A Bubble

a bubble

International Art Journal no.1 | 2011

Gotovac parlava sempre della cosidetta Gotovac je uvijek govorio o tzv. nijemoj većini i maggioranza silenziosa, di quel gruppo da onda tu nijemu većinu trebaš tresnuti u glavu, di persone che è necessario scioccare, šokirati, da uopće malo počnu razmišljati. sconvolgere, per costringerli a pensare.

Mi više nemamo takvih kao Tom koji je i životom Non abbiamo più personaggi come lo è stato Tom: un grande, dokazivao kakav je frajer, na takav poseban način. anche nella vita, e una figura sempre molto particolare.

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It is a political critique happening within the form itself, putting into discussion the E’ una critica politica che si dà all’interno della forma stessa, mettendo in time and material status of the artwork. It is an action that can only take place in discussione lo statuto temporale e materiale dell’opera. Ed è un’azione che non può the edges of a city, on the mobile border between the city and the sea. This is the che avvenire ai limiti della città, nel confine mobile tra la città e il mare. Questo è il border place where you should return after the total immersive experiences, because luogo cui inevitabilmente si deve tornare dopo le esperienze totalmente immersive, this is the privileged place in which the form comes to shine forth. perchè questo è il luogo privilegiato per il baluginare della forma.

Art as institution-and-permanence and art-in-general, preserving a strong sense of makingSia l’Arte come istituzione-e-permanenza, sia l’arte-in-generale, conservando un forte senso del while-destroying, seem very far from the dimension of the (art)work, defined by that so simple fare-distruggendo, sembrano lontanissime dalla dimensione dell’opera, costituita da quel così and powerful “live, see, feel and especially perceive’’, as Barrio sees it. semplice e potente “vivere, vedere, sentire, e specialmente percepire”, come la definisce Barrio.

If the sea is the “optic” that makes things to be seen, and the (art)work is “seeing, Se il mare è l’”ottica” che permette di vedere le cose, e l’opera è “vedere, feeling, perceiving’’, then the toilet paper on the sea border, in its mobility and sentire e percepire”, la carta igienica ai limiti del mare, nella sua mobilità “transparency”, becomes the form of the perceiving in itself. Accordingly, in the e “trasparenza”, diviene la forma del percepire stesso. In questo senso, nella situação criadora (creative situation) the difference between “art” and “(art)work’’ situação criadora (situazione creativa) si dà la differenza tra “arte” e “opera”. is given. The use of perishable materials as toilet paper permits to hold momentarily L’uso di un materiale deperibile come la carta igienica, consente di trattenere per the perception as a form at the intersection of “art’’ and “sea’’. un momento il percepire come forma all’intersezione di “arte” e “mare”.

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Noi percepiamo questa emergenza We perceive this sudden emergence, as a improvvisa, come una presenza presence marked by features of alieness, caratterizzata da un carattere di estraneità, shining over and into the works of art. This che splende sopra e dentro le opere. Questo allows us to make sense of the existence ci permette di comprendere l'esistenza of differing works of contemporary art, di diverse opere dell'arte contemporanea, according to their proper nature. rimesse alla loro propria natura.

A Bubble International Art Journal no.1

editorial

impressum a bubble, International Art Journal no.1 | November 2011 issn: 1848-3046 publisher Sintoment–Association for Multimedia Art and Recognition of Culture www.sintoment.hr publishing director Bernarda Cesar production manager Filip Pintarić editorial board Bernarda Cesar, Alessio Fransoni, Marija Juza, Filip Pintarić, Ilari Valbonesi editorial assistant Petar Novak, Valentina Sunek first issue contributors Bernarda Cesar, Cristiana Colli, Alessio Fransoni, Marija Juza, Filip Pintarić, Ilari Valbonesi translations Rollo Burdick, Veronika Došen, Alberta Nikolov, Bojan Rakić art director, on-line editor & design Marija Juza – Babushke [www.babushke.com] marketing & pr Ivanka Bičak printed by Znanje d.d. print run 5000 contact sintoment – Zagrebačka 1, 49246 Marija Bistrica, Croatia | www.sintoment.hr ubu – Trg maršala Tita 11, 10000 Zagreb, Croatia | www.ubu.hr phone: +385 91 7662 666 e-mail: organizam@ubu.hr web: www.abubble.ubu.hr This number is financed by sintoment & ubu ©organizam 2011. All rights reserved. many thanks to Cristiana Colli, BADco., Vlasta Delimar, Željko Radivoj and everyone who contributed in any way in creating the 1st number of A Bubble. this journal is free of charge

A Bubble is a Newspaper-Laboratory; a critical and exhibition space ‘on paper’ edited in Zagreb. It is the result of an European–Adriatic collaboration between organizam (an informal alliance which for now gathers associations ubu, Sintoment, creative team Babushke and architecture studio Nonfunctional Bridge) from Zagreb and the Italian art critics and curators Alessio Fransoni and Ilari Valbonesi.

A(driatic) Bubble is dedicated to locations, authors and projects which significantly define a new geopolitics of Art. A Bubble wants to support the idea that the EuropeanAdriatic region has to integrate to the economic and democratic system of the eu with an art project-oriented attitude that goes beyond the localism/globalism paradigm.

The Adriatic Sea perspective is seen as the metaphor of any way of thinking that puts its foundation on the border between things.

According to these purposes we started this newspaper project concentrating on recent events and places of high symbolic content, which constitute a first platform for the discussion of this new sense that we can find in the Adriatic axis.

In this light, we focus on selected works and artists shown at The 54th International Art Exhibition, La Biennale of Venice, through the second edition of the Sounds Like Venice project (Radio); then, the City of Zagreb with its new ferment and political change marked by Croatia becoming the eu’s 28th member state and finally, the demanio marittimo km.278 art project by the sea in Marzocca, Senigallia (Italy).

The newspaper, like the radio, Venice or like the beach, is a place of thoughts and conversations, arrivals and departures.

It is a crossroads of the imaginary place, like a border in itself, which opens up the sea to us as a “region of possibilities”: It embodies the stories of the collective journey and the landscape of transformation.

— Italian Pavilion in the World at 54th Venice Biennale | Vernissage of Igor Gustini and Sabina Damiani exhibition at the Italian Culture Institute in Zagreb | Photos: Filip Pintarić, Marija Juza

Installation View of the the italian pavilion in the world This project has been launched by the Italian Ministry of Foreign Affairs on the occasion of the 150th Anniversary of Italy’s Unification to showcase Italian contemporary artists active abroad. 217 artists, selected across 60 states, are featured at the Italian Cultural Institutes around the world and at the Italian Pavilion at the Arsenale in Venice through a multimedia installation. For Croatia, the Video showcases selected artists from Croatia, Igor Gustini and Sabina Damiani, and it was premiered on the premises of Zagreb’s Italian Cultural Institute on the 3rd of June 2011.

Designed and implemented by Informal Alliance Organizam from Zagreb.

TOM / tomislav gotovac

A Bubble uses a display typeface tom – created and implemented specially for this number as a hommage to Tomislav Gotovac. Typeface is inspired by his sketches and lettering used in his film manifesto The Forenoon of a Faun (by T. Gotovac and V. Petek – Cinema club “Zagreb” 1963). Designed in 2011

by Marija Juza (Babushke) and available for free on www.babushke.com

— Stills from the film “The Forenoon of a Faun” (by T. Gotovac and V. Petek – Cinema club “Zagreb” 1963)

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What is Art? A Bubble.

ILLUMInations. Echoes.

by ilari valbonesi

The 54th Venice Biennale is built around the title illuminations given by the artistic director of the 2011 International Art Exhibition, art historian and critic Bice Curiger. This title has enlightened a world scene where a new geography of art and political contexts with even new “continents” of contemporary art emerged, throwing a new light on the status of “inter”national art.

We perceive this sudden emergence, as a presence marked by features of alieness, shining over and into the works of art. This allows us to make sense of the existence of differing works of contemporary art, according to their proper nature.

But of what nature are we talking about? It is the subversive nature of Art itself, beyond meaning and rules; that lets form shine without eclipsing the organic, flowing, twilight and controversial matter, as it is embodied in following art works which then “naturally” display the status art against the status of media.

highlights from sounds like venice 2011

Light and Darkness of the symbol. On June 3rd 2011, the Serbian artist Dragoljub Rasa Todosijevic was awarded the UniCredit Venice Award for his “poetical work that does not fail, however, to take a critical approach to the historic and political events of the entire Balkans.” The work in question is the part of his exhibition under the title Journal, which is represented by the sum of 120 single works produced in different materials with different conceptual approaches and dimensions.

“I have never had a chance to show this exhibit as a group before.

It's like a diary of small stuff accumulated since the 1970’s, though each piece can be displayed and interpreted as a separate artistic entity. For example, I made these nationalistic pajamas: Gott Liebe The Serben using Chinese ink: Pajamas are private clothing. Another example is the shards of a past performance where I broke a lot of tiles: On each one I wrote something and then spread them around Belgrade, e.g. remember your future or I'm offering you second hand future... Irony is always a part of helplessness. what is art? This was a performance where I was beating my wife and asking her “Was ist Kunst?” (What is Art) in the style of a police Interrogation, or something like that.” (Dragoljub Rasa Todosijevic)

Series of installations collectively entitled Gott liebt die Serben (God Loves the Serbs) deals with the identification of the Swastika (also) of Nazi Ideology and it’s horrors, the significance being the changeable interpretation of symbols and conditionality of these changes in a given historical circumstance: the meaning depends solely on the observer and their deep routed beliefs.

what is art? Art resists political, cultural, aesthetic habits. Art

resists morality and topicality. Art – because it is art – is resistance.

But art is not resistance to something, art is resistance as such.

Thomas Hirschhorn's, Crystal of Resistance at the Swiss pavilion leaves a profound impact: It is an overwhelming and sublime installation of western detritus, gossip magazines, spiders webs, broken glass, bits of cotton, old televisions, other media devices, Barbie dolls, packing tape and empty bottles which cover the pavilion from the floor to the ceiling. Crystal of Resistance ist Form an sich, die Wahrheit an sich, Crystal of Resistance ist das Wirkliche. what is art? The exhibition at the Russian Pavilion is titled Empty Zones and provides an overview of the work of the Collective Actions group founded by Andrei Monastyrski in 1976. The exhibition has been curated by Boris Groys:

It is a work of the performance artist Andrei Monastyrski who started his work in the middle 70’s and has worked continuously until now. The centerpiece was made specifically for the Venice Biennale. It presents a science-educating place in time (which is Venice 2011). It is surrounded by wooden bunk beds, which make it look like a labour camp, and it suggests a sociopolitical denture surrounding artistic gestures in many places in the contemporary world... I show examples of his performance art from ‘67 to the ‘80s. All of these performances were somehow organized beyond the official art system of the Soviet Union.

After the change of political system and the establishment of capitalism and an art market in Russia, he still does not produce for the market, so he uses this medium YouTube to make his videos directly available to the user, thus circumventing the art system.

“I make symbols, which are not immediately recognizable. The swasti[Коллективные действия are on YouTube.] ka is another kind of symbol: it is an archaic and sacred symbol of civi- what is art? The Iraq Pavilion is a multiple and participatory work lizations before the arrival of Christianity and Islam around the globe, in progress since 2004. Ali Assaf, Azad Nanakeli and Walid Siti come in 1900 it became a decorative symbol in the west, after the Second from the 1970’s during the period of the creation of a political socialWorld War an evil symbol. What I mean is that we always interpret, ism, which marked their background. The second generation, includes we give meaning. There is no everlasting meaning. For the Japanese Adel Abidin, Ahmed Alsoudani and Halim Al Karim. They grew up the Swastika means the number 10,000”. (Dragoljub Rasa Todosijevic) during the drama of the Iran-Iraq war (1980-1988), with the inva-

what is art?

One looks at the Israeli artist Dani Gal's video Night and Fog, where soldiers are dispersing ashes at sea. It turns out to be the burial rites of the remains of the Nazi Adolf Eichmann. what is art? In the Egyptian pavilion, there is the video of Ahmed Basiony’s last performance, 30 Days of Running in the Space, in which the artist runs on the same spot dressed in a bubble of polythene.

It is interposed with the footage he shot in Tahrir Square during the Arab Spring and where he was shot dead. A witness of our time and space, Ahmed Basiony’s last statement on his Facebook page reads: I have a lot of hope if we stay like this.

(January 26th 2011 at 10 pm). what is art? A fragile, and hopeful sentiment resonates in the German Pavilion, where the curator Susanne Gaensheimer — Ahmed Basiony, 30 Days of Running in the Space – Egypt Pavilion | Venice Biennale, Venice, Italy, 2011 – Installation View exhibits an adaptation of the Schlingensief 2008 piece, A Church sion of Kuwait and the overwhelming un economic sanctions and of Fear vs. the Alien Within, which replicates the church of subsequent artistic isolation. All works on the site are inspired by the Schlingensief’s adolescence. I’m not afraid to admit that when Gervasuti Foundation space and the thematic choice of water. The I walked inside I started crying. Echoing the space is Wagner’s theme of water is a timely interpretation because more than civil war musical scores synchronized with a stern German voice. The pavili- and terrorism, the lack of water is a primary source of emergency in Iraq. on’s left wing is dedicated to Schlingensief‘s Operndorf Afrika, his “Gali Ali Beg is made up of seven waterfalls. It is a popular tourist destiopera village in Africa. nation in Iraq and is an iconic image for the Iraqi government, whose currency now features the Gali Ali Beg waterfalls on its 5,000 Iraqi what is art? Based on Landau’s historical research, the Israeli Dinar Note… Since the waterfalls began to run dry in the summers pavilion, One man’s floor is another man’s feelings is a variation from drought, the government enlisted a company to pump water into on the familiar saying “one man’s floor is another man’s ceiling”.

“What I mean is that: Your life is always a problem for somebody else.

