(R) evolucija u Muzeju grada Rijeke

Ema Ani~i} Marija Lazanja Du{evi} (R)evolucija u Muzeju grada Rijeke (R)evolution in the City Museum of Rijeka

izdava~/publisher

Muzej grada Rijeke/The City Museum of Rijeka

Muzejski trg 1/1, Rijeka urednik/editor

Ervin Dubrovi} autorice/authors

Ema Ani~i}

Marija Lazanja Duševi} dizajn/design

Vesna Rožman lektorica i korektorica/proofreading

Gordana Ožbolt prijevod na engleski/translation into English

Jana Kegalj fotografije/photography

Marija Lazanja Duševi}, Miljenko Smokvina, Egon Hreljanovi} suradnici/collaborators

Ivana Golob, Slaven Tolj, Momo Cvijovi}, Marija Djorgovi}, Luka Ani~i}, Sanja Kosi}, Nada Sablji}, Mladen Buri}, Ivana Lu~i},

Zoran Stankovi}, Dinko Majcen, Ksenija Orelj, Juraj Kuko~, Mladen Grguri}, Sanja [krgati}, Sara Hrast, Sabrina Žigo, Nemanja Cvijanovi},

Jasmina Karahasanovi}, Safet Baštrakaj, Željko Žuža, Dominik Grdi}, Ana Jur~i}, Josip Mar{i} i Zoran Medved suradnici u pripremi/collaborators in preparation

Jasna Milinkovi}, Ivana Lu~i} projektna dokumentacija/project documentation

Državni arhiv u Rijeci/State Archives in Rijeka Institucije uklju~ene u projekt/institutions involved in the project

Akademija primijenjenih umjetnosti u Rijeci, Art-kino Croatia, Rijeka, Centar za kulturu Dr. Ivan Kostren~i}, Crikvenica,

Hrvatski državni arhiv, Zagreb, Muzej istorije Jugoslavije, Beograd, Muzej moderne i suvremene umjetnosti, Rijeka,

Sveu~ilišna knjižnica Rijeka financirali su/funded by

Grad Rijeka/The City of Rijeka, Primorsko-goranska županija/Primorje-Gorski Kotar County,

Ministarstvo kulture Republike Hrvatske/ Ministry of Culture of the Republic of Croatia tisak/printing

Rijeka, travanj/April 2016.

CIP zapis dostupan u ra~unalnom katalogu Sveu~ilišne knjižnice Rijeka pod brojem 130914034 ISBN 978-953-6587-81-0

Ema Ani~i} Marija Lazanja Du{evi}

(R)evolucija u Muzeju grada Rijeke (R)evolution in the City Museum of Rijeka

Muzej grada Rijeke / The City Museum of Rijeka, 14. 4. – 16. 9. 2016.

Evolucija ili revolucija?

Evolucija ili revolucija? Nakon više od dvadeset godina od ukidanja – ili to~nije preustrojavanja Muzeja narodne revolucije – kona~no je sazrelo vrijeme da se u miru i bez gnjeva osvrnemo za sobom, da o starim temama progovorimo primjereno našem vremenu, s odmakom i uvidom što ga nisu imali naši prethodnici.

Muzej grada Rijeke u svoje je "revolucionarno doba" prikupio podosta gra|e, imao stalni postav i bio ogledan muzej za koji je namjenski izgra|ena i nova zgrada, ~ime se može pohvaliti malo hrvatskih muzeja.

Ipak, trebalo je pro}i neko vrijeme kako bismo pristupili rekapitulaciji i valorizaciji te s odmakom i trijezno, kriti~kim pristupom i ozbiljnim povjesni~arskim okom, pogledali unazad i odmjerili sami svoju prošlost.

Ova izložba nema pretenzije da bude sveobuhvatna i potpuna, ponajprije nastoji potaknuti zanimanje za ideološke aspekte vremena kojim se i dandanas mnogo više bavimo u kontekstu uzajamno oštro suprotstavljenih ideologija negoli povjesni~arski trezveno i ozbiljno.

Dvije mlade autorice koje ne pritiš}e nikakav osobni povijesni balast, ipak su dvije posve razli~ite osobnosti i stoga nude i dva posve razli~ita pristupa. Nije tu rije~ o crvenom i crnom ili o lijevom i desnom, nego je jedna temi pristupila tezama kojima želi izazvati reakciju gledatelja, a druga sa željom da pouzdano i staloženo razloži povijesni put od Muzeja narodne revolucije do Muzeja grada Rijeke.

Od svega je najvažnije da je, iako uzdrman, Muzej preživio revoluciju 1991. i danas je stabilan i suvremen muzej koji prikuplja gra|u što svjedo~i o novijoj povijesti grada Rijeke te ostvaruje zapažene izložbe, kataloge i monografije.

Svi dobro znamo da je ideološki okvir imanentan svim društvenim temama i da je i na ovoj izložbi neizbježan. No kada se govori o ozbiljnim temama, važno je zadržati prisebnost, a svaka je intelektualna rasprava o pojedinim stavovima i interpretacijama poželjna i dobrodošla.

Podsje}am da ima još mnogo drugih tema kojih se donedavno nismo rado doticali ili smo se njima bavili previše jednostrano – poput razdoblja fašizma i talijanskog egzodusa, primjerice.

Te su teme najavljene upravo ovom izložbom o (r)evoluciji u Muzeju grada Rijeke.

Ervin Dubrovi}

Evolution or Revolution?

Evolution or revolution? After more than twenty years since the discontinuation – or more precisely restructuring of the Museum of National Revolution, the time has finally come to look back in peace and without any rage, to discuss old topics in a way which is appropriate for our time, from a distance and with insight which our predecessors lacked.

In its "revolutionary times", the Museum of National Revolution gathered quite a lot of material, had a permanent display and represented a model museum, with a new building purposefully constructed for it, which few Croatian museums can say.

However, it took quite a lot of time to approach recapitulation and valorisation, to take a look back from a distance in a level-headed, critical and serious manner through historian’s eyes into our history and evaluate it ourselves.

This exhibition has no pretentions to be comprehensive and complete, but first of all, it is trying to stimulate interest for the ideological aspects of time which we are still dealing with, much more in the context of mutually sharply opposed ideologies than historiographically in a coolheaded and serious manner.

Two young authors, without any personal historical ballast, but still with two entirely different personalities, offer two entirely different approaches. In their approach, nothing is red and black, or left and right, but one approached the topic with theses that attempt to provoke the spectator’s reaction, while the other with the wish to illustrate in a reliable and composed manner the historical path from the Museum of National Revolution to the City Museum of Rijeka.

The most important fact is that, although shaken, the Museum has survived the revolution in 1991 and today it is a stable and contemporary museum, which collects material witnessing the recent history of Rijeka and realizes well-received exhibitions, catalogues and monographs.

We all know well that the ideological context is immanent to all social topics and that it cannot be avoided in this exhibition. However, when we talk about serious topics, it is important to stay calm, and any intellectual debate about individual attitudes and interpretations is desirable and welcome.

I would like to remind that there are still many other topics which until recently have not been brought up gladly or have been covered only partially – like the period of Fascism and the Italian exodus. These topics are announced precisely with this exhibition about (r)evolution in the City Museum of Rijeka.

Ervin Dubrovi}

Ema Ani~i}

(R)evolucija u Muzeju grada Rijeke Današnji Muzej grada Rijeke pravni je sljednik Muzeja narodne revolucije koji je osnovan 1961. godine. S obzirom na povijesne i politi~ke promjene koje su se dogodile 1991. i ~injenicu da je od osamostaljenja Republike Hrvatske i prekida svih državotvornih odnosa sa Socijalisti~kom Federativnom Republikom Jugoslavijom prošlo ~etvrt stolje}a, zadovoljen je vremenski odmak za interpretaciju povijesno-umjetni~kih procesa koji su bili u službi bivšeg režima. Razlog više ovoj izložbi proizlazi iz toga što je u me|uvremenu stasala cijela jedna generacija mladih ljudi koja nema iskustveno svjedo~anstvo komunisti~ke ideologije i prakse nego isklju~ivo udžbeni~ku, u pravilu nepotpunu i manjkavu, kurikularnu povijesnu natuknicu. Povijest, bez obzira na to je li rije~ o znanstvenom tekstu ili srednjoškolskom osvrtu, u~estalo boluje od pretjeranog uop}avanja i unificiranja povijes­ nih procesa pa se time gubi realitet povijesnog razdoblja. Nestaju mali doga|aji oko kojih se plete život svakodnevice i gubi dominantni svjetonazor najšire zajednice. Uostalom, tu funkciju na sebe, katkad, preuzima muzejska djelatnost.

Ova izložba iz muzejskog depoa pod svjetlo reflektora ne izvla~i ni mišljenja ni osvrte ni tuma~enja, nego predmete, eksponate – nesumnjive svjedoke vremena lišene politi~ke interpretacije. Promjena perspektive sukladno vremenskom razdoblju u kojem danas jes­ mo, omogu}ava upravo umjetni~ku valorizaciju izloženih eksponata. Izložbom revolucija postaje tek proizvod, izložak, a o svjetonazoru komunisti~kog režima govore umjetni~ki i politi~ko-propagandni radovi koji na ovaj ili onaj na~in tematiziraju zadano.

Izložba je strukturirana u ~etiri tematske cjeline. Muzej narodne revolucije temelj je za predstavljanje prvih dviju cjelina nazvanih Revolucija proletarijata (Narodnooslobodila~ka borba) i Propaganda. Sljede}a tematska cjelina prati malo kasnije vremensko razdoblje i nosi naziv Stvaranje kulta li~nosti. Ovaj dio koncepta pripremljen je u suradnji s Muzejom istorije Jugoslavije iz Beograda i oslanja se na njegovu izložbu Velika iluzija. Kao završna etapa izložbe, i dio koji ne spada u fundus Muzeja narodne revolucije, postavljen je koncept Druga strana komunisti~ke ideologije. Svojevrstan epilog izložbe satkan je od umjetni~kih interpretacija Golog otoka, kao jednog od mu~nih epizoda komunisti~kog režima, prema vi|enjima studenata Akademije primijenjenih umjetnosti u Rijeci i drugih slobodnih umjetnika. Pristup temi Golog otoka malo je druk~iji samim time što su radovi dio suvremene umjetnosti. I dalje se zaobilazi povijesno-politi~ki kontekst, a fokus je stavljen na impresiju umjetnika. Na taj na~in posjetitelj izložbe svjedo~i umjetnikovu reakciju, audiovizualni dojam kao odgovor, a možda i kontekst za neka budu}a promišljanja o fenomenu Golog otoka.

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Ema Ani~i}

(R)evolution in the City Museum of Rijeka Today’s City Museum of Rijeka is the legal successor of the Museum of National Revolution, founded in 1961. Considering the historical and political changes in 1991 and the fact that a quarter of a century has passed since Croatia gained independence and ceased with all political ties with the Socialist Federative Republic of Yugoslavia, sufficient time has passed to enable the interpretation of the historical and artistic processes in service of the former regime. One more reason for this exhibition arises from the fact that a whole new generation of young people has grown up in the meantime, who do not have any experience of the communist ideology and practice, except the knowledge gained from textbooks, in the form of an incomplete and defective curricular historical entry. Regardless whether it is a scientific text or a high school review, history often suffers from generalizations and unification of historic processes, thus losing the reality of a historic period. Small events weaving the everyday life disappear and the dominant view of life of the wider community is lost. In any case, this task is sometimes taken over by museums.

This exhibition recovers from the museum depot, placing under the spotlight not the opinions, or reviews, or interpretations, but items, exhibits – unequivocal witnesses of a period without political interpretation. The change of perspective in accordance with the current time period, enables precisely the artistic valorisation of the exposed items. Through this exhibition, the revolution becomes merely a product, an item, while artistic and political propaganda works, treating the topic in one way or the other, speak of the world-view of the communist regime.

The exhibition is structured in four thematic wholes. The Museum of National Revolution is the basis for presenting the first two wholes, entitled The Proletarian Revolution (National Liberation Struggle) and Propaganda. The subsequent thematic whole, entitled Creating the Cult of Personality, follows a later time period. This part of the concept was prepared in cooperation with the Museum of Yugoslav History from Belgrade, drawing on its exhibition The Grand Illusion. The concept The Other Side of Communist Ideology is set as the final stage of the exhibition, and a part that does not belong to the Museum of National Revolution fund. An epilogue of sorts consists of artistic interpretations of the island Goli otok, as one of the painful episodes of the communist regime, according to the views of the students of the Academy of Applied Arts in Rijeka and other free artists. The approach to the topic of Goli otok is a bit different as the works are a part of contemporary art. The historical and political context is still avoided, while the focus is on artist’s impression. Thus the exhibition visitor witnesses the artist’s reaction, the audiovisual impression as a response, and perhaps a context for future deliberation on the phenomenon called Goli otok.

