prague quadrennial of performance design and space 2015...

Prague Quadrennial of Performance Design and Space 2015Countries and Regions — Republic of Croatia Intangible

Praški kvadrijenale scenografije i kazališnog oblikovanja prostora 2015.Izložbe zemalja i regija — Republika Hrvatska Neopipljivo

Intangible — Croatian Exhibition at the 2015 Prague Quadrennial of Performance Design and SpaceMarko Golub, Igor Ružić, Nikola Radeljković

Space: Three (Countless) ManifestationsUna Bauer

Božena Končić BadurinaProtected Space

BADco. Is There Life on Stage?

Siniša LabrovićLeisure (Communist Manifesto)

Oliver Frljić, Igor PauškaDanton’s Death

Kata MijatovićThe Kneževo–Osijek Bus Line

Boris Bakal, Leo VukelićFather Courage

Vlasta ŽanićRecycle Bin

Damir Bartol Indoš, Tanja VrviloTosca 914

Borut Šeparović55+

Scenography of an Exhibition Choreographed by DesignNikola Radeljković

‘To live, to live is a man’s purpose’Mauricio Ferlin

Biographies

Neopipljivo — hrvatski nastup na Praškom kvadrijenalu scenografije i kazališnog oblikovanja prostora 2015.Marko Golub, Igor Ružić, Nikola Radeljković

Prostor: tri (bezbroj) manifestacijaUna Bauer

Božena Končić BadurinaŠtićeni prostor

BADco.Ima li života na Zemlji?

Siniša LabrovićDokolica (komunistički manifest)

Oliver Frljić, Igor PauškaDantonova smrt

Kata MijatovićBus Kneževo–Osijek

Boris Bakal, Leo VukelićOtac hrabrost

Vlasta ŽanićRecycle Bin

Damir Bartol Indoš, Tana VrviloTosca 914

Borut Šeparović55+

Scenografija dizajnom koreografirane izložbeNikola Radeljković

‘To live, to live is a man’s purpose’Mauricio Ferlin

Biografije

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— Croatian Exhibition at the 2015 Prague Quadrennial of Performance Design and Space

Marko Golub, Igor Ružić, Nikola Radeljković

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The Croatian exhibition at the Prague Quadrennial of Performance Design and Space thematises the broader term of scenography at the intersection between theatre performance and contemporary visual art. In line with the theme of the Quadrennial Shared spaces — Music, Weather, Politics, it attempts to shed light on the different methods, approaches, activities and objects with powerful scenography effect, without being scenography in themselves in terms of stage space illusion.

Specifically, the concept is based on examples of performances relying on participation and inclusiveness, fictionalisation of real architectural and public urban spaces, or on the performance space as an area of creative antagonising, or on a specific treatment of the nominally consecrated performance stage space. The exhibition also includes recent examples of performance art, rarely considered in the context of scenography due to their most often nonfictional and nonnarrative character. Those artistic practices which, in the scope of the performance act, appropriate and activate the performance space, or involve the audience itself as accomplices and actors within the performance itself, are highlighted.

This segment also focuses on the role of different objects, substances, props and purebred scenography constructions in the practice of performance art, which are in the very centre of events but often remain out of focus with respect to the artist. In this sense, one of the central issues we felt we needed to address while developing this project is the persistent deep divide between the performing arts and performance art in their distinct cultural and artistic contexts, in which they are perceived as exclusively belonging to either visual arts or theatre. We also wanted to pay respect to those performing arts practices which do not necessarily have the luxury of employing highly specialized professionals for each aspect of their productions, and rather rely on the intense creative processes where the roles of the director, author, performer, composer, scenographer, etc. are often blurred.

The wide range of relations which this concept strives to point to also reflects the very inspiration themes of the Quadrennial: Music, Weather, Politics; which can be interpreted in the same key precisely by introducing as the central problem backbone the issues of boundaries between the real and the fictional space (Music, Weather), between the performer and the viewer in a common physical space (Weather, Politics), and decisions made among all participants connected by the performance act (Politics).

Nine artists and teams (performance artists, directors, stage designers) whose works realised in the past six years is shown in the form of short films, have been selected to be presented at the Quadrennial. The films are a combination of documentary video material and descriptive first person narration. The films can also be used later outside the context of the Quadrennial. The framework in which they are presented is a scenography installation per se, which also reflects the main theme Shared Spaces, pulling the viewer of the exhibition into an interactive platform, which in itself functions as a kind of stage. L

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BADco., performance collective

Is There Life on Stage? — Excercises in TerraformingPogon Jedinstvo, Zagreb, 2012

Production: BADco. and Domino

Along with its serial structure, Is There Life on Stage? — Exercises in Terraforming is at least a twofold performance, consisting of metatheatrical questioning of both performers and the audience functions within the system of representation and physical conditioning of that system. As a result, the performance provides a proposition instead of an answer, ontologically putting the human back into the centre, for better and for worse. L

Boris Bakal, author, director Leo Vukelić, scenographer, performer

Father CourageDubrovnik Summer Festival, 2013

Production: Dubrovnik Summer Festival

As intermedia artist constantly interested in sitespecific experiments and urban evironment, in this work Boris Bakal explored the historic core of Dubrovnik. With minimal interventions into the unique readymade of Dubrovnik by Leo Vukelić, an unusual guided tour for tourists is transformed to a largescale journey to the dark and subconsious, beyond the borders between reality and dream or life and death. L

Oliver Frljić, director Igor Pauška, set designer

Danton’s Death, Georg Büchner Dubrovnik Summer Festival, 2012

Production: Dubrovnik Summer Festival

One of the most influential theatre directors in the region had his debut at internationally renowned Dubrovnik Summer Festival with Danton’s Death by Georg Büchner. Radical revolutionary issues met with radical set design, devised by director and his regular collaborator, scenographer Igor Pauška. Immobilized audience experienced the fear of imminent danger, which served almost as a realized metaphor of the original play and its consequences. L

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Damir Bartol Indoš, Tanja Vrvilo, authors and performers

Tosca 914Theatre &TD, Zagreb, 2014

Production: DB Indoš — House of extreme music theatre, Perforacije/Perforations Festival, Theatre &TD

Important member of Croatian alternative theatre, Damir Bartol Indoš blends radical performance art and radical music into highly energetic shows that always deal with the gap between political reality and utopia(s). With Tanja Vrvilo as coauthor, in Tosca 914 he evokes the radicalism of young people on the eve of the WW1, when the old world was falling apart and the new may have seemed brighter. L

Božena Končić Badurina, visual artist

Protected SpaceMuseum of Modern and Contemporary Art, Rijeka, 2011

Protected Space belongs to a group of works in which the artist takes the existing architecture and populates it with gazes, behaviours and rules of conduct that erase and flood the border between the audience, performer and performance space. In this way, a space without any content or substance obtains completely new dimensions, invisible and insignificant to anyone not previously familiarized with the conditions and rules for its use. The rules give it structure, the conduct gives it a form more impenetrable and rigid than any wall, than any architecture. L

Siniša Labrović, visual artist

Leisure (Communist Manifesto) 9th Trouble Performance Festival, Les Halles, Bruxelles, Belgium, 2013

The work is motivated by Labrović’s awareness of the implications and consequences of an artistic act, or the structure of subtle collaborative relations between the artist, the audience and social and institutional context that he unavoidably makes visible. Like the Communist Manifesto itself, Labrović’s performance presupposes that the system (the performance and the position of participants in it) cannot be simply corrected from within; it requires an upheaval, and this superbly reflects in the very act of performing this ‘participatory performance’, which, after having established its imaginary space and its imaginary rules in line with the conventions that apply to an artistic event, also establishes the conditions for its revocation. L

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Kata Mijatović, visual artist

The Kneževo–Osijek Bus LineDopust Performance Festival, Pogon Jedinstvo, Zagreb, 2011

The artist stands in front of a static frame of a video projection and pronounces out loud the names of all settlements on the bus line between Kneževo and Osijek. She turns on the video projection showing the journey and while we discern washedout contours of houses, fields and nature through the window on the video recording, she starts soaking the entire projection in water. Layer by layer, the video image revives and becomes clearer until it shines. To the image that shows many abandoned houses, desolate land and entire settlements, the artist attributes the same meaning as to her double from earlier performances – that of a phantasm that is briefly brought to life in the texture of water only to disappear after switching the projection off. L

Borut Šeparović (Montažstroj), author, director

55+Vatroslav Lisinski Concert Hall, Zagreb, 2012

Production: Montažstroj

Working predominantly under the brand of Montažstroj, Borut Šeparović produces theatre that is socially aware, politically conscious and highly performative. 55+ is more than a theatre performace, it is at the same time political rally and a part of the broader project that resulted in a documentary film about the deprived and consumed social subjects whose voice needs to be heard. L

Vlasta Žanić, visual artist

Recycle BinMuseum of Contemporary Art, Zagreb, 2014

Recycle Bin is a multitude of simultaneously offered objects and installations. A large stage is filled with seesaws, transistor radios, unusual glasses, lamps props that were all, once before, used in previous performances of the artist Vlasta Žanić. Gathered like this, they are left for the audience to experiment with and reexamine, making it a participant in the playgroundlike setting. The unpredictable movements of the audience, with the smell of burnt milk, the taste of the rožata cake and the cacophony of randomly selected radio stations, create an anarchic situation on the border between a theatre performance and a Fluxus happening. L

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Hrvatska izložba na Praškom kvadrijenalu scenografije i kazališnog oblikovanja prostora tematizira prošireni pojam scenografije na sjecištu između izvedbene i suvremene vizualne umjetnosti. U skladu s temom Kvadrijenala Shared spaces — Music, Weather, Politics, pokušava rasvijetliti različite metode, pristupe, aktivnosti i objekte koji imaju snažan scenografski učinak, a pritom sami po sebi nisu scenografija u smislu iluzioniranja scenskog prostora.

Konkretno, koncepcija polazi od primjera predstava i izvedbi koje se oslanjaju na participativnost i inkluzivnost, na fikcionalizaciju stvarnih arhitektonskih i javnih urbanih prostora, na prostor izvedbe kao mjesto kreativnog antagoniziranja, ili na specifični tretman nominalno izvedbenog i posvećenog prostora pozornice. Izložba također obuhvaća recentne primjere umjetnosti performansa, koji se zbog svog neposrednog i najčešće nefikcionalnog i nenarativnog karaktera rijetko razmatraju u kontekstu scenografije. U tom segmentu istaknute su one umjetničke prakse koje u sklopu performerskog čina prisvajaju i aktiviraju prostor izvedbe, ili involviraju samu publiku kao suučesnike i čimbenike scenskog prostora.

Ovaj segment također se usredotočuje i na ulogu različitih objekata, tvari, rekvizita i punokrvnih scenografskih konstrukcija u praksi umjetničkog performansa, koje se nalaze u samom središtu događanja, a nerijetko ostaju izvan fokusa u odnosu na samog autora/izvođača. U tom smislu, jedna od središnjih tema koju smo željeli adresirati razvijajući ovaj izložbeni koncept, bila je trajna i duboka razdvojenost između izvedbene umjetnosti i umjetnosti performansa u njihovim specifičnim kulturnim i umjetničkim kontekstima, u kojima su percipirani kao da ekskluzivno pripadaju ili vizualnoj umjetnosti, ili teatru. Također smo željeli odati pažnju onim izvedbenim praksama koje nemaju nužno luksuz involviranja visokospecijaliziranih profesionalaca za svaki aspekt svojih produkcija, i umjesto toga oslanjaju se na intenzivne kreativne procese u kojima su uloge redatelja, pisca, izvođača, skladatelja, scenografa i drugih, nerijetko zamućene.

Široki raspon odnosa na koje ova koncepcija nastoji ukazati reflektira i same inspiracijske teme Kvadrijenala: Glazba, Vrijeme, Politika; koje se mogu iščitati u istom ključu upravo tako da se kao središnja problemska okosnica uvedu upravo pitanja granica između stvarnog i fikcionalnog prostora (Glazba, Vrijeme), granica između izvođača i gledatelja u zajedničkom fizičkom prostoru (Vrijeme, Politika), i odluka koje se donose između svih sudionika koje povezuje čin izvedbe (Politika).

— hrvatski nastup na Praškom kvadrijenalu scenografije i kazališnog oblikovanja prostora 2015.

NEOPIPLJIVO

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Za predstavljanje na Kvadrijenalu odabrano je 9 umjetnika i timova (umjetnika performansa, redatelja, scenografa) čija djela realizirana u razdoblju proteklih šest godina predstavljamo u formi kratkih filmova. Sami filmovi kombinacija su dokumentarnog foto i video materijala, deskriptivnog pripovjedanja i govora u prvom licu. Filmovi će naknadno moći biti korišteni i izvan konteksta Kvadrijenala. Okvir u kojem su predstavljeni na Kvadrijenalu je autorska scenografska instalacija za sebe, koja također reflektira glavnu temu Shared Space uvlačeći gledatelja izložbe u interaktivnu platformu koja sama funkcionira kao svojevrsna pozornica. L

BADco., performance collective

Ima li života na sceni? — vježbe iz oblikovanja ZemljePogon Jedinstvo, Zagreb, 2012.

Produkcija: BADco. i Domino

Uz svoju serijalnu strukturu Ima li života na sceni? — vježbe iz oblikovanja Zemlje je u najmanju ruku dvostruka izvedba — sastoji se od metateatarskih propitivanja funkcija kako publike, tako i izvođača unutar sustava reprezentacije i fizičkog kondicioniranja tog istog sistema. Slijedom toga, izvedba nudi prijedlog umjesto odgovora, ontološki vraćajući ‘ljudsko’ natrag u središte.Production: BADco. and Domino. L

Boris Bakal, autor, redatelj Leo Vukelić, scenograf, izvođač

Otac hrabrostDubrovačke ljetne igre, 2013.

Produkcija: Dubrovačke ljetne igre

Intermedijski umjetnik uvijek zainteresiran za prostornospecifične eksperimente i urbano okruženje, Boris Bakal u svom radu istražuje povijesnu jezgru Dubrovnika. S minimalnim intervencijama Lea Vukelića u jedinstveni ready-made Dubrovnika, jedno neobično turističko vodstvo preobražava se u veliko putovanje u tamu i podsvijest, onkraj granica stvarnosti i sna, života i smrti. L

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Oliver Frljić, redatelj Igor Pauška, scenograf

Dantonova smrt, Georg Büchner Dubrovačke ljetne igre, 2012.

Produkcija: Dubrovačke ljetne igre

Jedan od najutjecajnijih kazališnih redatelja iz regije prvi put je sudjelovao na međunarodno slavnim Dubrovačkim ljetnim igrama s Dantonovom smrću Georga Büchnera. Radikalna revolucionarna pitanja susreću radikalnu scenografiju, koju su osmislili osmislili redatelj i njegov redoviti suradnik, scenograf Igor Pauška. Imobilizirana publika iskusila je strah od neposredne opasnosti, koji je poslužio gotovo kao realizirana metafora izvorne drame i njenih posljedica. L

Damir Bartol Indoš, Tanja Vrvilo, autori i izvođači

Tosca 914Teatar &TD, Zagreb, 2014.

Produkcija: DB Indoš — Kuća ekstremnog muzičkog teatra, Festival Perforacije, Teatar &TD

Važna ličnost hrvatskog alternativnog teatra, Damir Bartol Indoš spaja radikalnu umjetnost performansa i radikalnu glazbu u energične predstave koje uvijek dotiču procjep između političke realnosti i utopije. S Tanjom Vrvilo kao koautoricom, u predstavi Tosca 914 evocira radikalizam mladih ljudi pred početak prvog svjetskog rata, dok je stari svijet nestajao, a za novi se činilo da će biti bolji. L

Božena Končić Badurina, vizualna umjetnica

Štićeni prostorMuzej moderne i suvremene umjetnosti, Rijeka, 2011.

Štićeni prostor pripada grupi radova u kojima ova umjetnica već uzima postojeću arhitekturu i naseljava je pogledima, ponašanjima i pravilima ophođenja koja brišu i poplavljuju granicu između publike, izvođača i prostora izvedbe. Tako prostor koji sam po sebi ne nosi nikakav sadržaj niti upečatljivost dobiva neke sasvim nove gabarite nevidljive i beznačajne svakome tko nije prethodno upoznat s uvjetima i pravilima njegova korištenja. Pravila mu daju strukturu, ponašanje mu daje formu neprobojniju i kruću nego bilo kakav zid, i bilo kakva arhitektura L

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Siniša Labrović, vizualni umjetnik

Dokolica (Komunistički manifest) 9th Trouble Performance Festival, Les Halles, Bruxelles, Belgija, 2013.

Labrovićeva motivacija u ovom radu barem jednim dijelom proizlazi iz njegove svijesti o implikacijama i konzekvencama samog umjetničkog čina, odnosno o strukturi suptilnih uzajamnih, suučesničkih odnosa između umjetnika, publike i društvenog i institucionalnog konteksta umjetnosti koje on neizbježno čini vidljivima. Kao i Komunistički manifest, (centralni rekvizit ovog rada), Labrovićev performans unaprijed pretpostavlja kako se sustav (odnosno izvedba i pozicija njenih učesnika u njoj) ne može tek tako korigirati iznutra, već zahtijeva prevrat, što se odlično preslikava na sam čin izvedbe ovog ‘participativnog performansa’ koji, uspostavivši svoj imaginarni prostor i svoja imaginarna pravila u skladu s konvencijama umjetničkog događanja, uspostavlja i uvjete svog dokidanja. L

Kata Mijatović, vizualna umjetnica

Bus Kneževo–OsijekFestival performansa Dopust, Pogon Jedinstvo, Zagreb. 2011.

Umjetnica staje pred statičan kadar videoprojekcije i naglas izgovara imena naselja koja se nalaze na autobusnoj liniji između Kneževa i Osijeka. Zatim pokreće video projekciju snimke putovanja, i dok se kroz prozor u snimci naziru isprani obrisi kuća, polja i prirode, počinje namakati cijelu projekciju vodom. Video slika tako, sloj po sloj, oživljava i izoštrava se dok cijela ne zablista. Toj slici u kojoj su zabilježene i brojne napuštene kuće, obradive zemlje i čitava naselja umjetnica pridaje isto značenje kao i svojoj dvojnici iz ranijih performansa – ono fantazme, utvare iz snova koja nakratko oživljava u teksturi vode i zatim nestaje gašenjem projekcije. L

Borut Šeparović (Montažstroj), autor, redatelj

55+Koncertna dvorana Vatroslav Lisinski, Zagreb, 2012.

Produkcija: Montažstroj

Prvenstveno radeći pod vlastitim brendom Montažstroj, Borut Šeparović društveno osviješteno, politički svjesno i visoko peformativno kazalište. Predstava 55+ je više od kazališne izvedbe, ona je u isto vrijeme i politički skup i dio šireg projekta koji je rezultirao dokumentarnim filmom o obespravljenim i potrošenim društvenim subjektima čiji se glas mora čuti. L

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Vlasta Žanić, visual artist

Recycle BinMuzej suvremene umjetnosti, Zagreb, 2014.

Recycle Bin mnoštvo je istovremeno ponuđenih predmeta i instalacija. Velika pozornica ispunjena klackalicama, tranzistorima, neobičnim naočalama, svjetiljkama rekvizitima koji su svi, jednom prije, bili korišteni u prethodnim performansima umjetnice Vlaste Žanić. Okupljeni ovako na hrpi prepušteni su svojevoljnom isprobavanju i preispitivanju od strane publike koja tako postaje sudionik ambijenta nalik velikom igralištu. Nepredvidivo kretanje publike, uz miris zagorenog mlijeka, okus rožate i kakofoniju slučajno odabranih radio stanica, stvara anarhičnu situaciju na granici kazališne izvedbe i fluxusovskog happeninga. L

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Space: Three (Countless) Manifestations

Una Bauer

1 Space as passing through

How to imagine a theatre performance as a process of passing through, although that through which one passes appears only after the act of passing through, and ceases to be while it is being created, without leading from the point A to the point B, as a dictionary would define? The BADco. piece titled Is There Life on Stage? for one of its starting points chooses the process called terraforming, the idea of production and transformation of environment and intended modification of atmosphere and other variables, such as temperature, in order to make such space resembling of Earth and more suitable for human inhabitation. In the process, the notion of exterior and interior elements, everything that forms the environment and that which has been preserved from that environment inside an organism, turns inside out, similar to the dynamics between earth and snails. Snails, embodying the environment for the earth they swallow in search of calcium, are simultaneously in the environment made of that earth through which they pass. This suggests an idea of the environment as something that is being created simultaneously as a result of an action of what needs to be in that, and the environment as something into which something arrives (or, through which something moves), as something that has always been present here, as something that deserves ontological primacy. However, that which is inside of something is also made of pure passing of that thing the environment is made of. By passing through, nonetheless, we leave our mark but that mark is not identical to the process of passing through, i.e. it is something completely different, something that exists as a possibility for a new performance and it is a witness only to some future act of passing through, not the one that has already happened. As such, a theatre performance can only be a kind of experiment or examination on possible circumstances of future passing through within a thick tissue of some mass that only looks like snow. For

yUnlike cinders (escarbilles) which inhabit hot ash, snails (escargots) are partial to moist earth. Go on — they move forward glued to it with their whole bodies. They carry it away, they eat it, they excrete it. It goes through them. They go through it.

Francis Ponge, Escargots (1942)

yMy ‘innards’ are really a hole going straight through my body; their contents—shit and tapeworm —remain forever outside of and apart from me, even as they exist at my very center.

Steven Shaviro, William Burroughs (1995–1997)

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Una Bauer

that reason, Is There Life on Stage? focuses on a series of measurements: gravitation conditions, basic physical principles of body movements that occur along an inclination as well as dropping and raising temperature in space. The space itself is made of preconditions for its existance, which become visible only to disappear as a consequence of our movements through. Father Courage by Boris Bakal uses a series of both personal and intimate stories about the history of Dubrovnik, capitalist exploitation of Srđ, dilemmas and conflicts, hatred towards strangers (not to mention the Serbs), of carving native cities of actorsguides onto the fabric of Dubrovnik, offering it as a sacrifice to the very act of passing through, or this continuous movement that knows only illusionary stations, while the city passes through us like earth going through a snail, remaining ‘forever outside of and apart from me, even as they exist at my very centre’.

At first glance, Božena Končić Badurina’s Protected Space does not deal with passing through but rather with stopping since security guards have to stop you at the entrance to the space, which exists only as a result of their act of protection. However, by simply leaving the space that needs protection empty, it becomes evident to what extent the protected is nothing but a result of being protected; it is formed when one submits to being touched by a security guide — let us just pass through this and everything will be fine. On the other side of such examination there is a space opening; a space that never existed, a space which can be brought to life only with another passing through, or another examination. This work exists only if we are ready to embrace it but that what we want to embrace ceases to be as soon as we pass through.

2 Space as sedimentation of affects— directing social situations

At the premiere of Danton’s Death directed by Oliver Frljić (stage designer: Igor Pauška) at the Dubrovnik Summer Festival, actor Dražen Šivak, inside his role, walks along spectators’ chained heads and asked the mayor of Dubrovnik, Mr. Andro Vlahušić, who is found guilty following the judgement with final force and effect because of abuse of power in the socalled Šipan Affair, whether he paid for the ticket. Mayor Vlahušić answered that he did not pay for the ticket because he had paid for the production of the performance. And while the audience loudly applauded the mayor’s witty remark, a spectator exclaimed: ‘The State — it is I!’ Danton’s Death takes place primarily in the social space of spontaneous, automatic and, therefore, foreseeable reactions. However, that is exactly the director’s strategy: to produce something typical, something that is being expected, to get

an immediate reaction and provoke a conditioned response, or a gut reaction. To arrange the audience in such a way that only their heads jut from wooden boards on which actors march, creates a space of an intensive


yYet the striking asymmetry between the careers of disgust and desire in literary and cultural theory raises the broader question of why repulsion has such a long history of being overshadowed by attraction as a theoretical concern, even as we can plausibly assert that the late capitalist lifeworld is one in which there are at least as many things to turn away from—the strong centripetal pull of consumer culture notwithstanding — as things to be drawn toward.

