odašiljanja poruke, a manje kao sredstva umjetničko estetskog izraza, pri čemu je većina ionako

2003.

pripadala u kategoriju nađenih objekata, koje je bilo moguće kasnije upotrijebiti u druge svrhe ili ih se je jednostavno pomelo, odstranilo, bacilo kao otpadak (suvišno je spominjati što se je dogodilo s kotletima). Umjetničko stvaranje je dakle drugačijeg ili uopće od nikakvog značaja i koncentrirano je na sam akcijski proces, koji je s tematskim sadržajem performansa činio cjelinu.

31

For the third successive year, the Day of Croatian Performance was held on Saturday, 23 August, 2003, and featured nine successive performances in three time-and-space devised portions. Performances held before noon were situated in the old centre of Varaždin, in open public places, by or in historical buildings (Vlatko Vincek, Ivan Mesek, Llinkt, Alen Novoselec, Darwin Butković), the evening programme found its place in or in front of the building of the Croatian National Theatre in Varaždin (Pino Ivančić, son:DA, Ivan Mesek), while the night stage was reserved for Vlasta Delimar and Milan Božić, who set their performance in the building of abandoned army barracks. The festival of Croatian performance, therefore, conformed to the rules of active locations: urban spaces, where most people would have access to, especially those just passing by, but this time without the possibility of interaction (the exception being Butković’s «barbecue»), accessible but isolated theatre stage (instead of a gallery or a museum), meant primarily for those of higher culture, and the more intimate ambience reserved for the chosen few in the confines of the army barrack. Specific locations were all chosen by the authors themselves, primarily due to practicalities of actual performing, and some due to the adequacy of their symbolism, for example, Mesek’s politically provocative action in front of the City Hall, Llinkt’s dance between the tables in front of a local caffé, or the last performance of Delimar and Božić in the former mess-hall of the dilapidated army centre.

Per salvia pronuntio

Vlatko Vincek

32

[treći]

All the concept authors were at the same time the main performers of the performances, along with some co-performers. There was no improvisation, the exception being Llinkt performance and the video-acoustic performance of son:DA. The latter was also the only one to use the medium of video as an aid, while all the others simply used real time and space happening. With respect to the activity criteria, we were witness to the movement of the body (gesticulation, play, dance), speech, written text, sound and music, but not the making of painting/drawing art, which was quite curious, since quite a few of the performers are, in fact, painters/graphical artists. The only approach to painted art could be found in the body-art of Novoselac, while a witty precedent could be tagged onto the ironical “artefact” made by Butković: a roast cutlet. The consequence of such a radical performance approach of the festival could be observed in the fact that no direct marks of the act of making were left after the performances; there is only the documentation - video-tape and photography to remain witness to what has happened. The authors used or made objects or video/sound tapes generally as means of sending their message, and less as a means of artistic or aesthetic expression.

It should be admitted that most of such objects were either found or aimed at being thrown out or used later for other purposes (there is no secret as to what happened to the roast...)

Artistic building/making process, therefore, had a different, or non-existent bearing, and was instead re-concentrated on the activity process itself, which, with the themes and content, made up the entirety of the performances.

Manifestaciju je otvorio Vlatko

kao ispljunuta krv. Minimalistično,

analogiju medicinskih izraza

place. Then he took a swig from

indeed. The post-performance was

Vincek s performansom «PER

višestruko ponavljanje akcije

polucije i ejakulacije, možda bi

a bottle containing something

quite interesting as well, since the

SALVIA PRONUNTIO…», koji

s pražnjenjem dvije staklenke

mogli dopuniti simboliku u smislu

looking much like petroleum (oil),

organizers had to clean the oil as

djelomično pripada u vrstu

nafte je imalo istovremeno

jalove, otrovne nafte, ili «tekućeg

held it in his mouth for a moment,

quickly as possible, not causing any

oralne akcije. Autor je obučen u

simbolično značenje umjetnikove

zlata», koja bi po želji «gospodara

then spat it out, pronouncing a

damage to the environment. This

maskirnu uniformu komandosa,

dobrovoljne patnje u smislu pokore

svijeta» nadomjestila prirodno,

loud “MORS!” (death). Obviously,

gave the performance an ecological

stojeći cijelo vrijeme na istom

za tuđe grijehe, budući nafta ima

zdravo sjeme života.

he was alluding to current state

dimension, one of damaging results

mjestu, iz staklenke ispio nešto

izrazito oduran okus. Zanimljiv

The happening was opened

of Iraq, where oil is becoming

of pollution. If we turn to medical

petroleja (nafte), za trenutak

je bio i popratni događaj kada su

by Vlatko Vincek with his

a synonym for aggression and

analogy of pollution and ejaculation,

zadržao u ustima i potom silovito

organizatori morali prolivenu

performance «PER SALVIA

death. Spat out oil was like spat out

maybe the symbolism could be

ispljunuo, vičući pri tome riječ

naftu što prije počistiti, budući

PRONUNTIO…», which partially

blood. Minimalist, repeated act was

completed with the image of the

MORS-smrt. Očigledno se radi o

da onečišćuje okoliš, pri čemu je

belongs to the field of ‘oral

stopped two empty bottles later,

‘masters of the world’ spilling

aluziji na suvremena događanja u

performans dobio još i ekološko

activity’. The author was dressed

which, symbolically, contained the

poisonous oil - the ‘liquid gold’

Iraku, gdje nafta postaje sinonim

značenje pogubnih posljedica

in army commando fatigues,

artist’s penance for someone else’s

instead of the natural, healthy

agresije i smrti. Ispljunuta nafta

polucije. Ako uzmemo u obzir

standing the whole time on one

sins, since oil has a vulgar taste

seed of life.

33

Caffe Caffe

LLINKT!

Eksperimentalni performans

se kao slučajno susretnu i počnu

plesne skupine LLINKT među

razgovarati za zajedničkim stolom.

stolovima terase bistroa

Jedna zatim ode na toaletu, ostale

je zanimljiva mješavina

dvije počnu izvoditi plesne pokrete

koreografiranih i improviziranih

na stolcima te se s vremenom

pokretnih sekvenci, pri čemu su

«pogurnu» među publiku.

gosti-promatrači, jednako kao i

Koordinacija tjelesnih pokreta

stolovi i stolice, upotrijebljeni kao

je krajnje precizna i zahtjeva još

scenski rekviziti. Mogli bi reći

jaču koncentraciju s obzirom na

da se radi o pasivnoj interakciji

mnoštvo slučajnih gostiju.

publike, koja doživljava blizinu

Glazbu i njeno sadržajno i ritmično

izvođača intenzivnije nego

značenje nadopunjuje buka

uobičajeno, iako ih se ne usudi

razgovora, kretanja i pomicanja

dotaknuti niti se pomaknuti ili

gostiju, dakle znakova njihovog

nekako drugačije sudjelovati.

međusobnog druženja. Intimni

Dramski zaplet performansa je

društveni događaj za stolom uz

jednostavan ali zanimljiv te djeluje

piće se razvije u javni performans,

izrazito spontano. Tri plesačice

koji se intimno i završi. Kako su se

dolaze svaka u svoje vrijeme i

plesačice srele, tako se i raziđu,

iz svog smjera u kavanu, gdje

svaka u svom smjeru.

Experimental performance of the dance troupe LLINKT between the tables of the open terrace of a local bistro was an interesting mixture of choreographed and improvised movement sequences, where guests, tables and chairs alike were used as performance props. We could say we were looking at passive audience interaction, since they had the experience of being (dynamically) closer to performers than usual, although they don’t dare touch the performers, to move, or have an effect on the performance in any other way. The dramatic plot of the performance simple, but interesting, and comes through as very spontaneous. Three female dancers enter a caffé, each at her own time, where they meet, seemingly unintentionally, and start to talk to one another at a table. One of them leaves to go to the toilet, while the other two start dancing on the chairs and continue to make way through other visitors. The coordination of bodily moves is precisely choreographed, and asks for even greater concentration, due to a number of chance visitors. The music and its rhythmic meaning is additionally filled with the cacophony of noise, conversation, movement of customers, i.e. signs of their interaction. The intimate public event - having a drink at a table - which then grows into a public performance, finishes with the same type of intimacy. The dancers leave in the same way they met - each in her own direction.

34

[treći]

Uslijedila je leteća akcija vođe cjelokupnog projekta Ivana Meseka, koji je izveo politično provokativni performans pred nosom lokalne vlasti i čak uz njenu potporu. Usred promjene straže, obučene u povijesne uniforme iz 18. stoljeća, uz glasnu pratnju bubnjara, on je na balkonu iznad portala barokne varaždinske gradske vijećnice držao transparent s natpisom : MA JEBEŠ…KOME SVE TO TREBA?. Rekli bi da su se istovremeno odvijala dva kontraperformansa s potpuno drugačijim idejnim ishodištima. Grupa muškaraca se na trgu, pod balkonom trudila zrakom napuniti vatrogasni jastuk na koji se skače iz gorućih zgrada. Mesek je zatim svoj statement potkrijepio demonstrativnim skokom preko ograde balkona na jastuk, svečano obučen u stilu mladog yuppia (budućnost protiv prošlosti). Ponovo se pojavljuje autor u ulozi žrtve, pri čemu je stvarno riskirao da se ozljedi. Inače Mesek često izvodi opasne intervencije na fasadama različitih zgrada, jedva održavajući ravnotežu, koju je ovaj puta namjerno izgubio, sa simboličnim značenjem uspostave nove društvene ravnoteže.

PAD kratodemije Ivan Mesek

Next up was the literally flying performance of the project organizer, Ivan Mesek, who dared a politically provocative act in front of local government’s noses - in fact, with its ‘support’. During the changing of the traditional City Guard, dressed in 18th century uniforms and with the backing of drummers, Mesek held a banner on the balcony of the baroque City Hall reading: FUCK THIS….WHO NEEDS IT? While he did this, another group of people hurriedly blew up a big fireman’s pillow used for people jumping out of burning buildings. Mesek solidified his statement by indeed jumping from the balcony, dressed as a young yuppie (the future vs. the past). In this respect, the author once again posed as a victim, since he risked actual harm in the jump.

This is not his first time, either: Mesek often performs dangerous interventions on the walls of various buildings, barely keeping his balance, and this time actually losing it on purpose - symbolically stating this vision of the new social balance of the society.

35

Performans u obliku rekvijema za kotlete DARWINA BUTKOVIĆA je

Alen Novoselec

Sebasti jan

na manifestaciji djelovao posebno sarkastično. U frak obučen i s crnim, nepostojanim make-upom na očima autor je pripremio roštilj, pobrinuo za žar i počeo peči kotlete.