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Revolucija proletarijata i Narodnooslobodila~ka borba kroz angažiranu umjetnost Partizanski pokret u svojoj je biti revolucionaran, stoga izložba zapo~inje upravo s revolucijom. Kao što je to prije u~inio Muzej narodne revolucije svojim stalnim postavom, i ova izložba zapo~inje s radni~kim pokretom promatranim na širemu rije~kom podru~ju. Nizom fotografija prikazano je ra|anje ideje o novome radni~kom statusu u društvu i njihovim pravima. Iz fotografija se može iš~itati život radnika, uvjeti rada u tvornicama, socijalne okolnosti i stvaranje sindikata. Kroz komunisti~ku propagandu i sindikalnu aktivnost radnicima je ponu|ena vizija ili utopija o stvaranju pravedne i socijalne države, zbog ~ega su upravo tvornice bile mjesta iz kojih su se, usporedno sa zahuktavanjem rata, regrutirali partizanski borci, a sve pod budnim okom Komunisti~ke partije Jugoslavije i Kominterne. Na državnim su se granicama nalazile talijanske i njema~ke trupe pa su se nakon napada nacisti~ke Njema~ke na Sovjetski Savez u lipnju 1941. i razvrgnu}a njihova pakta sklopljenog 1939., antifašisti~ki pokret i promjena društveno-politi~kog sustava posve opravdano nametnuli kao imperativ na povijesno-politi~koj sceni.

Na samome po~etku izložba prikazuje sudbine obi~nih ljudi koji, vo|eni idealima ili možda potaknuti surovom borbom za preživljavanje, odlaze u rat. Prvo poglavlje izložbe nazvano je politi~ko-sociološkim terminom Revolucija proletarijata. Ovaj trockisti~ko-lenjinisti~ki ideal bitno se udaljava od komunisti~ko-socijalisti~kog pro-

Božena Vilhar Žirovnik, Borci 19. dalmatinske divizije, oko 1945., pastel/papir, 36 x 50 cm, Muzej grada Rijeke Božena Vilhar Žirovnik, 19th Dalmatian division fighters, around 1945, crayon/paper, 36 x 50 cm, The City Museum of Rijeka 8

The Proletarian Revolution and National Liberation Struggle through Engaged Art The partisan movement is in its core revolutionary, therefore, the exhibition starts precisely with revolution. Just like the permanent display of the Museum of National Revolution in the past, this exhibition starts with the labour movement observed in the wider area of Rijeka. A series of photographs show the rise of the idea of a new status of labourers in society and their rights. The photographs show the life of workers, the conditions of work in factories, social circumstances and the rise of unions. Communist propaganda and union activities offered the workers a vision or a utopia about creating a just and social state, which is why, along with the war revving up, factories were the places where partisan fighters were recruited, all under the watchful eye of the Communist Party of Yugoslavia and Comintern. Italian and German troupes were at the state borders, so after the attack by the Nazi Germany on the Soviet Union in June 1941 and the break-off of their pact made in 1939, the anti-fascist movement and the change of the social and political system were justifiably imposed as an imperative on the historical and political scene.

At the very beginning the exhibition shows the destinies of ordinary men, who went to war, guided by their ideals or stimulated by the savage struggle for survival. The first chapter of the exhibition was named after the political sociological term Proletarian Revolution. This Trotskyist-Leninist ideal significantly deviates from the communist social programme that will ensue in the following decades and does not match the

Božena Vilhar Žirovnik, Primorke u NOB-u, oko 1945., pastel/papir, 51 x 71 cm, Muzej grada Rijeke Božena Vilhar Žirovnik, Women from the littoral in the National Liberation Struggle, around 1945, crayon/paper, 51 x 71 cm, The City Museum of Rijeka 9

Belizar Bahori}, Muškarac naslonjen na stol, 1945., akvarel na papiru, 24 x 32 cm, Muzej grada Rijeke Belizar Bahori}, Man leaning against the table, 1945, watercolour on paper, 24 x 32 cm, The City Museum of Rijeka

grama koji }e uslijediti u idu}im desetlje}ima i ne podudara se s nastojanjima Socijalisti~ke radni~ke partije Jugoslavije iz 20-ih godina prošlog stolje}a, me|utim i dalje u njega najbliže možemo svrstati niz ideološko-politi~kih kretanja 20. stolje}a.

Stoga odmah isti~emo vrlo dvojben termin revolucija proletarijata i bilježimo životne pri~e partizana, antifašista, proletera, seljaka i drugih prisutnih u borbi za novi

Božena Vilhar Žirovnik, Figuralna kompozicija, 1945., tuš na papiru, 22 x 22 cm, Muzej grada Rijeke Božena Vilhar Žirovnik, Figural composition, 1945, ink on paper, 22 x 22 cm, The City Museum of Rijeka 10

strivings by the Yugoslav Social Labour Party from the 1920s, but a series of ideological and political movements of the 20th century can still be matched to it. Therefore, the dubious term proletarian revolution should be pointed out and the life stories of partisans, anti-fascists, proletarians, peasants and others recorded in their struggle for a new order as a result of the officially called National Liberation Struggle. Intellectuals and academic artists also went to war, which is not a coincidence as they became quite active associates of Agitprop (agitation and propaganda).

Božena Vilhar, Unutrašnjost Štamparije Propodjela Okružnog NOO-a za Hrvatsko primorje, 1945., akvarel na papiru, 28 x 29 cm, Muzej grada Rijeke Božena Vilhar, Interior of the Printing Shop of the National Liberation Committee Propaganda Department for the Croatian Littoral, 1945, watercolour on paper, 28 x 29 cm, The City Museum of Rijeka

The Museum fund contains a considerable amount of works by Belizar Bahori}, Božena Vilhar Žirovnik, Zdenko Venturini and Ivan Turina. These are first of all, psychological portraits of their co-fighters, young partisans. The works have socrealistic and often caricatural features, which despite of the dramatic situation and character’s concern, emphasize the fighter’s daring. The drawings are simple, made with pencil and ink on paper; only a few works were kept in watercolours. Even on the most complex illustrations, with the topic related to carrying the wounded and march, we can see fear and uncertainty of the painter’s situation, expressed in fast, almost sketching hand strokes. Three works by Božena Vilhar Žirovnik, made in crayons, also belong to this group. These works are remarkable for their particular artistry and calmness, so it can be justifiably presumed that the author made them after she had returned from the 11

Nepoznati autor, 1. tenkovska brigada 4. JA u Gorskom kotaru, 1945., fotografija, Muzej grada Rijeke Unknown author, 1st Tank Brigade 4th Yugoslav Army in Gorski Kotar, 1945, photograph, The City Museum of Rijeka

poredak do kojega }e dovesti, službeno nazvana, Narodnooslobodila~ka borba. U borbu odlaze intelektualci i akademski slikari, i to nije slu~ajnost jer oni postaju itekako aktivni suradnici Agitpropa (agitacija i propaganda).

U fundusu Muzeja nalazi se znatna koli~ina radova Belizara Bahori}a, Božene Vilhar Žirovnik, Zdenka Venturinija i Ivana Turine. Rije~ je prije svega o psihološkim portre-

tima njihovih suboraca, mladih partizana. Radovi su socrealisti~kih i nerijetko karikaturalnih obilježja, u njima se unato~ dramati~nosti situacije i zabrinutosti lika naglašava odvažnost borca. Crteži su jednostavni, napravljeni olovkom i tu{em na papiru; svega je nekoliko radova sa~uvano u akvarel tehnici. ^ak i na kompleksnijim prikazima, temom vezanima uz nošenje ranjenika i marša, prepoznaje se strah i neizvjesnost situacije u kojoj se slikar nalazi, što do~arava brzim, gotovo skicoznim Nepoznati autor, Pripadnici jedinice 4. JA u Istri, 1945., fotografija, Muzej grada Rijeke Unknown author, Members of the 4th YA in Istria, 1945, photograph, The City Museum of Rijeka

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Nepoznati autor, Slavlje u oslobo|enom Krku, 1945., fotografija, Muzej grada Rijeke Unknown author, Celebration in the liberated Krk, 1945, photograph, The City Museum of Rijeka

battlefield. The models for making the canvasses were kept in the Museum fund. During the war, Božena Vilhar Žirovnik worked at the Printing Shop of the National Liberation Committee Propaganda Department for the Croatian Littoral in Smolnik. The large sculptures, with the topic of wounded men, bring an even more dramatic story, with highly expressive impression. These are the works by Vanja Radauš and Vjekoslav Ruklju~ cast in bronze, made after the war. Particular attention was paid to the composition and movement, which together with their design skills, lists them among the more significant artistic achievements.

The medium of photography is perhaps most lively in describing the painful topic of war, fear, risk, pride and satisfaction... This is why the exhibition was enriched by good photographic material. Photographs have been classified into two groups, according to the topic, or place and time of their making – photographs from the battlefields and Viktor Hreljanovi}, Obnova rije~ke luke, oko 1945., fotografija, Muzej grada Rijeke Viktor Hreljanovi}, Reconstruction of Rijeka port, around 1945, photograph, The City Museum of Rijeka

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potezima rukom. U ovu skupinu spadaju i tri rada Božene Vilhar, napravljena u pastel tehnici. Ovi se radovi isti~u osobitom likovnoš}u i mirno}om pa je opravdano pretpostaviti da ih autorica radi naknadno, po povratku s bojišnice. Predlošci za izradu tih platna sa~uvani su u fundusu Muzeja. Tijekom rata Božena Vilhar Žirovnik djelovala je u Štampariji Propodjela okružnog NOO-a za Hrvatsko primorje u Smolniku. Još dramati~niju radnju, s visokim ekspresivnim dojmom, donose skulptorski radovi pozamašnih dimenzija na temu ranjenika. To su radovi Vanje Radauša i Vjekoslava Ruklju~a izliveni u bronci, a nastali po završetku rata. Izrazita pažnja posve}ena je kompoziciji i pokretu, što ih, zajedno s vještinom oblikovanja, svrstava u zna~ajna umjetni~ka postignu}a.

Medij fotografije možda ipak najživopisnije približava mu~ne teme rata, straha, rizika, ponosa i zadovoljstva... Zbog tog je razloga izložba oplemenjena kvalitetnim fotografskim materijalom. Fotografije su prema temi, odnosno mjestu i vremenu nastanka podijeljene u dvije grupe – fotografije s bojišnica i one iz vremena poratne obnove. Rije~ je o dokumentarnoj fotografiji, ali i fotografiji visokoga umjetni~kog izri~aja, kakvu nam ostavljaju Viktor Hreljanovi}, Krsto Šojat, Ivan Malnar i drugi.

Ove fotografije su važne jer dokumentiraju tijek rata na prostoru Gorskog kotara i Hrvatskog primorja.

Propaganda Propagandni materijal naslije|en iz fundusa nekadašnjeg Muzeja narodne revolucije gotovo je neiscrpan. Tadašnji Muzej osnovan je kao proizvod pomno planirane i sofisticirane agitacijske propagande. ^injenica da je zgrada Muzeja gra|ena namjenski – u funkciji muzeja specijaliziranog sadržaja i naglašenoga politi~kog predznaka – govori u prilog važne zada}e u kontekstu propagandne misije koja je ustanovi bila namijenjena. Arhitekt zadužen za realizaciju zdanja bio je Neven Šegvi}.

Važnost zada}e nije nimalo podcijenio, ve} je, prate}i svjetske trendove, stvorio impresivno zdanje suvremene modernisti~ke arhitektonske artikulacije. Na izložbi (R)evolucija u Muzeju grada Rijeke postavljeni su tek odabrani primjerci propagandnog materijala iz starije ustanove. Ve}inom je rije~ o tiskanim proglasima do 1945. godine, koji pozivaju na borbu i traže hrabrost. Osim upe~atljivih parola kao što su "smrt fašizmu sloboda narodu" i drugih imperativa s naglaskom na slobodu, proglasi su oboga}eni vrijednim i nadasve kreativnim vizualnim materijalom. Zas­ tupljena su karikatura i strip te crteži visoko realisti~noga likovnog izri~aja. Budu}i da su pomno sociološki utemeljeni, proglasi se razlikuju sadržajem putem kojega 14

those made during the postwar restoration. These are all documentary photographs, with high artistic expression, such as those by Viktor Hreljanovi}, Krsto Šojat, Ivan Malnar and others. These photographs are important as they documented the course of war in the area of Gorski Kotar and the Croatian Littoral.