Sianne Ngai, Ugly Feelings (Cambridge, MASS: Harvard University Press, 2005)

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emotion. Frljić cements wellknown circularity of revolution, which is ridiculed to create a feeling of revulsion with a clear and pure signal. Disgust provokes an intensive need to get as far as possible from the disturbing. But, in Danton’s Death it is impossible to get away from Danton’s Death, until the very moment when the actors set you free. You are forced to stare at something that was made to disgust you and you cannot even lower your head or sit back in your chair. At the same time, as William Miller says and The Wolf from the Wall Street (2013) clearly demonstrates: ‘the disgusting itself has the power to allure’. In this way, the emotion gets caught in the material characteristics of stage design in the purest possible manner. Apart from that, nothing needs to happen on the stage, i.e. the very act of chaining the heads of the audience (at the premiere) is already the space where everything has been resolved.

The way Siniša Labrović staged social situations in his performance titled Leisure is somewhat less bitter but it nonetheless shows full awareness of the wellknown final consequence of art with participatory aspirations– the affirmation of the director and his/her manipulation strategies. The situation in Labrović’s performance only seems to be voluntary, soft, without explicit imposition; however, it is rather clear that there will be no performance without the participation of volunteers whose task is to offer support for the public reading of The Communist Manifesto. Labrović’s performance implies double manipulation because it presupposes a rebellion as the end of the performance. When you rebel against reading, you actually follow a preimagined scenario to accomplish your puppet role. Moreover, material quality of stage props used in Šeparević’s 55+ produces a possibility to resist a generic and empty situation in which different life stories are told one after another and in that kind of environment, and the situations that function the best are those concrete and physically marked ones, i.e. a gentleman taking his clothes off so that we can see his urinary catheter filled with urine or another gentleman who gives a detailed description of his tombstone designed by himself. In such moments, by denuding the physical in their existence, it seems that the participants take things in their hands and manage to escape a documentary theatre machine that always threatens to crush their unique confessions and turn them into an amorphous mass of endless saturation with predictable human destinies. Kata Mijatović, in her performance titled Kneževo – Osijek Bus Line, entirely empty from people, with a video projection of a bus ride through that region, listing all villages which the bus passes by and soaking the wall with water, uses a visual language to produce sociability of loneliness and disappearance. From Kneževo to Osijek, even when the bus finally stops, you cannot see a ‘living soul’ and this absence of people together with images of empty landscape with houses and gardens refers to affective sociability of space as the topic and focus of her work. The social situation she directs is actually its absence it is absent from the space where it is supposed to be present, i.e. in homes and gardens without any specific visual qualities or conventional aesthetic attractiveness since they exist merely as places of social life and everyday emotional intensity.

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3 Narration as a result of gravitation

Both Recycle Bin by Vlasta Žanić and Tosca 914 by Damir Bartol Indoš and Tanja Vrvilo function as magnetic fields for various objects — composed, produced or found, as an intensive residue of history. Those objects are drawn to the performance space by coincidence, which is outclassed only by the intensity of their attraction. Their interaction is contained in hierarchy, sorting, given and defined functions. As such, they become basis for further development of the story. The object is no longer used to develop a preimagined situation, i.e. because of its coexistence in the space together with other objects, because of its physical qualities and the possibility to act against them, as well as against its functionality, it exists as a potentiality for risomatic narration. L

1 Prostor kao prolaženje kroz

Kako zamisliti predstavu kao proces prolaženja kroz, iako to kroz što se prolazi nastaje tek prolaskom samim, nestaje dok se stvara i ne vodi od točke A do točke B, kao u rječničkoj definiciji? Predstava BADco. Ima li života na sceni? kao jednu od svojih početnih točki uzima proces terraforminga, ideje proizvodnje i transformacije okoliša, namjernog modificiranja atmosfere i raznih drugih varijabli poput temperature, kako bi tako stvoren prostor bio što sličniji onom na Zemlji, i time pogodan da ga Zemljani nasele. U tom procesu pojmovi vanjskog i unutrašnjeg, onoga od čega je sastavljen okoliš i onoga što je sačuvano od okoliša, u unutrašnjosti organizma, izvrću se po uzoru na dinamiku zemlje i puževa. Puževi koji utjelovljuju okoliš za zemlju koju gutaju u potrazi za kalcijem, istovremeno su u okolišu te iste zemlje kroz koju prolaze. To nam sugerira ideju okoliša kao onoga što se istovremeno stvara kao posljedica djelovanja onoga što u tome treba biti, i okoliša kao nečega u što nešto dolazi (ili kroz što se nešto kreće), kao onoga što je uvijek ovdje već bilo, kao nečega ontološki primarnijeg. Međutim, i ono što je u nečemu sastav

ljeno je od čistog prolaska tvari od koje je sačinjen okoliš. Prolazeći kroz, pak, ostavljamo trag, ali taj trag nije identičan procesu prolaska, on je nešto sasvim drugo, što postoji kao mogućnost neke nove predstave, i svjedok je jedino budućeg prolaska, ne onoga koji se već dogodio. Kao takva, predstava može biti samo neka vrsta opita ili ispitivanja, o tome kakve bi mogle biti okolnosti nekog budućeg prolaska, kroz gusto tkivo neke mase koja samo nalikuje na snijeg. Zato se Ima li života na sceni? i sastoji od niza


Prostor: tri (bezbroj) manifestacija

yZa razliku od žara u vrelom pepelu, puževi više vole vlažnu zemlju. Nastavljaju dalje — kreću se naprijed prilijepljeni za nju čitavim svojim tijelom. Nose je sa sobom, jedu i probavljaju. Ona prolazi kroz njih. Oni prolaze kroz nju.


y Moja je ‘utroba’ zapravo jedna rupa koja prolazi kroz moje tijelo; njezin sadržaj — govna i trakavica —zauvijek ostaje negdje izvan i izdvojen od mene unatoč tome što obitava u mom središtu.

Steven Shaviro, William Burroughs (1995–1997)

18Intangible

mjerenja, kako uvjeta gravitacije, temeljnih postavki fizike o padanju tijela niz kosinu, ali i snižavanja i podizanja temperature u prostoru. Prostor je sačinjen od uvjeta vlastitog postojanja, koji postaju vidljivi, i nestaju, kao posljedica našeg gibanja kroz. Otac Hrabrost Borisa Bakala tako niz priča, intimnih i osobnih, o povijesti grada Dubrovnika, o kapitalističkoj eksploataciji Srđa, o nedoumicama i sukobima, o mržnji prema strancima, o Srbima da i ne govorimo, o učitavanju rodnih gradova glumacavodiča u tkivo onoga kroz koji se prolazi, podnosi kao žrtvu prolasku samom, neprestanom gibanju u kojem su postaje samo prividne, dok grad prolazi kroz nas poput zemlje kroz puža, ‘ostajući zauvijek izvan i odijeljen od nas, čak i dok postoji u našem samom centru’. Na prvi se pogled Štićeni prostor Božene Končić Badurine ne bavi prolaženjem, nego zaustavljanjem, jer vas zaštitari pregledavaju prije ulaska u prostor koji postoji samo kao posljedica njihovog čina zaštite. Međutim jednostavnim potezom ostavljanja praznim onoga što se štiti, postaje bjelodano koliko je ono što se štiti samo posljedica štićenja, i formira se podnošenjem zaštitarevih dodira — samo da ovo prođemo, i onda će biti lakše. Tamo iza, s onu stranu provjere, ukazuje se prostor koji nije ni postojao, i koji se može oživiti samo ponovnim prolaskom, ponovnom provjerom. Rad postoji utoliko ukoliko smo mu krenuli u susret, ali to čemu smo krenuli u susret prestaje postojati već našim prolaskom.

2 Prostor kao sedimentacija afekata — režiranje socijalne situacije

Na premijeri Dantonove smrti Olivera Frljića (scenografija Igor Pauška) na Dubrovačkim ljetnim igrama Dražen Šivak, u sklopu svoje uloge, hodajući između okovanih glava publike, pitao je gradonačelnika Dubrovnika Andru Vlahušića, danas pravomoćno osuđenog za zlouporabu položaja i ovlasti u aferi Šipan, je li platio ulaznicu za predstavu. Vlahušić je odgovorio da nije platio ulaznicu jer je platio predstavu. Dok je publika oduševljeno pljeskala vrckavoj Vlahušićevoj replici, čuo se i glas jednog gledatelja koji je doviknuo: ‘Država — to sam ja!’ Dantonova smrt događa se prvenstveno u socijalnom prostoru spontanih i automatskih, pa zato i predvidivih reakcija. Međutim, upravo je to i režisereva strategija — proizvesti ono što je tipično, ono što se očekuje, proizvesti neposrednu reakciju, izazvati odgovor iz uvjetovanja, gut reaction. Posjesti publiku tako da im samo glave vire iz drvenih ploča po kojima stupaju glumci, proizvodi prostor kao intenzivnu emociju. Frljić cementira dobro nam poznatu cirkularnost revolucije koja se pretvara u svoju karikaturu, stvarajući osjećaj gađenja jasnog i čistog signala. Gađenja kao intenzivne potrebe da se maknete što je dalje moguće od onoga što vas uznemiruje. Ali u Dantonovoj smrti, od Dantonove smrti se ne možete maknuti, sve dok vas glumci ne oslobode. Prisiljeni ste zuriti u ono što je napravljeno kako bi vam se gadilo, ne možete čak ni spustiti glavu ili zaleći u stolicu. Istovremeno, kako kaže William Miller, a Vuk s Wall Streeta (2013) živo demonstrira, ‘the disgusting itself has

yZapanjujuća asimetrija između gađenja i želje u književnoj i kulturnoj teoriji otvara šire pitanje — zbog čega je odvratnost toliko dugo bila zasjenjena privlačnošću kao teorijskim pitanjem, čak i ako možemo opravdano ustvrditi da je kapitalistički svjetonazor onaj u kojem se nalazi najmanje onoliko stvari koje bi nas mogle odvratiti — ne dovodeći u pitanje snažni centripetalni zamah potrošačke kulture — koliko ima stvari koje bi nas mogle privući.


19

the power to allure’. Emocija je tako na najčišći mogući način uhvaćena u materijalne osobine dizajna scene. Ništa se dodatno ni ne mora dogoditi na pozornici, već je sam čin okivanja (premijerne) publike za glavu mjesto gdje se sve već razriješilo. Režiranje socijalne situacije u performansu Siniše Labrovića Dokolica nešto je manje gorko, ali ipak s punom sviješću upućuje na davno prepoznatu krajnju konzekvencu umjetnosti koja želi biti participativnom — afirmaciju režisera i njegovih strategija manipulacije. Situacija u Labrovićevu performansu je prividno postavljena kao dobrovoljna, meka, prisila nije eksplicitna, ali jasno je da performansa jednostavno neće biti bez dobrovoljaca koji će podržati čitanje Komunističkog mani-festa naglas. Labrovićev je performans pritom dvostruko manipulativan, jer kao kraj performansa pretpostavlja situaciju pobune. Kada se pobunite protiv čitanja, ispunjavate unaprijed zamišljeni scenarij, realizirajući do kraja svoju marionetsku ulogu. Ipak, materijalnost rekvizita proizvodi u Šeparevićevom 55+ mogućnost otpora generički ispražnjenoj situaciji nizanja različitih životnih priča — u takvom okružju, najbolje funkcioniraju upravo one konkretne, fizički obilježene situacije — gospodin koji skidajući se pokazuje svoj kateter ispunjen mokraćom ili gospodin koji opisuje, u najsitnije detalje, kako će mu izgledati nadgrobni spomenik koji je sam dizajnirao. U takvim trenucima, ogoljavanjem fizičkosti svoje egzistencije, čini se da sudionici uzimaju stvar u svoje ruke i uspijevaju uteći dokumentarnoj kazališnoj mašini koja uvijek prijeti samljeti njihove jedinstvene ispovjedi u amorfnu masu beskonačne zasićenosti predvidivim ljudskim sudbinama. Kata Mijatović u performansu Bus Kneževo – Osijek, posve ispražnjenom od ljudi, s video projekcijom vožnje autobusom kroz taj kraj, nabrajanjem sela kroz koja autobus prolazi i svojim natapanjem zida vodom, vizualnim jezikom proizvodi društvenost usamljenosti i nestajanja. Od Kneževa do Osijeka, čak ni kad se autobus zaustavi, ne vidite ‘živu dušu’, i to odsustvo ljudi, nizanje praznog krajolika kuća i vrtova upućuje upravo na afektivnu socijabilnost prostora kao temu i fokus rada Kate Mijatović. Socijalna situacija koju režira je njen izostanak, nema je upravo na mjestu gdje bi je trebalo biti — u domovima i vrtovima obiteljskih kuća, koji nemaju nikakvu vizualnu specifičnost ni konvencionalnu estetsku atraktivnost, koji postoje tek kao mjesta društvenog života i emocionalnih intenziteta svakodnevice.

3 Naracija kao posljedica gravitacije

Recycle Bin Vlaste Žanić i Tosca 914 Damira Bartola Indoša i Tanje Vrvilo funkcioniraju kao magnetska polja za različite objekte, sastavljene, proizvedene ili pronađene, intenzivnog taloga prošlosti. Ti su objekti privučeni u prostor izvedbe, kategorijalnom slučajnošću od koje je jači jedino intenzitet njihova privlačenja. Međudjeluju opirući se hijerarhizaciji, sortiranju, zadanim i definiranim funkcijama. Kao takvi, postaju osnova za razvoj priče. Objekt više ne služi kako bi se ispričala već unaprijed zamišljena situacija, već on, samim svojim postojanjem u prostoru, pored drugih objekata, svojim fizičkim karakteristikama i mogućnošću djelovanja protiv njih, kao i protiv svoje funkcionalnosti, postoji kao potencijalitet rizomatske naracije. L


20Intangible

Božena Končić BadurinaBADco.Siniša LabrovićOliver Frljić Igor PauškaKata MijatovićBoris Bakal Leo VukelićVlasta ŽanićDamir Bartol Indoš Tanja VrviloBorut Šeparović

21 Intangible

22Intangible

23

Božena Končić Badurina

Protected Space text Marko Golub

24Intangible

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Upon finishing her formal education at the Graphic Arts studies of the Zagreb Academy of Fine Arts, Božena Končić Badurina gradually began adopting performance art as her ‘central’ medium of expression in the mid 2000’s. During this period, she created the works/exhibitions To Myself (The Matrix Croatica Gallery, Zagreb, 2004), For Hours (Studio of the Museum of Contemporary Art, Zagreb, 2004) and Temporary Body (The Triennial of Croatian Sculpture, Glyptotheque of the Croatian Academy of Arts and Sciences, Zagreb, 2006), all of which featured properties of the socalled durational performance, supplemented with some aspect of intervention in the space between the performer and the spectators or mimicry, with the performer consciously ‘transforming’ into a passive and static exhibition artefact.

In her work titled Hours, for example, for the entire duration of the oneweek exhibition, she sits in the centre of the exhibition space, inside a cubicle made of nontransparent linen; in the performative segment of the exhibition To Myself, she is also present inside the gallery, but separated from the spectators with a white linen wall, whereas in A Temporary Body she sits at a standstill like a sculpture during the most significant Croatian sculpture review exhibition, completely masked with silver aluminium foil, removing it only after the heat becomes unbearable. In all three cases, there is no communication between the performer and the audience, and in two of them her presence is registered only via minimal signs — the amplified sound of her breathing (Hours) or her silhouette seen through the linen (To Myself). In a peculiar way, in her early works the exhibition/performance space itself is deliberated as a live breathing space, although the emphasis was placed on the existential absurdity of the utter passivity of the artistic act.

The shift that significantly determined the direction of her subsequent artistic deliberation occurred between two performances created in 2006 and 2007 — Getting Closer and Connected — both held at the same circular space of the Bačva Gallery, at the Croatian Association of Visual Artists. In the scenario of the first performance, the artist stands in the centre, with the visitors approaching her, one at a time, and staying with the artist as long as they wish. In the monumental rotunda she is exposed to the gaze of the spectators, but does not look back. A year later, in the

performance Connected, Božena Končić Badurina hires forty extras, positioned in a circle along the walls of the rotunda. The extras stand with their eyes closed, with a posture and attitude of apparent placidity, expressly instructed not to react to the visitors, as if in a bizarre sophisticated psychological experiment. Nominally, performers, who are reduced to props in an artistic project, seem to be the ones in a subjugated position, exposed to the gaze of the spectator without the possibility of returning it. However, due to their multitude, it is the ‘spectator’ who is unintentionally taking on the full emotional, psychological and ethical intensity of the performance. This is in a way unavoidable because the performance itself is documented by video and photography, making the spectators’ behaviour, reactions and confrontation with the faces of the others the operative principle of the performance. Also, with the space being circular, the

Božena Končić Badurina: Protected Space

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26Intangible

spectators can never really know whether they are covertly observed by at least one pair of eyes of the quiet and still bodies displayed. The eminent Croatian photographer Boris Cvjetanović called them portraits, but he is a photographer. I personally felt an awful discomfort and averted my gaze, although it was never really returned to begin with. It was probably after her experience with this work that Končić Badurina began indirectly referring to the French philosopher Emmanuel Levinas, who contends that the proximity to the Other itself contains an ethical dimension, that is a sense of vulnerability and a sense of responsibility. Paradoxically, probably none of her later works possess the psychological intensity of Connected, but it opened an entire arsenal of curious, imaginative and witty confrontations on the relation between the spectator, performer and spatial, institutional and social context in which such confrontations take place. At the same time, the works themselves began to evade a classic definition of performance, drawing closer to something we might call interventions, actions, situations, and in a sense even ‘scenographies’. The scenarios of her works, namely, increasingly drew their content from the environment in which they were to take place. In an illuminated window of one of the numerous empty shops of the pedestrian underpass below Kvaternik Square (Shop Window, Max Art Fest, 2008), she places a group of Zagreb highschool students, who silently follow with their eyes passersby and visitors of an arts festival taking place in an underground garage nearby.

At the opening of a large collective exhibition with the telling title Looking at Others, held in one of the most representative galleries in Croatia, she hired extras to play unusually invasive and indiscreet guards, who often entered the personal space of the visitors and stared rudely at them (Museum Guards, Art Pavilion, Zagreb, 2009). In her series titled More Passive than Every Passivity (Art in General, New York, 2010), she directed a number of minor situations in which the visitors of this New York gallery participated, whether they were aware of it or not, by riding the elevator with six suspicious persons, who never leave it, or gathering in an empty gallery space in which they are permitted to do anything, except acknowledging the presence of the other visitors. At the same time, Božena Končić Badurina developed a number of concepts to make unseen structures of relations within the institutions in which she has been invited to exhibit visible and operative. These are exhibitions showing nothing except for ‘inside skin’ of the spaces themselves — for example wall drawings pointing to a hidden room or audio guides narrating about a gallery guide, who is present the entire time (Guide to the Gallery, Gallery Forum, 2013), a voice coming from loudspeakers asking the visitors of the museum to take a seat and wait at the reception desk, or (again) audio guides talking about the museum complex and subtly choreographing the conduct of the visitors and their perception of the space itself. Many of these works could have found their place in our selection for the Prague Quadrennial precisely because they, from the aspect of visual arts, thematise what could be

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called a stage space, scenography or even ‘fictional’ space, for which the gallery white cube provides a fundamental atmosphere and conditions. Rather than constructing anything in these spaces, the artist takes the existing architecture and populates it with gazes, behaviours and rules of conduct that erase and flood the border between the audience, performer and performance space.

The work Protected Space (Museum of Modern and Contemporary Art, Rijeka, 2011), which we selected for this exhibition, probably represents the most consistent and concise execution of the two fundamental strategies employed by this artist — on the one hand, shifting the gaze from the performer to the audience, and on the other making invisible social relations and conventions active and visible within contemporary art exhibition spaces. The ‘protected space’ is in reality a room within a museum in which a large collective exhibition is held (Out of Left Field). The room is almost completely empty, with only a few chairs along the wall, but the entrance is strictly controlled by two guards in charge of searching the visitors entering the room, and a set of rules printed on leaflets that are handed to every visitor imposes strict rules of conduct for those who enter the space: Carry your bag or backpack in front of you — not on your back or on your side. Walk at a moderate speed without sudden movements. Do not approach other visitors too closely. Do not rustle plastic bags or other objects. Avoid loud conversation and laughter. It is forbidden to bring in any type of food or drink. Move in the same direction as the other visitors. Do not touch the exhibits. No photographs. Mobile phones must be switched off. Most of the rules are not made up since many of them are presumed to apply and some of them are even explicitly prescribed by the museum. In this way, a space without any content or substance obtains completely new dimensions, invisible and insignificant to anyone not previously familiarized with the conditions and rules for its use. The rules give it structure, the conduct gives it a form more impenetrable and rigid than any wall, than any architecture. L

Formalno obrazovana u grafičkoj klasi na Akademiji likovnih umjetnosti u Zagrebu, Božena Končić Badurina se do sredine 2000ih postupno posvetila performansu kao svom ‘središnjem’ mediju. Tada nastaju radovi/izložbe kao što su Samoj sebi (Galerija Matice hrvatske, Zagreb, 2004.), Satima (Studio Muzeja suvremene umjetnosti, Zagreb, 2004.) i Privremeno tijelo (Trijenale hrvatskog kiparstva, Gliptoteka HAZU, Zagreb, 2006.) koji svi redom imaju karakteristike takozvanih performansa izdržljivosti, odnosno performansa u trajanju (durational performance), dopunjenih nekim vidom intervencije u prostor između izvođačice i promatrača, ili mimikrije u kojoj se izvođačica svjesno ‘preoblači’ u pasivan i statičan izložbeni artefakt.


Božena Končić Badurina y Štićeni prostory

28Intangible

U radu Satima, primjerice, za čitavog trajanja jednotjedne izložbe sjedi u središtu izložbenog prostora zatvorena u kabinu od neprozirnog platna; u performativnom segmentu izložbe Samoj sebi također je prisutna u galeriji, ali odvojena od promatrača bijelim platnenim zidom, a u Privremenom tijelu poput skulpture nepomično sjedi za vrijeme otvorenja glavne hrvatske revijalne izložbe kiparstva, u potpunosti maskirana srebrnom aluminijskom folijom, koju skida sa sebe tek nakon što vrućina postane neizdrživa. U sva tri slučaja, između performerice i publike nema nikakve komunikacije, a u dva od njih sama njena prisutnost je registrirana tek minimalnim znakovima — amplificiranim zvukom disanja (Satima), ili siluetom na platnu (Samoj sebi). Na neki čudan način, u tim ranim radovima sam je izložbeni prostor, odnosno prostor izvedbe, promišljan kao živo, dišuće mjesto, iako je naglasak naravno još uvijek bio na egzistencijalnom apsurdu samog umjetničinog krajnje pasivnog čina.

Obrat koji je bitno odredio smjer kasnijeg umjetničinog razmišljanja dogodio se između dva performansa održana 2006. i 2007. godine — Približavanje i Connected — oba u istom kružnom prostoru Galerije Bačva, Hrvatskog društva likovnih umjetnika. U scenariju prvog, umjetnica stoji u središtu, a njoj se, jedan po jedan, približavaju posjetitelji koji s umjetnicom

ostaju koliko žele. U monumentalnoj rotondi izložena je pogledu, ali ga ne uzvraća. Godinu dana kasnije u performansu Connected Božena Končić Badurina angažira četrdeset statista i postavlja ih u krug uz zidove rotonde. I oni, poput umjetnice, stoje zatvorenih očiju, u stavu prividne mirnoće, izravno upućeni da ne reagiraju na posjetitelja, kao u nekom bizarnom, sofisticiranom psihološkom eksperimentu. Nominalno, izvođači svedeni na rekvizite u umjetničinom projektu su ti koji su u potčinjenom položaju, ogoljeni pogledu promatrača bez mogućnosti da ga sami uzvrate. Međutim, u njihovom mnoštvu ‘promatrač’ je zapravo taj koji na sebe nehotično preuzima puni emotivni, psihološki i etički intenzitet ovog performansa. Jednim dijelom neizbježno svakako zato što je sama izvedba dokumentirana videom i fotografijama, gdje je upravo on i njegovo ponašanje, njegova reakcija, njegovo suočavanje s licima drugih to što čini djelatnu osnovu rada. Drugo, kako je prostor kružan, promatrač ni u jednom trenutku ne može znati da li ga barem jedan par očiju tihih i nepomičnih tijela koja su mu izložena gleda. Ugledni hrvatski fotograf Boris Cvjetanović nazvao ih je portretima, ali on je fotograf. Ja sam osobno osjećao užasnu nelagodu i odvraćao sam pogled, koji mi nije ni bio uzvraćen. Vjerojatno nakon iskustva ovog rada, Končić Badurina počinje se neizravno pozivati na francuskog filozofa Emmanuela Levinasa koji upućuje na to da

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sama blizina s Drugim već u sebi sadrži etičku dimenziju, odnosno osjećaj ranjivosti i osjećaj odgovornosti. Paradoksalno, vjerojatno nijedan od kasnijih njenih radova ne posjeduje psihološki intenzitet koji je imao Connected, ali on joj je otvorio čitav arsenal čudnih, maštovitih i duhovitih konfrontacija na relaciji između gledatelja, izvođača i prostornog, institucionalnog i društvenog konteksta u kojem se takvi susreti

odvijaju. Istovremeno, i sami radovi su sve više izmicali klasičnoj definiciji performansa, a približavali se nečemu što bi se moglo nazvati intervencijama, akcijama, situacijama, pa u određenom smislu i ‘scenografijama’. Scenariji njenih radova, naime, sve su više crpili svoj sadržaj iz okruženja u kojima se imaju odviti. U osvijetljenom izlogu jednog od brojnih praznih lokala nikad zaživjelog pothodnika ispod Kvaternikovog trga (Izlog, Max Art Fest, 2008.) smješta skupinu zagrebačkih srednjoškolaca koji bez riječi prate pogledom slučajne prolaznike i posjetitelje jednog umjetničkog festivala koji se odvija u podzemnim garažama u blizini.