Akciju je cjelo vrijeme pratio Albinonijev Adaggio, kao utjelovljena žalost i istovremeno reminiscencija na jedan

ALEN NOVOSELEC je na sebe preuzeo ulogu zarobljenika licemjernih socijalnih i političkih pravila, propisa i znakova, ispod

od najokrutnijih baroknih

čijeg neizdrživog oklopa se skrivaju istinske i vječne vrijednosti, koje čovjek ionako «nosi na koži». Umjetnika u prsnom

kršćanskih motiva: mučeništva

oklopu dva «stražara» zavežu u lance pred publikom i ispostave ga djelovanju kladiva i dlijeta «okrutne, gole istine» u obliku

sv. Lovre na ražnju. Vruće ljetno

maskirane ženske osobe koja nosi na licu masku umjetnikova lica. Ona postupno razbije ropski oklop od gipsa, pod kojim

sunce i dim su pri Butkoviću

se simbolično pojave prave vrijednosti u obliku inskripcija na Novoselčevom tijelu. Niti njegova akcija nije protjecala bez

očekivano izazvali izdašno

opasnosti od ozljede- svako oslobađanje zahtjeva određenu žrtvu. Istovremeno je performans sadržavao neka svojstva

znojenje i suzne oči, pri čemu

body-arta, budući su umjetnikovu kožu, koja u ovom primjeru simbolizira dušu, upotrijebili kao slikovnu površinu za

se boja oko očiju razmazala

ispisivanje pojmova, jednako kao i površinu oklopa (dvoličnost), njegovo tijelo pak je bilo jedini objekt metamorfoze.

po licu i stvorila izgled patnje.

Svinjski kotlet, kao religiozno

ALEN NOVOSELEC took on the role of the prisoner of two-faced socio-political rules, regulations and signs, beneath the

nečisto životinjsko meso,

armour of which are hidden true and timeless values which are grafted on man’s skin. The artist wearing a chest cast

moglo bi simbolizirati grijeh

symbolizing the said armour appears, and is bound by two “guards” in chains in front of the audience, leaving him to face

neumjerenosti ili čak putenosti,

“the hammer and the chisel” of the raw, naked truth - represented by a woman wearing a face mask representing the

kojima se s užitkom predajemo,

artist. She proceeds to knock away the artist’s armour, symbolically revealing the true values beneath, represented by

u drugu ruku se radi o dijelovima

inscriptions on the artist’s body. His performance wasn’t without peril either; obviously, each act of freedom carries a

mučenog i ubijenog živog bića,

sacrifice. At the same time, the performance contained a level of body art, since the artist’s skin, in this case representing

koje se nama, dvoličnim ljudima

the soul, was used as a canvas for depicting various sayings (as was the surface of the armour, depicting two-facedness).

jako smili, a usprkos toga ga

Finally, Novoselec’s body represented the only object of metamorphosis.

slasno probavljamo. Butkovićev performans sadrži istovremeno i pervertiranu religioznu simboliku

36

[treći]

Darwin Butković

Rostilj SA osvete, točnije mesne žrtve na

make-up, and proceeded to ready

and smoke, expectantly, caused

pitied by us, two-faced beings,

oltaru-roštilju, koju gledaoci mogu

the barbecue, made the fire and

sweating and tears on the artist,

while devouring them with great

konzumirati, davajući događaju

started to make roast cutlets.

which, coupled with smearing

succulence at the same time.

interaktivni značaj parodije na

The performance was musically

mascara, constructed an image

Butković’s performance also

liturgijski obred.

supported by Albinoni’s Adagio,

of suffering. Pork cutlet, as a

contains the perverse symbolism

The ‘requiem for the cutlets’

as the embodiment of sorrow

religiously unclean animal flesh,

of revenge, or more to the point,

performance by DARWIN

and the reminiscence of one of

could have symbolized the sin

a flesh sacrifice on the altar -

BUTKOVIĆ was a particularly

the most horrid baroque images

of gluttony, or even lust, while,

barbecue, which the audience may

sarcastic part of the happening.

put forward by Christianity:

on the other hand, we have the

consume, giving the performance

The artist was dressed in a

the torture of St. Lovre on a

parts of a tortured and killed

an added dimension of interactive

tailcoat, covered in black, uneven

broiling pike. Hot summer sun

living creature, which is readily

parody on this lethurgic ceremony.

37

Značaj monodrame bez riječi imao je performans PINE IVANČIĆA na maloj sceni HNK Varaždin. Gledaoci su bili svjedoci varijante kratke povijesti čovječanstva, gdje je kup zemlje simbolizirao zemaljska bogatstva, lopate oruđe (oružje), električna miješalica za beton, koja je bila i jedini izvor zvuka, pak raznovrsne oblike eksploatacije prirodnih izvora. Dramsko događanje je bilo razdijeljeno na više sukcesivnih prizora, gdje pratimo razvoj čovječanstva od napola životinjskog, golog pračovjeka, grčkog filozofa, raznih osvajačkih razdoblja, gdje se čovjek bori sam protiv sebe, sve dok događanje ne dostigne kulminaciju u posljednjem najvećem svjetskom

His-ustory Pino Ivančić

sukobu, gdje su se potrošile već

38

skoro sve rezerve prirodnih

The wordless monodrama was the

resources. This dramatic happening was

The final scene, full of catharsis, man

bogatstva. U zadnjem, katarzičnom

performance of PINO IVANČIĆ, held on

divided into several successive scenes,

is finally pacified, the animosities have

prizoru se čovjek napokon

the small stage of the Croatian National

following the development of man from

passed - and he would like to live in peace;

pacificira, neprijateljstva su prošla,

Theatre in Varaždin. The audience

half-naked, half-animalistic Neanderthal,

unfortunately, he has no resources left

rado bi živio u miru, no nema

bore witness to a version of the short

to a Greek philosopher, through various

to do this with. As he is leaving the face of

čime preživljavati. Kada napusti

history of man kind, where a pile of dirt

warring times, including those where man

history, the only thing left is the ominous

povijesnu scenu za njim ostane još

represented earthly riches, shovels

rises against himself, all the way to the

sound of the concrete mixer. The history

samo prijeteće glasanje nezasitne

were weapons, and the electric concrete

culmination of the final, greatest world

can indeed repeat itself!

miješalice za beton. Povijest se

(the only source of sound), represented

conflict, by which time almost all reserves

može ponoviti.

various means of misusing the natural

of natural goods have been depleted.

[treći]

Koncert

za dva monitora SON:DA

Kao jedini «strani» gost sa

As the only foreign guest, the

sugestivnim video-akustičnim

Slovenian duet (although not living

performansom KONCERT ZA DVA

in Slovenia for a while) SON:DA

MONITORA u istom kazališnom

(Miha Horvat and Metka Golec),

prostoru nastupio je slovenski

offered a suggestive video-

dvojac SON:DA (Miha Horvat i

acoustic performance

Metka Golec), Mariborčani koji

KONCERT ZA DVA MONITORA

već neko vrijeme žive izvan

(A Concerto for Two Monitors),

Slovenije. Osnova performansa

held on the same theatre stage.

su bili fragmenti crno bijelog

The basis of the performance

dokumentarnog filma iz 2.

were fragments of the black-and-

svjetskog rata koji su emitirani

white WWII documentary shown

na dva monitora. Na površinu

on two monitors. The authors

monitora izvođač je pričvrstio

attached two special sensors on

posebne senzore koji su

the monitors, which used computer

elektromagnetsko zračenje

equipment to transform electro-

pomoću kompjutorske opreme

magnetic radiation into acoustic

pretvarali u akustične impulse.

impulses. The sound coming from

Zvuk s ekrana je performer

the monitor was willingly increased

mogao stišavati i pojačavati,

or decreased by the performers,

dok na ritam i kompoziciju nije

while they had no influence on

imao utjecaja (osim prilikom

the rhythm or the composition

videomontaže), što je događanju

(except during the taping/

dalo elemente slučajnosti

editing), giving the happening

i djelomične improvizacije.

elements of spontaneity and

Cjelokupno događanje je u

partial improvisation. The entire

zatvorenom ambijentu stvaralo

happening, staged in a closed

izrazito ekspresivni naboj,

space, made for a very expressive

također i živčanu napetost

charge, as well as nervous tension,

,budući da se činilo kao da će

since the prevailing feeling during

Velikom majstoru stvari svaki

the performance was that the

tren izmaknuti kontroli, kako se

‘MC’ was losing control minute by

obično i dogodi za vrijeme rata.

minute, just like in a real war.

39

Vlasta Delimar i Milan Božić

provest ce noc u objektu bivse kasarne Konceptualni performans

i istovremeno jedinog posebno

curriculuma Vlaste Delimar,

Varaždinska manifestacija se

satnicom izvođenja bio posjetiteljima

VLASTE DELIMAR i MILANA

izrađenog rekvizita. Sve drugo

oboje su označili trenutak

odlikovala raznolikošću vrsta

omogućen posjet drugih priredbi u

BOŽIĆA je kao dio širega projekta

je već bilo na raspolaganju in

oproštaja. Javni dio performansa

i sadržajnom višeslojnošću

jednom od najkulturnijih gradova

sadržavao više faza, dok je

situ. Sljedeća faza odvijala se

bio je zaključen riječima laku noć,

performansa , provokativnošću

u ovom djelu Europe.

glavna poruka neposredno bila

u obliku opuštenog razgovora

nakon čega je slijedila zadnja,

poruka, komunikativnošću sa

U glatko odvijanje subotnjeg

vezana na lokaciju: povijesno

između autora i drugih sudionika

intimna faza. Konceptualni sadržaj

svakodnevnim događanjem

događanja uvelo nas je otvaranje

zdanje nekadašnje varaždinske

manifestacije, slijedilo je kraće

očitavao se u usmjeravanju pažnje

usred najveće gradske vreve

1. biennala modne fotografije

vojarne. Upravo zato kao prvu

predavanje o samom projektu

na određenu specifičnu lokaciju

na jednoj strani, na drugoj pak

u petak navečer, ponovo u

fazu performansa možemo

oživljavanja napuštenih povijesnih

isključivo sredstvom mirne

mogućnošću izvođenja i u intimnom

organizaciji varaždinskog HDLU-a.

zgrada pri čemu je bio opisan i dio

prisutnosti pojedinca ili grupe,

okružju za uži krug publike,

Istovremenost oba događaja slila se

povijesti spomenute zgrade.

te stoga ovaj performans u biti

te krajnjom opuštenošću izvođača.

tako u jedinstveni varaždinski

Nakon kratkog umjetničkog

ima značaj manifestacije.

