štaglinec 2011l 2

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= Me!unarodni susret umjetnika | International Artists Meeting Antonio Gotovac Lauer, "taglinec

= 2011

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Premo!"ivanje granica | Crossing Zones =

Jezik | Language=

Zemlja | Land

Milijana Babi! || Hrvatska | Croatia Anne Bean | Poshya Kakl || Engleska | Irak | England | Iraq

David Belas | Pino Ivan"i! || Hrvatska | Croatia Buba | Marina || Srbija | Serbia

Jasenka Bulj || Hrvatska | Croatia Mariel Carranza || Peru | Peru

Efi Ben David | Gina Ben David || Izrael | IsraelVlasta Delimar | Milan Bo#i! || Hrvatska | Croatia

Alejandra Herrera || $ile | Chile Jason Lim || Singapur | Singapore

Marko Markovi! || Hrvatska | Croatia Boris Nieslony || Njema"ka | Germany

Sinead O’Donnell || S. Irska | N. Ireland Goran Risti! || BIH | B&H

Damir Stojni! || Hrvatska | Croatia The Smithsons | Kristina Leko | Vidan Leko Smithson | David Smithson || Hrvatska | Njema"ka | SAD

| Croatia | Germany | USA Mio Vesovi! || Hrvatska | Croatia


= 2011

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=

Jezik je ne%to ogromno, on je enormno kompleksan sistem. A mi ga spontano nau"imo dok smo djeca. U ranom dje-

tinjstvu bez ikakvog napora savladamo pravi-la na%eg materinskog jezika, i to mnogo prije nego neke druge stvari kao %to su "itanje, pisa-nje ili ra"unanje. Jezikom izra#avamo svoje misli drugima. I razumijemo druge kad govore istim jezikom. A zahvaljuju!i izumu pisma, mo#emo razumjeti i zapisane misli onih koji odavno vi%e nisu me&u nama.

Mi ne mo#emo birati koji jezik !e nam biti ma-terinski. Oni koji se rode u Velikoj Britaniji imaju sre!u da u raznim dr#avama mogu razgova-rati na svom jeziku. I Austrijanci se svojim jezi-kom mogu sporazumijevati s mnogo vi%e ljudi nego %to ih #ivi u Austriji. Nasuprot njima, ma-&arski intelektualci su svjesni da im je njihov jezik prije bo#ja kazna nego dar s neba. I ka#u da mi u Hrvatskoj imamo sre!u s na%im mate-rinskim jezikom jer ga govore i druge dr#ave: Srbija, Bosna i Hercegovina i Crna Gora.

Naravno da unutar svakog jezika koji se govo-ri u vi%e dr#ava ima nacionalnih jezi"nih razli-ka, "esto i ve!ih nego izme&u Hrvata i Srba. Ali te razlike ne ugro#avaju me&usobnu razu-mljivost pa se zato i dalje u lingvistici ka#e da je rije" o jednom jeziku, policentri"nom jer on ima nekoliko centara. Takvi su svi ve!i evrop-ski jezici i brojni izvanevropski, pa je policentri-"an tip jezika "ak prije normalno stanje nego iznimka.

Jezi"ni puristi nas rado uvjeravaju da ne zna-mo svoj jezik i da trebamo na"in izra#avanja promijeniti onako kako oni propisuju. Me&u-tim, izvorni govornici znaju jezik i raspola#u podsvjesnim znanjem njegovih pravila. Za us-poredbu, to je kao kad vozite bicikl: vi znate voziti, iako ne znate navesti koje mi%i!e ko-ristite dok vozite. Tako isto dok govorite, vi podsvjesno stalno primjenjujete jezi"na pra-vila, iako ih naj"e%!e niste u stanju navesti ili opisati. Na%e podsvjesno znanje jezi"nih pra-vila je "ak mnogo, mnogo op%irnije od pra-

=

Language is something enormous, a vast and complex system. Yet we learn it qu-ite spontaneously as children. In our in-

fancy, without any effort, we master the rules of our native tongue, much before things like reading and writing and arithmetic. We express our thoughts to others in language. And under-stand others who speak the same tongue. And thanks to the invention of script, we can under-stand the written thoughts of those who long since are no longer with us.

We cannot choose our native tongue. Those who are born in the UK have the luck to be able to talk in their own language in many countries. Austrians too can make themselves understood in their own language with many more people than live in Austria. As against them, Hungar-ian intellectuals are aware that their language is more of a divine punishment to them than a gift from heaven. And they say that we in Croatia are lucky because other nations speak our na-tive tongue: in Serbia, Bosnia and Herzegovina and Montenegro.

Naturally, inside every language that is spoken in several states, there are national linguistic differences, quite often greater than those be-tween Croats and Serbs. But these differenc-es do not threaten mutual intelligibility, and so in linguistics it is still said to be one language, but polycentric, because it has several centres. This is the case with all the major European lan-guages, and many outside the continent, and the polycentric type is more the norm than the exception.

Language purists are fond of persuading us that we don’t know our own tongue and that we need to change our way of expression ac-cording to their prescriptions. But native speak-ers know their language and have a subcon-scious knowledge of its rules. For comparison, this is like when you ride a bicycle you know how to ride, even if you cannot state the musc-les you use to do so. And so it is when you spe-ak, you constantly, subconsciously, apply lan-

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vila koja se nude u gramatikama, rje"nicima ili drugim knjigama. Nijedan lingvist na svijetu nije dosad bio u stanju ni pribli#no opisati sva pravila koja bilo koji izvorni govornik nekog je-zika nosi u glavi, a da pritom nije ni svjestan da posjeduje neku posebnu vje%tinu.

Kad netko zahtijeva navodno ispravniji i "isti-ji jezik, time usa&uje u nas na perfidan na"in netrpeljivost prema ljudima. Kad netko ra-zdra#eno reagira na rije"i koje prepoznaje kao znak druge nacije, to je izraz jezi"ne netole-rancije, a jezi"na netolerancija je "esto poli-ti"ki prihvatljiva maska za netoleranciju pre-ma drugoj naciji. Odbojnost prema odre&enoj grupi ljudi nije u demokratskim dru%tvima pri-hvatljivo direktno izricati, pa se to indirektno "ini kroz rasprave o jeziku pomo!u naizgled prihvatljivijih tvrdnji fokusiranih na jezik.

Ali jezik nije vlasni%tvo purista, i arogantno je kad oni vjeruju da jest. Jezik je vlasni%tvo svih njego-vih govornika, dakle svih nas, i svi mi ga nepre-stano sre&ujemo, ure&ujemo, dora&ujemo. To radimo spontano, nesvjesno i nenamjerno kad god govorimo ili pi%emo. Do nastanka jezi"nih pravila dolazi na isti na"in kao %to dolazi do na-stanka utabanih pre"ica po parku. Pre"ice po parku nastaju tako %to ve!i broj pojedinaca gazi travu po istom mjestu. Me&utim, nijedan od tih pojedinaca nije gazio travu s ciljem da nastane pre"ica, nego s ciljem da u konkretnoj situaciji %to br#e do&e do odredi%ta. Nastanak pre"i-ce je nenamjeravana posljedica iste radnje veli-kog broja ljudi. Na jednak na"in nastaju i jezi"na pravila. I to kroz duga"ka vremenska razdoblja. Pritom je oboga!ivanje i "ak profinjivanje izra-#ajnih mogu!nosti kad je u dodiru s govornici-ma drugih jezika dolazilo do razmjene jezi"nog materijala. $isti jezici ne postoje i nikada nisu postojali.

= Snje!ana Kordi"

guage rules, although most often you are inca-pable of listing or describing them. Our subcon-scious knowledge of linguistic rules goes much, much wider than the rules that are provided in grammar books, and dictionaries. No single linguist in the world has ever been capable of even approximately describing all the rules that any native speaker of a language carries in their head, without being aware of possessing any particular skill.

When someone demands an allegedly purer and more correct language, they are insidiously implanting in our heads intolerance for others. When someone reacts with irritation to words that he recognises as the sign of another peo-ple, it is an expression of linguistic intolerance, and linguistic intolerance is often a politically ac-ceptable disguise for lack of toleration for the other nation. In democratic societies it is not ac-ceptable to express repulsion for a given group, and so it is done indirectly through discussions about language with what seem to be accept-able claims focused on language.