It's political but in a funny way. For my Venice work it was crucial that I managed to change the ceiling of the Israel pavilion: it is now more acoustic: One can speak, listen and hear better…. My work is as a bridge maker to connect the past to the future, the west to the east, the private with the collective.... What is special about the idea of the bridge is that it is made of salt which is made of the same material you want to cross (i.e. the sea), it is a solid form of the water and it cancels the barrier in a way, when you cross it, you don’t drown but rather you continue to exist, so both sides of the bridge share the same material and it is art that can carry the complexity.“ (Sigalit Landau)

the falls, to keep the icon alive in the minds of people. I want to emphasize water shortage because water is life and continuity.” (Walid Siti)

what is art? Desire: Ideal Narratives in Contemporary South African Art is an exhibition Pavilion of South Africa in which the works of Mary Sibande, Siemon Allen, Lyndi Sales provides differentiated avenues to re-think the ideals and experiences promised by democracy. It speaks to crisis and realization.

Mary Sibande, an artist from Johannesburg, employs the human form as a vehicle of painting and sculpture to explore of the construction of identity in the context of post apartheid South Africa.

“Sophie is a maid. Up until my mother we were all maids, except me.

I celebrate these women. It's about my life, my family, people I know”.

a bubble – international art journal no.1 | 2011 | 3

She inverts the social power indexed by Victorian costumes by reconfiguring them as a domestic worker’s uniform. In her work, the domestic setting acts as a stage where historical psychodramas are staged. what is art? Living and working in Moscow and Baku, Aidan Salakhova demonstrates in the Azerbaijan Pavilion a steady criticism of the position of women within the dogmas and dichotomies of stale traditions and convictions.

“I entitled my works Destinations because they are where I am going and it's about women in general. Women are very strong, they hold everything. I used black and white: Black it's like covering something white of the woman, which is inside. The interior is what I am interested in.”

The veil has been the leading metaphor to witness the game of exploiting women and eroticism behind this covering:

“In the Venice Pavilion, I covered the frescoes on the ceiling like a censure would: so I covered the genitals of the angels and the breasts of the women, there is also a ‘waiting bride’ who is covered with textile.

We will take it off and the bride will become a wife and she will be stoned! Sculpture for me is more stable in time.” (Aidan Salakhova)

what is art?

The exhibit of the Central Asia pavilion Lingua Franca/Франк Тили presents the works of eleven artists from four countries of the region. They explore contemporary universals in the aspects of language hegemony, domination and appropriation of the universal potential of art and new media by authoritarian state machineries. Lingua franca inspires the metaphor of overall language, but historically and in contemporary practice it remains the language of Franks (франк тили, if translated into Turkic languages of Central Asia), foreigners, others, aliens.

“I take already sculpted heads of Party leaders, I then hit and squash them very sharp objects until the sculptures are ruined, deformed like a bowl of Italian spaghetti. I deform them to transform them into something new. About my work dedicated to monuments: I research these which have been subjected to drastic changes in time…

I compare them to the ideological ruins of the Roman Empire. These ruins remind us of a past which is never taken away. In the Soviet time, people didn't have photo cameras so the professional photographer would take you to take picture in front of a monument. So even one’s free time was ideologized. But monuments are signs of time and everything is unstable.” (Yerbossyn Meldibekov)

— Collective Actions, Balloon, Moscow region, Gorkovskaya railway line, Nazaryevo station.

June 15, 1977 | Photo documentation | Courtesy author and Stella Art Foundation, Moscow

what is art? Three Emirati artists were selected by Kortun for

Second Time around exhibition in the uae Pavilion: Reem AlGhaith, Abdullah Al Saadi and Lateefa Bint Maktoum.

“My work is about myself and my life. I travel to different places, more in general I want to show the connection of person to place. As you see, in my work the reality is in the background… what you see is the portrait of the imagination of a person... we are viewing a private moment reflecting on the surroundings. They are lucid dreams like the paintings of Salvador Dali and are more about how your imagination works.” (Lateefa Bint Maktoum)

what is art?

Featuring artists from twenty Latin American countries and constituting the contribution of the Instituto ItaloLatino Americano Pavilion includes countries that also have their own pavilion. The exhibition curated by Alfons Hug, is entitled Entre Siempre y Jamás (Between always and never) is a quote from a poem by the Uruguayan writer Mario Benedetti. It is dedicated to the Latin American Bicentenary of Independence, reflecting the significance of that independence and its cultural patrimony.

“The biennale started with 8 countries. Now we have 89 national participations… We had a very Eurocentric discourse until 20 years ago and fortunately this has changed. I believe illuminations, and the idea of nations, it is important so you can bring a little of the world in Venice.

It's quite encouraging. No topic should be excluded.” (Alfons Hug)

what is sounds like venice?

Sounds Like Venice is a Radio Art project and multimedia blog which gathers the testimonies, sounds and voices of world culture coming from the heart of La Biennale di Venezia. Sound like Venice 2011 is curated by Ilari Valbonesi and Alessio Fransoni, in collaboration with roma radio art fair (Rome); radioCona (Ljubljana); nrbg – Novi Radio Beograd; Auropolis (Belgrade), Bootlab (Berlin) – and the vocation of a site spazio thetis (Venice) – for the relationship between contemporary art and technological research and innovation in artistic forms.

— Thomas Hirschhorn, Crystal of Resistance, 2011 | Swiss Pavilion, Venice Biennale, Venice, Italy, 2011 | Photo Romain Lopez | Courtesy: the artist

www.soundslikevenice.com

— Sigalit Landau: Salted Lake (Salt Crystal Shoes on a frozen Lake), 2011 | HD-Video, 11:04 | Installation view, Israeli Pavilion, 54th Venice Biennale, Venice, 2011 | © Sigalit Landau | Courtesy the artist and kamel mennour, Paris

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Artur Barrio: The sea and the difference between art and (art)work.

by alessio fransoni

Sem fim.com - Sub (No end.com – Sub, 2008-2010) is a submarine video by Artur Barrio with a runtime of only 20 seconds. An alga rolls on the sea bed, soundless. This project can easily be associated with one of his early key works, 4 dias 4 noites (4 days 4 nights), performed in May 1970. The artist spends four days and four nights wandering around the city of Rio de Janeiro with no money to spend and with the intention of speaking as little as possible. A flânerie without limits except for the mind-body exhaustion of the artist. During these four days and four nights he opens himself to the most different relationship and sensory experiences: a true immersion into the “oceanic” city. Barrio calls this kind of actions “situações” (situations).

A Situação is a moment in which objects and bodies come into contact with each other in a mobile context, unfolding some unpredictable modifications in the perception of space and time.

From this point of view, 4 dias 4 noites can be considered as the climax of a sequence of works, including at least other two “situations”: Situaçaõ orhhhhhhh... ou...5.000...t.e...em.........n.y...City......

(1969) realized in 1969 at the Salão da Bússola of Museu de Arte moderna (Museum of Modern Art) of Rio de Janeiro, and Situação t/t, 1 (1970), for the group exhibition Do corpo à Terra (From Body to Earth) curated in Belo Horizonte by Frederico Morais in April 1970.

Situaçaõ orhhhhhhh...ou...5.000...t.e... em.........n.y...City......(1969) is divided in two parts. The first part is a work-inprogress: inside the museum, during the exhibition days, the artist, together with the audience, manipulates materials such as cement, aluminium foams, newspaper cut-outs, mixing it all with perishables such as meat and other organic waste.

The second part is a single gesture: at the end of the exhibition, the artist places the mass of mixed organic and non-organic materials outside the museum, on the platform destined for monumental sculptures. The mass stays there for only one day before to be thrown away with other waste.

Situaçaõ t/t, 1 (1970) also consists of more parts. In a space without audience (but the action is documented through film and photos) the artist makes 14 trouxas ensaguentadas (bloody bundles): flesh, bones, blood and other non-organic materials wrapped in rags. Then he places them in an open sewer in the city suburbia. The final part is again an action: the artist unspools rolls of toilet paper on the rocks and in the polluted stream that runs near to the sewer.

With these two typical works Barrio was determined to attack both the art hierarchy of materials and spaces, and the perceptual wholeness and unity of the artwork in space and time.

Unlike the two mentioned situations, 4 dias 4 noites is not localized neither in terms of placement – its support is the entire city – nor in terms of reference to any institution, meaning and roles.

It goes beyond any limit in redefining the

— Artur Barrio: Sem fim.com – Sub, 2008-2010. | Video, colour, silent, 20''. | Courtesy the artist.

role of the artist: even beyond the func- This recent statement acknowledges the sea tion of what is called “proposer” in the as one of the basic and strategic metamanifestos of Brazilian Neo-concretism, phors for the artist’s unique way of seeing according to which the artist is a player art in general. Beyond the direct attack of whose intervention is completed by the any “anti art” to the “institutional” art, participation of other players, the audiBarrio develops a radical critique of the ence. very ontological heart of art in itself. Art 4 dias 4 noites is a “performance” with no has an ambiguous status: it is an image of performers and no audience, and the the conflict between civilisation and naconfusion of the roles becomes coinciture, and at the same time it is a place of dence: the work totally coincides with conflict in itself. The conflict is properly the experience of the artist, it begins and represented by the various phenomenoends with it. Unlike other projects, there logy of the relationship between the city are no recordings such as videos or phoand the sea: tographs, what Barrio calls “Registrosfotos” (record-photos), and “Registros- “the being that it [the sea] is, unpredictable, filmes” (record-films), always intended chaotic, placid, un-submissive, while the city for mere documentation. The only thing by nature, is the product of man/society’s agthat remains of this action is the project glomerative process, conditioning the guidenotebook – in Barrio’s dictionary “Ca- lines of this same socio-pyramidal process’’ 2. dernoLivro” (notebook-book) - with his notes, sketches and interventions with The 4 dias 4 noites experience reveals how adhesive tape. Barrio initially wished to the city (as well as the sea) cannot be direcord 4 dias 4 noites in a “Registrorectly confronted and represented, and livro”, (record-book), in other words aphasia is the price you pay for the eca sort of diary, that is the third kind of static immersion. documentation he accepts. However the Francis Ponges in his poem Bords de Mer strongly immersive character of this ex(from the collection Le parti pris des perience overwhelmed him, so much choses, 1942) wrote: “man rushes headthat he couldn’t record it in any translong for the outer limits or intersections missible way. At the end the “Registroof vast things in order to define them for livro” is constituted of two volumes with reason caught in the web of uniformity blank pages. Soundless. Like those 20 wavers precariously and grows evasive”. seconds of Sem fim.com – Sub. Only on the edges and the crossroads a Sharing an analogous silent dimension, chance is given to the “unsayble” to bethese two distant projects can be read come form. From this perspective we can together. They are both limit-experiencsee what connects also the first and the es that lead the artist to the limit of the last work by Barrio: p...h.........(1969), possibility of representing and expresshis work-manifesto of 1969, and the ening something, and beyond it: to a place vironment realized in the Brazilian Pavifrom where nothing can be communilion at the Venice Biennial of 2011, (Ex) cated. tensões y Pontos.

So these two “immersions”, so meaning- p...h.........(1969) is one of his most famous ful during their living moment, can only performances. It takes place outdoor, have a final form intrinsically delusive. near the Museu de Arte Moderna of Rio As a matter of fact these projects are exde Janeiro: Barrio unrolls and moves long tremely important not for their direct strips of toilet paper in the wind and in outcome, but because they are conceptsea. The toilet paper creates a mobile ual keys for a better understanding of a form that suddenly disappears (the perspecific sense of Barrio’s work. formance is film recorded). In his ManiLet’s start from the artist’s words: “sea”. festo of the same year, he motivates the Sea depths are a strange place, a place use of toilet paper and other degradable from where ideas come, but in which materials as a statement of an open connone of those ideas can be materialized: trast with traditional expensive materials of art, manifesting the different sense of art creation in the so called “third “the sea is the component that adds an extra world” and in richer countries. point in making and creating [...]

..............ideas emerge...............from primordial sea........... “[...] the industrialized products are not at ......in a dimension with its own law of gravity our, my reach, but under the power of an elite and where you can breathe underwater at a that I contest, because creation can not be certain depth for a limited time, with the un- conditioned, it has to be free. veiling and subsequent perception of another Therefore, starting from this socio-economic world within this world that functions as a aspect, I use perishable, cheap materials in discovery or invention but with the aware- my work, such as: garbage, toilet paper, urine ness that there is nothing to touch much etc. It is obvious that the mere participation of less interfere with objects or any other type works made up by precarious materials in the of “idea” to materialize in Sub salty sea but closed circuits of art incites the contestation rather to develop perceptions ideas to trans- of this system due to its present aesthetic mit through a photo a video or simply some reality. writing on a piece of paper on a computer […] Therefore I think the expensive materials screen as to create sculptures and introduce are being imposed by an aesthetic thought of alien objects I see that as pollution and an act an elite that thinks from the top to the bottom, of aggression against the submarine world as I cast in confrontation momentary situations to live see feel and especially perceive is the with the use of perishable materials, in a work”1. concept from the bottom to the top”3.

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— Artur Barrio: p...h.........(1969), 1969. | Action carried out on the external area of the Museu de Arte Moderna (Museum of Modern Art) in Rio de Janeiro, Brazil. | 8mm film transferred on dvd, black & white, silent, 2'26''. | Courtesy the artist.

1. A. Barrio, Interview with Arturo Barrio done by e-mail in February 2011 by, Moacir dos Anjos and Agnaldo Farias, published in Artur Barrio, exhibition catalogue, 54th International Art Exhibition La Biennale di Venezia – Padiglione Brasile, Fundação Bienal de São Paulo, São Paulo 2011, pages 202-204. | 2. A. Barrio, No hemisfério sul, interview published in “Arte & Ensaios”, ano XV, n.

17, Dec. 2008, page 7. | 3. A. Barrio, Manifesto, Rio de Janeiro 1969, published in Artur Barrio, quoted, page 2.| 4. A. Barrio, No hemisfério sul, quoted, page 7.