Božena Vilhar Žirovnik, Skica za sliku Primorke u NOB-u, oko 1945., tuš na papiru, 13 x 21 cm, Muzej grada Rijeke Božena Vilhar Žirovnik, Sketch for the painting Women from the littoral in the National Liberation Struggle, around 1945, ink on paper, 13 x 21 cm, The City Museum of Rijeka

Propaganda Propaganda material inherited from the fund of the former Museum of National Revolution is almost inexhaustible. The then Museum was founded as the product of carefully planned and sophisticated agitation propaganda. The fact that the Museum building was purposefully constructed – as the museum of specialized content and pronounced political inclination – speaks in favour of its important task in the context of propaganda mission intended for the institution. The architect in charge of the edifice completion was Neven Šegvi}. He did not underestimate the importance of the task, but following global trends, he created an impressive structure of contemporary modernistic architectural articulation. The exhibition (R)evolution in the City Museum of Rijeka contains only the selected examples of propaganda material from the earlier institution. These are mostly printed proclamations issued until 1945, inviting to fight and asking for courage. Besides the impressive slogans, such as "death to Fascism, freedom to the people", and other imperatives emphasizing freedom, the slogans were enriched with valuable and above all creative visual material. They contain caricature, comics and drawings of highly realistic visual expression. As they are carefully sociologically based, the slogans have different content by which they relate to 15

Tiskarski stroj, fotografija s nekadašnjeg postava Muzeja narodne revolucije, Muzej grada Rijeke Printing machine, photograph from the former display of the Museum of National Revolution, The City Museum of Rijeka

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se obra}aju odabranoj populaciji – djeci, ženama, muškarcima ili nekoj drugoj skupini. Djelotvornost propagande u ratnim godinama bila je neupitna. U prilog tome govori muzealizacija tiskarskog stroja iz partizanske tiskare u Smolniku. Stroj je imao važnu ulogu u tiskanju propagandnog materijala. Tiskovni materijal koji se ~uva u Muzeju grada Rijeke vezan je uz zemljopisni prostor sjevernog Kvarnera, Gorskog kotara i Istre, i zna~ajno je povijesno vrelo kada govorimo o tijeku Drugoga svjetskog rata na ovim prostorima.

Edo Murti}, Nevine Ĺžrtve traĹže osvetu, sredina 20. stolje}a, plakat, ofset tisak, Muzej grada Rijeke Edo Murti}, Innocent victims seeking revenge, middle of the 20th century, poster, offset printing, The City Museum of Rijeka

the chosen population – children, women, men or some other group. The effectiveness of the propaganda in war times was undeniable. The musealisation of the printing press from the partisan printing shop in Smolnik speaks in favour of that. The printing press had an important role in printing the propaganda material. Printing material kept in the City Museum of Rijeka is related to the geographical area of the northern Kvarner, Gorski Kotar and Istria, and represents a significant historical source for the course of the Second World War in the area.

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Živio 8. mart – me|unarodni dan žena, letak, knjigotisak, 35,5 x 26 cm, Štamparija Primorski vjesnik, Muzej grada Rijeke Long Live 8th March – International Women’s Day, flier, typography, 35,5 x 26 cm, Printing office Primorski Vjesnik, The City Museum of Rijeka 18

Izgradimo Omladinsku prugu, sredina 20. stolje}a, plakat, ofset tisak, Muzej grada Rijeke Let’s build the Youth Rail, middle of the 20th century, poster, offset printing, The City Museum of Rijeka 19

Stvaranje kulta li~nosti Sljede}i segment izložbe definiran je faraonskim statusom i ropskom pokornoš}u kultu lika i djela Josipa Broza Tita. Povijesni hodogram formiranja politi~kog vo|e stvarao se još od 1920. kada Josip Broz zapo~inje politi~ku karijeru kao ~lan Komunisti~ke partije Jugoslavije. Krajem 30-ih (1937.) postao je njezinim generalnim sekretarom, a nedugo zatim jednim od glavnih organizatora Narodno­oslo­bodila~kog pokreta. Nakon 2. zasjedanja AVNOJ-a u Jajcu, Josip Broz izabran je za maršala i predsjednika Nacionalnog komiteta oslobo|enja Jugoslavije. Potom }e na ~elu Jugoslavije ostati do svoje smrti 1980., više od tri desetlje}a. Kult li~nosti gradio se od samog po~etka, ve} u ratu, planski i putem svih medija, sustavno i megalomanski.

Na izložbi je predstavljeno stvaranje kulta Vo|e kroz (angažiranu) umjetnost. Osim tipiziranih ulja na platnu i bista, važan su simbol komunisti~ke ideologije i štafete.

Vladimir Udatny, Portret Josipa Broza Tita, druga polovica 20. stolje}a, olovka na papiru, 41 x 51 cm, Muzej grada Rijeke Vladimir Udatny, Portrait of Josip Broz Tito, second half of the 20th century, pencil on paper, 41 x 51 cm, The City Museum of Rijeka Me|u nebrojenim tipiziranim likovnim ostvarenjima koja prikazuju Tita, u Muzeju se nalazi i jedan druk~iji.

Slika je djelo Vladimira Udatnija. Skromnom tehnikom, tek olovkom na papiru, Udatny ambiciozno slika strogog i ponosnog vo|u, ali gotovo neprepoz­ natljivih facijalnih karakteristika. Portret je napravljen brzim i oštrim potezima rukom i opisuju ga kubisti~ke ili ~ak futuristi~ke stilske odlike.

Among the numerous typical artistic achievements showing Tito, there is one unique piece at the Museum. The painting is the work by Vladimir Udatny. Using a modest technique, pencil on paper, Udatny ambitiously drew a strict and proud leader, but with almost unrecognizable facial features. The portrait was made with fast sharp strokes and has cubist, even futuristic stylistic features.

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Creating the Cult of Personality The following segment of the exhibition is defined by the pharaoh status and slave-like subservience to the cult of the character and work of Josip Broz Tito. The historic flow of forming the political leader was created ever since 1920, when Josip Broz started his political career as a member of the Yugoslav Communist Party. At the end of the 1930s (1937), he became its general secretary, and shortly after, one of the main organizers of the National Liberation Movement. After the Second Session of the Anti-Fascist Council for the National Liberation of Yugoslavia in Jajce, Josip Broz was elected for the marshal and president of the National Committee of the Liberation of Yugoslavia. Afterwards, he remained as the head of Yugoslavia until his death in 1980, for more than three decades.

The cult of personality was built from the very beginning, already in the war, in a planned manner and through all the media, systematically and in a megalomaniac manner.

The exhibition presents the creation of the cult of the Leader through (engaged) art.

Besides the typical oils on canvass and busts, batons are also an important symbol of communist ideology. The City Museum of Rijeka owns a collection of batons dating from Tito’s death until the end of the manifestation (i.e. from 1980 until the last relay race in 1987). These are about a hundred batons by the then Rijeka labour organizations, associations, local communities, faculties and schools. Batons from this collection are mostly made in the similar artistic manner, marked by the dull typical form with some handicraft and none artistic value. There are few exceptions to this, distinguished by their skilful performance.

1 In 1970, the film Battle on the Neretva, directed by Veljko Bulaji}was the most popular film in the period from 1947 – 1977 in Rijeka, and according to cinematography reports there were 79 004 spectators. The film Kozara,also directed byVeljko Bulaji}, was 22nd on the list, seen by 29645 spectators in 1962 in Rijeka. (Ervin Dubrovi}, Kinematografija u Rijeci, City Museum of Rijeka, Rijeka, 1997, p. 184.)

Štafeta Koksare Bakar, 1980., metal/plastika/koks, 41 x 23 cm, Muzej grada Rijeke Baton of the Coke Factory Bakar, 1980, metal/ plastics/coke, 41x23 cm, The City Museum of Rijeka

The myth about Tito was built through film art. It was of the utmost importance which films had been seen by the marshal, when he had seen them and in whose company.

This is the atmosphere for the exhibition The Grand Illusion at the Museum of Yugoslav History in Belgrade, which in one segment, entitled The Red Wave, participates in this exhibition. The video material from The Red Wave brings four film scenes on the topic from the National Liberation Struggle: Kozara, Landing on Drvar, Battle on the Neretva and The Sutjeska.1 The accompanying photographic material witnesses about Tito and his world renowned guests with whom he enjoyed to watch films. Some of these guests were the Indonesian statesman Sukarno, the Iranian Shah Reza Pahlavi, the British princess Margaret and the Dutch queen Juliana.

All topics in the exhibition are connected with the history of the native region. Therefore, the segment Creating the Cult of Personality is related to the attention that Tito got in this region. This is obvious in the video materials Rijeka Under Restoration, made in the postwar years, where the camera caught the scenes of celebration, general rapture and ovation to the marshal by the crowd. This video brings the story of serious difficulties the city was in during the postwar years. The area of Rijeka, as 21

1 Godine 1970. film Bitka na Neretvi u režiji Veljka Bulaji}a bio je najgledaniji film u razdoblju 1947. – 1977. u Rijeci, a prema kinematografskim izvještajima zabilježena su 79 004 gledatelja. Film Kozara, tako|er u režiji Veljka Bulaji}a, svrstan je na 22. mjesto jer ga je 1962. u Rijeci pogledalo 29 645 gledatelja. (Ervin Dubrovi}, Kinematografija u Rijeci, Muzej grada Rijeke, Rijeka, 1997., str. 184.)

Muzej grada Rijeke posjeduje zbirku štafeta u razdoblju od Titove smrti do prestanka obilježavanja manifestacije (tj. od 1980. do posljednje štafete 1987.). Rije~ je o stotinjak štafeta tadašnjih rije~kih radnih organizacija, udruga, mjesnih zajednica, fakulteta i škola. Štafete iz ove zbirke uglavnom su izvedene u sli~noj likovnoj maniri, obilježava ih dosadna tipska forma s ponešto zanatske i nimalo umjetni~ke vrijednosti.

Svega je nekoliko iznimaka koje se osobito isti~u umije}em izvedbe.

2 Neven Šanti}, Društveno politi~ki sustav, u: Rijeka i regija u Titovo doba (1945. – 1990.), Društvo Josip Broz Tito Rijeka, Rijeka, 2012., str. 11.

Fama o Titu gradila se i kroz filmsku umjetnost. Silno je bilo važno koje je filmove maršal odgledao, kada je to radio i u društvu kojih izabranika. U tom je tonu bila postavljena izložba Velika iluzija u Muzeju istorije Jugoslavije u Beogradu, koja u jednom svojem segmentu, pod nazivom Crveni talas, sudjeluje i na ovoj izložbi. Videomaterijal iz Crvenog talasa donosi ~etiri filmska uprizorenja na temu NOB-a: Kozara, Desant na Drvar, Bitka na Neretvi i Sutjeska.1 Popratni fotografski materijal usmjeren je na svjedo~anstvo o Titu i njegovim svjetski poznatim gostima s kojima je uživao u gledanju filmova. Neki od tih gostiju bili su i indonezijski državnik Sukarno, iranski šah Reza Pahlavi, britanska princeza Margareta i kraljica Nizozemske Julijana.

3 Zdenko Pleše, Tito ~est gost, u: Rijeka i regija u Titovo doba (1945. – 1990.), Društvo Josip Broz Tito Rijeka, Rijeka, 2012., str. 192.

Sve teme obra|ene izložbom povezane su sa zavi~ajnom povijesti. Stoga je segment Stvaranje kulta li~nosti povezan s pažnjom koja je Titu pridana u ovim krajevima.

Vidljivo je to iz videomaterijala nastalog u poslijeratnim godinama Rijeka u obnovi u kojem su kamerom uhva}eni kadrovi slavlja, op}eg zanosa i ovacija koje je mnoštvo odavalo maršalu. Ovaj videomaterijal donosi pri~u o ozbiljnim poteško}ama koje su u poslijeratnim godinama zadesile grad. Podru~je Rijeke, kao i Gorskog kotara, Istre i sjevernojadranskih otoka, tijekom Drugoga svjetskog rata doživjelo je velika razaranja.

Stoga se vrlo brzo trebalo riješiti brojnih ruševina, sprije~iti glad, prona}i smještajne kapacitete te normalizirati rad proizvodnih pogona.2 Uz fotografski materijal, priložena je i višestruko citirana fotografija iz listopada 1946. na kojoj Tito, tijekom otvorenja mosta na Rje~ini, simboli~no spaja Rijeku i Sušak u jedan grad.3

Druga strana komunisti~ke ideologije Tema Stvaranje kulta li~nosti u izložbenom je prostoru zrcalno suprotstavljena druga krajnost pod nazivom Druga strana komunisti~ke ideologije. Kroz suvremenu umjetnost do~aran je tragi~an fenomen Golog otoka, ~ime op~injenost Titom i Partijom dobiva puniji kontekst. Komunisti~ki režim, kao i svaka isklju~ivost, u svojoj je biti totalitaran, isklju~iv i ne trpi nikakvu, ni politi~ku ni društvenu, konkurenciju. Karakterizira ga nemilosrdna partijska arbitraža i ~vrsta ruka koja ne}e ustuknuti ni pred pogreškama svojih ~lanova Partije, a ponajmanje }e prezati uzeti živote svih ostalih koji ne misle kao Partija. Po završetku rata, pod velom antifašisti~ke i 22

well as of Gorski Kotar, Istria and northern Adriatic islands, suffered serious destruction during the Second World War. Therefore, numerous ruins had to be removed fast, hunger had to be prevented, accommodation capacities found and the operation of production plants normalized.2 The photographic material is accompanied by the highly cited photograph from October 1946, where Tito on the occasion of opening the Rje~ina bridge, symbolically connects Rijeka and Sušak into one city.3

Nepoznati autor, Tito u Rijeci prilikom obilježavanja 25. obljetnice oslobo|enja, 1970., fotografija, Muzej grada Rijeke Unknown author, Tito in Rijeka on the occasion of the 25th anniversary of liberation, 1970, photograph, The City Museum in Rijeka

The Other Side of Communist Ideology In the exhibition room, the topic The Cult of Personality is juxtaposed by the other extreme entitled The Other Side of Communist Ideology. Contemporary art evokes the tragic phenomenon of the island Goli otok, providing a complete context for the fascination with Tito and the Party. In its core, the communist regime, as any other exclusivity, is totalitarian, exclusive, and intolerable to any, political or social, competition.