But language is not the property of the purists, and they are being arrogant in thinking it is. Lan-guage is the property of all speakers, of all of us, and we all incessantly settle it, work on it, polish it. We do this spontaneously, unconsciously and unintentionally when we speak or write. Linguis-tic rules arise in the same way that well–trod-den shortcuts in the park. These shortcuts are made by most individuals walking on the grass in the same place. But none of these individuals has stepped on the grass with the intention of creating a shortcut, rather with the intention of getting, in the given situation, where he wants to go to as fast as possible. The creation of the shortcut is the unintentional result of the same action by a large number of people. Language rules are created in the same way. Over a long period of time. And expressive capacities tend to be enhanced and refined when, in contact with speakers of other language, there is an ex-change of language materials. Pure languages do not exist, and never have existed.

= Snje!ana Kordi"

Preveo | Translated by Graham McMaster

= Govori% li %tagline"ki?

Dok mno%tvo i dalje nadogra&uje «babi-lonsku kulu» najmodernijim tehnikama i usavr%ava je najpreciznijim statisti"-

kim izra"unima, mala skupina ljudi odvratila se od penjanja po njoj i krenula spu%tati se pre-ma zemlji. Kako se po putu i po prizemljenju ne bi pogubili, raspr%ili i nestali, dogovorili su mjesto i vrijeme susreta: 'taglinec, 18. lipnja 2011. godine.

I doista, do susreta je do%lo. Ne, nije rije" o povijesnom romanu ili futuristi"koj pri"i. Ri-je" je o jednom radosnom susretu. U zagr-ljaju majke prirode i zagrljajima jedni drugih, pripadnici na%e male skupine vratili su se na po"etke. U me&uvremenu, prvobitni jezik se rascjepkao i odmetnuo od svoje prave naravi: nije vi%e #elio slu#iti ljudima kao #ivo sredstvo komunikacije, nego se po"eo oko%tavati u su-stave koji su te#ili zbuniti, zavaditi i zatim zavla-dati zava&enim jedinkama, sposobnima razu-mjeti jedino same sebe. Ali na%oj maloj skupini to nije predstavljalo problem. Svak je na svoj na"in, svojom umje%no%!u i umjetno%!u odlu-"io u"initi sve kako bi pomogao tom ranjenom organizmu jezika i iscijelio ga. Na taj na"in bi se donekle obnovilo me&usobno razumijeva-nje kakvo je postojalo nekada, prije vremena »babilonskoga carstva«, a kojeg nije nedosta-jalo okupljenim umjetnicima.

Boris Nieslony je zaplesao s kamenjem ne bi li ono ispustilo prvobitni zvuk; Marko Markovi! je kirur%kom iglom i koncem %io rane svoga jezika; Sinéad O’Donnell se trudila uobli"iti mi-sao na papir, a Jason Lim je zaustavio govor vjetra. Gina i Efi ben David su oblikovale nova imena od gran"ica tre%njinog drveta. Alejan-dra Herera je kontemplirala te#inu nerazumije-vanja. Buba i Marina su posudile tu&e jezike, a tete zvane »Prolje!e« krijepile su jezike sviju kako bi ustrajali i ne bi izgubili radost. Milijana Babi! je ispisala priznanje koprivom, prizna-nje da ve! te%ko razumije "ak i one s kojima dijeli isti jezik. Damir Stojni! je dahom ozvu-"io an&ela, dok su Pino i David dahtali i re#ali poput #ivotinja. Mariel Carranza se, vezana za

= Do you speak 'taglinec language?

While many still upgrade »Tower of Babel« with the most modern tech-niques, perfecting its superstructure

by the most accurate statistical calculations, a small group of people turned away from climbing on it, and started going back, down to earth. In order not to get lost, scatter or vanish on their way or after landing, they had agreed place and time of meeting: 'taglinec, 18th June 2011.

Indeed, the encounter occurred. This is not a historical novel or a futuristic story, but a text about a joyful meeting. In the embrace of mother nature and mutual hugs, the mem-bers of our small group returned to the begin-nings. In the meantime, the original language is split apart and perverted from its true na-ture: no longer it wanted to serve people as a living means of communication, but began to ossify in systems that have tended to con-fuse, alienate and then rule the warring units–beings, capable of understanding only them-selves. But it did not present a problem to our small group. Everyone in their own way, by his/her skill and art, decided to do everything to help the wounded body of language and heal it. That would somewhat restore mutual understanding that had existed once, before the time of »the empire of Babylon«, the un-derstanding which the assembled artists did not lack.

Boris Nieslony was dancing with stones in or-der to make them let out their original sound; Marko Markovi!, with a surgical needle and thread, was sewing the wounds of his (moth-er) tongue; Sinéad O’Donnell was trying to formulate her thought on paper, and Jason Lim stopped the speech of wind. Gina and Efi Ben David shaped the new names out of cherry tree branches. Alejandra Herera was contemplating the weight of non–understand-ing. Buba and Marina borrowed other peo-ple’s tongues, while a group of women called »Spring« were invigorating all present pal-ates so to persevere and not lose joy. Milijana

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zemlju, prisje!ala govora bi!a koje postoji iz-me&u #ivotinja i an&ela. Bili su tamo jo% mnogi drugi i dali svoj doprinos, sebe.

Na kraju dana, u zemlji je izgaralo staro ime $ovjeka (Tom) dok je Milan Bo#i! ispirao sta-ru boju sa svoje dru#ice Vlaste Delimar. Ime je gutala vatra, boju je ispirala voda, u zraku je lebdjela prekrasna glazba Glenna Millera koju je izvodio tambura%ki orkestar «Podravka». Suton je progutao sve. Boje, toplinu, zvukove. Iz ti%ine, na rubu svjetlosti i mraka, rodilo se novo ime, nova boja, novi jezik. 'tagline"ki.

Sveti Pavle je upozorio Korin!ane da se ne razme!u poznavanjem stranih jezika, pa "ak ni an&eoskih, jer uza sva ta znanja bit !e tek hladan limeni vjetrokaz na krovu koji zve"i pod naletima vjetra ili instrument bez du%e koji je"i pod udarima lo%eg svira"a — ako ne sjednu zajedno za stol i ne podijele hranu, pi!e i lju-bav. 'taglin"ani bi ga, vjerujem, preduhitrili u pisanju te poslanice. Prije nego li bi se stigao ma%iti pera, ve! bi sjedio za duga"kim stolom, dijelio poga"u, nazdravljao doma!im vinom i radosno pjevao. Na %tagline"kom.

Te"aj ovog svjetskog jezika se za sve zaintere-sirane i dalje odr#ava jednom godi%nje u ma-lom mjestu 'taglinec pored Koprivnice. Do&i pa nau"i.

= Ivana Krencer

Babi! wrote her confession in nettle, the con-fession that she finds it harder and harder to understand even those who share the same language with her. Damir Stojni! tuned in an angel with his breath, while Pino and David were panting and growling like animals. Mari-el Carranza was, tied to the ground, recalling the speech of the beings whose existence is between animals and angels. There were also many others who gave their contribution, their selves.

At the end of the day, the old name of the Man (Tom) was burning out in the ground, while Milan Bo#i! was washing away the old paint from the body of his companion Vlasta Deli-mar. The name was being consumed by fire, the color was being washed away by water, and the wonderful music of Glenn Miller per-formed by the tambura orchestra »Podravka« was floating in the air. Twilight swallowed it all: colours, heat, sounds. From the silence, on the edge of light and darkness, a new name, new colour, new language was born: 'taglinec language.

St. Paul warned the Corinthians not to boast with their knowledge of foreign languages, even angelic languages, because all that know ledge will be just a cold tin vane clink-ing under the gusts of wind, or a soulless in-strument tinkling under the beats of bad play-ers — unless they sit together at the table and share food, drink, and love. The people from 'taglinec would, I believe, have advanced him in writing that epistle and, before he had even come to wave his pen, he would have found himself sitting at the long table, sharing home-made bread, toasting with wine, and singing joyfully. In 'taglinec language.