The re-presentation of a “strip form” is (Ex)tensões y Pontos is an environment realized in an institutional art space. As significant also in relation with Brazilian other environments of the same kind it context. The strip, especially Moebius’s is conceived starting from some initial strip, was transformed by the hands of basic ideas (usually sketched in a “CaLygia Clark (Caminhando, 1964) in an dernoLivro”), but has taken its final form “anthropological” and “participatory” trough the artist’s physical and mensense, so that it can be considered one of tal work in the space. As usual, it was the symbolic forms of the Neo-concrefinished just before the opening. Bartism movement: a form that is geometririo’s environments are constituted by cally closed and open at the same time, a dispersions of heterogeneous elements, metaphor of the infinite processes put in organic - such as meat, fishes, bread, motion by art. Barrio’s toilet paper strip coffee powder, etc. - and non-organic is an open form too, but not for geowaste and objects, and by artist’s inmetrical reasons: it is soaked with water terventions on the walls with nails and and wind, temporarily bound to currents strings, and again scratchings, little dethat will disperse and melt it, a visible molitions, graffiti etc. The visitor has a sign of finitude. great freedom to find his own reading It is a political critique happening within “path” in the space, wandering among the form itself, putting into discussion these elements dispersed like wrecks the time and material status of the artand scraps on a beach after a tempest work. It is an action that can only take or the high tide. As other environments place in the edges of a city, on the mo(Ex)tensões y Pontos strongly evokes the bile border between the city and the sea. spatial and symbolic dialectic of city and This is the border place where you should sea. The sea is also represented directly return after the total immersive experiby wooden boxes on the ground filled ences, because this is the privileged place with big fishes immersed in grains of salt, in which the form comes to shine forth. and by the words written on the floor The wavy movement of toilet paper can with a marker, that compose the senhurt spectator’s sensibility, maybe even tence “Para quando no mar mais peixes more than other very strong pieces as the não houver (For when there are no more trouxas ensanguentada. fish in the sea)”. The same sentence was What is disturbing about it, is the fact that used in another recent environment, da it appears as a true act of pollution, with inutilitade da utilitade da politica unpredictable consequences. However, da arte (on the uselessness of utiit is one of the forms through which art lity of politics of art), realized for 29th reveals its ambiguous status: a conflicting thing, foreign to the sea, a city (civiBienal de São Paulo in 2010, where it was lization) pollution. This is true anyway written on the floor in a shape of a cross. for art-in-general. If we considered art Everything can be summarized by this in a more conventional way, art with the statement. capital “a” as institution-and-perma- In its ambiguous status, art will be defininence, we risk the perfect crime: Art detively Art, in a scenery of devastation, stroys the “sea” and the flux of creative when there’ll be no more fish, or even freedom together. In this sense both Art better, when all the waste and dejections as institution-and-permanence and artof civilisation will come back in-general, preserving a strong sense of making-while-destroying, seem very “to the womb of the city, as toxic far from the dimension of the (art)work, pollution..................................contained defined by that so simple and powerful ...............................in fish” 4. “live, see, feel and especially perceive”, as Barrio sees it. If the sea is the optic that The (art)work, at the present time, conmakes things to be seen, and the (art) stantly works on the residual, on what work is “seeing, feeling, perceiving”, can be collected on the borders, after the then the toilet paper on the sea border, retirement of the sea: last fragile trails of in its mobility and “transparency”, befeeling, so easy to be erased. comes the form of the perceiving in itself. Accordingly, in the situação criadora (creative situation) the difference between “art” and “(art)work” is given.

Artur Alipio Barrio de Sousa Lopes The use of perishable materials as toilet paper permits to hold momentarily the was born in Porto (Portugal) in 1945. perception as a form at the intersection He lives and works in Brazil since 1955. of “art” and “sea”.

— Artur Barrio: (Ex)Tensões y Pontos, 2011. Environment, mixed media | 54th Venice Biennale, Brazilian Pavillon. | Photo: Cristina Motta. Courtesy the artist.

6 | a bubble – international art journal no.1 | 2011

Artur Barrio: More ili razlika između umjetnosti i (umjetničkog) djela. alessio fransoni Sem fin.com_Sub, (Bez kraja.com_Sub, 2008-2010), je video uradak Artura Barrija koji traje svega 20 sekundi. Podmorski kadrovi, bez zvuka, dok se alga valja na dnu mora. Ovaj snimak se može povezati s ključnim radom njegovog prvog razdoblja 4 dias 4 noites (4 dana 4 noći) iz svibnja 1970. Umjetnik provodi četiri dana i četiri noći lutajući kroz Rio de Janeiro, bez novca u džepu i s namjerom da što manje govori. Jedno lutanje vođeno bez unaprijed određenih ograničenja osim umjetnikove fizičke otpornosti. Tijekom ova četiri dana i četiri noći, on će se otvoriti najrazličitijim iskustvima tijela, odnosa i osjetila: potpuno uranjanje u oceansku metropolu. Barrio naziva radove s ovakvom strukturom “situações”, odnosno situacijama. Jedna Situaçaõ se podudara s trenutkom kada stvari i tijela dođu u kontakt, u jednom mobilnom kon- — Artur Barrio: (Ex)Tensões y Pontos, 2011. Environment, mixed media | 54th Venice Biennale, Brazilian Pavillon. Photo: Cristina Motta. Courtesy the artist. tekstu, tako da se dogodi trenutačna promjena u prostoru i vremenu.

S ove točke gledišta 4 dias 4 noites nalaze se na kraju puta koji Ove nedavne izjave potvrđuju metaforu mora kao jednu od osnovnih i uključuje najmanje dvije Situação...orhhhhhhh...ou...5.000...t.e... strateških metafora za umjetnikovo originalno razmišljanje o umjeem.........n.y...City......(1969), režiranu 1969. za muzej Salão da tnosti općenito. Unatoč direktnoj kritici i izravnom sporu vidljivom u Bussola, Muzej za suvremenu umjetnost u Riju de Janeiru i Situação njegovom obliku “anti-umjetnosti” u sučeljavanju “institucionalne” t/t, 1, za skupnu izložbu Do Corpo a Terra (Od tijela do Zemlje) koju je umjetnosti, uočava se još prodirujući i zbunjujući kritični rad, nošen u travnju 1970.-e, u Belo Horizonte-u organizirao Frederic Morais. do ontološkog srca iste umjetnosti. Umjetnost posjeduje vrlo dvosmisSituação...orhhhhhhh...ou...5.000...t.e...em.........n.y...City...... leni status: nosi oznaku konflikta između civilizacije i prirode, a ona (1969) je podijeljena u dva dijela. Prvi dio je jedan work-in-progress: jest mjesto konflikta, dobro predstavljeno u raznovrsnoj i također dvou muzejskoj sali, tijekom izložbe, umjetnik i publika zajedno manipulismislenoj fenomenologiji odnosa između grada i mora: raju materijale kao što su cement, aluminijske pjene, isječci iz novina, sve to pomiješano s drugim kvarljivim elementima kao što su meso i “biće koje [more] jest, nepredvidivo, kaotično, tiho, nepokorno, dok drugi organski otpaci. Drugi dio se sastoji od jednostavne radnje: na je grad po prirodi, proizvod “aglomerativnog” procesa čovjeka/ kraju izložbe, umjetnik odloži u vanjskom prostoru muzeja, na platfo- društva, uvjetovajući vodeće smjernice ovoga istoga društvenormi koja je namijenjena velikim skulpturama, cijelu hrpu organskih i piramidalnog procesa 2.” neorganskih materijala koje je manipulirao tijekom prijašnjih nekoliko dana. Hrpa ostane tamo samo jedan dan prije no što definitivno bude Iskustvo 4 dias 4 noites evidentira prije svega kako se grad ne može izodložena s ostalim otpacima. ravno sučeljavati, cijena koja se zbog ekstatičnog uranjanja plaća jest Situação t/t je također radnja koja se odvija u više dijelova. U prostoru afazija. “U srcu odore razum opasno može posrnuti”, napisao je Francis lišenog gledatelja (ali od čega će ostati videozapis i fotografije), umjePonge u pjesmi naslova Bords de mer smatrajući kako se čovjek zaleti tnik će pripremiti 14 trouxas ensaguentadas (krvavi paketi) – hrpe “na rubove ili na raskrižje velikih stvari, kako bi ih definirao”. Mogućnost životinjskog mesa i kostiju, krvi i neorganskih materijala umotanih u krpe nagađanja u obliku neizrecivog, za Barrija, nužno se dogodi na mar– koje postavlja u prostoru jedne pilane na otvorenom, na periferiji grada. ginalnim mjestima i raskrižjima. Kroz tu optiku se može pročitati prvo Zaključni dio je ponovno radnja: umjetnik odmotava role toaletnog papira i zadnje djelo Barria što se tiče vremena: p...h.........(1969), njegov između stijena i vode onečišćenog potoka koji teče u blizini te iste pilane. operni manifest iz 1969., i zadnji ambijent izrežiran za brazilski paviljon Uz, ovako, dva tipična rada za njegovu umjetnost, Barrio odlučno napada u sklopu Venecijanskog bijenala 2011.-e, (Ex)tensões y Pontos. hijerarhiju materijala i prostora u umjetnosti – na taj središnji dio nje- p...h.........(1969) je jedan od njegovih najvažnijih performansa koji se odgove umjetnosti ćemo se osvrnuti kasnije – te perceptivnu jedinicu, vija nedaleko od Muzeja suvremene umjetnosti u Riju de Janeiru: Umjeu smislu prostora i vremena jednog djela. No, za razliku od ove dvije tnik odmota te pusti u vjetar i u vodu duge vrpce toaletnog papira. To spomenute situações, 4 dias e 4 noites nije lokacijski uvjetovana – je mobilni oblik koji valovito nestane (ostaje videozapis). U jednome cijeli grad je nositelj – niti ima precizne odrednice u smislu institucije, manifestu te iste 1969., staje u obranu korištenju toaletnog papira i značenja i uloga. drugih razgradivih materijala kao znak otvorenog kontrasta s otmjenim Uz 4 dias e 4 noites nadilaze se sva ograničenja, a na radikalan način materijalima tradicionalne umjetnosti , odnosno, različitim smislom je redefinirana uloga umjetnika, daleko iznad funkcije propositora za stvaranje umjetnosti u takozvanom Trećem Svijetu, u odnosu na (predlagača) – prema programskoj namjeri koja se već nalazila u manistvaranje te iste u razvijenim zemljama. festima brazilskog neokonkretizma – i čija bi se intervencija nadopunila kroz sudjelovanje publike. 4 dias e 4 noites je predstava bez glumaca, “[…] industrijski proizvodi nisu nama, nisu meni dostupni, nego pod bez publike, a konfuzija uloga je premašena u slučajnosti: djelo se nadzorom jedne elite koju ja ne priznajem zato što stvaranje ne može podudara s umjetnikovim iskustvom, počinje i završava s njim. Jedina biti uvjetovano, treba biti slobodno. Dakle, polazeći od ovog sociostvar koja će nam ostati od radnje je projekt-bilježnica. U Barrijevom ekonomskog aspekta, u svom radu koristim razgradive ekonomične rječniku CadernoLivro (knjiga-bilježnica) je jednostavna bilježnica s materijale: smeće, toaletni papir, urin, itd. Očito je da u zatvorenim ljepljivom trakom te bilješkama i intervencijama. umjetničkim krugovima, samo sudjelovanje obavljenih radova s tim Za razliku od drugih aktivnosti, ne čuvaju se zapisi s izravnom kvalitetnom nesigurnim materijalima, potiče osporavanje ovog sustava koje dureprodukcijom, kao što su video ili fotografija – ono što Barrio zove gujemo sadašnjoj estetskoj realnosti.

Registros-fotos (zapisi-fotografije) i Registros-filmes (zapisi-filmovi), Smatram da je skupe materijale nametnulo estetsko razmišljanje i koji za njega imaju samo dokumentarnu funkciju. Barrio je zamislio jedne elite koja razmišlja od gore prema dolje. Radi rasprave prikupiti svjedočenje 4 dias e 4 noites u jednom Registro-Livro, nekoj pokrećem trenutne situacije u kojima se koriste kvarljivi materijali, vrsti dnevnika, trećem obliku dokumentiranja koji on prihvaća. No, koncept koji ide od dolje prema gore3.” intenzivno uranjajuća priroda ovog iskustva ga na neki način osvaja, toliko da ga nije mogao prikupiti u ikakvom prenosivom obliku, a Značajan je kadar a nastro, također u odnosu s brazilskim kontekstom.

