Davor Dundara: Šareni mrak

MASKA S ONKOLOGIJE, 2011.

ONCOLOGY MASK, 2011

Muzej moderne i suvremene umjetnosti Museum of Modern and Contemporary Art www.mmsu.hr

DAVOR DUNDARA Å¡areni mrak colorful darkness

Prethodno objavi ove publikacije u Malom salonu, galeriji koja je do 15. rujna 2019. nosila izložbenu funkciju Muzeja moderne i suvremene umjetnosti, postavljena je izložba Šareni mrak Davora Dundare. Izložba je bila postavljena od 14. prosinca 2018. do 11. siječnja 2019. godine, a figurirala je kao sam uvod u izdanje umjetnikove knjige.

Prior to the this publication at the Mali Salon, gallery which until September 15th 2019, carried the exhibition function of the Museum of Modern and Contemporary Art, the exhibition Colorful Darkness by Davor Dundara took place. The exhibition was held from December 14th 2018 until January 11th 2019. It was the very introduction to the publishing of the artist's book.

DAVOR DUNDARA

ĹĄareni mrak colorful darkness

8

DAVOR DUNDARA. POETSKI OPISI: PERFORMANSI I FOTOSESSIONI

92

AUTORSKI TEKSTOVI

93

Marina Tkalčić Nakazna umjetnost Davora Dundare

95

Suzana Marjanić Davor Dundara — ambijentalna / stambena Trolova pećina

98

Andrej Zbašnik Možda je mrak parodija svjetla

102

Xena L. Županić Žabogrizi

103

Krešo Kovačiček Gerilska izložba

106

Branko Cerovac Smells Like Teen Millywoy Spirit — Dundarini multimedijalni performansi onkraj granica karnevalizirane (ab)normalnosti

108

Branko Cerovac Humanizam, posthumanizam i drame materije ili Vjenčanje neba i pakla u liku i djelu Davora Dundare

132

LIKOVNI RADOVI �1995. — 2019.�

182

BIOGRAFSKE CRTICE

183 185 187 188

D. D. Adapteri Mrtvi golub Razglednice iz šarenog mraka

210

KRONOLOGIJA DJELOVANJA

211 213 214

Performansi i (glazbeno) scenske akcije Izložbe i likovne intervencije na sceni Ostalo

9

DAVOR DUNDARA. POETIC DESCRIPTIONS: PERFORMANCES AND PHOTOSESSIONS

112

AUTHORS’ TEXTS

113

Marina Tkalčić Unsightly art of Davor Dundara

115

Suzana Marjanić Davor Dundara — atmospheric / residential Troll’s Cave

116

Andrej Zbašnik Perhaps darkness is a parody of light

122

Xena L. Županić Frogbites

123

Krešo Kovačiček The guerilla exhibition

126

Branko Cerovac Smells Like Teen Millywoy Spirit — Dundara’s multimedia performances beyond the carnivalized (ab)normality

128

Branko Cerovac Humanism, post-humanism and the drama of matter or Wedding of Heaven and Hell in the work of Davor Dundara

133

ART WORKS �1995 — 2019�

194

BIOGRAPHICAL NOTES

195 197 199 201

D. D. The Adapteri The dead pigeon Postcards from colorful darkness

216

A CHRONOLOGY OF ACTION

217 219 220

Performances, music and actions on scene Exhibitions and art interventions Other

DAVOR DUNDARA. POETSKI OPISI: PERFORMANSI I FOTOSSESIONI

8

9

DAVOR DUNDARA. POETIC DESCRIPTIONS: PERFORMANCES AND PHOTOSESSIONS

ADAPTERI – SONATA EPILEPTICA — koncert i performans, Rijeka, klub Točka, Ri Rock festival, 2004.

kirurg svira klavijaturu u utrobi ogromne nakaradne lutke čovjek s tri ruke je na vokalu ja – grbavac na drugom Casiju svi su tu opskurna rasvjeta band i instrumentarij nalikuje na gomilu smeća Piga, koji je upravo došao sa psihijatrije doživljava epileptički napad s crnom kukuljicom i gumenim nosom nitko ga ne doživljava ozbiljno mi ga nismo primijetili u mraku publika valjda misli da je planiran i performans stroboskop se pali, muzika se usporava i postaje sve čudnija Dejo je na kameri zumirao epi napad izgleda da je on jedini shvatio što se događa pa je cijelu stvar, srećom, pristojno dokumentirao glava pada i oči idu u REM fazu nakon toga, unesrećeni se diže, uzima bubanj u ruke i nastavlja svirati muzika mijenja atmosferu i opet prelazi u nekakve čudne ritmove a ja i čovjek s tri ruke naguravamo se ispred pozornice, mlataram sjekirom...

1

1 — Session na balkonu, 2004.

2 — Goran i ja, 2004.

3 — Sonata epileptica, 2004.

4 — Goran i moja pokojna prababa, 2003.

4

10

ADAPTERI – SONATA EPILEPTICA — concert and performance, Rijeka, Točka club, Ri Rock festival, 2004

2

3

the surgeon plays the keyboards in the stomach of a gigantic, monstrous doll the three-armed man is on the microphone me – the hunchback on the other Casio we’re all there an obscure lighting the band and the instruments resemble a pile of junk Piga, who’s just been released from the psychiatric ward gets an epileptic seizure wearing a black cocoon and a rubber nose no one takes him seriously nobody from the band noticed what happenes in the dark the audience seems to think this is a planned performance the strobe turns on, the music slows down and gets weirder and weirder Dejo zooms in the epileptic seizure with his camera it seems he’s the only one who’s realized what’s going on so he documents the entire thing, luckily the head falls down and the eyes enter the REM phase after that, the victim of the seizure pulls himself up, takes the drum and continues playing the music changes the atmosphere and resolves into peculiar rhythms while me and the three-armed man are pushing each other in front of the stage, the axe in my hand swinging...

11

1 — Session on the balcony, 2004 2 — Goran and me, 2004 3 — Sonata epileptica, 2004 4 — Goran and my deceased grand-granny, 2003

ADAPTERI — glazbeno-scenski performans, Rijeka, klub Palach, Dani performansa MMC-a, 2004.

glazba uglavnom ritmička, minimalistička matrica se nadopunjava udarcima po improviziranom bubnju-skulpturi te zvukovima gudenja gudala o pilu žena u crnom s nosatom se spodobom s kapom dvorske lude na glavi i tri ruke navlači za gumenu bebu grbavac s plaštem gazi gumene paukove, kirurg udara bubanj i sve prisutne.

12

ADAPTERI — music-stage performance, Rijeka, Palach club, MMC Performance Days, 2004

13

music, mostly rhythmical, minimalistic the drum matrix is reinforced by the beats of a makeshift sculpture drum and the sounds of a bow moving across a saw a woman in black and a creature with a big nose, a jester’s hat and three hands are tugging at a rubber baby the hunchback wearing a cape treads on rubber spiders, the surgeon beats both the drum and the the rest of us.

ADAPTERI — samostalni koncert i performans, Zagreb, klub Močvara, 2004.

hipnotički ritmovi vriskovi i urlici, melodije recitiranje stihova čitanje litanija iz njemačkog rječnika...

Milivoj je zlostavljan, zubi su oprani i četkica u grlo nagurana fizički sukobi toljagama i instrumentima i medicinskim protezama dobro veče, tmurni grade, što u tebi toliki rade? kad mogli bi biti gdje sunce sja, gdje kiša neće liti

14

ADAPTERI — a concert and a performance, Zagreb, Močvara club, 2004

15

hypnotic rhythms screams and shrieks, melodies the reciting of lyrics the reading of litanies from the German dictionary...

Milivoj is abused, teeth are brushed, the toothbrush stuffed down the throat physical conflicts with clubs and instruments and prosthetic implants good evening, you gloomy city, why all those faces roam here? when they could be somewhere, where rain don’t dwell, where sun shines all the day

4

1

1 — Adapteri, D. i T. pjevaju duet, Zagreb, Boogaloo, 2005.

2 — Garaža – ne parkiraj, Rijeka, 2004.

3 — Bijela baba, Rijeka, u mom stanu, 2006.

4 — Bijela baba – molitva, Rijeka, gradski Korzo, 2006.

2

16

3

3

1 — Adapteri, D. & T. singing a duet, Zagreb, Boogaloo, 2005 2 — The Garage – No Parking, Rijeka, 2004 3 — The White Old Woman, Rijeka, my apartment, 2006 4 — The White Old Woman – A Prayer, Rijeka, Korzo street, 2006

17

2

RASTAKANJE IZNUTRICA — performans, Rijeka, klub Palach, 2006.

mučan, dugotrajan nastup. polumrak. slaba svjetlost crvene sijalice Milivoj leži na podu utrobu izvađenu iz lutke mrcvarim brusilicom pržim zapaljenom plastikom kuham u loncu pomiješanu s biljnim i životinjskim otpadom s tržnice i deterdžentom za suđe smjesu pjenim sušilom za kosu, dimim, palim ponovno tretiram vrućom plastikom, gotovi obrok s gađenjem degustiram i publici redom nudim prvo nitko neće deliciju probati osim naravno, Milivoja, i to prisilno, kako i dolikuje kasnije, Proff je ipak probao malo bespomoćna androgina lutka kroz sve je tjelesne otvore našopana smrdljivom smjesom Milivoj je ručao... u smjesi razlivenoj po podu bilo je i pokvareno crnilo sipe intenzivan miris ribe deterdženta i spaljene plastike u malom prostoru pacijent kao da se guši, umire, reklo bi se slijedi reanimacija umjetno disanje, masaža srca udaranje štapom, probadanje nožem živi! umri! živi! umri! živi! umri! umri! ubijanje, oživljavanje... hranjenje i povraćanje... agonija okončava blagoslovom trupla i prekrivanjem bijelom plahtom svjetla se pale a izmrcvarena publika izlazi na svjež zrak

18

DISSOLVING OF THE INTESTINES — performance, Rijeka, Palach club, 2006

19

long, excruciating performance, semi-darkness, the only light coming from the red lightbulb Milivoj is lying on the floor I’m wrecking the doll’s intestines with a grinding machine and searing it with burning plastic and boiling it in a pot together with plant and animal waste from the marketplace and a dishwashing liquid I create foam using a hairdryer, I smoke it and burn it, and treat it again with the burning plastic, I’m tasting the meal with disgust and offering it to the audience no one wants to try it at first except Milivoj, of course, he was forced into it, as appropriate a bit later, Proff decides to taste a piece. helpless androgyne doll’s body orificies are stuffed with the stinky mixture Milivoj has had his lunch... the mixture spilling all over the floor also contained rotten cuttlefish ink intensive stench of fish dishwashing liquid and burnt plastic in that small space the patient seems to be choking, he’s dying, one may say, a reanimation follows, artificial respiration, cardiac massage, beating with a stick, stabbing with a knife live! die! live! die! live! die! die! killing, resuscitating... feeding, throwing up... the agony ends with giving a blessing to the corpse and covering it with a white sheet the lights turn on, the tortured audience goes outside for some fresh air

SVETO OTAJSTVO — performans, Rijeka, klub Palach, 2006.

križ je na sceni. zlotvor mrcvari nevinu mutiranu kokoš s pipcima hobotnice na mjestu glave bičevanje i udarci, mariniranje kokoši paprom, solju i začinima, pribijanje na križ nevina mutirana kokoš u samrtnim je mukama okotila novi život – ribu riba je puštena na slobodu a truplo na križu blista u svetom Ognju nitro razrjeđivača uskrsavajući pritom po nekoliko puta

20

THE HOLY SACRAMENT — performance, Rijeka, Palach club, 2006

21

a cross is on the stage. a villain is dismembering an innocent mutant chicken with tentacles of an octopus in place of the head flogging and beating, then seasoning the chicken with salt, pepper and other stuff, nailing it to the cross the innocent mutant chicken in its death agonies she gave birth to a new life – a fish the fish is given freedom, while the cadaver on the cross shines in the Holy Flame of nitrogen diluent resurrecting a couple of times

SVETO OTAJSTVO — performans, Zagreb, klub Močvara, 2006.

sveto otajstvo u Močvari, završava kremacijom trupla u bačvi na terasi kluba uskrsnuće se podrazumijeva...

22

THE HOLY SACRAMENT — performance, Zagreb, Močvara club, 2006

23

the holy sacrament in Močvara club ends with the cremation of the cadaver in a barrel, on the terrace of the club resurrection included...

OSOBNA HIGIJENA — performans, Rijeka, klub Palach, 2007.

čist sam kao suza, i takav ulazim s čistom ispeglanom bijelom liječničkom kutom voda je prljava prvo perem noge, pa onda lice u vodi su mrtvi škampi i blato sve je crno od te vode zidovi galerije... Čarli je rekao, pa napokon da nemaš crknute životinje imam malo ogledalce i lavor prizor iz kupaonice – sapun, pjena za brijanje... na četkicu za zube nanosim sardelu povraćam pri pranju zuba sprejam ispod pazuha insekticid premazujem lice majonezom, izrežem se do krvi žiletom po licu cijedi se lice galerijom kuta je kontaminirana

24

PERSONAL HYGIENE — performance, Rijeka, Palach club, 2007

I enter the space all clean and shiny wearing a pristine white and ironed doctor’s uniform the water is dirty I wash my legs first, then face dead shrimps and mud are in the water everything is black because of that water the gallery walls...

Charlie said, finally you didn’t bring dead animals with you

25

I have a small mirror and a wash bowl a bathroom scene – a soap, a shaving foam...

I’m putting a sardine on the tooth brush and throwing up while brushing my teeth I’m spraying my armpits with an insecticide and smearing my face with mayonnaise, cutting my cheeks with a razor my face is dripping all over the gallery the uniform is contaminated

OSMA OVOJNICA — performans, asistent: Danijel Janeš-Proff, Rijeka, MMSU, 2007.

ovojnica je bezbroj, osam je proizvoljna brojka slojeva otkrivanja, stadija truljenja... spodoba u liku skakavca na lancu je s mukom dovukla kutiju uz glazbu koja urla daj mi tu kutiju ljuštim ovojnicu za ovojnicom a svaka je sve gora i sve je puno ambalaže kutija unutar kutije unutar kutije unutar kutije svaka je u drugoj boji, drugog mirisa druge teksture, okusa od mirisnog cvijeća do smradnih ribljih crijeva u ruci je satara dolazim do lubenice i razmrskam je o pod a u njoj je srce srce se lomi samo na potpuno dramatičan način nabijanje na kuku, petarda unutrašnja eksplozija srca i sve sam pretražio i našao sam slatkiš bombon u prizoru uništenja spodoba dijeli trula jaja publici i tek što sam pojeo slatkiš plotun trulih jaja me udara prostor je u kužnom smradu koji se isprati ne može lako spodoba briše smrdljive ruke u sako gradonačelnika nakon nastupa glazbeni session u publici ljudi pokrivaju nosove iznutrice morskog psa na suncu su bile čitav mjesec jaja ljeto je čistim na kraju kao i obično nakon nastupa prostor a ravnatelj MMSU krenuo da urla na mene pita: „kakva ti je to umjetnost?“ kažem: „nije umjetnost nego fermentacija bakterijska i zašto se sada na mene dereš umjesto da i ti sad tu čistiš?“ i kako bih znao uopće da je lik koji se sa mnom krenuo svađati zapravo ravnatelj a ne čistač kada se nije predstavio? (svi su djelatnici nosili te iste majice od MMSU)

26

THE EIGHT MEMBRANE — performance, with Danijel Janeš-Proff as assistant, Rijeka, MMSU, 2007

there are myriad of membranes, eight is just a random number of the layers of uncovering of the stages of decomposition... a creature who looks like a locust with a struggling difficulty pulls a box on a chain accompanied by a shrieking music give me that box I’m peeling one membrane after another, each worse than the previous and all is littered with packages box within a box within a box within a box each in a different color, with a different smell and different texture, and taste from fragrant flowers to stinky fish guts

27

an axe is in my hand I reach the watermelon and smash it against the floor, there’s a heart in it the heart is breaking in a fully dramatic way impaling it on a hook, a firecracker an inner explosion of the heart I’ve searched everything and found a sweet a candy on the scene of destruction a creature hands out rotten eggs to the audience I’ve just eaten the candy when I’m hit by a platoon of rotten eggs the space is drenched in hideous stench which cannot be easily washed out the creature wipes its smelly hands on the mayor’s suit and the music session kicks in finally people in the audience cover their noses a shark’s intestines have been in the sun for an entire month the eggs it’s summertime I’m cleaning the space after the performance, as usual and the MMSU director starts yelling at me asking: “what kind of art is that?” and I say: “it’s not art but bacteria fermentation and why are you yelling at me when you’re supposed to be cleaning, too?” and how was I supposed to know that the guy who started fighting with me

sve smo Proff i ja očistili ali i dalje je je smrdilo dvojica su kazala da više nikada ribu neće jesti od trojice koja su povraćala ravnatelj je rekao (drugi dan smo se propisno kulturno upoznali) da smrad neće tako lako otići pa je unajmio obitelj iz Bosne da ponovno očiste čitav prostor solnom kiselinom a ja sam ipak uspio pojesti svoj slatkiš usred prizora uništenja

28

29

is actually a director, and not a cleaner when he didn’t say who he was? (all the workers wore the same MMSU T-shirts) Proff and me cleaned it all, but the stench remained two people said they would never eat fish again three guys threw up the director said (we met properly the day after) that the stench would not go away easily so he hired a Bosnian family to clean the entire space with hydrochloric acid I managed to eat my candy after all amidst the act of destruction

OSMA OVOJNICA — performans, Stuttgart, Wagenhalle, 2007.

danima sam kopao po smeću organizator donio tikvu i srce nebom kruže orlovi došli smo u velikoj skupini pokojni Tom Gotovac i Trokut bili su s nama u okruženju napuštenih tvorničkih hala i otpada predgrađa i skvotova nigdje dosta smrada ni na jednom otpadu ritual počinje propan butanom udisaj duboki iz boce otvaranje kutija, eksplozija krv je u tanjuru skvoteri su me pozvali na reggae session zajedno smo drugo jutro reciklirali crijeva i plastiku

30

THE EIGHT MEMBRANE — performance, Stuttgart, Wagenhalle, 2007

I was digging through trash for days the organizer brought a pumpkin and a heart eagles were circling the sky we came in a large group the late Tom Gotovac and Trokut were with us in an atmosphere of abandoned factories and waste suburbs and squat houses you couldn’t find enough stench anywhere not in a single junkyard the ritual begins with propane-butane a deep breath straight from the bottle

31

the opening of boxes, explosion blood is in the plate the squatters invited me for a reggae session the next morning, we recycled guts and plastic together

RASKUŽIVANJE — performans, Rijeka, gradski Korzo, FONA, 2007.

sve započinje šetnjom Korzom i to putem od Konta do Kružne ulice gdje je klub Palach na uzici vodim veliku Ribu na kotačima oko noge mi privezano posuđe stvara buku dok zapinje Korzom demone tjera... nakon jednosatne, lagane šetnje u pratnji povorke znatiželjnih prolaznika u Kružnu dolazim kadulju kadim, veliku količinu u loncu palim dezinficiram zidove .. kadim interijer Palacha gustim dimom kadulje a zatim i čitavu anksioznu Kružnu kružim Kružnom nekoliko puta noć se spušta, riba nestaje u plamenu i dimu kadulje

32

FUMIGATION — performance, Rijeka, Korzo sreet, FONA, 2007

33

it all begins with a walk down town from Kont square to Kružna street, where Palach club is located I’m pulling a giant fish on wheels I have dishware tied around my leg it makes noise while it stumbles along Korzo street chasing away the demons... after one hour of casual walk followed by a procession of curious passers-by I arrive to Kružna street and burn sage, I burn a larger amount of it and disinfect the walls ..

I fumigate the interior of Palach club, with the thick smoke of the burning sage and then I move onto the street I go around it several times the night falls, the fish disappears in the flame and sage smoke

PERFORMANS NA KONCERTU GRUPE PO METRA CRIJEVA — Rijeka, klub Stereo, 2007.

Milivoj, ja i mnoštvo gumenih lutaka teturamo scenom Milivoj pije pivo jede gumenu bebu izudaran iz mojih džepova oblaci sumpornog dima izlaze

34

PERFORMANCE AT THE CONCERT OF PO METRA CRIJEVA — Rijeka, Stereo club, 2007

35

Milivoj, me and a bunch of rubber dolls we stagger all over the stage Milivoj is having a beer and eating a rubber baby beaten clouds from my pockets clouds of sulfur gas coming out

PULA, KARLO ROJC — punk koncert Monteparadiso, 2007.

36

37

PULA, KARLO ROJC — Monteparadiso punk concert, 2007

VJEŠTICE NA VJEŠTIČJOJ PLANINI — šetnja prirodom, Klek, 2007.

vještičjom planinom u liku vještice šetam i u sumrak se na vrh penjem na čuđenje planinara u domu publika putem do vrha šumske su životinje, stabla i ostale vještice skrivene u šumi

38

WITCHES ON WITCH MOUNTAIN — a walk in the nature, Klek, 2007

39

on the witch mountain in the shape of a witch, I walk and climb to the top at dusk to the astonishment of the hikers and climbers in the mountain lodge the audience on my way to the top consists of forest animals and the trees and the rest of the witches hiding in the woods

NE ZOVE SE — performans, asistent: Danijel Janeš-Proff, Rijeka, klub Palach, Dani performansa MMC-a, 2008.

u tišini i bez glazbe, tri metra visoka silueta u bijelom ulazi u prostor pretvara se u kip, nastavlja stajati ulazim s mumificiranim golubom na uzici privezanoj na štap golub leti iznad glava publike ruši se na pod čekićem razbijam šahovski sat pod kipom spomenik zasipam brašnom klanjam mu se u oblaku sumpornog dima svijeću palim tupim udarcem malja obaram kip kip se ruši dim se razilazi ali svijeća nastavlja gorjeti

40

ITS NAME IS NOT — performance, with Danijel Janeš-Proff as assistant, Rijeka, Palach club, MMC Performance Days, 2008

in silence, with no music, a three meters high silhouette in white enters the space turns into a statue and remains standing I enter the space with a mummified pigeon on a leash tied around a stick

41

the pigeon flies above the heads of the gathered people and falls on the floor I’m breaking a chess clock under the statue, with a hammer I dust the statue with flour I bow to the statue, in a cloud of sulfur gas and light a candle with a hard blow of the hammer I knock down the statue the statue collapses the smoke clears away but the candle keeps on burning

MOJA PATKICA — Rijeka, u mom stanu, 2008.