The course of this world language, for all con-cerned, is still held annually in a small village near Koprivnica called 'taglinec. Come and learn.

= Ivana Krencer

=

Milijana Babi! || Hrvatska | Croatia Anne Bean | Poshya Kakl || Engleska | Irak | England | Iraq

David Belas | Pino Ivan"i! || Hrvatska | Croatia Buba | Marina || Srbija | Serbia

Jasenka Bulj || Hrvatska | Croatia Mariel Carranza || Peru | Peru

Efi Ben David | Gina Ben David || Izrael | IsraelVlasta Delimar | Milan Bo#i! || Hrvatska | Croatia

Alejandra Herrera || $ile | Chile Jason Lim || Singapur | Singapore

Marko Markovi! || Hrvatska | Croatia Boris Nieslony || Njema"ka | Germany

Sinead O’Donnell || S. Irska | N. Ireland Goran Risti! || BIH | B&H

Damir Stojni! || Hrvatska | Croatia The Smithsons | Kristina Leko | Vidan Leko Smithson | David Smithson || Hrvatska | Njema"ka | SAD

| Croatia | Germany | USA Mio Vesovi! || Hrvatska | Croatia

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= Milijana Babi!= Hrvatska | Croatia

Ne razumijem, rije"i u koprivama.

Na ovogodi%nju temu reagiram izjavom Ne razumijem. Priznajem da ne razumijem puno toga iako pri"amo isti jezik. Pritom se koristim vizualnim jezikom koji nije razumljiv. Premo%!i-vanje granica nemogu!e je bez razumijevanja. Nerazumijevanje ima svoje posljedice.

I do not understand, the words in the nettles.

At this year’s theme I react with the statement I do not understand. I confess that I do not understand a lot even though we speak the same language. Doing this, I use a visual lan-guage that is not understandable. Bridging borders and limits is impossible without un-derstanding. Misunderstanding has its con-sequences.

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= Anne Bean | Poshya Kakl= Engleska | Irak | England | Iraq

‘PAVES’ Trajanje: 30 minuta | Duration — 30 minutes

Anne Bean nije bila prisutna na festivalu. Da bi bila uklju"ena, iako ne fizi"ki tamo, poslala je kutije s #utim vrpcama i dva lica od papira: jed-no papirnato lice sebe, a drugo lice od papira bilo je lice ira"ko–kurdske umjetnice Poshye Kakl. Vrpcu sam koristila za aktivnu instalaciju kroz prozor sobe u kojoj sam izvodila svoj per-formans cijeli dan. Uz pomo! jedne djevoj"ice odmatala sam kolutove #ute vrpce i pu%tala ih da padaju kroz prozor na tlo.

Anne Bean was not present at the festival. In order to be included yet not be there physi-cally, she sent boxes of yellow ribbon and two paper faces, one paper face of her own and one paper face of Iraqi Kurdish artist Poshya Kakl. I used the ribbon to make an active in-stallation through the window in which I had been performing all day. Assisted by a young girl, I unleashed the yellow ribbon reels one after the other out through the window onto the soil.

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= David Belas | Pino Ivan"i!= Hrvatska | Croatia

»...dje"ja narodna igra : ODUzimanje zemlje...«

+ poznata dje#ja igra oduzimanje zemlje, ov-dje transformirana u sferu odraslih, svako–dnevnih aktualnosti

...kad smo bili mali... crtanje po zemlji koma-dom drva... asfaltu kredom ili komadi!em ci-gle... kako je bilo mogu!e u kojem dijelu gra-da il sela... i bilo je bitno »ukrasti/oduzeti« %to ve!i komad teritorija suprotnog dijela do tre-na kad je nekom zauzet cijeli njegov ucrta-ni teritorij ... bila nam je to razbibriga/igra... ta igra je samo preba"ena u kontekst aktu-alnosti odraslog svijeta... crtanje je zamijenje-no ritualom obilje#avanja/zauzimanja teritorija zrnjevljem p%enice i kukuruza... od nasu%ne potrebe pre#ivljavanja do "iste pohlepe i ego-isti"kog samozadovoljavanja... bildanje ega... koji #ivi i stvara u beskrupuloznom svijetu i uniformiranom dru%tvu... svaka extremna si-tuacija u kojoj se "ovik nadje izo%triti !e nje-

govu percepciju... trenutak kad su svi prirodni reflexi li%eni svih konvencionalnosti... uzet !e mi ruku i voditi kroz... osje!am radost alke-mije krvi... ne ovdje, hajdemo dalje... sa svo-jeg mjesta vidim zvijezde i misli mi streme u uragan svijetla...

Krenuo sam vlastitom interpretacijom, osob-nog rituala prisvajati zemlje oko sebe, te kroz fizi#ku akciju uvjeravati samoga sebe da je ta zemlja uistinu moja. Nakon obavljenog rituala, kroz ritual dovodio sam se u stanje iz kojeg su proizlazile sve idu"e akcije, borbe, bijeg, skri-vanje ispod stola te nakraju nestajanja u kro$nji tre$nje. Sve $to mi se dogodilo zapravo je po-sljedica izvedbe same. Osnovna ideja kojom sam se ravnao te pitanje na koje sam tra!io odgovore je: Da li je ljudska potreba za prisva-janjem pa naknadno otimanje zemlje skrivena u samom nagonu za pre!ivljavanje te shodno tome nastanje pojma privatnog vlasni$tva ili je to kategorija #iste ljudske pohlepe odnosno nedostatak razumijevanja vlastitih ograni#e-nja. Nakon ostvarenog performansa te na-kon razmi$ljanja o doga%ajima u &taglincu, poku$avam definirati osobni stav o temi »Je-zik« i krenuti od onoga $to tjera ljude do jezika samog, do potrebe za komunikacijom, kako uop"e dolazimo do jezika i za$to? Nemam ne-kog odgovora, ali mo!da je pitanje dovoljno, tako%er sje"am se osje"aja koji me pratio tije-kom cijele izvedbe i volio bi ga nekako artikuli-rati... da motiv, osje"aj, koji me tjerao da tako ritualno osvojim zemlju je isti onaj koji me po-tjerao na stablo, a zove se »PLAN ZA BIJEG« ili na#in pre!ivljavanja. STRAH.

...sama koncepcija rada dozvoljavala je slo-bodu improvizacije i otvorenog kraja, ...i nit-ko nije znao kako "e performans zavr$iti... on proizlazi iz ideje, interakcije izvo%a#a, publike, i okoline.

materijal: — kanta / vjedro zrnjevlja kuruze — kanta / vjedro p%eni"nog zrnja

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»... children’s traditional play: CONfiscation of land ...« + a well–known children’s play confiscation of land was here transformed into the sphere of adult daily actualities

... when we were little ... drawing on the gro-und with a piece of wood ... on asphalt with a piece of chalk or brick ... as was possible in a particular part of the city or village .... and it was important to »steal / seize« as much of a territory belonging to the opposite side, up to the moment when someone’s whole marked territory is occupied .... it was our pastime.... that game is only transferred into the context of the news of the adult world .... drawing is replaced by the ritual of marking / occupy-ing territory with grains of wheat and corn ... from the critical need to survive to pure greed and egoistic masturbation ... building of ego ... who lives and works in an unscrupulous world and uniform society ... any extreme sit-uation where man finds himself will sharpen his perception ... a moment when all the natu-ral reflexes are deprived of all conventionalities ... will take my hand and guide me through ... I feel the joy of the alchemy of blood .... not here, let’s go further ... from my position I see the stars and my thoughts strive into hur-ricane of light ...

I started to occupy lands around me by my own interpretation, a personal ritual, and through physical action I was convinc-ing myself that the land was truly mine. Af-ter performing the ritual, through the ritu-

al I was brought into a state from which all the following actions resulted: fight, flee, hiding under the table and finally the disap-pearance in the top of a cherry tree.