Registro-Livro je na kraju sastavljen od dva dijela s praznim straniVrpca, posebno Mobiusova vrpca koja je doživjela upravo u Brazilu cama. Tišina. Kao onih 20 sekunda iz Sem fin.com_Sub. “antropološku” transformaciju i sudjelovanje u rukama Lygie Clark Upravo se u toj dimenziji tišine mogu približiti ova dva rada. Radi se o dva (Caminhando, 1964.), toliko da je se može smatrati jednom od formi iskustva granica, koja vode umjetnika do granica mogućnosti predsimbola pokreta neokonkretizma: geometrijska forma te “otvoreno-zastavljanja i izražavanja, prelazeći granice, toliko da na ta mjesta ništa tvorena” metafora beskonačnosti procesa koje je umjetnost pokrenula. ne može biti vraćeno. Ovi su radovi iznimno važni, ne poradi direktnog Vrpca Barrijevog toaletnog papira na isti način se ne zatvara, ali ne ishoda koji je na kraju generiran kao samoobmana, već što su koncezbog geometrijskih razloga, već ukoliko se zasićuje vjetrom i vodom ptualna snaga za bolje razumijevanje istančanog čula Barrijevog djela. kako bi se trenutačno spojila prirodnim moćima koje će je otopiti i Morske dubine su mjesto odakle izviru ideje, ali nijedna od tih ideja se ne raspršiti, što je vidljiv trag beskonačnosti. može materijalizirati: Politička kritika doživljena unutar forme: razgovarajući o vremenskom i materijalnom statusu djela. To je radnja koja se može odvijati jedino na kraju grada, na mobilnoj granici između grada i mora. Na ovo mjesto “more je element koji dodaje točku u procesu stvaranja i kreiranja... na granici se treba vratiti nakon potpuno uranjajućih iskustava, jer je [...] ovo omiljeno mjesto za svjetlucanje forme. ................ideje izranjaju............ iz iskonskog mora...................... u dimenziju s vlastitim gravitacijskim zakonom, i gdje se pod vodom Valoviti pokret toaletnog papira u vodi je radnja koja šokira, možda još više u susretu s drugim šokantnim komadima kao što su trouxas ensanguentadas. može disati, do određene dubine i vremenskog roka, s razotkrivanjem i percipiranjem s posljedicama jednog drugog svijeta unutar Uznemiravajuće je zato što se svakako pojavljuje kao pravo zagađenje, s nepredvidivim posljedicama. No, to je također jedan od oblika u koovoga svijeta koji funkcionira kao otkriće ili izum, ali sa svjesnošću jemu umjetnost očituje svoj dvosmislen status: predmet sukoba, strada se nema što dirati, i još manje interferirati s objektima ili bilo konac moru, zagađenje grada. To vrijedi u svakom slučaju, općenito u jom drugom “idejom” kako bismo materijalizirali Sub slanog mora, umjetnosti. Ako se podrazumjeva da je umjetnost s velikim slovom, nego radije razviti percepcije, ideje koje će se podijeliti pomoću kao institucija i stalan pojam, tada je savršen zločin počinjen: Umjetfotografije, videozapisa ili jednostavnog zapisa na komadu papira ili nost zajedno s morem ubija protok kreativne slobode. Bila to Umjetna ekranu računala u svrhu stvaranja skulptura i uvođenja stranih nost kao institucija i stalan pojam, ili umjetnost općenito, čini se u tom objekata, ja to vidim kao zagađenje i agresiju nad podmorskim svismislu jako daleko od dimenzije “djela” kako je Barrio vidi, oblikovane jetom, ukoliko živjeti, vidjeti, osjećati, a pogotovo percipirati jest jednostavnim i moćnim “živjeti, vidjeti, osjećati, a posebno percipirati”. djelo (viver ver sentir e principalemente perceber é a obra)1”. a bubble – international art journal no.1 | 2011 | 7

Korištenje kvarljivog materijala kao što je toaletni papir, dodaje novu dimenziju osporavanju i revolucionarnoj moći poniženja: omogućuje da se opažaj kao forma trenutno zadrži na raskrižju “umjetnosti” i “mora”.

Ako je more optika koja omogućuje da se stvari vide, djelo je “osjećaj i opažaj”, toaletni papir na morskim granicama, u svojoj mobilnosti i “transparentnosti” postaje forma vlastitog opažaja. U tom smislu se u situação criadora (kreativnoj situaciji) uspostavlja razlika između “umjetnosti” i “djela”. Od 1987. Barrio priznaje realizacije okoliša kao drugi oblik intervencije u institucionaliziranim prostorima umjetnosti, kao što su galerije i muzeji.

(Ex)tensões y Pontos je isto ambijent tog tipa, napravljen po shematskom prikazu (sadržaj je po običaju u jednom CadernoLivro) čiju konačnu formu, međutim, određuju dva umjetnikova radna tjedna u jednom paviljonu. Po običaju je rad zatvoren odmah nakon otvorenja. Barrievi ambijenti u konačnici dobiju izgled nečega između otvorenog dvorišta i odlagališta, ostavljajući posjetitelju veliku slobodu da pronađe svoj vlastiti način čitanja u prostoru među organskim otpacima,kao što su meso, kruh, kava u prahu, itd., i neorganskim otpacima među kojima je direktno od umjetnika usitnjen gips te grafiti, čavli zabijeni u zidovima, razvučeni konci od jednog do drugog kraja sobe i druge stvari. Na kraju posjetitelj počne lutati među elementima, za koje se čini da su odloženi poput krhotina i olupina na obali nakon oluje ili nakon povlačenja plime. (Ex)tensões y Pontos, dakle, također živi u prostornoj i simboličkoj dijalektici grada i mora. More ponovno kasnije prizivaju drveni sanduci odloženi na tlu, u kojima se nalaze velike ribe uronjene u krupnoj soli, te slučajne riječi markerom ispisane po podu, od kojih se može sastaviti rečenica “Para quando no mar mais peixes não houver” (Kad ne bude više riba u moru). Puno odlučnije postavljena je rečenica “u križ” na podu prostorije koja se koristila za njegov ambijent da inutilitade da utilitade da politica da arte (o beskorisnosti korisnosti politike umjetnosti) napravljen za 29.

Biennale (Bijenale u Sao Paulu) u Saõ Paulo 2010., i čija je intervencija strogo povezana s izložbom u Veneciji.

U svom dvosmislenom statusu, umjetnost će biti potpuna Umjetnost u sceni razaranja, kada ne bude više riba, ili bolje, kada se otpad i gnojiva civilizacije vrate “u utrobu grada u obliku otrovnog zagađenja..........................koje sadržava............................ribe4.”

“Djelo”, u sadašnjosti, neprestano radi na ostatku, na onome što se može prikupiti na marginama, s povlačenjem mora: posljednji tragovi, lomljiva i pokvarljiva roba, osjećaji.

— Artur Barrio: (Ex)Tensões y Pontos, 2011. Environment, mixed media | 54th Venice Biennale, Brazilian Pavillon. Photo: Cristina Motta. Courtesy the artist.

Artur Alipio Barrio de Sousa Lopes je rođen u Portu (Portugal) 1945. Živi i radi u Brazilu od 1955.

1. A.Barrio, Razgovor s Arturom Barriom putem e-mail-a u veljači 2011., Moacir dos Anjos i Agnaldo Farias, izdano u Artur Barrio, izložbeni katalog, 54. Međunarodna izložba umjetnosti - La Biennale di Venezia - Padiglione Brasile, Fundação Bienal de São Paulo, São Paulo 2011, str.202204. | 2. A. Barrio, No hemisfério sul, razgovor izdan u “Arte & Ensaios”, ano XV, n. 17, Dec. 2008,str. 7 | 3. A. Barrio, Manifest, Rio de Janeiro 1969, izdano u Artur Barrio, citat, str.2. | 4. A. Barrio, , No hemisfério sul, citat, str. 7.

THREE 3 POGLEDA VIEWS ABOUT NA HRVATSKU CROATIAN IZLOžBU NA 54.

EXHIBITION AT VENECIJANSKOM THE 54TH VENICE BIJENALU BIENNALE

8 | a bubble – international art journal no.1 | 2011

A talk with Željko Radivoj by bernarda cesar, marija juza & filip pintarić Željko Radivoj is an expert associate of Croatian Film Association, author of many film tracks and an old friend and film associate of Tomislav Gotovac. Most of his films are shot in one take, one of the latest being Serenissima (Campaigning Tom) – shot in Venice earlier this year during his visit to the 54th Venice Biennale as an homage to Tomislav Gotovac.

Balkanska pita (Balkan Pie), Živjeti art 77 (Living Art 77), od Praznika rada do Sraza (from Labor Day to Downfall) are only a few of many film tracks you have recorded with Gotovac. How did the two of you ever meet? I came to Cinema club “Zagreb” in 1965

where I took over the technical part of work from Vlado Hoholač, and there I met Gotovac who already had the status of a legend.

After that he went to the academy in Belgrade making that moment the last I saw him until he came back in 1996. with Tomislav Gotovac movie that we cut together for Požega film festival, that being the start of us working together. When Labor day was created, Tom was delighted by it and since that day whenever he wasn’t too busy he would spend time at my place, we would talk and talk, mostly about movies. The 10% of the time I have spent with Tom can’t measure up with all of the time I have spent with any of my professors, making me his true student.

To get the chance to learn from Tom Gotovac must be a priceless life lesson. Gotovac always had the eye to recognize a high quality

film. That used to happen when we worked together; while I was fitting the movie, he would sit next to me watching it and reacting the very moment when something caught his eye. He knew how to recognize talent, for instance, he recognized Stjepan Sabljak in the first take of the movie U okruženju (In the surroundings). Pansini talked about that movie in 1998 during the state review. Only after few shots, Gotovac instantly knew that was a good movie. He had an incredible skill to spot those kind of things. He observes and observes and then says: “This will be a great material, in 20 years this will be a great material.” because he knew how to assess and grade, though he was a bit funky.

He was very interested in feelings within films, he used to take certain sequences and pull them out, watch them, he thought it was very important. Tomislav Gotovac and Ante Peterlić were like two living and traveling movie encyclopaedias, yet Gotovac always had a specific approach to the theme, always knowing a bit more. To prove a point, he had a certain story about Elvis Presley, regarding how did Elvis truly succeed. You have a typical story – kid made a record, someone heard it and he hit it off.

Gotovac thought otherwise; “You see Montgomery Clift walking in the rain and suddenly he sees a boy with a guitar case, asks him where he is going – the kid says there and there – he picks him up and then…the kid hits it off”. And you do realize that Montgomery was gay, right? [laughter] You see, Gotovac had a bunch of stories just like that one, not to mention the ones told within our bunch of people… for instance, in recorded conversations you will see that he had a huge admiration towards Marina Abramović, Sanja Iveković… he knew just about everybody, knew just about anything. That thoroughness of his was probably inherited from his mother – you see, I never really cared who was the secondary assistant in a certain moviebut he takes his time to find out who he is, and does not stand still until the job is done. His memory was incredible. He used to sit in 3rd or 4th row watching all those movies and saying “I watched some movies almost 100 times”. Though he never did say how he watched some movies for more than 100 times.

In a manner of speaking, I’m taking the baton from him. There are certain movies that I will watch 100 times, and then there are those that I will watch 500 times, for example Serenissima.

When I visited him in hospital in June 2010, I told him: “Please, don’t go from me. Let us make a few more movies. With Marina Abramović and Coffee time with marshal Tito”, those are the movies we were supposed to shoot in 2008. I’m really sorry we never did.

I’m not sure if this was ever recorded somewhere, but his real tragedy began in Sombor; he was a very lively child and people thought he needed to be tamed. It was pitch dark, they brought him a really old woman, and he was scared and shocked; he started to stutter and that marked his life. In the past people were bullied because of things like that, I know it since I am unable to pronounce the letter “r”. It’s hard to communicate. Then you start retreating, and when you retreat you start to analyse yourself while still wanting to be out there… That kind of restraint displayed in his movies would probably be attractive to psychologists. Sometimes things with him would get really aggressive, I experienced it myself. There was this colleague of mine, she was a sculptor, who wrote him a letter he didn’t like and he lost it. I didn’t have a camera with me to put the whole thing on tape, but I already saw what is it like when Gotovac looses it, happened with Pansini… there is a recording of it somewhere: there were Pansini, Gotovac, Heidler and Hripko with Gotovac going crazy over Pansini… although he got on Gotovac’s nerves, he had a major impact on him as Gotovac respected him as an expert. When Gotovac was having his movie night at Cultural Information

Center, Pansini was there but they never talked. I have a few photos that show Pansini arriving at the union, only to be immediately attacked by Tom.

Where did the rage come from? Is it because of the movie Forenoon of a Faun, or…? Yes, it was the Faun. That’s where it all started. I

knew everybody at Cinema club; Petek, Gotovac, Lukas… I used to come here as a student from ‘68. until ‘72. The entire bunch was here. In order to do movies, you have to have a certain dose of insanity within you. Like Pansini would say – we were an irresponsible generation. We weren’t interested in money. I was completely irresponsible although I finished college, specialized, did a doctorate.

In the movie Living Art 77 Gotovac speaks about the destruction of film… Yes, that’s all mixed up… the phrase “destruction of a film”

can be a comment, cause that’s one of the ways Tom expresses himself. Since you always have to have some kind of statement, I never really took that movie as a manifesto, especially because some lines were cut from the movie later on (such as It is necessary to live... etc.), making it everything but manifesto. I never understood why it was a manifesto, since Tom was always saying it is his manifesto.

Late Šamanović used to say that at some point you have to trip on Tom Gotovac while working on an experimental movie; just when you have a vision and get your hopes up, only then you realize that Tom already made that happen.

Still, you continued to shoot. Gotovac was always about the same thing… often it happened that it was enough for someone to tell him something, and he had a movie made in his head. For instance, that was how we made Glenn Miller 2000; it was shot at a rotor in Zapruđe with camera circling around, one take, phenomenally done. It just happens like that, he is a movie magnet.

I have a feeling that the same thing happens to me now.

What exactly do you mean by that? How should I explain… luck… you know of Richard Bach? He claimed that one night somebody dictated him the entire novel, and that he just sat by his table in the morning and wrote it all down. I simply point the camera somewhere, and something is already happening there.

You visited Venice with your wife in June. What is your insight regarding this big opportunity, publishing Tom’s work to the world in Venice Biennale, and what did you think of Croatian pavillion?

When all the trailers and papers started to roll in, it was regarded to be the best thing in Arsenale. My wife didn’t like it, I did. Tom once played Family Porn 1 and 2 in Cinema club, and she thinks it’s not ok for someone to put that kind of intimate material into the spotlight for some kids to look at where somebody is doing something in the dark… I know how Gotovac was always speaking about this mute majority, how it needs to be punched in the head, shocked, in order to make them think

Do you believe that this exhibition had that shocking effect that would mean something to Gotovac? As I was making my way

around there… there is this part of a movie where his Željka is giving him a blowjob… it is obvious that the fact that someone is filming that sexual act still shocks people. I find that to be alright, and I salute the fact that he is out there because people have now seen some things. The only question is, could all of that have been done in a higher level when it comes to technical part.