42

43

MY DUCKY — Rijeka, in my apartment, 2008

USPAVANKA — performans, asistent: Danijel Janeš-Proff, Pićan, Legendfest (festival pučkih legendi), 2008.

uprizorenje noćne more ponoć prvi štrigun uspavljuje djetešce mazi ga, ljubi šeta s njime u naručju među publikom a bebi glava stalno ispada drugi štrigun ritualno kasapi monstruozni torzo sa svinjskom glavom i kokošjom nožicom brijanje britvom i pjenom za brijanje rezanje vrata britvom scena u dimu i krvi bezglava beba sahranjena je u iskopanu raku a štriguni odlaze u noć

44

A LULLABY — performance, with Danijel Janeš-Proff as assistant, Pićan, Legendfest (folk legends festival), 2008

45

a nightmare scene midnight the first witch is putting a baby down to sleep he cuddles it, kisses it walks among the audience with the baby in his arms and the baby’s head keeps falling off the second witch dismembers a monstrous torso, as part of a ritual with pig’s head and chicken leg shaving with a razor and a shaving foam cutting the through with the razor a scene drenched in smoke and blood the headless baby is buried in a freshly dug out grave and the witches disappear into the night

OSMA OVOJNICA — performans, asistent: Danijel Janeš-Proff, Pićan, 2008.

jučer je performans (Uspavanka) bio za mlađe od 18 zabranjen ali jedno je dijete bilo i brojnim prijateljima kazalo da se nešto gadno sprema tako da su sva djeca festivala došla noćas nakon brojnih zanimljivosti unutar ovojnica i srca letećeg grkljana maloljetna publika urla ubij vraga! ubacili su petardu koju su mi ukrali u jednu skulpturu zbog sigurnosti odustajem od pirotehnike gađa me ta publika ambalažom i iznutricama istjerivanje štriguna iz sela kao i pred 800 godina trpamo stvari u naručeni kombi pod salvom trulih jaja, iznutrica i praznih kutija kombi odlazi put Rijeke

46

THE EIGHT MEMBRANE — performance, with Danijel Janeť-Proff as assistant, Pićan, 2008

a performance was held yesterday (A Lullaby) banned for minors there was a child there though and the child told his friends that something nasty is going on so all the children of the festival came here tonight after seeing many interesting stuff in the membranes and the heart and the flying throat the underage audience yells: kill the devil! they stole a firecracker from me and dropped in the one of the sculptures for safety reasons I gave up the pyrotechnics the audience threw packages and animal guts at me in an act of banishing the witches from the village just like 800 years ago

47

we stuff our equipment in the rented van under the attack of rotten eggs, animal entrails and empty packages the van heads towards Rijeka

POROĐAJNE MUKE — performans, Rijeka, Hartera, 2010.

kreatura je trudna i treba joj napraviti carski rez uz puno prolivene krvi otvara se trbušna šupljina, suvišni organi uključujući i jednu jegulju odmah su izvađeni i dezinficirani plamenom u dubini nalazim slušalicu od tuša... nazvali su me na telefon a budući da mi ponekad telefoni padnu prema zidu tako i ovaj puta, razbijam slušalicu nazvala je Bogorodica u želji da izađe, pronalazim je duboko u utrobi i zajedno s plastičnim konjem donosim na svijet gdje oni odmah zapadnu u blud napokon, nakon svega prethodnoga rodilo se i dijete plastično je i otpada mu glava... cjedilo za limun našlo se pri ruci slatka limunada od preslatkog djeteta iz utrobe vadim cvijet poklanjam ga djevojci u publici truplo se priprema za lomaču beživotno majčino tijelo koje su djeca paraziti izjeli nestaje u plamenu blistava lomača, vatrogasci su pritekli u pomoć

48

THE PAINS OF CHILDBIRTH — performance, Rijeka, Hartera, 2010

49

the creature is pregnant and it needs a cesarean section with a lot of spilled blood, the stomach is opened the unnecessary organs and an eel are taken out immediately and disinfected with flame deep inside I see a showerhead, resembling a phone receiver... someone rings me up my phones sometimes hit against a wall this time too, I smash the receiver it was Virgin Mary on the phone, she wants out I see her deep in the creature’s stomach and together with a plastic horse I bring her out to the world where they engage in fornication right away finally, after all this a child is born it’s made of plastic and its head keeps falling off... a lemon juicer is at hand a sweet lemonade made of the sweetest child I reach into the stomach and take out a flower and give it to a girl in the audience the body is ready for the bonfire the mother’s lifeless body which her parasite children ate up, now disappears in the flame magnificent bonfire, the firemen came to help

PERFORMANS S GRUPOM POGREB X — Rijeka, klub Stereo, Ri Rock festival, 2010.

punk... na pozornici palež omatanje tijela iznutricama i njihovo vađenje bacanje organa u publiku razbijanje jaja na oko svijeće zlostavljanje lutkica abortus Milivoja samokažnjavanje oči u magli...

50

A PERFORMANCE WITH POGREB X — Rijeka, Stereo club, Ri Rock festival, 2010

51

punk... fire on stage wrapping my body in animal bowels chucking animal organs at the audience cracking eggs against my eyes candles the abuse of dolls Milivoj’s abortion self-punishment eyes in the fog...

PERFORMANS S GRUPOM POGREB X — asistent: Vlado Zagorac, Vinkovci, Vanilla klub, Marinfest, 2010.

Monstrum je sjekirom uredio kravlju glavu još zaleđenu onako kako sam ga zamolio, za nastup rezali smo kapke skalpelom u kesi iznutrice, lutku sam napunio iznutricama asistent Vlado u obličju nosate babuskare s glavom se krave u rukama na ljude zalijeće seksualni distonalitet... lutka gori s plinskom maskom na licu, kosa joj u plamenu plešemo s crijevima u rukama iza zida, solo Jovano Jovanke i stol leti, Adolfa je po običaju ponio melos pa je dva puta bacio teški metalni stol nož u ruci moj je plašt u plamenu na pozornici gužva, pankeri pogaju glava krave puca i gori lutka pada stampedo me guta, umotanog u lance Vlado nakon svega ljudima čestita Božić dok im ja bacam ostatke kravljeg trupla

52

A PERFORMANCE WITH POGREB X — with Vlado Zagorac as assistant, Vinkovci, Vanilla club, Marinfest, 2010

Monster used an axe to fix up a cow’s head, still frozen he does it exactly the way I’ve asked him, for the performance we are cutting the eyelids with a scalpel entrails in a plastic bag, I fill up the doll with the entrails my assistant Vlado, in the shape of and old big-nosed woman, rushes into the audience with the cow’s head in his hands Seksualni Distonalitet playing in the background... the doll is on flame, wearing a gas mask, her hair is burning we dance with bowels in our hands behind the wall Jovano Jovanke solo, and a flying table, as usual, Adolf is swept up by the melody so he smashes the metal table against the floor, a knife is in the hand my cape is on flame the stage is crowded, the punkers moshing

53

the cow’s head cracks and goes aflame the doll is falling down I’m engulfed, chain bound, by a rushing stampede Vlado says merry Christmas to everyone, while I’m throwing the remnants of the cow’s cadaver at them

MOZGIĆI (POSLJEDNJI SNIFER) — performans, asistenti: Dario Krmpotić, Siniša Brozić Zagreb, tvornica Jedinstvo, 2010.

nakon rituala lignje razrjeđivač broj 8 na glazbu Adaptera radio sam godinama u dućanu boja i lakova posluživao snifere koji su stalno dolazili od 8 ujutro do 8 uvečer ali su proizvođači Metaprena promijenili sastav tako da samo truje a više ne djeluje psihoaktivno kao zamjenu sam upotrijebio osmicu, po mirisu se otapalo prepoznaje i dobra je (testirao sam četiri pogrešna otapala u sobi dva dana ranije i ne sjećam se kako je došlo do toga da nakon petog, osmice sjedim bojom zaliven uz razbijen prozor proba performansa je to bila, inače ih nikada ne pravim, nebitno) u tripu čujem, sviraju Mozgići od Adaptera naši se mozgići brzo rastapaju, kroz nos nam kapaju autor teksta je Dario trebali su me sputati, u luđačku košulju strpati ali Dario je negdje, u demenciju zapao, nestao a drugi me asistent, Siki, sve najgore zalio bojom u koju sam prethodno po svojoj recepturi umiješao osmicu moji asistenti, zbog njih sam bio loše i bocu razbio publiku desetkovao... neki su se u strahu razbježali kada sam krenuo vrištati a izvođača nakon mene još ima Zoff je nešto kasnije kosu moju pilio, šišao tupim kuhinjskim nožem dok svira Leifert, kosa u plamenu gori. nisam nakon svega završio u ludnici već još gore, u Europskoj uniji! promijenjen, kratke kose, za Europsku uniju spreman ludim do Rijeke autobusom mislim da još nisam gotov...

54

LITTLE BRAINS (THE LAST SNIFFER) — performance, with Dario Krmpotić & Siniša Brozić as assistants, Zagreb, Jedinstvo, 2010

after the squid ritual diluent no. 8 the Adapteri music playing in the background I used to work in a paints & varnishes shop, for years I served sniffers who were coming there regularly from 8 am to 8 pm but the Metapren glue changed the composition so now it’s just a poison with no psychoactive effects I used the no. 8 instead, you could smell the solvent in it, it was good (I had tested four bad solvents in my room two days earlier I don’t remember how it happened after the no. 8, my fifth solvent I was sitting by a broken window, all covered in paint it was just a rehearsal before a performance, which i never do, by the way)

55

in my tripping episode, I hear Little brains playing our brains melt away really fast, they run through our noses Dario is the songwriter they should have confined me, out me in a straitjacket but Dario is somewhere, demented, gone and the other assistant, Siki, the hell, douses me in paint in which I to my own recipe, poured in the no. 8 my assistants. I felt sick because of them, I even smashed a bottle and chased away the audience… some ran away in fear when I started screaming and there were other performers after me a bit later Zoff was cutting my hair with a blunt kitchen knife with Leifert playing in the background, the hair is aflame after all that I didn’t end up in a nuthouse, but in the EU! changed, with short hair, I’m ready for the EU I’m freaking out in the bus to Rijeka I think I’m not done yet...

ZOFFOVA FRIZURA — Rijeka, Korzo, 2010.

56

57

ZOFF’S HAIRSTYLE — Rijeka, Korzo, 2010

MRCVARENJE — performans, asistenti: Mario Tuka, N. N., Rijeka, Kont, 2010.

rekao sam još jedan nastup i idem u Berlin. zadnji. nismo planirali da bude Dan državnosti slučajno je ispalo tako a najavio sam dva dana prije i bilo je kasno za izmjene pijani primijetili smo tek ujutro da je praznik pa smo eto, šta bi drugo nego prosjačili na koljenima po Korzu na suncu dehidrirani od jutra sa svijećom na trobojnicu i molili se za vino... za Papu... za Tuđmana... bilo je i demencije priznajem a uvečer na krcatom Kontu tri smo litre razrjeđivača u krug prolili i zapalili. plameni krug lignje krv razbijene boce i vriskovi u noći ožiljci mi se nismo borili ali smo se molili pucnjava neki nisu voljeli performans – prijetnje nasiljem i smrću od pojedinaca iz publike sakrivenih negdje iza u mnoštvu... neka skupina spontano pjeva Moja domovina policija nije voljela performans profesor L. im je objasnio da je to bio samo uvod u Riječke ljetne kulturne noći pita čovjek je li tu bio neki sotonistički ritual ma nije ali nisu ni Riječke ljetne kulturne noći

58

THE HARROWING — performace, with Mario Tuka and N.N. as assistants Rijeka, Kont, 2010

59

I’ve told them one more performance and I’m off to Berlin the last performance. we didn’t plan it to happen on the Statehood Day it was just a coincidence and had already made the announcement two days earlier and it was too late for changing the schedule drunk we didn’t realize until morning that it was a holiday so we didn’t had anything to do but fall on our knees, in the middle of Korzo, and beg, dehydrated with a candle in the colors of the national flag and prayed for wine... for the Pope... for Tuđman the president... there was a bit of dementia, I admit and in the evening in the crowded Kont square we poured three liters of diluent, in a circle, and we set it aflame the circle of fire squids blood broken bottles and screams in the night scars we never fought, we just prayed gunshots somewhere some people didn’t like the performance – threats of violence and death coming from individuals in the audience hidden in the crowd... a group sings moja domovina in the background the police didn’t like the performance either professor L explained them that it was just an introduction to the Rijeka summer nights the man asked if it was a Satanist ritual of sorts no, it was not but it weren’t the Rijeka summer nights either

MOJA BEBA I JA U DIMU — Rijeka, u mom stanu, 2010.

MASKA S ONKOLOGIJE — Rijeka, u mom stanu, 2011.

60

MY BABY AND ME IN SMOKE — Rijeka, my apartment, 2010

61

ONCOLOGY MASK — Rijeka, my apartment, 2011

CRNI ČOVJEK — Dubrovnik, 2013.

62

63

THE SHADOW MAN — Dubrovnik, 2013

— performans, asistent: Tino Bandini Split, NUS festival, 2013.

u pozadini: bradati čovjek u crnom, blijeda lica na glavi šešir, sjeda na stolicu, pali cigaretu pravi balone od sapunice crna baba kleči i kune: golema hobotnica u crvenom ognju guta rastopljenu barbiku...

64

— performance with Tino Bandini as assistant Split, NUS festival, 2013

65

in the background: a bearded man in black, pale with a hat, sits on a chair, lights a cigarette makes soap bubbles the black old lady is on her knees, swearing: a gigantic octopus in a red flame, engulfing a melted Barbie doll...

DEAD SKIN MASK — performans, Zagreb, tvornica Jedinstvo, Freaky Friday Festival, 2014.

velika okrugla pozornica obasjana crvenim reflektorom stol, svijeće, svinjska glava pogrbljena prikaza puzeći se približava dolazim na koljenima, molim se glavi, blagoslivljam glavu ljubim glavu teški udarci štapom, prolijevam razrjeđivač u probušeni lonac pripremam Lomaču ne primjećujući da je lonac probušen razrjeđivač curi iz lonca po stolu i po mom šarenom šlafroku – vatra trenutno zahvaća i stol i mene čitavoga, panično bježim sa scene omatam se scenskim zastorom (na zgražanje organizatora) izmaklo je kontroli posve (što će biti ako izgorim, pomislim...) ali nitro ipak brzo plane i brzo izgori, uglavnom površinski lako hlapivo otapalo posve neozlijeđen približavam se glavi ali, to je samo koža, oguljena koža sa svinjskog lica prevučena preko kalupa i vezana žicom slijedi transformacija u svinjsko obličje – skidam kožnu masku mrtve svinje i navlačim na lice premazujem se debelim slojem blata i postajem svinja ribu prethodno razmrskanu i pretvorenu u kašu mahnito trpam u svinjsku njušku iz svinjskog ždrijela samo se riblji rep nazire. transformacija je gotova skidam masku i vješam o stalak mikrofona udaljavam se s pozornice iza mene blato, mrtve ribe prije i poslije nastupa, u izložbenom dijelu prostora, instalaciju „Raspelo” periodički okrećem i tako svakih pola sata

66

DEAD SKIN MASK — performance, Zagreb, Jedinstvo, Freaky Friday Festival, 2014

a big round stage illuminated with a red reflector a table, candles, a pig’s head a hunched creature, crawling coming closer I’m coming on my knees, pray to the head, giving it a blessing I kiss the head i pour diluent into a punctured pot I prepare the Bonfire, without noticing that the pot has a hole in it the diluent is leaking onto the table smearing my colorful bathrobe – the table and me are catching fire, panicked, I’m fleeing the scene and wrap myself in a stage curtain (shocking the organizers) things went completely out of control (what will happen if I burn down, I think to myself...) but the nitro catches fire burns down really fast, mostly on the surface a highly volatile solvent unscathed, I approach the head but it’s just the skin, peeled from the pig’s face and pulled over a mold a transformation follows a transformation into a pig – I take the skin mask of the dead and put it on my face I spread a thick layer of mud all over myself and become a pig I take a crushed, mushy fish and stuff the pig’s snout with it all you can see from the pig’s through is a fish tail. the transformation is finished I take off the mask and hang it on the microphone stand I leave the stage mud and dead fish staying behind before and after the performance, in the exhibition space, I periodically rotate my crucifix installation

67

every half an hour

TERAPIJA — performans, asistent: Adrijan Deković-Svraka, Rijeka, klub Palach, Dani performansa MMC-a, 2014.

refleksija trenutačne stvarnosti izraz potrebe za određenom terapeutskom pomoći moguća budućnost svakog od nas koji se ne uklapamo sve su asocijacije dopuštene na prizore mrcvarenja i zlostavljanja kojima se dobrovoljno prepuštam ne definiravši ništa, dozvolivši da promatrač vidi kao i uvijek, što god ga je volja; iživljavanje igru, šalu, kritiku, ili šta god drugo ja, pacijent, grubo maltretiran od strane asistenta (mučitelja, liječnika, bolničara, inkvizitora... slobodne asocijacije...) injekcije, fizičko nasilje trulom ribom omatanje glave u iznutrice grubo trpanje u košulju i lance dim iz glave misli u dim prisilno odvođenje i kraj

68

THERAPY — performance, with Adrijan Deković-Svraka as assistant, Rijeka, Palach club, MMC Performance Days, 2014

69

reflection of reality an expression of need for therapy potential future of all of us who don’t fit in all connotations are allowed of images of torture and abuse which I voluntarily give in to without defining anything, allowing the observer to see as always, whatever he likes; violence play, joke, critique, whatever me, the patient, heavily abused by my assistant (the torturer, the doctor, the nurse, the inquisitor... free connotations...) syringes, physical attack with a rotten fish wrapping the head into animal entrails violently stuffing the shirt and chains with it smoke coming out of the head thoughts in smoke forced removal from the stage the ending

— sudjelovanje u performansu Kreše Kovačićeka 3B Landscape na promociji knjige Kronotop hrvatskog performansa: Od Travelera do danas Suzane Marjanić uz popratnu nezgodu, hitnu pomoć i crnu kroniku, Rijeka, MMSU 2015.

danima smo pili vina u cijeni dvije litre – petnaest kuna na popustu u plastici jedno dva tjedna pred nastup Krešo je došao do mene da mi objasni i tako je krenulo objašnjavao mi je performans danima dok nismo pali na pod i kolabirali skoro neki crnjaci, i u boci i izvan boce skupilo se... pa nestalo i novaca i života dobio je ipak od nekud skromnu donaciju da kupi kartušu za plamenik jer nije uspio nabaviti peć za keramiku, ostatak smo popili iscrpljeni, u tremoru za kinesko šišanje treba otvoreni plamen kosa se pali vrućim nožem ali plamenik je bio neispravan i ta opcija je otpala eksali smo vino odlučili se za kuhinjski nož glatkih, zaobljenih zuba kako god, loš izbor noža glupa ideja da se ide spašavati Krešin performans pod svaku cijenu mada ipak: već je to izvedeno u performansu Mozgići tako me Zoff već šišao to šišanje ne ide baš najbolje nož samo klizi pritisnem jače i ne vidim u mraku kuda nož ide omaknuo se nož u mraku, prejako sam povukao nisam primijetio odmah jer, Krešo uopće ne mijenja izraz lica u stanju transa dugo mi treba da primijetim ozljedu pas onjuši kosu ja sam malo zbunjen i ne vidim dobro Krešo krvari i diže se i šeta prostorom, mjesečari uz zvuke klasične gitare nije mali problem, krv kapa dramatično taknem krv na podu i pogledam njega spustim ga na stolicu, Slaven je donio zavoj i uskoro će hitna držim zavoj na glavi da zaustavim krvarenje i sjedim mu u krilu sve skupa previše na promociji knjige ritualno skidam kostim

70

— participation in Krešo Kovačićek’s 3B Landscape performance, at the promotion of book The Chronotope of Croatian Performance Art: from Traveleri to the Present Day by Suzana Marjanić, with an incident, paramedics and an appearance in crime pages of the local newspapers, Rijeka, MMSU, 2015

71

we were drinking for days wine bought at half price – HRK 15 per 2 litres in a plastic bottle for nearly two weeks prior to the performance Krešo came to my place, to explain things and so it went he was explaining the performance until we fainted red wines, inside and outside the bottles there was some... and then it was gone, both the money and the life he did get a small donation though to buy a power gas cartridge because he couldn’t get a kiln, we drank the rest of this money exhausted, trembling you need an open flame for the Chinese cut the hair is burned with a hot knife but the burner was broken and the option so it was no longer the option we chugged the wine down and decided to use a kitchen knife serrated but blunt such a bad, bad choice of a knife stupid idea to save Krešo’s performance at all costs yet, it has been done already in Mozgići performance Zoff has already cut my hair this way the haircutting is off to a bad start the knife just slides over the hair I press harder but can’t see in the dark where the knife is going the knife slips in the dark, I pulled too hard, I didn’t notice it right away as Krešo’s face is so still in a trance-like state it takes me a while to see the injury a dog sniffs the hair I’m a bit confused, I can’t see well Krešo is bleeding, he stands up walks around the space, like a moonwalker accompanied by the sounds of the classic guitar it’s not a minor issue at all, the blood is dripping dramatically I touch the blood on the floor and look at him

i masku s lica kroz jedno pola sata Krešo se nasmijan vraća zašivene glave toči Vranac porezotina je srećom rekordno brzo zarasla

72

I place him on a chair, Slaven has already brought a bandage the ambulance is on its way I hold the bandage against the injury to stop the bleeding and I’m sitting in his lap it’s too much, all of it later, on the book promotion, I take off my costume in a ritual manner and remove my mask half an hour later, Kreťo is back, wearing a smile and stitches pouring himself some red wine

73

the cut healed in a record time, luckily

OBDUKCIJA — remake performansa Satana Panonskog na izložbi Osamdesete – slatka dekadencija postmoderne, asistent u performansu: Darko Brajković Đepeto Njapo, Zagreb, HDLU („Džamija“), 2015.

remake Satanovih recitala uz autorsku glazbenu matricu scenografija je plastična beba i goveđi grkljan asistent mi urezuje pentagram na leđa žiletom...

74

THE AUTOPSY — a remake of the performance by Satan Panonski at exhibition The 80s – A sweet Decadence of Postmodernism, with Darko Brajković Đepeto Njapo as assistant, Zagreb, HDLU (“the Mosk”), 2015

75

a remake of Satan’s recitals with original music in the background the set consists of a plastic baby and a bovine throat my assistant carves a pentagram on my back with a razor...

TERAPIJA II — performans, asistenti: Tino Bandini, Krešo Kovačiček, Neda Šimić Božinović, Koprivnica, FIUK festival, 2015.

putovanje i pripreme za moj i Xenin nastup otišlo u psihodeliju Xena, Neda, Krešo, Tino i ja uz tešku se muku dovukli do Koprivnice alkoholna magla Tino je radio na psihijatriji kao bolničar 13 godina ja sam najgori pacijent provociram Tina, udarim ga više puta kažnjavanje fizičko nasilje i otimanje, vađenje krvi injekcije, zamatanje glave Neda urla kao avet uz pozadinsku jezivu glazbu na video-wallu užasni prizori mučenja i zlostavljanja iz duševnih bolnica i ratišta Krešo je donio cvijeće na pozornicu ja se klanjam kao primadona … u pozadini je kičast portret nevinog djeteta sa suzom u oku slika nestaje u plamenu špricama Tino ispisuje po platnu natpis : RASCJEP DUŠE mojom krvlju mala je šprica, trebalo je više puta gađati venu da se napuni dovoljno za pisanje

76

THERAPY II — performance, with Tino Bandini, Krešo Kovačiček, Neda Šimić Božinović, Koprivnica, FIUK festival, 2015

77

the trip and the preparations for my and Xena’s performance turned into a psychedelic chaos Xena, Neda, Krešo, Tino and me barely made it to Koprivnica the alcohol blur Tino worked at the psychiatric hospital as a nurse for 13 years and I’m the worst patient I provoke Tino, hitting him more than once punishment physical violence, fighting, the drawing of blood syringes, bandages on the head Neda shrieks like an apparition, accompanied by eerie music the video wall shows hideous scenes of torture and abuse from mental hospitals and battlefields Krešo brings flowers onto the stage I take a bow like a diva … a cheesy portrait of an innocent child with tear-filled eyes the picture is engulfed in flame Tino uses syringes to write on the screen: SOUL FRACTURE with my blood it’s a small syringe, it took more than one shot to draw out the blood To have enough it for writing

POSLJEDNJI PUT — performans, Rijeka, klub Palach, Dan performansa posvećen Nedi Šimić Božinović, 2015.

pokojnoj Nedi dragoj prijateljici i suradnici posvećen je ovaj nastup na manifestaciji koju je sama organizirala kao posljednji pozdrav posljednji put nastupao sam s Nedom na FIUK-u video se prikazuje na zidu u crnom sakou, s crnom maskom palim ljubičastu svijeću, Nedine omiljene boje kresnem štapom u pod i napuštam scenu, svijeća gori

78

FOR THE LAST TIME — performance, Rijeka, Palach club, a Performance Day dedicated to Neda Šimić Božinović, 2015

to the deceased Neda my dear friend and collaborator I dedicate this performance at a manifestation she organized as the final farewell

79

last time I performed with Neda at the FIUK festival a video is shown me in a black suit, with a black mask lighting a purple candle, Neda’s favorite color I hit the floor with a stick and leave the stage, while the candle is burning

TERAPIJA III – OSLOBOĐENJE — performans, asistenti: Leo Friščić, Danijel Janeš-Prof, Marijan, Rijeka, Hartera, Dark O Metal festival, 2016.

Normalni smo jer smo slobodni a slobodni smo jer smo ludi., Catch I. završni performans je ritualni čin oslobođenja u ovom prikazu mučenik zatvorenik, kida spone i kaveze ubija ego, glavu i odlazi slobodan pentagram na prsa, zvijezda, smrt u inicijaciji nov je život novorođenčetu izašlom iz čahure – luđačke košulje ta krvava košulja postaje pokojnom novorođenčetu i novorođenom pokojniku i grob i maternica za novi život babinje i karmine...

80

THERAPY III – LIBERATION — performance, with Leo Friščić, Danijel Janeš-Prof and Marijan as assistants, Rijeka, Hartera, Dark O Metal festival, 2016

We are normal because we are free, we’re free because we’re crazy., Catch I.