Istovremeno je točno određenom

ljetni happening.

označiti pripremu privremenog obitavališta, restorana vojarne, i postavu kreveta kao glavnog

4U-28162426 Ivan Mesek

40

[treći]

Conceptual performance by

complex, and the bed, as the main

After a short artistic curriculum by

of a larger happening. This event

At the same time, the exact time table

VLASTA DELIMAR and MILAN

and the only specially constructed

Vlasta Delimar, they both announced

was characterised by the variance

of performances allowed the

BOŽIĆ, as a part of a wider project,

prop. Everything else was already at

the moment has come to leave.

of performance types and their

spectators to visit various other

consisted of several phases, while

disposal on site. The next phase was

The public part of the performance

multi-level content, by provocative

happenings in this, one of the most

the location (historical site of old

a relaxed conversation between

was completed by the words “good

messages, being able to

cultured Cities in Europe.

army barracks/complex) was

the author and others visiting the

night”, after which the last, more

communicate with an every-day

The 1st biennale of fashion

the only firm object connected to

happening, followed by a short

intimate phase came to pass.

happening, during the ‘high tide’

photography Friday night, also

the main theme. Therefore, the

lecture on the project of renewing

The conceptual content was found

of passers-by, and still satisfying

organised by the Croatian Artists

preparation of the temporary

abandoned historical buildings,

in directing the attention to a

performances on an intimate

Association, contributed to Saturday’s

habitation can be labelled as the

containing the partial history of the

specific location only by an individual

environment for a much smaller

performances, thereby merging these

first phase of the performance,

building the participants were in

or a group being there, thereby

audience, as well as by a great

happenings into a great cultural event

including the restaurant of the

at the time.

raising this performance to a level

looseness of performers.

of Varaždin’s summertime.

Drugi performans IVANA MESEKA s intimnijim, psihološkim sadržajem odvijao se navečer na travnjaku pred HNK pod snopom reflektora. Mjesto događanja je bilo podijeljeno na dvije polovice pomoću zida u visini poprječnog očišta, sastavljenog od kartonskih kutija. S jedne strane se nalazio autor, samo u gaćama, privezan za drvo dugim užetom, simbolom psihičkih prepreka, ali tako da se mogao ograničeno kretati (poput psa na uzici). S druge strane je sjedeći na stolcu i dosađujući se čekala ženska osoba. Zid je simbolizirao objektivne prepreke na putu do cilja i bilo ga je moguće relativno lako maknuti, iako je postupak bio dugotrajan, budući je trebalo svaku kutiju prvo otvoriti, zatim pustiti crni balon koji se nalazio unutra. Odstranjivanje zida je trajalo toliko dugo da je ženskoj osobi prilikom otvaranja zadnje kutije već bilo dosta čekanja te je otišla tik pred konačnim susretom. Umjetnik se vrati svojem drvu (samom sebi), život pak je izgubio smisao.

The second performance by IVAN MESEK had a more intimate, psychological content, and took place in the evening on the lawn beside the Croatian National Theatre, covered by rays of spotlights. The ‘stage’ was divided into two halves by an eye-height wall, made out of cardboard boxes. On one side, there was the author, wearing nothing but his underpants, tied to a tree by a long rope allowing only limited movement (nut unlike a dog on a leash), symbolizing mental obstacles. On the other side of the wall was a female, waiting on a chair, looking decidedly bored by the same waiting process. The wall was the symbol of objective obstacles on the way to the ultimate goal. It seemed the task would be easily done, since boxes were easily removed. However, the process took a long time, since each box had to be opened and the black balloon inside let out. In fact, the removal of the wall took so long that the woman decided she had enough of waiting, and by the time the last box was opened, she got up and left. The artist then retreated back to his tree (himself), but his life has lost a large chunk of meaning.

41

Text OLGA MAJCEN

Performans kao medij svoje je legitimitet u umjetničkom smislu stekao sedamdesetih godina kada je, u razdoblju dominacije Fluxusa, ideja (a ne umjetnički objekt) postala najvažniji aspekt umjetničkog djela. U hrvatskoj se performans istovremeno intenzivnije javlja, a umjetnici ga iniciraju i danas se njime više ili manje bave. Unatoč umjetničkoj praksi koju su popratile i institucije, automatski razvijajući okružje (performans festivali, edukacija na umjetničkim školama i slično) u nas je ta praksa i dalje marginalizirana i neshvaćena i to prvenstveno u umjetničkom miljeu.

Tome najbolje svjedoči lokalni varaždinski list koji, pokušavajući za „široke mase“ definirati performans, naziva ga „norčijanjem“ divljih umjetnika.

No unatoč nerazumijevanju sredine, upravo se u Varaždinu posljednjih četiri godine razvija platforma koja potiče tu vrstu umjetničkog djelovanja.

U organizaciji varaždinskog Hrvatskog društva likovnih umjetnika nastala je ozbiljno organizirana manifestacija „Dan hrvatskog performansa“. Činjenica da se dan performansa ne odvija u Zagrebu (kao sve ostalo) nije uopće loša, jer je taj pitoreskan grad napravljen baš po mjeri čovjeka sa golemom pješačkom zonom i na svakom uglu vidljivom umjetničkom tradicijom, a te činjenice umjetnici obilato koriste. Tako su i ove godine, od desetak umjetnika koji su izveli svoje performanse, četvoro odlučili nastupiti u gradu na otvorenom, koristeći baroknu scenografiju.

Intimizam Dana hrvatskog performansa gdje se umjetnici i publika dobro poznaju pohvalna je karakteristika što se tiče druželjubive atmosfere.

No, Dan performansa zaslužuje ambiciozniji pristup, veći budžet i profesionalnu organizaciju, kako bi opstao i postao značajan projekt.

[četvrti] dan hrvatskog performancea As a medium, performance claimed its artistic legitimacy in the 70ies when, in the period of the Fluxus dominance, an idea (and not an artistic object) becomes the most important aspect of artistic work. At the same time in Croatia performance becomes more prominent, artists initiate it and they still more or less do it up to today. In spite of the artistic practice that was accordingly followed by institutions, which automatically developed the needed environment (performance festivals, education in art schools etc) in Croatia this practice is still marginalized and misunderstood, especially so in artistic circles. The best proof is a local Varaždin newspaper which, trying to define performance in a way understandable to the masses, calls it a wild artist’s “foolery”. In spite of the environment not being very supportive, it is exactly in Varaždin that for the past four years a platform has been developing that will eventually encourage such artistic activities. Varaždin’s Croatian Association of Visual Artists had a serious approach when they organized the manifestation called The Days of Croatian Performance. The fact that it didn’t take place in Zagreb (just like any other big manifestation would) wasn’t a bad idea after all as, with it’s huge pedestrian zone and a notable artistic tradition, this quaint city was made to measure for men, and artists can exploit facts like that in a big way. That’s why this year, out of ten participating artists, four of them decided to stage their

2004.

performances out in the open, using the baroque setting. The intimacy of the Days of Croatian Performance where the artists and the audience all knew each others very well is praiseworthy regarding the atmosphere friendliness. However, this manifestation demands a more ambitious approach, a bigger budget and a more professional organization so it could survive and become an important project.

43

trepidatio Vlatko Vincek

44 [četvrti]

Vlatko Vincek, kojeg već možemo nazvati doajenom

Vlatko Vincek, one of the seniors of Croatian

performansa, nastupio je na Trgu Miljenka Stančića.

performance, held his show in the Miljenko Stančić

Vincek, koji je poznat po upotrebi materijala poput

square. Vincek, famous for his use of materials like

životinjskih utroba, ni ovaj puta nije od toga odustao,

animals intestines, didn’t give up his practice but in

ali se u nekoj mjeri prilagodio ambijentu,

a way adjusted to the ambiance: he used the

pa je u životinjska crijeva umotao ostatke

intestines to wrap up fragments of a stone board

kamene ploče sa latinskim natpisom.

with latin inscriptions on it.

Alen Novoselec U gradu je nastupio i varaždinski umjetnik Alen Novoselec, koji je izveo performans koji bi se mogao svrstati u kategoriju „painting bodies“ kako je definiraju Amelia Jones i Tracy Warr. Naime Novoselec je upotrijebio vlastito tijelo u tradiciji Jacksona Pollocka i Yvesa Kleina-kao sredstvo slikanja.

Nakon valjanja u tekućem blatu on je svoje tijelo otisnuo na slikarsko platno.

Alen Novoselec, originally from Varaždin, participated with his performance that could be, according to Amelia Jones and Tracy Warr, classified into the ‘painting bodies’ category.

In tradition of Jackson Pollock and Yves Klein, Novoselec uses his own body as a painting tool. After rolling in liquid mud he imprints his body on a painting canvas.

45

Dyspaurenia Vlasta Delimar

46

[četvrti]

Zahvaljujući dobroj organizaciji

djelu Vlasta je dotakla temu autoerotike

Vlasta Delimar, the artist with a rich

varaždinskog HDLU-a sva su mjesta u

i impotencije/frigidnosti kontrastirajući

performing history, staged her own

gradu dostupna za umjetnike. Tako su se

pri tom emotivni registar koji proizlazi iz

performance. Congruous to her usual

performansi održavali na mjestima poput

osobnih tijela izvođača sa znanstvenim

subject of interest, she dealt with the

urbanih locusa preko manjih nezavisnih

diskursom na temu. Zanimljivo je da su

problem of body and sexuality. Just like

prostora kao što je KULT, pa sve do

posjetitelji performans ocijenili edukativnim.

a few previous perfomances of hers,

glavne dvorane HNK. Tamo je naime svoj

Thanks to the good organization of

she carried this one out with her artistic

performans izvela Vlasta Delimar,

Varaždin HDLU (Croatian Association of

partner Milan Božić. In what seemed as

umjetnica bogatog performerskog

Visual Artists) all the localities in the city

a cross between ritual performance and

opusa. Ona se dosljedno tematici koju je

were at the artists’ disposal. Consequently,

hybrid theatre play, Vlasta touched upon

i do sada propitivala, pozabavila tijelom i

the performances took place in a variety

the theme of autoeroticism and impotence/

seksualnošću. Performans je, kao i nekoliko

of different spots- from urban localities

frigidity juxtaposing at the same time the

prethodnih, izvela sa svojim umjetničkim

and smaller independent environments

emotional registry which derives from the

partnerom Milanom Božićem. Negdje na

like KULT cinema stage all the way to

performers’ bodies to the discours on the

razmeđi između ritualnog performansa

the main stage of the Croatian National

subject. It’s interesting to find the audience

i hibridne teatarske dvočinke, u ovom

Theatre of Varaždin. That was where

assessed the performance as educational.