For instance, in one of the pavilion aisles I somehow got the feeling that people didn’t really feel the effect Faun was supposed to have on them like the badco.’s interactive movie that was on a 24 hour playing loop had. Faun requires darkness for you to have a full impression of it. And there, you pass those aisles, something is beeping, some siren… you can’t have the concentration that movie requires. Don’t know, if it was me doing the exhibition, I would put more effort in it because I know much would representation of Gotovac mean to him. I think that, right now, Tom would be delighted because he loved the awards even he was quite often underprivileged when it came to them. He received none for the Glen Miller movie, and that was essential. He loved to shock people, stress them out. In my opinion, receiving awards isn’t important, what is, is that people see the movie. On the other side, you feel very good upon receiving award, especially when you are competing with younger generations.

We no longer have people like Tom. The last one that was a bohemian like Tom was poet Tin Ujević. Since then, we haven’t really had a guy who just by living proved that he was a really cool guy in yet such a special way. a bubble – international art journal no.1 | 2011 | 9

Razgovor s Željkom Radivojem bernarda cesar, marija juza & filip pintarić Željko Radivoj je stručni suradnik Hrvatskog filmskog saveza, autor mnogih filmskih zapisa te dugogodišnji prijatelj i filmski suradnik Tomislava Gotovca. Većina njegovih filmova (filmskih zapisa) snimljena je u jednom kadru od kojih je među zadnjima i Serenissima (Tomu u pohode) – hommage Tomislavu Gotovcu snimljen ove godine u Veneciji pri njegovom posjetu 54. Venecijanskom bijenalu.

— Željko Radivoj, Serenissima, 2011

Balkanska pita, Živjeti art 77, od Praznika rada do Sraza... samo su neki od filmskih zapisa koje ste snimili sa Gotovcem. Kako je počelo vaše druženje? 1965. došao sam u Kinoklub “Zagreb” gdje sam preuzeo tehnički dio od Vlade Hoholača i upoznao Gotovca koji je već tada bio legenda. Tada je on otišao na akademiju u Beograd i od tada ga nisam viđao sve do 1996. kada se je pojavio sa svojim filmom Tomislav Gotovac kojeg smo kratili za požeški festival i tako smo počeli raditi zajedno. Nastao je Praznik rada s kojim je Tom bio oduševljen i nakon toga kad god nije imao nekakvu akciju bio je kod mene, razglabali smo o svemu i svačemu, najviše o filmu. Ni sa jednim profesorom nisam proveo ni 10% vremena koliko sam proveo s Tomom, ja sam njegov pravi učenik.

Učiti od Toma Gotovca zasigurno je bila neprocjenjiva životna škola.

Gotovac je imao dobar osjećaj za prepoznati kvalitetan film. To se događalo i kad smo radili; ja montiram, on sjedi pored mene, gleda film i istog momenta reagira. Znao je prepoznati talent, recimo, prepoznao je Stjepana Sabljaka iz prve; onaj film U okruženju. O tom filmu je govorio Pansini 1998. na državnoj reviji. Gotovac je odmah, nakon par kadrova, povezao da je to dobar film. Imao je nevjerojatan osjećaj za to uočiti. Gleda, gleda, gleda, a onda kaže: “Ovo će biti sjajan materijal, za 20 godina ovo će biti sjajan materijal.”, jer je znao procijeniti i ocijeniti, iako je bio otkačen.

Jako su ga zanimali osjećaji u filmu, vadio je pojedine sekvence, promatrao ih, smatrao je to jako važnim. Tomislav Gotovac i Ante Peterlić bili su žive, putujuće enciklopedije filma, no Gotovac je uvijek imao specifičan pristup, on je uvijek znao nešto više. Tako je o Elvisu Presleyu isto imao jednu priču, kako je uspio. Ima ona klasična priča – mali je snimio ploču, netko je to čuo i krenulo mu je. A Gotovac je imao jednu drugu priču; “Hoda Montgomery Clift po kiši i vidi jednog dečka sa futrolom za gitaru, pita malog kam ide – veli ovaj tu i tu – pokupi ga i... onda je malom krenulo...”. A to znate, da je Montgomery bio gay, ne? [smijeh] Eto, takvih je priča Gotovac puno imao, a da ne kažem ovdje unutar naše ekipe… U snimljenim razgovorima ćete vidjeti, primjerice, kako je strašno cijenio Marinu Abramović, Sanju Iveković… On je sve žive poznavao, sve živo je znao. Tu je temeljitost vjerojatno nasljedio od majke – mene osobno nije briga tko je bio drugi asistent u nekom filmu, razumijete? – ali on sjedne, to pronađe, do tad nije miran. Strahovito je pamtio. Sjedio je u 3., 4. redu i vječno gledao sve te filmove. Govorio je: “Neke filmove sam gledao blizu 100 puta”. Nije htio reći da je neke gledao i više od 100 puta.

Ja sad na neki način preuzimam štafetu od njega. Ima filmova koje ću gledati 100 puta, a ima i filmova koje ću sada gledati 500 puta; recimo Serenissimu. Kad sam ga posjetio u lipnju 2010. u bolnici rekao sam mu: “Nemoj mi otići, molim te. Znaš, daj da snimimo još par filmova.

Sa Marinom Abramović i Na kavi kod maršala Tita”. To smo trebali snimiti još 2008. Žao mi je što nismo stigli.

Ne znam da li to ima negdje snimljeno, ali njegova tragedija je počela u Somboru; kao dijete je bio strašno živ i rekli su da ga treba nekako preplašiti. Mrak je bio, doveli su mu jednu staru ženu, on se preplašio i šokirao; počeo je mucati i to mu je obilježilo život. Prije su se ljudi takvim stvarima rugali; ja to znam jer ne mogu izgovoriti “r”. Tako da ja znam što to znači. Teško je uspostaviti komunikaciju. I onda se počneš povlačiti, a kada se povlačiš počinješ analizirati samog sebe; a želiš se nametnuti... Tu bi jednu zatvorenost psiholozi vjerojatno jako dobro vidjeli u njegovim filmovima. Ponekad je bilo i nekih agresivnih ispada, i sâm sam to doživio. Bila je jedna kolegica, kiparica, koja mu je napisala pismo koje se njemu nije nimalo svidjelo i on je poludio.

Nisam tad imao kameru da to snimim, ali sam već vidio kako to izgleda kad Gotovac poludi, sa Pansinijem... Postoji negdje snimljeno: Pansini, Gotovac, Heidler, Hripko, a Gotovac opet ludi oko Pansinija... Pansini je imao strašan utjecaj na Gotovca, iako ga je nervirao... Ali izuzetno ga je cijenio kao stručnjaka. Kad je Gotovac imao svoje filmsko veče’

— BADco.: Responsibility for Things Seen: Tales in Negative Space, photo: Dinko Rupčić

10 | a bubble – international art journal no.1 | 2011

u kic-u, Pansini je isto došao tamo, ali nisu razgovarali, uopće. Imam negdje snimljenih fotki, gdje dolazi Pansini kod nas u Savez i Tom ga odmah napada…

Zbog čega taj bijes? Da li je to bilo zbog filma Prijepodne jednog fauna ili...? Zbog Fauna, da. Tu su se oni zakačili. Ja sam sve njih u Kinoklubu poznavao; Peteka, Gotovca, Lukasa... i tu sam kao student dolazio od ‘68. do ‘72. Tu je bila cijela ta ekipa. Da biste se bavili filmom morate imati jednu dozu ludosti. Što bi rekao Pansini – mi smo bili neodgovorna generacija. Nas novac nije zanimao. Iako sam ja redovno završio i fakultet, i specijalizaciju, i doktorat, ja sam bio totalno neodgovoran.

U filmu Živjeti art 77 Gotovac govori kako je film uništen… Da, to je pobrkano... To da je film uništen može biti komentar, jer to je isto način Tomovog izražavanja. Ja taj film nisam nikako shvaćao kao manifest, jer negdje uvijek trebaš imati nekakvu parolu; a pošto su kasnije pobacani van tekstovi iz filma (Potrebno je živjeti…itd.) to više nije bio manifest. Eh, nikako mi nije bilo jasno zašto je to manifest pošto je Tom govorio da je to njegov manifest.

Pokojni Šamanović je govorio da se u eksperimentalnom filmu uvijek spotakneš na Toma Gotovca; taman si nešto zamislio i ponadaš se, a onda shvatiš da je Tom sve to već snimio.

No ipak snimali ste i dalje. Gotovac je stalno vrtio isti film… Vrlo često je bilo dovoljno da mu netko nešto kaže i da u njemu pokrene film.

Recimo, tako smo snimili Glenn Miller 2000; to je snimljeno na rotoru kod Zapruđa, kamera se vrti u krug, jedan kadar, fenomenalno je to napravljeno. To je tako, na njega se lijepe filmovi. Imam osjećaj da kako su se na njega lijepili filmovi tako se i na mene lijepe. Što točno mislite pod tim? Pa kako bih vam rekao... sreća… Znate za Richarda Bacha? On je, recimo, tvrdio da je njemu netko preko noći izdiktirao cijelu novelu, roman, a da je on ujutro samo sjeo za stol i to ispisao. Ja samo uperim kameru i nešto se već događa.

U lipnju ste sa suprugom posjetili Veneciju. Kakvo je Vaše viđenje velike prilike, objavljivanja Toma Svijetu, a to je upravo Venecijanski bijenale, dakle Vaš doživljaj hrvatskog paviljona? Pa, krenule su novine i najave, da je to najbolje što je u Arsenalu. Mojoj ženi se to nije svidjelo, meni se svidjelo. Tom je jednom u Kinoklubu vrtio taj Obiteljski porno 1 i 2 i ona misli da sada nije u redu da netko iznosi pred nekakve mulce taj najintimniji dio, gdje netko sad radi to nešto u mraku… Ja znam da je Gotovac uvijek govorio o tzv. nijemoj većini i da onda tu nijemu većinu trebaš tresnuti u glavu, šokirati, da uopće malo počnu razmišljati.

Mislite li da je ovim postavom došlo do nekakvog šoka koji bi Gotovcu nešto značio? Ja sam tamo prolazio, obilazio to… Bio je onaj segment filma gdje njegova Željka njemu puši... očito je da činjenica da netko snima taj seksualni dio jos uvijek ljude šokira. Meni je to u redu i pozdravljam to što je on tamo jer su sad ljudi vidjeli neke stvari, samo je pitanje da li je to moglo biti na jednom višem tehničkom nivou izvedeno. Na primjer, u tom prolazu u paviljonu nekako mislim da ljudi ne osjete efekt tog Fauna, za razliku, recimo, od interaktivnog filma badco. koji se vrti 24 sata. Jer film traži mrak i tada je dojam jači i sve je koncentirano. Tamo prolazite hodnikom, onda nešto tuli, neka sirena...

Nema tu koncentracije koju to zahtjeva. Ne znam, da sam ja bio na njihovu mjestu, možda bih se ja još više izmučio sa tim jer predstaviti Gotovca... Što se mene tiče, sjajno je to, jer ja znam što mu je to značilo. Mislim da bi Tom sad bio oduševljen, ipak, volio je i nagrade, a vrlo često je bio zakinut za njih. Recimo, za Glenn Millera nije dobio ništa, a to je sukus. Volio je osjetiti da ljudi reagiraju na film, bez obzira što on i šokira itd. Volio je šokirati, uzdrmati sve. Ja kažem, nije bitno, važno je da vide film. Ali kad dobiješ nagradu, ipak ti je drago, pogotovo u konkurenciji s mladima.

Mi više nemamo takvih kao Tom. Zadnji koji je bio tako, recimo to, boemski nastrojen bio je pjesnik Tin Ujević. Od onda mi nemamo takvoga koji je i životom dokazivao kakav je frajer, na takav jedan poseban način.

— Croatian Presentation at the 54th Venice Biennale, BADco.: Responsibility for Things Seen: Tales in Negative Space, photo: Ivan Kuharić

A talk with BADco.

[Ivana Ivković, Tomislav Medak, Nikolina Pristaš] by bernarda cesar, marija juza & filip pintarić

badco. is a collaborative performance collective based in Zagreb, Croatia. The artistic core of the collective are Pravdan Devlahović, Ivana Ivković, Ana Kreitmeyer, Tomislav Medak, Goran Sergej Pristaš, Nikolina Pristaš, Lovro Rumiha and Zrinka Užbinec.

As part of the Croatian exhibition at the 54th Venice Biennale badco. is presenting a site-specific installation and intervention titled Responsibility for Things Seen: Tales in Negative Space.

How did your collaboration regarding this year’s performance on Biennale start? The invite to Biennale came from this year’s Croatian exhibition selectors from custodian affiliation. What, how and for who – whw who were cautionate to ask us to participate since we are coming from another field of work. We accepted the invite since we have a long lasting collaboration with them and we monitor and respect their work both locally and globally. That invite was a challenge as much as a sign of recognition.

Since this is your first national performance on Biennale, presenting you as a collective with the work of Tom Gotovac, tell us how did the collaboration evolve? We have spent a few months working

closely with the custodians. All of the limitations and given conditions did not discourage us to succeed in a project that was ambitious from both the production and technical points of view. Our project includes a serious intervention of space itself, a replica of an existing gallery wall. The custodians have included our idea in their consideration of the exhibition spread and that was, it is important to note, supposed to be result in a space that will represent the work of Tom Gotovac on a higher level. How are you supposed to place an artist that deserves a retrospective in a gallery space so small? Working together, we have formed a frame that would include things that are in common with us and Tom Gotovac, the relations we have formed, them also being counterpoints. We had a great sense of trust from whw when it came to the fact that our technically demanding space installation can be put in the same context with Tom’s work.

Do you believe that the previously mentioned common ground you found actually worked in the exhibition spread? When it came to

selecting projects from Gotovac’s opus, whw showed a truly consistent collection, displaying the results of his more fresh projects via movies and photographs. The decision to do it like that was also based on a fact that it wasn’t possible to make a retrospective exhibition that would give you an overview of all of Tom’s work.

