Božena Končić Badurina
Vanja Babić & Bojan Mucko
Dino Bićanić
Eric del Castillo
ANA Elizabet
Thierry Geoffoy / Colonel
Toni Meštrović
Kata Mijatović & Zoran Pavelić
Adrian Paci
Viktor Popović
Ale de la Puente
Driton Selmani
Lana Stojićević
Vlasta Žanić
kustosica/curator:
Neli Ružić
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HITNOST (english bellow)
Hitnost je nametnuti oblik vremena, ali i poziv na budnost. U stanju hitnosti prisutan je osjećaj da smo out of time, da nema vremena ni odgode. U isto vrijeme, paradoksalno, percepcija vremena se ekspandira i sjecka do najsitnijih dijelova, nanosekunda koje postanu fraktalni beskraj. Rastvara se unutrašnjost vremenskog stroja, koji uostalom već odavno i nije mehanički, simbolička preslika univerzalne vrtnje, nego njen elektronski prijevod u liniju sastavljenu od nula i jedinica.
Hitnost, dakle, nema veze samo s brzinom reakcije, već i s promjenom u percepciji vremena.
Iako se za nju možemo unaprijed pripremati, planirati i razraditi procedure, iskustvo takvih reakcija upućuje na prostor sinkroniciteta, koincidencije ili gubljenja kontrole, volje ili apatije. Adrenalin trenutno povećava snagu, percepciju i intuiciju. Dok gasimo vatru otvara se neki drugi prostor u nama, snaga ljudskosti, zajedništva, empatije. Odjednom znamo da nismo sami.
Temu ovodišnjeg Almissa Open Art Festivala predložila sam još prošle godine. U međuvremenu nas je imperativ hitnosti sustigao, gotovo i prestigao, njena prisutnost u svakodnevnici postala je očigledna. Izvanredno stanje i hitnost oduvijek su bili dio suvremenosti, 1940. godine W. Benjamin u svojoj osmoj Tezi o filozofiji povijesti piše: »Tradicija potlačenih uči nas da “izvanredno stanje” u kojem živimo nije iznimka, nego pravilo.« (1) Izvanredno stanje koje je sada samo prekriveno hitnošću pandemije. Namjera je ovogodišnje Almisse portretirati ovaj globalno nametnuti koncept, njegove implikacije u suvremenosti i u našim životima te neizvjesnost kao polugu strategija političke i ekonomske manipulacije.
Eksperiment izolacije i iskustvo izvanjske tišine, omogućili su usmjeriti pažnju na unutrašnje prostore trajanja. Istovremeno se, kroz virtualne prozore, dogodilo ubrzanje i nezaustavljivi prodori izvanjskog. Sada još više nego ranije, u virtualnoj povezanosti i fizičkoj udaljenosti, javno zadire u privatni prostor na novim razinama. Drukčiji ritmovi i percepcije vremena, suprotne i konfliktivne temporalnosti postale su duboko osobno iskustvo: usporavanja, ubrzavanje, čekanje rezultata, vrijeme bolesti i neizvjesnosti, iscrpljenosti, nemogućnost projekcije budućnosti.
Više nego ikada prije hitnost nekih drugih postala je i naša, jasno nam ukazavši na povezanost svih na jedinoj nam planeti. Kao da je ovaj chiaroscuro scenarij osvijetlio i naglasio sjene prašine nagomilane ispod tepiha.
Već dugo smo svjedoci raspadanja tkiva na svim razinama. Zdravstvena kriza bila je već itekako pripremljena ekološkom krizom i klimatskim promjenama te izrabljivanjem prirodnih resursa, uključujući i ljudske. Iako je zaustavljanje aktivnosti na trenutak zamrzlo sliku sunovrata, po svemu sudeći ovaj virus je i posljedica narušenih ekoloških sustava u doba Antropocena. Nevidljivi virus je na jedan trenutak zaustavio mašineriju, i osvijestio povezanost, fragilnost, kao i emancipacijsku snagu ranjivosti. Ali, osvijetlio je i bolno oštar reljef nejednakosti.
Simptomi kronične bolesti modela neoliberalnog kapitalizma postali su vidljiviji: rastuće siromaštvo i nejednakost; nefunkcionalnost tržišnih modela zdravstva; rasizam i ksenofobija; nasilje prema najugroženijima – poput žena, osoba starije životne dobi, izbjeglica i migranata; porast nacionalizma i populizma, perfidnih oblika kolonijalizma, turizma - autizma svijeta, gentrifikacija gradova koja guta javne prostore i zajednice.
Budućnost može postati zastrašujuća distopija uz duboke socioekonomske probleme, prijetnja tehno(loškog)-totalitarizma koji se naslanja na već prethodno uspostavljene dinamike kontrole i abolicije slobode. Voda nam je do grla, odavno je za sve prekasno, ali prekasno je i za odustajanje. Imamo li plan za jučer? Kako se može pripremiti teren (pa makar od jednog metra kvadratnog) da ne dopustimo povratak na staro sutra?
Almissa Open Art ulazi u svoje 11. izdanje, koje smo preimenovali u broj hitne službe 112, kako bismo naglasili dvije stvari – seciranje koncepta hitnosti, ali i mogućnosti umjetnosti da dijagnosticira i pokreće procese u pulsirajućoj sadašnjosti. Jean-Marie Gustave Le Clézio predviđa da ćemo »jednog dana možda saznati da nikada nije postojala umjetnost, već samo medicina.«(2)
Kroz intervencije, akcije, performanse i projekcije te druge hibridne forme obraćat ćemo se publici, slučajnim prolaznicima grada Omiša, govoriti glasno i šaptati o disfunkciji svijeta, tražiti nove smjerove kretanja, izazvati postojeće strukture. Dovesti u odnos umjetničke prakse direktne akcije u javnom prostoru i poetično guranje granica vremena, neophodno, uzaludno, suludo, salto mortale koji može promijeniti redoslijed, alterirati sustav koji kolabira na konkretnim i nevidljivim razinama, kolektivno, individualno i potkožno.