Vracanje sebi 100 udisaja

Božena Končić Badurina

Dva vrlo zanimljiva rada slična po duhovnom, meditativnom raspoloženju izvele su Kata Mijatović i Božena Končić Badurina. Kata Mijatović pokušala je dočarati čarobnu

Zeljkov SAN Kata Mijatović

There were also two works of art very similar in their spiritual and meditative atmosphere: the first one by Kata Mijatović and the other one by Božena Končić Badurina. Kata Mijatović

atmosferu sna u performansu „Željkov san“, a to je postigla na „tehnokratski“ način.

tried to depict a magical atmosphere of a dream in the performance called “Željko’s dream”, and

Naime putem video projekcije udvostručila je svoj lik koji je ispisivao sadržaj sna vodom

she managed it in a ‘technocratic’ way. Using video projection she doubled her image writing the

na bijeli zid. Za razliku od Kate Mijatović koja je iskusna performerica, Božena Končić

content of a dream on a white wall with water. Contrary to Kata Mijatović who is an experienced

Badurina izvela je svoj prvi performans-disanja. U ovom iznimno fotogeničnom performansu, putem pojačala i zvučnika, umjetnica je usmjerila pozornost gledatelja na disanje, izazvavši asocijaciju na istočnjačke duhovne discipline.

performer, Božena Končić Badurina staged her first performance ever - breathing. In this exceptionally photogenic performance, using the amplifiers and loudspeakers the artist focused the audiences attention on breathing, which evoked Eastern spiritual disciplines.

47

Mirroring Ivan Mesek

48

[četvrti]

Performans Ivana Meseka

smiješan. Naime u tom slučaju se

truth in its visual aspect but it

pripada kategoriji performansa

tumači kao stand up komedija. Mesek

does with the inner experience

identiteta. Tijelo, koje je najčešće

je uspostavio ironijsku distancu

of it. However, the otherwise

u centralnoj ulozi, pokriveno je

spram sebe pjevajući song iz

serious subject of identity in this

(zaštićeno) fotografijama na kojima

crtanog filma „Djeco Ivica se zovem“ i

performer’s work borders with

se nalaze upravo dijelovi tijela koji su

u tom je smislu najbolje odgovorio na

humour. Performance artists

pokriveni. Kao u poznatoj Lacanovoj

temu dana performansa-MIRRORING

usually stay away from humour (not

teoriji o zrcalnoj fazi života djeteta,

(CONFESSIONS), te je ujedno i

only in Croatia) as there are two

i ovdje je identitet shvaćen kao

zabavio publiku.

almost certain pitfalls. One of them

razlomljen i sastavljen je u cjelinu

Performance by Ivan Mesek

is that the performance won’t be

koja ne odgovara posve istini

belongs to the category of

funny enough (failed performance)

svojim vizualnim aspektom, ali joj

identity performances. Body,

and the other one is that it will

odgovara u unutrašnjem doživljaju.

usually being the major focus, is

be funny. In that case it would be

No ozbiljna tema identiteta, u radu

this time covered (protected) by

defined as stand up comedy. Mesek

tog performera, isprepletena je s

photographs that show exactly

managed to establish the ironic

humorom. Umjetnici performansa se

the parts of the body covered by

distance to himself by singing a

humora najčešće odriču (ne samo u

them. Just like stated in the theory

song from a popular cartoon “Kids,

nas) jer postoje dvije gotovo sigurne

of the mirror stage in the life of a

my name is Ivica” and by doing

zamke. Jedna je da performans

child by Lacan, here too identity

that he both echoed the theme of

neće biti dovoljno smiješan (neuspio

is percieved as fragmentary and

the manifestation - MIRRORING

performans), a druga je upravo

assembled in the whole which

(CONFESSIONS) and entertained

suprotna- da će biti dovoljno

doesn’t entirely correspond the

the audience.

Alen Zanjko

Body Light Performans je na varaždinskom danu shvaćen u najširem smislu što pokazuje raznolikost djela. Nastup Alena Zanjka: Body light koji smo imali prilike vidjeti u Zagrebu na 27. salonu mladih, poetični je plesni performans sa izuzetno snažnom ulogom svjetla isprepletenog s pokretom.

Days of Performance in Varaždin approached performance in the widest sense - the proof of it is the variety of the works showed.

The performance by Alen Zanjko: Body light which could be seen at the 27th Zagreb Youth Salon, is a poetic dance performance in which the focus is on lights entangled with movement.

49

Varazdinski autoportret Željka Gradski Galić

50

[četvrti]

Željka Gradski Galić

Željka Gradski Galić was

kolektivno je proglašena

unanimously pronounced the

najvećom radnicom među

biggest busy bee among the

performerima. Ona je naime

performers. Namely, she spent

čitav dan provela fotografirajući

the whole day taking photos of

zanimljive ljude i događaje po

interesting people and scenes

Varaždinu, da bi navečer pokazala

in Varaždin to show it to the

svoju seriju fotografija. Unatoč

audiences that very evening. In

tome što je sama umjetnica lajt

spite of the performer herself

motiv fotografija, taj medijski

being the common denominator of

hibridni rad bi se tek uvjetno

all the photos, that hybrid media

mogao nazuvati performativnim.

piece of work can be called a performative only conditionally.

Autoritratto con SA Darwin Butković

Darwin Butković u svojem Autoportretu sa SA (dio autorove trilogije simbola SA-PE-TE) autoironično izjeda glavu pečene svinje, prethodno postavljene na stol uz gipsani odljev vlastitog portreta. in his Self-portrait with SA (which is a part of the author’s trilogy of symbols SA-PE-TE) Darwin Butković autoironically devours the head of a roast pig, previously set on a table next to his own portrait cast in plaster.

51

[peti] dan hrvatskog performancea

2005.

53

Mađari

Entrance Imre Dénes

Abortus

Balint Szombathy

54

[peti]

Zatvoren u sebe

Istvan Kovacs

55

Greatest Hits

Zrela zena Vlasta Delimar

56

[peti]

Zatvaranje Performance Ronjenje

Vlasta Žanić

Slaven Tolj

Tocno u podne Vladimir Gotovac

Marijan Crtalić

5

K

Zlatko Kopljar

Varaždinska matineja

Mala glazba za klavir i konja Darwin Butković

Nedjeljno prijepodne Ivan Mesek

57

[šesti] dan hrvatskog performancea

Text Ivančić, Pino i Suzana Marjanić. 2006. “O poslovičnom vuku, mitskom Narcisu i globalnom protestu”. Zarez, broj 40, 21. rujna 2006., str. 37.

Poklonike performansa doista veseli činjenica da su već šestu godinu zaredom performeri izvedbeno simbolički ispunili varaždinsku jezgru, i to neposredno prije, moramo priznati, poznatijega Špancirfesta. Ujedno, ono što osobito ulijeva nadu za preživljavanje varaždinskih Dana hrvatskoga performancea jest činjenica što je ovo već druga godina zaredom da se navedena manifestacija u organizaciji Galerijskog centra Varaždin i HDLU-a Varaždin protegnula na tri dana. Pritom su uvedene i neke novine. Prema riječima glavnoga organizatora, akademskog slikara Ivana Meseka, a danas i zamjenika gradonačelnika, ovogodišnji izlazak velških performera Rawleya Claya i Tima Halewooda na Dravu arhetipski je na osnovi druidskih simbola i “flower power” miroljubive koegzistencije tematizirao varaždinski pohvalan eko trend očuvanja Dravske šume. A druga je novina što su na ovogodišnjem trodnevnom izdanju performansa nastupili oni naši likovnjaci koji se do tada nisu okušali u performerskoj praksi, te je stoga i njihov nastup u varaždinskom duhu veselica nazvan Junfer.

[šesti] dan hrvatskog performancea Performance enthusiasts love the fact that it is 6th year in a row that performance artist are symbolically taking over the centre of Varaždin and that is right before the more popular (we have to admit) Špancirfest. Also, what really keeps the hope of survival of the Days of Croatian Performance alive is the fact that this will be the second year in a row that the manifestation keeps going on for three days. Additionally, some novelties have been introduced. As the director, currently also the vice mayor of Varaždin, a graduate painter of the Academy of Fine Arts, Ivan Mesek has mentioned, this year’s venture of the Welsh performers Rawley Clay and Tim Halewood into the Drava forest archetypally contributed to Varaždin’s praise-worthy tendency of the Drava forest preservation, through its references to druidic symbols and the ‘flower power’ idea of peaceful coexistence. The second novelty is the fact that in this edition of the Days of Performence, there were also shows by our domestic artists who had

2006.

never before taken part in performance practice. That’s why, in the spirit of Varaždin parties, their first ever performance was named Virgin.

59

Wales (UK)

Croatian love song Paul Hurley

60

[šesti]

Dakle, prvi dan ovogodišnjih Dana

Odjeven u flanersko bijelo odijelo i

hrvatskoga performancea bio je

simpatično oboružan polaroidom

posvećen velškom performansu,

i crnim markerom, performer je

točnije performerima iz Cardiffa.

pristupao svakome pojedinačno i

Na Korzu Paul Hurly upriličio je

rastvarao komunikaciju na nimalo

performans, happening Croatian Love

loše instant naučenim frazama na

Song, kojim je ostvario fotografsko

hrvatskom jeziku. Pritom je svakoga

upoznavanje okupljenih putem njima

pojedinačno (pa i one najmlađe)

najdražih ljubavnih pjesama.

zamolio da na njihovom poprsju

prikači fotografiju osobe koju je prethodno intervjuirao. Naime, nakon što je osobu fotografirao polaroidom, zamolio ju je da u podnožju bijeloga obruba fotografije ispiše naslov svoje najomiljenije ljubavne pjesme. Navedimo neke: npr. Pričaj mi o ljubavi, Utjeha kose, Pjesma nad pjesmama (navedeni biblijski prijedlog dao je Zlatko Kopljar), Zeko i potočić... Performans koji je tematizirao komunikaciju s nepoznatima u uličnoj svakodnevici otuđenosti ostvario je apsolutnu prisnost među namjernicima od kojih su neki tijekom cijele večeri nosili na poprsju fotografiju uglavnom njima nepoznate osobe.

The first day of this year’s Days of

audience by means of their favourite

(even the youngest ones) to attach to their

(the mentioned biblical poem was Zlatko

Performace was dedicated to Welsh

love songs. Dressed in a white flannel

chest the photograph of the person he had

Kopljar’s suggestion), The bunny and the

performance, or to be more precise

suit and equipped with a polaroid

previously interviewed.

brooklet. The performance which dealt

to performers from Cardif.

camera and a black marker pen,

Namely, after he would take a polaroid shot

with the theme of the communication with

On the main city square, Korzo,

the performer approached each

of a person he would ask them to write down

unknown people in the reality of alienation

Paul Hurley staged a performance

person in the audience and started

the title of their favourite love song to the

achieved a feeling of intimacy between

happening called Croatian Love

communication in not so bad Croatian

white bottom of the polaroid shot.

random audience members, some of which

Song in which he accomplished a

phrases he had learned on the spot.