Na otvorenju velike skupne izložbe znakovitog naziva Gledati druge u jednom od najreprezentativnijih galerijskih prostora u Hrvatskoj, angažira statiste koji glume neobično invazivne i indiskretne čuvare često ulazeći u osobni prostor posjetitelja i nepristojno zureći u njih (Muzejski čuvari, Umjetnički paviljon, Zagreb, 2009.). U ciklusu radova Pasivnije od svake pasivnosti (Art in General, New York, 2010.) režirat će čitav niz malih situacija u kojima posjetitelji te važne njujorške galerije sudjeluju svjesno ili nesvjesno — primjerice vozeći se u liftu s šestero sumnjivih ljudi koji iz njega nikako ne izlaze, ili okupljajući se u praznom galerijskom prostoru u kojem im je dozvoljeno sve osim uvažavanja prisustva drugih posjetitelja. Paralelno, Božena Končić Badurina razvija i čitav niz koncepata koji čine vidljivima i djelatnima neke nevidljive strukture odnosa unutar institucija u kojima je pozvana izlagati. Redom su to postavi izložbi u kojima nije izloženo gotovo ništa osim ‘unutarnje kože’ samih tih prostora — primjerice zidni crteži koji ukazuju na skrivenu prostoriju, ili audio vodič za posjetitelja koji pripovijeda o čuvarici galerije koja je čitavo vrijeme prisutna (Vodič kroz Galeriju, Galerija Forum 2013.), glas iz zvučnika koji umoljava posjetitelje muzeja da sjednu i neko vrijeme pričekaju na recepciji, ili (opet) audio vodiči koji tematiziraju muzejski kompleks na način da suptilno koreografiraju ponašanje posjetitelja i njegovu percepciju samog prostora u kojem se nalazi. Mnogi od ovih radova mogli su se naći u našoj selekciji za Praški kvadrijenale upravo zato što, iz neočekivane vizure vizualne umjetnosti, tematiziraju ono što bi se unutar nje moglo zvati scenskim prostorom, čak i prostorom ‘fikcije’ za koji galerijska bijela kocka pruža temeljnu atmosferu i uvjete. U njima ova umjetnica najčešće ništa ne gradi, već uzima postojeću arhitekturu i naseljava je pogledima, ponašanjima i pravilima ophođenja koja brišu i poplavljuju granicu između publike, izvođača i prostora izvedbe.

U radu Štićeni prostor (Muzej moderne i suvremene umjetnosti, Rijeka, 2011.) odabranom za ovu izložbu vjerojatno su najdosljednije i najkonciznije provedene dvije temeljne strategije koje ova umjetnica


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koristi — s jedne strane izvrtanje pogleda s izvođača performansa na publiku, a s druge činjenje nevidljivih društvenih odnosa i konvencija unutar izložbenih prostora suvremene umjetnosti aktivnima i vidljivima. Spomenuti ‘štićeni prostor’ u stvarnosti je jedna od soba unutar muzeja u

kojem se održava velika skupna izložba (Out of Left Field). Soba je gotovo potpuno prazna, opremljena tek s nekoliko stolaca uz zid, ali ulaz u nju je strogo kontroliran od strane dvoje čuvara zaduženih za pretres posjetitelja koji žele ući, i jednako strogo uvjetovan setom pravila otisnutih u letku koji dobiva svaki posjetitelj: Torbu ili ruksak nosite sprijeda, a ne na leđima ili na boku; Hodajte umjerenim korakom bez naglih kretnji; Ne približavajte se previše ostalim posjetiteljima; Ne šuškajte vrećicama ni stvarima; Izbjegavajte glasan razgovor ili smijeh; Zabranjen unos i konzumacija pića ili hrane; Krećite se u struji posjetitelja; Ne dirajte izložene radove; Zabranjeno fotografiranje; Isključite mobitele. Većina pravila nije izmišljena, ona se stvarno podrazumijevaju u muzejskim prostorima, a neka od njih i jesu striktno propisana. Tako prostor koji sam po sebi ne nosi nikakav sadržaj niti upečatljivost dobiva neke sasvim nove gabarite nevidljive i beznačajne svakome tko nije prethodno upoznat s uvjetima i pravilima njegova korištenja. Pravila mu daju strukturu, ponašanje mu daje formu neprobojniju i kruću nego bilo kakav zid, i bilo kakva arhitektura. L Pr

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BADco.

Is There Life on Stage? text Igor Ružić

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With a name that intentionally hides its true meaning, BADco., or the Nameless Association of Authors (in Croatian: Bezimeno autorsko društvo), is a performance collective with a concept that is not as elusive as its performances and projects, if they are seen with negligence or without an intensive use of the cognitive apparatus and some knowledge of the context and topics that are dealt with at a particular moment. With a diversified composition comprising theoretical, dramaturgical and performing elements, the collective can respond to almost any challenge they set for themselves, either by using the existing structures or producing the new ones. Coexistence of various elements, such as contemporary dance, since the artistic collective gathers some of the top names of the Croatian dance scene (Zrinka Užbinec, Nikolina Pristaš, Ana Kreitmeyer and, until recently, Pravdan Devlahović), theoretical insight, for which the philosopher and activist Tomislav Medak is responsible, dramaturgy, dealt with by Ivana Ivković and Goran Sergej Pristaš, and production support provided by Lovro Rumiha, in BADco. their performances results in a unique combination that simultaneously explores a given topic or sources and blurs the view so that the interpretation becomes an allencompassing creation, and the very act of performance a unique reflection of both personal and collective positions concerning the problems that they themselves have selected.

Since 2000 when BADco. started functioning, the collective has quickly found a distinctive style of performance by exploring different ways to incorporate movement into sequences of dialogue, presentation or, simply, presence on stage, which is interesting not only to a handpicked local audience, but also to diverse audiences of European, as well as international festivals whose programme focuses on innovation and research in presentday performing arts. Their recognizability is primarily based on several conventional strategies used for identifying the structure of the material selected for reference points following the joint agreement on a common topic with many, sometimes not quite evident common grounds, and the development that during the work on a performance leaves traces on its final form. On the other hand, such development is often both humorous and playful, and, as a rule, relevant, even topical and at the highest performance level, even when it is intended to present itself with a hint of arbitrariness. The language, images, movement, and its digital effects, along with highly aesthetic visuality, make every BADco. project a unique spectators’ experience, which systematically refuses to translate banality or allow it to penetrate into the unrealistic, but actually entirely realistic, or at least more realistic scenes.

Conditionally speaking, BADco. owes its popularity both to a wellthought through selection of partners with whom it enters into different types of collaborations, mostly on European research (and) art projects, which also makes it the Croatian art company with the largest number of performances abroad, and to a bold raising of theoretical, as well as entirely social, political, and economic issues. The impact of oil on the global economy, distribution of capital and profit, or the problem of labour and its value are, in this respect, clearly provocative and topical, but what is most interesting in the case of this performance collective is the

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fact that equally acclaimed and successful performances have the base in such diverse and seemingly less attractive or lucrative fields, such as the archeology of futurism, viewing policies, and the applicability of the principles of swarm intelligence in a performance.

Even though ecology does not fall under the category of the latter, the performance titled Is There Life on Stage? — Exercises in Terraforming from 2012 is a very good example of the work process in BADco. as well as its application on the topic that is apparently generally known and, although undoubtedly topical, also worn out. Instead of a directly and unambiguously propagating green economy and reduction of fossilfuel use, the performance of a serial structure functions as a jigsaw puzzle made of subquestions, almost as if its underlying hypothesis is the necessity to develop procedures and technologies necessary for terraforming. Nevertheless, the performance is far from fatalism or pessimism, because it sets the possibility of a common action in the recreation of conditions for life. At the same time, it considers all options of life in such a ‘copy’. Therefore, it indirectly suggests that in the newly created terrarium human beings can no longer be what they presently are. L

S imenom koje namjerno skriva svoje pravo značenje, BADco. ili Bezimeno autorsko društvo izvedbeni je kolektiv koji kao pojam i nije tako neuhvatljiv koliko su to njegove predstave i projekti, ukoliko ih se gleda s nepažnjom ili bez intenzivne upotrebe kognitivnog aparata i ponešto poznavanja konteksta kao i tematike kojom se u pojedinom trenutku bave. Sastavljena raznorodno, od teorijskog, dramaturškog i izvođačkog dijela, skupina može autorski odgovoriti na gotovo svaki izazov koji si sama postavi, koristeći već postojeće strukture ili proizvodeći nove. Supostojanje suvremenog plesa, jer u BADco. su pripadnici samog vrha hrvatske plesne scene Zrinka Užbinec, Nikolina Pristaš, Ana Kreitmeyer i donedavno Pravdan Devlahović, teorijskog uvida za koji je zadužen filozof i aktivist Tomislav Medak, dramaturgije kojom se bave Ivana Ivković i Goran Sergej Pristaš, uz producentsku podršku koju pruža Lovro Rumiha, u njihovim predstavama rezultira jedinstvenim spojem koji istodobno istražuje zadanu temu ili izvore i zamućuje pogled na njih kako bi interpretacija postala punopravna kreacija, a sam čin izvedbe jedinstveni odraz osobnog i kolektivnog pogleda na probleme koje su si sami postavili.

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Istražujući načine kako inkorporirati pokret u sekvence dijaloga, izlaganja ili jednostavno bivanja na sceni, BADco. je od početka svog djelovanja u 2000. vrlo brzo pronašao prepoznatljiv izvedbeni stil, zanimljiv ne samo ipak probranoj domaćoj publici, nego i publikama europskih, pa i svjetskih festivala kojima je programski fokus postavljen na inovativno i istraživačko u izvedbenosti danas. Prepoznatljivost počiva prvenstveno na već uobičajenim strategijama prepoznavanja strukture materijala izabranog za

referentne točke nakon dogovora oko zajedničke teme s mnoštvom ponekad i ne najrazvidnijih dodirnih točaka, i razvoja koji tijekom rada na predstavi ostavlja tragove u njezinom konačnom obliku. On je pak nerijetko i duhovit i zaigran, dok je u pravilu relevantan, čak i aktualan, te na najvišoj izvedbenoj razini čak i kad mu je i namjera prezentirati se s prizvukom proizvoljnosti. Jezik, slika, pokret i njegove digitalne posljedice, uz visokoestetiziranu vizualnost, čine svaki projekt BADco. jedinstvenim gledateljskim iskustvom, koji sustavno odbija banalnost prevesti ili joj dopustiti prodor u nerealno, ali zapravo sasvim realno ili barem realnije, scene.

Svoju, uvjetno rečeno, popularnost BADco. duguje i promišljenom biranju partnera s kojima ulazi u različite vrste suradnji, najčešće na europskim istraživačkim (i) umjetničkim projektima, zbog čega je i umjetnička organizacija s najvećim brojem inozemnih izvedbi, ali i smjelom otvaranju kako teorijskih tako i sasvim društvenih, političkih i ekonomskih pitanja. Utjecaj nafte na globalnu ekonomiju, raspodjela kapitala i dobiti ili problem rada i njegove vrijednosti u tom su smislu jasno provokativni i aktualni, ali ono što jest najzanimljivije u slučaju ovog izvedbenog kolektiva je činjenica da jednako uspjele i uspješne predstave okosnicu imaju u tako različitim i naizgled manje atraktivnim ili lukrativnim poljima poput arheologije futurizma, politika gledanja i primjenjivosti principa inteligencije roja u izvedbi.

Iako ekologija nije u toj drugoj grupi, predstava ‘Ima li života na sceni? — vježbe iz oblikovanja Zemlje’ iz 2012. godine kvalitetan je primjer procesa rada u BADco. kao i njegove primjene na temu koja je naizgled općepoznata i, iako nesumnjivo aktualna, potrošena. Umjesto izravnog i nedvosmislenog zagovora zelene ekonomije i smanjenja upotrebe fosilnih goriva, predstava serijalne strukture funkcionira kao slagalica potpitanja, gotovo kao da za hipotezu ima nužnost razvoja procedura i tehnologija potrebnih za terraforming. Ipak, predstava je daleko od fatalizma ili pesimizma, jer postavlja mogućnost zajedničkog djelovanja u rekreaciji uvjeta za život, ali pritom razmatra i sve opcije života u takvoj ‘kopiji’. Neizravno time daje naslutiti da u novostvorenom terariju ni čovjek više ne može biti ono što još uvijek donekle jest. L

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Siniša Labrović

Leisure (Communist Manifesto) text Marko Golub

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Maybe because he joined the contemporary Croatian art scene rather late, as a 35yearold, and a kind of an outsider at the beginning, Siniša Labrović's artwork has the immediacy and flair for communication with the broadest audience that is entirely uncharacteristic for that very milieu. The position that Labrović takes is direct, brutally ironic, at the same time humorous and tragic, bold and compassionate, wild and sensible, antielitist as well as quickwitted and intelligent. If someone dislikes Labrović’s work, the most common objections are that he is too simple, that he counts on the initial shock and attracting media attention. But, if some other performance artists are disliked, the criticism is contrary, i.e. they are ambiguous, hermetic and irrelevant. The truth is that Labrović is the master of his artistic genre; he is completely aware of the fragility of his own position as an artist exposed to the public. At the same time, he is quite agile in his intention to communicate with the current social reality and his own position within that reality, which is neither heroic nor privileged in any way.

However, over the past fifteen years, Siniša Labrović bandaged the wounded at a demolished monument to antifascism (Bandaging the Wounded, Sinj, 2000), organized a reality show with real sheep (Stado.org, Touch Me Festival, Zagreb, 2005), sang and fiddled the texts he found in the Croatian tabloids (Gloria, 2007), held a workshop and published a textbook for future criminals following the style of selfhelp literature (Undergraduate Education, 2008; Postgraduate Education, 2009), went on a pilgrimage with bloody knees to visit the most powerful man of the Croatian capital, while praying to his authority to answer to the needs of the independent cultural scene (A Pilgrimage to St. Milan, 2012), and literary provoked the minister of culture at the time to turn up for a box match to win the minister ‘title’. He eventually won, because his contender never showed up (The Fight for

the Title of the Minister of Culture of the Republic of Croatia, 2010). In the atmosphere of omnipresent apathy many of

those performances were cheered and supported by the audience as if they were a sports or political event, which is rather unusual for the local contemporary art scene. In parallel with those actions, a series of much more intimate performances emerged. In most cases, Labrović calls them The Phrases, and they are based on literary interpretation of more or less wellknown metaphors, such as: An Artist Dances Barefoot over Thorns (2004); An Artist Licks Heels of the Audience, (2005), An Artist Eats Grass (2007); An Artist Swims on a Dry Surface (2008), An Artist Selling His Skin for Cheap (2010). At this point, Labrović shows irony both towards his audience and himself, which is also in line with the ever presumed idea that art posses of some kind of symbolic usefulness as such because The Phrases are characterized by coldblooded absence of any deeper or universal meaning hidden behind all inconvenience that an artist has to face in order to justify the attention vested in him/her by the audience.

Siniša Labrović: Leisure (Communist Manifesto)

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I believe that both above mentioned collections of artwork, performances and actions are at least to some extent motivated by Labrović’s awareness of the implications and consequences of an artistic act, or the structure of subtle collaborative relations between an artist, the audience and social and institutional context of the art that the artist unavoidably makes visible. Moreover, this kind of interrelatedness presents the very centre of the two performances, i.e. Punishing (performed for the first time in 2002) and Leisure (The Communist Manifesto) (Trouble Performance Festival, Les Halles, Brussels, Belgium, 2013.).

Punishing opens with a scene hinting some kind of masochist act in the tradition of body art: after the gallery doors shut, the artist stands in front of the audience with naked upper body and holding a whip. For certain time nothing happens and the first person from the audience decides to leave the gallery. The moment the doors shut behind that person, the performer hits his back the first time. At that very moment everyone in the audience becomes aware that the interior has turned into a venue of an event from which no one is to leave innocent and without his/her share of responsibility for what is about to happen on stage. The boundary separating the space of an exhibition/stage, which is neutral, uncommitted and ethically benign until that moment, becomes a line that cannot be crossed without some consequences. The conventional borderline between the audience and the performer, art and the spectator, reality and stage, an artistic act and its ethical consequences suddenly gets annulled. With every new appearance on stage, Labrović repeats the same act of punishing — one spectator less in the audience, one strike with the whip, two spectators less, two strikes of the whip. Even those who are reluctant to leave, aware of the

prolonged agony, are not less responsible because this performance ends only after everyone took his/her part of the blame, and, finally, redemption by the act of accepting it. The only real way to stop this process and thus restrict the imaginary space

created in Labrović’s scenario is to in a way try to stop the ‘performance’ itself but since leaving the audience actually implies a form of participation, it is apparently so ‘real’ that no one in the audience in none of the occasions when the performance act took place never came up with the idea*.

Punishing as well as herebypresented performance titled Leisure (The Communist Manifesto) from 2012, are two complex artworks sharing almost identical structure in the background. However, in case of the latter the audience really is offered with a legitimate way out. This time the artist seems to be more talkative and relaxed: he briefly explains to the audience that he needs volunteers for the performance and that they will not have to do anything too uncomfortable, that no special skills are required for their participation, that they will even have an opportunity to

* Punishing was actually stopped once. It happened in 2012 at the Interaction-Inter-national Art Action Festival in Piotrkow Trybunalski in Poland. On that occasion, Julia Kurek, Polish performer, hugged me from behind my back and prevented me from whipping. We were blocked for quite some time; I’d already hit myself at least 50 times and from the moment she hugged me, some 30 people left. I counted them so that I can whip myself at the end. By the end maybe some 4–5 people stayed with her and I, they approached us, hugged us and pushed us outside from the stage so I was saved from at least 30 hits — Siniša Labrović explained in subsequent email correspondence with the author of this text

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rest and that they will even get rewarded for their ‘work’ by participating in a cultural act. Volunteers are then asked to lie on the floor and the performer lies on them and while another person from the audience holds his head, he starts reading out loud from Marx and Engels’s The Communist Manifesto from the title on the covers onward. Dumbed by their role of playing ‘props’ in a participatory performance, the participants are at first reluctant to do anything even while reads one of the most influential political texts in history. This continues until the moment when at least one of participants gets tired of the absurd situation and the overall contradiction between the state he is in and the text the reading of which he supports, and finally decides to realize his or her ‘revolutionary potential’. In those conditions and always with a similar result, this performance, according to Labrović, usually lasted for half an hour. Just like the manifesto, Labrović’s performance presupposes that the system (or the performance and the position of participants in it) cannot be simply corrected from within; it requires an upheaval, and this superbly reflects in the very act of performing this 'participatory performance', which, after having established its imaginary space and its imaginary rules in line with the conventions that apply to an artistic event, also establishes the conditions for its revocation. L

Možda i zato što se sceni hrvatske suvremene umjetnosti priključio razmjerno kasno, kao 35godišnjak i u početku neka vrsta autsajdera, rad Siniše Labrovića posjeduje neposrednost i baždarenost za komunikaciju s najširom publikom sasvim nekarakterističnu za gotovo čitavu tu scenu. Pozicija iz koje Labrović nastupa je direktna, brutalno ironična, u isto vrijeme humorna i tragična, drska i suosjećajna, divlja i senzibilna, antielitistična i britko inteligentna. Kad ga se ne voli, onda mu se prigovara da je prejednostavan, da se oslanja na šok i privlačenje medijske pažnje. Kad se

Siniša Labrović yDokolica (komunistički manifest)y


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ne voli druge umjetnike performansa, njima se prigovara sve suprotno — da su nerazumljivi i hermetični i irelevantni. Labrović je zapravo majstor svog umjetničkog medija, u potpunosti svjestan fragilnosti vlastite pozicije umjetnika koji se na taj način izlaže javnosti i pritom vrlo agilan u namjeri da bude u

dosluhu s aktualnom društvenom zbiljom, ali i s vlastitim mjestom unutar te i takve zbilje koje nije ni herojsko niti na bilo koji način povlašteno.

Ipak, tijekom posljednjih petnaestak godina, ovaj je umjetnik previjao rane srušenom antifašističkom spomeniku (Zavijanje ranjenika, Sinj 2000.), organizirao reality show s pravim ovcama (Stado.org, Touch Me Festival, Zagreb, 2005.), guslao tekstove iz hrvatskih tabloida (Gloria, 2007.), održao radionicu i objavio udžbenik za kriminalce u maniri self-help literature (Dodiplomsko obrazovanje, 2008.; Postdiplomsko obrazovanje, 2009.), na okrvavljenim koljenima javno hodočastio najmoćnijem čovjeku hrvatskog glavnog grada moleći se njegovom autoritetu da usliši potrebe nezavisne kulturne scene (Hodočašće Sv. Milanu, 2012.), i doslovce izazvao tada aktualnog ministra kulture Republike Hrvatske na boksački meč za ministarsku ‘titulu’ te, odustajanjem protivnika, pobijedio (Meč za titulu ministra kulture Republike Hrvatske, 2010.).

Mnoge od tih izvedbi bile su, u atmosferi opće apatije i za lokalnu suvremenu umjetničku scenu poprilično neobično, popraćene iskrenim navijanjem i bodrenjem publike, kao da je riječ o kakvom sportskom događaju ili političkom mitingu. Paralelno s tim akcijama nastaje i niz daleko intimnijih performansa koje Labrović najčešće naziva Frazama, a bazirani su na potpuno doslovnom prevođenju u djelo manjeviše dobro poznatih izraza prenesenog značenja, primjerice: Umjetnik se provodi kao bos po trnju (2004.); Umjetnik liže pete publici, (2005.), Umjetnik pase travu (2007.); Umjetnik pliva na suhom (2008.), Umjetnik jeftino prodaje svoju kožu (2010.). Labrović je ovdje krajnje ironičan i prema publici, i prema sebi samom, pa i prema nekoj uvijek pretpostavljenoj ideji simboličke svrsishodnosti umjetnosti kao takve, jer Fraze karakterizira upravo hladnokrvan izostanak bilo kakvog dubljeg ili univerzalnijeg značenja iza svih neugodnosti koje si umjetnik priređuje kako bi opravdao pažnju svog gledateljstva.

Mislim da je u obje navedene skupine radova, performansa i akcija, međutim, Labrovićeva motivacija barem jednim dijelom proizlazi iz njegove svijesti o implikacijama i konzekvencama samog umjetničkog čina, odnosno o strukturi suptilnih uzajamnih, suučesničkih odnosa između umjetnika, publike i društvenog i institucionalnog konteksta umjetnosti koje on neizbježno čini vidljivima. Štoviše, ova vrsta uzajamne povezanosti u samom je središtu dva performansa, od kojih jedan predstavljamo na ovoj izložbi: Kažnjavanje (Galerija Miroslav Kraljević, 2007., prvi put izveden 2002.) i Dokolica (Komunistički manifest) (Trouble Performance Festival, Les Halles, Bruxelles, Belgija, 2013).