It is characterized by merciless party arbitrage and a firm hand, which did not back away from mistakes of Party members, and least of all, shrink from taking lives of those who did not think like the Party. At the end of the war, under the veil of antifascist and class struggle, there were mass liquidations and violence; several hun-

2 Neven Šanti}, Društveno politi~ki sustav, in: Rijeka i regija u Titovo doba (1945 – 1990), Josip Broz Tito Association Rijeka, Rijeka, 2012, p. 11.

3 Zdenko Pleše, Tito ~est gost, in: Rijeka i regija u Titovo doba (1945 – 1990), Josip Broz Tito Association Rijeka, Rijeka, 2012, p. 192.

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4 Goran Juriši}, Tragom žrtava Jugokomunizma – Huda jama stravi~an je uvod u ostale Titove Jame (4), Hrvatsko slovo, Zagreb, 9. listopada 2009.

5 Josip Jur~evi}, Crna knjiga komunizma u Hrvatskoj – zlo~ini jugoslavenskih komunista u Hrvatskoj 1945., Po~asni bleiburški vod, Zagreb, 2006.

6 Slobodan Novak, Ostaje li antifašisti~ka baština bez baštinika?, Književna Rijeka, br. 1, godište XIV., Rijeka, 2009., str. 2–4.

7 Vladimir Bobinac, NA GOLOM OTOKU ...informbirovac..., Književna Rijeka, br. 3, godište XV., Rijeka 2010., str. 13–87.

klasne borbe, doga|ale su se masovne likvidacije i nasilje; samo je u Sloveniji otkriveno i obilježeno više stotina masovnih stratišta.4 Ratovi nose breme teških stradanja, tako }e i poslijeratna Jugoslavija ostati odgovorna za brojne zlo~ine po~injene iz osvete i/ili ideološke isklju~ivosti, po~esto i zbog obi~ne plja~ke. Oni najgori po~injeni su po završetku rata i nose simboli~an naziv Križni put(evi) 1945.5 Da bi se shvatila razlika izme|u antifašizma i komunizma, katalogu je priložen ulomak teksta Slobodana Novaka pod naslovom Ostaje li antifašisti~ka baština bez baštinika? koji kroz autorovo neposredno ratno iskustvo progovara o problemu atribucije politi~ko-ideoloških pokreta, a obra}a se i Golooto~anima i njihovim isljednicima.6 ...U takvom okruženju lako se zaboravlja da antifašizam nisu izmislili ni Staljin, ni Tito, ali su ga dobro kapitalizirali. Nisu ga izmislili ni oni što se danas, idealisti~ki, možda, i bez kakve ra~unice, ipak usrdno i fanati~no odaju kumrove~kom ~elobitiju i proskinezi, i koji viafacti dominiraju za okruglim stolovima. Niti oni koji drže pateti~ne govore samo nad ratnim Jasenovcem, kao da poslijeratnoga nije ni bilo, ali ne i nad jazovkama, ne u Bleiburgu, ne na Golome, ne u Gradiškama, Lepoglavi, ne nad stotinama masovnih grobnica..., ve} radije neutješni hodo~aste Augustin‑ ~i}evu bron~anome totemu, ili beogradskoj ku}i (uvelog) cvije}a, traže}i utjehu na krivome mjestu, umjesto ispituju}i svoju savjest. (Slobodan Novak) Ovaj tekst odre|uje polazište za promišljanje i jasnu detekciju problema koji se javljaju pri interpretaciji lica i nali~ja revolucije proletarijata i komunisti~ke ideologije. Tu svakako potrebnu istraživa~ku pažnju treba posvetiti Golom otoku, osobito u prvim godinama njegova djelovanja, tj. od 1949. kada na njemu djeluje nemilosrdna kaznionica i gubilište za neistomišljenike, po na~elima sovjetskih gulaga. Otok je bio "odgojna" ustanova, poznat po posebno okrutnim metodama preodgoja. U logoru je doju~erašnji drug došao kao "banda" – izdajnik – i tako se prema njemu ophodilo, sve dok ne bi "revidirao", bio izveden na pravi put Tita i Partije.

Otok koji danas slikovito pluta u moru zlo~ina 20. stolje}a, ovaj put nije politi~ki interpretiran, nego predo~en kroz o~ište umjetnika i živu rije~ književnika. Suvremenu kaznionicu valja predstaviti kroz suvremene medije pa stoga ostatke ovog otoka fotografijom i videom publici približavaju studenti Akademije primijenjenih umjetnosti u Rijeci i drugi umjetnici. Jedan od zna~ajnijih radova svakako je videoinstalacija pod nazivom Crna protoplazma autora Dominika Grdi}a. U ovom filmu nedefinirana i bezli~na crna masa prolazi kroz napuštene prostore Golog otoka, prolazi kroz mjesta muke i smrti i skriva se u zaboravu. Mjesto na kojemu se komunisti~ki režim sladio "mesom iz vlastita krda", danas je namjerna ruševina. O teškom "životu" na otoku posebno intimno govore rije~i Golooto~ana, književnika Ante Zemljara i profesora povijesti Vladimira Bobinca.7

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dreds of mass execution sites were discovered and marked in Slovenia only.4 Wars carry the burden of considerable hardship, so the postwar Yugoslavia remained responsible for numerous crimes committed out of revenge and/or ideological exclusivity, often out of shear robbery. The worst crimes, symbolically named Station(s) of the Cross, were made after the war, in 1945.5 In order to understand the difference between anti-fascism and communism, the catalogue contains an extract from the text by Slobodan Novak, entitled Does the Anti-Fascist Heritage Remain Heirless?, which speaks through the direct author’s war experience about the problem of attribution of the political-ideological movements, addressed both to Goli otok convicts and its investigators.6

4 Goran Juriši}, Tragom žrtava Jugokomunizma – Huda jama stravi~an je uvod u ostale Titove Jame (4), Hrvatsko slovo, Zagreb, 9 October 2009.

5 Josip Jur~evi}, Crna knjiga komunizma u Hrvatskoj – zlo~ini jugoslavenskih komunista u Hrvatskoj 1945., Honorary Bleiburg Division, Zagreb, 2006.

6 Slobodan Novak, Ostaje li antifašisti~ka baština bez baštinika?, Književna Rijeka, no. 1, file XIV, Rijeka, 2009, pp. 2–4.

...In such surroundings, it is easily forgotten that anti-fascism was not invented by Stalin or Tito, but that they exploited it well. It was not invented by those who even today, idealistically perhaps, without any material interest, but still ardently and fanatically give over to Kumrovec curtsey and proskynesis, and who via facti dominate at round tables. Neither was it invented by those who hold pathetic speeches only at war-struck Jasenovac, as if there was no postwar Jasenovac, but not at pits, not in Bleiburg, not on Goli otok, not in Gradiške, Lepoglava, not at hundreds of mass graves..., but they rather make their pilgrimage to the Augustin~i}’s bronze totem, or Belgrade house of (withered) flowers, seeking solace in the wrong place, instead of questioning their conscience. (Slobodan Novak) This text determines the starting point for deliberation and clear detection of the issues arising from interpreting the obverse and reverse of proletarian revolution and communist ideology. In this case, the research focus should be necessarily placed on Goli otok, particularly in the first years of its operation, i.e. from 1949, when the merciless penitentiary and execution place operated there, according to the principle of the Soviet gulag. The island was an "educative" institution, notorious for its particularly cruel methods of reforming. In the camp, the yesterday’s comrade came as traitor, and was treated as such, all until he would "reconsider", and come on the right path of Tito and the Party.

This time, the island that today metaphorically floats in the sea of the 20th century crime, is not politically interpreted, but illustrated through the point of view of artists and writers’ live words. The contemporary penitentiary should be presented through modern media, therefore, the remains of the island are brought closer to the audience through photography and video by the students of the Academy of Applied Arts in Rijeka and other artists. One of the more significant works is certainly the video installation entitled Black Protoplasm by the author Dominik Grdi}. In the film, the undefined and featureless black mass passes through derelict spaces of Goli otok, passes through the places of torture and death and hides in oblivion. The place where the communist regime enjoyed "the meat from their own herd", is today an intentional ruin. The difficult "life" on the is25

U kamenolomu Uklesan u kamenu kamenolom – i ljudi u njemu udarani zrakama Sunca – batom, klinovima i šipkama od stijena lome kamen i, potom, kamene blokove vuku saonicama, nema snijega!, upregnuti ljudi vuku i grade od kamena tamnice golooto~ke katedrale.

(Vladimir Bobinac)

Škola Tukli nas da bismo vikali (tito, tito) škola je ovo tukli nas da bismo cinkali škola je ovo tukli nas da bismo tukli škola je ovo poslije školovanja i nama i njima ostaje li svijeta za koji smo školovani?

(Ante Zemljar)

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Izložba obuhva}a vremensko razdoblje od 1943. do po~etka 50-ih godina kada se može datirati ve}i dio materijala vezan uz NOB i poslijeratnu obnovu. Temi se nije pristupilo s povijesnog stajališta, ve} povjesni~arsko-umjetni~kog, pa je za interpretaciju doga|anja u spomenutom razdoblju korišten dostupan umjetni~ki materijal. Muzej narodne revolucije nudi raznolik i vrijedan materijal, isklju~ivo afirmativan za komunizam, u umjetni~kom kontekstu, hvalospjevan. Ravnoteža koncepcije izložbe postignuta je dodavanjem golooto~ne impresije umjetnika primijenjene umjetnosti. Druga strana komunisti~ke ideologije nametnula se kao objašnjenje mehanizma koji je režim koristio u svrhu održavanja sustava i utjerivanja op}eg straha u život onih za koje je smatrao da im to treba, tj. svih koji su mislili druk~ije.

A opet sve uzalud: padom Berlinskog zida komunizam je propao, a njegovi ostaci još tinjaju u Sjevernoj Koreji i na Kubi.

Kroz medij likovne umjetnosti, izložbom (R)evolucija u Muzeju grada Rijeke pre­ do~ena je teška i za interpretaciju otvorena povijesna tema. Nastoje se objektivizirati nova/stara pitanja i pristupiti temi s umjetni~kog aspekta, stvaraju}i angažirani izložbeni koncept. Izložba ne daje kona~ne odgovore, ali zapravo pita i propituje – u prvom redu je li za ovakav izložbeni pristup uop}e napravljen dovoljan vremenski odmak u odnosu na razdoblje koje je prikazano? Smatram da se ~istim lar­purla­ rtisti~kim pristupom izložbenom konceptu, lišenom svake povijesne simpatije i predrasude, mogu najbolje do~arati neka od povijesnih kretanja sredine dvadesetog stolje}a. Primarno naslutiti duh borbe i revoluciju, zatim visoko pla}enu cijenu i svrhu.

Neke }e povijesne dionice dosta toga dovesti pred sud savjesti. Stoga završavam ovaj prikaz u nadi da }e izložba pridonijeti razumijevanju umjetni~kih kretanja unutar zadanog vremena, a da }e se kontekstualizacijom umjetnosti unutar povijesnog razdoblja otvoriti novi vidici za budu}e povijesne analize.

land is described in particularly intimate words by the Goli otok convicts, the writer Ante Zemljar and the history teacher Vladimir Bobinac.7 The exhibition encompasses the time period from 1943 until the beginning of the 1950's, when most of the materials related to the National Liberation Struggle and postwar restoration can be dated. The topic was not approached from a historical point of view, but from a historiographical and artistic view, so the available artistic material was used in the interpretation of events during the mentioned period. The Museum of National Revolution offers a diverse and valuable material, exclusively affirmative towards communism, panegyric in the artistic context. The balance of exhibition concept was achieved by adding the impression of Goli otok by the artists of the applied arts. The Other Side of Communist Ideology imposed itself as an explanation of mechanisms used by the regime for the purpose of maintaining the system and striking terror into the lives of those who thought differently. All in vain: with the fall of the Berlin Wall, communism was ruined, while its remains still smoulder in North Korea and Cuba.

Through the media of visual art, the exhibition (R)evolution in the City Museum of Rijeka shows a difficult historical topic, open for interpretation. New/old issues tried to be objectivized and the topic approached from the artistic aspect, creating an engaged exhibition concept. The exhibition does not provide final answers, but actually poses questions and challenges – first of all, whether the time distance is sufficient enough for such an approach considering the presented period? I believe that the pure "l’art pour l’art" approach to the exhibition concept, without any historical sympathies or prejudice, can best illustrate some historical movements in the middle of the 20th century. Primarily, to indicate the spirit of the struggle and revolution, then the highly paid price and purpose. Some historical segments will be quite soul-searching. Therefore, I would like to end this review with the hope that the exhibition will contribute to the understanding of the artistic movements within the given period, and that the contextualization of art within a historical period will open new views for future historical analyses.