All that actually happened to me is a result of the performance itself. The basic idea I conducted myself with, and the question I searched the answers to is:

Is the human need for appropriation and sub-sequent abduction of the land hidden in the instinct for survival and consequently the con-cept of private property is inhabited or is it a category of pure human greed and lack of un-derstanding of our own limitations. After real-izing the performance and after thinking about the events in &taglinec, I have been trying to define a personal attitude about the top-ic of »Language« and start from what com-pels people to the language itself, the need to communicate, how we come to the language and why? I do not have any particular answer, but the question itself is perhaps enough; I also remember the feeling that accompa-nied me during the whole performance and I would like to, somehow, articulate it... yes, the motive, feeling which forced me to occu-py the land in such a ritual way is the same one that chased me up a tree, and is called »ESCAPE PLAN« or a way of survival. FEAR. ... the very conception of work allowed free-dom of improvisation and open–endedness, ...and no one knew how the performance was going to finish ... .. it results from the idea, the interaction of performers, audience, and en-vironment.

Material: — bucket / pail of corn grain — bucket / pail of wheat grain

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= Buba $vori! | Marina Tomi! = Srbija | Serbia

»AVAZ«*

Mesec dana pre po"etka festivala »Moja ze-mlja, 'taglinec« zapo"ele smo dnevno pisa-ti jedna drugoj ru"no pisana pisma (u peri-odu od 11 maja do 11 juna). Pisma su bila poslata na adresu organizatorke i umetnice Vlaste Delimar tj. adresu festivala »Moja ze-mlja, 'taglinec« u Hrvatskoj. Buba je pisa-la iz Holandije a Marina uglavnom iz 'vaj-carske. Za vreme jednomese"ne prepiske prestale smo potpuno sa komuniciranjem.

Nakon tog meseca »slepe« korespodenci-je, dve lokalne #ene iz 'taglineca Nada No-vak i Marija Polan"ec su sele skupa javno "itaju!i jedna drugoj na%a pisma. Marija Po-lan"ec je bila Marinin a Nada Novak Bu-bin glas. Taj takozvani drugi deo jednome-se"nog performansa zbio se tokom otva-ranja festivala i trajao je nekoliko "asova.*Avaz je turcizam, glas.

“AVAZ”*

One month before the festival “My Earth 'ta-glinec” occurred we started on a daily basis writing hand written letters to each other (du-ring the period from 11th May till 11th of June). The letters were send to the organizer–artist Vlasta Delimar i.e. on the address of the Art organization “My Earth 'taglinec” in Croatia. Buba was writing from The Netherlands and Marina mostly from Switzerland. During this one–month of correspondence, we stopped completely to communicate with each other.

After that month of “blind” correspondence, two local women Nada Novak and Marija Po-lan"ec from 'taglinec sat together and read our letters to each other in public. Marija Po-lan"ec was Marina’s and Nada Novak was Buba’s voice. That so–called second part of one–month performance took place during the opening time of the festival and it lasted a couple of hours.*Avaz is a Turkish word that means voice.

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= Jasenka Bulj= Hrvatska | Croatia

Moja virtualna pri"a

Ba% kao i u stvarnom #ivotu tako i preko Skypea razgovori sa svakom osobom imaju druga"iji tijek.

U prolje!e ove godine bila sam dva mjeseca odvojena od svoje uobi"ajene okoline. Komu-nikacija s prijateljima u drugim krajevima odvi-jala se preko ra"unala putem Skype servisa.

Na"in komuniciranja preko ekrana uvijek je vrlo osoban i druga"iji. Portreti koji nastanu u ta-kvoj situaciji uvijek mogu biti zanimljivi. Prijatelji i osobe su u svojem okru#enju, a nesvjesnost "injenice fotografiranja kao postupka, nedo-statak svjesnosti o "inu snimanja, omogu!ila je druga"iju iskrenost u samoj fotografiji.

Bili smo na vezi u raznim razdobljima dana, ovisno o vremenskim zonama, nekada je bilo jutro ili pak ve"er, svi smo bili na raznim kraje-vima svijeta i drugim kontinentima.

Sretali smo se na ekranu mog ra"unala, svat-ko je bio u svojoj okolini u svom okru#enju. Fotografirala sam ekran i cijelu situaciju, one s kojima sam komunicirala. Njihovi portreti ostali su zabilje#eni. Virtualni svijet trenutne komuni-kacije postao je stvaran. Postali su opipljivi i zabilje#eni, a kada se prekinula veza nestala su lica, nestalo je sve %to je bilo izme&u nas tijekom razgovora. Oni nisu bili svjesni da su ostali zabilje#eni u prostoru i vremenu.

Njihova lica su bila odraz trenutka, razgovo-ra, raspolo#enja, okoline i situacije koja ih je okru#ivala.

Kad me je Vlasta pozvala u 'taglinec osjetila sam da bi to bila prilika da na%a zajedni"ka komunikacija, portreti ljudi koji su bili sa mnom u trenutcima razgovora i koji su nestali, bude na ovaj na"in skupljena na jednom mjestu u novom zajedni"kom razgovoru koji se zapra-vo nije nikada dogodio.

My Virtual Story

Just as in real life, conversations via Skype take a different course with each person.

In the spring of this year I was separated from my usual surroundings for two months. Co-mmunication with friends in other parts of the world took place via computer through the Skype service.

Way of communicating across the screen is always very personal and different. Portraits arising from such a situation can always be interesting. Friends and persons are in their environment, unaware of the fact that a pho-tographic process is going on, so lack of awa-reness about the act of shooting allowed the different sincerity in the photograph.

We were on the line at various times during the day, depending on time zones, someti-mes it was morning sometimes evening, we were all in different parts of the world and ot-her continents.

We used to meet at my computer screen, everyone was in his/her environment, his/her surroundings. I photographed the screen and the whole situation, those with whom I con-versed. Their portraits are recorded. The vir-tual world of temporary communication has become real. They became palpable and re-corded, and when the line got disconnected the faces disappeared, all that was between us during the conversation disappeared. They were not aware that they were recorded in space and time.

Their faces were a reflection of the moment, conversation, mood, environment and situati-on which they were surrounded with.

When I was invited by Vlasta to 'taglinec, I felt that this was an opportunity for our mutual communication, portraits of people who were with me in moments of conversation, and who disappeared, to be this way collected at one place in a new joint conversation that has actually never occurred.

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= Mariel Carranza= Peru | Peru

Mariel CarranzaI AM / JA JESAM

Vezana za zemlju U#ad vezana oko mojih zape%!a i gle#njeva Namotana oko kamenova Pijesak je popustio pod te#inom Tijela potonulog u zemlju Um upetljan u svoju nepreglednost Svjesnost o fizi"kom sebstvu Probu&en "isti osje!aj bivanja 'iri se u svim smjerovima Prepu%tanje/postajanje jednoga sa svime Brisanje pojmova vremena, mjesta, granica Nebo konfigurira slike Koje se rasta"u u moje bi!e Kao %to se moje tijelo rasta"e u zemlju Osje!ala sam puls #are!eg sunca Kako kuca u mom tijelu i vjetru Koji ga raznosi svuda naokolo Kukci Vrte se i migolje po mojoj ko#i Pridru#eni pulsiranju/disanju Osje!anje koje nas je sve ujedinilo Svijest o vremenu se vratila Kako je tijelo po"elo vibrirati Ali ja se vi%e nisam sje!ala Tko sam Ustaju!i i povla"e!i u#ad JA JESAM JA JESAM? JA JESAM Nesigurna kojim putem i!i Tra#e!i iskrivljena lica drugih Vibriraju!i/ponavljaju!i JA JESAM Pala sam, konopima povu"ena Na zemlju Di#em se opet pulsiraju!i/ Di%u!i/vibriraju!i, Ponavljaju!i JA JESAM? Polako se pribli#avaju!i U odrazu sunca u prozoru Ugledah sebe JA JESAM JA JESAM? JA JESAM

Mariel CarranzaI AM / JA JESAM

Bound to the ground Ropes tied around my wrists and ankles Coiled around rocks Sand caved in under the weight Of the body sunk into the earth Mind entangled in its vastness Awareness of physical self Awakened pure sensation of being Expanding in all directions Yielding/ becoming one in all Erasing concepts of time, place, boundaries The sky configured images Disintegrating into my being As my body disintegrated onto the earth I felt the pulse of the brazing sun Beat in my body and in the wind Carrying it to everything around The insects Wriggling, squirming on my skin

Joined in the pulsating/ breathing Sensation that unified us all Time awareness returned As the body began vibrating But I no longer remembered Who I was Arising and pulling the ropes JA JESAM JA JESAM? JA JESAM Unsure of which way to go Searching contorted faces of others Vibrating/repeating JA JESAM Fell, pulled by the ropes To the ground Raised again pulsating/ Breathing/ vibrating, Repeating JA JESAM? Slowly approaching The sun reflection in the window I saw myself JA JESAM JA JESAM? JA JESAM

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= Efi Ben David | Gina Ben David = Izrael | Israel

Materinji jezik — performans duljeg trajanja

Majka i k!i odjevene u bijelo, rade zajedno.