81

the closing performance is a ritual of liberation in this scene, a martyr a prisoner, breaks his chains and cages killing the ego (the head) goes away free a pentagram on the chest a star, death in a rite of initiation a new life of a new born baby born out of cocoon – a straitjacket the bloody garment becomes the grave and the uterus to the newborn deadman for the new life for the post-partum period and the burial ceremony

—

.........rvrrrr……. rasprsnuće, onanija, egzegeza…. trešteća buka podrhtava, stenje, tone u živući aluminij tihi umirući krajnik smiješi se! smiješi se! gle! posve sumanuti đavo juriša čađave vagone slobodne požrtvovne alge sjedinjenu rusku zmiju lokomotivu žutu što svjetla strašna iskra kotača pada u oko stablo se grči .......... raširi ruke kroz otvorena vrata jeziva omaglica daleki briše trag – kroz tresak drhtavi plamen – žlice strojevi – dugi astmatični uzdisaji – sudoperi – brodovi orijaški reptili mali olovni vojnici plivaju u dimu – guše se – odnose ih kolone pogrebnika – crnih nosača – čeličnih dizalica kroz smrad spaljenog benzina................. zastrašujuća fotelja krene haluciniranom aerodinamikom u kupaonici velebilja – toksičnost stropa povratiti bijelo, mliječno opojno cvijeće – gljive – lučenje sekreta podna krizantema blažiti usne cijediti sok umiruće škare čisto zdrobiti svinjski mjehur pucajući balege na udaljene letjelice uzalud kucati – otkucavati – bombardirati – uništavati vješanje – raspad – vagoni – klinovi nemiri – masovni pokreti uplašene gomile zabrazdiše u dugu fetalnu disleksiju kroz sirovu dugmad utrli su put i nahrupiše mitraljezi, razbojnici, vojnici, silovatelji, lešinari katatonični izvitopereni grbavci krvlju poškropljeni kartonom prekriveni nožem blagoslovljeni ushićene, povampirene narikače suzu pustiše, dušu prigušiše, oči izvadiše svesrdno povratiše okotiti meso krv pljujući pušeći kose pokojnih pjesama

82

—

83

.........rwrrrr……. eruption, onanism, exegesis horrible noise is trembling, moaning, sinking in a quick aluminium a silent, dying tonsil smile! smile! look! a completely insane devil is chasing sooty railroad cars free, devoted algae a Russian snake, joined in itself, a yellow train engine, scary lights a wheel spark flies up and falls into the eye a tree is convulsing .......... spread your arms through the open door an eerie mist erases a distant trace – in a bang a trembling flame – machine spoons – long asthmatic breaths – kitchen sinks – ships, gigantic reptiles tiny tin soldiers swim in the smoke – choking – they’re taken by processions of undertakers – the black carriers – steel cranes surrounded by the smell of burning gasoline................. a scary armchair uses hallucinatory dynamics in a bathroom full of belladonna – the toxicity of the ceiling to throw up the white, milky intoxicating flowers – mushrooms – secretion discharge floor chrysanthemum soothes lips squeeze juice dying scissors to purely crush a pig’s bladder shooting manure onto the distant aircraft to knock in vain – to tick – to bombard – to destroy hanging – decomposition – train wagons – wedges riots – mass movements scared crowds fall too deep into a long fetal dyslexia through raw buttons they paved the way and so they come machine guns, thugs, soldiers, rapists, vultures catatonic twisted hunchbacks sprinkled with blood covered with carton blessed by a knife ecstatic vampire-keeners shed a tear, suffocate the soul, take out the eyes and throw up wholeheartedly spawn the meat spit the blood and smoke the hair of deceased songs

FOTO SESSION HRVOJE ZALUKAR — Zagreb 2016., Rijeka, razne lokacije (Hartera, Mlin Žakalj, moj stan, groblje na Kozali) 2017.

84

85

A PHOTO SESSION BY HRVOJE ZALUKAR — Zagreb 2016, Rijeka, different locations (Hartera, Mlin Žakalj, my apartment, Kozala cemetery) 2017

86

87

88

89

90

91

AUTORSKI TEKSTOVI

92

Nakazna umjetnost Davora Dundare Marina Tkalčić

Pokušamo li se osvrnuti na značaj čudovišnoga u modernom svijetu, bitno je učiniti kulturološki i povijesni odmak i uočiti obrazac čudovišnoga koji postoji otkada postoji čovjek, što je posebice uočljivo u konceptu sukoba junaka i čudovišta, prisutnom u skoro svim kozmogonijskim mitovima, epovima, ali i brojnim prilozima pučkog imaginarija. Govoreći o sukobu junaka i čudovišta, Miranda Levanat-Peričić 1 opisuje obrazac utemeljen na konfrontaciji i kontrastu: „…u zastrašujućem i odvratnom tijelu čudovišta svoje mjesto našlo je sve ono što određeno društvo smatra bolesnim, nastranim i lošim, dok idealizirana slika koju utjelovljuje junak iscrpljuje gotovo sve pozitivne mogućnosti u skladu s predodžbom kulture kojoj pripada.“ Čudovišta mogu biti potisnuta u najdubljim predjelima naše podsvijesti, no uvijek se nekako vraćaju, izlaze na površinu.

Zašto je povijest antroposa prožeta čudovištima, zašto postoje i čemu služe? Richard Kearney 2 pojašnjava da drugi/ stranci i čudovišta, ali i bogovi predstavljaju ekstremna iskustva koja nas dovode do određenog ruba. Čudovišta „ruše ustaljene kategorije i izazivaju nas da ponovno promislimo. I upravo zato što nepoznatim prijete poznatome, često su izdvojeni u područje straha i trepeta.” Zato to čudovišno Drugo mora biti izolirano, gurnuto na margine društva, protiv njega se borimo, baš poput idealiziranih mitskih junaka. U fobičnim društvima, kakvim sve intenzivnije postaje i hrvatsko društvo, čudovišno je neizbježno.

Tematizirajući nakaznost i čudovišnost kroz svoju umjetnost performansa, D. Dundara ruši barijere lažnog reda i upozorava da je nakazna i čitava zapadna civilizacija i pripadajući (kapitalistički) sustav vrijednosti, a nakazan je i zapadnjački dualizam koji konstantno proizvodi nove nejednakosti.

93

Tragom navedenoga, težimo razmišljati o čudovišnom kao o mogućem konceptu koji postoji i koji je nužan ne bi li nas natjerao na suočavanje s predrasudama i strahovima, na osvještavanje drugoga u nama samima. Jer, umjesto da preuzmemo odgovornost nad čudovištem koje čuči duboko u nama i stvara nam nelagodu, često smišljamo raznovrsne strategije bijega. Jedna od učestalijih strategija je pokušaj simplificiranja našeg postojanja žrtvovanjem drugih kao stranaca/čudovišnih, istovremeno odbijajući priznati sebe kao druge. Kearney 3 sugerira da trebamo naučiti živjeti s čudovišnim drugim u nama jer ga ubiti ili poništiti ne možemo.

1 Levanat-Peričić, Miranda. 2008. „Morfologija mitskog čudovišta“, u: Croatica et Slavica Iadertina, 4/4, 531. str.

2 Kearney, Richard. 2003. Strangers, Gods and Monsters. Interpreting Otherness, Routledge, New York, 3. str.

3 Ibid., 5. str.

4 Ibid., 117. str.

5 Levanat-Peričić, Miranda. 2008. „Morfologija mitskog čudovišta“, u: Croatica et Slavica Iadertina, 4/4, 533. str.

6 Dundara, Davor. 2008. „Nakaznost je stvarna, idealizam je fikcija“, u: Zarez, br.

224, 7. veljače 2008. Razgovarala: Suzana Marjanić

Te figure čudovišta u nas su inkorporirane, skriveni su dio našega sebstva i uvijek se vraćaju da nam nešto poruče i da budu doživljene, primijećene.

Dundarina umjetnost kod promatrača proizvodi određenu vrstu nelagode. Skulpture su to koje su nastale kroz slobodan asocijacijski proces, gomilanjem takozvanog civilizacijskog otpada u koji smo svi uronjeni, kako objašnjava autor. Umjetnik taj otpad lijepi, povezuje, spaja u nakazne, čudovišne skulpture – skulpture koje izgledaju zazorno, prljavo, kao utjelovljenja drugosti, nečeg potisnutog i odbačenoga. Davorovi radovi predstavljaju svojevrsne vizije nekog drugog svijeta – onog nesvjesnog, arhetipskog koji je, na koncu, dio svakog od nas.

Njegove skulpture na određenoj razini bude čudovišta u nama samima, čudovišta koja su dijelom tog nesvjesnog svijeta.

Upravo zbog toga njegove radove ne možemo promatrati analitički.

Naime, radovi koje stvara uvijek su i autorov proces rasterećivanja – od vlastitih demona, proces koji je ponekad mučan, ili kako to sam objašnjava, „više je nužnost nego užitak.” Dundara radove ne proizvodi s unaprijed jasno formiranom slikom krajnjeg rezultata, ne postoje unaprijed zadane teme, niti postoje nazivi ili opisi skulptura/kolaža – autor se prepušta stvaralačkom procesu u kojemu dolazi do učenja, zadiranja u mračne sfere vlastitoga bića i, na koncu, do osobnog pročišćenja. Rezultat potiče i promatrača na učenje, maštanje i stvaranje vlastitih asocijacija. Umjetnost u ovom kontekstu nije sama sebi svrhom, već je stepenica osobnog razvoja. Za Dundaru su vlastiti radovi intimni i osobni artefakti. Čudovišta su, kaže Kearney 4, metafore naše anksioznosti, čemu na neki način svjedoče i Dundarine skulpture. Čudovišta nas zastrašuju prelaženjem ranije osiguranih granica i podsjećaju da ne znamo tko smo (Without them we know not who we are. With them we are not what we know). Uobličuju naše fobije koje nikada nismo u potpunosti prerasli ili prevladali i svojom nas pojavom suočavaju sa starim strahovima, brigama i nedoumicama.

Na koncu, promišljanje o čudovišnom trebalo bi nas ponukati na razmišljanje o ‘čudovišnom’ Drugom koje se u fobičnim i neravnopravnim društvima kroji na principu dualizama i negativnih analogija, jer problem koji bismo trebali propitati i koji bi čudovište trebalo riješiti, ujedno je i stalan problem ljudske prirode i društva. 5 Čudovišta i demone moguće je udobrovoljiti, kako napominje Dundara 6, ako im se hrabro pogleda u oči i prihvati kao dio sebe, umjesto da ih se gura pod tepih gdje rastu, bubre i na koncu nas proždiru.

94

Davor Dundara — ambijentalna / stambena Trolova pećina Suzana Marjanić

Kratak zapis o Davorovu stanu – pećini, jedne od brojnih varijanti njegovoga čudovišno raznovrsnog biograma, nalazi se u njegovoj biografiji: „…moja soba prolazi svoje transformacije, postaje atelje i izložba.“ Naime, stalni izložbeni postav umjetnikovih radova postavljen je u njegovome stanu u Rijeci, a stan se, ta ambijentalna instalacija, asamblaž, također i iznajmljuje turistima u sezoni, preko agencija za iznajmljivanje, i to, kako navodi umjetnik, kao „bizarno ljetovalište u umjetničkom okruženju.“ U tome smislu prizivam u sjećanje stan Antonija G. Lauera (aka Tomislava Gotovca) u Krajiškoj 29 (Zagreb), koji je umjetnik modificirao kao Merzbau, životni prostor Kurta Schwittersa, ili pak podrumski stan u Tomašićevoj, nedavno preminuloga Vladimira Dodiga Trokuta, koji ga je odredio kao stan-galeriju Ilegalis-Antimuzeja. U svome stanu Davor Dundara taj je društveni, realni mrak modificirao u koncept „šarenoga mraka“, prema principu „ma koliko stvarnost bila okrutna, toliko ću sâm učiniti da tim mrakom pojačam šarenilo vlastite duše-života.“ I kao što je izložba-zbirnica Perpetuum mobile (Galerija PM, HDLU, Zagreb, 2013) Vladimira Dodiga Trokuta figurirala kao svojevrsna preslika njegovoga podrumskog stana, smještenoga nedaleko od HDLU-a, i kao što su na retrospektivnoj izložbi Anticipator kriza – Kuda idemo ne pitajte Tomislava Gotovca (MMSU, Rijeka, 2017) kustosice Ksenija Orelj i Nataša Šuković izložbeno preuzele fragment Tomova stana-Merzbaua, tako sam upravo i ja Davorovu Trolovu pećinu (kako je i naslovljena njegova izložba u u Labinu 2018. godine, u kustoskoj koncepciji Damira Stojnića), izložbenu morfologiju čudesa, doživjela kao fragment njegovoga stana – asamblaža.

95

Iako je nemoguće, dakako, verbalno izložiti Davorov svakodnevni ambijent – mračni ambijent čiji je sâm kreator, ovom prigodom zadržala bih se upravo na toj Dundarinoj, Trolovoj pećini. Ta stambeno-izložbena ambijentalna metamorfoza može se protumačiti, spoznati, kao verzija Platonove alegorije pećine, kojom Platon (Država, VII, 1) gradi paralelu između zatočenika u pećini i slobodnih ljudi/misli, te zapravo govori o obmanjujućoj prirodi naše (naučene) percepcije i težini spoznaje, prihvaćanja novih ideja, Istine. Tim izložbenim i nazivnim formatom Trolova pećina, odnosno kako ju je sâm umjetnik oksimoronski naslovio Izložba izloženih izložaka, objedinjuje vizualnu trijadu – groteskno maškaranje – umjetnost performansa, ambijente i grozomorne lutke (žive slike/ skulpture tih mrk[l]ih ambijenata) te kolaže, sve segmente koji su prisutni i u njegovome svakodnevnom ambijentu,

tako da je izložba, moglo bi se reći, figurirala kao art-isječak njegove svakodnevice po principu neo/post/avangardnoga prožimanja umjetnost = život.

Detekcija i svojevrsna estetska dijagnoza: nijedan naš umjetnik/ica ne provodi na takav način kostimografsku inverziju, transgresiju antropomorfnoga u posthumano „postajanje čudovišnim.“ Daljnja specifičnost Dundarina maškaranja počiva i u tome što je umjetnik izvedbama posvećen svakodnevno; pod svakodnevnim mislim na njegovu strategiju života kao uličnoga animatora za djecu ili pak kao žive skulpture, kako navodi, kao nosata babaroga. O svemu tome svjedoči i njegova, Trolova ambijentalna stambena pećina – topos oko Rječine koji se gotovo psihogeografski ucijepio u njegov umjetnički vizualij refleksije bolesne stvarnosti o kojoj je i Ivo Kozarčanin već 1937. godine u romanu Sam čovjek pisao kao o besmislu zakona kojih se nitko ne pridržava. I Davora sam uvijek doživljavala upravo kao jedan od tih modusa „samoga čovjeka“ ili pak kao neimenovanoga doktora iz Krležina romana Na rubu pameti (1938.), ukratko, kao osamljenog pobunjenika protiv stvarnosti koja bi mogla izgledati drugačije, ali nitko od nas ništa ne čini.

Tako je umjetnik svoj performans Terapija (performans izveden na 2. FIUK-u, Koprivnica) odredio kao „prizore ludnica beskrajnih hodnika iz kojih nema izlaza, prizore rata i zvjerstva koja čine neljudi – sve se to svodi na isto dok malo dijete plače na oltaru i dok je izvođač grubo maltretiran od strane mučitelja, liječnika, bolničara, inkvizitora... Kako vam drago.“ I dok Damir Stojnić u Dundarinoj umjetnosti prepoznaje Trolovu pećinu, Xena L. Županić u Davorovoj izvedbenoj pojavnosti prvo što uočava jest čučanje u ikonogramu arhetipskoga Žapca koji je već sâm po sebi Kralj Žabac. Trol ili Žabac, svejedno, jer sve je jedno, svejedno, i Trol i Žabac kao ikonogram Davorova prkosnoga stava protiv svijeta fluidnoga, tekućega straha, kako je suvremenu kulturu straha dijagnosticirao sociolog Zygmunt Bauman.

Krenemo li teorijski demonstrirati značenje čudovišnoga danas, lako je prepoznati njegov gotovo holivudski, demonizirani obrazac, odnosno, kako to ističe Jeffrey Jerome Cohen, začetnik koncepta monster theory, značaj svake kulture možemo odrediti na temelju čudovišta koje proizvodi jer je tijelo čudovišta ujedno i tijelo kulture. Ili kao što to naglašava naša teoretičarka koncepta monster theory Miranda LevanatPeričić, zamjetno je da su čudovišta simulakrumi svih naših strahova. Čudovišno u političkom ključu predstavlja sve ono Drugo – ono što se ne uklapa u norme koje postavlja (zapadnjačka) civilizacija. To Drugo u svome alteritetu narušava „idealnu“ stvarnost, ustoličeni red, izaziva zazornost i strah.

96

„Idealizam je, svakako, fikcija i prazna fraza“, kako to ističe Davor Dundara, jer u svijetu ispunjenom patnjom, nedostatkom empatije, nejednakošću – nacionalnom, rodnom, vjerskom, specističkom – idealno ne može ni postojati. U tome smislu za razliku od mitskih, nordijskih trolova, Dundara i njegova Trolova pećina nisu neprijateljski orijentirani. Dapače, njegova Trolova pećina, s njegovim alter egom – lutkom Milivojem – otvorena je dobronamjernicima, dakako, kako umjetnik zapisuje na Facebooku, uz prethodnu najavu.

Završno pozivam na čitanje umjetnikovih Facebook komentara jer ta virtualna stvarnost u kojoj je Davor Dundara (aka Davor Gomolj Hogolj Dundara) umrežen s nizom poznatih i nepoznatih mu faceova (rekao bi artnik Ante Kuštre – Face to Facebook) svaku svoju vizualnu gestu potkrepljuje poetskim/etičkim narativom.

97

Jer tako je govorio Dundara, da ponovimo, s iznimnom ozbiljnošću, u borbi protiv spomenutoga fluidnoga straha – „Nakaznost je stvarna, idealizam je fikcija.“ Also sprach Gomolj Hogolj…

Možda je mrak parodija svjetla Andrej Zbašnik

Mrak kao parodija svjetla. Možda je duboka tama ili potreba za njom samo iskonski poriv za skrivanjem ili kazivanjem istine koja je bolna i tako često nepodnošljiva. Mrak je odabir, a deformirana stravična zbilja neiscrpan izvor nadahnuća.

Potrebno je govoriti o ružnim aspektima postojanja, ali to postojanje pretvoreno u estetiku često svjedoči istinu sasvim realnih svjetova. Jer o mraku, zlu, moralnim deformacijama, strahu treba govoriti i to izražavati i na taj način osvješćivati talog nesvjesnog. Osnovne uloge umjetnosti su svjedočiti, mijenjati i proricati, bez obzira kako to izgledalo i koji je rezultat tog procesa. Jer pitanje je koja je istinska realnost svijeta, što čovjeka doista pokreće i koja je njegova elementarna priroda. Naravno, odgovor je uvijek bipolaran, ali nije li ovo suvremeno doba jedna prijeteća slika pomahnitalih i stravičnih lutkarskih predstava u kazalištu užasa, gnjeva, očaja i straha?

Možda jest, ali to ne znači da je nestalo nade. Izražavati morbidnost i strepnju može postati osobno poslanje.

Ljepota ružnoće možda je u moći svjedočenja i stvaranja svijeta koji je u osnovi bolestan, neispravan, demontiran i kužan, ali kao takav može postati ključ spoznaje. Ta spoznaja uvijek je subjektivna, a morbidna realnost jedan je mogući put.

Umjetnost je uvijek dovoljno moćna u izražavanju i podnošenju raznovrsnih stanja. Uostalom, sve može biti sadržaj formiranja umjetničke poruke, jer srećom umjetnost može podnijeti mnogo više istine od krhkog i trošnog ljudskog trajanja.

Davor Dundara je multimedijalni umjetnik iz Rijeke rođen 1976. godine. U svom djelovanju bavi se likovno-umjetničkim radom, glazbom i scensko-performerskom izvedbom. Maturirao je na Prirodoslovno-matematičkoj gimnaziji u Rijeci. Autentična je i izvorna umjetnička osobnost. Povijesne paralele u odnosu na njegov rad nekako su bliske nadrealističkoj poetici, poetici art bruta, ekspresionizmu, undergroundu i grupi Biafra. Kada su ga zamolili na jednom otvorenju izložbe da nešto kaže o svom djelu, Davor je rekao; „beee“ i valjao se po podu. Davor stvara bez unaprijed zadanog koncepta koristeći se impulsima podsvijesti u stvaranju ljepote bizarne estetike. Dundarine instalacije, crteži i skulpture su plastično-organičke „biljke“ unutar informacijsko-potrošačkog izobilja. To su simboli koji dijagnosticiraju fantastičnu brzinu cirkulacije vrijednosnih sustava. To je šok statici tradicije, koja bespomoćno ali ponosno pruža ruku hiper-industrijskoj simbiozi stonoge, svinjetine, rajčice, planktonu i aboridžinskom znoju.

98

Umjetnik sve te redefinirane dječje lutke nevinosti „re-mitizira“ u bizarnu refleksiju estetskih iznutrica kolebljivog i transformiranog duha vremena. Tom vremenu sve više slabi pređa koja je inkubirala i čuvala stoljećima potiskivane sile neukrotive.

Redizajn povijesti, ili tek lutkarska poduka lutkarskim refleksima i navikama! Možda tek igra! Odlučite.

Ono iskonsko, elementarno, svježe i izvorno prisutno je u radovima Davora Dundare. Iako na prvi pogled možda djeluju morbidno i pomaknuto, sa sadržajne razine radi se o radovima koji suptilno i pronicljivo kritiziraju postojanje čovjeka u uskomešanoj suvremenoj zbilji. Dundarinu likovnost prožimaju pomalo nadrealni likovi, puni tjeskobe, crnila i deformacija. U likovnosti postmoderne prisutni su razni postupci i sažimanje miješanih elemenata u jednu cjelinu. Ne mogu se oteti dojmu da ova likovnost prodire u samu bit strukture strepnji suvremenog građanina. S nekom melankolijom i crnom slutnjom oblikovani, radovi eksponencijalno prodiru u tjeskobu doba.

To su forme nastale u kombiniranoj tehnici, od raznih materijala i postupaka; žice, retuša, kolaža, smeća, krepanih životinja, poliestera, akrila, sintetskog ili nitro kita, brtvila, ljepila, boje itd. Sam postupak izrade je dakle kombinacija, neki magičnoritualni čin spajanja raznih materijala u umjetničku formu.

Radovi djeluju poput spodoba koje prijeteći nadiru u svijest, a opet su s druge strane pitke i humoristične. Davorov osjećaj za ironiju i protest protiv ustaljenih civilizacijskih normi je naglašen i očit. Djela su to izvorne likovnosti, proizašla iz duboke kreativne imaginacije i oblikovanja. Djela su nadrealna i studiozna. Naime, djela su rađena precizno i koncentrirano te se radi o definiranom i jasnom estetsko-semantičkom kodu.

Upravo ta preciznost i minucioznost svojstvena je vjeri i uvjerenju u ono što se stvara.

99

Ponekad se čini da se pred čovjeka stavljaju konfekcijski ciljevi kojima treba težiti i koje treba zadovoljavati. Kao da postoje mjerila što je dobro, a što nije dobro činiti. Profit je postao isključiva težnja, tako da se ponekad i od umjetnosti zahtijeva komercijalizacija. Davorovi radovi su sve samo ne komercijalna estetika, ali radi se o visokoj estetici. Bitno je u životu naći kriterije i kročiti uspravno i znatiželjno, ali stvarati estetiku je najljepši, najbolniji i najneviniji čin. Hibridna čudovišna stanja, kondenzirana u ovim neobičnim formama, ustvari govore da težnje svakog pojedinca uvijek počinju i završavaju u potrazi za slobodom, mirom, srećom. Te tri kvalitete nisu uvjetno povezane s ekonomskim modusom/modelom: imaj više, bolje je. Iz tog razloga Davorova djela su estetsko-etičke konstrukcije, koje su stvorene da bi sablaznile, stvorile šok, bilo negativan, ili pozitivan. Upravo je to i zadaća umjetnika, da prodire u bit zbilje i svojim moćima oblikuje alternativu, kritički odgovor i prigovor na stanje najčešće opće letargije, moralne pasivnosti, informatičke pretrpanosti. Duboko ukorijenjen u undergroundu, svijetu koji nije čitak i shvatljiv konvencionalnim i komercijalnim mjerilima, Davorovo umjetničko biće je sintetska cjelina.