In the quarry Quarry chiselled in stone – and people in it struck by rays of Sun – break the stone with mallets, keys and bars, and then pull the stone blocks with a sleigh, without snow! Harnessed people pull and build the stone prisons of the Goli otok cathedral.

(Vladimir Bobinac)

School They beat us to shout (tito, tito) this is school they beat us to snitch this is school they beat us to beat this is school after schooling do us and them have the world for which we were schooled?

(Ante Zemljar)

7 Vladimir Bobinac, NA GOLOM OTOKU ...informbirovac..., Književna Rijeka, no. 3, year XV, Rijeka 2010, pp. 13–87.

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Marija Lazanja Duševi}

Muzej narodne revolucije

Osnivanje

1 Petra Zrinskog 12.

2 Ve} 1962. pravo osniva~a preneseno je na Op}inu Rijeka.

3 Ravnatelji Muzeja narodne revolucije: Ante Marohni} (1961. – 1963.), v.d. Krešimir Topljak (1963. – 1964.), Boško Kon~ar(1964. – 1983.), Rastko Schwalba (1983. – 1992.), v.d. Mladen Grguri} (1993. – 1994.).

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Muzej narodne revolucije u Rijeci djelovao je trideset tri godine, od kojih petnaest godina na Trsatu i osamnaest u zgradi u kojoj je danas smješten Muzej grada Rijeke. Uporište za samo osnivanje nalazimo još neposredno nakon Drugoga svjetskog rata u okviru društvenih tendencija, odnosno povijesnih i politi~kih prilika. Podjela grada na Rijeku i Sušak rezultirala je time da je svaki od ova dva grada imao i svoj muzej pa je Gradski muzej u Rijeci (Museo Civico) osnovan 1893., a Gradski muzej u Sušaku 1933. godine. Nakon 1945. oba muzeja nastavljaju s radom, s time da je suša~ki preimenovan u Muzej Hrvatskog primorja. Oba su muzeja 1948. spojena u Narodni muzej koji je kao jedinstvena ustanova djelovao do 1961. kada se opet preimenovao u Pomorski i povijesni muzej, a iz nje­ga se izlu~ila gra|a vezana za narodnu revoluciju. Ta je gra|a bila uporište za osnivanje Muzeja narodne revolucije 30. svibnja 1961., sa sjedištem u ku}i grofa Lavala Nugenta na Trsatu1. Do same ideje za izlu~ivanje gra|e iz Narodnog muzeja i osnivanja samostalne ustanove koja }e se baviti tematikom revolucije došlo se uo~i obilježavanja ~etrdesete obljetnice Komunisti~ke partije Jugoslavije 1959., o ~emu svjedo~e godišnji izvještaji Muzeja narodne revolucije iz 1961. godine. Upravo se, me|utim, dvadeseta obljetnica ustanka i narodne revolucije obilježila kona~nim osnivanjem Muzeja narodne revolucije i njegovim otvaranjem za javnost. Osniva~ Muzeja bio je NO Op}ine Sušak s obzirom na to da se Muzej smjestio u zgradu koja se nalazila na Trsatu2. Tadašnji je Savjet za kulturu op}ine održao zajedni~ku sjednicu s novoosnovanim Savjetom Muzeja narodne revolucije, odobrio predloženi Statut, sistematizaciju i financijski plan. NO Op}ine Stari Grad, tada nadležan za Narodni muzej, dao je u obliku donacije najnužnija financijska sredstva za pokri}e rashoda, kojim je ~inom nastao novi muzej. U trenutku osnivanja Muzej je imao tri zaposlenika, eksponati su i službeno bili izlu~eni iz Narodnog muzeja te se po~elo s radom, a prvi ravnatelj Muzeja bio je Ante Marohni}3.

Ovaj Muzej je potreban i zbog toga da se ve} jednom to~no po~ne pisati, naro~ito o radni~kom pokretu. Po~eci radni~kog pokreta lociraju se negdje na sjever, a on je

Marija Lazanja Duševi}

The Museum of National Revolution

Establishment The Museum of National Revolution in Rijeka operated for thirty-three years, fifteen years on Trsat and eighteen years in the building of today’s City Museum of Rijeka.

The foothold for its foundation can be traced back to the end of the Second World War in the framework of social tendencies, that is, historical and political circumstances.

The city was divided into Rijeka and Sušak, which resulted in both cities having their own museums, the City Museum in Rijeka (Museo Civico) founded in 1893, and the City Museum in Sušak founded in 1933. After 1945, both museums continued working, with the Sušak museum being renamed into the Museum of the Croatian Littoral.

Both museums were merged in 1948 into the National Museum, which operated as a unique institution until 1961, when it was renamed again into the Maritime and History Museum, which provided the material related with the national revolution. This material was the basis for founding the Museum of National Revolution on 30 May 1961, with the seat in the house of the count Laval Nugent on Trsat1. The very idea for separating the material from the National Museum and founding an independent institution which would deal with the topic of revolution arose on the eve of celebrating the fortieth anniversary of the Yugoslav Communist Party in 1959, which is witnessed by the annual reports of the Museum of National Revolution from 1961. However, it was the twentieth anniversary of uprising and national revolution that was marked by the final establishment of the Museum of National Revolution and its opening for the public. The Museum founder was the National Committee of the Sušak District, considering that the Museum was located in the building on Trsat2. The then Council for District Culture held a joint session with the newly-founded Council of the Museum of National Revolution, approving the suggested Statute, systematization and the financial plan. The National Committee of the Old Town District, responsible for the National Museum until then, provided in the form of a donation, the most necessary financial means to cover the expenses, which is how the museum came to be. At the moment of its establishment, the Museum had three employees, the displays were officially extracted from the National Museum, and it started with its work, with the first Museum manager being Ante Marohni}3.

This Museum is necessary so that we can start writing, particularly about the labour movement. The beginnings of the labour movement are located somewhere in the

1 Petra Zrinskog 12.

2 The founding rights were transferred to Rijeka District in 1962.

3 Heads of the Museum of National Revolution: Ante Marohni} (1961–1963), act.man. Krešimir Topljak (1963–1964), Boško Kon~ar (1964–1983), Rastko Schwalba (1983–1992), act.man. Mladen Grguri} (1993–1994).

4 About the Museum of National Revolution Rijeka – interview with AntonGiron, Dometi 10, year 8, 1975, p. 7.

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ovdje, pravi po~etak proleterijata i radni~kog pokreta je upravo ovdje, nigdje ga nema više nego ovdje.4 Prema tadašnjem Statutu, Muzej narodne revolucije predstavljao je ustanovu koja prema zakonskim obvezama sakuplja, ~uva, obra|uje i prezentira gra|u iz radni~kog pokreta, NOB-a i narodne revolucije, kao i razdoblja izgradnje socijalizma i so­cija­ listi~kih odnosa na podru~ju hrvatskog primorja i Gorskog kotara.5 Strategija prikup­ ljanja muzejske gra|e odnosila se na vremensko razdoblje od 19. stolje}a, kada se Rijeka razvijala u industrijski grad, po~etka 20. stolje}a, kada se u takvom industrijMuzej narodne revolucije na Trsatu, Petra Zrinskog 12, Egon Hreljanovi}, ICR The Museum of National Revolution on Trsat, Petra Zrinskog 12, Egon Hreljanovi}, ICR

skom gradu razvijaju najprije radni~ki pokreti, potom sindikalni pokreti i so­cija­ listi~ke organizacije i kada su se svjetske gospodarske i politi~ke slike reflektirale na Rijeku te je ja~ala radni~ka klasa, komunizam i radni~ki pokret, do Drugoga svjetskog rata (poslije }e se to odnositi i na gra|u iz razdoblja do osamdesetih godina 20. stolje}a). Gra|a Drugoga svjetskog rata koju su neposredno nakon završetka rata sustavno prikupljali borci, kolekcionari i udruge, bila je uporište za njegovo osnivanje. Veliku ulogu u prikupljanju gra|e, osim kustosa Muzeja, imalo je i Društvo prijatelja Muzeja narodne revolucije Rijeka koje je djelovalo u okviru aktivnih godišnjih planova i programa rada (otvorenje izložaba, promocije, predavanja, dobavljanje predmeta za upotpunjavanje muzejske zbirke). U Muzeju su neposredno nakon osnivanja formirane Likovna zbirka, Zbirka fotografija, Zbirka predmeta, Zbirka tiska i Zbirka memoarske gra|e. ...revolucionarna prošlost treba biti u funkciji budu}nosti. Saznanje da revolucija

4 O Muzeju narodne revolucije u Rijeci – intervju s Antonom Gironom, Dometi 10, god. 8., 1975., str. 7.

5 Muzej narodne revolucije Rijeka, katalog stalnog postava, Tipograf, Rijeka 1978., str. 3.

6 Mihael Sobolevski, Muzej narodne revolucije i zbirke NOB u njegovanju i razvijanju borbenih tradicija, Dometi 1-2, Izdava~ki centar Rijeka, 1976., str. 123–126.

7 Na dvadesetoj sjednici svih vije}a Skupštine op}ine Rijeka održanoj 3. svibnja 1965. donijeta je odluka o izgradnji nove zgrade, odnosno osnovan je Fond za izgradnju Muzeja narodne revolucije i dovršenje spomenika u Podhumu.

8 Godišnji izvještaj o radu Muzeja narodne revolucije za 1961.

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nije samo nešto što je bilo, nego nešto što i danas traje i što }e sutra trajati... kontinuitet revolucionarnih gibanja i suština sveukupnih odnosa izraženih u terminu: njegovanje i razvijanje revolucionarnih tradicija.6 Od 1963. sustavno se upozorava na dotrajalost muzejske zgrade na Trsatu i neadekvatnu pohranu muzealija te zahtijevaju popravci, tako da 1964. tadašnje Kulturno- -prosvjetno vije}e Op}inske skupštine, Kulturno-prosvjetna zajednica, Izvršni odbor Socijalisti~kog saveza radnog naroda Op}ine Rijeka i Sekretarijat op}inskog komiteta SK prihva}aju koncepciju proširenja, odnosno izgradnju Muzeja narodne revolucije kao prioritet u sedmogodišnjem planu razvoja kulture u Rijeci. Koncepciju je sastavio i predložio tadašnji ravnatelj Boško Kon~ar. Skupština op}ine Rijeka usvojila je ju 1965.7 te se zapo~elo s aktivnijim pripremama za njegovu realizaciju, uklju~uju}i odluku o izgradnji zgrade u kojoj je planiran stalni postav. Zanimljivo je da je u odluci navedena važnost Muzeja u odgoju i obrazovanju te njegovo zna~enje u "razvijanju i njegovanju tradicija NOB-a i socijalisti~ke revolucije, posebice kod mla|ih naraštaja"8, ~ime je jasno istaknuta njegova propagandna i edukativna uloga.

north, but it is here, the true beginning of the proletariat and the labour movement is precisely here, here more than anywhere else.4 According to the then Statute, the Museum of National Revolution represented an institution which, according to the legal obligations, collects, keeps, treats and presents the material from the labour movement, National Liberation Struggle and national revolution, as well as from the period of the development of socialism and socialist relations in the area of the Croatian littoral and Gorski Kotar.5 The strategy of collecting the museum material referred to the time period of the 19th century, when Rijeka developed into an industrial city, the beginning of the 20th century, when first labour movements, and then union movements and socialist organizations developed in such an industrial city, and when the world economic and political images reflected on Rijeka, strengthening the labour class, communism and the labour movement, until the Second World War (later this will refer to the material from the period until the 1980s).

The material from the Second World War, systematically collected immediately after the war by soldiers, collectors and associations, represented the basis for the establishment of the Museum. Besides the Museum curator, the Society of Friends of the Museum of National Revolution Rijeka had a significant role in the collection of material. It acted in the framework of annual plans and programmes (exhibition opening, promotions, lectures, acquiring items for completing the museum collection). Immediately after its foundation, the Art Collection, Photography Collection, Collection of Exhibits, Press Collection and Memoire Collection were formed in the Museum. ...the revolutionary past should serve the future. The idea that revolution is not just something in the past, but something that still goes on today and that will continue tomorrow... the continuity of revolutionary movements and the essence of overall relations expressed in the notion: cherishing and developing revolutionary traditions.6 The worn-out condition of the building on Trsat and inadequate storage of museum items were systematically pointed out since 1963, demanding repairs, so in 1964 the then Cultural and Educational Council of the District Assembly, Cultural and Educational Community, Executive Committee of the Socialist Working People Association of the Rijeka District and the District Committee Secretariat of the League of Communists accepted the concept of expansion, i.e. construction of the Museum of National Revolution as a priority in the seven-year plan of cultural development in Rijeka. The concept

was composed and proposed by the then manager BoĹĄko Kon~ar. The Rijeka District Assembly adopted it in 19657 and so more active preparations started for its realization, including the decision on constructing the building which was planned for the permanent display. It is interesting that the decision mentions the importance of the Museum in education and its meaning in the "development and cherishing the tradition of the National Liberation Struggle and socialist revolution, especially with the younger generations"8, which clearly points out its propagandist and educational role.