Let’s just mention some of the song titles:

chose to keep the photo of the unknown

photographic get-to-know of the

Then he asked each and every person

Tell me about love, Solace of the hair,

person on their chest on for the rest

Song of songs’

of the night.

61

Narcissus Philip Babot

Philip Babot vlastitom figurom ostvario je živu skulpturu Narcissus na Stančićevu trgu s početkom u 20 sati.

Scena: na trgu performer stoji ukočen odjeven potpuno u crno i prekriven crnom kapuljačom te pritom netremice gleda u kantu ispunjenu zacrnjenom vodom. Navedenom arhetipskom, psihoanalitičkom slikom Philip Babot postavlja Narcisa zarobljenoga u nigredo svijetu, gdje je svaka težnja za idealizacijom onemogućena.

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[šesti]

This performer himself was the embodiment of a live sculpture of Narcissus in Stančić square starting at 8 pm.

Here’s the scene: in the square, the motionless performer standing dressed all in black, with a black hood on, staring at a bucket full of black water. With this archetypal and psychoanalitical image Philip Babot sets his Narciss captured in the world of nigredo, where it’s impossible to achieve any aspirations of idealization.

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Homo Homini Lupus Est Tim Brommage

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[šesti]

Kao mjesto izvedbe svoga performansa Homo homini lupus est, koji tematizira Plautovu, Hobbesovu i Schopenhauerovu zoometaforičku dijagnozu, Tim Brommage odabrao je prostor bivše varaždinske sinagoge.

Riječ-dvije o spomenutoj zoodijagnozi: čini mi se da je navedena izreka etičkineprikladna,

iz limenoga lavora. Prerezavši

dakako, u odnosu na vučju

britvom bijelu traku kojom je imao

egzistenciju, jer vuk, kako

obmotana usta, iz usne je šupljine

pokazuje Nikola Visković, poštuje

počeo vaditi udice (neki su vidjeli

Tim Brommage chose the

teritorijalne granice vučjih skupina

“ziherice”) koje je zabadao u

former Varaždin synagogue as

i u međusobnim sukobima ne

ovješeno telećom krvlju ispunjeno

the setting for his performance

mrcvari i ne ubija protivnika ako

bijelo platno. Osjetio se užasan

Homo Homini Lupus est, which

frame of the so-called wolf-like

se ovaj povuče ili pokori – što se

zadah, isparavanje ustajale guste

deals with the idea of Plautus’,

nature of humans, through the

redovito događa! Početni okvir

životinjske krvi kojom se performer

Hobbes’ and Schopenhauer’s

Syziphus act in which, dressed

tzv. vučje naravi čovjeka Tim

isto tako umio. Završni okvir

zoometaphorical dyagnosis.

in a blue-collar uniform, he

Brommage je izvedbeno označio

iznimnoga performansa označio je

Here’s a few words about the

transfers sand, soil from one pile

sizifovskim činom u okviru kojega,

spaljivanjem prethodno skinutoga

mentioned zoometaphorical

to the another above which there

mouth with a razor , he starts pulling

odjeven u plavo radničko odijelo,

i uredno na zemlju položenoga

dyagnosis: it seems like the term

is a white linen filled with blood

out of his mouth fish-hooks (some

itself is ethically incorect. And

hanging. After he accomplishes

say there were safety-pins, too)

gomile na drugu iznad koje je bilo

that is, of course, when related

the before mentioned forceful

which he pins into the cloth filled with

ovješeno krvlju ispunjeno bijelo

to the existence of wolves. Wolf,

transfer and conquering of an

beef blood. Now there is this terrible

platno. Nakon što je ostvario

according to Nikola Visković,

inch of teritory (the simbol of

stench, vapours of stale thick animal

navedeni prisilni premještaj i

respects the territorial borders of

warfare dislocation), he takes his

blood in which the performer washes

osvajanja pedlja zemlje (simbol

wolf packs and in conflicts doesn’t

work dress of uniformity off, folds

his face too. He sets the final frame

ratničke dislokacije), skinuo je

torture or kill the enemy if it backs

it neatly and then simbolycally

of this extraordinary performance

radno odijelo uniformiranosti

off or subdues- which happens

washes his face with soil from a

by setting on fire the previouly neatly

i uredno ga složio, a zatim se

regularly. In the performance,

tin wash basin. Having cut off the

folded work uniform of suffering,

simbolički oprao i umio zemljom

Tim Bromage sets the starting

white band that was taping his

now lying on the ground.

premješta pijesak, zemlju s jedne

radničkoga odijela patnje.

65

junfer Prah jesi

Nenad Kralj

Drugi je dan počeo na trgu znakovita imena Franjevački za performans Prah jesi Nenada Kralja. Zagorsku zemlju, koju je donio iz svog ateljea, modelirao je u skulpturicu, nakon čega ju je čekićem uništio i ponovo pretvorio, vratio u prah, po onoj iz Knjige postanka “prah si i u prah ćeš se vratiti”, tematizirajući prah, prašinu kao simbol stvaralačke snage, ali i kao znak smrti.

The second day started in the Franciscan square, the name of which was meaningful for the performance For Dust Thou Art by Nenad Kralj. He brought some soil of Zagorje from his studio and modelled it into a sculpture, after which he destroyed it with a hammer and turned it into dust again, which relates to the verse from the Book of Genesis “for dust thou art, and unto dust shalt thou return” dealing with the theme of dust as a symbol of creative power but also a sign of death.

Kara-mustra

Slobodan Kokotović Libero

Pritom najmnogoljudnija bila je izvedba performansa Kara-Mustre Slobodana Kokotovića Libera, a riječ je o uprizorenju i zborskom čitanju tekstova iz njegove neobjavljene zbirke

priča/po-ogleda Tako je govorio Kara-Mustra. Zbirka, naime, počinje onoga trenutka kad Kara-Mustra završi na Zavodu za zapošljavanje (rvatcka svakodnevica) i kada se filozofska strana njegova bića aktivira, predočavajući svoja razmišljanja o raznim životnom graničnim situacijama (Art, performeri, Život, Izlaz i tome slično). Slijedom navedenoga i izvođači su bili prikladno odjeveni u radna odijela (trliže), a na početku izvedbe s flasterima na ustima poput naše “šutljive i suzdržane većine” kretali se prostorom. Pritom “dirigent” i.j.pinO kretnjama ruku i tijela manipulirao je marionetskim izvođačima-vokalnim čitačima koji prema zakonu preživljavanja slijede najsigurnije strategije socijalne mimikrije.

The performance that had most people to carry it out was Kara-Mustra by Slobodan Kokotović Liber, which was based on playing out and chorus-reading of the texts which are part of his unpublished collection of short stories/ reflections Thus spoke Kara-Mustra. Namely, this collection begins the moment Kara-Mustra ends up at the employment office (sad Croatian reality) and when the philosophical side of his gets activated and he starts sharing his views on various questionable life situations (Art, Performers, Life, Exit etc).

Consequently, the performers were dressed in matching blue-collar work uniforms while at the beginning of the show they moved around with their mouth shut with a plaster, just like the ‘quiet and restrained majority of our population.’ ‘The conductor’, i.j.pinO used the motion of his hands and his body movement to manipulate the puppet-like performers: the readers who, according to the rules of survival follow the safest strategies of social mimicry.

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[šesti]

Dealing with the problem of the grotesqueness of beauty industry and the manic burden it puts on women who, speaking in phrases, represent ‘cows’ (as we like to say in slang), ‘Making the dead cow beautiful’ by Margareta Goreta is a performance that caused a lot of fuss. She demonstrated this feminine mania on a freshly cut off head of a calf set on a bloody postament with recipes and advertisments playing in

Uljepsavanje mrtve krave Margareta Goreta

Najviše je komešanja izazvala Margareta Goreta performansom Uljepšavanje mrtve krave kojim problematizira nakaradnost

the background. Namely, she simultaneously ‘beautified’/ defaced her own face and the calf’s head with dyes, and after that tried to take that qrotesque mask off the face of the slain calf while she tried to control her own schyzophrenia by breaking the pots and spilling the dyes.

kozmetičke i prateće industrije kao i time maničnu opterećenost žena, koje frazeološki rečeno figuriraju u slengu kao “krave”.

Pritom je navedenu femininu maniju uz sugestiju recepata i reklama sa zvučne podloge umjetnica demonstrirala na svježe odsječenoj telećoj glavi položenoj na krvavom postamentu. Naime, istovremeno je “uljepšavala”/unakaradila raznim bojama vlastito lice i odsječenu glavu teleta, i pritom je tupim nožem nastojala izgladiti/skinuti tu grotesknu masku na licu zaklanoga teleta, a vlastitu je “shizofreniju” pokušala obuzdati razbijanjem posudica i prolijevanjem boja.

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suma

Dravska

Rawley Clay & Tim Halewood (Wales) Ujedno, taj drugi dan se pamti i po maloj policijskoj intervenciji uz događanje Rawleya Claya i Tima Halewooda kojim su spojili velšku tradiciju s domaćom: jabolka ne pada daleko od stabla ak je ne ritneš. Naime, proželi su hipijevsko i današnje eko poimanje okoline: prizivajući arhetipove druidske sfere nastojali su ostvariti prožimanje urbane jezgre i Dravske šume. Nagi premazani blatom kretali su se gradom do Drave pravcem koji im je svojim padom naznačavala jabuka nabodena na koplje. Inače, britanski tisak The Sun prenio je tu zanimljivost na svojim stranicama, tako da je to bila dobrodošlica Velšanima na povratku kući.

The second day of the Days of Performance will also be remembered by small police intervention in performance of Rawley Clay and Tim Halewood who connected the old Welsh tradition with our own: the apple doesn’t fall far from the tree unless someone kicks it. Namely, they merged two views on the environment: the one of the hippies and today’s eco views.

Evoking the druidic sphere archetypes they attempted to merge the urban town centre with the Drava forest. Naked and smeared with mud they walked through the town to the forest following the direction set by the fall of the apple stuck on top of a spear.

We have to mention that this performance was covered by the British press in The Sun, which was a nice welcome home for the Welshmen.

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[šesti]

!

OK Dan je završio izvedbom OK!

Ivane-Nataše Turković u kojem

Ivana-Nataša Turković

instalacijom, vješalicama promo

razglednica/materijala, videom o iskazu svoje frustracije i izvedbom, tematizira ponašanje strastvenog/ovisničkog

sakupljanja stvari, kolekcioniranja, što je zaokružila osviještenim, ritualnim pranjem vodom.