Ono što stvara, on i živi. Performansi su mu metafizički i bave se odnosom maske, mita, humora i kritikom društvenih normi.

U performerskom djelovanju Dundara je okrenut ritualnom pražnjenju i transformiranju energije prkosa koju akumulira i izražava kroz praksu tijela. Često na rubu apsurda, u performansima najčešće koristi masku i odijelo, tako da djeluje kao mitološko biće. Nastajući kao svojevrsne minijature i ekspresivne eksperimentalno-kazališne predstave, njegove performerske konstrukcije propituju odnos provokacije i napetih sila između mita i objektivne realnosti. Folklor i dinamika poigravanja s raznim elementima uvijek propituju odnos pojedinca prema nekim institucionalnim okvirima. On razbija iluziju i ritualnom praksom njegovi performansi često zbunjuju i uvijek šokiraju, stvarajući značajne percepcijske tenzije. Naravno, performans može biti bilo koja aktivnost i shvaćen kroz takvo promišljanje, dovoljno je posjedovati značenjsko-metaforički ključ da svaka aktivnost postane performerski čin. Živimo u doba u kojemu je odavno izbrisana granica između umjetničkih i neumjetničkih specifičnosti kulturološkog miljea, ali upravo je zbog toga uloga i odgovornost umjetnika veća i dublja. Davorovi performansi također su posebni zbog naglašenog dramatičnog i kostimiranog pristupa. Pred svakog je umjetnika stavljena zadaća pomnog odabiranja sadržaja i forme jezika. Izvorna umjetnost uvijek ima svoj specifični rukopis.

Ako umjetnost može biti sve, može li ona biti baš za svakoga?

Svakome je najvažnije ono što u životu najviše voli i ono u čemu najviše uživa. Opet, slijediti duboki unutrašnji poriv za izražavanjem je i svetost i prokletost. Davorovi performansi su uvijek na granici podnošljivog, agresivni i šokantni. Što ustvari znači biti u granicama normale? Kako god se uzme, umjetnik je uvijek posvećen, bez obzira u kojem mediju, ili djelatnosti djeluje. Možda ni sam Davor ne zna što ga tjera da se energetski prazni i puni svojim performansima. Pjesnička bit je uvijek nagon za stvaranjem, kreativnim oblikovanjem i izražavanjem.

Unutar svojeg performerskog opusa smatram da je Davor Dundara posve autentičan i originalan umjetnik performansa mlađe generacije. Uvijek svjež i odlučan, beskompromisan, kritičan, šokantan i maštovit, on progovara o suptilnom problemu opće važnosti. Taj problem se odnosi na poimanje mogućeg ispravnog identiteta unutar kaotične zbilje, koja je prožeta naprezanjem sila između težnje da se postane bitak i nemogućnosti da se taj bitak i ostvari. U doba kriza, napetosti, rušenja vrijednosti i općeg mrtvila apstraktnih idealizama, možda je najpošteniji odabir okrenuti se mogućnostima i poljima definiranja sebe kao bića koje vrišti i izražava pobunu protiv svega onoga što je u povijesnom kontekstu već potrošeno te samo kao lešina pluta u vodama civilizacijskog bespuća.

Napiti se te vode i otrovati se znači inicirati sebe u svijet pomaknutih granica te se baviti aktivnostima koje prkose komercijalizaciji i idealizaciji bića unutar kapitalističkog kalupa.

100

101

Na taj način shvatiti sebe i svoje poslanje znači ispravno otplatiti dug trajanju, originalnim jezikom svjedočiti, prkositi, postojati, kao biće dovoljno slobodno i nadahnuto da progovara osobnim jezikom, putem kojeg stvara nove i dinamične kulturne vrijednosti. Dakle, najvažnije je dati izvoran i osoban pečat vječnoj vječnosti.

Žabogrizi Xena L. Županić

Prvo što zapalo mi je u oko jest Dundarino čučanje: svaki trenutak je dobar, svaka prilika iskorištena. Čučeći, linija horizonta viđena iz uspravnog stanja gubi svoj zrcalni status i pogled lagano pomaknut prema dolje; smješta se neprimjetno ispod njezine zamišljene horizontalne razine, otvarajući tako nove, Žablje perspektive. Tu se nalaze svjetovi čija vrata taj žablji pogled otvara, oslobađajući se Čudovišta koja hrleći ispunjavaju prazninu našega svijeta. Dundara, ime zacijelo onomatopejskog porijekla, znači Trom i vezan etimološki s Naduven (Napuhan), neposredno daje sliku Žabca: Žabca koji naizmjenično u kontinuiranom poletu napuhavanja i ispuhavanja tvori čudovišne svjetove od kojih zgađeni, odvraćamo pogled. Čemu sav taj nadljudski napor? Zašto Fabrica Monstrorum Davora Dundare besano i trajno u tri smjene, ne mareći za sunce i mjesečeve mijene, tvori tvorove tako gadne? Zašto taj kineski kvantitet, duži od njihova zida, zašto taj vječni povratak neprekidnog povraćanja u danje lice svijeta?

I tko je zapravo Davor Dundara: Žabac satanist koji u dijaboličnim silama traži vraga saveznika, rušitelja postojećeg poretka svijeta? Ili možda opsjenar, iluzionist, demijurg koji u delirijumu svemoći stvara demonske figure misleći jednom, dajući im život, vladati njihovom vještičjom vitalnošću?

Tertium Est Datur u Dundarinu slučaju i njegovu radu otkriva se poput tananog, filozofskog paradoksa. Rad koji u svojoj biti jest sedimentacija Bufonius Lapisa, dragoga kamena koji se po starim legendama, poput Trećeg Oka rađa i oblikuje postepeno u glavi Žapca. Dragi kamen koji jedanput izbačen van zadobiva magično-terapeutsko svojstvo, neutralizatora svakog otrova.

Svo to Davorovo demonsko bdijenje, crno tumaranje po tamnim putevima naših blindiranih mogućnosti, kontinuirana tvorba onog Drugoga, opredmećivanja negativnosti zla koje izjeda potku našega bića, tvrdoglavo nijekanje svjetlosti i spuštanje u rudnike straha, čitav taj frenetični proces proizvodnje monstruoznog, u službi je rađanja Čudesnog Kamena, protuotrova koji jedanput u dodiru s kožom neutralizira otrove, bjesove demona, naseljenog svijeta. Davor Dundara, in personam Bufonius Lapis est, dragi kamen koji svojom magičnom snagom odmiče one sile koje sile nas služiti slijepo.

102

Gerilska izložba Krešo Kovačiček

Slušamo broadcast, malo vina, hahaha... Sad pričam ono živo, nemam pojma što bih. No dobro, sjećam se kad smo se prvi put sreli. Dakle, jedno jutro, Čarli i ja sjedimo na terasi i pijemo pivo. I skužimo da nam je nakon urnebesa prve FONA-e sve malo kratko i onda se odlučimo za neku akciju. I Čarli predloži, i složimo se, za jednu gerilsku akciju. I kažemo odjebi jebenu FONA-u i sve skupa i idemo napravit nešto živo, živo! I onda smo popili i drugo pivo pa nam je ipak bilo malo jasnije što bismo trebali napraviti. I sad, Čarli kaže: „Znaš što, imamo dva dečkića koji su mlađi umjetnici, tek počinju, to su ti Kljun i Dundara pa ti vidi.“ I ja onda otpijem gutljaj pive i kažem: „Oh, my goodness, pa tko su ti ljudi?“ On kaže: „Evo, Ilija te vozi i ideš u smjerovima.“ I onda se Dundara pojavi i ja ga ne prepoznajem, niti on mene shvaća. (c’mon, lets go. nemoj bljezgarit, ma nemoj, iživljavanje na daktilografkinji, very funny my dear...).

I eto krećem pješice s Dundarom. On mi putem objašnjava neke stvari i ja stigavši kod njega, kad vidim sve to skupa kažem: „Ne ne ne ne ne ne ne, consuela!“ Dakle, koja kompletna katastrofa. Uđem u neku stvar, o kojoj nikad nisam mogao misliti prije niti me je netko pripremio i onda mi autor kaže uzet ćemo ovo ili ovo, a ja kažem, ne ovo ili ovo, nego sve!

I sad zamisli, mi imamo Dundaru, još i to. I što sad s tim napraviti? Ja se prvi put susrećem s nečim takvim, mene je netko poslao tamo, ja se oduševio i sorry, ne mogu si pomoći i onda počnem pričati pizdarije jer moram uvjeriti čovjeka da nam da sve svoje stvari na upotrebu, a ne samo par radova kako je on htio, jer mi se to sviđa. I vjerujem u to, on drži svoj rezon, a ja pokušavam navući stvari na svoj rezon i kažem: „Ne, ne, ne, meni treba i ovo i ovo i sve...“ Prvi put upoznam čovjeka i njegov rad i poberem mu na kraju sve iz kuće, počistim mu kuću posve i sljedeći dan postavlja se izložba u Malom salonu, što je kompletna ludorija, ali netko tko izlaže u Malom salonu je relevantna osoba u tom nekom umjetničkom segmentu, tj. netko tko tamo izlaže je jednostavno već prepoznat kao autor, za to služi Mali salon.

103

Stvar je dakle otišla u tom smjeru. Ej, dogodilo se tako da smo skinuli zapravo u pol termina izložbu Liv Bugge i onog nekog Belgijanca, to smo baš naprasno napravili.

Bilo je te godine 2003., vjerojatno najtoplijeg ljeta kojeg se sjećamo i ljudi su nosili tri puta promočene majice koliko je bilo toplo, u Engleskoj kad se to dogodilo, dogodio se punk! I sad, mi smo napravili malu diverziju u svemu tome jer nitko nije očekivao nešto slično da se dogodi, ali dobili smo najuzbudljiviju izložbu sezone, ne zato što nam je bilo dosadno nego smo naprosto htjeli više akcije u FONA-i, bili smo kompletno puni adrenalina! Čarli me nije pripremio na materijal koji ću sresti tako da sam došao totalno blank ispred nečeg što nisam prije vidio pa sam bio zatečen jer nisam očekivao ništa slično. Nije baš ni galeristima lako, ali bilo je vrijeme za tu izložbu koja se na kraju pokazala kao najbolji trenutak te sezone. Moja ideja je bila u smislu postava totalno klasičan galerijski, muzejski postav.

Recimo, kao dadaisti u Palais Schaumburg. Mislim da nam je uspjelo prevesti stvar iz jednog intimnog ambijenta u javni. Taj prijevod nije baš tako jednostavna tranzicija, to netko mora na svojoj koži iznijeti.

I onda se stvari počinju događati, čudne stvari, i stvari nisu baš toliko jednostavne, prvenstveno jer je izložba bila u kombinaciji s drugom osobom, Kljunom. Od koga sam pregledao otprilike ma ne znam koliko stotina stvari, od kojih sam izabrao samo nekoliko i on je respektirao moj izbor, a Dundari sam eto odnio sve. Izložbu koju smo maknuli brzo i naprasno, mada predivne stvari to je ipak bila prethodna situacija s kojom smo zamijenili posve novi element, što nitko nije očekivao, ali čak su i ljudi iz muzeja došli, tadašnja ravnateljica i ostali. I bili su zadovoljni našim gerilskim konceptom, dapače, ta akcija se pokazala kao naš najuspješniji rad. Vrlo zanimljivo, zar ne? Što misli neo-dada o praznicima u Hrvatskoj?

I onda u obliku žene u knjigovodstvu koja razumije svijet, oblikuje sve oko sebe i koje forme ona diže? A te forme su zapravo dijelovi našeg života, istina ponekad izgledaju kao žabe, les triplets, poluskuhane, polužive, hranjive... O, moram reći da smo neke stvari i vozili po autobusu i pitali vozača je li prihvatljivo, a putnici nas u čudu gledali. I tako stigli u vražji Mali salon.

Ali, njegove fuzije čudno izgledaju u klasičnom postavu gdje ih nitko ne bi očekivao. Baš namjerno sam napravio diverziju, da njegov rad djeluje muzeološki postavljen... Potpuno neočekivano, i konačno nešto svježe! Na bijelim, čistim postamentima neo-dada rad.

Rauchenberg on speed, na dvije lajne, i vražja figura koju sam morao pribadačama prikucat za postament je krenula u nesvijest, obrnula se i tako smo ju ostavili.

104

Postavljam izložbu prilično pijan; nosim nekakvo ogromno staklo i zadnji udarac čekićem, crash! Ahahah!!! Ali srećom bilo je na raspolaganju drugo. Isto. Otvorenje na ljestvama s kantom boje, nedovršen zid, otvaram, ali ljudi ne žele prići bliže.

Ljudi se boje!

Na kraju, Adapteri ulaze. Drugi ljudi izlaze. Luda glazbena improvizacija, ali zbilja. Nakon toga stižemo kasnije na terasu Palacha gdje Dundara postaje Maria Calais!

Dakle, pljesak koji je tada dobio je bio zbilja značajan, ništa slično vidio nikad nisam. I sad, nakon skoro dvanaest godina od toga dana, aplauz koji se rastegnuo u vremenu kao da je elastičan. I što sad napraviti, pčele, one vide UV, kako li one komuniciraju?

105

Ja mislim da je to njegovo pitanje, kako one vide, i mislim da nisam uopće u krivu. Jedna vrsta koja može nestati...

Ali to nas ne bi napravilo nimalo sretnijima.

Smells Like Teen Millywoy Spirit — Dundarini multimedijalni performansi onkraj granica karnevalizirane (ab)normalnosti 1

Branko Cerovac

Figuru Milivoja možemo percipirati (i) kao za Klub KUNS – Galeriju OK adaptiranog avatara duha Adaptera, odnosno uvijek kontroverznog lika i djela riječkog audiovizualnog i kulinarskog čarobnjaka i performera Davora Dundare čije je djelovanje pridodalo osebujan štih, miris i okus riječkoj muzejsko-galerijskoj praksi, dovodeći uvijek iznova u kušnju naše predrasude o granicama normalnosti ponašanja suvremenog umjetnika u kodificiranim 3D kavezima i zabranama kulturne mainstream hipokrizije (čije je drugo lice ideološki poželjno pa stoga i omasovljeno i financijski poduprto karnevalsko mahnitanje i spaljivanje pustova, krnja odnosno svakovrsnih žrtvenih jaraca – u strogo determiniranim okvirima ‘periodičnog kaosa’). Art border-breaker Davor Dundara nije bez tradicije na riječkoj sceni kakva se razvila od kasnih 70-ih do nultih pri čemu on, naravno anarhoidno crpi, križa, miksa, kuha i pali (nerijetko i doslovno) samo birane sastojke s raskošne trpeze radikalnih i ekstremnih protagonista domaće i inozemne supkulture i visoke (elitne) umjetnosti, spontano ih karnevalizirajući 2 na zastrašujuće radikalan način, dovodeći zatečenu publiku pa i organizatore na rub delirija smijeha, znoja, suza, gušenja i povraćanja (opet doslovno). Dundara kroz vatru pakla i bljesak flambiranih rajčica nevjerojatno uspješno izoštrava osjetilnu, afektivnu i intelektualnu sposobnost recepcije tamnih, rubnih predjela ljudske prirode (izrazito antropološki fundirana performerska praksa) te zanesenog posjetitelja nepogrešivo vodi ka katarzi.

Radikalnost Dundarine metodologije i izvedbe dovodi ga u blizinu najopasnijih performera poput Alexandra Brennera koji inzistira na nepredvidljivosti vlastitih činova i ponašanja pred javnošću, poretkom, propisima u muzejsko-galerijskim uvjetima i prostorima za što je, naravno, preduvjet imati kičmu i ispravno razumjeti pitanja Was ist Kunst i koji je smisao artističkog građanskog neposluha u deklarirano demokratskim državama. Umjesto lamenta nad vječno odgođenim ili konspirativno (mučki) osujećenim katalozima, monografijama, nagradama za deset, petnaest, dvadeset tegobnih godina rada riječkih art revolucionara i riječkog MMC-a s Galerijom

106

107

1 Tekst napisan povodom multimedijalne manifestacije u Rijeci, u klubu K.U.N.S. – 26. veljače 2010. (instalacija Moj Milivoj, performans, video-projekcije, predavanje pod nazivom: Zašto je smrdilo u MMSU u Rijeci na izložbi 10 godina M.M.C.-a?)

2 Tehnički termin ruskog filozofa jezika i književnosti Mihaila Bahtina.

OK i KUNS-om, prezentacija Dundarina Milivoja i video dokumentacije njegovih performansa pruža ne samo fanovima već i stručnoj javnosti priliku da kritički preispita cijeli kontroverzni splet estetičkih i transestetičkih pitanja koja su itekako aktualna za razumijevanje riječke situacije: što jest/nije fašizam u umjetničkoj teoriji i praksi odnosno u kulturnoj politici.

Također što jest, a što nije kontroverzno u suvremenoj lokalnoj/globalnoj performerskoj organizacijskoj praksi; što jest/ nije nezavisna pozicija umjetnika i organizatora u odnosu na dominantne (aktualne) predrasude mainstream poretka vrijednosti u određenoj društvenoj sredini?

Humanizam, posthumanizam i drame materije ili Vjenčanje neba i pakla u liku i djelu Davora Dundare Branko Cerovac

Time što nisi razumio to: Umri, pa postani!

Samo tamni si gost na mračnoj zemlji.

Goethe, Divan U Plamenu voštanice Gaston Bachelard propituje drame materije, plamena i svjetlosti, od njihovih anorganskih do organskih i humanih manifestacija, kroz poeziju ludila i umjetnosti. A drama jeste poezija.

U svom slavnom Infernu August Strindberg intenzivno do bola proživljava i najneznatnije drame poput sagorijevanja voštanice, kapanja voska, konačnog utrnuća svijeće, cijuka noćnog leptira mrtvačke glave. Riječki umjetnik Davor Dundara, obuzet božanskom odnosno demonskom manijom, intenzivno proizvodi bezbrojne drame materije u raznim njezinim fizikalnim, kemijskim i psihofizičkim vidovima, spletenim u gotovo nepodnošljivoj sinesteziji koju nerijetko zatečena, zaprepaštena i šokirana publika mora – htjela, ne htjela – intenzivno iskusiti na vlastitoj koži, barem jednom u životu, poput moljca „koji leti bez buke, jedva da dirne plamen koji ga je već požderao.“ 1 Malo je reći da se Dundara kao artist izražava putem audiovizualnih medija i postupaka, od zvuka preko skulpture, instalacija, maski, kostima, šminke, izvođenja drama, incidenata, ekshibicija, skandala na javnim mjestima! To je kazna božja, estetski teror, pravo iskušenje i pokora za sve lijepoduhe i gospodu od ukusa, za koju su već i David Lynch, Jan Fabre, Jake & Dinos Chapman, Matthew Barney, Paul McCarthy, da ni ne nabrajamo poimenice cijeli YBAs 2 čopor, te jednog Catelana, jednostavno previše. Taj cvijet zla, parafrazirajući starog dobrog Baudelairea kroz cvijet čiji je Facebook-profilni poetični gomoljasti pseudonim Gomolj Hogolj, iznikao je upravo iz humusa posttraumatičnih 90-ih, da bi tijekom trećeg milenija već temeljito adaptiran (Adapteri) na sve disastres de la guera, los capricios i njihove postmoderno-posthumane

108

hibride, mutacije i metastaze, bujno procvjetao i zrelo zamirisao, pardon – zasmrdio od relativno suzdržanog na Festivalu F.O.N.A. u Malom salonu 2003. do povijesnog brennerovski provokativnog nastupa na jubilarnoj manifestaciji obilježavanja 10 godina MMC-a, u MMSU, 2007. godine. 3 Od gostovanja u Stuttgartu 2007. (na poziv Staatsakademie) do skvotersko-postpunk-alter-artističkog boravka u Berlinu i Amsterdamu 2011., u sedam gladnih godina Dundara je temeljito produbio vlastite spoznaje o umjetnosti u tami 4 istodobno se, sveudilj jednako incidentan i estetski kontroverzan, neosporno potvrdio – poput Braće Chapman u UK-u, a Matthewa Barneya kao skulptora u SAD-u – kao plastički najosebujniji, najintrigantniji, najužasniji, a figuracijski i najinventivniji među novijim riječkim skulptorima koji su se na tragu horror žanra (utjecaj filma na Plastic Art 80-ih, 90-ih i 00-ih), postpunka, darkera i posthumanističkih meditacija o ljudskosti i transhumanističkim opsesijama, mutacijama i trendovima – pojavili na ovdašnjoj Art scenici u posljednjih 15-ak godina (2000 – 2015).

Neke od Dundarinih skulptorskih kreacija, zajedno s njegovim morbidno-sublimnim protejsko-prometejskim imageom – koji je također nemimoilazni aspekt njegove plastičkoartističke autopoiesis – dostižu gotovo nenadmašnu razinu/ ekstrem subverzije svih normalnih predodžbi o ljudskoj prirodi odnosno o formi, morfogenezi i morfologiji djeteta/ čovjeka, pa i životinje.

Nakon Zrinšćakova rex-solianskog veprinačkog, te Švrljugina (pok. Sanja Švrljuga Milić) skulptorskog imaginarija, Dundara razara sve gnoseologijske i moralističke klišeje i konvencije o kalokagatia suvremenog homo sapiensa. Doseže užas pred nemogućnošću percepcije i sintetizacije beskonačnosti 5 s nemilosrdnom odvažnošću i predanošću tibetanskih mistika i čarobnjaka 6, tantrika, praktičara Chod obreda, odlučnih da raskrste sa svim ograničenjima lika/tijela/duha. Otud u Dundarinoj metodologiji upotreba opasnih, riskantnih sredstava i postupaka: otrovnih materijala, kemikalija, pirotehnike, vatre, neuhvatljivih i rasprskavajućih, amorfnih i prozirnih balona, nitroglicerina i eksplozivnih smjesa svih vrsta (u načelu).

109

U prividno komičnim, burlesknim, grotesknim, karnevalizirajućim (Bahtin) i perverznim umjetnikovim performansima i figurama, manekenima, kreaturama od nađenih ali prerađenih, razorenih, anamorfotičnih ne-oblika u poluraspadu – rastvara se strahotan raspon između podzemnog bezdana i svemira, ekstremno sublimne neprikazivosti beskonačnog.

Otud Vjenčanje Neba i Zemlje (Jakob Boehme, William Blake).

1 (Carl Gustav Jung, Pjev moljca / Gaston Bachelard, Plamen voštanice) 2 Young British Artists 3 usp. Fantom slobode, broj posvećen djelovanju MMC d.o.o. Rijeka, te Kronotop hrvatskog performansa, svezak 2., Suzana Marjanić, 2014.

4 usp. niz mojih eseja o novoj riječkoj umjetničkoj sceni i supkulturi Rijeke: Umjetnost & smrt, Dometi, 1993., 1998., Estetika šutnje na riječkoj sceni, Rival, 1992.; Zrinšćakov umjetnički Atlantis/Rex Solia C.M.I.V., Rival, Moment, 1989.; Made IN RI, 1998.; Poetike, inovacije, konfrontacije; Art magazin Kontura, 2003.)

5 usp. Kant, Kritika rasudne moći; Lyotard, Estetika uzvišenog 6 usp. Alexandra David Neal, Tibetanski mistici i čarobnjaci 7 Naslovna stranica prvog izdanja Grimmelshausenova romana (Pustolovni Simplicissimus, 1669.) počinje tom šalom (Jorge Luis Borges, Priručnik fantastične zoologije: Knjiga o izmišljenim bićima, Učasdrukčiji, Zagreb, 1980).

U Dundarinoj zaumnoj poetici i kritici uma bitna je intuicija čovjekova bića/bivanja/postajanja na način ek-sistere existencije kao čudovišta u vremenu, Učasdrukčijeg (Baldanders) – Proteja (Homer/Sachs/Grimmelshausen/ Borges). Učasdrukčiji je čudak koji se uzastopno javlja, on je čudovište u vremenu. 7 Pritisnut saturnskom melankolijom poput Dürerova i Benjaminova anđela, suočen sa Saturnom koji jede kao i Revolucija vlastitu djecu, sa svim Goyinim užasima, duhovima, kapricima, vješticama, vrazima, otupjeli od sivila, prašnjavosti, pepeljave asfaltne blatnjavosti banalne malograđanske svakidašnjice, Artifex poseže za jačim alkemijskim sredstvima, pa putem abnormalnog performerskog ponašanja izvrće sve banalno u estetski začudnu čudovišnost normalne Sjene koja poput Mr. Hydea prati sve te navodno humane Dr J.-e, lišene mašte i smisla za čudesno. Dundara i kao skulptor i kao performer dovodi do estetskog kratkog spoja te prividno nespojive fenomene humanog ponašanja i njegova ambivalentnog, polivalentnog, anamorfotičnog oblika.