5 Museum of National Revolution Rijeka, catalogue of the permanent display, Tipograf, Rijeka 1978, p. 3.

6 Mihael Sobolevski, The Museum of National Revolution and the Collection of National Liberation Struggle Cherishing and Developing Combat Traditions, Dometi 1-2, Publishing Centre Rijeka, 1976, pp. 123–126.

7 The decision about the construction of a new building was made on the 20th meeting of all councils of the Rijeka District Assembly, held on 3 May 1965, and the Fund for the Construction of the Museum of National Revolution and Finishing the Podhum Monument was established.

8 Annual report about the work of the Museum of National Revolution for 1961.

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Realizacija nove zgrade 9 B. Mili}, Nagrada "Borbe" za 1976. godinu, ^ovjek i prostor, 24 (291): 16, Zagreb 1977.

10 Pala~a je, po uzoru na talijansku renesansu, gra|ena kao skladna dvokatnica sa svih strana slobodno okružena prostorom.

Neven Šegvi}, urbanisti~ka skica dvorišta bivše Guvernerove pala~e, postoje}e stanje i s otvorenim arkadama u ogradnom zidu, 1972.

Neven Šegvi}, urbanistic sketch of the former Governor’s Palace park, the existing state with open arcades in the surrounding wall, 1972.

32

Za izgradnju zgrade odredilo se dvorište biv{e Guvernerove pala~e, premda su predlagani i Delta ili Park Vladimira Nazora. Godine 1973. postavljen je kamen temeljac, a 1976. Muzej narodne revolucije preseljen je u novu, prema tadašnjim arhitektonskim rješenjima, modernu, namjenski izgra|enu zgradu sa stalnim postavom, ustrojenim zbirkama i zadovoljenim muzejskim standardima. Vanjski izgled zgrade podsje}a na prvu zgradu Muzeja ameri~ke umjetnosti Whitney u New Yorku, arhitekta Marcela Breuera, koja je sagra|ena i otvorena desetlje}e prije.

Za projekt ove zgrade arhitekt Neven Šegvi} dobio je 1976. Republi~ku i saveznu nagradu Borbe za najbolje arhitektonsko ostvarenje u Hrvatskoj9. Nagra|ivana i hvaljena od arhitektonske struke, zgrada Muzeja narodne revolucije od samih je po~etaka pa do danas plijenila pozornost javnosti s obzirom na to da je sagra|ena u kompleksu nekadašnje Guvernerove pala~e10, impresivnoga historicisti~kog os­ tva­renja s kraja 19. stolje}a, ma|arskoga arhitekta Alajosa Hauszmanna. ^itava cjelina na prvi je pogled predstavljala arhitektonski (ne)spoj novog i starog, tradicionalnog i suvremenog. Me|utim, prema zapisima sa sjednica Republi~kog fonda za kulturu iz 1972. te intervjua s arhitektom Šegvi}em11, autorova je vizija bila da zgrada Muzeja i njezina lokacija vizualno neutraliziraju velik arhitektonsko-ur­ba­ nisti~ki sraz izme|u povijesne historicisti~ke zgrade Guvernerove pala~e zajedno s okolnim secesijskim zgradama (Glazbena škola i stambeni blokovi u Laginjinoj ulici) s jedne strane, te susjednog, nekoliko metara udaljenog, nebodera sagra|enog 1965. i stambene peterokatnice s elementima socijalnog monumentalizma s druge strane. Šegvi}eva je prvotna zamisao bila uklanjanjem ili rastvaranjem dvorišnog zida otvoriti gra|anima ulazak u park Guvernerove pala~e, posebice zato što je

The Realization of the New Building The garden of the Governor’s Palace was allocated for the construction of the building, although Delta and the Vladimir Nazor Park were also suggested. In 1973, the cornerstone was set, and in 1976 the Museum of National Revolution was moved to the new and, according to the then architectural solutions,modern, purposefully built building with a permanent display, organized collections and satisfied museum stan­ dards. External appearance of the building reminds of the first building of the Whitney Museum of American Art in New York, by the architect Marcel Breuer, which had been built and opened a decade before.

In 1976 Neven Šegvi} received the Republic and Federal Award Borbe for the best architectural achievement in Croatia for the project of this building9. Awarded and praised by architectural professionals, the building of the Museum of National Revolution has attracted attention since the very beginning until today, considering that it was built in the complex of the former Governor’s Palace10, an impressive historicistic achievement from the end of the 19th century, by the Hungarian architect Alajos Hauszmann. At the first sight, the entire whole represented the architectural (non) integration of the new and the old, the traditional and the contemporary. However, according to the minutes from the meetings of the Republican Fund for Culture from 1972 and the interview with the architect Šegvi}11, the author’s vision was for the Museum building and its location to visually neutralize the great architectural and urbanistic clash between the historicistic building of the Governor’s Palace together with the surrounding Secession buildings (Music School and the residential blocks in Laginjina Street) on the one hand, and the neighbouring skyscraper built in 1965, just a few meters away, and the residential five-storey building with elements of social monumentalism on the other hand. Šegvi}’s original idea was to open the entry into the Governor’s Palace park to the citizens by removing or opening up the garden wall, especially because this is a very busy location. He believed that the full wall enclosing the Museum garden hindered or made visual and physical contact with the palace park impossible.12 The problem of spatial integration of the garden in front of the Museum main entrance and the public street area had to be resolved. However, the idea of demolishing or adaptation of the garden wall was dismissed.

9 B. Mili}, Award "Borbe" for 1976, Man and Space, 24 (291): 16, Zagreb 1977.

10 Inspired by the Italian Renaissance, the palace was built as a harmonious two-storey building surrounded by space on all sides.

11 About the Museum of National Revolution Rijeka – interview with Neven Šegvi}, Dometi 10, year 8, 1975, p. 9.

12 Ibid, p. 11.

Neven Šegvi}, urbanisti~ka skica dvorišta bivše Guvernerove pala~e bez dvorišnog zida, 1972.

Neven Šegvi}, urbanistic sketch of the Governor’s Palace park without the surrounding wall, 1972.

The permanent display was the crown of a longtime work by the historians and museum experts, realized according to Šegvi}’s artistic solution. Šegvi} envisaged that the ground area would be a flexible addition to the permanent display, which could have been altered and completed. It was planned for occasional exhibitions and it should also have served as multimedia hall where lectures would be held and projections shown. Other rooms (first floor and two gallery spaces) were intended exclusively for the permanent display, which included various material of a single topic, 33

Neven Šegvi}, Muzej narodne revolucije Rijeka, studija, 1972.

Neven Šegvi}, The Museum of National Revolution Rijeka, study, 1972.

rije~ o vrlo frekventnoj lokaciji. Smatrao je da puni zid koji zatvara dvorište Muzeja otežava ili onemogu}uje vizualni i fizi~ki kontakt s parkom pala~e.12 Trebalo je riješiti problem prostornog uklapanja dvorišta ispred glavnog ulaza u Muzej i javnih uli~nih površina. No ideja o rušenju ili adaptaciji dvorišnog zida bila je odba~ena.

Stalni postav bio je kruna dugogodišnjeg rada rije~kih povjesni~ara i muzealaca, a realiziran je prema Šegvi}evu likovnom rješenju. Šegvi} je zamislio da prizemni prostor bude fleksibilan dodatak stalnom postavu, koji se mogao mijenjati i dopunjavati. Predvi|en je za povremene izložbe i ujedno je trebao služiti kao multimedi-

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Povelja o po~etku izgradnje novog muzeja, Skupština op}ine Rijeka, Upravni odbor fonda za izgradnju Muzeja narodne revolucije Rijeka, Muzej narodne revolucije Rijeka, 26. studenoga 1973.

Charter about the commencement of the construction of the new museum, Rijeka District Assembly, Management Board of the Fund for the Construction of the Museum of National Revolution Rijeka, The Museum of National Revolution Rijeka, 26 November 1973

with an impressive way of display for the then circumstances – from the modern showcases with bottom lighting and showcases for sensitive paper material, set at the proper distance from the heat and light, single wall surface for magnification, stretching through two gallery spaces, intended for thematic connection of enlarged and intentionally illuminated print-outs on hardboard and cubes of various heights, depending on the height of displays, to the rooms for visitors’ rest with upholstered cubes for sitting and glass walls in the ground floor and the first floor as visual communication with external space. The historians from Rijeka Petar Str~i}, Bosiljka 35

Muzej narodne revolucije Rijeka, idejna studija, 1972.

jalna dvorana u kojoj }e se održavati predavanja i prikazivati projekcije. Ostali pro-

The Museum of National Revolution, conceptual study, 1972.

stori (prvi kat i dva galerijska prostora) bili su namijenjeni isklju~ivo za stalni postav koji je uklju~ivao razli~itu gra|u jedinstvene tematike, za tadašnje prilike impresivna na~ina izlaganja – od modernih pri dnu osvijetljenih vitrina i vitrina za osjetljivu papirnu gra|u, propisno udaljenih od izvora topline i rasvjete, jedinstvene zidne

11 O Muzeju narodne revolucije u Rijeci – intervju s Nevenom Šegvi}em, Dometi 10, god. 8., 1975., str. 9.

12 Isto, str 11.

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plohe za uve}anja koja se proteže kroz dva galerijska prostora, namijenjene za tematsko povezivanje uve}anih i planski osvijetljenih isprinta na lesonitskim plo~ama i kubusa razli~itih visina, ovisno o visini eksponata, do prostora za odmor posjetitelja s tapeciranim kubusima za sjedenje te staklenih zidnih stijena u prizemlju i na

Janjatovi}, Vinko Anti}, Danilo Klen, Milan Crnkovi} and Beata Gothardi, the Museum historians and curators Mihael Sobolevski, Ivan Cuculi} and Antun Giron and the then manager Boško Kon~ar were included in the preparation of the development plan for the permanent display. They conceived the exhibition plan together, splitting it up into five thematic wholes according to time periods: from the end of the 18th century until the beginning of the 20th century – development of the industrial city; from 1901 until 1918 – development of labour movement and socialist organizations; from 1918 until 1929 – from the end of the First World War until dictatorship; from 1929 until 1943 – period of revolts and the beginning of the National Liberation Struggle; from 1943 until 1945 – National Liberation Struggle; from 1945 until 1975 – development of

Muzej narodne revolucije Rijeka, tlocrti, 1976.

The Museum of National Revolution, layout, 1976.

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S otvorenja Muzeja narodne revolucije, 26. studenoga 1976.

Opening of the Museum of National Revolution, 26 November 1976.

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prvom katu kao vizualnoj komunikaciji s vanjskim prostorom. U pripremu elaborata stalnog postava bili su uklju~eni rije~ki povjesni~ari Petar Str~i}, Bosiljka Janjatovi}, Vinko Anti}, Danilo Klen, Milan Crnkovi} i Beata Gothardi, povjesni~ari kustosi Muzeja Mihael Sobolevski, Ivan Cuculi} i Antun Giron te tadašnji ravnatelj Boško Kon~ar. Zajedno su osmislili elaborat postava, podijelivši ga u pet tematskih cjelina prema vremenskim etapama: od kraja 18. do po~etka 20. stolje}a – razvoj industrijskoga grada; od 1901. do 1918. – razvijanje radni~kog pokreta i socijalisti~kih organizacija; od 1918. do 1929. – od kraja Prvoga svjetskog rata do proglašenja diktature; od 1929. do 1943. – razdoblje ustanaka i po~etak NOB-a; od 1943. do 1945. – NOB; od 1945. do 1975. – razvitak Rijeke u slobodi. Pri realizaciji postava striktna podjela na pet razdoblja zamijenjena je s trideset manjih tematsko-vremenskih jedinica koje su kronološki vodile posjetitelje od po~etaka razvoja industrijskoga grada preko razvijanja radni~kog pokreta, socijalisti~kih organizacija, ustanaka i Drugoga svjetskog rata do razvoja grada u novije doba. Op}i je cilj bio pripremiti gra|u po muzeološkim standardima i u~initi ju dostupnom javnosti.

Stru~no vije}e je u svojim zapisnicima puno puta isticalo, a poslije i sam arhitekt

Rijeka in freedom. During the realization of the display, the strict division into five periods was replaced with thirty smaller thematic and time units, which chronologically lead the visitors from the beginning of the development of the industrial city through the development of the labour movement, socialist organizations, uprisings and the Second World War to the development of the city in the modern times. The general goal was to prepare the material according to museum standards and make it available to the public. The Expert Council, and later Ĺ egvi} himself, emphasized in its

S otvorenja nove zgrade Muzeja narodne revolucije 26. sudenoga 1976. Lijevo Boris Kon~ar, ravnatelj Muzeja narodne revolucije; desno Antun Biber-Tehek potpredsjednik Saveznog odbora SUBNOR-a presijeca vrpcu; u pozadini Romano Pel~i}, predsjednik komisije za izgradnju Spomenika podhumskim Ĺžrtvama i Muzeja.