Can you tell us something about that common ground between your work and Tom’s work? Our project was created having in mind that

it will have to coexist with the work of Tom Gotovac. We weren’t interested in making a homage, however, we were aware that our work will be interpreted as one when you look back on it. Tom Gotovac worked in another time, but still there are some counterpoints, and some familiar artistic views – mainly when it comes to the ability of photographs to perform and presenting a movie as a medium. Another point of view that we share with Gotovac is a viewers position, the idea of a function and the activity of watching.

As much as it is important for his work to be a person who is used to watch something, it is of the same importance for our work and poeticism that moment that happens not only on stage but in audience as well. Those are two different factors, but they collide in the same event, and the work of a performer is something that brings the work of audience to the table as well. That work consists of a primarily specular work of audience in order for people to grasp all of the reasons why performers are performing in the first place.

Conceptual wise, Gotovac always thought that there is a continuity between what’s in the eye, and what’s in a picture, life and art, and we cherish the same continuity when it comes to watching a performance and the act of performing itself. Another thing we share with him is the same interest in inner art organisation of reality, the organisational principles, something that Gotovac called “iron net”, and how to produce a new situation from that very core.

Basically, the exhibition is conditioned by those acts of watching?

This project can easily be described as an installation and a multichannel video, but what was our true goal was creating a differentiated topography of watching, creating different acts of watching, making them individual, intimate and specific. What really caught our eye is the idea of an intimate movie made for a single member audience, the idea that has roots in a content dimension of Gotovac’s movies. Watching something in cinema is a specific way of watching something, it makes you adjust your behaviour and the entire way you watch a movie. In the same way, television also makes you have a different approach when you watch something, and we tried to make public create multiple approaches while watching us perform.

Space itself has certain laws that you have to abide. What is your relationship with that space passage when it comes to creating those situations? If you look at the exhibition spread in Venice as a

differentiated topology or different situations where we place the audience, then that has certain repercussions when it comes to the way the spread will look like. The format of our work is both an intervention and an installation; intervention because of the time (the exhibition is there for six months, and we were there only for a fraction of that time), and installation because of the spatial limitations with no more than 55 square meters. The project itself is

a space-time relocation of a certain situation that involves the audience. Within that gallery space we bring a “negative space” placed outside the walls of pavilion, an imaginary space, content related to moving images. That is how we make the audience have a responsibility towards their presence and towards the displayed images, that have the potential to mobilise the collective imagination. A single member of the audience looks at himself, looks at the other member of audience, and can be moved to recognise his role as a spectator. Image dialectics can be coupled with our future aspirations, something that only a few will benefit from, not the entire collective.

Not so long ago we had a chance to see the example of visualisation of villas on Srđ above Dubrovnik, by Zaha Hadid studio. Revolt that came out of this privatisation of agrarian territory in order to build golf courses didn’t silent the image of iconic architecture, though this example shows us a type of iconography that is used to damage the local community and public territory resources. That was sort of our theme when it comes to looking at the future, and you can catch a glimpse of it through movies that make this installation. Those movies are partially created in space and are being generated via computer technology.

What theme did you use as a starting point? Image responsibility project is a specific form of theatre with other means, based on applying executing analytical principles of badco. when it comes to the effect the image will have on linking the collective imagination. The main goal of the project is suggesting that there is a performance space behind the doors of the adjacent exhibition room and moving a copy of the wall that separates people to gallery space. That newly formed spatial spread is a frame within whom you can analyse the creation of movie and photograph images of spatial transformation where you can get a glimpse of future narrations.

How can we create a situation with performance quality without us being present, but only leaving a trail of work that was done to create it? In theatre you assume that the performers will be there during the performance, but in six months of Biennale, the only way how we could have been there is by being captured in an image.

If we understood you correctly, your point wasn’t to reach everybody but only certain individuals, or? We are interested in that

potential encounter of the spectator with certain elements of the project. To make him bend a bit towards the opening in a wall where screen is being hidden, to make him realise that as much as he is just an observer, he is also being observed.

What did this collaboration mean to you personally? We were extremely honoured by the invite itself, and in the same time we were challenged by the responsibility not only to custodians, Ministry of culture, Croatian public, but also to Tom Gotovac’s work. We started the project realising how renown Biennale is, the tradition, mass audience, visibility, but our primarily context was one of art, the context of performing arts. Us being on Biennale means a lot to us, but is doesn’t have the same meaning as it would have to a practitioner of visual arts. Those are two different economies. Our project has also been presented on another festivals of theatre and contemporary dance, on conferences, so it is being built and presented in different, and economy wise very different conditions.

In our opinion, your project didn’t get a lot of exposure, so how was the interest of media really? Media reception was noticeable, especially locally. However, there is a problem of art criticism.

A very small pool of people have the opportunity and media space to use the cognition apparatus to access a certain project.

Criticism capacity is rather small and the articles usually only report and deliver information that we ourselves already offer.

Do you have future plans of using the archive materials from Biennale? We take the intermediality of a project as a new territory, a step to a whole another context. For us, this was the first phase of the Image responsibility project, and in the middle of February 2012. we will have a premiere of a show that came as a result of the Venice spread, or the work of research during preparations for Biennale, here in Zagreb Youth Theater.

So we may conclude that you are satisfied with this year’s performance on Biennale? It’s a fact that we were physically

there and have communicated with people at least for the first few days of the exhibition. By doing that we immediately got the feedback, saw what makes people pay attention, heard the comments and the criticism. We received a lot of positive feedback and interest from many different people. It is also very encouraging when people from the sphere of performing arts and explorers who usually don’t visit Venice Biennale come there only to see our work in that specific context. a bubble – international art journal no.1 | 2011 | 11

Razgovor s BADco. [Ivana Ivković, Tomislav Medak, Nikolina Pristaš] bernarda cesar, marija juza & filip pintarić

— Croatian Presentation at the 54th Venice Biennale, BADco.: Responsibility for Things Seen: Tales in Negative Space, photo: Ivan Kuharić

badco. je zagrebački izvedbeni kolektiv kojeg čine Pravdan Devlahović, Ivana Ivković, Ana Kreitmeyer, Tomislav Medak, Goran Sergej Pristaš, Nikolina Pristaš, Lovro Rumiha i Zrinka Užbinec. Kao dio hrvatskog nastupa na 54. Venecijanskom bijenalu badco. je predstavio site-specific instalaciju i intervenciju pod naslovom Odgovornost za sliku: Priče iz negativnog prostora.

Kako je započela Vaša suradnja vezana uz ovogodišnji nastup na Bijenalu? Na Bijenale smo dospjeli na poziv ovogodišnjih selektorica hrvatske izložbe, kustoskog kolektiva Što, kako i za koga - whw koje su nas za sudjelovanje pitale s dozom opreza pošto dolazimo iz drugog polja djelovanja. Prihvatili smo poziv jer s njima dugo surađujemo te cijenimo i pratimo njihov rad lokalno i na globalnoj sceni. Poziv je bio i Prostor također ima svoje zakonitosti. Kakav je Vaš odnos prema tom prostoru prolazu u kontekstu postavljanja takvih situacija? znak priznanja i veliki izazov.

Utoliko se postav u Veneciji može čitati kao diferencirana topologija ili Na koji način se odvijala ta suradnja, s obzirom da je ovo naš prvi raznolike situacije gledanja u koje mi postavljamo gledatelja, a to onda nacionalni nastup na Bijenalu i da predstavlja Vas kao kolektiv ima i reperkusije o tome kako izgleda taj postav. Format našeg rada je uz rad Tomislava Gotovca? Nekoliko smo mjeseci blisko surađivali intervencijski i instalacijski; intervencijski u smislu vremena (izložba s kustosicama. Ograničenja i uvjeti samog izložbenog prostora nas traje šest mjeseci, a mi smo u Veneciji bili samo kratko), a instalacijski nisu obeshrabrili da ustrajemo u produkcijski i tehnički vrlo ambiu smislu malog prostora, ne većeg od 55 kvadrata. Rad je prostorno i cioznom konceptu. Naravno, povremeno nismo znali da li će neke vremensko izmještanje situacije u kojoj se nalazi posjetitelj paviljona. stvari biti moguće izvesti. Naš rad uključuje jednu ozbiljnu prostornu U taj galerijski prostor uvodimo “negativni prostor”, izvan zidova paintervenciju, repliku postojećeg zida galerije. Kustosice su našu zaviljona, imaginarni prostor; sadržaj vezan uz pokretne slike i poticanje misao uključile u razmišljanje o prostornom postavu koji je, bitno je gledatelja na odgovornost prema samoj prisutnosti i svjedočenju o naglasiti, morao omogućiti i dostojno predstavljanje rada Tomislava slikama slika koje mu se pokazuju, uz potencijal slika da mobiliziraju Gotovca. Kako uopće u tako mali galerijski prostor smjestiti umjetnika kolektivnu imaginaciju. Posjetitelj gleda samog sebe i druge gledatelje, koji zavrjeđuje retrospektivu? Kroz dijalog smo našli okvir unutar komože se angažirati i prepoznati svoju ulogu gledanja. Dijalektika slike jeg su se našle neke zajedničke točke između nas i Tomislava Gotovca, se zapravo može vezati uz našu aspiraciju za budućnost, nešto što relacije koje smo formalizirali, koje su i kontrapunktualne. Uživali smo je na korist nekolicine, a ne zapravo na korist kolektiviteta. Nedavno veliko povjerenje whw da tehnički zahtijevan rad naše prostorne instasmo u Hrvatskoj u medijima vidjeli primjer vizualizacije vila na Srđu lacije možemo ostvariti u tom kontekstu. nad Dubrovnikom u izvedbi studija Zahe Hadid. Revolt oko ovog proMislite li da su ti punktovi ostvareni u postavu izložbe? whw su o jekta privatizacije agrarnog zemljišta u korist terena za golf na sreću odabiru iz opusa Gotovčevog rada pokazale vrlo konzistentan postav nije utišala slika ikoničke arhitekture, iako ovaj primjer pokazuje kako koji pokazuje ishodišta njegovog kasnijeg rada kroz filmove i fotografije. se ovaj tip ikonografije koristi na štetu lokalne zajednice i javnih prosTa odluka je naravno bila uvjetovana i time da se u tom prostoru nije tornih resursa. To je bila neka naša tematska preokupacija u pogledu mogla postaviti retrospektivna izložba, izložba koja bi dala presjek i na budućnost i ona se provlači kroz filmove koji čine instalaciju, koji pregled Gotovčevog rada. su zapravo filmovi koji dijelom nastaju tamo u prostoru i generiraju se Koje su dodirne točke Vašeg rada i izloženih Gotovčevih radova? pomoću računalnog sustava.

Naš je rad razvijan imajući u vidu kohabitaciju sa radom Tomislava Gotovca. Nije nas zanimalo raditi hommage, no bili smo svjesni da će Koja Vam je bila polazišna tema? Rad Odgovornost za sliku specifična je forma teatra drugim sredstvima, odnosno, temelji se na primjeni se neovisno o našoj intenciji rad čitati u kontekstu cjelokupnog postaizvedbenih analitičkih principa badco.-a na problem rada slike na va. Tomislav Gotovac je radio u jednom drugačijem vremenu, ali postouvezivanju kolektivne imaginacije. Temeljna operacija rada je u suje ipak određene dodirne točke, neki umjetnički interesi koje dijelimo, gestiji postojanja izvedbenog prostora iza vrata prostorije susjedne koji su vrlo bliski – prvenstveno odnos prema performativnosti fotoizložbenom prostoru te pomicanja kopije zida koji ih odjeljuje u prostor grafije i prema filmu kao mediju. Još jedna preokupacija koju dijelimo galerije. Taj novi prostorni postav okvir je za analizu uvjeta nastanka s Gotovcem je pozicija gledatelja, ideja funkcije i aktivnosti gledanja. filmskih i fotografskih slika transformacije prostora u kojima se može Koliko je za njegovo djelo bitno da ono proizlazi iz prakse gledanja, nazrijeti narative budućnosti. Kako možemo stvoriti situaciju koja ima toliko je u našem djelu i našoj poetici bitan taj moment izvedbenosti izvedbenu kvalitetu, a da mi kao izvođači nismo prisutni, već ostavljakoji nije samo onaj na pozornici, već i onaj koji se odvija u publici. Ta mo neki djelatni trag? U teatru je izvedba u pretpostavci prisutnosti dva momenta naravno nisu ista, oni se podudaraju u istom događaju, izvođača, no u šest mjeseci trajanja Bijenala mi možemo biti prisutni ali rad izvođača jest rad koji uvodi i rad gledatelja. Taj rad je primarno samo u slici. spekularan rad gledanja, rad poimanja i afekata kojemu je povod rad izvođača na pozornici. Na konceptualnoj razini, kao što je Gotovac Ako smo dobro shvatili, Vaša ideja nije bila doprijeti do svih nego samo do nekolicine, ili? Zanima nas potencijalan individualan susret mislio da postoji kontinuitet između onoga u oku i onoga u slici, života i gledatelja sa pojedinim elementima rada. Da se malo mora pognuti umjetnosti, kod nas postoji kreativni kontinuitet između rada gledanja prema otvoru na zidu iza kojeg se krije ekran, da je svjestan da u moi rada izvedbe. Zajedničko je i to da nas zanima unutarnja organizacija mentu dok gleda biva i promatran. umjetničke zbilje, njeni organizacijski principi, ono što je Gotovac nazivao “čeličnom mrežom”, i kako iz te matrice proizvesti novu situaciju. Što Vama osobno znači to sudjelovanje? Bili smo iznimno počašćeni samim pozivom, a ujedno i izazvani odgovornošću koja nije samo odgoDakle, postav je uvjetovan tim činovima gledanja? Ovaj rad bi se vornost prema kustosicama, Ministarstvu kulture, hrvatskoj javnosti jednostavno dao opisati kao instalacija i višekanalni video, ali zapravo već i odgovornost sudjelovanja uz rad Tomislava Gotovca. Ušli smo u ono za čime smo mi išli je stvaranje jedne diferencirane topografije projekt svjesni renomea Bijenala, tradicije, količine publike, vidljivosti, gledanja, stvaranje činova gledanja koji se međusobno razlikuju i koji no naš primarni kontekst je onaj kazališni, kontekst izvedbenih umjesu vrlo individualizirani, intimni ili specifični činovi gledanja. Nas je tnosti. Naše predstavljanje na Bijenalu nam mnogo znači, ali ipak nema zapravo zaintrigirala ta ideja intimnog filma, filma za jednog gledateisto značenje kao što bi imalo za umjetnika likovne umjetnosti. Riječ lja, koja ima puno podloge u sadržajnoj dimenziji Gotovčevih filmova. je o različitim ekonomijama. Naš rad je predstavljen i na festivalima Kino je jedna specifična situacija gledanja, koja zahtjeva neku prilagodkazališta i suvremenog plesa, na konferencijama, nastaje i predstavlja bu našeg ponašanja i našeg gledateljskog aparata. Isto tako televizija se u drugačijim, i ekonomski vrlo drugačijim, uvjetima. je jedna druga situacija koja zahtjeva potpuno drugačiju uštimanost gledateljskog aparata i mi smo u tom smislu pokušali proizvesti više Kakav je bio medijski interes za čitav projekt jer nam se čini da nije bio popraćen... Što se tiče medijske recepcije ona je, posebno lotakvih situacija. kalno, primjetna. No, tu postoji problem likovne kritike. Zapravo jako malo ljudi ima medijskog prostora i prilike spoznajnim aparatom pristupiti djelu. Kapacitet kritike je mali i tekstovi uglavnom izvještavaju, prenose informacije koje sami nudimo o našem radu.