110

111

AUTHOR’S TEXTS

112

The unsightly art of Davor Dundara Marina Tkalčić

If we were to examine the significance of the monstrous in the modern world, we would have to do it from a culturological and historical distance and detect a monstrous pattern that has been in this world since the beginning of man. This is particularly evidenced in the concept of the hero-monster conflict, which is present in nearly all cosmogonic myths, epics and folk stories. Speaking of the hero-monster conflict, Miranda Levanat-Peričić 1 describes a pattern which is based on confrontation and contrast: “…everything that is deemed by society as sick, deviant and hideous has found its place in the formidable and repulsive body of the monster, while an idealized image personified by the hero exhausts nearly all positive features of the underlying culture.”

Monsters can be pushed into the deepest parts of our subconscious minds, but they keep coming back somehow, they keep rising to the surface. Why is the history of the Anthropos filled with monsters, why do they exist and what is their purpose?

Richard Kearney 2 says that the Others / strangers, monsters and gods represent experiences of extremity which bring us to the edge. Monsters “subvert our established categories and challenge us to think again. And because they threaten the known with the unknown, they are often set apart in fear and trembling.” This is why this monstrous Other is constantly isolated and thrown onto the margins of society; this is why we keep fighting it, just like the romanticized mythical heroes.

Yet, in phobic societies, such as Croatian lately, the monstrous is inescapable.

Thematizing the perversity and monstrousness in his performance art, D. Dundara brings down the walls of false order and warns against the ugliness of the entire western civilization, including its (capitalist) system of values and its dualism that constantly generates new inequalities.

113

In accordance with the above said, the monstrous should be viewed as a concept that truly exists, a concept we truly need in order to face our prejudices and fears and awaken the Other in our own beings. Instead of taking responsibility over the monster dwelling deep inside of us, causing us discomfort, we often devise different strategies of escape. Among the most common strategies are our attempts to simplify our existence by sacrificing Others as strangers/monsters, refusing to acknowledge that we too are the Others. Kearney 3 suggests we should learn to live with our monsters, because we cannot

1 Levanat-Peričić, Miranda. 2008.

“Morfologija mitskog čudovišta”, in: Croatica et Slavica Iadertina, 4/4, 531.

2 Kearney, Richard. 2003. Strangers, Gods and Monsters. Interpreting Otherness, Routledge, New York, 3.

3 Ibid., 5.

4 Ibid., 117.

5 Levanat-Peričić, Miranda. 2008.

“Morfologija mitskog čudovišta“, in: Croatica et Slavica Iadertina, 4/4, 533.

6 Dundara, Davor. 2008. “Nakaznost je stvarna, idealizam je fikcija“, u: Zarez, br. 224, 7. veljače 2008.

Razgovarala: Suzana Marjanić

kill them or make them disappear. These monsters are incorporated in us, they are secret parts of our beings, always coming back to tell us something and to be noted. Dundara’s art causes discomfort in the observer. He creates his sculptures in a process of free association, by accumulating the “civilization waste” which, in the author’s own words, engulfs us all. Dundara takes this waste and glues it, binds it, joins its parts to make horrible, monstrous sculptures – sculptures that look disgusting and dirty, embodying the Otherness that we keep suppressing and rejecting. Davor’s works symbolize visions from the other world – the world of the subconscious and archetypical which exists in each one of us. His sculptures awaken the monsters within us, the monsters belonging to this world of the subconscious. This is precisely why we cannot observe his work in an analytical way. Dundara’s works are his way of breaking himself free – free of his own demons.

This process is sometimes painful, or, in his own words, “it is more a necessity than a pleasure.” Dundara does not create his art with a clear vision of the final result, nor does he give titles or descriptions to the sculptures/collages; instead, he abandons himself to the creative process in which he learns, penetrates his own dark self and, finally, achieves personal purification. Such a result encourages the observers to learn too, to fantasize and form their own associations. In this context, art is not made for its own sake, but it represents a step towards personal development. For Davor Dundara, works of art are intimate and personal artefacts.

Kearney 4 says that monsters are the metaphors of our anxiety, and Dundara’s sculptures bear testimony to this fact.

Monsters daunt us by crossing the boundaries of safety and reminding us that we do not actually know who we are (Without them we know not who we are. With them we are not what we know). They give shape to the phobias we have never truly overcome; they confront us with our deeply buried fears, concerns and doubts.

Finally, reflection on the monstrous should also encourage us to think about the monstrous Other, which in the societies of inequality and phobia is described in a pattern of dualism and negative analogies. The problem which should be examined, and which should be solved by the monster, is an eternal problem of the society and nature. 5 We can placate our monsters and demons, says Dundara 6, if we look them in the eye and embrace them as parts of our beings, instead of sweeping them under the carpet where they grow, expand and eat us up in the end.

114

Davor Dundara — atmospheric / residential Troll’s Cave Suzana Marjanić

A brief description of Davor’s apartment – cave, one of the many variants of his monstrously diverse biogram, can be found in his biographical notes: “my bedroom underwent numerous transformations: it became an atelier and a permanent display.” As these words say, a permanent display of this artist’s works is set in his apartment, and the apartment, i.e., spatial installation, or an assemblage, is also rented to tourists during the summer season, as the artist explains, as a bizarre summer resort with an artistic atmosphere. This reminds me of the place of Antonio G. Lauer (a.k.a. Tomislav Gotovac) in Krajiška 29 (Zagreb), which became the Merzbau, the living space of Kurt Schwitters, or the basement apartment of Vladimir Dodig Trokut, who used to define his place in Tomašićeva street as a gallery-apartment of Ilegalis-Antimuseum.

In his apartment, Davor Dundara uses the concept of social, real darkness and modifies it into the concept of a “colorful darkness”, following the principle, “no matter how cruel the reality is, I will do my best to intensify all the colors of our own souls and lives.” And just like Trokut’s exhibition – assemblage Perpetuum Mobile (PM gallery, HDLU Zagreb, 2013) served as an image of his basement apartment, and just like the fragment of Tom Gotovac’s Merzbau apartment at Crisis Anticipator – Don’t Ask Where We’re Going (curated by Ksenija Orelj and Nataša Šuković, MMSU, 2017), The Troll’s Cave of Davor Dundara (exhibition in Labin in 2018, curated by Damir Stojnić) was as a piece of his assemblage – apartment.

115

Even though it is impossible to give a full description of the atmosphere of Davor’s apartment – which he created by himself – I would still like to say something more about the Troll’s Cave. This residential-atmospheric transformation can be interpreted as a version of Plato’s Cave Allegory, where Plato draws a parallel between people chained in a cave and free people/thoughts, calling attention to the deceptive nature of our (learned) perception and the weight of cognition, the acceptance of new ideas, the acceptance of the Truth. The name itself, The Troll’s Cave or, as the artist himself oximoronically said it, An Exhibition of Exhibited Exhibits, encompasses a visual triad – a grotesque masquerade and performance, the atmosphere and monstrous dolls (live pictures/sculptures of the eerie spaces) and collages.

All these are elements that form his surroundings, hence the exhibition represented an artistic excerpt of his everyday life, based on the principle of neo/post-avant-garde permeation of life and art.

The aesthetic diagnosis is as follows: no local artist creates such an inversion in costume design, no one makes such a transgression of the anthropomorphic into a post-human act of “becoming monstrous.” Another peculiarity of Dundara’s masquerades rests in the fact that the artist is dedicated to his performances on a daily basis; performances become his life strategy, whether in the form of a street animator or a live sculpture of the “big-nosed witch.” This is proved by the Troll’s cave, Dundara’s living space, and the atmosphere of the Rječina River that almost psychogeographically imprints itself into his art. His art reflects a sick reality well described by Ivo Kozarčanin in 1937, in his novel Sam Čovjek [Solitary Man], where he speaks about the meaninglessness of laws that no one adheres to. I have always seen Davor as one of those “solitary men”, or as an unnamed doctor from Miroslav Krleža’s Na Rubu Pameti [On the Verge of Madness]; in short, I have seen him as a lone rebel against the reality that might look different, but no one makes an effort to change it. In this sense, Dundara defined his performance Therapy (FIUK festival, Koprivnica) as “scenes from nuthouses with endless halls with no way out, scenes of war and monstrosities done by inhumans – it all gets down to same thing, while a little child cries at the altar and the performer is abused by torturers, doctors, nurses, inquisitors... as you like it.“ And while Damir Stojnić sees in Dundara’s art a troll’s cave, Xena L. Županić sees an act of crouching, in an iconogram of the archetypical Frog who is actually the King Frog. A king, a frog, never mind, because both serve as an icon of Davor’s defiant attitude towards the world of “liquid fear”, as once described sociologist Zygmunt Bauman.

In an attempt to theoretically demonstrate the contemporary meaning of “monstrous”, we may use its almost Hollywood-like, demonized form, i.e., in the words of Jeffrey Jerome Cohen, the explorer of the concept of monster theory, the significance of any culture can be defined based on the monsters it produces, because the body of a monster is also the body of a culture. Or as Miranda Levanat-Peričić explains, monsters are simulacrums of all our fears. The “monstrous” in a political sense represents the Other – everything that does not fit into the norms imposed by (Western) civilization. The Other, in its otherness, disturbs the “ideal” reality and the enthroned order, provoking fear and aversion.

“Idealism is a fiction, an empty phrase”, as Davor Dundara says, because in a world filled with suffering, a lack of empathy, inequality – national, gender and religious inequality and the inequality of species – ‘the ideal’ cannot exist. However, unlike the mythical, Nordic trolls, Dundara and his Troll’s Cave are not hostile to people. On the contrary, his cave and his alter ego – Milivoj the Doll – are always open to people with good intentions, of course, as the artist says on Facebook, “by appointment only.”

116

In the end, I’d like to invite you to read the artist’s Facebook comments, because this virtual reality, in which Davor Dundara (aka Davor Gomolj Hogolj Dundara) is networked with a number of familiar and unfamiliar faces (Ante Kuštre would say, “Face to Facebook”), supports each of its visual gestures with a poetic/ethical narrative.

117

Thus spoke Dundara, let us repeat his words, with deep seriousness, in his combat against the liquid fear: “Monstrosity is real, idealism is a fiction.” Also sprach Gomolj Hogolj…

Perhaps darkness is a parody of light Andrej Zbašnik

Darkness as a parody of light. Perhaps a deep darkness or the need for it is just a primeval urge for hiding or revealing the truth that is painful and often unbearable. Darkness is a choice, while our deformed and terrifying reality is an inexhaustible source of inspiration. Ugly aspects of existence should not be brushed aside, but the existence transformed into aesthetics is often a testimony to real worlds. Darkness, evil, moral deformation and should be discussed, they should be expressed, because fear in that way we pull the layers of the subconscious to the surface. The main roles of art are to bear witness, produce changes and make prophecies, no matter how things seem and what the result is. Because the question is, what is the true reality of the world, what really motivates the man and what is his elementary nature. The answer is always bipolar, of course, but isn’t this modern age actually a threatening picture of mad and frightening puppet show, held in the theater of horror, rage, despair and fear?

Perhaps it is, but that doesn’t mean that all hope is gone. The expression of morbidity and anxiety may become a personal mission.

The beauty of ugliness may lie in the power of observing and creating a world that is sick, wrong, warped and ugly, but as such, it may become the key to understanding. The understanding is always subjective, and a morbid reality is the only possible way. Art is always powerful in its endurance and expression of different states. Moreover, everything can serve as the content of an artistic message, as, luckily, art can bear much bigger truth than the fragile and perishable human life.

Davor Dundara is a multimedia artist born in 1976 in Rijeka, where he finished high school of mathematical orientation.

Quite an authentic and original artistic person, he engages in visual arts, music and performance. His work comes close to surrealist poetics, the poetics of art brut, expressionism, underground and Croatian art group Biafra. When he was asked at an exhibition opening to say something about his work, Davor just said: “baaa” and rolled all over the floor.

Davor makes his art without a predefined concept; instead, in the creation of beauty with bizarre aesthetics, he relies on the impulses of subconsciousness. Dundara’s installations, drawings and sculptures are plastic-organic “vegetables” in the abundancy of information and consumption. They are symbols that diagnose the incredible speed with which the system of values circulates, giving a shock to the inertia of the

118

tradition that, defeated but proud, extends its arm to the hyper-industrial symbiosis of a centipede, pork, tomato, plankton and the aboriginal sweat. The artist takes all these redefinitions of the innocence dolls and re-mythicizes them, producing a bizarre reflection of aesthetical intestines of the volatile and changeable spirit of the time. Hence, the yarn of our time, which incubated and kept for centuries the subdued, yet indomitable forces is now getting thinner and thinner. A redesign of the history, or a puppet lecture using puppet reflexes and habits! Or maybe just a play! You decide.

The primeval, the elementary, the fresh and original is what the work of Davor Dundara possess. Even though at first glance his art may seem morbid and twisted, from the aspect of contents, it is an art that subtly and ingeniously criticize the existence of man in the tormented contemporary reality.

Dundara’s art is permeated with surrealist characters, full of anxiety, gloominess and deformations. As is the case with postmodernism, different procedures and mixed elements unite into a whole. I cant escape the impression that this art penetrates the very essence of the modern man’s trepidation.

Colored with melancholy and a dark portent, these works exponentially infliltrate the anxiety of our time. These are forms created in mixed media technique, with different materials and processes, from wire, photo retouching, collages, junk, dead animals, polyester, acrylic, synthetic or nitro putty, seals, glues, etc. The process of creation is therefore a combination, a magical ritual of joining different materials into an art form. The resulting works remind of creatures that threaten our consciousness, yet, they are undemanding and humoruous and Davor’s sense of irony and protest against the entrenched norms of our civilization is quite expressed and obvious. These works are so genuine, as they are the results of a profoundly creative imagination and design. At the same time, they are surreal and possess a quality of meticulousness, which is proved by the precision and the concentration that the artist devotes to his art, defining a clear aesthetic and semantic code. This precision and the diligence are the true characteristics of a strong belief in creative act.

119

Sometimes it seems that artificial goals are forced upon the man, goals which he must strive to and fulfill. As if there are strict measures for what is right and what is wrong. Profit has become the principal objective, so sometimes art too is expected to be commercial. Davor’s works are everything but commercial, even though their aestheticism is high. It is important to set criteria in life, and to walk through it with curiosity and with your head held up high. Yet, the most beautiful, the most painful and the most innocent act is to create aesthetics. Hybrid monstrous states, condensed in their unusual forms, tell us that aspirations of each person always begin and end in the quest for freedom, peace, happiness. These three qualities are not conditioned by with

economic modus, i.e., the more the better. Therefore, Davor’s works are not just aesthetical, but also ethical constructions, made to appall and horrify, to create a shock, negative or positive. This is what an artist’s task truly is, to penetrate the essence of reality and use his/her powers to shape the alternative reality, to give a critical response and objection to the existing lethargy, moral passivity, IT overload. Deeply rooted in the underground, the world that cannot be read and understood with conventional and commercial measures, Davor’s artistic being is a synthetized whole.

Davor’s life is Davor’s art. His performances are metaphysical, and they explore the relationship of masquerade, myth, humor and social criticism. In his performer activities, Dundara focuses on a ritual discharge and transformation of the energy of defiance, which he accumulates and expressed through the practice of the body. Often on the verge of absurd, he often wears a mask and a suit in his performances, thus resembling a mythological creature. Created as miniatures and expressive plays of an experimental theatre, his performances examine the relationship of provocation and the forces strained between myth and objective reality. The folklore and the dynamics of playing with different elements always keep track of an individual’s relation to institutional frames. Davor breaks the illusion and uses ritual practice to confuse and shock, again and again, thus causing great tensions in the perception. Naturally, any activity can be a performance, but, taken from this perspective, it is necessary to have the metaphorical key to truly transform an activity into a performative act. We live in the age that has long erased the boundary between artistic and non-artistic specificities of a culturological milieu, but precisely for this reason, the role of artists is greater and more significant. Davor’s performances are always special, because of their dramatic and costumed approach. Each artist is faced with the task of carefully selecting the content and the form of expression. A genuine art always has its own, unique, handwriting.

If art can be everything, can art be for everyone, then?

Everyone has their most important things, the things they love and enjoy. Yet, to follow the deepest urge for expression is both a blessing and a curse. Davor’s performances are always on the brink of tolerability, they are aggressive and shock-provoking. But what does it mean to remain within the limits of normalcy? No matter how you look at it, an artist is always devoted to his work, regardless of the media he uses or the field he works in. Perhaps not even Davor himself knows what propels him to empty and fill himself up with energy in his performances. A poet’s essence is always made of an urge to create, to shape things and to express oneself.

From my perspective of as a performance artist, I think that Davor is fully authentic and original performance artist of the

120

121

younger generation. Always fresh and uncompromising, critical, scandalous and imaginative, he speaks out about the underlying problem of our time. The problem refers to the understanding of a right identity within the chaotic reality, which is filled with tensions between the desire to recognize one’s won essence and the impossibility to fulfill this essence.

In the times of crises, conflicts, destruction of values and a dying idealism, perhaps the most straightforward choice is to turn to possibilities of defining oneself as a being that screams out loud and expresses a rebellion against everything that is already spent, which now floats lifelessly in the waters of the civilization wilderness. To drink some of that water and get poisoned with it means to imitate oneself into a world of extended boundaries and do things that defy commercialization and idealization of human being inside the capitalist mold. Hence, to understand oneself and one’s own mission in this world means to pay off the debt to the existence, to bear a testimony, in an original language, to defy, to live, as a being who is free and inspired enough to use personal language in speaking out and creating new and dynamic cultural values. In other words, the most important is to leave one’s imprint in the eternal eternity.

Frogbites Xena L. Županić

The first thing that has caught my eye was Dundara’s crouching: every moment is auspicious, every opportunity taken.

When crouching, the line of the horizon as seen from an upright position loses its mirroring status and its slightly downward gaze. Instead, the gaze settles unobtrusively under the imaginary horizontal level, thus revealing the new, frog’s perspectives. And so, the doors to the world from the Frog’s perspective open, releasing the Monsters that rush out to fill the void of our world.

Dundara, the name must be onomatopoeic in origin, means sluggish and is etymologically related to inflated, (swollen) thus giving an immediate image of a Frog: Frog that in a continuous sequence of inflating and deflating itself creates monstrous realms that make us turn our heads in disgust.

Why then this superhuman effort? Why does Fabrica Monstrorum by Davor Dundara relentlessly and incessantly produces such heinous creations, ignoring the Sun and the phases of the Moon? Why this Chinese quantity, longer than the Great Wall, why this ever returning, incessant vomiting into the daytime face of the world? And who is Davor Dundara, actually? A Satanist Frog who looks for his devil ally among diabolical powers, the destroyer of the existing world order? Or is he perhaps an illusionist, a demiurge who, in the frenzy of almightiness creates demonic figures, thinking that by infusing them with life he can rule over their witch-like vitality?

In Dundara’s case and in his work Tertium Est Datur reveals itself as a sublime philosophical paradox. The work is in essence a sediment of Bufonius Lapis, a gem that, according to ancient legends, comes into being and like a third eye, gradually forms itself in the head of the Frog. Once ejected, the gem takes on a magic-therapeutic quality and neutralizes every poison. Davor’s demonic wakes, his dark wanderings along the gloomy paths of our armored possibilities, continual creation of the Other, objectifying the negativity of evil that devours the essence of our being, his stubborn denial of light and his descent into the abyss of fear, all of these frenetic processes of producing the monstrosities serve the goal of giving birth to the Miraculous stone, an antidote that, once it touches the skin, neutralizes all poison and all the fury of demons and the present world. Davor Dundara, in personam Bufonius Lapis est, a precious stone that with its magical powers wards off the forces that force us to serve blindly.

122

The guerilla exhibition Krešo Kovačiček

We listen to the broadcast, drinking wine, hahaha... now I’m telling you the real stuff, I’ve no idea what else to do. Anyway, I remember when we first met. One morning, Čarli and me were sitting on the terrace, drinking beer. At that moment we realized we were short of time after the FONA festival and that we needed to decide on some action. Čarli suggested, and we both agreed, that we should do a guerilla action. And we said, “fuck the fucking FONA, and all that stuff, and let’s do something alive, alive!” And then we had another beer and things got even more clear. Čarli said, “You know what, we have two boys there, younger artists, they’ve just started, their names are Kljun and Dundara, so you might check it out.” Then I had a sip of my beer and said; “Oh, my goodness, who are those people?”

And he said: “Here, Ilija will take you, and you’ll take directions.” And then Dundara was there, and I didn’t recognize him, and did he get me either. (c’mon, let’s go. Stop talking nonsense, molesting the stenographer, very funny my dear...).

So, I walked with Dundara. He explained me some stuff on the way and, when we got to his place and when I saw all that, I said: “No no no no no no no, consuela!” Yes, crazy. I get into something, something I wasn’t prepared for at all, and then the author says, “we’ll take this or this”, and I say, “not this or this, but we take it all!”

And now, imagine, we have Dundara, too. And what to do now? That was the first time I was faced with something like that, I was actually sent there, I was thrilled. And I couldn’t help myself so I started talking nonsense because I had to persuade the man to lend us all his stuff, not just few works as he had just suggested. I had to, because I liked it, I believed in it, but he stood his ground and I stood my ground I said, “No, no, no, I need this, too, and this, and this, and all of this…”

123

So I just met the man and his work and in the end I took everything from his place, I cleaned out the entire space and just one day later, an exhibition is held in Mali salon gallery, which was a complete madness, but someone who exhibits his work at Mali salon means something in the world of art, i.e., someone who exhibits his work there is already recognized as an artist, this is what Mali salon is for.

And that was how it went. What happened was that we cut off the exhibition of Liv Bugge and some Belgium guy, and we cut it off quite abruptly. It was in 2003, in what was probably the warmest summer of our lives, when people’s T-shirts were drenched with a triple sweat, that’s how warm it was. When same thing happened in England, punk was born!

So, we created a diversion of sorts, because no one expected a thing like that to happen, but we had the most exciting exhibition of the season, not because we were bored but because we simply wanted more action at FONA, we were so full of adrenaline! Čarli didn’t prepare me for the material I was about to encounter so I came there completely blank, and saw something I’d never seen before; I was stunned because I hadn’t expected anything like that; it was not easy for the gallery people either, I guess, but it was the best moment for that exhibition, which turned out to be the best thing in the whole season. My idea was a classical display, typical gallery display. Like the Dadaists in Palais Schaumburg. I think we succeed in translating one thing from an intimate environment into a public environment, and the translation was not easy. Yet, someone had to do it.

And other stuff started to happen, weird stuff, stuff that wasn’t simple because the exhibition was done in combination with another person, Kljun. I checked his things too, hundreds of things, of which I selected only few, and he respected my choice, while in Dundara’s case, I took all. We cut off the previous exhibition so abruptly, even though it showed beautiful things, but we introduced a completely new element, which no one expected, and even the people from the museum came, the former director too, and everyone else.

And they were satisfied with our guerilla concept; moreover, the action proved to be our most successful work. Very interesting, isn’t it?

What Neo-Dada thinks about holidays in Croatia?

And then, in the form of an accountant who understands the world, shapes everything around him, creates forms, which are actually segments of our lives, sometimes they look like frogs, les triplets, half-cooked, hald-alive, nutritious… Oh, I must say we took some of the things on the bus, and we asked the driver if that was OK, while the other passengers stared in wonder. And so we made it to Mali salon.

His fusions looked weird in the classical display, where no one expected them. I created such a diversion on purpose, right there, so that his work really looked as a museum exhibit.

Completely unexpected and finally something fresh! On clean white pedestals, a Neo-Dada work. Rauchenberg on speed, on

124

two lines of amphetamine, and a demonic figure I had pin down to the pedestal fainted, she fell down and we left as it was.

I was setting the exhibition quite drunk; I was carrying an enormous glass, and the final strike with the hammer and crash! Hahahah!!! But, luckily, we had another one there. The same as the first one. Exhibition opening takes place on the ladders with a bucket of paint; unfinished wall, I open the door, but people don’t want to come closer.