Opening ceremony for the new building of the Museum of National Revolution, 26 November 1976; left Boris Kon~ar, manager of the Museum of National Revolution; right Antun Biber-Tehek, the vice-president of the SUBNORJ Federal Board, cutting the tape; background Romano Pel~i}, president of the committee for the construction of the Monument and Museum of Podhum victims.

Pozivnica na sve~anost otvorenja Muzeja Invitation for the formal opening of the Museum.

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Veliki interes posjetitelja za novoosnovani Muzej.

Great interest of visitors for the newly-founded Museum.

Šegvi}, kako žele da Muzej bude što više otvoren javnosti, odnosno da postane središte okupljanja i razmjene ideja, gdje }e osim stalnog postava i povremenih izložaba svoje mjesto na}i i povjesni~ari i drugi stru~njaci koji }e u njemu mo}i održavati predavanja i projekcije.

Muzej narodne revolucije je potpuno originalan, novi sadržaj. To nije muzej u kla­si~­ nom smislu rije~i. To je objekt, edukativna institucija. Prema tome, njegova šira okolina, njegov medij, ne može biti pasivan. Stoga je i bio dat prijedlog da se u ok­ vi­ru Muzeja i tog lokaliteta stvori širi prostor, neka vrsta suvremenog foruma, mjesto okupljanja ljudi u razli~itim prilikama i prigodama, kao prostorno organizirana ideja, ne kao efemerija koja se javlja tu i tamo.13 Iako je Muzej bio otvoren 26. studenoga 1976., uo~i proslave Dana Republike, nakon otvorenja radilo se na dopunjavanju postava te se s organiziranim posjetima krenulo tek od 1977. godine. Zanimljivo je da je Stru~no vije}e Muzeja predložilo, a Op}ina prihvatila, da se prve godine ne napla}uju ulaznice jer je Muzej bio sa­gra­ |en samodoprinosom gra|ana Rijeke RI19 te se tako simboli~ki željelo odužiti svojim korisnicima. Zanimanje javnosti bilo je veliko jer je to bila prva i jedina kulturna ustanova izgra|ena nakon oslobo|enja i sjedinjenja Rijeke.

13 Isto.

14 Boško Kon~ar, Muzej narodne revolucije, katalog muzejskog postava, Rijeka, 1978.

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Nijedna radni~ka klasa, pa ni naša, ne}e svoju historiju, svoju legitimaciju baciti, pa prema tome svi odgovaraju}i predmeti negdje ~uvani ili nedovoljno ~uvani, bit }e predmet za ekspoziciju!14 ^injenica da je zgrada Muzeja gra|ena namjenski za stalni postav s galerijskim prostorima, bez trajne muzejske ~uvaonice te arhitektonski podijeljena na ~etiri

minutes many times that they wanted the Museum to be open to the public as much as possible, i.e. that it would become the centre of gathering and exchanging ideas, where besides the permanent display and occasional exhibitions, historians and other experts could find their place, holding lectures or projections.

13 Ibid.

14 BoĹĄko Kon~ar, Museum of National Revolution, catalog of the permanent exhibition, Rijeka, 1978.

The Museum of National Revolution is a completely original, new programme. This is not a museum in the classical sense of the word. It is an edifice, an educational institution. Hence, its wider surroundings, its medium, cannot be passive. Therefore, the suggestion was given to create a wider space in the framework of the Museum and the locality, a sort of a modern forum, place of gathering in various opportunities and occasions, as a spatially organized idea, not ephemeral, or occasional.13 Although the Museum was opened on 26 November 1976, on the eve of celebrating the Day of Republic, the display was completed after the opening and organized visits started only in 1977. It is interesting that the Museum Expert Council suggested and the District accepted, that tickets would not be charged during the first year because the Museum was built through voluntary local tax by Rijeka citizens RI19 and thus they symbolically wanted to repay to their users. Public interest was great because it was the first and only cultural institution built after the liberation and uniting of Rijeka.

No working class, including ours, will throw away its history, its identity, so all suitable items kept or inadequately stored, will represent items suitable for exposition!14 The fact that the Museum building was purposefully built for the permanent display with the gallery rooms, without a permanent museum storage and architecturally divided into four storeys (two large exhibition plateaus and two gallery floors), will re-

Veliki medijsko zanimanje za novoosnovani Muzej Great media interest for the newly-founded Museum

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etaže (dva velika izložbena platoa i dva galerijska kata) odrazit }e se poslije na izložbenu djelatnost i stru~ni rad Muzeja grada Rijeke zbog suženih prostorno-funkcijskih izložbenih mogu}nosti i rješenja. Novi muzej iziskivao je i nove, dodatne prostore. Stoga su, nakon preimenovanja i osnivanja, ravnatelj Muzeja grada Rijeke Ervin Dubrovi} i Stru~no vije}e 2002. odlu~ili adaptirati dijelove zgrade kako bi se dobio prijeko potreban prostor i riješio problem muzejske ~uvaonice. Na prostoru drugog i tre}ega galerijskog kata ugra|ena je nosiva plo~a, ~ime su se dobila dva dodatna velika prostora: na drugom katu prostor predvi|en za ~uvaonicu, a na tre}em dodatni izložbeni prostor. Ovo se rješenje smatralo tek privremenim, dok Muzej grada Rijeke ne preseli u adekvatniju zgradu, pa je ostavljena mogu}nost vra}anja u prvobitno arhitektonsko stanje.

Stru~ni rad / izložbena djelatnost Prva izložba Muzeja narodne revolucije na Trsatu Ustanak u Hrvatskom primorju i Gorskom kotaru, otvorena 10. lipnja 1961., bila je zamišljena kao stalna izložba.

Izazvala je veliko zanimanje javnosti, u šest mjeseci razgledalo ju je ~ak 18 016 posjetitelja.15 Izložba je predstavljala povijesni pregled ustanka i narodne revolucije od 1919. do 1945. godine. U planu je bio i prikaz razvoja radni~kog pokreta od 1870. do 1918., me|utim taj }e se dio, zbog sku~enog prostora, ostvariti tek u novoj zgradi. Istodobno s ovom velikom izložbom, u dodatnoj prostoriji postavljaju se povremene tematske izložbe. Takvu koncepciju Muzej }e zadržati i nakon realizacije stalnog postava u novoj zgradi. U ranim godinama takve su tematske izložbe Muzeja narodne revolucije bile postavljane na razli~itim lokacijama: u Malom salonu, biv{oj Guvernerovoj pala~i, Domu JNA i u vojarnama ili kao gostovanje u drugim muzejima Jugoslavije, a taj obi~aj zadržat }e i nakon preseljenja.

15 Godišnji izvještaj o radu Muzeja narodne revolucije za 1961.

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Zabilježena je aktivna suradnja Muzeja s udrugama boraca i Konzervatorskim zavodom u obilježavanju i zaštiti spomen-obilježja socijalisti~ke revolucije i NOB-a (prikupljanje gra|e, rekonstrukcija partizanskih logora, izradba tematskog plana i sudjelovanje u realizaciji prvoga stalnog postava spomen-muzeja u Lipi i dr.) te u organiziranju akcija donatora gra|e, koordinaciji pri preuzimanju gra|e iz vojarni, prikupljanju biografskih podataka o ratnim herojima – od te je gra|e poslije formirana Zbirka memoara. Na inicijativu Odbora za obilježavanje li~nosti i doga|aja iz Narodne revolucije i radni~kog pokreta, osnovana je komisija (Kon~ar, Emili i Bor~i}) za savjetovanje i prikupljanje biografskih podataka, memoara sudionika u ratu, koja je radila i na propozicijama natje~aja za spomenik Podhumskim žrtvama. Prvi stru~ni tim Muzeja narodne revolucije objavio je 1962. Bilten Muzeja koji se, me|utim, zbog financijskih i tehni~kih teško}a više nije objavljivao. Za nastavnike

flect later on the exhibition activities and professional work of the City Museum of Rijeka because of limited spatial and functional display possibilities and solutions. The new museum required new, additional spaces. Therefore, in 2002, after renaming and establishment, the manager of the City Museum of Rijeka Ervin Dubrovi} and the Expert Council decided to adapt parts of the building in order to obtain the necessary space and solve the problem of museum storage. In the area of the second and the third gallery floor, a ground-bearing slab was constructed, whereby two additional large areas were obtained: in the second floor the area planned for the storage, and on the third floor an additional display area. This solution was considered temporary until the City Museum of Rijeka moved into a more adequate building, therefore leaving the possibility of returning it into the original architectural condition.

Expert Work / Exhibition Activities

Bedž Muzeja kao promidžbeni muzejski suvenir, 1989.

Museum badge as a promotional museum souvenir, 1989

The first exhibition of the Museum of National Revolution on Trsat, the Uprising in the Croatian Littoral and Gorski Kotar, opened on 10 June 1961, was planned as a permanent exhibition. It attracted great attention of the public and was visited by as many as 18016 visitors within six months.15 The exhibition represented a historical overview of the uprising and national revolution from 1919 until 1945. It was also foreseen as a presentation of the development of the labour movement from 1870 until 1918, but this part, due to limited space, would be realized in the new building. Simultaneously with this great exhibition, occasional thematic exhibitions were displayed in the additional room. The Museum kept such a concept even after the realization of the permanent display in the new building. In the early years, such thematic exhibitions by the Museum of National Revolution were placed in different locations: in the gallery Mali Salon, the Governor’s Palace, Yugoslav National Army Club and the barracks, or as guest exhibition in other Yugoslav museums, which was retained even after its relocation.

It was recorded that the Museum actively cooperated with soldiers’ associations and the Conservation Department in labelling and protecting the memorials of the socialist revolution and National Liberation Struggle (collecting material, reconstruction of partisan camps, designing a thematic plan and participating in the realization of the first permanent display in the memorial museum in Lipa, etc), as well as in organizing donor activities, coordinating on taking over the material from the barracks, collecting biographical data about war heroes – which served as the basis for the later Memoir Collection. On the initiative of the Board for Celebrating the Persons and Events from the National Revolution and Labour Movement, the council was founded (Kon~ar, Emili and Bor~i}) for counselling and gathering biographical data, memoirs of the participants in the war, which also worked on the proposition for the tender for the monument to Podhum victims. In 1962, the first expert team of the Museum of National

15 Annual report about the work of the Museumof National Revolution for 1961.

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Stalni muzejski postav, 1976.

Permanent museum display, 1976

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su se održavala predavanja o važnosti Muzeja u odgojno-obrazovnom procesu vezano uz pou~avanje zavi~ajne povijesti. Krajem 1968. u Muzeju na Trsatu uklonjen je stalni postav i Muzej je privremeno bio zatvoren za posjetitelje zbog neadekvatnih uvjeta izlaganja eksponata uzrokovanih dotrajaloš}u i prokišnjavanjem zgrade.

Idu}ih godina, od 1969. do 1976., djelatnici su se okrenuli unutarnjemu muzejskom radu, prikupljanju, zaštiti, istraživanju, pripremi gra|e za stalni postav te pisanju elaborata. U tom razdoblju prire|uju manje izložbe s kojima gostuju u drugim muzejima ili op}inskim prostorima.

Stalni muzejski postav, 1976.

Permanent museum display, 1976

Revolution published the Museum Bulletin, which owing to financial and technical issues, was never published again. Lectures were held for teachers about the importance of the Museum in the educational process related to teaching local history. At the end of 1968, the permanent display was removed from the Museum in Trsat and the Museum was temporarily closed for visitors owing to inadequate conditions of display caused by the decrepit and leaking building. During the following years, from 1969 until 1976, the employees turned to internal museum operation, gathering, protection, research, preparation of material for the permanent display and writing development plans. In this period, they prepared smaller exhibitions with which they visited other museums or district rooms.

During thirty-three years of its existence, the Museum recorded a rich exhibition activity. Besides the permanent display, there were 152 exhibitions, and along with a modest publishing activity, they also participated in the establishment of memorials (Tuhobi}, Podhum) and creating permanent displays in other museum and memorial collections. Occasional displays may be classified into exhibitions organized by the Museum in its own rooms, exhibitions by other museums hosted in that space, and exhibitions with which they visited other towns and other city areas, often as a result of harmonizing the work of the Museum with the plans by social, political and labour organizations. Owing to smaller exhibition rooms in which these exhibitions were displayed, they had to be reduced, modified, and according to the thematic plan, they 45

Nepoznati autor, predlo`ak za plakat izložbe Zbrisana je granica na Rje~ini, 1965. tempera/papir, 82 x 70,5 cm, Muzej grada Rijeke Unknown author, specimen for the exhibition poster The Rje~ina border was erased, 1965, tempera/paper, 82 x 70.5 cm, The City Museum of Rijeka

Tijekom trideset tri godine postojanja Muzeja zabilježena je bogata izložbena djelatnost. Uz stalni postav, prire|ene su 152 izložbe, a uz skromnu izdava~ku djelatnost zabilježeno je i sudjelovanje na osnivanju spomen-obilježja (Tuhobi}, Podhum) te stvaranje stalnih postava drugih muzeja i spomen-zbirki. Povremene izložbe mogu se podijeliti na izložbe u organizaciji Muzeja u vlastitom prostoru i na izložbe drugih muzeja koje su gostovale u tom prostoru te na izložbe s kojima se gostovalo u drugim gradovima ili u drugim gradskim prostorima, a ~esto su rezultat us­ kla|ivanja rada Muzeja s planovima društveno-politi~kih i radnih organizacija. Zbog manjih izložbenih prostora u koja su se postavljale, morale su biti reducirane, prilago|ene, a prema tematskom planu nadopunjavane materijalom koji se odnosio na mjesto izlaganja. Na taj su na~in, osim nove ekspozicije, dobivale i nov tematski sadržaj. Izložbe su gostovale u Puli, Pazinu, Bujama, Ogulinu, Delnicama, Senju, Crikvenici, Kraljevici, Beogradu, Ljubljani, Sarajevu, Zenici, Gdyniji (Poljska).