Imate li daljnje planove sa arhivom materijala sa Bijenala? Bitno nam je iskustvo intermedijalnost rada kao neki novi teritorij, iskorak u jedan drugi kontekst. Za nas je ovo bila prva faza projekta Odgovornost za sliku, a sredinom veljače 2012. imati ćemo u Zagrebačkom kazalištu mladih premijeru predstave koja će proizaći iz venecijanskog postava, odnosno istraživačkog rada tijekom priprema za Bijenale.

Možemo li onda zaključiti da ste zadovoljni nastupom na ovogodišnjem Bijenalu? Činjenica je da smo bili fizički prisutni tamo i da smo komunicirali sa ljudima na licu mjesta, bar prve dane izložbe.

Tako da smo odmah dobili povratne informacije, vidjeli na što ljudi obraćaju pažnju, čuli komentare i kritike. Dobili smo puno pozitivnog feedbacka i iskaza interesa od vrlo različitih ljudi. Također, kompliment je kad ljudi iz područja izvedbenih umjetnosti ili istraživači koji inače ne posjećuju Venecijansko bijenale odlaze tamo upravo da bi vidjeli naš rad u tom kontekstu.

— BADco.: Responsibility for Things Seen: Tales in Negative Space, photo: Dinko Rupčić 12 | a bubble – international art journal no.1 | 2011

A talk with Vlasta Delimar by bernarda cesar, marija juza & filip pintarić Vlasta Delimar is a manager of art organization Moja zemlja (My land), Štaglinec, an author of many performances and exhibitions both in Croatia and abroad, primarily focusing on body-art. After the death of her friend and associate Tomislav Gotovac, she started a project called Absolute artist (memory and feeling) Antonio Gotovac Lauer together with Milan Božić.

54th Venice Biennale and your artistic progress in the last couple of months? The reason why we went to Biennale was to see

how Tom’s exhibition was being portrayed. We heard different stories telling us it was good, bad and even horrible. The main idea behind the trip was to contribute to Tom and his work in Venice and to make some kind of activity as a part of a major project carried out both in Croatia and abroad under the name of Apsolutni umjetnik (sjećanje i osjećaj) [Absolute artist, memory and feeling] Antonio Gotovac Lauer. In Zagreb we carried out two of those activities, one in Split, Dubrovnik, Rijeka, Štaglinec, London, followed by the last one in Paris. They mainly consist of performances inspired by his work, or by repeating some of his doings.

How did the spread of Croatian exhibition located in one of the middle exhibition spaces inside of Arsenale impact you? When I

first entered the venue my first reaction was myself being petrified, disgusted, disappointed and sad. I already had a vision of it based on the photographs on Internet, but actually being there was devastating. I believe that everyone who knew Tom’s work had the same reaction. First thing, the space itself has little to do with Tom’s work. This exhibition is a harsh exploitation of a dead man filled with disinformation.

Where do you place Tom in that exhibition from your point of view?

Is he an accent, accessory, or something else? I believe that Tom

turns in his grave. This is one of the greatest manipulations, that unfortunately come as a sort of heritage to late artists. From Tom’s point of view, when you look at a certain object a new object is being created, meaning you have to look around hard, but entering the space of the exhibition little do you see anything.

We spent hours observing the way people communicate with the ambient and his work. For instance, the movie screened high above the entrance is not easy to see so people just go through without really noticing it. In the adjacent room a certain sound installation is placed and it was so loud that you couldn’t hear Tom’s movies. At such huge art fairs, projects are supposed to be placed in a way that when you enter the venue, you just need a quick glance to understand what is really happening there. Here you have no idea what is happening or who the man being portrayed is. Exhibition like this with such a strong obscure note can only be presented to a group of friends.

If it was you who would be the one to represent Tom Gotovac, what would you do to represent the whole of him? I would probably be a bad choice for the role since I would most probably be too subjective and emotional.

Alright, and what if you were to install a Tom Gotovac themed exhibition based on your subjective approach? Ok, I would

present his greatest works of art, massive performances and of course movies but in a way for them to be perceived as something immediately after the first screening. The meaning of body would definitely stand as a ground for the entire exhibition that is supposed to make you feel the ambience. If only Family porn 1 and 2 that is now screened there was placed on a black background in order to make you feel like being in a cinema. Cinema was a cult place for Tom, intimate place to watch movies. The exhibited work Displaying the Elle magazine where Tom is shirtless is his beginning. The idea of body wasn’t defined then, and he wasn’t sure what to do with that body. Next to that there should have been his projects that display him as a mature artist who gave all of himself into his work and showed the importance of the body, that was his motto. Basically one of the most important elements of his work wasn’t portrayed there.

It sounds like the exhibition that portrays Tom Gotovac displays him as a completely different artist than he really was? As you

go through the exhibition, you can’t really tell who that artist is. If only the words Zagreb, volim te (Zagreb, I love you) were displayed, you would immediately know who Tom is. How can you understand who that man is based on photographs of those sewer entrances that look more like a decoration than like anything else? His exhibition is supposed to be a spectacle, a real exhibition, a true event making you freeze where you stand, making you stay there not wanting to leave from the moment you walk in. Instead people just walk on by disinterested. The way he expressed himself was a spectacle on its own, and here you can’t see it, not even the bit of it, and that is something that was supposed to be honoured. Instead of that there was a catalogue in a form of newspapers. There is no better thing than a body to identify yourself with the main theme of illuminations Biennale. badco. mentioned picture responsibilty, and I'm asking who is accountable or responsible for Tom's missing body.

Are those half hidden artificial badco. bodies that are barely visible on those small screens a true replacement for great Tom?

In your opinion, where does Tom Gotovac stand in all of Croatian art? Tom is the most important performer not only in Croatia

but in all of ex-Yugoslavia. His role as a performer was of an extreme importance in Yugoslavia. He is the pioneer of performing on these grounds. Performing itself is globally a very strong way of expressing yourself, and I don’t see why we haven’t displayed a man who was peaking when it comes to performing in the 60’s.

That’s the reason I feel bad that we missed a shot to show the world the power of our performances.

What do you think, how much is the Croatian audience that isn’t art-oriented aware of Tom Gotovac as an artist – performer?

People know of Tom, it is not important if they like him or not, recognize his work or not, but people know of him around here.

He has been out in the spotlight for the last 40 years or so, so people definitely know of him. If my people from Štaglinec know of him, everybody does. It’s a pity that he was never invited to one of the academies so he could give young artists more than they are usually getting there. However, to most people, Tom is this edgy player, “a jerk that takes off his clothes”.

— V. Delimar & M.Božić, Watching Tom, 2011, photo: Milan Božić

What was your reaction to the news that the work of Tom Gotovac will be exhibited at biennale? It is really interesting how last

year I had an encounter with Ješa Denegri in Novi Sad, as I was on my way to see Katalin Ladik’s exhibition. At that moment, word that Tom was going to Biennale wasn’t out for public to hear yet. When Ješa, a man who rarely shows his emotional side, heard that “our Tom was going to Venice”, he was so happy. He hugged me, kissed me, we were all just so happy because finally the world will meet this genius of ours.

You say that Tom wasn’t exposed outside the borders of Croatia, what about the institutions? He is known to inner circles of his

profession and to gallery owners in cities where Tom did some of his projects. Tom will have an exhibition in Paris next year, but the project was initiated by one of our people who isn’t a gallery owner, but an artist Žarko Vijatović. So things didn’t start rolling from abroad, but again by one of our people here. As Tom isn’t really known globally, this was finally a great opportunity for us to showcase his work, his capacity and his genius, but that didn’t go as it was supposed to. When we did a poll with all those tourists and non tourists who specifically came here because of the Biennale, the results were devastating. In Croatia there is not a single written word regarding that Biennale. Not a single news article, nothing. Only articles out there are those that are announcing the event, saying how people from everywhere will be there, and a single critique from Kipke.

To you personally, who was Tom Gotovac? He was the greatest, a man out of his time, simply because many could never grasp that kind of pure art. Using his genius, he exceeded himself, his tender ways. I was always admiring his uncompromising work and courage. His art was built with such a great preciseness and nothing was accidental with him. I never met another person meticulous as him. For the last couple of years, Milan Božić, Tom and myself were hanging out a lot. Our dinners and lunches used to last for hours and hours. We all together enjoyed his hedonism when it came to enjoying life. That’s the reason why the three of us together made a project on Ilica Two men and a woman, calling it a Croatian work of art. That was his last activity in Zagreb.

The last of his days we spent together were by his sickbed. We said goodbye the day before he passed away with a few glances and an honest goodbye. As Tom once said, Milan Božić and I were his family. a bubble – international art journal no.1 | 2011 | 13

Razgovor s Vlastom Delimar bernarda cesar, marija juza & filip pintarić Vlasta Delimar voditeljica je umjetničke organizacije Moja zemlja, Štaglinec, autorica mnogobrojnih performansa i izložbi u Hrvatskoj i inozemstvu u čijem fokusu se nalazi umjetničko tijelo. Nakon smrti prijatelja i suradnika Tomislava Gotovca, zajedno sa Milanom Božićem pokreće projekt Apsolutni umjetnik (sjećanje i osjećaj) Antonio Gotovac Lauer.

— V. Delimar & M.Božić, Listen in Radio Paris, 2011, photo: Dolina Martek Delimar

54. Bijenale u Veneciji i Vaš umjetnički put zadnjih mjeseci? Išli smo na Bijenale da vidimo što su napravili s Tomovom izložbom. Postojale su razne priče, da je dobro, da je loše, da je grozno. No, glavna ideja bila je pokloniti se Tomu i njegovom radu u Veneciji te napraviti neku akciju kao dio velikog projekta koji je realiziran u Hrvatskoj i inozemstvu pod nazivom Apsolutni umjetnik (sjećanje i osjećaj) Antonio Gotovac Lauer. U Zagrebu smo napravili po dvije akcije te po jednu u Splitu, Dubrovniku, Rijeci i u Štaglincu, zatim u Londonu i kao završetak u Parizu. Radi se uglavnom o performansima koji su inspirirani njegovim radom ili ponavljanju nekih njegovih akcija.

Kako ste doživjeli ulazak u prostor hrvatske izložbe postavljene u jednom od središnjih izložbenih prostora Bijenala unutar Arsenala? Moja prva reakcija, kad sam stupila na tlo prostora – ostala sam skamenjena, zgrožena, razočarana, tužna. Znala sam, po fotografijama na internetu, o čemu se radi, no dolazak u realni prostor bio je poražavajući. Vjerujem da su slično reagirali svi oni koji dobro poznaju njegov rad. Kao prvo, cijeli taj prostor, ili nazovimo ga ambijent, nema dovoljne veze s Tomom. Ova je izložba eksploatacija mrtvog čovjeka do krajnje grubosti. Ova je izložba potpuna dezinformacija. Što je po Vama onda Tom u sklopu te izložbe? Da li je on akcent, dodatak, ili nešto treće? Mislim da su se Tomove kosti u grobu već raspale od okretanja. Ovo je jedna od najvećih manipulacija kakve, nažalost, mrtvi umjetnici nasljeđuju.

Prema Tomovoj ideji, gledanjem nekog predmeta stvara se novi predmet, znači, moramo jako gledati oko sebe, no, ulaskom u prostor izložbe mi ne vidimo gotovo ništa.

Mi smo tamo satima promatrali na koji način ljudi uopće komuniciraju s tim ambijentom i s radom. Primjera radi, gornji film koji je smješten visoko iznad prolaza praktički se ne vidi, ljudi prođu i uopće ga ne percipiraju, a u susjednom prostoru izložbe je neka zvučna instalacija toliko glasna da se Tomovi filmovi uopće ne čuju. Na takvim velesajmovima umjetnosti, radove treba postaviti na taj način da kad se uđe u prostor izložbe, jednim švenkom - pogledom, nam odmah mora biti sve jasno o čemu se radi. Ovdje se uopće nema predodžba o čemu se radi i tko je taj čovjek. Ovakva izložba komornog tipa može se pokazati samo za prijatelje.

Kada biste Vi trebali predstaviti Toma Gotovca, što bi bilo to što njega predstavlja u cijelosti? Ja možda ne bih bila prava osoba za to jer bih najvjerojatnije bila previše subjektivna i emotivna.