People are afraid!

Finally, the Adapteri go in. Others go out. A crazy music intro, but real. After that, we come to the terrace of Palach, where Dundara becomes Maria Calais!

The applause he received at that moment was really something special, I’ve never seen anything like that. And now, almost twelve years later, the applause stretches in time, like it’s elastic. And what to do now; the bees, they see the UV, how do they communicate? I think this is his question, what do the bees see, and I think I’m not wrong at all.

125

The only species that can disappear forever.

But that wouldn’t make us any happier.

Smells Like Teen Millywoy Spirit — Dundara’s multimedia performances beyond the carnivalized (ab)normality 1

Branko Cerovac

The image of Milivoj can (also) be perceived as an adapted avatar of the Adapteri’s spirit (for KUNS club and OK Gallery), or more precisely, of the always controversial figure and work of Rijeka’s audiovisual and culinary magician and performer Davor Dundara, whose artistic activity has added a distinctive flair, smell and flavour to museum and gallery praxis in Rijeka.

His work repeatedly challenges our prejudices about the boundaries of normalcy in the behaviour of contemporary artists in codified 3D cages and the prohibitions of the cultural mainstream hypocrisy. Its other face is ideologically desirable and hence the mass-crazed and financially supported carnival frenzy and burning of the effigies, krnjas and all sorts of scapegoats in a strictly defined framework of “periodic chaos.” Art border-breaker Davor Dundara can look back to the tradition of art scene in Rijeka that developed from the late seventies to noughties, but he chooses to anarchically extract, cross, blend, cook and burn (sometimes quite literally) the preferred ingredients from a fine selection on the table of radical and extremist protagonists of Croatian as well as foreign subculture and high (elitist) art. He spontaneously carnivalizes 2 them in a frightfully radical manner, taking the stunned public as well as organisers to the edge of delirium, laughter, sweat, tears, choking and vomiting (again literally).

Through hellfire and blaze of tomatoes flambé, Dundara is incredibly successful in sharpening the sentient, affective and intellectual receptive skills of dark, marginal areas of human nature (his is a truly anthropologically based performing praxis) and unfailingly leads the enchanted visitor to catharsis.

The radicalism of Dundara’s methodology and execution brings him close to the circle of the most dangerous performers, such as Alexander Brenner who insists on unpredictability of his own acts and mannerisms before the audience, establishment, museum and gallery regulations, for which naturally, one has to have a spine and understand correctly the questions such as Was ist Kunst?, and what is the point of artistic civil disobedience in self-proclaimed democratic societies.

Instead of lamenting over consistently delayed or conspiratori-

126

127

1 The text was written for the occasion of a multimedia manifestation in KUNS club in Rijeka – Feb. 26, 2010. (Installation My Milivoj, performance, video – projection and lecture entitled What Was That Stench at MMSU at 10 years of MMC exhibition?

2 Technical term used by Mihail Bakhtin, a Russian philosopher of language and literary theorist.

ally (maliciously) thwarted catalogues, monographs and awards for five, ten, fifteen or twenty toilsome years of labour of Rijeka’s art revolutionaries and the MMC Rijeka, OK Gallery and KUNS club, Dundara’s Milivoj presentation and video documentation of his performances offer to both the fans and experts in the field an opportunity to critically review the entire controversial set of aesthetic and trans-aesthetic questions that are truly relevant for understanding the Rijeka situation: what is/isn’t fascism in artistic theory and practice, i.e. in cultural politics? Also, what is/isn’t controversial in contemporary local/global practice of performance organisation: what is/isn’t an independent position of the artist and organiser in the light of the dominant (current) prejudices of the mainstream order of values in a certain social environment?

Humanism, post-humanism and the drama of matter or Wedding of Heaven and Hell in the work of Davor Dundara Branko Cerovac

And so long as you have not attained it, this: Die and become!

You are but a dismal guest On this dark earth.

Goethe, Divan In the Flame of the Candle, Gaston Bachelard examines the drama of matter, flame and light, from their inorganic all the way to humane manifestations, through poetry of madness and art. Drama is poetry indeed.

In his famous Inferno August Strinberg experiences torment by even the slightest drama, such as candle burning, wax dripping, extinguished candle, the squeak of a moth in the shape of a skull. Davor Dundara, an artist from Rijeka, possessed by divine, better still, demonic mania, produces countless dramas of matter, in a variety of its physical, chemical and psychophysical aspects, woven together in an almost unbearable synaesthesia. Viewers who are often startled, flabbergasted and shocked, have to experience it directly, willy nilly, at least once in their life, like a moth that “flies silently, barely touches the flame and is already devoured.” 1 It’s not saying much to state that Dundara as an artist expresses himself through audio-visual media and other procedures; sound, sculpture, installation, masks, costumes, make up, performances of dramas, incidents, exhibitionist spectacles and scandals in public spaces! What he does can be seen as God’s punishment, aesthetic terror, a genuine trial and penance for all aesthetes and gentlemen of taste, for whom even David Lynch, Jan Fabre, Jake & Dinos Chapman, Mathew Barney, Paul McCarty, not to mention by name all the YBA gang 2 and Catelan, are simply too much. This flower of evil, to paraphrase the good old Baudelaire through his flower, whose Facebook profile bears a poetic and tuberous pseudonym of Gomolj Hogolj, has sprung up from the humus of post-traumatic 90’s to become, during this third millennium, profoundly adapted (Adapters) to all disasters de la guera, los capricios

128

and their post-modernist/post-humane hybrids, mutations and metastases. He has bloomed lavishly with a mature scent, sorry-stench – from a relatively restrained show at the F.O.N.A. Festival at Mali Salon in 2003 to his historically provocative brennerian act at the celebratory occasion of the 10th anniversary of the MMC at the MMSU in 2007. 3 Since his show in Stuttgart in 2007 (invitation from the Staatsakademie) to his sojourns in Berlin and Amsterdam in 2011 which may be called squatter/post-punk/ alter-artistic, in Seven Years of Famine, Dundara thoroughly deepened his own insights into the art in darkness 4, while at the same time remaining consistently incident-prone and aesthetically controversial. He undeniably affirmed himself – like Chapman brothers in UK or sculptor Matthew Barney in USA – as plastically most compelling, most intriguing, most horrific and in the figurative sense most inventive among the recent sculptors in Rijeka who are influenced by horror genre (the impact of film on Plastic Art in the 80’s, 90’s and 00’s), post-punk, Goths and post-humanistic meditations on humaneness and transhumanistic obsessions, mutations and trends and have been present on our little art scene in the last fifteen years (2000 – 2015).

Some of Dundara’s sculptural creations along with his morbid/sublime image, protean and promethean in its spirit – also an unavoidable aspect of his artistic autopoiesis – reach an unrivalled level of extreme subversion of all normal concepts of the human nature, actually, of the form, morphogenesis and morphology of a child/man and even an animal.

Following Zrinšćak’s Veprinac rex solia and Švrljuga’s (the late Sanja Švrljuga Milić) sculptural imaginarium, Dundara destroys all gnoseological and moralistic clichés and conventions on kalokagatia of a modern homo sapiens. He reaches out and faces the horror of not being able to perceive and synthesise infinity 5 with relentless courage and commitment of Tibetan monks and magicians 6, Tantra and Chöd practitioners determined to leave behind all constraints of body and soul. That is why Dundara’s methodology utilises hazardous and risky material and procedures: poisonous substances, chemicals, pyrotechnics, and fire, elusive and popping balloons, nitroglycerin and all sorts of explosive compounds.

129

In seemingly comic, burlesque, grotesque, carnivalised (Bakhtin) and perverse performances and figures, mannequins, creatures made of found but processed, wrecked, anamorphic semi-decomposed non – shapes, a horrendous gap cracks open between subterranean abyss and universe, the extremely sublime inability to represent what is infinite.

Hence, the Wedding of Heaven and Earth (Jakob Boehme, William Blake).

1 (Carl Gustav Jung, The Song of the Moth / Gaston Bachelard, Flame of the Candle) 2 Young British Artists 3 Cf. Fantom slobode, the issue dedicated to the work of MMC d.o.o.

Rijeka; Kronotop hrvatskog performansa, Vol. 2, Suzana Marjanić, 2014 4 Cf., a series of my essays on recent art scene and subculture of Rijeka: Umjetnost & smrt, Dometi, 1993, 1998, Estetika šutnje na riječkoj sceni, Rival, 1992; Zrinšćakov umjetnički Atlantis/Rex Solia C.M.I.V. Rival, Moment 1989; Made IN RI, 1998; Poetike, inovacije, konfrontacije: Art magazine Kontura, 2003 5 Cf.: I. Kant: The Critique of Judgement, Lyotard: Aesthetics of the Sublime 6 Cf.: Alexandra David Neal: Mystics and Magicians in Tibet 7 Front cover of the first edition of Grimmelshausen’s novel (Simplicius Simplicissimus, 1669) starts with this joke (Jorge Luis Borges, Priručnik fantastične zoologije: Knjiga o izmišljenim bićima, Učasdrukčiji, Zagreb,1980)

In Dundara’s idiosyncratic poetics and critique of mind, the crucial thing is the intuition of a human being/existence/ becoming in the manner of ‘ex-sistence’ as monsters in time: Soon-Another (Baldanders) – Proteus (Homer, Sachs, Grimmelshausen/Borges). Soon-Another is a weirdo who appears non-stop; he is a monster in time. 7 Oppressed by saturnine melancholy, like Dürer’s and Benjamin’s angel, confronted with Saturn, who, like the Revolution, eats his own children, along with Goya’s horrors, spirits, capriccios, witches, demons, steeped in the dreariness, dust and colourless, muddy asphalt of mundane small-mindedness, Artifex uses stronger alchemical substances and by means of abnormal performance behaviour turns what is banal into aesthetically wondrous monstrosity of a normal Shadow, which like MR. Hyde, follows all those allegedly humane Dr. J’s who are devoid of imagination and sense of wonder.

Both as a sculptor and performer, Dundara brings these seemingly incompatible phenomena of human behaviour and their ambiguous multi-form, anamorphic patterns to an aesthetical short-circuit.

130

131

LIKOVNI RADOVI �1995. — 2019.�

132

133

ART WORKS �1995 — 2019�

134

135

136

137

138

139

140

141

142

143

144

145

146

147

148

149

150

151

152

153

154

155

156

157

158

159

160

161

162

163

164

165

166

167

168

169

170

171

172

173

174

175

176

177

178

179

180

181

BIOGRAFSKE CRTICE

182

D. D. ime mi je Davor Dundara, rođen sam u Rijeci 17. 8. 1976., završio gimnaziju, bezuspješno studirao razne studije, odslužio vojni rok, radio svakakve poslove (čistač u brodogradilištu, prodavač boja i lakova, serviser kablovske, prodavač u noćnom dućanu, čistač hotela, bolničkih laboratorija, žičara, autobusa, perač ulica, statist u kazalištu i filmu, građevinski radnik, nosač, vrtlar, pomoćni kuhar...). posljednjih godina živio sam kao ulični animator, skromnih prihoda, najčešće pravio balone od sapunice, a ponekad i stajao kao crna statua ili zla nosata babaroga na Riječkom Korzu, ispred Malog Salona, na Trgu u Zagrebu, a i u gradovima duž obale u turističkoj sezoni. umjetnost kojom se bavim ne proizlazi iz akademskog pristupa, ne oslanja se na određene utjecaje, ne teži nekom racionalno postavljenom cilju. koristio sam sve dostupne mi medije; glazbu, performans, literarno izražavanje, likovnost (ready made skulpture, instalacije, kolaži, slike) kao instrument u stvaranju neraskidive cjeline. moj rad, put ili bolje rečeno igra, zapravo je počeo, kao što je normalno, mojim rođenjem, pa tako ne pamtim kada sam se točno počeo baviti nekom vrstom umjetnosti, a moj neizrecivi koncept i smjer nesvjesno se formirao u meni mnogo prije nego sam uopće razumio pojam umjetnost. s polaskom u srednju školu 1990. godine u društvu nekolicine prijatelja formira se mali literarno-dramsko-likovno-glazbeni kružok koji postupno prerasta u projekt (koji osim glazbe uključuje performans, ulični teatar, poeziju, literarne eksperimente), pod imenom Les Fleurs du mal (L.F.D.M.). u to vrijeme aktivno se počinjem baviti likovnim radom, moja soba prolazi svoje transformacije, postaje atelje i izložba. iz tradicije L.F.D.M. kasnije nastaju Adapteri, multimedijalni projekt koji aktivno djeluje od 1999. do 2006. godine. glavne odrednice bile su upravo u automatizmu, estetici bizarnog. također, u razdoblju od 1993. do 2003. aktivno sam svirao bas gitaru u metal bandu Zli grč; također, jedan sam od utemeljitelja navedenoga benda. također sam nadopunjavao performerskim pristupom na pozornici.

183

nakon raspada Adaptera godinama sam bio aktivan sudionik riječke performerske scene, nastupao po Rijeci i brojnim drugim gradovima, surađivao sam s brojnim kreativcima, nastupao na raznim mjestima i prigodama.

svoje sam likovne radove izlagao na skupnim i samostalnim izložbama. također, radio sam kostimografiju i scenografiju za Adaptere, uz ravnanje projektom i sudjelovanje u grupnom glazbeno-scenskom radu. također i scenografiju pozornice za multimedijalne festivale Strašni Riječani (Zagreb, klub Močvara, 2006.) i Metalom protiv maškara (Rijeka, klub Točka, 2004.) i za bendove Pogreb X i Po metra crijeva s kojima sam nastupao (izvedba performansa) te režiju, scenografiju i kostimografiju za eksperimentalnu predstavu Adaptera, Oni koji lupaju. radio sam također performanse na ulicama Berlina i Amsterdama (nakon posljednjega uličnog nastupa u Amsterdamu priveden u policijsku postaju), ljeta godine 2011. stalni izložbeni postav mojih radova postavljen je u mom stanu u Rijeci, pretvorenom u muzej, tj. prostornu instalaciju. stan se u sezoni iznajmljuje turistima preko agencija za iznajmljivanje, kao bizarno ljetovalište u umjetničkom okruženju. radovi su nastali kroz slobodan asocijacijski proces nadogradnje bez planiranja unaprijed, kao slučajne refleksije nesvjesnog, iracionalnog, arhetipskog, kroz prizmu i distorziju devijantne stvarnosti i izobličavanja mikro i makro razine. namjera je samospoznajna: osvješćivanje i spoznajno učenje, ali i poticanje promatrača na asocijacije i učenje, na uvide, na maštanje... performansi koje izvodim inspirirani su kao i sve ostalo iracionalnim svijetom, šarenim mrakom... radi se o improvizacijskom i automatskom postupku, koji se uglavnom svodi na igru maski i utjelovljivanja. kroz te čudovišne, ritualne transformacije i moje tijelo također postaje medij izražavanja, a svijest se transformira. u toj atmosferi na rubu jezivog i smiješnog gube se granice između stvarnog i nestvarnog; pokazuje se izokrenuta slika svijeta u kojoj je besmisao jedini zakon i koji je (baš poput snova, halucinacija ili proročkih vizija) moguće razumjeti jedino intuitivno.

184

Adapteri biografske crte gotovo zaboravljenog benda i multimedijalnog projekta

projekt Adapteri, nastao iz tradicije srednjoškolskog projekta Les Fleurs du mal, u početku je zamišljen kao neformalan, otvoren projekt ljudi koji zalaze u moj stan i u psihodeličnom ozračju stana ili pak u ambijentima raznih, neobičnih eksterijera ili interijera stvaraju eksperimentalnu muziku koja se snima na diktafon, kombinira ponekada s performansom, na javnim i manje javnim mjestima, za publiku ili sami za sebe... u tome sudjeluju svi slučajno prisutni, broj članova varira, a pojedini članovi i sami snimaju i stvaraju. performans je spontana interakcija likova, često popraćen hipnotičkom, psihotičnom muzikom uz bizarnu kostimografiju i scenografiju (umjetničke instalacije). muzika slijedi tokove podsvijesti proizvodeći razne ugođaje i ambijente popraćene bizarnim tekstovima. (nastaju sati i sati, tj. dani i dani – jer se snimalo sve – amaterski) tehnički i glazbeni detalji u drugom planu iza ekspresije... ekspresija je to ponekad vrišteća, probitačna i prijeteća, ponekad podsjeća na dječje pjesmice, posmrtne marševe, naricaljke, tužaljke, vesele poskočice, disko euforije, punk, industrial ili izokrenutu parodiju „popularne lijepe glazbe.“ Adapteri aktivno djeluju od kraja 1999. godine, i nakon brojnih osobnih promjena ustaljuju postavu u kojoj djeluju do raspada.

185

nastupi Adaptera rijetki su i upečatljivi, često glazbeno i vizualno posve oprečni po atmosferi, ovisno o prigodi. među ostalim izveli jednosatnu eksperimentalnu kazališnu predstavu s muzikom uživo na FAKI-ju u Zagrebu. performansi često sadrže elemente pritajenog nasilja, apsurda i vokalnih ekspresija uz obaveznu improvizaciju. članovi Adaptera redovito su uživljeni u uloge grotesknih krabulja od elemenata iz smeća i dućana za djecu. koncept ADAPTERA je jedinstven, a ipak posve prilagodljiv, od izbora instrumentarija i kostima za nastup pa do okolnosti izvedbe. na sessionima se često igra mazohistička igra Brutalni čovječe, ne ljuti se, igra koju su osmislili Adapteri, a igra se pomoću kockica, figurica i table na kojoj staza vijuga i račva se na više mjesta u petlju. figurice idu od polja do polja, bez nekih nada da će stići na cilj, jer u petlji polja sadrže razne moguće isključivo neugodne i ponižavajuće kazne kao što su: prisilno pranje nogu, stajanje polugol na hladnom vjetru, brijanje pazuha, pijenje raznih gadosti, disanje ispušnog otvora usisavača, držanje glave u torbi za vrijeme trajanja igre, prisilno pišanje, stroga samica uz slušanje BLOP-a, najbrutalnijeg albuma u mraku zahoda i slično. u toj igri nikada nitko nije pobijedio, svi su izgubili...

NASTUPI ADAPTERA — Rijeka, Ri Rock festival – 2001., 2002., 2003.

— Zagreb, Festival Alternativnog Kazališnog Izričaja (FAKI), 2002. – izveli jednosatnu dramsku predstavu pod nazivom Oni koji lupaju, s muzikom uživo — Supetar na Braču, 2004. – nastup uz izložbu likovnih radova, fotografija i čitanje proze na gradskom trgu, u organizaciji udruge Budi svoj Rijeka, klub Palach, 2004. – art festival FONA — Zagreb, Teatar &TD, 2004. – Festival obrada tradicionalnih božićnih pjesama: osvojili smo drugu nagradu — Zagreb, klub Močvara, 2004. – samostalni nastup u trajanju od sat i pol nakon projekcije filma Otok filmske udruge Produkcija — Zagreb, klub Boogaloo, 2005. – Idemo festival — Rijeka, Hartera, art festival FONA, 2005. ... te brojni spontani performansi i sessioni, na raznim mjestima

Adapteri eksperimentiraju sa zvukom, koristeći razne izvore kao što su kućanski aparati, home made instrumenti, razni predmeti po kojima se može lupati i proizvoditi zvuk, voda, zvukovi prirode, snimke spontanih razgovora i prepirki, smetnje s radija, zvukovi televizije i gramofona, životinja, strojeva, dječjih sintesajzera iz osamdesetih, igračaka, te klasičnih instrumenata, Adapteri koriste sve moguće dostupne izvore zvuka u stvaranju, antimuzike, eksperimentalne dječje igre koja ne poznaje barijere niti je za svačije uši. zadnji nastup održan je 2005.

IZUMITELJI ŽANROVA — brutal mental disco, antiambiental, extreme pop, blop...

SVI ČLANOVI KOJI SU SE IZREDALI U BANDU — Dario, Goran, Tajana i ja jedini u svim postavama DARIO KRMPOTIĆ — vokal, perkusije, klavijature, pila violina, čudnovate elektroničke naprave, i svašta, svašta nešto DAVOR DUNDARA — klavijatura, bas, matrice, perkusije, vokal i svašta, svašta nešto GORAN GRAČANIN — klavijatura, vokal i svašta, svašta nešto TAJANA TOPO — vokal, kazu, perkusije, gitara, klavijatura i svašta nešto DEJAN DIKLIĆ — perkusije, vokal i svašta, svašta IGOR CRNKOVIĆ — svašta nešto NIKŠA KRSTULOVIĆ — gitara, svašta, svašta nešto ZLATKO TROŠELJ — bubanj konstrukcija i svašta, svašta nešto MARIN KOBEŠĆAK — bubanj konstrukcija MARKO VUKOVIĆ PIGA — epilepsija, bubanj i perkusije DAMIR ŽIŽIĆ — digitalni elektronski efekti i svašta nešto NENAD VOLARIĆ — nešto

186

Mrtvi golub (pisano u amsterdamskoj knjižnici pola sata nakon incidenta s policijom) prvo poglavlje priče Posljednji dani u Amsterdamu i epsko putovanje kući, o uličnom performansu, uličnom životu, lutanjima, bjegovima i umjetnim rajevima... jutro je... budim se mamuran, ali nisam pretjerano dehidriran pa odmah krećem na posao. nakon prihvatilišta za beskućnike, jointa od čikova s ceste i čaja koji se u prihvatilištu dijeli, odmah liježem našminkan na tlo na Dame Squareu, posipam se kruhom, skupe se i ljudi i golubovi. golubovi u velikom broju slijeću i jedu s mog tijela, s mog lica, kad gle: svi fotkaju, a nitko ne ubacuje kovanice! derem se na ljude: „šta je, bagro, imate novaca za skupe fotiće, a nemate golubovima za kruh?!“ budale i dalje snimaju, nekoliko njih je veoma uporno. zaradio sam jedva za litru vina, slatkog, slabog, odvratnog pa popijem vino i idem dalje. ponavljam cijelu točku ispočetka. opet isto. derem se na ljude opet. ustajem pomalo s golubovima na licu i na ramenu, kad gle: jedan je mrtav! bacam gumeni nos i zube (izgubio sam ih usput) na pod i pokušavam spasiti goluba. dajem mu odmah umjetno disanje i masažu srca, ali uzalud. počinjem plakati. i dalje ga pokušavam spasiti. izgleda da se ugušio u vrećici od kruha dok su se stotine drugih golubova trgali i bacali po meni... i dalje ga pokušavam spasiti dok idioti snimaju. derem se na ljude, a budale i dalje snimaju. žena s kamerom: „is he dead now?“ odgovaram: „yes, he is, do you want to be dead too?“ baba gasi kameru, svi se razilaze, a ja im svima u objektiv pokazujem srednji prst. zatim sam se zapio s Bugarima, oni su svi Freddy Kruegeri i smrti razne. kažu da dižu preko 100 eura dnevno. a ja gladan stalno. pa gdje ja griješim? petnaestak imena, ma tko će ih sve popamtiti? zapamtio sam samo cure: Mandolina i Gogolina.

Gogolina mi je dala lijepu narukvicu. tu je i mali Bastian, hipi lutalica iz Berlina sa svojim mjehurima od sapunice. veliki su i raznobojni, prelijevaju se na podnevnom suncu. djeca uživaju gledajući ga, a njihovi roditelji mu ubacuju kovanice. odlazim u stranu i plačem za mrtvim golubom. šećem takav oko Kentucky Fried Chicken i prilaze mi policajci, pristojni i nasmiješeni kao i obično. stavljaju mi lisice na ruke i trpaju me u obližnju stanicu bez objašnjenja.

187

u ćeliji jedan crnac i jedan bijelac, oboje bradati i oboje šute. odspavao sam malo, te me nakon pola sata zovu na razgovor. simpatična crnkinja inspektorica prvo me pita jesam li ja to možda slučajno na Dame Squareu prijetio japanskim turistima

ubojstvom? odgovaram, naravno, potvrdno, pa ja ne lažem. pa joj pomalo prepričavam zgode i nezgode... pričam joj o mrtvom golubu i o tome da idem doma u Hrvatsku za tri dana i kako je meni ovdje za poluditi, i sve, pa me odmah pušta van i to bez globe. i rekla je: „oh, you idiot, just go, go, go away!“ izlazim, vraćam se na isto mjesto, uzimam sa stola opet u Kentuckyu, ali nije mi baš do hrane pa piletinu, pomfri i kolu nosim drugu Vojvođaninu koji stoji odjeven kao Grim Reaper na trgu, a on umire od smijeha na moju priču. i sada sam morao doći do knjižnice da ovo istipkam. tu je i Bastijan, i sada ćemo popiti i zapaliti, a ja još plačem za onim golubom...