‘Ne"ete pomo"i mladicama da narastu time $to "ete ih vu"i prema gore’

Kod ku!e uzgajane mladice (izdanci, klice) Mong graha (po)jedene su jedna po jedna, od strane 10 prstiju obojanih crnim lakom za nokte, ostavljaju!i prazne staze koje su tvorile slova, rije"i, taoisti"ku kinesku poslovicu.

3 sata meditacije.

U ritmu kopanja 13 rupa u zemlji, imena umjet-nika se prevode na hebrejski. U skladu s nji-hovom podudarno%!u sa slovima na tipkovnici ra"unala, pretvaraju se u novo ime na novom jeziku i oblikuju od gran"ica tre%njinog drveta.

13 pari nogu koje stoje u rupama prekrivaju se zemljom.

13 umjetnika je ukorijenjeno u tlo Moje zemlje. ‘Ne"ete pomo"i mladicama da narastu time $to "ete ih vu"i prema gore’.

“Mother tongue” — Durational performance

Mother and daughter dressed in white, are working together.

“You won’t help shoots grow, by pulling them up higher”

Home made shoots of Mong beans have been eaten one by one, by 10 fingers colored in black nail polish, leaving empty trails that crea-te letters, words, a Taoist Chinese saying.

3 hours of meditation.

To the rythem of digging 13 holes in the gro-und, artists’ names are being transliterate to Hebrew. According to their matching letters in a computer keyboard, they are transformed into a new name in a new language, and for-med by cherry tree twigs.

13 pairs of feet standing in the holes are being covered with soil.

13 artists are rooted in MOJA ZEMLJA land.

“You won’t help shoots grow, by pulling them up higher”.

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= Vlasta Delimar | Milan Bo#i!= Hrvatska | Croatia

Apsolutni umjetnik (sje!anje i osje!aj) Antonio Gotovac Lauer

Kako nismo mogli preuzeti odgovornost da se brinemo za umjetni"ku ostav%tinu koju nam je Antonio Gotovac Lauer za #ivota ponudio, odlu"ili smo se nakon njegove smrti na jedan ve!i projekt pod naslovom Apsolutni umjetnik (Sje"anje i osje"aj) Antonio Gotovac Lauer koji je imao intenciju da se njegov #ivot i rad valo-rizira kroz prizmu drugog umjetnika.

Kroz zadnjih %est godina intenzivnog dru#e-nja Bo#i!, Delimar, Lauer iz kojeg je proiza%ao zajedni"ki performans u Ilici 2.09. 2009. pod naslovom »Dva mu%karca i jedna #ena« (Hr-vatska remek — djela) nastalo je i niz tzv. pri-vatnih performansa koje smo nastavili i nakon smrti Antonija Gotovca Lauera. Prvi posthu-mni privatni performans izveli smo za vrijeme samog posljednjeg ispra!aja Antonia Gotov-ca Lauera na groblju Mirogoj. Svo troje bili smo odjeveni u istu odje!u; crno saten odije-lo, bijela ko%ulja, bijele ga!ice, bijele tenisice; kao pokojnikov izbor odijevanja neposredno prije smrti.

Cilj projekta bio je da se izvode akcije i per-formansi u vi%e gradova Hrvatske u kojima je Gotovac djelovao (Zagreb, Rijeka, Koprivnica, Split i Dubrovnik).

Nakon izvedenih akcija u Hrvatskoj nastavi-li smo u Veneciji, Londonu, Parizu, Subotici i Beogradu. To su gradovi u kojima smo zajed-no s njime planirali nastaviti na%e zajedni"ke akcije ali nismo uspjeli i to su gradovi u kojima je Gotovac prije radio.

Ovaj kompleksan projekt sje!anje je na djelo-vanje jednog suvremenika koji je imao poseb-no va#an utjecaj na likovno — performersku scenu u Hrvatskoj.

Absolute Artist (Memories and Feelings) Anto-nio Gotovac Lauer

Since we could not take the responsibility to care for his artistic legacy offered to us by An-tonio Gotovac Lauer himself while alive, we decided after his death on a larger project en-titled Absolute Artist (Memories and Feelings) Antonio Gotovac Lauer, intended to have his life and work validated through the prism of another artist.

During six last years of intensive meetings Bozic — Delimar — Lauer, from which was derived a joint performance in Ilica Street in Zagreb on 2nd September 2009 entitled »Two Men and one Woman« (Croatian Masterpie-ces) a series of so–called private performan-ces were derived, which we continue to give after the death of Antonio Gotovac Lauer. The first posthumous private performance we

carried out during the funeral of Antonio Goto-vac Lauer at the Mirogoj cemetery in Zagreb. All three of us were wearing the same clot-hes: black satin suit, white shirt, white under-pants, white sneakers; a choice of dressing of the deceased immediately before his death. The project’s aim was to carry out a num-ber of actions and performances in Croatian towns where Gotovac worked (Zagreb, Rije-ka, Koprivnica, Split and Dubrovnik).

After the performing actions in Croatia, we continued in Venice, London, Paris, Suboti-ca and Belgrade. These are the cities whe-re we together with him planned to continue our joint actions but we did not succeed, and are the cities where Gotovac worked before. This complex project is a commemoration on the activity of one contemporary who had a specially important influence on art — perfor-mance scene in Croatia.

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= Alejandra Herrera= $ile | Chile

»Prela#enje me&a«

Festival se odr#ava u nekada%njoj u#ari koja se nalazi na velikom imanju s jednom ve!om ne-dovr%enom gra&evinom i dva manja prostora.Mjesto je puno energije. Energija se nakupila tijekom povijesti prostora i prethodnih festivala koji su se tamo doga&ali. Posjed sam temelji-to istra#ila. Ve"er prije dana nastupa, osje!ala sam da mjesto ne odgovara za izvedbu koju sam planirala, pa sam odlu"ila da !u rad izve-sti u selu me&u stanovnicima. Nismo proveli mnogo vremena u tom selu, pa sam osjetila potrebu komunicirati s mje%tanima i povezati se s njima.

Zapo"injem akciju oko 2 sata hoda od mjesta gdje !u je zavr%iti. Po"injem hodati. Nosim bi-jelu odje!u: hla"e, majicu i "arape. U ruci dr-#im vr" pun crnog vina. Svakih 10 koraka ot-pijem vino i pustim ga da iscuri iz mojih usta preko bijele odje!e, bojaju!i je u crveno. To "inim svaki put kad pro&em pored pje%aka ili automobila. Prolaznici mi ne%to dovikuju, ali ja ne razumijem %to. Osje!am ljutnju i strah. Au-tomobili usporavaju, ali ne staju. Ljudi se ne smije%e, djeluju iznena&eno i lice im poprima prestra%en i zbunjen izraz. Nastavljam hodati, noge mi po"inju osje!ati nepravilnosti na ce-sti. Moje ruke tako&er osje!aju te#inu vr"a. Sat vremena je pro%lo i vr" s vinom je polu-prazan. Odje!a je ve! dobrano boje vina i moj izgled "ini se odra#ava koliko vremena perfor-mans traje. Hod je pun razmi%ljanja, pitanja, kontemplacije. Cesta se promijenila, vi%e nije autocesta, nego seoska ulica. Nakon 2 sata hoda sti#em na odredi%te. Gotovo svi su vani i "ekaju po"etak festivala. Ulazim u prostor i kre!em se prema kuhinji gdje ljudi pripremaju hranu. Nastavljam izvoditi performans za njih.