A Kad biste postavljali izložbu Toma Gotovca oslanjajući se na subjektivan pristup? Pokazala bih njegova kapitalna djela, kapitalne performanse i naravno filmove, ali na način da se u prvom gledanju odmah percipiraju. Značaj tijela bio bi svakako temelj cijelog postava koji bi trebao imati ugođaj ambijenta. Obiteljski porno 1 i 2 koji je sada tamo da je barem na crnoj podlozi zida, da se dobije nekakav dojam ambijenta kina koje je za Toma bilo kultno mjesto, intiman prostor za gledanje. Izloženi rad Pokazivanje časopisa Elle gdje je on skinut do pojasa, je njegov početak gdje ideja tijela još nije bila definirana, gdje on još nije točno znao što će sa tim svojim tijelom. Uz taj početak svakako su trebali biti radovi u kojima je Tom kao zreli umjetnik dao sebe i pokazao važnost tijela, koje je konačno i njegov moto. Znači, jedan od najbitnijih elemenata njegovog rada tamo nije zastupljen.

Zvuči kao da izložba predstavlja Toma Gotovca kao jednog potpuno drugačijeg umjetnika nego što je on to ustvari bio? Prolazeći kroz izložbu uopće se ne razumije tko je taj umjetnik. Da je izloženo samo Zagreb, volim te odmah bi se vidjelo tko je on. Kako se može iz onih izloženih fotografija šahtova koji izgledaju kao neka dekoracija, kao neki šareni stolnjak na zidu, iščitati tko je taj čovjek?

Njegova je izložba trebala biti spektakl, egzibicija, događaj. Kad uđeš unutra da se svi smrznu, da ostanu, da se ne daju van, a ne da samo

— Vlasta Delimar & Milan Božić, Listen in Radio London, 2011, photo: David Hoffman

14 | a bubble – international art journal no.1 | 2011

onako poluzainteresirano prođu. Svojevrsni spektakl koji je bio njegov način nije prisutan niti u naznakama, a trebao je biti... to je trebalo poštivati. A ne tobože napraviti katalog u obliku novina.

Zar ima boljeg poistovjećivanja s glavnom temom Bijenala Iluminacije, nego što je tijelo. Rekli su badco.: Odgovornost za sliku, a ja pitam gdje je odgovornost za Tomovo tijelo kojeg nema. Zar su ona poluskrivena umjetna tijela badco.-a koja jedva vidimo na malenim ekrančićima zamjena za velikog Toma?

Koja je po Vašem mišljenju stvarna pozicija Toma Gotovca u hrvatskoj umjetnosti? Tom je najvažniji performer u Hrvatskoj, ne samo Hrvatskoj nego i u bivšoj Jugoslaviji, da ne zaboravimo. Tomova uloga kao performera bila je izrazito važna u Jugoslaviji. On je pionir performansa na ovim prostorima. Performans je u svijetu vrlo jak kao izražaj i zašto mi nismo pokazali da imamo čovjeka koji je 60-ih godina bio itekako jak u performansu? Zato mi je krivo što je propuštena prilika da ljudi u svijetu vide snagu našeg performansa. Što mislite, u kojoj mjeri je neumjetnička publika u Hrvatskoj svjesna bitnosti Toma Gotovca kao umjetnika – performera? Ljudi znaju, znači, ne mora se Tom njima sviđati ili ne sviđati, ne mora se njegov rad prepoznati ili ne prepoznati, ali se za njega zna na ovim prostorima.

Ipak je bio na sceni 40-tak godina, itekako se za njega zna. Ako moji Štaglinčani znaju tko je Tom... Velika je šteta da ga nitko nije pozvao na neku od akademija gdje bi mladim ljudima ponudio mnogo više nego što inače dobivaju. No, Tom je za veliku većinu ostao tamo neki marginalac “kreten koji se skida gol”.

Kakva je bila Vaša reakcija na vijest da će radovi Toma Gotovca biti izloženi na Bijenalu? Zanimljivo je kako sam se krajem prošle godine srela sa Ješom Denegrijem u Novom Sadu, prilikom odlaska na izložbu Katalin Ladik. Tada još nije u javnosti bilo objavljeno da Tom ide na Bijenale. Kad je Ješa čuo da “naš Tom ide u Veneciju”, on je bio toliko sretan, čovjek koji rijetko pokazuje emocije bilo kome i u bilo kojem trenutku. Zagrlio me i izljubio, bio je tako veseo, u biti svi smo mi bili sretni, jer konačno će svijet vidjeti tko je taj naš genijalac.

Kažete da Tom nije eksponiran izvan Hrvatske, a kako je s institucijama? U svakom gradu u kojem je nešto radio zna ga vjerojatno neki galerist, poznaje ga uži krug struke. Tako će sljedeće godine imati izložbu u jednoj galeriji u Parizu, no to je opet inicirao naš čovjek i to ne galerista nego umjetnik, prijatelj Žarko Vijatović. Znači nije krenulo od nekog izvana, nego je izložbu inicirao naš čovjek. Tom nije poznat u svijetu, i sad je konačno bila prilika da ipak ponudimo to što imamo, taj kapacitet i tog genija, no i ta se prilika prokockala. Kad bismo radili anketu s ljudima koji su prošli kroz Venecijansko bijenale, ona gomila turista i neturista koji su došli ciljano na Bijenale, dobili bismo poražavajuće rezultate. Kad pogledate da li je tko pisao kod nas o Bijenalu, nitko nije ništa pisao. Nemate ni jedan članak u novinama, nigdje ništa. Imate samo članke koji najavljuju događaj i kako će svijet sigurno hrliti na nj i jedna negativna kritika Kipkea.

Tko je Tom Gotovac za Vas osobno? On je bio najveći, skoro izvan svojeg vremena. Mnogi nisu nikako mogli pojmiti takvu čistu umjetnost.

Svojom genijalnošću nadmašio je samog sebe, svoju nježnu prirodu.

Divila sam se njegovom beskompromisnom radu i hrabrosti. Gradio je svoju umjetnost s velikom preciznošću i ništa nije bilo slučajno. Tako pedantnu osobu nikada nisam srela. Zadnjih godina intenzivno smo se družili – on, Milan Božić i ja. Naši ručkovi i večere trajali su doslovno satima. Uživali smo skupa u njegovom hedonizmu konzumiranja života.

Zato smo i napravili zajednički rad na Ilici Dva muškarca i jedna žena i prozvali ga još i Hrvatska remek-djela. Bio je to zadnji njegov nastup u Zagrebu. Posljednje dane proveli smo uz njegovu bolesničku postelju.

Oprostivši se dan ranije prije smrti, samo pogledima rekavši si iskreno zbogom. Milan Božić i ja bili smo njegova obitelj kako je jednom rekao.

demanio marittimo. km 278 Un’ iniziativa della rivista Progetti an by cristiana colli Progetti sulla spiaggia, di notte. Un’area talks, un’area video, un’area dj Set/ degustazioni/ bookshop, e mostre a Marzocca, Senigallia. La spiaggia, una metafora, luogo di pensieri e dialoghi, crocevia degli immaginari, luogo delle economie e delle trasformazioni urbane, della natura e del progetto. Luogo di arrivi e di partenze, di avvicinamenti e di distacchi, spazio di appartenenza e di espropriazione; la spiaggia che riassume in sé il racconto del viaggio e del paesaggio, dell’Altrove che guarda a Oriente e Bisanzio, sulla spiaggia della Città Adriatica, la più letteraria e la più industrializzata dall’economia dei desideri.

Lì sul Lungomare Italia dove sopravvive quello spirito in-attuale che mantiene tracce e anticipazioni tra la permanenza del senso e della memoria di luogo e una versione lenta della modernità, la rivista Progetti an ha scelto di presentare il n°28 con un progetto ideato e curato da Cristiana Colli e Pippo Ciorra, e realizzato in collaborazione con il Comune di Senigallia, la Regione Marche-Assessorato alla Cultura e con una larga e ricca rete di imprese, istituzioni, associazioni culturali. Una lunga maratona dove le esperienze locali di progettisti e artisti Under 40 si sono incrociate ad esperienze internazionali significative, per un dialogo ideale tra il territorio e il mondo, tra le

tracce di modernizzazione e di eccellenza delle Marche e i processi che attraversano trasversalmente le discipline a livello internazionale. Tutto è successo la notte del 22 luglio, dalle 19 alle 5 del mattino, colazione compresa, su quei 150 metri di spiaggia con i sassi, le barche e gli argani, le nasse e le reti, lì si è svolto un evento/ flusso di architettura, arte, design, performance, letture, mostre, dj set, video installazioni, alta cucina. Un alternarsi continuo di autori e discipline, di paesaggi e di progetti, di processi e di intuizioni.

Con ospiti e protagonisti italiani e internazionali, ognuno con le proprie storie e geografie ai confini tra arte, architettura, scrittura, visione.

La rivista Progetti an è un’iniziativa editoriale del Gruppo Gagliardini di Monteroberto che ha costruito intorno alla filiera progetto un’ampia e autorevole coalizione territoriale, fatta da istituzioni pubbliche e private, associazioni, università, ordini professionali, fondazioni.

Con i suoi 30 numeri e i suoi 15 anni di attività – comprensivi di una ricca e articolata programmazione culturale, workshop, iniziative ed eventi - si è posizionata tra le voci più ascoltate e autorevoli per le ricerche sull’architettura e il progetto contemporaneo sul territorio, e ha assunto dignità di fonte.

Cartella stampa e info su www.gagliardini.it

demanio marittimo. km 278 Inicijativa časopisa Projekti an cristiana colli Projekti na plaži, noću. Zona talks, zona video, zona dj set/ degustacije/ bookshop, te izložbe u Marzocchi, Senigallia. Plaža kao metafora, mjesto misli i dijaloga, raskrižje zamišljenih, mjesto ekonomije i urbanih transformacija, prirode i projekata. Mjesto dolazaka i odlazaka, zbližavanja, udaljavanja i ekspropracija; plaža koja priča priču o putovanjima i pejzažima, o Dalekome što gleda na Orijent i Bizant, na plaži Jadranskog Grada, najknjiževnijeg i najindustrijaliziranijeg tržištem želja. Tamo na Lungomareu Italia gdje preživljava duh ne-aktualnog koji zadržava tragove i anticipacije između osjećaja ustajalog i memorije prostora, usporijele verzije moderniteta, časopis Projekti an odlučio je prezentirati dvadesetosmi broj sa projektom kojeg su osmislili Cristiana Colli i Pippo Ciorra, i koji je realiziran u suradnji sa Općinom Senigallia, Regijom Marche – Odjel za Kulturu, te sa bogatom mrežom poduzeća, institucija i kulturnih udruga.

Dugački maraton gdje se iskustva lokalnih dizajnera i umjetnika Under 40 isprepliću sa značajnim internacionalnim iskustvima, u svrhu uspostavljanja idealnog dijaloga teritorija i svijeta, između tragova modernizacije i jedinstvenosti regije Marche i procesa koji tranzverzalno prolaze sve discipline na internaciolanoj razini. Sve se dogodilo u noći 22. srpnja, od 19 sati do 5 ujutro, s uključenim doručkom, na onih 150 metara šljunčane plaže, sa brodicama i vitlima, košarama i mrežama, tamo se odvio događaj/ protok arhitekture, umjetnosti, dizajna, performansa, čitanja, izložbi, dj setova, video-instalacija, visoke kuhinje. Stalno alterniranje autora i disciplina, pejzaža i projekata, procesa i intuicija. Sa gostima i protagonistima iz Italije i inozemstva, svatko sa svojim pričama i geografijama na granicama između umjetnosti, arhitekture, pisanja, vizija. Časopis Projekti an je izdavačka inicijativa Grupe Gagliardini di Monteroberto koja je oko lanca projekata stvorila teritorijalnu koaliciju, koju čine javne i privatne institucije, udruge, sveučilišta, stručni odredi i razne fundacije.

Sa svojih 30 brojeva i 15 godina aktivnosti, koji uključuju bogato kulturno programiranje, radionice, inicijative i manifestacije, osvojila je status važnog izvora informacija i programa koji imaju jak utjecaj na istraživanja u arhitekturi i na suvremene projekte u regiji.

Press i informacije na www.gagliardini.it

— demanio marittimo. km-278. Marzocca, 22 July 2011. – Director of maxxi' Architecture Margherita Guccione interviews Architect Danilo Guerri

— Francesco Jodice, Babel, 23 November – 3 December 2011, Museum of Contemporary Art Zagreb | Photos: Filip Pintarić

a bubble – international art journal no.1 | 2011 | 15

issn: 1848-3046

Questa mostra è in realtà lo sfruttamento di un uomo che non c'è più, Ova je izložba eksploatacija mrtvog čovjeka do krajnje grubosti. fino ai limiti del brutale. Questa mostra è una totale mistificazione.

Ova je izložba potpuna dezinformacija.

Era il più grande, quasi al di fuori del suo tempo. In molti non On je bio najveći, skoro izvan svojeg vremena. Mnogi nisu hanno saputo apprezzare un’ arte così pura. Nel suo genio è nikako mogli pojmiti takvu čistu umjetnost. Svojom genijalnošću riuscito a superare se stesso, la sua natura delicata. nadmašio je samog sebe, svoju nježnu prirodu.

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Ma noi abbiamo voluto creare una molteplice topografia Ono za čime smo mi išli je stvaranje jedne diferencirane topografije dell'osservazione, attraverso singoli momenti visivi gledanja, stvaranje činova gledanja koji se međusobno razlikuju i differenti tra loro, intimi e specifici. koji su vrlo individualizirani, intimni ili specifični činovi gledanja.

Il visitatore osserva se stesso e gli altri spettatori, può Posjetitelj gleda samog sebe i druge gledatelje, može se intervenire e riconoscere il suo ruolo di osservatore. angažirati i prepoznati svoju ulogu gledanja.

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