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Kažnjavanje počinje prizorom koji daje naslutiti da je posrijedi neka umjetnikova mazohistička ekshibicija u tradiciji body arta — nakon što su se vrata galerije zatvorila, umjetnik staje pred publiku razodjeven do pasa, držeći bič u rukama. Određeno vrijeme ne događa se ništa, i prva osoba iz publike odlučuje izaći iz prostora. U trenutku kad se za njom zatvore vrata, performer se opali bičem po leđima. U tom istom trenutku svima prisutnima postaje jasno da je galerijski prostor zapravo postao poprištem događanja iz kojeg nitko neće izaći nevin, bez svog dijela odgovornosti za ono što se na sceni zbiva. Granica izložbenog/scenskog prostora, dotad neutralna, neobvezujuća i etički benigna, postaje crta preko koje se ne može prijeći bez posljedica, a konvencionalna granica između publike i izvođača, umjetnosti i njenog promatrača, stvarnosti i pozornice, umjetničkog čina i njegovih etičkih konzekvenci biva naprasno dokinuta. Svakim izlaskom, Labrović ponavlja istu radnju kažnjavanja — jedan gledatelj manje, jedan udarac, dva gledatelja manje, dva udarca. Ni oni koji oklijevaju izaći, svjesni da samo produžuju agoniju, nisu ništa manje suodgovorni, jer ova izvedba završava jedino onda kad su svi uzeli svoj komadić krivice, a u konačnici i iskupljenja kroz njeno prihvaćanje. Jedini stvaran način za zaustaviti cijeli proces, i time zapravo dokinuti imaginarni prostor koji je Labrovićev scenarij kreirao, bio bi na neki način prekinuti samu ‘predstavu’, ali kako je i napuštanje gledališta zapravo oblik sudjelovanja, ona je sama očito toliko ‘stvarna’ da se toga nitko iz publike, ni u jednoj izvedbi ovog performansa, nije sjetio*.

Kažnjavanje i ovom prilikom predstavljeni performans Dokolica (Komunistički manifest) iz 2012. godine, dva su kompleksna Labrovićeva rada koji u pozadini dijele gotovo identičnu strukturu, ali u slučaju ovog posljednjeg publici zaista jest ponuđen legitiman izlaz. I sam umjetnik je ovog puta pričljiviji i naizgled ležerniji, pa posjetiteljima ukratko objašnjava da će mu za izvedbu trebati volonteri, koji neće morati raditi ništa pretjerano nelagodno niti im je za sudjelovanje potrebna bilo kakva posebna vještina, čak će se i odmoriti, a nagrada za njihov ‘rad’ je sudjelovanje u kulturnom činu samo po sebi. Dobrovoljci su zatim instruirani da legnu na pod, a izvođač liježe na leđa preko njih i, dok mu netko iz publike pridržava glavu, počinje čitati Marxov i Engelsov Komunistički manifest od naslova na koricama na dalje. Uljuljkani u dodijeljenu im ulogu

rekvizita jednog ‘participativnog’ umjetničkog performansa, sudionici neko vrijeme ne čine ništa, čak i dok im Labrović naglas reproducira jedan od najutjecajnijih političkih tekstova u povijesti. Sve dok barem jednom od sudionika ne dojadi apsurdnost situacije i potpuna kontradikcija između stanja u kojem se nalazi i teksta čije čitanje podupire te konačno realizira svoj ‘revolucionarni potencijal’. U takvim uvjetima, i uvijek sa sličnim ishodom, performans je, prema riječima samog umjetnika, najčešće trajao oko pola sata. Kao i sam manifest, Labrovićev performans unaprijed pretpostavlja kako se sustav (odnosno izvedba i pozicija njenih učesnika u njoj) ne može tek tako korigirati iznutra, već zahtijeva prevrat, što se odlično preslikava na sam čin izvedbe ovog ‘participativnog performansa’ koji, uspostavivši svoj imaginarni prostor i svoja imaginarna pravila u skladu s konvencijama umjetničkog događanja, uspostavlja i uvjete svog dokidanja. L


* Kažnjavanje jest jednom bilo preki-nuto. Bilo je to na festivalu performansa Interakcje u Piotrkowu Trybunalskom u Poljskoj 2012. godine. Tada me je Julia Kurek, poljska performerica, zagrlila s leđa i nije mi dala da se udaram. Bili smo dugo u pat poziciji; već sam se udario valjda pedesetak puta, a od momenta kada me ona zagrlila izašlo je tridesetak ljudi, brojao sam da bih se na kraju mogao izbičevati. Na kraju je s njom i sa mnom u prostoriji ostalo još 4–5 ljudi, mislim. Nakon nekih pola sata bez događanja, oni su nam prišli, zagrlili Juliju i mene i izgurali nas izvan izvedbenog prostora i tako mi uštedili više od trideset udaraca — Siniša Labrović u kasnijoj email prepisci s autorom teksta

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Oliver Frljić Igor Pauška

Danton’s Death text Igor Ružić

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From the very beginnings of his career as director, it is impossible not to regard Oliver Frljić in light of the political and economic context in which he is working since he is by no account an artist that believes in the ivory tower of pure creation, unphased and untainted by the circumstances surrounding it. To the contrary, there is no project of his, whether fully authorial works or authorial and occasionally liberally staged classics of drama and modern texts, that is not deeply entrenched in reality, present or past. His enduring interest in the sore points of our collective past, be it from the history of former Yugoslavia or the even more traumatic hidden histories of the war after its collapse, or the history of Central Europe that tries to forget its darker side, earned Frljić during not even an entire decade of professional work a series of flattering and not necessarily incorrect labels, from ‘regional director star’ to ‘enfant terrible’, ‘provoker’, and even ‘pamphleteer’. It is impossible to divide these (dis)qualifications into political and aesthetic ones, just as it is difficult to differentiate Frljić’s work or style from his politics or, at least, the positions that he advocates very clearly and obviously in his plays.

As a director with a strong and unquestionable talent, which he has proven with his less provocative, but equally successful works like I Hate the Truth in the Zagreb &TD theatre, he uses theatre and the theatre stage as merely one of many mass media, adding to his disqualifications that of a traditionalist. However, as an artist aware of the level of civilization in which he functions, he uses other media in addition to theatre, which is why the messages and commentaries he presents in his plays are frequently accompanied by his public appearances in which he does not

hesitate to warn, illustrate, question and even to accuse. In the supposedly liberal brave new world of democracy, human rights and free speech, which emerged in this part of Europe after 1990, Frljić’s plays occasionally come across strong opposition, like the attempt to prohibit his play Bakhe in Split or Un-Divine Comedy in Krakow, in which he dealt with civilian casualties of the armed conflicts in Croatia in the early 1990s or Polish antiSemitism, past and present. In addition to these, Frljić dealt in specific ways with the issue of the ‘erased’ nonSlovenians who were denied their human rights by Slovenia, war mongering in Bosnia and

Herzegovina, the assassination of Serbian prime minister Zoran Đinđić, the influence of the Catholic Church on the constitutionally protected secularism in Croatia and the politics of memory regarding the Yugoslav heritage and the nationalism that erupted after the collapse of Yugoslavia.

Understanding politics as a relation between the economic and the national, not just in the region of former Yugoslavia, and the unquestioning advocacy of capitalism prevalent in the social discourse of transitional and posttransitional countries such as Croatia, represent the corpus that Oliver Frljić wanted to deal with at the Dubrovnik Summer Festival by putting on Danton’s Death by Georg Büchner. Simultaneously a historical fresco and a discussion on the necessity of radical intervention in unjust social relations, the play offers an added value in the form of a specific position of the audience members, whose heads protrude from the stage, immobilized, in constant danger from the weapons, props and

Oliver Frljić, Igor Pauška: Danton’s Death

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footwear of the performers. This position forces the spectators to view the guillotine, as the central and dominant segment of the scenography by Igor Pauška, not only as an illustration or metaphor, but as an entirely real risk. Thus, the Brechtian procedure of raising consciousness obtains an allegorical overtone, as the spectator becomes aware of the need for change via his own skin, or rather head, that no longer seems to sit as safely on his shoulders. The only way to save one’s head, as the play itself tells us, is to, in fact, use it. L

Od samog početka redateljskog rada Olivera Frljića nemoguće je ne vezati uz politički i političkoekonomski kontekst u kojem radi, jer on nipošto ne pripada umjetnicima koji vjeruju u bjelokosnu kulu čiste i okolnostima neokrznute ili neukaljane kreacije. Upravo naprotiv, nema projekata s njegovim potpisom, bez obzira je li riječ o u potpunosti autorskim radovima ili autorskim i ponekad vrlo slobodnim inscenacijama kako klasika dramske literature tako i suvremenih tekstova, koji nije duboko uronjen u zbilju, bilo sadašnju ili prošlu. Trajni interes za bolne točke zajedničke prošlosti, bez obzira je li riječ o prostoru bivše Jugoslavije, ili još traumatičnije detalje iz skrivene povijesti ratova pri njezinom raspadu, ili pitanja Srednje Europe čija povijest skriva ili pokušava zaboraviti svoje tamnije strane, Frljiću je u nepuno desetljeće profesionalnog rada priskrbilo niz laskavih ali ne i netočnih etiketa, od ‘regionalne redateljske zvijezde’ do ‘enfant terriblea’, ‘provokatora’, čak i ‘pamfletista’. Te (dis)kvalifikacije nemoguće je podijeliti na političke i estetske, kao što je i Frljićev rad, ili stil, teško diferencirati od njegovih političkih uvjerenja ili, barem, pozicija koje vrlo jasno i očito zagovara u svojim predstavama.

Redatelj snažnog i neprijepornog talenta, što je dokazao i svojim manje provokativnim ali jednako uspješnim radovima poput Mrzim istinu u zagrebačkom Teatru &TD, kazalište i kazališnu pozornicu koristi kao samo jedno od sredstava javnog priopćavanja, i utoliko se nizu diskvalifikacija može pridodati i ona tradicionalista. No, kao umjetnik svjestan stupnja civilizacije u kojem funkcionira, pored kazališta podjednako koristi i medije pa poruke i komentare koje iznosi u predstavama nerijetko prate i javni istupi u kojima se ne ustručava upozoriti, ilustrirati, propitati pa čak i optužiti. U navodno liberalnom vrlom novom svijetu demokracije, ljudskih prava i slobode govora, koji je u ovom dijelu Europe nastao nakon 1990., Frljićeve predstave nailaze ponekad na žestok otpor, poput pokušaja zabrane Bakhi u Splitu ili zabrane Nebožanske komedije u Krakowu, u kojima se bavio civilnim žrtvama u Hrvatskoj tijekom ratnih sukoba početkom 1990ih ili poljskim antisemitizmom, prošlim i sadašnjim. Pored spomenutih, Frljić je na svoj specifičan način obradio i problem ‘izbrisanih’ neslovenaca kojima je Slovenija uskratila ljudska prava, ratno huškanje u BiH, atentat na srbijanskog premijera

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Zorana Đinđića, utjecaj Katoličke crkve na Ustavom zagarantirano sekularnu Hrvatsku te politiku sjećanja u odnosu na jugoslavensko nasljeđe i nacionalizam koji je buknuo nakon raspada te države.

Razumijevanjem politike kao odnosa ekonomskog i nacionalnog, ne samo na prostorima regije exYu, i bespogovorni zagovor kapitalizma koji je prevladao u društvenom diskursu tranzicijskih, a danas već i posttranzicijskih zemalja kakva je Hrvatska, korpus je kojim se Oliver Frljić poželio baviti i na Dubrovačkim

ljetnim igrama postavivši Dantonovu smrt Georga Büchnera. Istodobno i povijesna freska i rasprava o nužnosti temeljitog zahvata u neravnopravne društvene odnose, predstava nudi i višak u vidu specifičnog položaja gledatelja kojima glave vire iz pozornice, imobilizirane u trajnoj opasnosti od oružja, rekvizita i obuće izvođača. Takav položaj prisiljava gledatelja da giljotinu koja je središnji i dominantni segment scenografije Igora Pauške ne vidi tek kao ilustraciju ili metaforu, nego i kao sasvim konkretni rizik. Brehtijanski postupak osvještavanja pritom dobiva i alegorični prizvuk, jer do svijesti o nužnosti promjene gledatelj dolazi metodom vlastite kože, tj. glave, koja više nije tako sigurna na ramenima. Jedini način da je se spasi, jedna je od pouka ove u konačnici poučne predstave, jest da se tu istu glavu i upotrijebi. L

Oliver Frljić, Igor Pauška: Danton’s Death

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Kata Mijatović

The Kneževo–Osijek Bus Line text Marko Golub

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Most of Kata Mijatović’s artwork starts from the question why we dream and to which extent it is possible to document, recall, and transpose this mysterious activity to a real space by the use of diverse media, i.e. primarily performance art and video performance but also installations, texts, online platforms, photographic cycles and similar. For a number of years, Kata Mijatović has been collecting hers and other people’s dreams in the form of short written testimonies about dreams often reminiscent of typically brief and concise synopses that performance artists attach to their works as a comprehensible description of what is about to take place and which action the protagonists undertake. Such information does not require any specific interpretation or context outside of the most relevant facts related to the event itself.

In that sense, her interest in dreams is not a psychoanalytical, scientific or pseudoscientific one. It does not attempt to explain or determine their particular significance, but it rather focuses exclusively on their performative potential, and, furthermore, on an imagined penetrable barrier between dreams and reality, the point of immersing and emerging from them, a place where we are not entirely certain whether we are ‘here’ or ‘there’. Within the artist’s personal system of symbols and meanings, this barrier is most probably a water surface, since water is the element that keeps reappearing consistently in many of her works from the 1990s until present.

In her performance titled Back from the Unconscious (The Miroslav Kraljević Gallery, Zagreb, 1999) that she performs together with the artist and her life partner, Zoran Pavelić, water is suggested with the performers’ presence once they enter the space dressed in scubadiving suits, wearing masks, air tanks and fins. The gallery ambient is set to recall a small apartment of some kind. While the music is playing, the performers start pouring water from a big blue bucket until they soak everything around them — the hair dryer, table, pillow, and mirror — to finally pour the remaining water in front of the audience. After the performance, the gallery remained flooded for days.

And although Back from the Unconscious still appeared to be a kind of surrealistic performance, with her other works on the topic of dreams Mijatović radically purifies her method of work by developing

several characteristic procedures that she repeats and varies. In her performances, with a few exceptions, Mijatović’s intention is not to reconstruct the content of dreams or to stage a dreamlike scene, but rather to use her almost ritual performance in order to prepare the audience for ‘listening’, ‘reading’ or ‘witnessing’ a dream. Her performances Željko’s Dream (The Karas Gallery, Zagreb, 2004), Markita’s Dream (The Museum of Contemporary Art, Zagreb, 2004) and Marijan’s Dream (ibid. 2005) begin

Kata Mijatović: The Kneževo–Osijek Bus Line

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with soaking her shirt in water. After that, the artist puts on the wet shirt and takes a wet brush to write the text of the dream on the wall. Simultaneously, a video recording of the identical action is projected on the same wall so that the video and the actual performance almost overlap. When she is finished with the whole text, the artist soaks the entire surface of the video projection in water. In all those cases the content of a particular dream gets represented only by the text and audio recording; every dream is different and it belongs to a different person but the procedure of creating some kind of ‘stage’, conditionally speaking, always remains the same with certain variations and it always plays the central role in the performance.

The artist interprets the two figures of a single performer (the projected one and the real one present in the space) as two versions of herself: the ‘conscious’ and the ‘unconscious’ one. The ‘boundary’ between them is the surface soaked with water shining in the projection light, which even during the performance starts evaporating and disappearing in the surrounding space. As if during that brief moment of the performance, while the audience listened to dreams, a new ‘gateway’ to the other side hinted by that watery texture symbolically opened and then closed on its own.

There is another link to water that bears almost mythical meaning for Kata Mijatović and it is related to her background. She was born in the region of Baranja that together with Slavonia and most of the Pannonian Plane used to be submerged in what once was the Pannonian Sea. Mijatović seems to place this water which retreated from the region a very long time ago — in the realm of dreams, the unconscious, the oblivion. The video work titled The Baranja Bus (2011) created along the way while she was travelling seems to capture that ancient time. Namely, raindrops penetrated between the two window glasses in the bus she was on, so that it seemed that water drew a seemingly flooded horizon parallel to the existing one.

A very similar video recording of a ride through the artist’s birthplace or Baranja functions as a starting point for the performance that we are presenting here, i.e. The Kneževo-Osijek Bus Line (Dopust Performance Festival, Zagreb, 2010). The artist stands in front of a static frame of a video projection and pronounces out loud the names of all settlements on the bus line between Kneževo and Osijek: Kneževo, Branjina, Popovac, Hatvan, Branjin Vrh, Beli Manastir, Karanac, Kneževi Vinogradi… Then she turns on the video projection showing the journey and while we can discern washedout contours of houses, fields and nature through the window on the video recording, she starts soaking the entire projection in water. Layer by layer, the video image revives and becomes clearer until it shines. To the image that shows many abandoned houses, desolate land and entire settlements, the artist attributes the same meaning as to her double from earlier performances — that of a phantasm that is briefly brought to life in the texture of water only to disappear after switching the projection off. But even after that imaginary screen, window, watery portal to the ‘forgotten’ and ‘unconscious’ closes, the remaining fragments of the vanished image continue, at least hypothetically, spreading inside the room, unnoticeably and slowly. Evaporating into the air, they will end up somewhere in the clouds and probably fall down as rain again. L Ba

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Glavnina najvažnijih radova Kate Mijatović polazi od pitanja što i zašto sanjamo, te na koje je načine tu zagonetnu aktivnost i kapacitet s kojim smo rođeni moguće dokumentirati, dozvati, prevesti u stvaran prostor putem različitih medija — primarno performansa i videoperformansa, ali i videa, instalacija, fotografskih ciklusa, tekstova, online platformi i slično. Kata Mijatović već godinama prikuplja svoje i tuđe snove, odnosno kratka pismena svjedočanstva o njima koja nerijetko izgledaju baš poput onih tipično jezgrovitih, kratkih sinopsisa kakve umjetnici performansa često prilažu uz svoje radove — čisti opis toga što se zbiva i koje radnje protagonist izvodi, informacije bez ikakvog posebnog tumačenja i konteksta izvan onog što je najuže relevantno za samo događanje.

U tom smislu, ni umjetničin interes za snove nije psihoanalitički, znanstvenički niti pseudoznanstvenički, ne pokušava ih nužno protumačiti ili iščitati iz njih neko konkretno značenje, već se fokusira na njihov čisti izvedbeni potencijal, te još više — na zamišljenu propusnu barijeru između sna i jave, mjesto uranjanja u snove i izranjanja iz njih, mjesto na kojem nismo baš sasvim sigurni jesmo li ‘ovdje’ ili ‘tamo’. Ta barijera je, u nekom umjetničinom osobnom sustavu simbola i značenja, najvjerojatnije površina vode — elementa koji se konzistentno pojavljuje u brojnim njenim radovima od kraja devedesetih godina do danas.

U radu Povratak iz nesvjesnog (Galerija Miroslav Kraljević, Zagreb, 1999.), kojeg izvodi zajedno s umjetnikom i svojim životnim partnerom Zoranom Pavelićem, voda je najprije sugerirana samim prisustvom performera koji ulaze u prostor od glave do pete odjeveni u ronilačka odijela s maskama, bocama za zrak i perajama. Sam ambijent galerije opremljen je kao neka garsonijera, a izvođači, uz zvukove glazbe, počinju izlijevati vodu iz velikog plavog lonca dok ne poplave sve što se u sobi moglo poplaviti — sušilo, stol, krevet, jastuk,

ogledalo — da bi na kraju ostatak vode izlili na pod pred samu publiku. Nakon performansa, galerija je ostala poplavljena tijekom nekoliko dana.

No dok je Povratak iz nesvjesnog još izgledao kao neka nadrealistička predstava, u drugim radovima na temu snova Mijatović radikalno pročišćava svoj način rada, razvija nekoliko karakterističnih postupaka koje ponavlja i varira, a u samim performansima, uz par iznimaka, uglavnom više ni ne ide toliko za tim da rekonstruira sadržaj sna ili uprizori neki snoviti prizor, koliko da vlastitim gotovo ritualnim nastupom pripremi publiku na ‘slušanje’, ‘čitanje’ ili ‘svjedočenje’ sna. Performansi kao što su Željkov san (Galerija Karas, Zagreb, 2004.), Markitin san (Muzej suvremene umjetnosti, Zagreb, 2004.) Marijanov san (isto, 2005.) počinju močenjem košulje u vodi. Performerica tu košulju zatim oblači i vodom i četkom na zidu ispisuje tekst sna. Istovremeno se na tom istom zidu projicira snimka

Kata Mijatović: The Kneževo–Osijek Bus Line

Kata Mijatović yBus Kneževo–Osijeky

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identične radnje, tako da se snimka izvedbe i aktualna izvedba vizualno gotovo preklapaju. Nakon što je tekst ispisan, umjetnica čitavu površinu projekcije namače vodom. Sadržaj sna u svim tim slučajevima predstavljen je isključivo tekstom i audio snimkom, svaki put je drugačiji i svaki put pripada drugoj osobi, ali sama procedura kreiranja nekog, uvjetno rečeno, ‘scenskog prostora’ je uvijek, uz određene varijacije, ista, i uvijek je u središtu performansa.

Dvije figure performerice (ona na projekciji i ona u prostoru), umjetnica tumači kao dvije verzije sebe — ‘svjesnu’ i ‘nesvjesnu’. ‘Granica’ između njih je površina natopljena vodom, koja se presijava u svjetlu projekcije, i koja još za trajanja performansa počinje isparavati u okolni prostor i nestajati. Kao da je u tom kratkom vremenu izvedbe, dok se slušaju snovi, simbolično otvoren neki ‘prolaz’ na drugu stranu, naznačen tom vodenastom teksturom, i zatim se prirodno sam od sebe zatvorio.

Ima još jedna poveznica s vodom koja za Katu Mijatović ima skoro mitsko značenje, a vezana je i uz njeno podrijetlo. Rođena je u Baranji, koja je zajedno sa Slavonijom i najvećim dijelom današnje panonske nizine nekad bila pod vodom — ‘Panonskim morem’. Vodu koja se u davnini s tih prostora povukla smješta upravo u tu dimenziju nesvjesnog, snova i zaborava, a u video radu Baranja bus (2011.) koji je nastao usputno tijekom putovanja, kao da je nakratko i zabilježila to davno vrijeme. Naime, između dvije stijenke prozorskog stakla autobusa kojim je putovala prodrijela je kišnica, pa je putem izgledalo kao da voda ocrtava paralelnu liniju naizgled potopljenog horizonta

Slična snimka vožnje, opet kroz umjetničinu rodnu Baranju, polazište je performansa koji ovom prilikom predstavljamo, Bus Kneževo-Osijek (Festival performansa Dopust, Zagreb, 2010.). Umjetnica staje pred statičan kadar videoprojekcije i naglas izgovara imena naselja koja se nalaze na autobusnoj liniji između Kneževa i Osijeka: Kneževo, Branjina, Popovac, Hatvan, Branjin Vrh, Beli Manastir, Karanac, Kneževi Vinogradi… Zatim pokreće video projekciju snimke putovanja, i dok se kroz prozor u snimci naziru isprani obrisi kuća, polja i prirode, počinje namakati cijelu projekciju vodom. Video slika tako, sloj po sloj, oživljava i izoštrava se dok cijela ne zablista. Toj slici u kojoj su zabilježene i brojne napuštene kuće, obradive zemlje i čitava naselja umjetnica pridaje isto značenje kao i svojoj dvojnici iz ranijih performansa — ono fantazme,

utvare iz snova koja nakratko oživljava u teksturi vode i zatim nestaje gašenjem projekcije. No i nakon što se taj imaginarni ekran, prozor, vodenasti portal u ‘zaboravljeno’ i ‘nesvjesno’ zatvorio, ostaci nestale slike nastavljaju se, barem hipotetski, neprimjetno sporo širiti prostorijom. Mijenjajući agregatno stanje završit će s vremenom u oblacima, i vjerojatno jednom pasti natrag kao kiša.L

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Boris Bakal Leo Vukelić

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Primarily an actor by vocation, the multimedia artist Boris Bakal is the best example of the difference between a performer and an actor. Rather than assuming a rank in the hierarchy of theatre, playing on institutional stages and transforming the written word into the body of a theatre play, his path is marked by a strong authorial impulse and interest for performative fields that exceed almost any traditional comprehension of theatre. His interest in peripheral fields of performance on the borders between representational and performing arts, and visual arts, architecture, urban studies, sociology and politics, makes his body of work uniquely ramified and heterogeneous, and not just in Croatia, since he has not limited his work to its borders.