188

Razglednice iz šarenog mraka kada sam 1995. maturirao u Gimnaziji, pojma nisam imao što bih sa sobom (ni danas zapravo ne znam), dijete odraslo u sretnim osamdesetima, bezbrižan, nepripremljen. u adolescentskim godinama zaglibio u mračne devedesete. bio je tada trend upisivanja bilo čega jer još je bilo itekako loša ideja ići u vojsku. a nažalost u vojsku se moralo prije ili kasnije neminovno, nije se bilo lako izvući. uz slab izbor fakulteta, loše ocjene, i nedostatak novca za eventualno studiranje u Zagrebu, i ja sam upisivao svašta (na kraju čak i teologiju!) te počeo uvelike prihvaćati neku boemštinu. pa u to vrijeme, nije bilo baš nekog razloga za optimizam, u klaustrofobičnom ozračju Rijeke devedesetih pisao sam nadrealističku poeziju o sivilu, mraku, lutanjima i lošim slutnjama... imao jednu školsku izložbu iza sebe. svirao u bandu, pisao, crtao. i taj medij asamblaža smeća i lutkica me taman počeo intrigirati. a od čiste dokonosti na svirkama, izvodio s drugovima i bizarne performerske akcije, držao besmislene govore. bilo je dosadno i nekako pritajeno beznadežno pa smo se zabavljali nihilizmom i spleenom. gubio se u mračnim noćima u opojnim maglama. pa su kao otrežnjenja počeli redati odvratni pomoćni poslovi za jako malu plaću, u ono vrijeme najčešće po brodogradilištima. cijevi i dvodno i mamurluk kroz mrak u dvobok... a kada su napokon prošle zle sjene devedesetih, mijenjao sam stan za drugi, u blizini grada. bio sam, sjećam se, na kraju napravio živi cirkus u starom stanu, „slavio” sam odlazak u vojsku, sjećam se nekog bacanja krumpira i policije...

189

mama je valjda zaključila da sam sada dovoljno zreo i ozbiljan ili ipak nisam i pustila mi taj novi stan i otišla živjeti u našu kuću u Crikvenici a u novom stanu krenuo sam u nove – stare zanimacije – uređivanje stana i studiozan rad na skulpturama i instalacijama, na eksperimentalnoj automatskoj muzici, radeći i dalje poneke mrcvareće a slabo plaćene poslove, vodeći relativno smiren, povučen i konstruktivan život, koji je rezultirao povremenim divljaštvima na sceni i po mom stanu: rađanjem novog art projekta, izložbama i performansima. tad je M.M.C. bio u punom zamahu pa sam, logično, kao netko tko se sličnim stvarima odavno neformalno i poluformalno u svom svijetu bavi samo ušetao na svom tripu u tu scenu koja se tek stvarala i na kojoj su mnogi drugi (od kojih mnogi stariji od mene) tek počinjali sa svojim prvim nastupima. a ja sam na toj sceni nastavio gdje sam stao: s ADAPTERIMA je u nekom prividu lakoće i komike ipak bilo i glazbene i performerske radikalnosti ali pri raspadu projekta krenuo sam u performanse s dodatno

radikaliziranim pristupom, s ritualima krvi i mesa, brutalnosti i smrada. prava ili umjetna krv, ovisno o potrebama, riblji otpad u kontejneru iza ribarnice, voća, povrća, smeća, klaoničkog otpada, kombinacije mesa i plastike, pravog mesa i lažne krvi, prave krvi i plastike... dakle, ništa pretjerano dramatično, svakodnevni materijali i hrana i otpad transformirani u nešto radikalno i upotrijebljeni u prikazima sa svojim kontekstima. u prikazu arhetipskog mraka. proučavao taj mrak... poigravao se psihoterapeutskim postupcima... malo sam i umjetnički i privatno ponovno bio odšetao dolje u dimenzije mračne i razglednice vam neke šarene od onuda donio, mnogi me nisu ni prepoznali, zamijenili me s nekim klošarom sa Žabice ili Crnim čovjekom. dolje, u sjeni, srce sam eksplodirao, krv pustio... kroz svjetove, jezive i šarene i vesele i malene u maglu u hladno bistro jutro ciglenom ketaminskom ulicom... razgovori sa stubištem što je nakon što se uđe u sliku odmah dolje desno pokraj katedrale obasjane crvenom led diodom, tamo se odvijaju srednjovjekovna mučenja... vidio jesam strukture ali pune su praznine i tu se može zauvijek istraživati. a onda me negdje dolje u toplim krajevima progutala nesvjesnost. i bespomoćno mi je tijelo poletjelo u nekontrolirani grč, u golu anksioznost i slabost i plač... pa se čovjek nakon puno bola i zadržavanja pusti i umrijeti a tek kad se navikne na umiranja i uskrsavanja, onda ide lakše i vedrije, kičma se ukoči pa ispravi. tko nije slijep, nešto i nauči, naraste, dobije snagu... a u mraku je toplo. ali mrak nije crn, mrak je šaren, blistav a slike su ponekad i ugodne i odišu nekom toplinom, ali ponekad su naravno i jezivi nagovještaji ili astralne bitke... sada je mrak gust i sladak, mek kao jastuk... pišem ovo, još jednom po povratku, najvjerojatnije živ i zdrav, pri zdravom razumu, psihofizički u dobrome stanju, dobrog raspoloženja. prošle jesu godine neke u svemu, i brojne transformacije pojavnosti. na kraju se to samo od sebe pretače u nešto, pretače se samo od sebe, ajmo reć’, u neku kreaciju i ja tu ništa više ne mogu niti sam ikada mogao birati, postojim, stvari dolaze, prolaze, pretaču se, rastaču, vrijeme ide neprimjetno i nepovratno, idu male epohe, bilježim, mi živimo u akvariju, svijet polako truli i sazrijeva, degradira, nije to lijepo za gledati, na tušu na plaži piše 30 sekundi 2 kune i automat za ubacivanje je tu, kako pronaći sreću slobodu i mir i gdje? dosta sam već naučio, ma oni nas maltretiraju, sleepless malice, ali ajmo se voljeti, ako treba, opet ću zapaliti ogromnu lomaču, Oko, na nekom gradskom trgu, neka crni dim prosuklja nebom iz Oka, da se može oko nečega i zaplesati... mrak je šaren, nije crn, u mraku se treba ljubiti, neće nas zaplašiti štriguni, pa to su samo muhe...

190

191

P.S. bio jednom jedan kralj i imao tri sina; od toga je dvojicu pojeo a trećeg upotrijebio kao pokusnog kunića u svom malom laboratoriju. kada je potrošio i zadnjeg sina, sjetio se tada svojih trinaest kćeri te brojne unučadi pa je iz noći u noć bdio i smišljao za što bi ih mogao korisno upotrijebiti. od pretjeranog razmišljanja dovede se u stanje stresa te se počne odavati konzumiranju metilnog alkohola od čega je ubrzo oslijepio i dobio teška trovanja te bi naposljetku bio i umro da nije bilo njegovog vjernog sluge M. koji je na vrijeme primijetio njegov porok te ga uz pomoć raznih terapeuta plaćenih novcima poreznih obveznika uspio odviknuti od te loše mu navike i to upravo čudesno, neposredno prije smrti. slijepi i komatizirani kralj bio je mnogo bolji i pravedniji vladar te je uskoro uspio povratiti naklonost čitavog naroda pa čak i preživjele mu rodbine.

1 — Baba i beba, 2010.

2 — Detalj sa zida Crnog stana, 2010.

3 — Adapteri: live, Boogaloo Zagreb, 2005.

1

192

1 — Granny and baby, 2010 2 — Detail from Black appartment’s wall, 2010 3 — Adapteri: live, Boogaloo Zagreb, 2005

2

193

3

BIOGRAPHICAL NOTES

194

D. D. my name is Davor Dundara, I was born in Rijeka on the 17th of August 1976, finished high school, studied different things but never graduated in anything; I did my military service, did all kinds of jobs (I was a cleaner in the local shipyard, a shop assistant, selling paints and varnishes, a cable TV repairman, a shop assistant in a 7-eleven; I cleaned hotels, hospital laboratories, cableways, buses, streets; I was an extra in theatre and film, a construction worker, a bellboy, a gardener, a kitchen assistant…); over the past few years I’ve lived as a street animator, earning meager income, most often making soap bubbles, and sometimes posing as a black statue or an evil, big-nosed witch on Korzo street, in front of Mali salon gallery, in the central square in Zagreb but also in towns along the Adriatic coast during the tourist season. my art does not rely on an academic approach, it does not draw upon any influences, neither does it pursue any rational goal. I use all media available to me: music, performance, writing, all kinds of art (ready-made sculptures, installations, collages, paintings), which become the instruments in my creation of an integrated whole. my work, my path, or, better said, my playing, began as it always begins: with my birth, therefore I cannot recall when exactly I started making art, as an inexpressible concept and orientation had formed in me long before I grasped the true meaning of the notion of art. when I started high school in 1990, a small literary/drama/art/ music circle was formed among a group of few friends, which gradually evolved into a project (which, apart from music, also included performance, street theatre, poetry, literary experiments) named Les Fleurs du mal (LFDM). At that time I began to engage in art more actively, my bedroom underwent numerous transformations: it became an atelier and a permanent display. following in the LFDM’s tradition, we formed the Adapteri, a multimedia project that was active from 1999 to 2006, with automatism and the aesthetics of the bizarre as its main characteristics. beside that, from 1993 to 2003 I actively played bass in a metal band Zli grč, moreover, I was one of its founders. my work there and my appearances on stage were also guided by a performative approach.

195

after the breakup of the Adapteri, I was an active participant in Rijeka’s performance scene for years; I did my performances in Rijeka, but also in and many other towns and cities.

I collaborated with creative people, performed on different locations, on different occasions.

I’ve shown my works in numerous solo and group exhibitions; I was also in charge for costume and set design for the Adapteri’s performances, I was the manager of the project and participated in all the group work done on stage. I designed the sets for multimedia festivals Strašni Riječani [the Fearful Rijeka People], (Zagreb, Močvara club, 2006) and Metalom protiv maškara [Metal Against the Carnival], (Rijeka, Točka club, 2004), as well as for music bands Pogreb X and Po metra crijeva, with who I used to perform; I was also the director, set and costume designer in an experimental play made by the Adapteri, entitled Those Who Bang. I also did street performances in Berlin and Amsterdam (my last street performance in Amsterdam got me arrested, in the summer of 2011). the permanent display of my works is set in my apartment in Rijeka, which has been turned into a museum, i.e. spatial installation. the apartment is rented to tourists during the summer season, as a bizarre summer resort with an artistic atmosphere. my works are created in a stream of consciousness; they are built on connotations, without premeditation and planning, as random reflections of the subconscious, irrational and archetypical, through the prism and distortion of our deviant reality; through a disfigurement of micro and macro levels. the aim is to reach self-cognition: to raise awareness and learn through cognition, but also to encourage the observers to create their own links and connotations, to gain insights, to fantasize… my performances, as well as everything else I do, are inspired by an irrational world, a colorful darkness… it is a process of improvisation and automatism, which manly consists of an interplay of disguises and embodiments. in these monstrous, ritual transformations, my body too becomes a medium of expression, and my consciousness undergoes a metamorphosis. in this atmosphere, where eeriness intertwines with humor, and where all the boundaries between the real and the surreal are lost, a distorted image is shown, an image of a world ruled by meaninglessness, which we can understand only intuitively.

196

The Adapteri a few notes on an almost forgotten music band and multimedia project

the Adapteri project, which evolved from a high school project called Les Fleurs du mal, was at first envisioned as an informal, open project created by people who visited my apartment and in the psychedelic atmosphere of my place, or the atmosphere of other unusual exteriors and interiors, create experimental music that was captured using a voice recorder and sometimes combined with performance, in public and less public spaces, with our without the audience. our performance was always a spontaneous interaction of characters and was often accompanied with hypnotic, psychotic music, including bizarre costumes and unusual set design (art installations). the music followed subconscious flows, producing different atmospheres and bizarre texts (and the results were hours and hours, days and days – since we literally recorded everything – of an amateur material.); all the technical details fell in the background, behind the expression... the expression itself mostly consisted of screaming, it was a bold and intimidating expression; sometimes it reminded of children’s songs, sometimes it resembled posthumous marches, wails, laments, dances, disco euphorias, punk and twisted parodies of a “nice, popular music.” the Adapteri were active from 1999, and following numerous structural changes, the band got its permanent members which stayed together until they split in 2005.

197

the Adapteri’s performances were rare but memorable; most often the performance delivery differed in terms of music, visual effects and the atmosphere that changed depending on the occasion. among else, we performed an experimental theatre play with live music at the FAKI festival in Zagreb (the Festival of Alternative Theatrical Expression). our performances often contained elements of subdued violence, absurd and unusual vocal expressions, and they were always filled with improvisation. the members of the Adapteri wore grotesque disguises made of discarded things and toy store items. the Adapteri’s concepts was unique, but also flexible in terms of choice of instruments and costumes and the general circumstances. the sessions often included a masochistic game called “the Brutal Ludo”, which was invented by the Adapteri members. the game was played with dice, pawns and a board, with a curving path that branched out and formed coils. the pawns moved from box to box, without any hope that they would ever rich their goal, as the boxes in the coils contained all kinds of uncomfortable and humiliating actions, such as washing someone’s legs, standing half-naked in the cold wind,

THE ADAPTERI’S PERFORMANCES — Rijeka, Ri Rock festival – 2001, 2002, 2003 — Zagreb, Festival of Alternative Theatrical Expression (FAKI), 2002 – an one-hour play entitled Those Who Bang, with live music — Island of Brač, 2004 – a performance and exhibition of artworks and photos, with reading of prose pieces in the town square — Rijeka, Palach club, 2004 – performance at FONA art festival — Zagreb, Teatar &TD, 2004 – participation at Christmas Songs Cover Festivals: we won the second prize — Zagreb, Močvara club, 2004 – a 90-minute concert after the projection of the film The Island — Zagreb, Boogaloo club, 2005 – performance at Idemo festival — Rijeka, Hartera, art festival FONA, 2005 ... and many spontaneous performances and sessions, held on different locations

shaving the armpits, drinking hideous stuff, breathing in the air from the exhaust port of a vacuum cleaner, keeping the head inside a bag during the entire game, forced pissing, a solitary confinement in the darkness of a toilet, or listening the BLOP, the most brutal album ever. anyway, it was a game that never had a winner, everyone was a looser… the Adapteri experimented with sounds, using different acoustic sources, such as household appliances, home-made instruments, all kinds of objects we could play on, water, sounds from nature, recordings of spontaneous conversations and arguments, radio interferences, sounds of TV and gramophone, animals, machines, children’s synthesizers from the 1980s, toys, classic instruments: the Adapteri used every available source in their creation of antimusic and experimental plays that recognized no boundaries, nor did they fit everyone’s taste. the last performance was held in 2005.

THE INVENTED GENRES — brutal mental disco, antiambiental, extreme pop, blop...

ALL MEMBERS WHO EVER PLAYED IN THE BAND — Dario, Goran, Tajana and me were the only permanent members DARIO KRMPOTIĆ — vocals, percussions, keyboard, the violin-saw, weird electronic devices and all kinds of something DAVOR DUNDARA — keyboard, bass, instrumental backgrounds, percussions, vocals and all kinds of something GORAN GRAČANIN — keyboard, vocals and all kinds of something TAJANA TOPO — vocals, kazoo, percussions, guitar, keyboard and all kinds of something DEJAN DIKLIĆ — percussions, vocals, everything and something IGOR CRNKOVIĆ — all kinds of something NIKŠA KRSTULOVIĆ — guitar and all kinds of something ZLATKO TROŠELJ — a makeshift drum and all kinds of something MARIN KOBEŠĆAK — a makeshift drum MARKO VUKOVIĆ PIGA — epileptic seizures, percussion instruments DAMIR ŽIŽIĆ — digital electronic effects and all kinds of something NENAD VOLARIĆ — something

198

The dead pigeon written in a library in Amsterdam, half an hour after the incident with the police) The first chapter of the story My Last Days in Amsterdam and the Epic Journey Home) – on street performances, street life, wanderings, escapes and artificial paradises... it’s morning... I wake up with a hangover, but I’m not terribly dehydrated so I get down to work immediately. after spending some time at the homeless shelter, smoking joint made of joint leftovers picked from the street and drinking the tea they gave me at the homeless shelter, I lie down on the ground, in Dame Square, with make-up on, and cover myself with bread; people and pigeons begin to flock; pigeons peck at the bread on my body, on my face, and look, everyone is taking pictures and no one is leaving any coins! I start yelling at the people, “what is it, scum, you have money for your expensive cameras, but you can’t spare some change for the pigeon’s food?!" the fools keep on recording, few of them can’t seem to stop. I barely earn some money to buy myself a bottle of wine; it is sweetish, mild and disgusting; I drink it nevertheless and go on with my act. same thing again. I yell at the people again. I get up on my feet, with pigeons on my head and my shoulder; oh, no, one of them is dead! I discard my rubber nose and teeth (I lost them later) and try to save the pigeon, giving it mouth to mouth breathing and cardiac massage, but it is all in vain. I start to cry and try to save it again; it seems it choked in the bag where I held the bread while other pigeons fought for bread on my body. I’m still trying to save it, but the fools are still filming me. a woman with a camera says, “is he dead now?”, and I say, “yes, he is, do you want to be dead too?“ the women stops filming, people scatter away, while I’m showing them the middle finger, pointing it right in their cameras.

199

after that I get drunk with the Bulgarians, they are all Freddy Kruegers and all kinds of deaths. They say they earn more than hundred euros a day, while I starve. what am I doing wrong? some fifteen names, who can remember them all? I remembered only the girls’ names: Mandolina and Gogolina.

Gogolina gives me a pretty necklace. little Bastian is there too, a hippie from Berlin, with his soap bubbles. the bubbles are large and colorful, the colors gleam and melt into one another in the midday sun. children enjoy watching them, while their parents give him coins. I withdraw into a corner and cry for the dead pigeon. I walk in tears around Kentucky

Fried Chicken, when the police approaches me, polite and with a smile on their face as usual; without any explanation they put me in handcuffs and take me to the nearest police station. a black man and a white man are in the cell with me, they are both bearded and they are both silent; I lie down and have a nap, and half an hour later they come for me; the inspector, a nice black woman, asks me if I’ve just threatened the Japanese tourists with murder; I say yes, of course, because I never lie. so I start telling her about all the stuff I’ve been through... I tell her about the dead pigeon and about me going back to Croatia in three days and how I hate it here, so she lets me go immediately, without giving me a fine. she says, “oh, you idiot, just go, go, go away!”; I go out, I go back to Kentucky Fried Chicken and grab some food from the table but I don’t feel like eating so I give the chicken, fries and coke to my pal from Vojvodina, who stands in the square dressed like the Grim Reaper, and he explodes with laughter when I tell him my story. and now I’ve come to the library to write this down. Bastian is here, too, we’ll have a drink and a joint now; I’m still crying for the pigeon…

200

Postcards from colorful darkness when I finished high school in 1995 I had no idea what to do with myself (and I still don’t); I was growing up in the happy eighties, carefree, unprepared; in the adolescent years I got bogged down in the dark nineties; at that time there was a trend of enrolling in any kind of study pogram, as military service was quite a bad idea, even though sooner or later, you had to do your military service, whether you liked it or not.

With a lousy choice of study courses, bad grades, a shortage of money for studying in Zagreb, me too took up and dropped different study programs (even theology in the end!) and began to embrace a bohemian style of life. at that time, we didn’t have many reasons for optimism; in the claustrophobic atmosphere of the 1990s Rijeka, I wrote surrealist poetry about greyness, wanderings and bad omens.

I participated in a school exhibition, played in a band, wrote, drew. soon I got interested in the medium of assembling junk and dolls and, bored with the band routine, I started doing bizarre performances with my band colleagues, including quite senseless speeches. we were bored and the situation was kind of hopeless, so we abandoned ourselves to nihilism and “spleen”. I was drowning in dark nights and intoxicating mists. after sobering up a little, I did a number of disgusting jobs for an awfully low pay, most often working as a helper at the local shipyard. ship pipes, double bottoms, hangovers in darkness, double skins… when the evil shadows of the 1990’s finally dissipated, I changed my apartment for another one, closer to the city center. I remember making a chaos there when I was “celebrating” my departure for the army; I still recall chucking potatoes and the arrival of the police…

201

I guess my mother decided I was mature enough (or perhaps I wasn’t) and left the entire apartment to me, to live there by myself, while she went to live in our house in Crikvenica. in my new apartment I (re)discovered my interests – I refurnished the space and devoted serious effort to the creation of sculptures and art installations; at the same time I wrote experimental, automatic music, while continuing to do lousy paid, tormenting jobs and lead relatively peaceful, withdrawn and creative life, which resulted in an occasional savagery on stage and in my apartment; a new art project was being born, with exhibitions and performances. in that period, the MMC started to grow big; I, as someone who was making a semi-formal art, in a world of my own, walked onto that scene one day, the scene that was just developing, where many people (many

of whom were older than me) began with their performances. on that scene, I continued where I had left off – my work with the Adapteri, in an illusion of lightness and humur, was quite radical in its music and performances; yet, when that project fell apart, I started doing performances that were even more radical, with rituals that included meat and blood (real or artificial, depending on needs), brutality and stench, fish waste picked from waste containers behind the fish market, fruit, vegetables, junk, slaughterhouse waste, mixtures of meat and plastic, real meat and artificial blood, real blood and plastic... so, nothing particularly dramatic, just mundane materials and food and waste, transformed into something radical and used in depictions of specific contexts – in depictions of an archetypical darkness, which I studied thoroughly, playing with different psychotherapy procedures… in the world of art, as well as in my private world, I was drawn deep into the dark dimensions again, and brought you colorful postcards from there; many people didn’t recognize me after that, they mistook me for one of those bums hanging out at the central bus station, or with the Shadow Man. down there, in the shadows, I blew up the heart, let the blood flow... through the worlds weird and colorfull, tiny and cheerfull, through the fog on a cold shinny morning, all the bricks in the ketamine street... the conversations with the staircase located on the right of the cathedral illuminated by a red LEDs, where medieval tortures take place… I did see the structures, but they are full of emptiness and I could spend a lifetime exploring them. and then, somewhere down there, in the warm landscapes, I was devoured by unconsciousness. my helpless body flew into an uncontrolled spasm, into a naked anxiety, and weakness and tears… after so much pain and restrictions the man gives himself up to death, and when you get used to all those acts of dying and resurrection, everything gets much easier and lighter, your spine gets stiff and straight. who is not blind may also learn something, grow bigger, build up strength… inside the darkness, it is warm. but the darkness is not black, darkness is colorful, glistering. and the pictures are sometimes quite pleasant, they emanate warmth, but sometimes they turn to spooky omens or astral battles... now, darkness is dense and sweet, soft as a pillow... I’m writing this upon my return from there, one out of many returns, most probably alive, healthy and sane, in a good mental and physical state and a jovial mood. many years have passed, many transformations have happened. and now, in the end of everything, it just poures itself into something, on its own, into a creation of sorts, and I can’t do anything about it anymore; I’ve never had much choice actually – I exist, things come and go, they flow, and fall apart, time goes by, inconspicuously, never to return, small epochs elapse I’m writing this’ we live in an aquarium, the world slowly rots, degrades, fall into decay and it is not a pleasant picture, the beach shower says 2 kunas for

202

30 seconds, and the coin machine is there too, so how can we find happiness then, and freedom, and peace, and where? I’ve learn a lot by now, we are abused; a sleepless malice; yet, let’s love each other, and if it’s necessary, I’ll make a huge bonfire again; the Eye, right in the middle of a town square, and let the black smoke shines the sky from the Eye, so we can have something to dance around… the darkness is colorful, it is not black; we should kiss in darkness, and not let the witches scare us; they’re nothing but flies anyway…

203

P. S. once upon a time there was a king who had three sons; he ate two of them and used the third as a guinea pig in his small laboratory. when he spent his last son, he remembered his thirteen daughters and numerous grandchildren, so he was lying awake night after night, thinking of best ways to exploit them too. he was thinking and thinking, which finally brought him such strain and tension that he turned to methanol, which eventually made him completely blind and he suffered a bad case of poisoning, and he would have died, hadn’t it been for his faithful servant M, who noticed his addiction on time and, with the help of numerous therapists, whose work was paid with taxpayers’ money, the king managed to break himself of the unfortunate habit, and it happened quite miraculously, when he was tremendously close to death. after that, the blind and comatose king turned into a much better and kinder ruler, and soon he managed to win back the affection of the people, including his remaining relatives.