The day ended with the show titled OK!

by Ivana-Nataša Turković in which she deals with the theme of compulsive hoarding, passionate and addictive collecting of things, which she rounded up with the enlightened and ritual washing in water.

69

simultanka kolektivno izvođenje performancea collective performance

Trećeg sunčanog dana uslijedila je all together Simultanka na Stančićevu trgu, a koja je započela vježbom Rawleya Claya i Tima Halewooda, kojima se priključio Philip Babot meditacijom i punjenjem rustikalne staklene posude njegovom osobnošću (meditativnom koncentracijom) koja se štafetno trebala kretati vizitorijem. I dok je Darwin Butković (uz Ivana Meseka glavni organizator i idejni začetnik 6. dana hrvatskoga performancea) dao svoj svojevrsni obol preminulom varaždinskom biskupu Culeju, Ivan Mesek je u tom kolektivnom performansu na promo materijalima za lijekove s dijagnozama intervenirao bijelim akrilikom riječju LJUBAV, a pritom je bolni izraz lica retuširao u smiješak.

Ja sam čiči mići črv, iliti crvljivost svakodnevice a i kako je crvu na svjetlu dana uz pomoć pakirne folije, ulja za sunčanje, zelene salate i uz asistenciju auditorija, predočio nam je Paul Hurly, čime se nadovezao na svoje dotadašnje crvljive akcije (upućujemo na njegov web).

70

[šesti]

On the third day of the Days of Peformance (which was sunny, by the way), there was an all-together Simultaneous performance in the Stančić square. It started with the exercise by Rawley Clay and Tim Halewood, who were soon accompanied by Philip Babot with his meditation and filling up of an antique glass bowl with his personality (meditative concentration). The bowl was supposed to be passed through the audience. At the same time Darwin Butkowić (the director and spiritus movens of the 6th Days of Croatian Peformance together with Ivan Mesek) payed a kind of a tribute to the late bishop of Varaždin, Culej. In this collective performance, Ivan Mesek used advertising materials for pharmaceutical drugs that had dyagnoses written on them and intervened on them writing the word LOVE in white acrylic. He also painted over a painful facial expression and turned it into a smile. I’m an itsy-bitsy worm or the rotten reality of everyday life is what Paul Hurley dealt with. He showed us how a worm feels in the daylight with a little help of some wrapping foil, suntan lotion, lettuce and the audience, which was just the extension of his previous rotten actions (please refer to his website).

71

igra u dvoje

Boris Kadin & Kristian Al Droubi Arna Hadžialjević MP_ART

[sedmi] dan hrvatskog performancea

2007.

Pino Ivančić & David Belas Darwin Butković Alen Novoselec Iva Kovač & Elvis Krstulović Marijan Crtalić & Ksenija Kordić Vlasta Delimar & Milan Božić Ivan Mesek

73

Ritam 20

Boris Kadin & Kristian Al Droubi

Being Readymade Arna Hadžialjević

Keep moving MP_ART

74

[sedmi]

igra u dvoje

...ma tutto Okej...moj prijatelj je Gey...

Pino IvanÄ?ić & David Belas

75

Rucak za dvoje

Darwin Butković & konj

76

[sedmi]

igra u dvoje

ALTER EGO

Alen Novoselec

77

78

[sedmi]

igra u dvoje

Kkkkkraj Iva Kovač & Elvis Krstulović

Sjecanje na jermana

Taktilna komunikacija Vlasta Delimar & Milan Božić

Zmija i zelenko

Marijan Crtalić & Ksenija Kordić

Beyond Control

Ivan Mesek

79

80

Suvremena plesna umjetnost u Hrvatskoj mlada je i trenutačno u svojoj uzlaznoj razvojnoj putanji. Prepoznavanjem publike u većim gradskim centrima ona počinje konačno biti priznata kao izvedbena umjetnost koja traži svoju ravnopravnu poziciju među ostalim izvedbenim umjetnostima.

Varaždinu, kao jednom umjetnički osviještenom gradu, kronično nedostaje suvremeno plesnih sadržaja. Manifestacija „Dani performansa i suvremenog plesa“ nastavak je, te nova i proširena verzija festivala Dana hrvatskog performansa koji se posljednjih 8 godina u Varaždinu održavao krajem kolovoza. Dodavanjem suvremenog plesa u program Dana performansa zaokružuje se konceptualna cjelina koja kao takva komunicira s većim brojem publike i koja posjeduje veći potencijal za širenjem na regionalnoj razini, te potencijal za razvijanjem partnerskih odnosa s festivalima i kulturnim organizacijama diljem Europe. Projekt „Dani performansa i suvremenog plesa“ koji objedinjuje likovnu umjetnost i performans, multimediju, te suvremeni ples jedinstveni je projekt te vrste u cijeloj regiji, te svojim širenjem ima ambiciju prerasti lokalne okvire i istražiti inovativne perspektive suvremenih izvedbenih umjetnosti, podržati umjetnike koji žive i rade u regiji, senzibilizirati lokalnu publiku. Kroz četiri trodnevne programske cjeline koje će se odvijati tijekom 2009. godine, kroz sva 4 godišnja doba, ugostit će se nekoliko formata izvedbi - suvremene plesne produkcije, urbane plesne akcije, instalacije te performanse. Selektirani programi po svojoj različitosti, a uvijek visokoj kvaliteti, trebali bi zadovoljiti različite ukuse publike i educirati lokalnu publiku po pitanju raznovrsnosti unutar same grane plesne umjetnosti i performansa.

[osmi] dani performancea Contemporary dance art in Croatia is still quite young and in its developmental phase. It is by having been recognized by the audiences in bigger city centres that it is becoming accepted as a performing art looking for a position on the same level with the other performing arts. Having high levels of art awareness, Varaždin desperately needs more contemporary dance contents. The manifestation called ‘The Days of Performance and Contemporary Dance’ is the continuation and the extended version of the Days of Croatian Performance which has for the past 8 years been taking place in Varaždin at the end of August. Adding the element of contemporary dance to the Days of Performance rounds up the conceptual whole which in this way communicates to a wider audience and holds a bigger potential in terms of expanding on a regional level, as well as the potential of developing partnerships with festivals and cultural organizations across Europe. The Days of Performance and Contemporary Dance project which unites visual arts and performance, multimedia and contemporary dance is a unique project of this kind in the whole region. Its ambition is to expand the local frame and explore the innovative perspectives in contemporary performing arts, support artists that live and work in the region as well as

2009.

make the local audience more sensitive to this kind of art.

Four of the three-day long programme units that will take place during 2009 and all four of its seasons will host a few different performance formats contemporary dance productions, urban dance actions, instalations and performances. Programmes selected by their variety and high quality levels should meet the needs of various tastes and educate the local audiences on the diversities within both dance art category and performance.

81

glazba za tri filadendrona

The Love

piece

Ivan Mesek

performance

performance

Drugo za jedno

Produkcija: Eksperimentalna slobodna scena Koprodukcija: Studentski centar -

plesna predstava

Kultura promjene, Zagreb Koncept: Anna Achimowicz, Nino

Dijana Vidušin&Matija Ferlin

Bokan, Alice Chauchat, Pravdan Devlahović, Oliver Frljić, Zvonimir Kvesić, Ivana Pavlović, Ivana

autobiografija diskografija URBANA PLESNa AKCIJA 82

[osmi]

Samo Gosarič (Slovenija)

Rončević, Nina Sakić, Una Vizek Izvedba: Anna Achimowicz, Goran Bogdan, Nino Bokan, Pravdan Devlahović, Dean Krivačić, Zvonimir Kvesić, Ivana Pavlović, Ivana Rončević, Nina Sakić, Una Vizek

Jestiva ideja!

fantasticna proljetna vecera Kuharsko plesni performance

Nino Bokan, Ivana Rončević, Nina Kurtela, Petra Hrašćanec, Sanja Tropp Frühwald, ... i Darwin Butković

Koncert za dangubu i zgubidana

plesni piknik na travi - jestiva ideja!

Samo jednom se lubi

Izvedba Improspekcije i restorana Zlatne ruke, u dvorištu Galerije slika

Gradani slusaju proljece & ispod plocnika nalazi se plaza PERFORMANCE IZNENADENJA

Plesna predstava

Mate Matišić & Rajko Pavlić 83

plesna predstava

feeturing...

j i c i t s l o S pERFORMANCE Ivan Mesek

RADIONICA SUVREMENOG PLESA INDIVIDUALNI NAcINI KRETANJA Petra Hrašćanec Herceg / Dance Lab Collective

SOLO

plesna predstava Sonja Pregrad

84

[osmi]

Something to do with death Sanja Tropp Frühwald

photo by arunakaij

plesna predstava

Kupujmo Hrvatsko pERFORMANCE Božo Katić

Try creampie!

pERFORMANCE

Xena Županić

85

Text BRANKO FRANCESCHI

Dok široka publika performans još uvijek smatra novom umjetničkom disciplinom i stvaralaštvom koje je primjereno mladim umjetnicima i publici, performans su u 2010. godini obilježila dva događaja koji su svaki na svoj način i na svojoj razini pokazali da je riječ o zreloj umjetničkoj disciplini burne i bogate prošlosti, čvrsto ukorijenjene u strukturu recentnog umjetničkog stvaralaštva i programe prestižnih kulturnih institucija kojima je suvremenost područje djelovanja.

Na nacionalnoj razini smrt Tomislava Gotovca, zauvijek zabilježenog kao ultimativnog performera cijele regije, navijestila je apoteozu performansa među povijesne discipline. Gotovac je prvi umjetnik koji je svoje tijelo i život u potpunosti poistovjetio s umjetnošću, iskazujući nizom javnih performansa kako svoju fizičku i psihičku sljubljenost sa Zagrebom i holivudskom kinematografijom, subliminalnu ritualnost svakodnevnice, tako i bespoštednu kritiku civilizacijskih i nacionalnih društvenih devijacija. Po nekim izvorima svoj prvi performans Gotovac je izveo čak 1954. godine, ali se uvriježeno smatra da 1970-a sa „Šišanjem i brijanjem“ predstavlja početak njegove performerske karijere.