Almost entirely elusive in a network of international projects, platforms, research and presentational models of artistic production, which he adopted, implemented or even patented himself, Bakal’s insistence on connecting the seemingly unconnectable has engendered a distinctive performative language, and whenever a project results in a final presentation as a public complete performance or a performance in progress, this often includes participation of the audience. Among the Croatian artists with a long career abroad and connections that survive to this day, despite changed and shifting social and political circumstances, Bakal’s artistic activities are deliberated both horizontally and vertically, through thematic, stylistic, political, artistic, disciplinary and ideological layers of society or societies in which he has been active sporadically or continuously. Very productive and always curious, he simultaneously works on several playing fields, more or less successfully, reading reality, social changes, space and the audience as a constantly supplemented palimpsest, to which he himself provides a significant contribution through his interpretations, or, even more often, through mere speculation.

Bakal’s lasting interest, nevertheless, is sitespecific theatre, understood not merely as an ambient staging and/or search for a readymade site that would correspond to the subject of the performance, but exactly the opposite — a stimulation, a permanent creative tension of action and reaction during the preparation, and even during the performance itself, between connections that are not obvious and expected. Ones of the projects of the company Shadow Casters, founded by Bakal and a number of his associates in 2002, which he continues to run as a performance collective and research platform, is entitled Re-Collecting City/Re-Collecting Time, another is entitled Shadowing the City, and yet another Urban Hum. Each, in its special, and yet recognizable way, reads ‘urbanoglyphs’ or ‘urban hypertexts’, which are terms often used by Bakal and his associates in describing and explaining their work, whether they take the audience to a specific site or transfer, metaphorically, the site to a neutral performance terrain or terrain marked by a new dimension of meaning.

Due to its exceptionally rich history, cultural and architectural heritage, and specific position in the real and symbolic order of values at a global scale, Dubrovnik is primarily an ideal laboratory, and then stage for this type of intermedia and multidisciplinary, representationally versatile work that is at the same time cooperative, and features a strong authorial presence. At the 2013 Dubrovnik Summer Festival, production

Boris Bakal, Leo Vukelić: Father Courage

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conditions were created for the research of the city, known, not incidentally and in no way unambiguously, as the CityTheatre. In the project Father Courage, Bakal and his team of associates, comprising the scenographer and performer Leo Vukelić, uncover the darker side of the seashell that is Dubrovnik, covered in stone and saturated with history. They read the city’s fears, yearnings, lucidities and lunacies, and the brevity of life compared to the vastness and, despite such and numerous other artistic projects, the elusiveness of death.

The title is an overt paraphrase of Bertolt Brecht’s play, alluding not only to the history of Dubrovnik, in which the survival of the city was the absolute priority above the survival or even the lives themselves of its inhabitants. The play intervenes minimally in the already protected space, but finds hidden cracks in the facade of the extremely commercialized tourist city, and in the stage scenery of its theatricality. Thus, Father Courage takes over the form of a procession and/or a guided tourist tour, entertaining and smothering its audience, only to finally wish the audience a beautiful and serene death, since the afterlife is the only position from which reality, even and the unreal reality of the beauty of Dubrovnik, can be observed without the already ephemeral human weaknesses. L

Po primarnoj vokaciji glumac, multimedijalni umjetnik Boris Bakal najbolji je primjer razlike između performera i glumca. Umjesto zauzimanja mjesta u kazališnoj hijerarhiji, igranja na institucionalnim pozornicama i pretvaranja napisanog u tijelo predstave, njegov je put obilježen snažnim autorskim impulsom i zanimanjem za izvedbena polja koja nadilaze gotovo svako tradicionalno poimanje kazališta. Specifični interes za rubna područja izvedbe na granicama koji predstavljačke i reproduktivne umjetnosti dijele od vizualnih, ali i arhitekture, urbanizma, sociologije i politike, čini njegovu biografiju jedinstveno razgranatom i raznorodnom ne samo na području Hrvatske jer svoje djelovanje nipošto ne ograničava samo na nju.

Gotovo neuhvatljiv u mreži međunarodnih projekata, platformi, istraživačkih i prezentacijskih modela umjetničke proizvodnje koje je prihvatio, implementirao ili čak sam i patentirao, Bakalovo inzistiranje na povezivanju naizgled nepovezivog rezultiralo je i specifičnim izvedbenim jezikom, kad god je projekt vezan uz konačnu prezentaciju u smislu javne, dovršene izvedbe ili pak izvedbe u nastajanju, nerijetko u participaciji s publikom. Jedan je od hrvatskih umjetnika s najdužim stažem u inozemstvu i vezama koje i dalje opstaju, unatoč promijenjenim i promjenjivim druš

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tvenim i političkim okolnostima. Bakalovo djelovanje mišljeno je i horizontalno i vertikalno, kroz tematske, stilske, političke, umjetničke, disciplinarne i svjetonazorske slojeve društva ili društava u kojem/kojima sporadično ili kontinuirano radi. Vrlo plodan i uvijek znatiželjan, on istodobno igra na nekoliko razboja, više ili manje uspješno, čitajući zbilju, društvene mijene, prostor i publiku kao trajno nadopunjavani palimpsest, kojem i sam dodaje nezanemariv doprinos interpretacijom, ili, još češće, tek spekulacijom.

Bakalov trajni interes je ipak kazalište na specifičnoj lokaciji, shvaćeno ne tek kao ambijentalno uprizorenje i/li potraga za lokacijom koja svojim ready-madeom korespondira s problematikom izvedbe, nego upravo suprotno — poticanje, trajnom kreativnom napetošću akcije i reakcije tijekom pripreme pa čak i tijekom same izvedbe, onih veza koje nisu očigledne i očekivane. Jedan od projekata kompanije Bacači sjenki koju je Bakal zajedno s nizom suradnika osnovao 2002. i koju i dalje vodi kao izvedbeni kolektiv i istraživačku

platformu, naslovljen je Bilježenje grada/Bilježenje vremena, drugi Sje(n)čanje grada, treći Brujanje grada. Svaki na poseban, a opet prepoznatljiv način, čita ‘urbanoglife’ ili ‘urbani hipertekst’, što su termini koje Bakal i suradnici često koriste u opisivanju i objašnjavanju svojeg rada, bez obzira odvode li publiku na lokaciju ili lokaciju, metaforički, prenose na neutralni ili nekom novom dimenzijom obilježeni teren izvedbe.

Zbog svoje iznimno bogate povijesti, kulturne i graditeljske baštine, te specifičnog položaja u realnom i simboličkom poretku vrijednosti u svjetskim mjerilima, Dubrovnik je idealan najprije laboratorij a onda i pozornica za takvu vrstu intermedijalnog i multidisciplinarnog, predstavljački versatilnog i autorski potentnog a opet suradničkog rada. Na Dubrovačkim ljetnim igrama 2013. godine stvoreni su produkcijski uvjeti za istraživanje te lokacije kojoj je jedan od nadimaka, ne slučajno i nimalo jednoznačno, GradTeatar. U projektu Otac Hrabrost Bakal i njegova suradnička ekipa, u kojoj je i scenograf ali i izvođač Leo Vukelić, kamenu i poviješću natopljenu školjku Dubrovnika otkrivali su s njezine mračnije strane, čitajući njegove strahove, žudnje, lucidnosti i ludila, na koncu i kratkotrajni život u odnosu na nepreglednost i, unatoč ovakvim i brojnim drugim umjetničkim projektima, neuhvatljivost smrti.

Naslov je neskrivena parafraza komada Bertolta Brechta, s kojim poveznica nije tek aluzija na dubrovačku povijest u kojoj je preživljavanje Grada bilo apsolutni prioritet nad preživljavanjem ili životima samim njegovih stanovnika. Predstava minimalno intervenira u ionako zasićeni prostor, ali pronalazi skrivene pukotine u fasadi izrazito komercijaliziranog turističkog grada, i u kulisama njegove teatralnosti. Otac Hrabrost zato preuzima formu procesije i/li vođene turističke ture, zabavlja i guši svoju publiku, kojoj na koncu poželi lijepu i mirnu smrt, jer se onostranost je jedina pozicija iz koje se zbilja, čak i nestvarna zbilja ljepote Dubrovnika, može sagledati bez ionako kratkotrajnih ljudskih slabosti. L

Boris Bakal, Leo Vukelić: Father Courage

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Vlasta Žanić

Recycle Bin text Ana Marija Habjan

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Recycle Bin is a multitude of simultaneously offered objects and installations. A large stage is filled with seesaws, transistor radios, unusual glasses, lamps — props that were all, once before, used in previous performances of the artist Vlasta Žanić. Gathered like this, they are left for the audience to experiment with and reexamine, making it a participant in the playgroundlike setting. The unpredictable movements of the audience, with the smell of burnt milk, the taste of the rožata cake and the cacophony of randomly selected radio stations, create an anarchic situation on the border between a theatre performance and a Fluxus happening.

A Recycle Bin is not the same as Trash. The difference lies not only in the name given to trash folders by two different operating systems, but in the way we view the past; after the performance ends, the props used in it remain, disposed of and unnecessary. With time, their number increased, and after observing them as something she does not want to throw away, but also something she has no use for and is starting to get in the way, Vlasta Žanić decided to display them together and to offer them to others to be used by them. To share, through their ‘consumption’ — via the senses of sight, hearing, smell or touch — her own experience of reexamining changes within the real world and the world of the senses.

Vlasta Žanić graduated at the Zagreb Academy of Fine Arts, the Sculpture Department. The research of relations between space and movements that marks her first sculptural works, from minimised geometric forms (Untitled, 1997), to ambient installations and kinetic objects (Time is Getting Faster, Space is Getting Narrower, 1995), has also remained characteristic for her later work, in which she herself has become an object of presentation or in which she gives this role to an object, whose goal is to interact with the audience. After 2001, she began doing performances and recording videos. The change in the medium of expression is a result of her new subject of interest; a kind of rebellion against and questioning of all she had learned up to that point in the field of sculpture as well as confronting with socially expected roles of women and mothers.

In her first performance Closing (2001), she uses jar lids to close holes in her suit, one after the other, until the final one on her hood. Autoreferential issues, protests against conventional malefemale relations and emotional crises are all reflected in her other performances as well. In the performance Marasca Cherries, 2002, she turns herself into a cake by wrapping herself in dough and cherries. Candle for Edita, 2003, is a reaction to the news that someone close to her passed away — with a sculptural chisel she tapers a large candle as she walks around it, until the candle breaks and extinguishes.

Circular motion — spinning — is a frequent motif in her work. The video performance Abolition of an Apple (2003) consists of a recording of the wrapping of the author’s head in white bandage until of all the vital organs of her head are covered — eyes, ears and nose. This recording is superimposed with a parallel recording of an apple being pealed with a small knife, not as one would expect, but until the apple disappears completely. Spinning is the main subject in the eponymous performance (Spinning, 2006), and in the next one entitled Spinning Top (2007) in which she invites her friends and acquaintances to record the motion of small wooden

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spinning tops, and subsequently exhibits these recordings together. If we spin long enough, we are spun out of balance. In this state, the usual rules no longer apply and the possibility of ‘rearranging’ reality and relativising it opens.

The issue of balance or loss thereof as a result of balancing or unexpected slips, is one of the most common issues she raises in her work. On the facade of the Gliptoteque building in Zagreb, Vlasta Žanić marked a rectangle, a segment of the wall, adding a cantilever at the top of it so it protrudes from the wall plane. Exactly under it, in the earth, she dug out an indentation of the same dimensions, as a negative of the cantilever above it. X and Y coordinates from the real world no longer apply if we step inside this installation. Chair (2002) is equally surprising, featuring an interactive object that contains a mechanism which, once someone sits on it, falls about thirty degrees backwards. Once again, the goal is a change in perspective. With it, the author points out the need for and importance of accepting life’s changes.

The majority of the later works of Vlasta Žanić, created after those based on her intimate subjects, require participation. The exhibition Crossing Over consists of three performances in which the audience is an active participant, in which she reexamines the role of the artist and the relation between author and audience. In the first performance, Congratulating, the audience is given invitations with the request to approach the author and congratulate on nothing in particular. In the second one, Rožata, she hands out the traditional Croatian dessert rožata, which she is certain she prepares well and is proud of. In the third one, Crossing Over, the author, as a live sculpture on a spinning pedestal, records the audience with a video camera, while the recording is projected in another building, in a circular movie theatre. In the performance Force Times Arm, the only prop is a long board on a stone, a seesaw of sorts. Multiplied, it developed into the installation Balance, offering about a hundred such seesaws to the audience so they themselves can experience the (im)balance. The participation itself is free of discomfort or embarrassment, as the audience participates as much and whenever it wants, sharing the experience with the author, an experience within which expected values of perception shift, borders move and time multiplies.

The decision to simultaneously exhibit onstage the props from the performances performed in the last ten years (Recycle Bin, 2014) represents a sort of closure for her creative work done so far. To do a spring cleaning like this is a frequent need representing the recapitulation of a particular period of one’s life. Perhaps it derives precisely from the need for the establishment of a new balance, an incentive for the creation of a new circle. L Sp

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Recycle Bin mnoštvo je istovremeno ponuđenih predmeta i instalacija. Velika pozornica ispunjena klackalicama, tranzistorima, neobičnim naočalama, svjetiljkama — rekvizitima koji su svi, jednom prije, bili korišteni u prethodnim performansima umjetnice Vlaste Žanić. Okupljeni ovako na hrpi prepušteni su svojevoljnom isprobavanju i preispitivanju od strane publike koja tako postaje sudionik ambijenta nalik velikom igralištu. Nepredvidivo kretanje publike, uz miris zagorenog mlijeka, okus rožate i kakofoniju slučajno odabranih radio stanica, stvara anarhičnu situaciju na granici kazališne izvedbe i fluxusovskog happeninga.

Recycle Bin nije isto što i Trash. Razlika nije samo u imenovanju otpada dvaju različitih operativnih sustava već i u načinu gledanja na prošlost; nakon izvedenog performansa, rekviziti koji su pri tome korišteni ostaju odloženi i nepotrebni. S vremenom njihov se broj povećao i promatrajući ih kao nešto što ne želi baciti ali i nešto što više ničemu ne služi i počinje smetati, Vlasta Žanić ih je odlučila sve zajedno izložiti i simultano ponuditi na korištenje. Njihovom ‘konzumacijom’ — osjetilom vida, sluha, mirisa ili dodira — podijeliti vlastito iskustvo preispitivanja promjena unutar stvarnog i osjetilnog svijeta.

Vlasta Žanić diplomirala na zagrebačkoj Akademiji likovnih umjetnosti, odjel kiparstva. Istraživanje odnosa prostora i pokreta, koje obilježava njezine prve kiparske radove, od minimaliziranih geometrijskih formi (Bez naziva, 1997.), do ambijentalnih instalacija i kinetičkih objekata (Vrijeme je sve brže, prostor je sve uži, 1995.), ostalo je karakteristično i za njene kasnije radove u kojima i sama postaje objekt izlaganja, ili tu ulogu pridaje predmetu čiji je cilj interakcija s publikom. Nakon 2001. počinje raditi performanse i snima videoradove. Promjena u izražajnom mediju rezultat je novog smjera tematskog interesa; svojevrsna pobuna i dovođenje u pitanje svega dotada naučenog na području kiparskog obrazovanja kao i suočavanje s društveno očekivanim ulogama žene i majke.

U prvom izvedenom performansu Zatvaranje (2001.), poklopcima od staklenki zatvara rupe na svojoj odjeći, jednu po jednu, sve do posljednje na kapuljači. Autoreferencijalna pitanja, protest protiv konvencionalnih muškoženskih odnosa i emocionalna kriza, reflektiraju se i u ostalim njezinim performansima. U performansu Maraške, 2002., sebe

pretvara u kolač umatajući se u tijesto i višnje. Svijeća za Editu, 2003., reakcija je na vijest o smrti drage osobe — kiparskim dlijetom stanjuje veliku svijeću kružeći oko nje, dok se svijeća ne prelomi i ugasi.

Kružni pokret — vrtnja — česti je motiv njezinih radova. Video performans Ukidanje jabuke (2003.) sastoji se od snimke zamatanja autoričine glave bijelim zavojem sve dok se ne pokriju svi vitalni organi na glavi — oči, uši i nos. Preko te snimke paralelno teče snimka guljenja jabuke nožićem, ali ne onako kako bi se očekivalo, već do kraja, dok jabuke ne nestane.


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Vrtnja je glavna tema i u istoimenom performansu (Vrtnja, 2006.), kao i u idućem pod nazivom Zvrk (2007.) u kojemu poziva prijatelje i poznanike da snime kretanje malih drvenih zvrkova, da bi kasnije te snimke grupno izložila. Ako se vrtimo dovoljno dugo, ta nas kretnja izbacuje iz ravnoteže. U takvom stanju više ne vrijede uobičajena pravila i otvara se mogućnost ‘preslagivanja’ stvarnosti kao i njezinog relativiziranja.

Pitanje ravnoteže, odnosno njezinog gubitka kao posljedice balansiranja ili neočekivanog izmaka, jedno je od najčešćih koje postavlja u svojim radovima. Na fasadi zgrade Gliptoteke Vlasta Žanić označila je pravokutnik, odsječak zida kojemu je pri vrhu nadogradila istak, tako da je izlazio iz plohe zida. Točno ispod njega, u zemlji, iskopala je udubinu istih dimenzija, kao negativ istaka iznad njega. X i Y koordinate iz stvarnoga svijeta ne vrijede više ukoliko zakoračimo unutar ove instalacije. Jednako iznenađenje pruža i Stolac (2002.), interaktivni objekt koji u svom postolju sadrži mehanizam koji kad se sjedne na njega propadne tridesetak stupnjeva u natrag. I ovdje je cilj promjena perspektive. Njome autorica ističe potrebu i važnost prihvaćanja životnih promjena.

Većina radova Vlaste Žanić, nastalih nakon onih koji proizlaze iz umjetničinih intimnih tema, zahtijeva sudjelovanje. Izložba Prelaženje sastoji se od tri performansa u kojima je publika aktivan sudionik, a kroz koje ona preispituje ulogu umjetnika te odnos autora i publike. U prvom, Čestitanju, autorica je uputila publici pozivnice s molbom da dođu i da joj čestitaju ni na čemu. U drugom, Rožati, dijelila je slasticu za koju je svjesna da je dobro radi i na koju je ponosna. U trećem, Prelaženju ona sama kao živa skulptura, na postamentu koji se vrti, snima video kamerom publiku, dok se u drugoj zgradi u kružnom kinu projicira snimljeno. U performansu Sila puta krak jedini je rekvizit dugačka daska oslonjena na kamen, kao

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klackalica. Umnožena, prerasla je u instalaciju Ravnoteža gdje je stotinjak takvih klackalica ponuđeno publici da pomoću njih sami iskuse doživljaj (ne)ravnoteže. Samo sudjelovanje oslobođeno je nelagode, publika učestvuje koliko i kada to želi te s autoricom dijeli doživljaj, iskustvo unutar kojeg očekivane vrijednosti percepcije izmiču, granice se pomiču a vrijeme se umnaža.

Odluka da rekvizite iz performansa izvedenih u proteklih desetak godina izloži istovremeno na pozornici (Recycle Bin, 2014.) svojevrsno je podvlačenje crte na postojećoj lenti stvaralaštva. Veliko čišćenje ili pospremanje česta je potreba rekapitulacije pojedinih razdoblja života. Možda upravo iz potrebe za uspostavom nove ravnoteže, poticaja za novi krug. L


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One of the key figures of the socalled Croatian alternative theatre, Damir Bartol Indoš has remained true to his sources as aesthetic and ethical postulates for almost forty years. He was member of the Kugla theatre company, a radical performance collective from the late 1970s and early 1980s that was a rare example of truly radical alternative culture in which music and performance were the inspiration, means and end. After parting ways with Kugla, Indoš continued to work independently via his own organisation — DB Indoš — House of Extreme Musical Theatre.

Instead of taking the supposedly next logical step and growing in terms of production and climbing the hierarchical latter of success and institutionalisation, he decided to, metaphorically and quite literally, stay in place. This, however, does not mean that within his artistic vocation he is not permanently interested in innovation, searching continuously for new subjects and associates or improvements of his own artistic production. Considering that his theatre generally includes substantial amounts of used or reconstructed retro technology, which simultaneously functions as scenography, props, musical instruments and his partner, it seems quite fitting to use the term production in his case. On the other hand, he approaches his subjects with an exceptionally humanistic attitude, believing that the artist must, with his personal attitude and engagement, earn or deserve the moral and metaphysical right to the subjects he uses as inspiration or foundation.

This is not the only paradox surrounding Indoš. A sworn pacifist, who began doing theatre because, as he himself admits, he was not brave enough to become a radically left or anarchistic terrorist, he creates performances filled with scrapings of metal, loud or too loud noises of machinery powered by the energy of the performers, deafening avantgarde music and speeches on the verge of barking, causing fear and disgust to the unaccustomed ear. He is also an applied ecologist, recyc

ling materials, parts of machinery and discarded technology, and creating from them his astonishing, almost postapocalyptic stage imagery. Permanently infected with the theatrical and theoretical propositions of Antonin Artaud and antipsychiatry, a discipline that promotes a different way of relating to mental disorders and a different treatment not of disorders, but of those afflicted by them, Indoš is obsessively searching for the ideal expression of theatre that can express the frustrations and challenges of today, because he cannot deny them, at the same time refusing to be reduced to them. Among the constants of Indoš’s poetics is also certainly the athletic performative aspect, a Spartan discipline and physical fitness needed to endure the high physical demands of his performances that he himself has set.

Indoš’s parallelism of an ethical foundation and aesthetic realisation, philosophical education and performative and authorial experience always results in a critical attitude, expressed indirectly and affirmatively via the subjects he had to earn a right to use; potential correspondences with current issues are merely incidental. The documentary trilogy Every Revolution is a Throw of the Dice, which he created and performs in collaboration with

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the actress and film studies scholar Tanja Vrvilo, deals with the assassinations of highranking officials of the AustroHungarian administration in Croatia before World War I. It is precisely when the world was marking the 100th anniversary of the beginning of the socalled Great War and the notorious shot fired in Sarajevo and heard all over the world, that the last part of this trilogy entitled Tosca 914 had its premiere, thematising the unsuccessful assassination only one month prior to the one in Sarajevo, in the Croatian National Theatre in Zagreb at the premiere of the opera Tosca. Instead of thematic historiographic and geopolitical analyses, the play offers a different vantage point and discourse, raising the issue of the need to react to political and institutional violence. For Indoš, the answer does not lie in reacting with violence, but in the artistic, personal and collective freedom, achieved only through rigorous artistic and personal convictions structured through the musical, scenographic, choreographic and performative abundance of the sound (and) the fury. L

Jedan od ključnih sudionika takozvane hrvatske kazališne alternative, Damir Bartol Indoš ostao je vjeran svojim izvorima kao estetskim i etičkim postulatima gotovo četrdeset godina. Član skupine Kugla glumište, radikalnog izvedbenog kolektiva koji je krajem sedamdesetih i početkom osamdesetih godina prošlog stoljeća bio među rijetkim primjerima istinski radikalne alternativne kulture u kojoj su glazba i performans bili i inspiracija i sredstvo i cilj, Indoš je nakon otklona od Kugle nastavio samostalno preko vlastite organizacije DB Indoš — Kuća ekstremnog muzičkog kazališta.

Umjesto navodno logičnog rasta u produkcijskom smislu, uspinjanja hijerarhijskom ljestvicom uspjeha i institucionalizacije, on je odlučio, metaforički ali i sasvim konkretno, ostati na mjestu. To, međutim, ne znači da unutar svoje umjetničke vokacije nije trajno zainteresiran za inovaciju, tragajući kontinuirano za novim temama i suradnicima ili poboljšanjima vlastite umjetničke proizvodnje. S obzirom da njegovo kazalište u pravilu uključuje priličnu količinu uporabljene ili rekonstruirane retro tehnologije, koja istodobno funkcionira i kao scenografija, rekvizit, glazbeni instrument i partner, u njegovom slučaju proizvodnja predstava i nije pogrešna riječ. S druge strane je izuzetno humanistički stav s kojim pristupa svojim temama, koje naziva zasluženima jer vjeruje da umjetnik mora osobnim stavom i angažmanom dobiti moralno ali i metafizičko pravo na ono što će mu poslužiti kao inspiracija ili temelj.