204

205

206

207

208

209

KRONOLOGIJA DJELOVANJA

210

Performansi i (glazbeno) scenske akcije NA NASTUPIMA LES FLEURS DU MAL (LFDM) I ADAPTERA OD 1995. DO 2005.: — LFDM: Otisci 1995.; Ri Rock 1995. i 1996.

— Adapteri: Rijeka, Ri Rock 2001., 2002., 2004.; Hartera (FONA) 2006.; Zagreb: SC 2002.; ITD Teatar – Festival božićnih pjesama 2004;, Močvara 2004.; SC – Festival bicikli 2005.; Boogaloo 2005.; Brač: gradski trg, 2004.

— Rijeka, MMSU, Mali salon, 2003. – performans uz otvorenje samostalne izložbe ready made skulptura — Zagreb, FAKI (Festival Alternativnog Kazališnog Izričaja), 2002. – režija, scenografija, kostimografija i izvedba eksperimentalne predstave Adaptera Oni koji lupaju — Rijeka, klub Točka, 2004. – alter rock festival Metalom protiv maškara, dvodnevna serija performerskih akcija — Rijeka, klub Palach, Galerija OK, 2004. – večer performansa, performans s Adapterima — Rijeka, klub Palach, Galerija OK, 2006. – performans Rastakanje iznutrica u sklopu Dana performansa — Rijeka, 2006. – performans na otvorenju izložbe u T objektu Rikarda Benčića u sklopu Art kampa (spaljivanje mrtvog štakora) — Rijeka, klub Palach, Galerija OK, 2006. – performans Sveto otajstvo, uz otvorenje samostalne izložbe ready made skulptura — Zagreb, klub Močvara, 2006. – performans hranjenja glave lutke tripicama i ostale gnjusobe na konferenciji za novinare, prigodom najavljivanja multimedijalnog programa Dani Hartere u sklopu kojeg ću održati performans Sveto otajstvo — Labin, KUC Lamparna, 2006. – performans Rastakanje iznutrica

211

— Zagreb, klub Močvara, 2006. – performans Sveto otajstvo u sklopu multimedijalnog programa Dani Hartere

— Rijeka, klub Palach, Galerija OK, 2007. – performans Osobna higijena u sklopu Dana performansa MMC-a — Rijeka, MMSU, 2007. – performans Osma ovojnica povodom otvorenja izložbe 10 godina MMC-a — Stuttgart, klub Wagenhalle, 2007. – performans Osma ovojnica povodom otvorenja izložbe 10 godina MMC-a i obilježavanja 40. godišnjice Palacha, pod pokroviteljstvom gradova Stuttgarta i Rijeke u organizaciji Likovne akademije iz Stuttgarta — Rijeka, gradski Korzo i klub Palach, 2007. – performans Raskuživanje, povodom otvorenja FONA-e — Rijeka, klub Stereo, 2007. – performans u sklopu koncerta grupe Po metra crijeva — Rijeka, klub Palach, Galerija OK, 2008. – performans Ne zove se povodom Dana performansa — Pićan, glavni gradski trg, 2. 8. 2008. – performans Uspavanka, u sklopu Legendfesta — Pićan, glavni gradski trg, 3. 8. 2008. – performans Osma ovojnica, u sklopu Legendfesta — Rijeka, Festival Hartera, 2010. – performans Porođajne muke — Rijeka, KUNS, Galerija OK, 2010. – prateći performans uz izlaganje instalacije Moj Milivoj, uz predavanje o mojem umjetničkom radu i video projekcije performansa pod nazivom: Zašto je smrdilo u MMSU u Rijeci na izložbi 10 godina MMC-a?

Predavač: Branko Cerovac — Rijeka, klub Stereo, Ri Rock festival, 2010. – performans u sklopu nastupa punk grupe Pogreb x — Vinkovci, Vanilla klub, Marinfest, 2010. – performans u sklopu nastupa punk grupe Pogreb x nakon kojeg je i bandu i meni zabranjen nastup na istom festivalu

— Zagreb, Pogon Jedinstvo, 2011. – performans Mozgići (snifanje razrjeđivača br. 8 i trpanje u luđačku košulju i razne druge zanimljivosti) u sklopu manifestacije Riječka akcionistička i performerska scena u Jedinstvu — Rijeka, Kont, 2011. – Mrcvarenje, oproštajni performans pred odlazak u Berlin (završio dolaskom policije) — Split, 2013. – performans u sklopu festivala NUS (Neafirmirana umjetnička scena) — Zagreb, Pogon Jedinstvo, 2011. – performans Dead skin mask u sklopu Freaky Fridaya, festivala bizarne umjetnosti — Rijeka, klub Palach, Galerija OK, 2014. – performans Terapija u sklopu Dana performansa — Rijeka, MMSU, 2015. – sudjelovanje u performansu 3b landscape autora Kreše Kovačičeka na promociji knjige Kronotop hrvatskog performansa Suzane Marjanić, uz popratnu nezgodu, hitnu pomoć i pojavljivanje u crnoj kronici — Zagreb, HDLU, 2015. – Obdukcija, remake performansa Satana Panonskog na izložbi Osamdesete – slatka dekadencija postmoderne — Koprivnica, FIUK festival, 2015. – performans Terapija II — Rijeka, klub Palach, Dani performansa MMC-a, 2015. – performans Posljednji put posvećen Nedi Šimić Božinović — Rijeka, klub Palach, 2015. – Dan performansa posvećen Nedi Šimić Božinović, sudjelovanje u performansu Stories and pictures, Krešo Kovačiček — Rijeka, klub Palach 2015. – Dan performansa posvećen Nedi Šimić Božinović, sudjelovanje u performansu Netaktilna zvučna skulptura rođenje umiranje, Žarko Violić — Rijeka, Mali salon, 2016. – performans na događaju Slobodna pankerska republika Rijeka i dizajn rasvjete — Zagreb, klub Route 66, 2016. – performans Meso na ljude zajedno s Vinkovačkim umjetnikom Pajom Pakšuom — Rijeka, Hartera, Dark O Metal festival, 2016. – performans Terapija III – oslobođenje

— Rijeka, Mali salon, 2018. – glazbeno scenski performans Utjelovljenja, uz pratnju atonalnog orkestra, na multimedijalnoj retrospektivnoj izložbi Šareni mrak kao promocija nadolazeće monografije — Performansi na ulicama raznih gradova (Rijeka, Zagreb, Pula, Poreč, Crikvenica, Brač, Susak, Cres, Rab, Mali Lošinj, Dubrovnik, Split, Berlin, Amsterdam... itd.)

— Spontani performansi, u svakodnevnim situacijama (kuća, ulica, autobus, radno mjesto, večernji izlazak, kupanje na plaži, šetnja, ručak, boravak u prirodi itd.)

212

Izložbe i likovne intervencije na sceni SCENSKE DEKORACIJE I DIZAJN KOSTIMA NA SVIM NASTUPIMA ADAPTERA — Rijeka, Otisci (festival maturanata Prve hrvatske sušačke gimnazije), 1995. – izložba skulptura i slika — Selce, Ex tempore, galerija Stara škola, 2002.

– moj kolaž ulazi u uži izbor za predstavljanje rada na grupnoj izložbi — Zagreb, Studentski centar, 2002. – scenografija i kostimografija eksperimentalne predstave Oni koji lupaju u glazbeno-scenskoj izvedbi ADAPTERA na kazališnom festivalu FAKI – SC (Zagreb)

— Rijeka, klub Stereo, 2007. – scenske dekoracije za koncert grupe Po metra crijeva — Pićan, Legendfest, 2008. – izložba skulptura uz popratnu slušaonicu jezive ambijentalne glazbe Adaptera — Rijeka, klub KUNS, Galerija OK, 2009. – izlaganje skulpture Fazan, u sklopu art manifestacije Proljeće na Sušaku — Rijeka, šetnica uz Rječinu, 2009. – izlaganje skulpture Fazan, u sklopu art manifestacije Duhovi Rječine

— Rijeka, Mali salon, festival FONA, 2002. – samostalna izložba skulptura

— Rijeka, KUNS, Galerija OK, 2010. – izlaganje ready made skulpture Moj Milivoj

— Rijeka, klub Točka, 2004. – scenske dekoracije na alter rock festivalu Metalom protiv maškara

— Split, NUS festival, 2013. – izlaganje skulptura na skupnoj izložbi u sklopu

— Brač, Supetar, 2004. – izložba kolaža u sklopu multimedijalnog programa ADAPTERA

— Split, NUS festival, 2014. – izlaganje kolaža na skupnoj izložbi u sklopu

— 2004. - umjetničko predstavljanje u Sondi, informativnom letku za Istarsku i primorskogoransku županiju

— Rijeka, Mali salon, 2014. – izložba skulptura na skupnoj izložbi povodom prezentacije Dana performansa MMC-a

— Rijeka, Rikard Benčić, T objekt, 2006. – izložba skulptura na art kampu

— Zagreb, Pogon Jedinstvo, 2013. – samostalna izložba skulptura i kolaža u sklopu Freaky fridaya, festivala bizarne umjetnosti

— Rijeka, Palach, Galerija OK, 2006. – samostalna izložba

— Koprivnica, FIUK festival, KKC Pixel, 2015. – samostalna izložba skulptura

— Labin, KUC Lamparna, 2006. – samostalna izložba skulptura

— Rijeka, Mali salon, 2015. – izlaganje skulpture Bogomoljka na skupnoj izložbi Interferencije

— Zagreb, klub Močvara, 2006. – scenske dekoracije rock pozornice na multimedijalnom art programu Dani Hartere

— Rijeka, Mali salon, MMSU, 2018. – Šareni mrak, retrospektivna izložba skulptura, instalacija, kolaža, videosnimki performansa, rekvizita s nastupa i novinskih članaka i tekstova

— Rijeka, MMSU, 2007. – izložba skulptura u sklopu izložbe 10 godina MMC-a

213

— Stuttgart, klub Wagenhalle, 2007. – izlaganje skulpture u sklopu izložbe 10 godina MMC-a, organizaciji Likovne akademije iz Stuttgarta

— Rijeka, 2018. – izrada i idejno rješenje omota albuma Resetiraj civilizaciju punk grupe Žulj — Zagreb, Kulturni centar Medika, Galerija Siva, 2019. – Šareni mrak, retrospektivna izložba skuptura, instalacija, kolaža, video snimki performansa, rekvizita s nastupa i novinskih članaka i tekstova

Ostalo — Intervju za dvotjednik Zarez, 224, 7. veljače 2008., str. 32–33.

— Predstavljanje u emisiji Fade In, emitiranoj na HRT-u i u Art kinu Rijeka, 2010.

— Ogledi u monografiji Kronotop hrvatskog performansa: od Travelera do danas (2014.) Suzane Marjanić te u monografskom izdanju časopisa Fantom slobode (ur. tematskoga broja Slaven Tolj), u izdanju Art radionice Lazareti, koji tematizira riječku performersku scenu okupljenu oko MMC-a od 1997. do 2008.

214

215

A CHRONOLOGY OF ACTION

216

Performances, music and actions on scene THE PERFORMANCES OF THE LES FLEURS DU MAL (LFDM) AND THE ADAPTERI FROM 1995 TO 2005: — LFDM: (Finger)Prints, 1995; Ri Rock 1995/1996; — Adapteri: Rijeka, Ri Rock 2001, 2002, 2004; Hartera (FONA) 2006; Zagreb, SC 2002, ITD Theatre – Christmas Song Festival 2004; Močvara 2004; SC – Bycicle Festival 2005; Boogaloo 2005; Brač, town square, 2004) — Rijeka, Mali salon gallery, 2003 – performance at the opening of the solo exhibition of ready-made sculptures — Zagreb, FAKI (the Festival of Alternative Theatrical Expression), 2002 – directing, set design, costume design and performance of the Adapteri’s experimental play Those Who Bang — Rijeka, Točka club, 2004 – alternative rock festival Metal Against the Carnival a two-day series of performances and actions — Rijeka, Palach club, OK gallery, 2004 – a performance night, performance with the Adapteri — Rijeka, Palach club, OK gallery, 2006 – performance Dissolving of the Intestines, MMC Performance Days — Rijeka, 2006 – performance at the opening of exhibition at T Building of Rikard Benčić complex, as part of an art camp (the burning of a dead rat) — Rijeka, Palach club, OK gallery, 2006 – performance The Holy Sacrament, at the opening of the solo exhibition of ready-made sculptures

— Rijeka, Palach club, OK gallery, 2007 – performance Personal Hygiene as part of the MMC Performance Days program — Rijeka, MMSU, 2007 – performance The Eight Membrane at the opening of exhibition 10 Years of the MMC — Stuttgart, club Wagenhalle, 2007 – performance The Eight Membrane at the opening of exhibition 10 Years of the MMC and the celebration of the 40th anniversary of Palach club, sponsored by the cities of Stuttgart and Rijeka, organized by State Academy of Fine Arts Stuttgart — Rijeka, Korzo street and Palach club, 2007 – performance Fumigation, at the opening of FONA festival — Rijeka, Stereo club, 2007 – performance at the concert of Po metra crijeva — Rijeka, Palach club, OK gallery, 2008 – performance Its Name is Not, the MMC Performance Days — Pićan, town square, 2 August 2008 – performance A Lullaby, as part of Legendfest program — Pićan, town square, 3 August 2008 – performance The Eight Membrane, as part of Legendfest program — Rijeka, Hartera Festival, 2010 – performance The Pains of Childbirth — Rijeka, KUNS, OK gallery, 2010 – performance accompanying art installation My Milivoj, with a presentation on my work and a video recording of the performance entitled: What Was That Stench at Rijeka’s MMSU at ‘10 years of MMC’ exhibition? Speaker: art historian Branko Cerovac

— Labin, KUC Lamparna, 2006 – performance Dissolving of the Intestines

— Rijeka, Stereo club, Ri Rock festival, 2010 – performance at the concert of punk band Pogreb x

— Zagreb, Močvara club, 2006 – performance The Holy Sacrament as part of multimedia program Hartera Days

— Vinkovci, Vanilla club, Marinfest, 2010 – performance at the concert of punk band Pogreb x, after which the band and me were banned from the festival

217

— Zagreb, Močvara club, 2006 – performance of feeding a doll’s head with tripe and other hideous stuff at a press conference announcing the opening of Hartera Days, where I also held my performance The Holy Sacrament

— Zagreb, Jedinstvo, 2011 – performance The Little Brains (sniffing the diluent No. 8, straitjacket and other interesting things) at the event of Rijeka’s actionist and performer scene — Rijeka, Kont, 2011 – The Harrowing, a farewell performance before leaving for Berlin (which ended with the arrival of police) — Split, NUS festival, 2013 – a performance as part of the festival’s program — Zagreb, Jedinstvo, 2011 – performance Dead Skin Masks at Freaky Friday, bizarre art festival — Rijeka, Palach club, OK gallery, 2014 – performance Therapy, MMC Performance Days — Rijeka, MMSU, 2015 – participation in performance 3b landscape by Krešo Kovačiček, at the promotion of the book Kronotop hrvatskog performansa: od Travelera do danas [The Chronotope of the Croatian Performance Art: from Traveleri to the Present Day] by Suzana Marjanić, accompanied by an accident, paramedics and the appearance in crime pages of the local newspapers — Zagreb, Croatian Artists Association, 2015 – The Autopsy, a remake of Satan Panonski performance at exhibition The 80’s - Sweet Decadence of Postmodernism — Koprivnica, FIUK festival, 2015 – performance Therapy II — Rijeka, Palach club, 2015 – performance For the Last Time dedicated to Neda Šimić Božinović, MMC Performance Days — Rijeka, Palach club, 2015 – a performance day dedicated to Neda Šimić Božinović, participation in performance Stories and pictures by Krešo Kovačiček — Rijeka, Palach club 2015 – a performance day dedicated to Neda Šimić Božinović, participation in performance Nontactile Acoustic Sculpture Birth Dying by Žarko Violić — Rijeka, Mali salon gallery, 2016 – performance at the event the Free Punk Republic of Rijeka, light design — Zagreb, club Route 66, 2016 – performance Meat on People with Pajo Pakšu — Rijeka, Hartera Dark O Metal festival, 2016 – performance Therapy III – Liberation

— Rijeka, Mali salon gallery, 2018 – music and stage performance Embodiments, accompanied by an off-key orchestra, at the multimedia retrospective exhibition Colorful Darkness, as a promotion of the upcoming monograph — Performances on the streets of numerous towns and cities (Rijeka, Zagreb, Pula, Poreč, Crikvenica, Brač, Susak, Cres, Rab, Mali Lošinj, Dubrovnik, Split, Berlin, Amsterdam... etc) — Spontaneous peformances, done in mundane situations (home, street, bus, workplace, a night out, beach, a walk, lunch, a trip to nature etc)

218

Exhibitions and art interventions SET DECORATIONS AND COSTUME DESIGN FOR THE ADAPTERI’S PERFORMANCES — Rijeka, Otisci [the (Finger)Prints], the festival of Rijeka’s high school Prva hrvatska sušačka gimnazija), 1995 – exhibition of sculptures and paintings — Selce, Ex tempore exhibition Stara škola gallery, 2002 – my collage selected among the best few for presentation at a group exhibition — Zagreb, Studentski centar, 2002 – set and costume design for experimental play Those Who Bang at the concert-perfomance of the Adapteri, FAKI festival, SC (Zagreb) — Rijeka, Mali salon gallery, festival FONA, 2002 – solo exhibitions of sculptures — Rijeka, Točka club, 2004 – set decorations for Metal Against the Carnival festival — Brač, Supetar, 2004 – exhibition of collages as part of the Adapter multimedia program — Presentation in Sonda, a city newsletter for Istria and the Primorje-Gorski kotar County, 2004 — Rijeka, Rikard Benčić, T Building, 2006 – exhibition of sculptures held at an art camp

— Pićan, Legendfest, 2008 – exhibition of sculptures, with a listening session of eerie instrumental music — Rijeka, KUNS, OK gallery, 2009 – exhibiting The Pheasant sculpture, as part of Spring at Sušak art event — Rijeka, walking trail by the Rječina River, 2009 – exhibiting The Pheasant sculpture, as part of the Ghosts of Rječina River art event — Rijeka, KUNS, OK gallery, 2010 – exhibiting the ready-made sculpture My Milivoj — Split, NUS festival, 2013 – exhibiting sculptures at a group exhibition — Split, NUS festival, 2014 – exhibiting collages at a group exhibition — Rijeka, Mali salon gallery, 2014 – exhibiting sculptures at a group exhibition, MMC performance days — Zagreb, Jedinstvo, 2013 – solo exhibition of sculptures and collages, Freaky Friday, the festival of bizarre art — Koprivnica, FIUK festival, club Pixel, 2015 – solo exhibition of sculptures

— Rijeka, Palach, OK gallery, 2006 – solo exhibition — Labin, KUC Lamparna, 2006 – solo exhibition — Zagreb, club Močvara, 2006 – set design decorations, at multimedia art program Hartera Days — Rijeka, MMSU, 2007 – exhibiting sculptures as part of 10 Years of the MMC exhibition — Stuttgart, club Wagenhalle, 2007 – exhibiting a sculpture as part of 10 Years of the MMC, organized by the State Academy of Fine Arts Stuttgart

219

— Rijeka, Stereo club, 2007 – set decorations for the concert of Po metra crijeva

— Rijeka, Mali salon gallery, 2015 – exhibiting the sculpture The Mantid at Interferences group exhibition — Rijeka, Mali salon gallery, MMSU, 2018 – Colorful Darkness, the retrospective exhibition of sculptures, installations, collages, video recordings of the performances, stage props and newspaper articles — Rijeka, 2018. – the concept design and creation of album cover Resetiraj civilizaciju [Reset Civilization] of punk group Žulj — Zagreb, Culture center Medika, Gallery Siva, 2019 – Colorful Darkness, the retrospective exhibition of sculptures, installations, collages, video recordings of the performances, stage props and newspaper articles

Other — Interview at Zarez, 224, February 7, 2008, 32–33.

— A self-presentation in Fade In TV-show, shown at the national television and Art kino Rijeka, 2010 — Essays in Kronotop hrvatskog performansa: od Travelera do danas [The Chronotope of the Croatian Performance Art: from Traveleri to the Present Day] (2014) by Suzana Marjanić and in a monographic edition of Fantom slobode magazine (published by Lazareti art workshop)

220

IZDAVAČ / PUBLISHER — Muzej moderne i suvremene umjetnosti / Museum of Modern and Contemporary Art ZA IZDAVAČA / FOR THE PUBLISHER — Slaven Tolj UREDNICE / EDITORS — Suzana Marjanić, Marina Tkalčić PRIJEVOD I LEKTURA / TRANSLATION AND PROOFREADING — Lidija Toman GRAFIČKO OBLIKOVANJE / GRAPHIC DESIGN — Marino Krstačić-Furić & Ana Tomić FOTOGRAFI / PHOTOGRAPHERS — Dario Krmpotić, Hrvoje Zalukar, Tajana Topo, Nuppu Emilija Nykry, Ivona Onofri, Anja Grgurić, Kristijan Vučković, Davor Mrkela, Nevio Smajić, Mislav Kukurin, Eugen Starčević, Bernard Čović, Tina Antolić, Pepy Dundara, Dalibor Žigante, Dejan Diklić, Maja Boljkovac, Saška Mutić, Dario Matić, Dean Kljun, Nenad Volarić, Višnja Divančić, Josip Maržić, Aleksandar Sedlak, Goran Gračanin, Petar Pešut, Marina Tkalčić, Davor Dundara TISAK / PRINTING — Kerschoffset, Zagreb NAKLADA / PRINT RUN — 300 KATALOG BROJ / CAT. NO. — 393 © MMSU, Rijeka 2019.

PODRŠKA / SUPPORTED BY — Grad Rijeka CIP zapis dostupan u računalnom katalogu Sveučilišne knjižnice Rijeka pod brojem 140819035.

CIP data available from the catalogue record of the Rijeka University Library, No. 140819035.

ISBN 978-953-8107-29-0

KUSTOSICE IZLOŽBE / CURATORS — Suzana Marjanić, Marina Tkalčić TEHNIČKI POSTAV / TECHNICAL SET-UP — Vanja Pužar, Anton Samaržija ODNOSI S JAVNOŠĆU / PR — Jelena Androić, Ivo Matulić DOKUMENTACIJA / DOCUMENTATION — Diana Zrilić FOTOGRAFIJE POSTAVA / PHOTOGRAPHS OF THE SET-UP — Marina Tkalčić, Jahvo Joža ZAHVALA — zahvalio bih se svima onima koji su do sada podržavali moj rad, organizatorima raznih manifestacija na kojima sam nastupao i izlagao i svima onima koji su sudjelovali u organizaciji izložbi i performansa, pisali i objavljivali tekstove o sceni, ili intervjue, urednicama Suzani Marjanić i Marini Tkalčić, piscima tekstova za ovu knjigu i svima ostalima koji su bilo kako direktno ili indirektno pripomogli mom radu i izdavanju ove knjige, snimateljima, asistentima u performansu, svim članovima Adaptera ma gdje da se nalaze, na suradnji, prijateljstvu i još koječemu, publici koja prati moj rad bilo uživo, bilo putem Facebooka ili nekako drugačije, svojim roditeljima, i naposlijetku svim svojim prijateljima i svima kojima je stalo do mene i mog rada na prijateljstvu i podršci...

ACKNOWLEDGEMENT — I would like to thank to all those who have supported my work so far, to organizers of various manifestations at which I performed and exhibited, and to all those who participated in the organization of exhibitions and performances, to those who wrote and published texts or interviews about the scene, to editors Suzana Marjanić and Marina Tkalčić, to the authors of this book’s texts. I would also like to thank to everyone else who either directly or indirectly contributed to my work and publishing of this book, to videographers, performance assistans. I thank to all members of the band Adapteri wherever they are for the collaboration, friendship and many other things. To the audience who follows my work, whether on live performances or via Facebook or otherwise. To my parents, and finally to all my friends and to everyone who cares about me and my work for their friendship and support...

228

MMSU