Najzapaženije je bilo gostovanje izložbe Rije~ka bitka u Muzeju narodne revolucije naroda i narodnosti Jugoslavije u Beogradu 1989. godine. Zabilježena je suradnja 46

were supplemented with the material referring to the place of exhibiting. Thus, besides the new exposition, they received a new thematic content. The exhibitions were displayed in Pula, Pazin, Buje, Ogulin, Delnice, Senj, Crikvenica, Kraljevica, Beograd, Ljubljana, Sarajevo, Zenica, Gdynia. The most outstanding guest display was The Battle of Rijeka in the Museum of the Yugoslav National Revolution in Belgrade in 1989. The Museum was recorded to have cooperated with the Rijeka Youth League, Maritime and History Museum, schools and barracks, soldiers’ associations, Museum of the Croatian National Revolution, Military Museum in Belgrade, Museum of National Revolution in Pula, Central Museum of the Revolution in Belgrade, museums in Ljubljana and Split. The Rijeka Museum was visited by many delegations from Bel-

Zvonimir Pliskovac, plakat izlo`be Partizanska Dre`nica, 1988., sitotisak, 70 x 100 cm, tisak Studentski centar Zagreb, Muzej grada Rijeke Zvonimir Pliskovac, poster for the exhibition Partisan DreĹžnica, 1988, serigraphy, 70 x 100 cm, print by Student Centre Zagreb, The City Museum of Rijeka 47

sa Savezom omladine Rijeke, s Pomorskim i povijesnim muzejom, sa školama i vojarnama, s udrugama boraca, Muzejom revolucije naroda Hrvatske, Vojnim muzejom u Beogradu, Muzejom narodne revolucije u Puli, Centralnim muzejom revolucije u Beogradu, muzejima u Ljubljani i Splitu. Rije~ki Muzej posjetile su mnoge delegacije iz Belgije, Yalte, SSSR-a, Poljske, Italije, ^ehoslova~ke, DDR-a, polaznici politi~kih škola, polaznici Školskog broda Galeb te vojnici vojarni Nikola Car Crni i Španski dobrovoljci koji su boravili u Rijeci na odsluženju vojnog roka. To su uglavnom bili organizirani školski posjeti, unaprijed dogovoreni s Odjelom za školstvo.

Godine 1971. Muzeju je za višegodišnju stru~nu suradnju s jednicama i Domom JNA Rijeka dodijeljena Mala plaketa JNA. Muzej je dobitnik niza nagrada i priznanja lokalnih udruga, a 1972. dobio je godišnju Nagradu Grada Rijeke.

Deplian izložbe Kroz borbu u slobodu, 1984.

Leaflet for the exhibition Through battle into liberty, 1984

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S najve}im problemima u radu susreli su se posljednji ravnatelj Muzeja narodne revolucije Rastko Schwalba i v.d. ravnatelj Mladen Grguri} kada su društvenopoliti~ke prilike dovele do njegova preimenovanja u Muzej grada Rijeke. U prijelaznom razdoblju 1990. i 1991. Muzej naslje|uje gra|u iz vojarni te iz Centra za historiju radni~kog pokreta i NOR-a Istre, Hrvatskog primorja i Gorskog kotara, Rijeka i Politi~ke škole SKH, Rijeka, koji i sami doživljavaju preobrazbe. Od 1992., u skladu

gium, Yalta, USSR, Poland, Italy, Czechoslovakia, DDR, students of political schools, students on the Training Ship Galeb and the soldiers in the barracks Nikola Car Crni and Ĺ panski Dobrovoljci who stayed in Rijeka for their military service. These were mostly organized school visits, arranged in advance with the Department of Education.

In 1971 the Museum received the Small Plaque of the Yugoslav National Army for the year-long expert cooperation with the Yugoslav National Army units and Club. The Museum is the winner of a series of prizes and awards by the local associations, and in 1972 it won the annual City of Rijeka Award. The last manager of the Museum of National Revolution Rastko Schwalba and act. manager Mladen Grguri} faced the biggest problems in the Museum operation, when because of social and political circumstances it was renamed into the City Museum of Rijeka. In the transitional period of 1990 and 1991, the Museum inherited the material from the barracks, as well as the Centre for the History of the Labour Movement Rijeka and School of Politics, which themselves went through transformation. Since 1992, in accordance with the recommendations of the then Ministry of Education, Culture and Sport, the Museum collected the material and documentation about the events on Croatian grounds (remains of Yugoslav Army armaments, election posters and other propaganda material from the beginning of the 1990s). On the meeting held that year, the Secretariat of Social Activities made a suggestion to start merging the Museum of National Revolution Rijeka and the Maritime and History Museum of the Croatian Littoral Rijeka into one institution, entitled City Museum of Rijeka, as soon as possible. However, this was discarded. These were the years of reducing the programme of work owing to the lack of financial means, consequences of objective economic and political opportunities. After renaming the Museum of National Revolution into Rijeka City Museum16, the material was deposited in the storage, or appertaining collections, so the newly-founded Museum started with a systematic collection of museum material of local artistic and historical type. Today this material of the Museum of Revolution is the nucleus of most of its museum collections. Specifically, before renaming, it contained 10 500 items17, which in number is more than a half of the today’s City Museum of Rijeka, which has approximately 17 044 items18. Soon after its foundation, the City Museum of Rijeka formed two collections which gathered diverse material related to the history of Rijeka (Art Collection, Collection of Documentary Exhibits, Press Collection, Philately Collection, Musical Collection, Collection of Coins, Securities, Medals and Decorations, Photography Collection, Collection of Theatre and Film Material, Crafts Collection, Collection of Variables).

Although the Museum of National Revolution has not operated for about two decades, the incessant demand for "its" material witnesses about the indelible imprint it left in Rijeka in its thirty-three years of operation, summarized in the text. Its destiny befell other museums in the region. There were 24 independent museums in the area of Yugoslavia thematically dedicated to revolution and the National Liberation

16 Decision by the Rijeka City Council on 11 April 1994.

17 Minutes about the revision of the museum material from 1996 and the Operating Report for 1993.

18 Minutes about the revision of the museum material of the City Museum of Rijeka from 2014.

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s preporukama tadašnjeg Ministarstva prosvjete, kulture i športa, prikuplja se gra|a i dokumentacija o zbivanjima na tlu Hrvatske (ostaci naoružanja JNA, izborni plakati i ostali propagandni materijal s po~etka devedesetih). Na sjednici održanoj te godine iznesen je prijedlog Sekretarijata društvenih djelatnosti da se što hitnije zapo~ne objedinjavanje Muzeja narodne revolucije Rijeka i Pomorskog i povijesnog muzeja Hrvatskog primorja Rijeka u zajedni~ku ustanovu pod nazivom Gradski muzej Rijeka, no od toga se odustalo. Bile su to godine reduciranja programa rada zbog nedostatka financijskih sredstava, posljedice objektivnih gospodarskih i politi~kih prilika. Nakon preimenovanja Muzeja narodne revolucije u Muzej grada Rijeke16, gra|a je pohranjena u ~uvaonicu, odnosno u pripadaju}e zbirke, te je novonastali Muzej zapo~eo sa sustavnim prikupljanjem muzejske gra|e lokalnoga umjetni~ko-povijesnoga tipa. Danas je ta gra|a Muzeja revolucije nukleus ve}ine njegovih muzejskih zbirki. Naime, prije preimenovanja sadržavala je 10 500 predmeta17, što je broj~ano zapravo više od polovice gra|e današnjega Muzeja grada Rijeke, koji ima približno 17 044 predmeta18. Ubrzo po osnivanju u Muzeju grada Rijeke formirale su se zbirke u koje se prikupljala raznovrsna gra|a vezana uz povijest Rijeke (Likovna zbirka, Zbirka dokumentarne gra|e, Zbirka tiska, Zbirka filatelije, Glazbena zbirka, Zbirka numizmatike, vrijednosnica medalja i odlikovanja, Zbirka fotografija, Zbirka kazališne i filmske gra|e, Zbirka umjetni~kog obrta, Zbirka varia).

16 Odlukom Gradskog vije}a Grada Rijeke 11. travnja 1994.

17 Zapisnik o reviziji muzejske gra|e iz 1996. i Izvještaj o radu za 1993. godinu.

18 Zapisnik o reviziji muzejske gra|e Muzeja grada Rijeke iz 2014. godine.

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Premda Muzej narodne revolucije ne postoji ve} više od dva desetlje}a, neprekidno potraživanje "njegove" gra|e svjedo~i o neizbrisivom tragu koji je ostavio u Rijeci u trideset i tri godine rada i djelovanja, koje se nastojalo sažeti u ovom tekstu.

Njegova je sudbina zadesila i ostale muzeje u regiji. Na podru~ju Jugoslavije postojala su 24 samostalna muzeja tematski posve}ena revoluciji i NOB-u, 17 memorijalnih muzeja i više od 100 zasebnih zbirki te tematike u drugim muzejima i memorijalnim centrima pri mjesnim odborima. Na podru~ju Hrvatskog primorja i Istre djelovali su Muzej narodne revolucije Istre u Puli, Muzej narodne revolucije Gorskog kotara u Delnicama, a u zavi~ajnim muzejima osnovane su muzejske zbirke iz rad­ ni~kog pokreta i NOB-a (Narodni muzej u Labinu, Gradski muzej u Senju, zavi~ajni muzeji u Ogulinu, Rovinju i Pore~u). Do sredine 1994. svi su muzeji preimenovani ili ukinuti. No ako muzeji kao baštinske institucije imaju zadatak obavljati neprekidnu selekciju i interpretaciju, prenose}i materijalna i duhovna svjedo­~anstva iz prošlosti za budu}e generacije, uzimaju}i u obzir dokumentarnu, idejnu i socijalnu analizu kulture kao jednakovrijedne, name}e se potreba revalorizacije muzeja narodne revolucije u cjelini. Upravo zbog savjesnog i stru~nog pristupa muzealaca, konzervatora i povjesni~ara mogu}a je revalorizacija i ponovno otkrivanje vrijednosti onih segmenata povijesti koje su jednom bile marginalizirane da se ponovno sagledaju i prezentiraju javnosti.

Struggle, 17 memorial museums and more than 100 separate collections on this topic in other museums and memorial centres in local communities. In the area of the Croatian Littoral and Istria, there were the Museum of National Revolution of Istria in Pula, Museum of National Revolution of Gorski Kotar in Delnice, and regional museums founded museum collections related to the labour movement and the National Liberation Struggle (National Museum in Labin, City Museum in Senj, heritage museums in Ogulin, Rovinj and Pore~). Until the middle of 1994, all museums were either renamed or discontinued. However, if museums as heritage institutions have the task to conduct continuous selection and interpretation, passing on the material and spiritual testimonies from the past for future generations, taking into consideration the documentary, ideal and social analysis of culture as equally valuable, the need for reevaluation of the Museum of National Revolution as a whole strikes up as necessary.

Precisely owing to the conscientious and professional approach by museum experts, conservationists and historians, re-evaluation and re-discovery of values is possible in those segments of history which were once marginalized and now can be reconsidered and presented to the public.

Muzej grada Rijeke The City Museum of Rijeka 51

Literatura / References Andrej Uchytil, Ariana Štulhofer, Arhitekt Neven Šegvi}, Acta Architectonica, Zagreb, 2007.

Bruno Mili}, (1977), Nagrada "Borbe" za 1976. godinu, ^ovjek i prostor, 24 (291): 16, Zagreb Vinko Anti}, Rast kulture u slobodi, Rije~ka revija XX, 1. sije~nja 1976., str. 6–26.

Muzej narodne revolucije Rijeka, katalog muzejskog postava, Rijeka, 1978.

Mihael Sobolevski, Muzej narodne revolucije i zbirke NOB u njegovanju i razvijanju borbenih tradicija, Dometi 1-2, 1976., str. 123–127.

Rastko Schwalba, Zaštita spomenika i spomeni~nih obilježja narodne revolucije, Dometi 1-2, 1976., str. 12–130.

Boško Kon~ar, Prezentacija novije povijesti, Dometi 3-4, 1970., str. 133–134.

Dokumentacija Muzeja narodne revolucije: Izvještaji o radu od 1961. do 1993., Zapisnici stru~nih vije}a od 1961. do 1993.