Nije to jedini paradoks vezan uz Indoša. Zakleti pacifist koji se kazalištem počeo baviti zato što, prema vlastitom priznanju, nije bio dovoljno hrabar da postane radikalno lijevi ili anarhistički

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terorist stvara predstave pune struganja metala, glasne ili preglasne buke strojeva pogonjenih energijom izvođača, zaglušujuće avangardne glazbe i govora na rubu laveža koji nenaviknutom uhu izaziva strah i zgražanje. Ujedno je i primijenjeni ekolog koji reciklira materijale, dijelove strojeva i odbačene tehnologije i od njih stvara svoje začudne, gotovo postapokaliptične scenske slike. Trajno inficiran teatarskim i teorij

skim postavkama Antonina Artauda i antipsihijatrijom, disciplinom koja promovira drukčiji način odnosa prema psihičkim poremećajima i drukčiji tretman ne poremećaja nego onih koji ga podnose, Indoš je i opsesivno u potrazi za idealnim izrazom kazališta koje može izraziti frustracije i izazove suvremenosti jer njihov utjecaj ne može negirati ali ni ne želi na njega pristati. Opisanim konstantama Indoševe poetike treba pribrojiti i sportsku, čak i spartansku disciplinu i fizičku kondiciju bez koje bi teško bilo izdržati stupanj zahtjevnosti koji u svojim predstavama sam sebi postavlja.

Paralelizam etičkog temelja i estetičke realizacije, filozofskog obrazovanja i izvedbenog i autorskog iskustva, kod Indoša rezultira uvijek kritičkim stavom, koji on izražava posredno i afirmativno preko svojih zasluženih tema, dok su eventualna podudaranja s aktualnošću tek slučajna posljedica. Dokumentaristička trilogija Svaka revolucija je bacanje kocke, koju autorski i izvođački potpisuje s glumicom i filmologinjom Tanjom Vrvilo, bavi se atentatima na prvake austrougarske uprave u Hrvatskoj prije Prvog svjetskog rata. Upravo kad je svijet obilježavao stotu obljetnicu početka takozvanog Velikog rata i čuveni pucanj u Sarajevu, premijerno je izveden i posljednji dio trilogije naslova Tosca 914 o neuspješnom atentatu koji se dogodio samo mjesec dana prije sarajevskog u Hrvatskom narodnom kazalištu u Zagrebu na premijeri opere Tosca. Umjesto prigodničarskih historiografskih i geopolitičkih analiza, predstava nudi drukčiji rakurs i diskurs jer kroz navođenje činjenica propituje nužnost reakcije na političko i institucionalno nasilje. Ponovljeno nasilje za Indoša nije odgovor, ali jest umjetnička, osobna i kolektivna sloboda, ostvarena isključivo strogim umjetničkim i osobnim uvjerenjima strukturiranom glazbenom, scenografskom, koreografskom i izvođačkom raskoši krika (i) bijesa. L

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Borut Šeparović

55+ text Igor Ružić

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Borut Šeparović founded the performance group Montažstroj in 1989, gathering the physical strength of several young men without any formal theatre training and a dramaturgy group that could comment on the extremely turbulent reality using other means: a physical theatre with foundations in the generational devotion to music and football as formative phenomena. Initially inspired by the Russian avantgarde, Montažstroj seemed as if living in the past, but spoke of the future.

In an extremely politically tense moment that would turn into the dissolution of Yugoslavia and a war on its territory only a couple of years later, it was precisely the militarization of reality and the theatralisation of popculture that would demonstrate where the entire society is headed. By introducing dance performances into gallery spaces, with the action Achtung Alarm that had the streets of Zagreb resounding with sirens for the first time, almost prophetically predicting the sirens that would announce public emergencies only two years later, and finally with the

play Rap Opera 101, whose main character is the inventor of the kalashnikov, Montažstroj used the language of the past to warn the present of what it would become. Suprematist costumes, biomechanics, chanting and a reference field without ideological or elitist divisions between high and low culture, promoted Montažstroj into a performative sensation that could not be ignored by foreign festival selectors and juries.

Touring with the play Everybody Goes to Disco from Moscow to San Francisco around Europe and the United States promoted Montažstroj as a brand and a

critical voice in times not favourable to the muses. Paradoxically, the tours turned into a departure, with Borut Šeparović spending several years in the Netherlands in an attempt to pave a path for the socalled international version of Montažstroj, generically named Performing Unit. Several productions from this time retained domestic interest in Šeparović’s work and had him returning to Croatia at the beginning of the new millennium and working again under the original name of the company, but without the original associates. Montažstroj has become a production brand, and every new project is also a fresh start, with new people and a new focus. A number of relevant plays from this period, such as Timbuktu, My Heart Beats for Her, and projects signed by Šeparović as independent director, represent at the same time a continuation of the poetics established initially by the company and a radical departure from it.

Instead of large dance productions with a strong physicality, Šeparović’s work has first become intimistically minimal in its proportions, only to return this intimism into the collective, no longer the collective of a trained dance company, but the collective of the living social tissue. The homeless persons from Zagreb in the play Timbuktu were merely a metaphorical sensation and a live stage setting, but the unemployed women in My Heart Beats for Her were fullyfledged protagonists, while the project 55+ symbolically and genuinely gave voice to elderly citizens without previous performance experience, but authentically scenic because of this, who are politically, economically and socially discarded, silenced and marginalized.Ra

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55+ is not just a play, but an activism project of which the play is only one segment, and the final product is a documentary on the 55+ generation. Šeparović found his basic motivational factor in the fact that the marketing industry does not even take this population into consideration in its protocols because its economic power is generally weak and its social impact even weaker. Considering also that it is precisely this segment of the present Croatian society that spent half or the majority of its life in the former socialist regime of Yugoslavia, they are the ideal protagonist for thematising the political and economic transition in Croatia and the entire SouthEast Europe. The play, even more than the film which has an entirely different role within the project, is at the same time a political discussion and confessional and theatre in the full sense, whose catharsis has a slowburning effect, depending on the degree to which the spectators are ready for participation and empathy, and on how far they are from turning 55. L

Borut Šeparović osnovao je izvedbenu skupinu Montažstroj 1989., udruživši fizičku snagu nekoliko mladića bez formalnog kazališnog i glumačkog obrazovanja te dramaturškog tima koji je bio u stanju komentirati tada vrlo turbulentnu zbilju drugim sredstvima: fizičkog kazališta s temeljima u generacijskoj privrženosti glazbi i nogometu kao formativnim fenomenima. Inicijalno formiran i inspiriran ruskom avangardom, Montažstroj je izgledao kao da živi u prošlosti, ali je govorio o budućnost.

U politički krajnje napetom trenutku koji će se samo nekoliko godina kasnije pretvoriti u raspad Jugoslavije i rat/ove na njezinom teritoriju, upravo su militarizacija zbilje i teatralizacija popkulture, pokazala kamo (se) kreće cijelo društvo. Ulaskom plesnog performansa u galerijski prostor, akcijom Achtung Alarm zbog koje su se ulicama Zagreba prvi put čule sirene koje su gotovo profetski najavile one koje će objavljivati opću opasnost samo dvije godine kasnije, te na koncu i predstavom Rap Opera 101 čiji je glavni lik izumitelj jurišne puške Kalašnjikov, Montažstroj je jezikom prošlosti sadašnjost upozoravao u što će se pretvoriti. Suprematistički kostimi, biomehanika, skandiranje i referentno polje bez ideoloških ili elitističkih razdjelnica između citata visoke i niske kulture, promovirali su Montažstroj u izvedbenu senzaciju koju ni inozemni festivalski selektori i prosudbena povjerenstva nisu mogli ignorirati.

Gostovanja predstave Everybody Goes to Disco From Moscow To San Francisco po Europi i Sjedinjenim Državama promovirale su Montzažstroj kao brend i kritički glas u vremenu koje muzama nije bilo naklonjeno. Paradoksalno, gostovanja su se pretvorila u odlazak, pa Borut Šeparović nekoliko godina provodi u Nizozemskoj,

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tražeći put za takozvanu međunarodnu inačicu Montažstroja generički nazvanu Performing Unit. Nekoliko zanimljivih produkcija iz tog vremena zadržalo je domaći interes za Šeparovićev rad, pa se on početkom novog milenija vraća u Hrvatsku i ponovno radi pod originalnim imenom kompanije, iako bez starih suradnika. Montažstroj postaje produkcijski brend, a svaki novi projekt

ujedno i novi početak, s novim ljudima i novim fokusom. Niz relevantnih predstava nastalih u tom periodu, kao što su Timbuktu, Srce moje kuca za nju, te projekti koje Šeparović potpisuje samostalno kao redatelj, nastavak su poetike uspostavljene još na početku rada kompanije i istodobno, radikalni odmak od njih.

Umjesto velikih plesnih produkcija snažne fizikalnosti, Šeparovićev rada postaje najprije intimistički minimalan u proporcijama, da bi zatim taj intimizam bio ponovno vraćen u kolektiv, ali ne više utrenirane plesne kompanije nego živog društvenog tkiva. Zagrebački beskućnici su u predstavi Timbuktu bili samo metaforička senzacija i živa kulisa, ali su nezaposlene žene u Srce moje kuca za nju već punopravni protagonisti, dok projekt 55+ simbolički i zbiljski daje glas starijim sugrađanima bez prethodnog izvedbenog iskustva ali upravo zato autentično sceničnima, koji su politički, ekonomski i društveno odbačeni, ušutkani i marginalizirani.

55+ nije samo predstava nego aktivistički projekt kojeg je predstava samo jedan segment, a finalni proizvod dokumentarni film o generaciji starijoj od 55 godina. Osnovni motivacijski faktor Šeparović pronašao u činjenici da marketinška industrija u svojim protokolima uopće ne uzima u obzir tu populaciju, jer je njezina ekonomska moć u pravilu slaba a društveni utjecaj još slabiji. Pridoda li se tome i činjenica da je upravo taj segment današnjeg hrvatskog društvenog tijela polovicu ili većinu života provela u bivšem socijalističkom sustavu također bivše države, oni su idealni protagonist tematiziranja političke i ekonomske tranzicije u Hrvatskoj ali i cijelom području Jugoistočne Europe. Predstava, čak i više od filma koji ima drugu i drukčiju ulogu u sklopu cijelog projekta, tako je ujedno i politička tribina i ispovjedaonica i kazalište u punom smislu, čija katarza ima sporogoreći učinak, ovisno o tome koliko je gledatelj spreman na participaciju i empatiju, te koliko je daleko od 55. L

Borut Šeparović: 55+

Borut Šeparović (Montažstroj) y55+y

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Scenography of an Exhibition Choreographed by Design

Nikola Radeljković

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Without doubt, scenography presents one of the most important segments of a performance. The stage defines the dramaturgical perspective, animates performers, provokes imagination of the audience, and determines visual identity of a theatrical performance. On motionless documents of a onetime collective experience as represented in the media, it takes over the main role in individual memory and all the more in, perhaps historically more relevant, collective memory. However, stage invention, intensified by the powerful industry of stage techniques, skillful and devoted professionals, and additionally emphasized by virtuous solutions by lighting designers, remains painfully impotent in comparison with body, movement and voice of the performers. This magical synesthesia of performers’ expression, dramaturgy, sound, scent and other sensory and intellectual stimuli in the rare moments of harmony is incomparably stronger than the stage, no matter how successful scenography might be in conceptual, visual, and spatial terms.

Even more scarce are moments in which scenography ceases to function only as the background for certain content and becomes an integral part of the ontological score of the performance. In all the scenographic efforts made by the Numen group, only in case of one performance we can confidently say that we have managed to achieve this. Everything else falls under the category of more or less successful attempts. It is no wonder that some of the performances that have affected us the most had negligible or no significant scenographic impact. And such theatrical events function like ‘performance art’ that according to the standard classification does not fall under the category of ‘theater’, but is rather classified in a broad field of ‘visual arts’.

In Eastern Europe, ravaged by totalitarian systems and historical and geopolitical stigma, the expression of such practices is even more intertwined and closer. In theatrical projects lacking support from the production side, a performer’s body is predetermined to be the basic

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communication tool, while predominantly conservative institutions in charge of exhibitions and performing arts have been systematically pushing out performing practices from both sides of the demarcation line, setting them at public or atypical spaces for culture, where scenography works in an almost coincidental correlation with the performer’s body, audience and given space. In such conditions, the largest part of the stage cannot be but independent and hybrid.

Mauricio Ferlin’s scenographic practice, mostly realized on the margins of the Croatian theater, represents a paradigmatic example of this ‘bastardized’ situation, which is not the result of a predetermined project decision, but transpires from the context it logically and naturally emerges from. Ferlin’s stage design as well as exhibition spaces are articulated in minimal production conditions and their carefully selected concepts work in harmony with dramaturgical and social contexts communicating narrative directly. At the same time, by no means does their effect lag behind some much more generously produced events.

If we are to single out an author who continually produces adequate and precise stage design solutions in the recent Croatian theatrical practice, Mauricio Ferlin would certainly not make a wrong choice. His hybrid position allows him to create explicitly authorial scenography, while the priority of the current concept of national presentation is discovering extreme positions and interconnectedness of theatric performances without any recognizable scenographic expression on one hand, and the artists whose works are, even though being labeled as ‘the visual arts’, close to the



Nikola Radeljković

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contemporary theatrical expression on the other. For this reason, in this exhibition project, Mauricio Ferlin plays the role of a stage designer and constructor of the exhibition space with an installation provoking spontaneous choreography of the audience. L

Scenografija je, bez sumnje, jedan od najvažnijih segmenata izvedbenog djela. Scenski prostor definira dramaturški okvir, razigrava izvođače, provocira maštu publike i određuje vizualni identitet scenskog događanja. Na petrificiranim dokumentima medijske reprezentacije jednokratnog kolektivnog doživljaja, nerijetko preuzima i glavnu ulogu u memoriji pojedinca ali još i više i u, povijesno relevantnijem, društvenom sjećanju. Scenografska invencija ipak, pojačana moćnom industrijom scenske tehnike, vještim i požrtvovnim scenskim radnicima i dodatno apostrofirana virtuoznim rješenjima dizajnera svjetla, ostaje bolno impotentna u usporedbi s tijelom, pokretom i glasom izvođača. Ta magična sinestezija izvođačkog izraza, dramaturgije, zvuka, mirisa i drugih čulnih i intelektualnih podražaja u rijetkim trenucima sklada neusporedivo je snažnija od scenskog prostora, ma koliko konceptualno, likovno i prostorno scenografija uspješna bila.

Još su rjeđi trenuci u kojima scenografija prestaje biti tek pozadina sadržaja i postaje integralni element ontološke partiture predstave. U scenografskoj karijeri grupe Numen samo za jednu predstavu možemo sa sigurnošću ustvrditi da smo to postigli. Sve drugo bili su manje ili više uspješni pokušaji. Nije stoga čudno da su neke od predstava koje su najdublje utjecale na nas bile gotovo ili u potpunosti bez značajnijeg scenografskog utjecaja. Upravo takva djela izvedbene umjetnosti funkcioni

Scenografija dizajnom koreografirane izložbe

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raju poput ‘performansa’ koji u standardnoj klasifikaciji ne spadaju u ladicu ‘teatra’ već se svrstavaju u široko polje ‘vizualnih umjetnosti’.

Na istoku Europe, osiromašenom totalitarnim sustavima i povijesnom geopolitičkom stigmom, ove prakse su izrazom još bliže i isprepletenije. U kazališnim projektima bez produkcijske podrške tijelo izvođača predodređeno je biti osnovno komunikacijsko oruđe, dok dominantno konzervativne izlagačke i izvedbene institucije sustavno izguravaju performerske prakse s obje strane demarkacijske crte u javne ili atipične prostore kulture gdje je scenografija gotovo slučajna korelacija tijela izvođača, publike i zadanog prostora. U takvim uvjetima većina scene ni ne može biti drugačija nego neovisna i hibridna.

Scenografska praksa Mauricija Ferlina, ostvarena mahom na periferiji hrvatskog kazališta, predstavlja paradigmatski primjer ove bastardne situacije koja nije posljedica unaprijed određene projektantske

odluke već konteksta iz kojeg logično i prirodno izvire. Njegovi scenski ali i izložbeni prostori artikulirani u minimalnim produkcijskim uvjetima su pažljivo konceptualno usuglašeni s dramaturškim i društvenim okvirom te funkcioniraju neposredno komunicirajući narativ, dok efektom uopće ne zaostaju za neusporedivo izdašnije produciranim događanjima.

Ako bismo morali izdvojiti jednog autora koji u novijoj hrvatskoj kazališnoj praksi kontinuirano producira adekvatna i precizna scenografska rješenja, Mauricio Ferlin sigurno ne bi bio pogrešan izbor. No njegova hibridna pozicija omogućava mu stvaranje eksplicitno autorskih scenskih prostora dok je u ovoj koncepciji nacionalne prezentacije prioritet otkrivanje ekstremnih pozicija i uzajamne veze kazališta bez očitog scenografskog izraza s jedne strane, i autora čija su djela u označenom polju ‘vizualnih umjetnosti’, bliska kazališnom izrazu s druge. Iz tog razloga Mauricio Ferlin u ovom izlagačkom projektu ima ulogu scenografa, graditelja izložbenog prostora instalacijom koja provocira spontanu koreografiju publike. L.


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To have a task. To find a good task in one’s actions, within a team of authors. To approach the task like an ignorant person or a child and to explore, from the beginning and all over again, or at least with an illusion that it is being done from the beginning. I believe that in some final framework this might be the definition of my interest and motivation to work in stage design or theatre.

Having in mind that most of my work in stage design is linked with the collaboration with Matija Ferlin (my brother), for me it is a very specific area of interest within which the freedom of action probably becomes more natural, principles more evolved and relationship deeper than in case of collaboration with some other authors. I think that this fact is precious.

Last summer, at the time when I found out about the engagement with the PQ, we were guests in Prague with the performance titled Sad Sam Lucky (2012), the last from Matija’s series of solo performances, dedicated to an avantgarde Slovene poet, Srečko Kosovel (1904–1926). I am stating this because I think that my engagement in the presentation of Croatian selection for the PQ is a kind of continuation or revision of that piece. The piece itself has a minimal scenographic framework (simple square wooden floor and burnt replica of Kosovel’s desk) and activity of the stage and performance is additionally supported by ‘animated ‘ dust (coal dust as the manifestation of burning), which becomes an active medium between the two temporally distanced authors, a meeting point and a cohesive element. This is especially true in physically most active last part of the performance.

For the presentation at the Prague Quadrennial and bearing in mind the topic of the Croatian selection, I was intrigued by the idea of an attempt to isolate that dust. The intention was to introduce a system which would at the same time contain the principle of interaction with visitors, provide visual support to the topic of ‘impalpable’, communicate

‘To live, to live is a man’s purpose’

Mauricio Ferlin

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with other selected works and stand somewhere inbetween stage design, exhibition design and art installation. The final input to this idea came with the selection of desacralised church of St. Anna as the location of the exhibition. At the spot where one usually finds pipe organs, I have decided to place an installation that will be moved by the aid of bellows similar to antique pipe organs.

The initial title of the installation is Forcing the Site of Fire. The motif of soot today might seem anachronous, like a sudden encounter with the past: be it collective, working, industrial, or war past. An encounter with the symbol of civilization whose ‘fruits’ are still reaped today.

However, my interest tackles the metaphysical and ontological. On the one hand, we have a dead product of burning and on the other the potential of air or breath (the volume of bellows is similar to

the volume of human lungs). It is a stage antagonisation of the past and present, passivity and action, fear and bravery and, finally, life and death which turns from the separated and potential into the active and integral when a person accepts to participate and embrace those two realities. And for the sake of that: ‘To live, to live is a man’s purpose’, which is a line from the stage score belonging to the above mentioned performance, shall be the title of this installation. L

Imati zadatak. Pronaći u svom djelovanju, djelokrugu unutar autorskog tima, dobar zadatak. Pristupiti mu poput neznalice, djeteta i istražitivati, svaki put ispočetka ili barem s iluzijom da jest ispočetka. Mislim da bih, u nekom krajnjem okviru, mogao na to svesti svoj interes i svoje motivacije u bavljenju scenografijom, odnosno kazalištem.

Obzirom da većinu svog scenografskog rada vežem za suradnju s Matijom Ferlinom (mojim bratom) za mene je to i specifičan poligon, unutar kojeg je prostor slobode djelovanja vjerojatno prirodniji, principi djelovanja razrađeniji i odnos dublji nego što bi bio u suradnji s nekim drugim autorima. Tu činjenicu smatram dragocjenom.

Prošlog ljeta, u vrijeme kad sam i saznao za angažman na PQu, gostovali smo u Pragu s predstavom ‘Sad Sam Lucky’ (2012.)., zadnjim iz serije Matijinih sola, posvećen avangardnom sloveskom pjesniku Srečku Kosovelu (1904–1926). Navodim to jer rad na postavu hrvatske selekcije za PQ smatram svojevrsnom nadogradnjom ili revizijom tog rada. U tom komadu



Mauricio Ferlin

‘ TO LIVE, TO LIVE IS A MAN’S PURPOSE’

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postoji minimalni scenografski okvir (jednostavan kvadratni drveni pod i spaljena replika Kosovelovog radnog stola) a aktivitet scene i igre podržan je ‘animiranjem’ praha (ugljena prašina kao manifestacija spaljivanja), koji tako postaje aktivni medij između dva vremenski udaljena autora, mjesto susreta i vezivo. Posebno u fizički najaktivnijem zadnjem djelu predstave.

Za predstavljanje na Praškom kvadrijenaleu, obzirom na temu hrvatske selekcije, zaintrigirala me ideja pokušaja izolacije te prašine. Težnja je bila uspostaviti jedan sustav koji bi bi u sebi sadržavao princip interakcije s posjetiteljima, vizualno podržavao temu ‘neopipljivo’, komunicirao s odabranim radovima u selekciji te bio na razmeđi scenografije, dizajna izložbenog prostora, i umjetničke instalacije. Odabir galerije desakralizirane crkve sv Ane kao lokacije izlaganja dao je i završni input ideji. Na mjestu gdje se u crkvama počesto nalaze orgulje odlučio sam smjestiti instalaciju koja će se poput antiknih orgulja pokretati podnim mjehovima.

‘Forsiranje zgarišta’ prvobitni je naziv instalacije. Motiv čađe danas djeluje anakrono, poput iznenadnog susreta s prošlošću, kolektivnom, radnom, industrijskom, ratnom. Susret sa znakom civilizacije čiji se ‘plodovi’ i danas beru.