[deveti] dani performancea Na internacionalnoj razini njegova štićenica Marina Abramović, umjetnička superzvijezda i jedna od začetnica body arta, u njujorškom Muzeju moderne umjetnosti pod nazivom „The Artist Is Present / Umjetnica je prisutna“ trijumfalno je održala prvu ikada zabilježenu retrospektivu nekog umjetnika performansa. Podsjetimo se, Marina Abramović svoj je prvi performans pod nazivom Ritam 2 održala u zagrebačkom Muzeju suvremene umjetnosti 1974. godine, a svom se mentoru Tomislavu Gotovcu odužila dirljivom gestom 2000. godine u Ljubljani kad ga je u prijelomnom trenutku svoje dramatizirane autobiografije pozvala da joj se pridruži na pozornici Cankarjevog doma. Vraćajući se u sadašnjost u 2010. godinu, važno je naglasiti značaj izložbe u MoMA-i nakon koje je performans definitivno postao dijelom etablirane umjetničke prakse. Marina Abramović promišljenom je strategijom kroz decenije svog rada u područje performansa uvela najprije foto i video dokumentaciju kao galerijski supstitut proklamirane neponovljivosti samog događanja performansa u jedinstvu doživljaja izvođača i publike, a potom i žanr performansa namijenjenog isključivo izvođenju pred kamerama i namijenjenog izlaganju u mediju fotografije i/ili videa. Projektom „7 Easy Pieces / 7 lakih komada“ u Muzeju Guggenheim 2005.

2010.

godine Abramović je postavila još jednu razdjelnicu u povijesti performansa uvodeći reenactment, odnosno ponovno izvođenje performansa u izvedbi nekog drugog performera, kao relevantnu kulturološku i muzeološku praksu. Sve je, dakako, kulminiralo izložbom u MoMA-i koja je u retrospektivnom

87

pregledu njenog stvaralaštva objedinila različite razine foto i video dokumentacije, fotografije, videa, reenectment svih autoričinih najznačajnijih performansa sa novim, za tu priliku osmišljenim performansom tromjesečnog sučeljavanja autorice sa posjetiteljima izložbe. Publika je formirala redove, a na kraju retrospektive demonstrirajući svoju proročansku ulogu Marina Abramović je osobno dodirnula sve one koji su strpljivo čekali na priliku da se s njom pogledaju oko u oko i to nisu uspjeli doživjeti.

Performans je danas jedna od reprezentativnih umjetničkih disciplina koju kao dio svog multidisciplinarnog repertoara s vremena na vrijeme i po unutrašnjoj logici rada koristi veliki broj umjetnika koji djeluju unutar područja suvremene umjetničke prakse. Izbor umjetnika predstavljenih na ovogodišnjim Danima performansa i suvremenog plesa odražava situaciju koju smo opisali. Antonio Riello, Zlatan Dumanić, Jusuf Hadžifejzović i Živko Grozdanić Gera renomirani su multidisciplinarni umjetnici i kulturni djelatnici zrelih godina. Preuzimajući izravnost performansa kao umjetničke discipline, samim smo izborom umjetnika i njihovim fizičkim prisustvom željeli zorno odraziti značaj i status performansa unutar suvremene umjetničke prakse te pokazati kako njegova institucionalizacija i uklapanje u mainstream ne znači i njegov odmak od aktivnog stava prema suštinskim egzistencijalnim i civilizacijskim pitanjima. Kao nikad do ovog trenutka u svojoj pedeset godina dugačkoj povijesti performans nije imao tako široku publiku i izazivao toliko pažnje.

Na umjetnicima je da to iskoriste.

INTRO

Zivjela nezavisnost!

Ivan Mesek

otvorenje i vatromet

88

[deveti]

While the mass audiences still consider performance

called Rythm 2 in Zagreb Museum of Modern art in 1974,

the retrospective, demonstrating her prophetic role,

a new art discipline and form, adequate for young

and in 2000 in Ljubljana she payed tribute to her menthor

Marina Abramovic personally touched everyone who had

performers and audiences, in 2010 the world of

Tomislav Gotovac with a touching gesture when she, at

waited for a chance to meet her face-to-face but never

performing arts was marked by two events that, each

the highest point of her dramatized autobiograpy, called

got a chance to do so.

in its own way and on their own level, showed that

him to join her on stage of Cankarjev dom. Coming back

performance is a mature artistic discipline with a very

to the present moment and year 2010, it is important

Today performance is one of the representative artistic

rich and turbulent past, one that is firmly grounded

to point out the importance of MoMA exhibition after

disciplines which, as a part of its multidisciplinary

in the structure of the recent artistic creations and

which performance definitely became part of the well

repertoire, from time to time and according to its own

programmes of the prestigious cultural institutions that

established art practice. Marina Abramovic, through

interior logics of its work uses a big number of artists

deal with contemporary manifestations of all kinds.

the decades of her work in the field of performance,

that operate within the contemporary art practice. The

applied a very thought-trough strategy of introducing

choice of this year’s artists presented at the

On the national level it was the death of Tomislav Gotovac,

photo and video documentation as a gallery substitution

Days of Performance and Contemporary Dance reflect

who had been crowned the ultimate performer in the

of the proclaimed once-in-a-lifetime nature of the

the situation we have described earlier. Antonio Riello,

region, which heralded the apotheosis of performance

act of performance in the unity of experience of both

Zlatan Dumanić, Jusuf Hadžifejzović i Živko Grozdanić

up among one of the historical disciplines. Gotovac

the performer and the audience, and then she also

Gera are the well established multidisciplinary

was the first artist who had entirely identified both his

introduced the genre of performance intended solely

artists and cultural activists in their golden years.

life and his body with art, and used a series of public

for performance in front of the cameras and exposing it

Adopting the directness of performance as an artistic

performances to show both his physical and mental

in the media in the form of a photograpy or/and video.

discipline, it was the choice of the artists as well as

cohesion with Zagreb and Hollywood cinematography,

With the project called “7 Easy Pieces” in the

their physical presence that we used to illustrate the

the subliminal ritual nature of everyday life, as well as

Guggenheim Museum in 2005 Abramovic set another

importance and the status of performance within the

the ruthless criticism of the civilizational and national

turning point in the history of performance introducing

contemporary artistic practice as well as show that

social deviations. According to some sources, Gotovac

reenactment, i.e. the repetition of a performance

its institutionalization and fitting into mainstream don’t

staged his first performance back in 1954, but the

show now staged by some other performer, as a

equal to its distance from the active approach to the

“Haircut and Shaving” are widely accepted as the

relevant cultural and museum practice. It all came to

basic existential issues as well as those concerning

official beginning of his performing career.

the boiling point with the MoMA exhibition which, in a

the civilization itself. In its 50 years long history

retrospect view of her creativity ambraced different

performance has never ever had such a wide audience

On the international level, his protege Marina Abramović,

photo and video documentation, photographs, videos

nor managed to provoke so much attention.

the art superstar and one of the initiators of body art,

and reenactments of all the author’s most important

It’s up to the artists to make the most of it.

triuphantly staged the first ever known retrospective

performances with a new, specifically for that instance

of a performance artist in the New York Museum of

created performance of the author’s three month

Modern Art called “The Artist is Present”. Just a little

long personal encounters with the visitors of the

reminder, Marina Abramović held her first performance

exhibition. Audience formed long lines, and at the end of

89

GERIZMI

Živko Grozdanić Gera

90

[deveti]

Vanishing Acts

Da se ne baci Jusuf Hadžifejzović

VRUM i Dance_Lab Collective

Antonio Riello

Anxious Isle

Ljubavna se trauma izbija iducom Zlatan Dumanić

91

Text IVAN MESEK

Naviru asocijacije gledajući unatrag i pokušavajući vidjeti što se to događalo proteklih deset godina u vezi sa performansom u Varaždinu.

Krenuli smo sa idejom prezentiranja suvremene hrvatske umjetničke prakse u Varaždinu. U Varaždinu, definiranim većinom kroz klasične vidove umjetnosti, tradiciju, prošlost, barok, klasičnu glazbu, Miljenka Stančića… i uvidjeli koliko nužno potrebne živosti i svježine je upravo umjetnička praksa performansa unijela u samo tkivo grada. I koliko je idealan dom performansu predivna struktura njegovih ulica, trgova, zgrada, parkova, interijera i eksterijera, a najviše publika gladna suvremenih, aktualnih i drugačijih izričaja.

Umjetnost začuđuje, propitkuje, udara u pleksus, priča poetske crtice, problematizira i odgovara, otvara prozore, zatvara predrasude, … a ako je UMJETNOST, ne ostavlja potpuno ravnodušnim.

Upravo se performans najdirektnije obraća publici, kao oblik likovne umjetnosti gdje umjetnik progovara vlastitim tijelom, tim savršenim alatom komuniciranja sa okolinom. Nekad ciljanim konzumentima, interesentima kroz projekte realizirane u interijerima, nekada direktno ulazeći u životni prostor kretanja slučajnih prolaznika, nenamjernika kroz projekte izvedene u javnim prostorima, na trgovima, ulicama, parkovima.

[deseti] dani performancea Pokušali smo pronaći adekvatnu hrvatsku riječ za PERFORMANS… nije nam baš uspjelo. Svako jednoznačno određivanje i definiranje čak i nije u duhu te granične forme između likovne i kazališne umjetnosti. Bez namjere kontraproduktivnog mistificiranja, koje je već dovelo mnogo puta do nesporazuma između umjetnika, publike, kritike. Pohvala nam je da su upravo riječi „performans“, „performer“ nakon pokretanja festivala ušle u vokabular mnogih… Često ne imajući nikakve veze sa likovnom formom koja je određena tim nazivom, pa se susrećemo sa praksom da se svaki ulični zabavljač, žongler, mnogi koji nešto „izvode“ nazivaju performerima. Kao što se i mnogi nazivaju umjetnicima. Pravo je svakog da se naziva kako želi.

Deset godina festivala, svi projekti realizirani u tom razdoblju ipak su napravili određeni pomak u razumijevanju. Edukaciji. Bar se nadamo da smo u tome uspjeli. Svatko je nakon izvedbe odnio svoj dio priče sa sobom. I umjetnik i publika.

Ono što ostaje je činjenica da likovna umjetnost u Varaždinu nije ista sada i prije deset godina. Dogodila se dekada suvremenog disanja likovnosti.

Ulice, trgovi, interijeri pamte sve one začudnosti konkretnog prostora i vremena definiranog kroz izvedbu umjetničkog djela. Pamti svijest.

2011.

Pamte možda i neki kojima je performans bio još jedna poticajna iskrica da se odluče odabrati umjetnost za svoj životni put.

Otvaramo novu dekadu.

93

Red Empty: VARAZDINSKA

Moje je ime Jelena Vasiljev,

Carl Michael von Hausswolff

Jelena Vasiljev

SINAGOGA

94

[deseti]

kao bilo tko

Looking back at all things related to performance that happened in Varaždin in the past ten years - so many memories come to mind. We set off with the idea of presenting the contemporaty Croatian art practice in Varaždin. The town defined mostly through the classical aspects of art, tradition, history, baroque, classical music, Miljenko Stančić... and we realized that the art of performance brought the so much needed freshness and vigour into the life of the town.