Vra!am se van i ostavljam prazan vr" na be-toniranoj stazi. Kre!em se dalje prema vrtu u kojem sam ostavila veliko kerami"ko jaje. Ho-dam uokolo prostora s jajetom, mole!i Zdravo Mariju na %panjolskom. Vra!am se na mjesto gdje sam ostavila vr" i bacam jaje preko ra-mena.

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Saturday, June 18, 2:30 PM, Staglinec, Croatia. “Crossing Land Borders”

The festival takes place at an old rope fac-tory. It is located on a large property with un-finished construction and empty houses. The place has a lot of energy. Energy that has been contained there because of the history of the space and the previous festivals that have taken place there. I surveyed the proper-ty extensively. The evening before the perfor-mances, I felt like the location was not for the work I was planning, so I decided that I would make work in the town amongst the residents. We had not spent any time in the nearby village, so I felt the need to communicate and connect with its citizens.

I start the action approximately 2 hours wal-king distance from where the piece will end. I begin walking.

I am wearing white clothes; pants, t–shirt and socks. I am holding a jug full of red wine. Every 10 steps I take a drink of the wine and I let it spill out of my mouth over the white clot-hes, staining the clothes red. I also engage in this action each time I pass by a pedestrian or a car. Bystanders yell at me, but I don’t under-

stand anything they are saying. I sense anger and fear. Cars slow down, but don’t stop. Pe-ople are not smiling, they act surprised and have expressions of terror, confusion.

I keep walking, my feet start feeling the irregu-larity of the road. My arms are also feeling the weight of the jug. An hour has passed and the jug of wine is half empty. The clothes are dee-ply colored from the wine and my appearance seems to show the time that has passed thus far in the performance. The walk has been full of reflection, questions, contemplation.

The road changes, no longer a freeway but surface streets in the middle of the village.

After 2 hours of walking I arrive at my desti-nation. Almost everyone is outside waiting for the opening of the festival. I enter the space and move into the dinner area where there are people preparing food for the opening. I conti-nue the action for them.

I return outside and leave the empty jug on a cement path. I move to a garden where I have left a large ceramic egg. I walk around the space with the egg, reciting the Hail Mary in Spanish. I return to where the jug was left, and throw egg over my back.

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= Jason Lim= Singapur | Singapour

Stigao sam u Hrvatsku otvorenog uma, ne imaju!i unaprijed stvorenu predod#bu o tome %to !u raditi kao performans. Prekrasan krajo-lik 'taglinca pobudio je u meni interes odmah pri dolasku. Na zemlji su se odvijale mnoge aktivnosti, trajale su pripreme drugih umjetni-ka, imanje je brujalo od razgovora i aktivno-sti. Nakon dana provedenog u hodu, proma-tranju i otkrivanju %to zemlja ima za ponuditi, odlu"io sam da u svom komadu #elim ima-ti %to manje mogu!e akcije. (elio sam osta-ti nepomi"an. Unutar perimetra zemlji%ta bilo je obilje oborenih stabala i grana. Svi&ao mi se kontrast mrtvih stabala polo#enih i po-slaganih pored polja mladih kukuruza. Slika mene kako stojim u polju kukuruza s gra-nom bila je prva slika koja mi je do%la u pa-met. Balansiranje velike grane na glavi odr-#avalo me mirnim. Granu je pomicao vjetar koji je puhao nad zemljom, "as jak, "as blag. $inilo se da je sve u pokretu osim mene u po-lju.

I arrived to Croatia with an open mind witho-ut any preconceived idea of what I would do as a performance. The beautiful landscape of Stalignec struck an interest in me upon arrival. At the land, there were many activities of pre-paration by other artists, the land was buzzing with conversation and activities. Having spent a day of walking, looking and discovering what the land has to offer, I decided that I want to have minimum actions for my piece. I would like to remain still. There was an abundance of fallen trees and branches in the perimeter of the land. I liked the contrast of the dead trees lying and piling next to fields of young corns. The image of me standing in the corn field with a tree branch was the first image that came into my head. Balancing a large tree branch on my head kept me in stillness. The branch was moved by the wind that was blowing in the land, sometimes strong, other times gentle. Everything else seemed to be in movement accept for myself in the field.

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= Marko Markovi!= Hrvatska | Croatia

SITNI VEZ

Sitni vez u narodnoj primopredaji ozna"ava vje%tinu heklanja ( %lingeraj) te vje%tinu sviranja odre&enih dionica na tamburici.

Izvedba sitni vez spoj je tradicionalnog folklora u suvremenom ruhu body–arta.

Uz pratnju tamburice (svira Vlado Buni!) s kompozicijom »Podravska krv« odjeven u na-rodnu no%nju, autor u prirodnom ambijentu seoskog doma!instva izvodi performance. Sjede!i za stolom, kirur%kom iglom i koncem %ije svoje o#iljke dobivene tijekom #ivota tj do-bivene u ranijim izvedbama. Na taj na"in za%i-va stare rane te zatvara prija%nje epohe jednog vremena: izranjajavane zemlje, ljudi i sudbina na tim prostorima. Izvedba Sitni Vez dolazi iz ciklusa koji se bavi folklornim tematikama %to obra&uju polo#aje ljudi na odre&enim prosto-rima i sredinama.

FINE EMBROIDERY

Expression ‘fine embroidery’ in the folk art handover has two connotations: it represents the skill of crochet, and the skill of playing cer-tain shares on a tamburica (small tamboura, a folk instrument similar to mandolin).

Performance is a combination of tradition-al folklore in a contemporary body–art attire.Accompanied by tamburica, playing (played by Vlado Buni!) the composition ‘Podravina Blood’, dressed in a traditional costume, the author runs performance in the natural envi-ronment of a rural household. Sitting at the table, he sews his scars with a surgical nee-dle and thread, the scars received during life, i.e. obtained in earlier versions of the perform-ance. In this way, the old wounds get sewn up so that he may close previous epochs of the time of the wounded country, people and fates in these areas. Fine Embroidery perform-ance comes from the cycle that deals with fol-klore themes that deal with people’s positions in certain areas and communities.

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= Boris Nieslony= Njema"ka | Germany

Kamenje me "ekalo. Svaki pojedini kamen je bio zadovoljan. Ali tu#an, vrlo tu#an. Dobili su samo 20 minuta.

Oni #ele ostati sa mnom satima. Igrati se sa mnom, zabavljati se, imati duboka iskustva s mojim pokretima, #ele plesati i vrtjeti se u zraku, biti ba"eni u visinu i padati proizvode!i ovaj prekrasan zvuk. Da, kamenje je bilo tu#-no kad sam ga ostavio u 'taglincu. Nadam se da se ne ljuti na mene, dok le#i u vrtu s ovo malo 20–minutnog sje!anja.

The stones had waited for me. The stones were satisfied. The stones were sad, very sad. They got only 20 minutes. They want to stay with me for hours. To play with me, to have fun, to get deep experiences with my move-ments, they want to dance and swirl in the air, be thrown into the high and fall down with this wonderfull sound. Yes, the stones were sad when I left them in 'taglinec. Hope they are not angry with me, lying in the garden with this little 20–minute memory.

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= Sinead O’Donnell= S.Irska | N. Ireland

Materijalna Mjera Trajanje: 3 sata

Tema festivala je bila »jezik«. Ja sam umjet-nica koja se predstavlja kao osoba s pote%-ko!ama i svojedobno sam istra#ivala kako je moja pote%ko!a utjecala na metodologiju izvedbene umjetnosti. Na ovogodi%njem festi-valu sam polako punila jednu sobu u ku!i gu-#vaju!i bijele papire formata A4. Ovaj perfor-mans je izrazio pote%ko!e s pisanjem teksta i ujedno djelovao kao na"in mjerenja prostora materijalom.

Material MeasureDuration: 3 hours.

The theme of the festival was ‘language’. I am an artist that identifies as disabled, and I had at time been researching how disability infor-med my performance art methodology. For this year’s festival I slowly filled a room insi-de the house by crumpling white A4 pieces of paper. This performance expressed a difficul-ty with text and also acted as a way of mea-suring space with material.