No moj interes više poseže u metafizičko i ontološko. S jedne strane imamo umrtvljeni proizvod sagorijevanja, a s druge potencijal djelovanja zraka, daha (zapremina svakog mjeha slična je zapremini ljudskih pluća). Scenska je to antagonizacija minulog i sadašnjeg, pasivnosti i djelovanja. straha i odvažnosti i u konačnici — smrti i života te koja se iz odvojenog i potencijalnog pretvara u aktivno i integralno kad čovjek pristane na sudjelovanje i susret tih dviju stvarnosti. I zato nek ‘To live, to live is a man’s purpose.’, stih iz scenske partiture prije spomenute predstave, bude naziv i ove instalacije. L

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CuratorsKustosi

Marko Golub

Marko Golub (1978, Split) is an art critic, curator and editor. Graduated from the Academy of Fine Arts in Zagreb. He started publishing art criticism in 2000 for the cultural program of Radio 101, where he worked until 2010. His art and design reviews have been published on the Third programme of Croatian Radio, magazines Zarez, Man and Space, Oris, Kontura and many others. He is the director of the HDD gallery within the Croatian Designers Association (HDD). Aside from curating numerous design exhibitions for the gallery, he was involved in organising important events such as the International design festival DDay (2011–2015), biennial Exhibitions of Croatian Design 1112 and 1314 in the Museum of Arts and Crafts, Zagreb (2012, 2014). He was editorinchief of two Croatian Design Reviews (1112, 1314), all of the DDay publications, the Dizajn.hr website and the recently published Introduction to Speculative Design (with I. Mitrović, O. Šuran). He was a member of editorial staff of the Man and Space magazine and the editorial board of Oris magazine. He is the coeditor of the arts show Transfer of 3rd programme of Croatian national television, and host of Trikultura, another arts show. He is the author of catalogue texts for many exhibitions. Member of the Study Section of the Croatian Association of Applied Artists and the Executive board of the Croatian Section of the International Association of Art Critics–AICA. He won the Annual AICA Award for art criticism in 2013. L Marko Golub (1978, Split) likovni je kritičar, kustos i urednik. Diplomirao je na Akademiji likovnih

umjetnosti u Zagrebu, a likovne kritike počinje objavljivati 2000. godine u sklopu Redakcije kulturnog programa Radija 101, gdje je radio do 2010. Do danas je objavljivao tekstove o umjetnosti i dizajnu u sklopu Trećeg programa Hrvatskog radija, dvotjedniku Zarez, časopisima Čovjek i prostor, Oris, Kontura te nizu drugih. Od 2011. vodi HDD galeriju u sklopu Hrvatskog dizajnerskog društva (HDD). Osim kuriranja brojnih izložbi u sklopu galerije, sudjelovao je u organizaciji niza važnih događanja poput Međunarodnog dizajnerskog festivala Dan D (2011.–2015.), bijenalnih Izložbi hrvatskog dizajna 1112 i 1314 u Muzeju za umjetnost i obrt (2012, 2014.) Glavni je urednik dvaju reprezentativnih Pregleda hrvatskog dizajna (1112 i 1314), svih dosadašnjih publikacija festivala Dan D, internetske stranice Dizajn.hr i nedavno objavljene knjižice Uvod u spekulativni dizajn (s I. Mitrovićem i O. Šuranom). Bio je član redakcije časopisa Čovjek i prostor i uredništva magazina Oris, a na 3. programu Hrvatske televizije trenutno uređuje emisiju Transfer (s G. Brzović) i vodi emisiju o likovnoj umjetnosti Trikultura. Autor je brojnih predgovora izložbi. Član je studijske sekcije ULUPUHa te Izvršnog odbora hrvatske sekcije Međunarodnog udruženja likovnih kritičara AICA. Dobitnik je Godišnje nagrade HS AICAe za 2013. L

Nikola Radeljković

Nikola Radeljković (1971, Sarajevo) is a partner and cofounder of Numen/ForUse, a collective working in fields of scenography, industrial and spatial design and artistic installations. Product design group For Use was formed through collaboration of Sven Jonke, Christoph Katzler and Nikola Radeljković in the year 1998. Two members studied at the School of Design in Zagreb, while Katzler studied at High School for Applied Arts in Vienna. Since then the group designed furniture and objects for companies such as Cappellini, ClassiCon, Desalto, Interlubke, Magis, MDF Italia, Moroso, Prostoria and Zanotta. From 2004. onwards, after setting up a large scale sitespecific project for the production of Inferno in the National Centre for Drama in Madrid, Numen/ For Use become intensely involved with scenography. Since then the group designed sets in Athens, Belgrade, Berlin, Istanbul, Ljubljana, Madrid, Merida, Osijek, Rijeka, Skopje and Zagreb, working mostly with directors Tomaz Pandur and Aleksandar Popovski

with whom they developed a continuous cooperation. Since 2008. the collective turns towards configuring objects and concepts without a predefined function, an activity resulting in hybrid and experimental works such as Field, N-Light, Tape, Net, Tuft and String installations. Numen/ForUse was awarded Gold Medals for the Best Stage Design and the Best Use of Theatre Technology at PQ 2011. L Nikola Radeljković (1971, Sarajevo) je osnivač i partner u dizajnerskom kolektivu Numen/ForUse, djelujući na području scenografije, industrijskog dizajna i umjetničkih instalacija. Produkt dizajn grupa ForUse osnovana je 1998. godine kroz suradnju Svena Jonkea, Christopha Katzlera i Nikole Radeljkovića. Grupa od tad realizira namještaj i druge objekte za talijanske i njemačke proizvođače kao što su Cappellini, ClassiCon, Desalto, Interlubke, Magis, MDF Italia, Moroso, Prostoria i Zanotta. Od 2004. godine, nakon realizacije scenografske instalacije za produkciju Inferna u Nacionalnom centru za dramu u Madridu, Jonke, Katzler i Radeljković započinju intenzivno bavljenje kazališnom scenografijom. Grupa od tad realizira scenografije u Ateni, Beogradu, Berlinu, Istanbulu, Ljubljani, Madridu, Meridi, Osijeku, Rijeci, Skopju i Zagrebu, surađujući uglavnom s redateljima Tomažem Pandurom i Aleksandrom Popovskim s kojima uspostavljaju kontinuiranu suradnju. Od 2008. Numen/ForUse dizajnira objekte i koncepte bez unaprijed definirane funkcije, što rezultira hibridnim i eksperimentalnim projektima kao što su Field, N-Light, Tape, Net, Tuft i String. Numen/ForUse je nagrađen zlatnim medaljama za Najbolju scenografiju i Najbolje korištenje scenske tehnike na Praškom kvadrijenalu 2011. L

Igor Ružić

Igor Ružić (1975, Zagreb) theatre critic and journalist. He writes about theatre and cultural policies since 1998, on Radio 101, Zagreb, Croatia (1998–2010), cultural biweekly newspaper Vijenac (1999–2012.), on Croatian Radio 1 and 3 (since 2003). He was a regular contributor of tportal (2010–2014), now he is with kulturpunkt.hr, independent cultural news portal based in Zagreb. His critiques and essays were published in various magazines and periodicals in Croatia and in the exYu region. He was a jury member of the International

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Chamber Theatre Festival Goldel Lion in Umag, Croatia (2003), programmer and jury member of Naj, naj, nja festival, Zagreb, Croatia (2009–2013), jury member of Croatian Nonprofessional Theatre Festival (2013–2015). He was also international jury member of the Week of Slovenian Drama Festival in Kranj, Slovenia (2012–2013), International Theatre Festival BITEF, Belgrade, Serbia (2013) and National Theatre Festival Sterijino pozorje, Novi Sad, Serbia (2015). Ružić is a member of Cultural Council for Dramatic Arts, Dance and Performance with the Ministry of Culture of the Republic of Croatia (2012–). He is a member of Croatian Freelance Artists’ Association, Croatian Journalists’ Association and Croatian Association of Theatre Critics and Theatre Scholars.L Igor Ružić (1975, Zagreb) kazališni kritičar i novinar. Kazališnom kritikom i praćenjem kulturnih politika bavi se od 1998. Objavljivao je na Radiju 101 (1998.–2010.), u dvotjedniku Vijenac (1999.–2012.) te na Prvom i Trećem programu Hrvatskoga radija, od 2003. do danas. Od 2010. do 2014. bio je stalni honorarni suradnik tportala, danas portala za nezavisnu kulturu kulturpunkt.hr. Kazališne kritike i eseje sporadično objavljuje po časopisima u Hrvatskoj i regiji. Sudjelovao je u radu stručnog žirija na Međunarodnom festivalu komornog teatra Zlatni lav u Umagu (2003.), Naj, naj, naj festivalu u Zagrebu (2004, 2009.–2011.), kojeg je i izbornik (2012.–2013.), i član je Prosudbenog povjerenstva Festivala hrvatskih kazališnih amatera (2013.–2015.). Također je član međunarodnog žirija na festivalu Teden slovenske drame u Kranju, Slovenija (2012.–2013.), žirija na 47. izdanju Beogradskog internacionalnog teatarskog festivala BITEF, Srbija (2013.) i žirija kritike AICTa na festivalu Sterijino pozorje u Novome Sadu, Srbija (2015.). Član je Kulturnog vijeća za dramsku i plesnu umjetnost te izvedbene umjetnosti Ministarstva kulture RH (od 2012.). Član je Hrvatske zajednice samostalnih umjetnika Hrvatske u kategoriji kazališni kritičar, član je Hrvatskog novinarskog društva i Hrvatskog društva kazališnih kritičara i teatrologa.L

CollaboratorsSuradnici

Mauricio Ferlin

Mauricio Ferlin (1971, Pula) lives and works in Pula, Croatia. He graduated in 1996 from the School of Design in Zagreb. He works as a set designer, graphic designer, video artist and exhibition designer. He directed dance the performance Tepli zdrhi / Warm Thrills at the Festival of dance and nonverbal theatre in Svetvinčenat, and cocreated the performances Rondinella (with Maja Delak and Mala Kline) and Rodeo (with Maja Delak). As a videographer, he has collaborated on Delak/Kline’s Hi res at En knap, Ljubljana, Sarah Kane’s Crave at Croatian National Theatre in Zagreb (directed by Borut Šeparović) and Ivana Sajko’s Archetype: Medea/Woman-Bomb at Europa Theatre ZKM Zagreb (directed by SajkoRuždjakPerković). He was a set designer for Matija Ferlin’s performances: The Most Together We’ve Ever Been, Nastup/Onformance, Samice, Sad Sam Lucky, The Other at the Same Time and We are Kings not Humans. He also designed a set for Mishima’s Modern No Dramas directed by Mateja Koležnik in Trieste, 2014. He realized numerous exhibition designs including awarded sets for Valiže&deštini at EMI Pazin and Ki sit ki lačan – on Istrian food at KIM, Sveta Srca, Pula. Last year he displayed two selfcurated exhibitions: Oh, Sestro at MMC Luka, Pula and Zatvoreno More/Climb Every Mountain, MGP Sveta Srca, Pula.L Mauricio Ferlin (1971, Pula) živi i radi u Puli, Hrvatska. Diplomirao je 1996. godine na Studiju dizajna u Zagrebu. Bavi se scenografijom, dizajnom vizualnih komunikacija, videom i postavom izložbi. Režirao je predstavu Tepli zdrhi na festivalu plesa i

neverbalnog kazališta u Svetomvinčentu, 2001. godine, i sudjelovao kao koautor u performansima Rondinella (s Majom Delak i Malom Kline) i Rodeo (s Majom Delak). Kao dizajner videa surađivano je s Delak/Kline na Hi res u En knap, Ljubljana, na Crave Sarah Kane u HNK Zagreb (režija Borut Šeparović) i s Ivanom Sajko na Arhetip: MedejaŽena bomba u ZKMu u Zagrebu (režija Sajko, Ruždjak, Perković). Dizajnirao je scenografije za projekte Matije Ferlina The Most Together We’ve Ever Been, Nastup, Samice, Sad Sam Lucky, The Other at the Same Time i We are Kings not Humans. Autor je scenografije za Mishimine Modern No Dramas u režiji Mateje Koležnik u Trstu, 2014. Realizirao je i više izložbenih postava od kojih vrijedi izdvojiti nagrađivane Valiže&deštini u EMI Pazin i Ki sit ki lačan – o prehrani u Istri u KIM, Sveta Srca. Prošle godine predstavio je i dva autorska izložbena projekta: Oh, Sestro u MMC Luka, Pula i Zatvoreno More/Climb Every Mountain, u MGP Sveta Srca, Pula.L

Ana Marija Habjan

Ana Marija Habjan (1968, Split) is a programme editor and documentary film director. She graduated in Art History and Italian Language and Literature from the Faculty of Humanities and Social Sciences in Zagreb. Since 1999, she has been working as an editor in the Programme for Culture of Croatian Television. She is the author and director of a series of television portraits of Croatian artists (New Dubrovnik of Nikola Dobrović, Photographer Boris Cvjetano-vić, Architect Stjepan Planić, Vlado Kristl, Architect Ivan Vitić, etc), as well as documentary films (The Museum of Modern Art, New Tendencies 1961–1973, Gorgona) and the documentary TVspecial series Photography inCroatia.L Ana Marija Habjan (1968, Split) je televizijska urednica i redateljica dokumentarnih filmova. Diplomirala je povijest umjetnosti i talijanski jezik i književnost na Filozofskom fakultetu u Zagrebu. Od 1999. radi kao urednica u programu za kulturu Hrvatske televizije. Autorica je i redateljica serije televizijskih portreta hrvatskih umjetnika (Novi Dubrovnik Nikole Dobrovića, Foto-graf Boris Cvjetanović, Arhitekt Stjepan Planić, Vlado Kristl, Arhitekt Ivan Vitić, itd.), kao i dokumentarnih filmova (Muzej suvremene umjetnosti, Nove tendencije 1961.–1973., Gorgona) i dokumentarnog TV serijala Fotografija u HrvatskojL

Biographies

98Intangible

ArtistsUmjetnici

BADco.

BADco. is a collaborative performance collective based in Zagreb, Croatia. The artistic core of the collective are Ivana Ivković, Ana Kreitmeyer, Tomislav Medak, Goran Sergej Pristaš, Nikolina Pristaš, Lovro Rumiha and Zrinka Užbinec. As a combination of three choreographers / dancers, two dramaturgs and one philosopher, plus the company production manager, since its beginning in 2000, BADco. systematically focuses on the research of protocols of performing, presenting and observing by structuring its projects around diverse formal and perceptual relations and contexts. BADco. projects are renowned for their reconfiguring established relations between performance and audience, challenging perspectival givens and architectonics of performance as well as problematizing of communicational structures. Members of the group take part in civil activism, human rights movements and debates on civil and cultural policies. The longstanding collaboration between BADco. and German humanmachine interface developer and artist Daniel Turing resulted in a set of software tools designed for the analysis and development of dance and movement Whatever Dance Toolbox, which is used both in productions and workshops. In fifteen years BADco. produced more than twenty productions, most of which toured internationally as part of performance and research based events and festivals in Europe and the US. BADco. presented their project Responsibility for the Things Seen at the 54th International Art Exhibition — la Biennale di Venezia as part of Croatian Exhibition.L

BADco. Kolaborativna je izvedbena skupina koja djeluje u Za grebu, Hrvatska. Jezgru skupine čine: Ivana Ivković, Ana Kreitmeyer, Tomislav Medak, Goran Sergej Pristaš, Nikolina Pristaš, Lovro Rumiha i Zrinka Užbinec. Od svog osnutka u 2000. godini, BADco. se kroz suradnju troje koreografa/plesača, dvoje dramaturga i jednog filozofa, uz producenta skupine, sistematično bavi istraživanjem protokola izvođenja, predstavljanja i gledanja, strukturirajući svoje projekte unutar različitih formalnih i percepcijskih odnosa i sklopova. Projekte BADco. karakterizira rekonfiguracija etabliranih odnosa izvedbe i publike, propitkivanje perspektivnih datosti i arhitektonike izvedbe te problematizacija komunikacijskih struktura. Članovi skupine prisutni i na polju aktivizma, ljudskih prava, kulturnopolitičkih i političkih zagovaranja. U suradnji s njemačkim umjetnikom i programerom Danijelom Turingom razvili su niz softverskih alata za analizu i razvoj pokreta Whatever Dance Toolbox koji prezentiraju u vidu radionica i koriste u svome radu. Više od dvadeset naslova nastalih tijekom petnaest godina rada skupine gostovalo je na progresivnijim festivalima u Europi i Sjedinjenim Američkim Državama. S projektom Odgovornost za viđeno bili su dio Hrvatskog paviljona na 54. Venecijanskom bijenalu 2011.L

Boris Bakal

Boris Bakal (1959, Zagreb) is a theatre/film director and actor, intermedia artist, curator, writer, activist and pedagogue. Throughout his versatile career, he authored projects, performances, lectures, films, installations and multimedia projects. He also cofounded artistic festivals, platforms and sociopolitical initiatives. His articles on art and cultural policies were published in Italy, Croatia, Germany, Serbia, Belgium, US, UK and the Netherlands. Bakal collaborated with numerous directors, choreographs, intermedia artists, producers, researchers and curators from all around the globe. His work is marked, among other, by pronounced exploration of the site/timespecific and the interactive elements of arts. Boris Bakal was visiting scholar/researcher at a number of universities in Europe and the US and he took part in various symposia, conferences and roundtables worldwide. In 2001 he cofounded international artistic platform Bacači Sjenki/Shadow Casters whose projects

Exposition, Vacation from History and Male/Female have, under his artistic lead, extensively toured Croatia and the South and East of Europe. Bakal is also the founder and artistic manager of Frooom experimental film school for children and youth. L Boris Bakal (1959., Zagreb), kazališni je i filmski redatelj, pisac, kazališni, radijski, TV i filmski glumac, intermedijalni/multimedijalni umjetnik. Autor je mnogobrojnih projekata u rasponu od kazališnih predstava, preko video i audioinstalacija, multimedijalnih projekata, filmova i kulturnosocijalnopolitičkih inicijativa; sudjelovao je u radu i osnivanju različitih festivala, platformi i inicijativa; piše i objavljuje napise o umjetnosti i kulturnim politikama u zbornicima, časopisima i dnevnicima u Italiji, Hrvatskoj, Njemačkoj, Srbiji, Belgiji, SADu, Ujedinjenom Kraljevstvu i Nizozemskoj. Surađuje s mnogobrojnim redateljima, koreografima, intermedijalnim umjetnicima, producentima, istraživačima i kuratorima iz cijelog svijeta. Njegov je rad, između ostalog, karakterističan po specifičnim istraživanjima grada i netipičnih izvedbenih lokacija, dokumentarističkom pristupu te po interaktivnim elementima u umjetničkim projektima. Kao gostujući predavač izlaže na više sveučilišta u Europi i Sjedinjenim Američkim Državama te brojnim simpozijima, konferencijama i tribinama. Godine 2002. suosnovao je i do danas vodi međunarodnu umjetničku platformu Bacači sjenki čiji su projekti Ex-Pozicija, MŽŽM i Odmor od povijesti gostovali u Hrvatskoj i regiji. Pokretač je i Filmske radionice za djecu Frooom.L

Oliver Frljić

Oliver Frljić (1976, Travnik, Bosna and Hercegovina) theatre director. He graduated theatre direction in 2002 from the Academy of Dramatic Arts and philosophy and religious culture from The Faculty of Philosophy of the Society of Jesus, University of Zagreb. Before and during his study he led a noticed amateur performance group Le Cheval whose radical works announced his future style. Having been engaged in professional theatres before graduation, Frljić started his successful career working in children and youth theatres, communal theatres and national ones. His performances well received both by the audience and the critics, he was invited to direct in Serbia (Subotica, Beograd), Slovenia

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(Ljubljana, Kranj), Bosnia and Hercegovina (ZenicaSarajevo), Germany (Düsseldorf), Poland (Krakow) and Austria (Graz). His performances, or himself as director, were awarded at numerous festivals in the exYu region: he was the laureate of Assitej Festival, Naj, naj, naj festival, Croatian Theatre Award, Gavella Evenings, Dubrovnik Summer Festival, International Chamber Theatre Festival Golden Lion, International Small Scenes Festival in Croatia; Sterijino pozorje, Festival No Translation Needed, BITEF, Children Theatre Festival Pozorište Zvezdarište in Serbia; Bosnia and Herzegovina Drama Festival, Professional Theatre Meeting, MESS in Bosnia and Herzegovina. Since 2014 Frljić is the general manager of Croatian National Theatre Ivan pl. Zajc in Rijeka, Croatia. L Oliver Frljić (1976, Travnik, Bosna i Hercegovina). Diplomirao je 2002. godine filozofiju i religijsku kulturu te kazališnu režiju i radiofoniju na Akademiji dramske umjetnosti u Zagrebu. Prije i tijekom studija vodio je zapaženu amatersku kazališnu skupinu Le Cheval, u čijim se radikalnim performansima već mogla naslutiti buduća redateljeva poetika. Profesionalno režira već tijekom studija, a nakon njega započinje uspješnu karijeru paralelno radeći u kazalištima za djecu i za odrasle, od nacionalnih kazališta do gradskih. Nakon velikih uspjeha u Hrvatskoj, počinje raditi i u Srbiji (Subotica, Beograd), Sloveniji (Ljubljana, Kranj), Bosni i Hercegovini (Zenica, Sarajevo), Njemačkoj (Düsseldorf), Poljskoj (Krakow) i Austriji (Graz). Nagrade za režiju ili predstavu u cjelini ponio je s velikog broja festivala u regiji: Susreta profesionalnih kazališta za djecu i mlade HC Assitej, Naj, naj, naj festivala, Nagrade hrvatskoga glumišta, Gavellinih večeri, Dubrovačkih ljetnih igara, Međunarodnog festivala komornog teatra Zlatni lav, Međunarodnog festivala malih scena, Hrvatska; Sterijinog pozorja, Jugoslovenskog pozorišnog festivala Bez prevoda, BITEFa, Dečjeg pozorišnog festivala Pozorište Zvezdarište, Srbija; Festivala bosanskohercegovačke drame, Susreta profesionalnih pozorišta, MESSa, Bosna i Hercegovina. Intendant je Hrvatskog narodnog kazališta Ivana pl. Zajca u Rijeci, Hrvatska. L

Damir Bartol Indoš

Damir Bartol Indoš (1957, Zagreb) is a performer and theatre artist, he creates experimental music instruments,

sound sculptures Schachtophones and graphic partitures. Graduated in comparative literature and philosophy at the Faculty of Philosophy, University of Zagreb. He was one of the members of the influential neoavantgarde performance group Theatre Kugla / Kugla Glumište and cocreated and performed in many actions and performances from 1975 to 1981/1982. With the performance Action 16:00 in 1981, the group was divided between soft and hard fraction. As the initiator of hard fraction called Group Kugla, DB Indoš has created during the 1980s series of solo and group performances. As DB Indoš House of Extreme Music Theater, from the 1990s, he created a series of projects and world tours with a variety of foreign and domestic artists and musicians. Since the 2005, in collaboration with an actress Tanja Vrvilo he’s been creating experimental theatre works and performances, as well as solo performances, mostly in coproduction with Culture of Change — Theatre &TD/ Students Centre of the University of Zagreb. He is a member of the Croatian Freelance Artists’ Association and the Association of Fine Art Artists ULUPUH. He was awarded for his contribution to alternative culture in Croatia by City of Zagreb, 2009. He received the THT Award by Museum of Contemporary Art, Zagreb, for a sound sculpture Schachtophone in 2012. L Damir Bartol Indoš (1957, Zagreb) je performer i kazališni umjetnik koji stvara eksperimentalne glazbene instrumente, zvučne skulpture Šahtofone i grafičke partiture. Diplomirao je filozofiju i komparativnu književnost na Filozofskom fakultetu Sveučilišta u Zagrebu. Bio je član neoavangardne kazališne grupe Kugla Glumište s kojom je stvarao i izvodio niz utjecajnih akcija i performansa u razdoblju od 1975. do 1981./1982. S radom Akcija 16:00, iz 1981. godine, grupa se dijeli na mekanu i tvrdu frakciju. Tijekom 1980ih, kao pokretač tvrde frakcije nazvane Grupa Kugla, DB Indoš radio je seriju grupnih i solo performansa. Od 1990ih, pod imenom DB Indoš — Kuća ekstremnog muzičkog kazališta, ostvaruje niz projekata i gostovanja u zemlji i svijetu s brojnim domaćim i stranim umjetnicima i glazbenicima. Od 2005. u autorskoj suradnji s glumicom Tanjom Vrvilo realizira eksperimentalne kazališne radove i performanse, kao i solo izvedbe, najčešće u koprodukciji s Kulturom promjene Teatra &TD Studentskog centra Sveučilišta u Zagrebu. Kao kazališni redatelj

član je Hrvatske zajednice samostalnih umjetnika, te ULUPUHAa u sekciji kazališne scenografije. Dobitnik je nagrade Grada Zagreba 2009. za doprinos alternativnoj kulturi Hrvatske. Dobitnik je prve nagrade Muzeja suvremene umjetnosti u Zagrebu na natječaju MSU THT iz 2011. za zvučnu skulpturu Šahtofon. L