We also realized that the town’s amazing structure built of streets, squares, buildings, parks, various interiors and exteriors made the perfect setting for performance. And of course there was also the audience hungry of contemporary, current and fresh expressions.

Art shocks, questions, hits right in the solar plexus, tells poetic sketches, deals with problems, offers answers, opens windows, shoots down prejudices... and if it really is ART, doesn’t leave anyone completely indifferent.

Being an art form in which the artist talks through his body, this perfect tool of communicating with the environment, performance communicates with audiences most directly. Sometimes it does it with the targeted consumers and those interested through the projects that come to life in interiors, other times it does it by directly intruding into the personal spaces of random passersby through projects that take place in public spaces, squares, streets, parks.

We tried to find an adequate Croatian word for PERFORMANCE... however, we never managed to. Every one-dimensional determination and definition isn’t even in the spirit of this art form balancing between visual and theatrical arts. And that was with no intention of some counterproductive mystification, which so many times brought about misunderstandings between artists, audience and critics.

It is a compliment to know that after the festival was founded words like “performance” and “performer” became of everyday use for many people.

Oftentimes they are used in the context that has no connection to visual art form determined with this term, so we can often hear people refer to any street entertainer, jongleur or someone putting up a show as a performer. Just like so many call themselves artists. But we all have the right to call ourselves what we like.

In ten years of the festival, the projects realized in this timeframe did bring a certain advancement in understanding. Education. Or at least we hope they did. After their performance everyone took their own little bit of the story with them. Both the artist and the audience. The fact remains that visual arts in Varaždin aren’t the same today as they were ten years ago. A decade of breathing in contemporary visual arts is what happened.

The streets, the squares, the interiors they all remember the amazement of the particular space and time defined through an art performance.

Consciousness remembers. And all of those to whom performance was yet another impulse to choose art as their life path...they remember too.

Let’s open up a new decade.

95

predavanje

10performansa godina U VaraZdinu Branko Franceschi

Silk R

MESO

Nezaket Ekici

96

[deseti]

Road Luka Bunić feat. Emil Herceg

Tranzit

Darwin Butković

Sandra Starle

Art Jam Session 97

Text BRANKO FRANCESCHI

Jedanaesto izdanje festivala Dani performansa Varaždin, referira se na činjenicu da je riječ o prvom i najdugovječnijem međunarodnom festivalu performansa u Hrvatskoj. Stoga naziv We Shall Never Surrender, preuzet iz slavnog govora Winstona Churchilla održanog 4.6.1940. godine u cilju bodrenja duha Britanske nacije i isticanja ultimativnog zahtjeva i vjere u borbu do konačne poraza sila zla nakon nacističke pobjede u Francuskoj, s jedne strane treba shvatiti kao odavanje priznanja ustrajnosti organizatora, a s druge kao posvetu specifičnosti performansa kao umjetničke discipline u epohi njene muzealizacije i performerima kao manifestaciji specifične umjetničke varijacije bunta. Koncepcija festival je stoga ove godine fokusiran na umjetnice i umjetnike koji u svojim javnim nastupima i/ili akcijama, usprkos prevladavajuće svijesti o nemogućnosti umjetnosti da izmjeni društvo, dosljedno provode koncept o društvenoj odgovornosti, radikalnosti i aktivizmu umjetničkog čina usmjerenog na razobličavanje društvenih nepravdi i konvencija kojima se održava društveni status quo.

[jedanaesti] dani performancea Dani performansa vodeći se idejom održivog formata, svoja posljednja izdanja zasnivaju na ograničenom broja sudionika i koncentraciji programa na tri dana trajanja. Stoga je posebna pažnja organizatora i kustosa pri određivanju programa posvećena njegovoj raznovrsnosti. Program uključuje izvedbe performansa na javnim prostorima, galerijama, kazališnim pozornicama i bivšoj Sinagogi (budućem sjedištu Galerijskog centra Varaždin). Generacijski raspon i stilske različitosti umjetnika, te zastupljenost regionalnih i prekomorskih predstavnika, omogućuju publici da unatoč ograničenom broju performera izabranu temu festivala sagleda kroz prizmu različitih društveno–političkih i generacijskih određenja djelovanja njihovih autora.

Tijekom ovogodišnjih Dana performansa, Varaždin će aktivno sudjelovati u globalnom diskursu borbe protiv

2012.

erozije stečenih prava i elementarne humanosti.

99

Staging actors/staging beliefs Renata Poljak

Rezija glumaca/rezija uvjerenja film u boji, 2011.

The 11th edition of the Days of Performance Varaždin festival refers to the fact it’s the first and the longest existing international festival of performance in Croatia. Hence the title We Shall Never Surrender, taken from the famous speech by Winston Churchill that took place on 4 June 1940 and aim of which was to lift the spirits of the British nation and point out the ultimate demand and the belief in fighting the evil powers until their final defeat after the Nazi’s victory in France. On one side we have to take this title as paying tribute to the organizers’ endurance, while on the other side it is hommage to specific nature of performance as artistic discipline in the era of its musealization and performers as manifestation of a specific artistic version of rebelion.

That’s why this year the concept of the festival is focused on the artists who, in their live shows or/and actions, in spite of the largely predominant idea of the inability of art to change society, congruously follow through with the concept of social responsibility, radicalism and acitivism and artistic act directed towards the desintegration of social injustices and conventions that serve the purpose of keeping the social status quo.

Sticking to the idea of the sustainable format, The Days of Performance have based their last few editions on the restricted number of participants as well as limited the programmes on three days in duration altogether. That’s why special care is needed on behalf of the organizers and custoses when it comes to making the programme versatile. The programme includes performance shows staged in public spaces, galleries, theatre stages and the former Synagogue (the future headquarters of the Gallery Centre Varaždin). Generational span and stilistic differences among the artists, as well as both the regional and the overseas representatives taking part, make it possible for the audience to, in spite of the limited number of performers, see the designated theme subject of the festival through the prism of the different socio-political and generational dispositions of their authors. For the duration of this year’s Days of Performance, the city of Varaždin will actively take part in global discourse of fighting against the erosion of acquired rights and elementary humanity.

100 [jedanaesti]

Ruta i spomenik

dvokanalna video instalacija s popratnim tekstom, 2007.

101

izlozba starih racunala i informaticke tehnologije

zaostravanje live streaming prijenos performansa iz New Yorka

Marko Marković

Peek&Poke, Rijeka

interaktivna d mapping instalacija fnf5

3

Peek&Poke, Rijeka

ABOP

AFTER JE BOLJI OD PARTIJA 102 [jedanaesti]

Unravel Ivan Marusic Klif

Genevieve White

103

Concrete string theory

Zefrey Throwell

104 [jedanaesti]

Fortinbras in year Zero Janos Sugar

105

Sven Stilinović

Sleep now in the fire Ivan Mesek

106 [jedanaesti]

Geometrija krvozednosti

107

umjetnici artists 2001-2012.

Achimowich Anna Al Droubi Kristian Babot Philip Belas David Bogdan Goran Bokan Nino Božić Milan

108

Brommage Tim Bunić Luka Butković Darwin Bužek Zdenko Clay Rawley Crtalić Marijan Delimar Vlasta Dénes Imre Devlahović Pravdan Dodig Vladimir Trokut Domitrović Ines Dumanić Zlatan Ekici Nezaket Goreta Margareta Gotovac Vladimir

Gradski Galić Željka Grozdanić Živko Gera Hadžialjević Arna Hadžifejzović Jusuf Halewood Tim Hausswolff Carl Michael Herceg Emil Hurley Paul Ivančić Pino Ivezić Nikolina Kadin Boris Katić Božo Kokotović Slobodan Libero Končić Badurina Božena Kopljar Zlatko

Kordić Ksenija Kovacs Istvan Kovač Iva Kovačić-Macolić Gordana Kralj Nenad Krivačić Dean Krstulović Elvis Kvesić Zvonimir Llinkt!

Macolić Slaven Marković Marko Martek Vlado Mesek Ivan Mijatović Kata MP_ART

Novoselec Alen Oreb Gloria Pavlović Ivana Peek&Poke Poljak Renata Riello Antonio Rončević Ivana Sakić Nina SON:DA Starle Sandra Stilinović Sven Sugar Janos Szombathy Balint Throwell Zefrey Tolj Slaven

Turković Ivana-Nataša Vasiljev Jelena Vincek Vlatko Vizek Una White Genevieve Zanjko Alen Žanić Vlasta Županić Xena

VELIKO HVALA Kseniji, Lidiji, Draženu, Darwinu, Alenu... i svima koji su nam svo ovo vrijeme pomagali, bili vjerna ili bilo kakva druga publika... a i onima kod kojih su performansi izazvali burne reakcije. I to je pokazatelj da performans djeluje.

109

6-9 lipanj 2013. VARAŽDIN

19.30 sati, Julijanovo dvorište, Kranjčevićeva ulica

od 11.00 sati, Julijanovo dvorište, Kranjčevićeva ulica

predstavljanje knjige VARAŽDIN.STOP. 2001.-2012. STOP. PERFORMANSI.STOP. SLIJEDI PROVJERA.STOP. 21.00 sati, bivša sinagoga LJILJANA MIHALJEVIĆ: Gozba 22.30 sati, Klub Rogoz, HNK Varaždin

petak 7. lipnja

Party otvorenja festivala od 16 sati, Julijanovo dvorište, Kranjčevićeva ulica Performans zona (otvoreno za sve) 20.30 sati, bivša sinagoga TAJČI ČEKADA: Le Déjeuner sur l’Herbe vs. The Dinner 21.30 sati, bivša sinagoga

subota 8. lipnja

KREŠO KOVAČIĆEK: Vdekja (smrt) od 16 sati,Julijanovo dvorište, Kranjčevićeva ulica performans zona (otvoreno za sve) 20.30 sati, bivša sinagoga TORI WRAANES: 10 minutes performance 21.30 sati, bivša sinagoga DIMA STRAKOVSKY: Travelers prayer U večernjim satima 8. lipnja, pa cijeli dan 9. lipnja, na različitim lokacije u Varaždinu MOM and JERRY: Arstist are presents 23.00sati-04.00, cafe bar Lavra: NEOBAROK PARTY

110

nedjelja 9. lipnja

četvrtak 6. lipnja

tema NEOBAROK

performans zona (otvoreno za sve) 20.30.sati, bivša sinagoga BREDA BEBAN: Najljepša žena u Gući dvokanalna video projekcija

Galerijski centar Vara탑din www.gcv.hr