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= Goran Risti!= BIH | B&H

FORKED TONGUE (performans/instalacija)

FORKED TONGUE — (Ra%ljasti jezik) je jezik gmazova, koji se ra%lja na dvije strane i slu#i im za orijentaciju u prostoru, kao i raspozna-vanje toplog od hladnog. Ono u "emu ga naj-vi%e koriste je najve!i izazov prirode — pre#iv-ljavanje, kako prepoznati plijen i %to ve!om br-zinom ga usmrtiti, prona!i rod, usmjeriti se na pravi put, skloniti od neprijatelja. Mo#da ba% odatle poti"e geneti"ki kod koji je kod "ovjeka izra#en u jeziku. Indijanci su u Americi zvali bi-jelce »forked tongue (jezik vilju%aka)« jer su im rije"i bile podijeljene na vi%e zna"enja. Jedno su govorili njima, drugo izme&u sebe a tre!e su radili. Forked Tongue je rad koji se bazira na historijskim politi"arima i njihovom govo-ru upu!enom obi"nom narodu. Uspore&iva-nje ljudskog bi!a na vlasti s gmazom koji je u stanju da uni%ti "ovjeka jednim ugrizom nije ni po "emu razli"ito od govora predsjednika koji jednom re"enicom mo#e da uni%ti na hilja-de ljudi. Slatko zapakovane la#i i obe!anja da !emo jesti zlatnim ka%ikama su u protivnom gorko nasjedanje na njihove rije"i, bez ikakvog upozorenja na druga"iji ishod. Performans/Instalacija je moja izvedba i shvatanje pred-sjednika koji su bili na vlasti i bez premca nam obe!avali a ujedno i lagali. Njihovo zaslu#no mjesto nisu nikakvi muzeji ni sve"ane dvorane ve! vilju%ka: onakvo kakav je bio i njihov jezik a posebno djela. Nabijanjem na vilju%ke de-struiram i poni%tavam svaki njihov govor, koji nije donio mir i dobro.

Forked tongue (performance / installation)

FORKED TONGUE is the language of repti-les, which separates in two and is used for orientation, and for recognition of warm from cold. It is most used for the biggest challen-ge of nature — survival: how to recognize the prey and kill it as fast as possible, how to find your species, how to direct on the right path, away from the enemy. Perhaps hence a ge-netic code is promoted that is in man expre-ssed in language. The Red Indians in America called the whites »forked tongues« because their words were divided into multiple meanin-gs. One was spoken to them (the Indians), the other (second) was said between themselves (the whites) and the third thing was done. For-ked Tongue is a work that is based on historic politicians and their speech addressed to or-dinary people. Comparing a human being that has political power with a reptile that is able to destroy a man with one bite is no different from the speech of one president who can by one sentence destroy thousands of people. Sweetly packed lies and promises that we will eat with golden spoons, in the otherwise can mean to be bitterly taken in their words, witho-ut any warning of a different outcome. Perfor-mance/Installation is my performance and un-derstanding of the presidents who had power and were unmatchedly promising and lying at the same time. Their meritorious position is no museum(s) or festive hall(s), but just a fork, as it was their language and, particularly, deeds. By jamming (their photos) on the forks, I de-stroy and cancel all their speech, which has not brought peace and well being.

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= Damir Stojni! = Hrvatska | Croatia

»IZG(OV)ARANJE; AN)EO«

Jakovljeva borba s an%elom; da bi opstao u svijetu, #ovjek se bori protiv najboljeg u sebi. Tim potiskivanjem usvaja strategije temeljene na strahu; lukavost, agresivnost... Sinopsis; An&ela sam napravio po vlastitoj silueti ocr-tav%i je solju, i dodao krila. Po tom crte#u po-stavljam kamenje i pravim ognji%te.

Sakupljam drva i palim vatru koju raspirujem puhanjem u metalnu cijev koja zavr%ava uzor-kom koji nalikuje na zmijski jezik. U Istri tu cijev nazivaju »puhalnica« i ona zamjenjuje mjeh, kada se lo#i vatra. Ona je pup"ana vrpca izme-&u mene i an&ela od vatre i #ara. Toplina mog daha mi biva vra!ena kroz toplinu potaknute vatre. Stvara se an&eo od #eravice i ja zapo"i-njem svirati u drvenu blok–flautu. Sviram samo tonove MI i FA koji u »Glazbi sfera« Johannesa Koeplera predstavljaju raspon nota %to ih kru-#e!i po svojoj orbiti proizvodi planeta Zemlja. Ti tonovi su skra!enice za latinske rije"i MIse-ria i FAmae (Jad i Glad) koji vladaju zemljom.Na kraju stavljam flautu u srce »An&ela« od #e-ravice i »puhalnicom« raspirujem vatru oko nje istovremeno pu%u!i u nju tako da ton zamire s izgaranjem instrumenta. Neko vrijeme proma-tram dogorijevanje flaute (Zemlje) i odlazim. Osloba%aju"i bez straha ono najbolje u nama $to smo potisnuli, postajemo izotopom samih sebe; osloba%anjem vlastitih an%ela spaljuje-mo pakao njegovom vlastitom vatrom.

“PRONOUNCING; THE ANGEL”

Jacob’s struggle with the angel; in order to survive in the world, a man struggles against what is best in him. By such suppressing he adopts strategies based on fear: cunningness, aggression ... Synopsis: I make an angel after my own silhouette, outlining it by salt, and add wings. On the drawing I lay stones and make a fireplace. I collect wood and light a fire and fan it by blowing into a metal tube that ends in a sample that resembles a snake’s tongue. In Istria, that tube/pipe is called “puhalnica” (a thing to blow on) and it replaces a bag (in a bag–pipe) when you light a fire. It presents the umbilical cord between me and the angel of fire and ember. The heat of my breath is be-ing returned to me through the heat of indu-ced fire. The angel of ember starts to appear

and I begin to play in a wooden block flute. I only play notes MI and FA, which in the “Mu-sic of the Spheres” by Johannes Koepler re-present a range of notes that are produced by Planet Earth circling in its orbit. These to-nes are abbreviations for Latin words MIseria and FAmae (Misery and Hunger), which rule the planet. In the end I put the flute in em-ber »Angel«’s heart, fanning the fire around it with a metal tube (“puhalnica”) and blowing directly into the flute at the same time, so that the tone dies parallely with the burning (out) of the instrument. For a while I am watching how the flute (Earth) is burning and then leave. By liberating the very best in us, what we have suppressed, without fear, we become isoto-pes of ourselves; by releasing our own angels we burn hell with its own fire.

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= The Smithsons | Kristina Leko | Vidan Leko Smithson | David Smithson Hrvatska | Njema"ka | SAD | Croatia | Germany | USA

Svi roditelji vjeruju da su njihova djeca poseb-na. Za%to ne bismo i mi?

Na%im kombijem puno putujemo. Dok se vo-zimo, slu%amo glazbu, a na% sin Vidan, od svoje najranije dobi je u svojoj sjedalici radio uz glazbu pokrete kao kakav stari rocker. Onaj tko ga je imao prilike vidjeti, dobro se nasmi-jao. Ponekad Vidan pomalo ludo ple%e, baca se po podu, ska"e. Doista je strastveni ple-sa". Od svojih godinu dana davao nam je ja-sno do znanja koju glazbu voli, a koju ne. Jed-nom smo umalo imali saobra!ajnu nesre!u zbog Franka Sinatre na radiju. Ta glazba nije bila »jaka« i David je morao tra#iti »jaku« glaz-bu, pa je zaboravio na vo#nju. Vidanova prva ljubav bila je Patti Smith. Kad su mu bile dvije godine, posegnuo je za usnom harmonikom i svirao sat vremena. 2010. dobio je bubnje-ve, a 2011. gitaru. Zbog na%ih "estih putova-nja, do sada nije mogao poha&ati glazbenu %kolu.

Odlu"ili smo potaknuti njegov interes za glaz-bu, osobito za dobar stari rock ‘n roll iz %ezde-setih i sedamdesetih, koji on jako voli, te smo tako oformili obiteljski band sa Vidanom (4) na bubnjevima, Kristinom (44) na klavijaturi i Da-vidom (54) na bas gitari, te svo troje na voka-lima. Na% »Rehearsal« u 'taglincu 14. lipnja 2011. bio je na% prvi nastup.