Božena Končić Badurina

Božena Končić Badurina (1973, Zagreb) is a visual artist. She took a degree in German and Russian language and literature at the Faculty of Philosophy in Zagreb in 1995. She also took a BFA at the printmaking department of the Academy of Fine Arts in Zagreb in 1996. She has exhibited in solo and collective exhibitions at home and abroad. She has won the Zagrebačka banka Prize for a Dissertation Work (1996); the Audience Prize at the 24th Youth Salon in 1996 and the HDLU Best Exhibition Prize in 2007. In 2010 she had two months as artist in residence in Art in General, New York. She lives and works in Zagreb. Major recent exhibitions and performances: Everything Revolves Revolves Around The Garden, Galerija AŽ, Zagreb, 2014; Guide to the Gallery, Forum Gallery, Zagreb, 2013; Simplon Express/The Return, Zagreb, Milan, Lyon, Paris, 2012; The event, 29. Graphic Biennale, Modern Gallery, Ljubljana, 2011; Out Of Left Field, MMSU, Rijeka, 2011; Stage TheSpace, Betahaus, Berlin, 2011; Image of Sound, NO Gallery, MSU, Zagreb, 2011; 1001 Nights and Other Stories, Prozori Gallery, Zagreb, 2010; More passive than every passivity, Art in General, New York, 2010; Sintart, Richter Collection, MSU, Zagreb, 2010; [email protected], MSU, Zagreb, 2010; Orange Dog and Other Stories, Students Center, Zagreb, 2009; Looking at Others, Arts Pavilion, Zagreb, 2009; Connected, PM Gallery/Bačva Gallery, Zagreb, 2007; 47. Poreč Annale, Istrian Assembly Hall, Poreč, 2007. L Božena Končić Badurina (1967, Zagreb) je vizualna umjetnica. Diplomirala je njemački i ruski jezik i književnost 1995. na Filozofskom fakultetu u Zagrebu te na grafičkom odjelu Akademije likovnih umjetnosti u Zagrebu 1996. Izlagala je na brojnim samostalnim i grupnim izložbama u zemlji i inozemstvu. Dobitnica je Nagrade Zagrebačke banke za diplomski rad (1996.), Nagrade publike 24. Salona mladih (1996.) te Nagrade HDLUa za najbolju izložbu u 2007. godini. Godine 2010. boravila

Biographies

100Intangible

je na dvomjesečnom rezidencijalnom boravku u Art in General u New Yorku. Značajnije izložbe, projekti i performansi u posljednjih nekoliko godina: Sve se vrti oko vrta, Galerija AŽ, Zagreb, 2014; Vodič kroz galeriju, Galerija Forum, Zagreb, 2013; Simplon express/povratak, Zagreb, Milano, Lion, Pariz, 2012; The event, 29. Grafički bijenale, Moderna galerija, Ljubljana, 2011; Out Of Left Field, MMSU, Rijeka, 2011; Stage TheSpace, Betahaus, Berlin, 2011; Slika od zvuka, Galerija NO, MSU, Zagreb, 2011; 1001 noć i druge priče, Galerija Prozori, Zagreb, 2010; More passive than every passivity, Art in General, New York, 2010; Sintart, Zbirka Richter, MSU, Zagreb, 2010; [email protected], MSU, Zagreb, 2010; Narančasti pas i druge priče, Studentski centar, Zagreb, 2009; Gledati druge, Umjetnički paviljon, Zagreb, 2009; Connected, Galerija PM/Galerija Bačva, Zagreb, 2007; 47. porečki annale, Istarska sabornica, Poreč, 2007. L

Siniša Labrović

Siniša Labrović (1965, Sinj) graduated Croatian language and literature from the Faculty of Philosophy in Zagreb in 1997. He started to be involved in visual arts in 2000. He has exhibited in collective and individual shows and put on actions, performances, done graffiti and been involved in urban interventions in Croatia and abroad: Dubrovnik, Zagreb, Split, Poreč, Osijek, Pula, Belgrade, Novi Sad, Ljubljana, Celje, Graz, Carlisle, Reykjavík, Regensburg, Dundee, Istanbul, Budapest, Berlin, Łódź, Prague, Dresden, Ume, Ornskoldsvik, Lycksele, Telavi, Sheki, Bratislava, Venice, Paris, etc. In 2005 he attracted the attention of world media (such as Reuters, BBC, Ansa, New York Post, Guardian, Times, NBC, ABC) with his work Flock.org in which sheep were the contestants in a reality show. His works are in the collection of Museum of Contemporary Art Zagreb, Fine Arts Gallery Split and Museum of Modern Art Dubrovnik. In 2009 he exhibited at the 11th Istanbul Biennial — What Keeps Mankind Alive?. In 2012 he represented Croatia at 13th Venice Architecture Biennale, titled Common Ground, together with Pula Group, Hrvoslava Brkušić, Igor Bezinović and Boris Cvjetanović. L Siniša Labrović (1965, Sinj) završio je studij hrvatskog jezika i književnosti na Filozofskom fakultetu u Zagrebu. Vizualnim umjetnostima počeo se baviti 2000. godine. Izlagao je na broj

nim samostalnim i skupnim izložbama u zemlji i inozemstvu; izvodio je akcije, performanse, grafite i urbane intervencije u Dubrovniku, Zagrebu, Splitu, Poreču, Osijeku, Puli, Beogradu, Novom Sadu, Ljubljani, Celju, Grazu, Carlisleu, Reykjavíku, Regensburgu, Dundeeju, Istanbulu, Budimpešti, Berlinu, Łódźu, Pragu, Dresdenu, Umeu, Ornskoldsviku, Lyckseleu, Telaviju, Shekiju, Bratislavi, Veneciji, Parizu itd. Multimedijalnim umjetničkim projektom Stado.org (2005.) u kojem su ovce bile sudionice reality showa, izazvao je pozornost svjetskih medija (Reuters, BBC, Ansa, New York Post, Guardian, Times, NBC, ABC…). Radovi mu se nalaze kolekcijama Muzeja suvremene umjetnosti u Zagrebu, Galeriji umjetnina u Splitu i Umjetničkoj galeriji Dubrovnik. Godine 2009. izlagao je na 11. Istanbulskom bijenalu — Od čega čovjek živi?.Godine 2012. predstavljao je Hrvatsku na 13. Bijenalu arhitekture u Veneciji u sklopu izložbe Common Ground s Pulskom Grupom, Hrvoslavom Brkušić, Igorom Bezinovićem i Borisom Cvjetanovićem. L

Kata Mijatović

Kata Mijatović (1956, Branjina) graduated from the Faculty of Law, University of Osijek in 1981. From 1988–1991 she is a member of the art group Swamp in Baranja. From 1991–1993 she studied at the Accademia di Belle Arti, Florence and in 1997 she graduated painting at the Academy of Fine Arts, Zagreb. Since 2005 she runs the AŽ Gallery, part of the Artistic Žitnjak Ateliers, Zagreb. Since 2007 she is a founding member of the art group PLEH. She represented Croatia at 55th International Art Exhibition La Biennale di Venezia in 2013, with the project Between the Sky and the Earth. Selected recent exhibitions and projects: Everybody Knows…, Performance art festival, Osijek, 2012; The Look of Resistance, with Vlasta Žanić, No Gallery, MSU Zagreb, 2011; Greetings from Baranja, with Zoran Pavelic, Koohinor Gallery, Copenhagen, 2011; The Calling, Gliptoteka HAZU, Zagreb, 2011; Sleep-ing between the Sky and the Earth, MSU Zagreb, 2010; Choir, MSU Zagreb, 2009; Two Dreams, Performance Art Festival Dopust, Split, 2009; Temple, Ring Gallery HDLU, Zagreb, 2009; Kunst ist ein deutsches Wort, with Zoran Pavelic, Studioausstellung, Dusseldorf, 2007; Visible/Invisible, Bačva Gallery, HDLU, Zagreb, 2007; Resume, MM Center, Zagreb, 2006; Dream Archive, online project for Miroslav Kraljevic Gallery, Zagreb, Croatia. L

Kata Mijatović (1956, Branjina) diplomirala je pravo na Pravnom fakultetu u Osijeku. Od 1988. do 1991. članica je neformalne umjetničke grupe Močvara / Baranja. Od 1991. do 1993. studira slikarstvo na Accademia di belle arti Firenze, a potom nastavlja studij slikarstva na ALU Zagreb gdje je diplomirala 1997. Od 2005. do 2010. članica je Umjetničkog odbora Baranjske umjetničke kolonije, a od 2005. voditeljica Galerije AŽ Atelieri Žitnjak Zagreb. Od 2007. članica je i suosnivačica umjetničke grupe PLEH. Godine 2013. sudjelovala je na 55. Venecijanskom bijenalu, kao predstavnica Hrvatske s projektom Između neba i zemlje. Odabrane recentnije izložbe i projekti: Everybody Knows…, Performance art festival, Osijek, 2012; Pogled otpora, with Vlasta Žanić, No galerija, MSU Zagreb, 2011; Greetings from Baranja, sa Zoranom Pavelićem, Koohinor Gallery, Copenhagen, 2011; Dozi-vanje, Gliptoteka HAZU, Zagreb, 2011; Spavanje između neba i zemlje, MSU Zagreb, 2010; Zbor, MSU Zagreb, 2009; Dva sna, Festival performansa Dopust, Split, 2009; Hram, Galerija Prsten HDLU, Zagreb, 2009, Kunst ist ein deutsches Wort, sa Zoranom Pavelićem, Studioausstellung, Dusseldorf, 2007; Vidljivo/Nevidljivo, Galerija Bačva, HDLU, Zagreb, 2007; Resume, MM centar, Zagreb, 2006; Arhiv snova, online projekt za Galeriju Miroslav Kraljević, Zagreb, 2005. L

Igor Pauška

Igor Pauška (1976, Bjelovar), visual artist, set and light designer. Studied painting and multimedia in the class of professor Ante Rašić at the Academy of Fine Arts, University of Zagreb. Since 2001 he continually intensifies his collaboration with renown Croatian theatre directors, choreographs and dramaturges as set/light/multimedia designer in more than fifty projects produced by various institutions, from public theatres to private ones and independent artist organizations. Pauška is the author and cofounder of the project Platform and curator of exhibition Move-ment, both parts of the Young Choreographers Platform in Zagreb. He also established a biennial exhibition Inner Structures as part of the Blin In Theatre Festival produced by the Blind and Visually Impaired Theatre New Life in Zagreb. Cofounder of the NURADIZAJN, studio for theatre and visual production. His works have been presented at numerous solo and group exhibitions in Croatia and abroad. Pauška received Grand prix

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for the light installation on the International salon of Alexandria, Egypt, in 2006 and both the second and third audience prize at Pula Film Festival, Croatia, for experimental films All over you and Space oddity in 2005.L Igor Pauška (1976, Bjelovar), vizualni je umjetnik, scenograf, oblikovatelj svjetla. Diplomirao je slikarstvo i multimediju na Akademiji likovnih umjetnosti Sveučilišta u Zagrebu u klasi Ante Rašića. Od 2001. intenzivira suradnju s dramskim i plesnim kazalištem kao scenograf, autor multimedije i oblikovatelj svjetla u više od pedeset projekata renomiranih domaćih redatelja, koreografa i dramaturga, ostvarenih u produkciji brojnih institucionalnih i privatnih kazališta te neovisnih umjetničkih organizacija. Suosnivač je izložbe Platforma i selektor izložbe Pokret u okviru festivala Platforma mladih koreografa, osnivač bijenalne izložbe Unutraš-nje strukture koja se održava u sklopu Blind in theatre festivala Kazališta slijepih i slabovidnih Novi život u Zagrebu. Suosnivač je NURADIZAJN grupe koja se bavi likovnom i kazališnom produkcijom te vizualnim dizajnom. Izlagao je grupno i samostalno u Hrvatskoj i inozemstvu. Dobitnik je nagrade Međunarodnog salona mladih u Aleksandriji, Egipat (2006.), te nagrade publike na 52. Pula film festivala za filmove All over you i Space oddity (2005.). L

Borut Šeparović

Borut Šeparović (1967, Zagreb) graduated in Philosophy and Comparative Literature at the Faculty of Humanities and Social Sciences of the University of Zagreb, and from the graduate school at Das Arts (Advanced Studies in Performance Arts) in Amsterdam. His artistic biography as a founder, artistic leader, director and choreographer equates with Montažstroj’s biography. Under his artistic leadership, the group Montažstroj, since its founding in 1989, became a trademark of a new and different theatre in Croatia and abroad, retaining that status until today. He directed, choreographed and led over fifty projects, plays and performances whose production was signed by Montažstroj. He achieved significant success by directing projects, or as a dramaturge, at various institutional theatres in Croatia, Serbia and Slovenia. His performances, whether branded Montažstroj or not, were presented at the most prestigious international festivals.

He headed a large number of artexploration workshops in different countries (Croatia, Germany, the Netherlands, Serbia and Montenegro and others) and acted as a pedagogue at the St. Joost Academy in the Netherlands. He received an award at Bagnolet Young Choreographers Competition, France, as well as two Special awards and the audience award at BITEF festival in Belgrade, Serbia. Šeparović also received Vjesnik’s award Dubravko Dujšin in 2009 for exceptional contribution to theater art for leading the Montažstroj troupe for twenty years and for directing the play Generation 91–95. L Borut Šeparović (1967, Zagreb) diplomirao je filozofiju i komparativnu književnost na Filozofskom fakultetu Sveučilišta u Zagrebu te na postdiplomskom studiju Das Arts u Amsterdamu. Njegova umjetnička biografija kao utemeljitelja, umjetničkog voditelja i redatelja, istovjetna je biografiji umjetničkog kolektiva Montažstroj. Pod njegovim umjetničkim ! samog osnutka 1989. godine Montažstroj postaje zaštitnim znakom, do danas prepoznatljivim u Hrvatskoj i inozemstvu. Režirao je, koreografirao i vodio više od pedeset projekata, predstava i performansa s produkcijskim potpisom Montažstroja. Zapažen uspjeh postigao je kao redatelj, ali i kao dramaturg, u raznim institucionalnim kazalištima Hrvatske, Srbije i Slovenije. Predstave koje potpisuje sam ili pod brendom Montažstroj gostovale su na prestižnim svjetskim festivalima. Vodio je veći broj umjetničkoistraživačkih radionica (Hrvatska, Njemačka, Nizozemska, Norveška, Srbija, Italija, Crna Gora…) te niz godina djelovao kao pedagog na Akademiji St. Joost u Nizozemskoj. Dobitnik je nagrade na međunarodnom susretu mladih koreografa u Bagnoletu, Francuska, nagrade publike i dvije specijalne nagrade na međunarodnom kazališnom festivalu BITEF u Beogradu, Srbija, te nagrade Dubravko Dujšin novina Vjesnik u 2009. godini za izniman doprinos kazališnoj umjetnosti i režiju predstave Generacija 91–95. L

Tanja Vrvilo

Tanja Vrvilo (1966, Zagreb) works as performer and coauthor of experimental theatre productions as well as filmologist and film curator. Studied acting at The Academy of Dramatic Arts, University of Zagreb and postgraduate film studies at The Faculty of Philosophy, University of Zagreb. She is a director

of a film festival Film Mutations: Festival of Invisible Cinema in Zagreb. Works as Head of BA programme and teaches at film.factory, established by Béla Tarr in Sarajevo, Bosnia and Hercegovina. As a performer, since late 1980s she has participated in many institutional theatre productions and since 2000s has been coauthoring and performing with alternative performance groups and authors, on continuous basis with a neoavantgarde performer and artist Damir Bartol Indoš. She is an author of numerous essays and publications and works regularly as lecturer in the fields of cinema, visual and performing arts. She has curated numerous regular and festival film programs, her special interest are avantgardes and Japanese Cinema. As a freelance artist she is member of Croatian Association of Dramatic Artists, Croatian Freelance Artists’ Association and Croatian Film Critics Association. L Tanja Vrvilo (1966, Zagreb) radi kao izvođačica, koautorica eksperimentalnih kazališnih projekata te filmologinja i filmska kustosica. Studirala je glumu na Akademiji dramske umjetnosti i poslijediplomske studije filma na Filozofskom fakultetu Sveučilišta u Zagrebu. Direktorica je filmskog festivala Filmske mutacije: festival nevidljivog filma. Vodi dodiplomski studij režije i predaje na međunarodnoj filmskoj akademiji film.factory u Sarajevu, BiH, koju je osnovao Béla Tarr. Kao izvođačica radila je od kasnih 1980ih u mnogim institucionalnim kazališnim produkcijama, a od 2000. radi kao koautorica i izvođačica s alternativnim kazališnim grupama i autorima, kontinuirano s neoavangardnim performerom i umjetnikom Damirom Bartolom Indošem. Autorica je brojnih eseja i publikacija te redovito predaje u područjima filmske, vizualne i izvedbene umjetnosti. Kustosica je mnogih redovnih i festivalskih filmskih programa, s posebnim istraživačkim zanimanjem za japanski film i filmske avangarde. Kao samostalna umjetnica članica je Hrvatske zajednice samostalnih umjetnika, Hrvatskog društva dramskih umjetnika i Hrvatske zajednice filmskih kritičara. L

Leo Vukelić

Leo Vukelić (1972, Zagreb), visual artist, set designer and performer. Vukelić studied electrical engineering and in 1996 he turned to painting and entered the Academy of Fine Arts, University of Zagreb, but in 2000 he

Biographies

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transferred to Kunstakademie in Düesseldorf, Njemačka, where he continued his artistic education in sculpture in the class of Prof. Magdalena Jetelova. He graduated the Free Arts Programme from Kunstakademie in 2004. After returning to Zagreb the same year, along with two associates Vukelić founded independent artist organization Tigar Teatar and started producing theatre for children and youth. Since 2006 he obtains the position of general manager at the Children Theatre Dubrava which is part of Dubrava Cultural Centre in Zagreb. There he established a programme Theatre Night that grew into the European Theatre Night in which more than three hundred theatres from ten EU countries take part. Vukelić became a member of board of the Croatian Centre Assitej in 2008 and is its president since 2013. His artistic life in theatre comprises of more than a hundred professional projects in which he collaborated as set/costume/light and visual designer, performer, author and director. His work was presented at numerous solo and group exhibitions in Croatia and abroad.L Leo Vukelić (1972, Zagreb), magistar je umjetnosti, scenograf i izvođač. Nakon osnovne i srednje škole studira elektrotehniku, a 1996. godine upisuje Akademiju likovnih umjetnosti u Zagrebu, smjer slikarstvo. Godine 2000. odlazi na Kunstakademie u Düesseldorfu, Njemačka, gdje mijenja smjer u kiparstvo, u klasi prof. Magdalene Jetelove. Diplomira program slobodnih umjetnosti 2004 godine. Iste godine vraća se u Zagreb te s dvoje kolega pokreće umjetničku organizaciju Tigar teatar i bavi se kazalištem za djecu i mlade. Od 2006. godine stalno je zaposlen kao voditelj Dječjeg kazališta Dubrava Narodnog sveučilišta Dubrava u Zagrebu. Od kazališnih početaka pa do danas realizirao je kao umjetnik više od 100 profesionalnih projekata na gotovo svim hrvatskim pozornicama, u svojstvu scenografa, kostimografa, izvođača, autora teksta, redatelja, dizajnera rasvjete i vizualnoga identiteta. Od 2008. član je Upravnog odbora Hrvatskog centra Assitej, a od 2013. njegov je predsjednik. Godine 2008. pokrenuo je manifestaciju Noć kazališta koja se danas zove Europska noć kazališta i paralelno se održava u deset europskih zemalja i više od tristo kazališta. Usporedo je aktivan i na području vizualnih umjetnosti te ima iza sebe brojne samostalne i grupne izložbe u zemlji i inozemstvu. L

Vlasta Žanić

Vlasta Žanić (1966, Zagreb) graduated from the Applied Arts School in Zagreb in 1985. In 1990, she took her degree from the Zagreb Academy of Fine Arts. In the first ten years of her career, Vlasta Žanić systematically explored spatial problems in a sculptural way. After 2001, Vlasta Žanić increasingly did performances and shot video works. The change in her medium of expression is a reflection of a change in thematic focus. Now she is largely concerned with issues of a selfreferential nature, about her own role as artist, woman, mother; her relationships with the surroundings and the audience; the transformations that occur in manipulations of content in the media. Vlasta Žanić exhibited at around thirty individual exhibitions and numerous group exhibitions. She has been awarded with a number of prizes (prize at The Eighth Triennial of Croatian Sculpture in 2003, Vjesnik’s annual prize for visual art in 2006...). Her works are part of numerous public and private contemporary art collections such as those of the Museum of Contemporary Art Zagreb, Modern Gallery Zagreb, Museum of Fine Arts Split, The Museum of Modern Art Dubrovnik, Branko Ružić Collection in Slavonski Brod, Lauba Zagreb, etc. From 2010 she teaches sculpture at the Split Arts Academy. L Vlasta Žanić (1966, Zagreb) završila je Školu primijenjene umjetnosti u Zagrebu 1985. Na zagrebačkoj Akademiji likovnih umjetnosti, odjel kiparstva, diplomirala je 1990. Prvih deset godina svojega djelovanja Vlasta Žanić sustavno istražuje kiparsko prostorne probleme. Nakon 2001. Vlasta Žanić sve češće izvodi performanse i snima video radove. Promjena izražajnog medija odraz je promjene tematskog fokusa: sada su to uglavnom pitanja autoreferencijalne prirode, o vlastitoj ulozi umjetnice, žene, majke, o vlastitom odnosu prema okolini ili publici, o transformacijama koje se događaju u medijskoj manipulaciji sadržajem. Vlasta Žanić izlagala je na tridesetak samostalnih i brojnim skupnim izložbama, a dobitnica je i više nagrada za dostignuća u likovnoj umjetnosti. Uz ostale, dobitnica je nagrade na 8. Trijenalu hrvatskog kiparstva 2003. i Vjesnikove godišnje nagrade za likovnu umjetnost Josip Račić 2006. godine. Njeni radovi nalaze se u javnim i privatnim zbirkama suvremene umjetnosti kao što su Muzej suvremene umjetnosti

u Zagrebu, Moderna galerija u Zagrebu, Galerija umjetnina u Splitu, Umjetnička Galerija Dubrovnik, Zbirka Branko Ružić u Slavonskom Brodu, Zbirka Lauba u Zagrebu itd. Od 2010. radi kao docentica kiparstva na Umjetničkoj akademiji u Splitu. L

Intangible Neopipljivo

Publisher Izdavač Croatian Designers Association

On behalf of the Publisher Za izdavača Ivana Borovnjak

EditorUrednik Marko Golub

TextsTekstovi Una Bauer, Mauricio Ferlin, Marko Golub, Ana Marija Habjan, Nikola Radeljković, Igor Ružić

Graphic design Grafički dizajn Tina Ivezić, Damir Prizmić

Translation Prijevod Mirna Herman Baletić (Language Lab); MG, IR, NR

Proofreading, Copy editingLektura, korektura Mirjana Jakušić, Ksenija Žakula

CirculationNaklada 800

Place and date of publishingMjesto i godina izdanja Zagreb, 2015

The catalogue and the films were produced for the Croatian exhibition on the Prague Quadriennial of Performance Design and Space 2015 (18–28 June 2015, Prague, Czech Republic) The project was organised under the auspice of the Ministry of Culture of the Republic of Croatia, financed by the Ministry of Culture of the Republic of Croatia.

Katalog i filmovi producirani su za hrvatski izložbeni nastup na Praškom kvadrijenalu scenografije i kazališnog oblikovanja prostora 2015. (18.–28. lipnja 2015, Prag, Češka Republika). Projekt je organiziran pod pokroviteljstvom Ministarstva kulture Republike Hrvatske te financiran sredstvima Ministarstva kulture Republike Hrvatske.

BADco. L Boris Bakal, Leo Vukelić Damir Bartol Indoš, Tanja Vrvilo Oliver Frljić, Igor Pauška Siniša Labrović L Kata Mijatović Božena Končić Badurina Borut Šeparović L Vlasta Žanić

CuratorsKustosi Marko Golub, Nikola Radeljković,

Igor Ružić

Film directorRedateljica filmova Ana Marija Habjan

CameramanSnimatelj Boris Cvjetanović

EditorMontaža Iva Blašković

Exhibition designDizajn postava izložbe Mauricio Ferlin

Graphic design Grafički dizajn Tina Ivezić, Damir Prizmić

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Organised by The Ministry of Culture of the Republic of Croatia, minister Berislav Šipuš Organizator Ministarstvo kulture Republike Hrvatske,

ministar Berislav Šipuš

Executive producers of the Exhibition Izvršni producenti izložbe Lovro Rumiha, Marko Golub,

Mirjana Jakušić

Coordination (Ministry of Culture) Koordinacija (Ministarstvo kulture) Iva Mostarčić

Production Croatian Designers Association 2015 Produkcija Hrvatsko dizajnersko društvo 2015

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Prague Quadrennial of Performance Design and Space 2015 Countries and Regions — Republic of Croatia

Praški kvadrijenale scenografije i kazališnog oblikovanja prostora 2015. Izložbe zemalja i regija — Republika Hrvatska

CIP zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 000908124.

ISBN 9789536778119

prague quadrennial of performance design and space 2015...

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