Koncert se sastojao od dvije Vidanove najdra-#e pjesme: People Have the Power (Patty Smi-th) i Gloria (Van Morrison). Plan je da u budu!-nosti uvje#bamo jo% neke pjesme. Kroz glazbu se nadamo kod svoga djeteta probuditi jednu druga"iju komunikaciju gdje estetska ekspresi-ja, strast, ali i protest imaju isti zna"aj.

Kad smo po"eli vje#bati, anga#irali smo Marti-na Heidla da nas savjetuje i da bude Vidanov u"itelj. No, Vidan se sramio i nije htio svirati s njim. Tako je Martin instriurao Davida, a onda kasnije David bi nau"eno prenio Vidanu.

Nekoliko dana prije nastupa Vidan vi%e nije htio svirati. Na koncu smo se ipak uspjeli na-goditi: ako bude svirao, zaradit !e novce, a za novce !emo kupiti »krevet za velike de"ke« da se mo#e preseliti u svoju sobu. Tako je postao

vrlo zainteresiran za koncert.

Na%a proba/koncert je relativno dobro pro-%ao. Doista se smijemo kad pokazujemo vi-deo prijateljima. Naravno, David i Kristina bili su u#asni, a Vidan je bio izvrstan. To je rekao i Martin.

Sat poslije performansa Vidan je upitao: Je li nam Vlasta ve! dala novce? Nekoliko dana potom Vidan je u Ikei kupio svoj prvi krevet, te se onda iselio iz na%e sobe. I sve to s novcem koji je zaradio umjetno%!u u dobi od "etiri go-dine. To je doista velika stvar, nije li?

All parents believe their children are exceptio-nal. Why wouldn’t we?

We travel a lot in our van. While driving, we li-sten to music. Since a very young age our son Vidan was moving his body in his baby seat, in a way an old rocker would do — a scene that made everybody laugh. Sometimes he gets really wild in dancing, he throws himself on the floor, and writhes around. He is a pa-ssionate dancer. Since he was one, he started letting us know which music he likes and dis-likes. Once we almost had an accident beca-use of Frank Sinatra on the radio. The music was not “strong”, and David had to keep se-arching for the “strong” one instead of paying attention to driving. Vidan’s first love was Patti Smith. When two, he once took a harmonica and played for an hour. In 2010 Vidan got a drum set, and in 2011 a guitar. Because of our constant traveling, Vidan has until now been unable to attend a music school.

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We decided to stimulate his interest in music, particularly good old rock ‘n roll from the 60’s and 70’s, which he likes tremendously, and so we formed a family band with Vidan (4) on the drums, Kristina (44) on keyboard and David (54) on bass, and all three of us on vocals. Our »Rehearsal« in Staglinec on June 14, 2011 was our first live performance.

Our little concert included two of Vidan’s favo-rite songs: People Have the Power (Patty Smi-th) and Gloria (Van Morrison). The plan is to do more in the future. Through music we hope to awaken another form of communication in our child where aesthetic expression, passion and protest are the significant elements.

When we started practicing, we engaged Martin Heidl to be our coach and Vidan’s tea-cher. But, Vidan was shy and did not want to play music with Martin. So, Martin was teac-hing David, and then several days later, David would teach Vidan.

Shortly before the performance, Vidan did not want to play any more. Finally, we managed to make a deal — if he would play the con-cert, he would earn money, and with the mo-ney we would buy a “bed for big boys” for him to move out of our bedroom. He became very interested in playing the concert.

Our rehearsal/concert was kind of ok. We la-ugh a lot when we show the video to friends. Of course, David and Kristina were terrible, but Vidan was great. This is also what Mar-tin said.

An hour after our performance Vidan asked: Did Vlasta give us the money? Some days later we went to Ikea and Vidan bought his first bed and moved out of our bedroom. All based on the money that he earned through making art. At the age of 4. Isn’t that great?

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= Mio Vesovi! = Hrvatska | Croatia

Var%avska ulica, broj 10 Salon za uljep%avanje »Nena« 2001. godina u Zagrebu

Veliku skulpturu Tina Ujevi!a, na%eg najve-!eg pjesnika, mogli su svi slu"ajni prolaznici gledati, dru#iti se i razmijenjivati misli i osje-!aje s njim. Nitko (od nas obi"nih smrtnika) nije znao da !e zatvoriti Tina Ujevi!a — sakriti ga od ljudi, potkopati ga, i napraviti jo% jed-nu elitnu gara#u u centru grada, unato" silnim prosvjedima slobodoumnih gra&ana Zagreba. U vrijeme opsade, tu su ljudi provodili no!i, dok ih nije policija na silu odstranila.

Nema vi%e salona za uljep%avanje, nema ni kina Zagreb, jednog od najljep%ih kina. Sada je tu jo% jedan shopping centar. Taj dan iz ove perspektive vidim da je bio povjesni, po-gotovo kad se sjetim da je Vlasta Delimar prolila svoju krv re#u!i mrkvu, i jedan nai-zgled banalni ku!ni dogadjaj "i%!enja povr-!a za juhu pretvorio se u najavu izgradnje jo% jedne civilizacijske »Doline smrti«.

Cijelu tu akciju snimio sam na Kodak film ko-jeg vi%e nema. Nema vi%e ni prostora oko Tina, a nema vi%e ni prostora za ljude koji #ive. Ima samo gor"ina koja postaje i vi%e od gor-"ine kad shvatimo %ta se danas dogadja, od Gr"ke pa do Irana.

Var%avska Street, Number 10 Beauty Salon “Nena” Zagreb, 2001

Every person who walked by the marvelo-us statue of Tin Ujevic (the greatest Croatian poet) was able to observe him, enjoy his com-pany and share thoughts and feelings with him. No ordinary mortal could have imagined that Tin Ujevic would be imprisoned, hidden, and undermined, to make room for an elite garage in downtown Zagreb. Not even passi-onate protests by freedom–loving citizens co-uld prevent this. During the siege, protesters resisted night and day, until the police arre-sted them. Now, the beauty salon is gone, the cinema “Zagreb” (one of the most beautiful movie theaters in Croatia) is also gone, repla-ced by a shopping center. In hindsight I see that that day had historical value, especially when I remember that Vlasta Delimar spilled her blood while peeling a carrot. A seemingly banal event of cutting vegetables for a soup turned into an announcement that our civiliza-tion was constructing another »Valley of Dea-th«. I photographed the performance on Ko-dak film that was also not long for this world. The space around Tin is gone, as well as the surrounding pedestrian area where people li-ved. All that remains is bitterness that is more than just bitterness, when one considers what is happening, from Greece to Iran.

Preveo | Translated by Sa%a Vesovi!

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= 2011= Izdava" | Publisher: Moja zemlja 'taglinec

= Za izdava"a | For the Publisher: Vlasta Delimar

= Tekstovi | Texts: Ivana Krencer, Snje#ana Kordi!, umjetnici | Artists

= Prijevod | Translation: Ivana Krencer

= Fotografije | Photographs: Luka Gusi!, Ksenija Kordi!, Nada (gank, Jasenka Bulj, Marijan Crtali!

= Oblikovanje | Design: Luka Gusi!

= Naklada | Copies: 300

= Tisak | Print: Tiskara Zelina, 2012.

= Djelovanje umjetni"ke organizacije »Moja zemlja 'taglinec« pomogli su: Grad Koprivnica, Gradski ured za obrazovanje, kulturu i %port Grada Zagreba,

Ministrastvo kulture RH

= With support:City of Koprivnica, Zagreb City Office for Cultural Affairs,

Ministry of Culture of the Republic of Croatia

= Sponzori | Sponsors: Pu"ko otvoreno u"ili%te Koprivnica, Vatrogasna zajednica Koprivni"ko–kri#eva"ke #upanije, Udruga #ena »Prolje!e«, 'taglinec, Mjesni odbor 'taglinec,

Hrvatski crveni kri# Koprivnica

= Posebno hvala / Special thanks: Galerija S, Koprivnica

KUD Podravka, tambura%ki orkestar

= CIP zapis dostupan u ra"unalnome katalogu Nacionalne i sveu"ili%ne knji#nice u Zagrebu pod brojem 800790

ISBN 978-953-56101-2-0

štaglinec 2011l 2

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