Ovogodišnja Almissa će pozvati "na ponovno osvajanje osobnog prostora, ali i zajedničkog javnog prostora grada"(3) , upućivati na brižnost kao oblik otpora i "solidarnost kao nužni preduvjet razvoja zajednice"(4) . Upozorit će na sužavanje osobnih sloboda, na privremenost kao stalnost, nepouzdanost oslonca i izvjesnost lavine kao metaforu vremena koje živimo.
Uvjerena sam da umjetnost kao polje senzibiliteta i solidarnosti može pridonijeti kulturi nježnosti i jačanju spona koje nas drže zajedno. Osjećaju zajedništva, »novog čulnog tkanja u kojem prozaične aktivnosti stiču poetsku dimenziju preko koje stvaraju jedan zajednički svijet«, ono što Rancière naziva »preraspodjelom osjetilnog«. (5)
U doba hitnosti, čini se još važnijim, kako kaže Rancière, da se pitanje odnosa estetike i politike podigne na ovu razinu, razinu osjetilnog razgraničenja onoga što je zajedničko zajednici, oblika njezine vidljivosti i organizacije. (6) Možda je upravo u vremenu kada hitnost nadglašava suvremenost, moguće anticipirati novo tkanje zajednice?
- Neli Ružić
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1 Benjamin, Walter, Eseji, Nolit Beograd, 1974., str.83
2 Le Clézio, Jean-Marie Gustave u Deleuze & Guattary, Što je filozofija?, Sandorf & Mizantrop, Zagreb, 2017. str. 134.
3.Iz izjave autorice ANE Elizabet
4. Iz izjave autorice Božene Končić Badurina
5. Rancier, Jacques. Politike vremena, Novi osvrt na modernost, Sveska br.6, mjesto izdavanja i godina str.7
4 Rancière, Jacques, 2004, The Politics of Aesthetics, Distribution of the sensible, London, New York, Continuum International Publishing group. str.18 »The important thing is that the question of the relationship between aesthetics and politics be raised at this level, the level of the sensible delimitation of what is common to the community, the forms of its visibility and of its organization.« Prijevod autorice teksta.
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PROGRAM:
21.8. PETAK / FRIDAY
OTVORENJE / OPENING
21:00 POLJIČKI TRG
18:00 - 21:00
GRADSKI MUZEJ OMIŠ / OMIŠ CITY MUSEUM
Ale de la Puente - Un infinito / An Infinity, 2014
Snimljeni razgovor s autoricom / Recorded conversation with the author
18:00 -21:00
CRKVA SVETOGA DUHA / CHURCH OF THE HOLY SPIRIT
Adrian Paci - Centro de permanenza temporanea, 2007
Dokumentarni film + Documentary Moments of Transition
BILLBOARD NA ULAZU U OMIŠ, (POLJIČKA CESTA – DOČINE)
BILLBOARD AT THE ENTRANCE TO OMIS, (POLJICA ROAD - DOČINE)
Thierry Geoffroy / Colonel - The Emergency Will Replace The Contemporary, 2016
19:00 – 21:00
POKRETNA JEDINICA + MOBILE UNIT
Zoran Pavelić - Almissa Emergency, 2020
ULICA FOŠAL 8 / FOŠAL STREET 8
ANA Elizabet - Dišeš? / Are You Breathing?, 2011
______________________
22.8. SUBOTA + SATURDAY
od 10:00
ULICA FOŠAL, PLAKATNA MJESTA /
FOŠAL STREET, POSTER PLACES
Božena Končić Badurina - Što ova mladost ima zaboravit'? / What Does This Youth Have to Forget?, 2020
12:00 – 20:00
TVRĐAVA MIRABELLA (BUNKER) / MIRABELLA FORTRESS (BUNKER)
Toni Meštrović - Samokontrola / Self-control, 2020
19:00 – 21:00
POKRETNA JEDINICA + MOBILE UNIT
Kata Mijatović - Almissa Emergency, 2020
(MOŽE SE POSJETITI + ON DISPLAY:)
10:00 -12:00 i 16:00 - 21:00
CRKVA SVETOGA DUHA / CHURCH OF THE HOLY SPIRIT
Adrian Paci - Centro de permanenza temporanea, 2007
17:00 – 20:00
GRADSKI MUZEJ OMIŠ / OMIŠ CITY MUSEUM
Ale de la Puente - Un infinito + An Infinity, 2014
ULICA FOŠAL 8 / FOŠAL STREET 8
ANA Elizabet - Dišeš + Are You Breathing?, 2011
BILLBOARD NA ULAZU U OMIŠ, (POLJIČKA CESTA – DOČINE)
BILLBOARD AT THE ENTRANCE TO OMIS, (POLJICA ROAD - DOČINE)
Thierry Geoffroy - The Emergency Will Replace The Contemporary, 2016.
___________
23.8. NEDJELJA + SUNDAY
OMIŠKA ŠETNICA (PUT SVJETIONIKA – LUKOBRAN) /
OMIŠ PROMENADE (LIGHTHOUSE ROAD)
17:00 – 21:00
Bojan Mucko / Vanja Babić - Terenski rad 3 / Fieldwork 3, 2020
19:00 – 21:00
POKRETNA JEDINICA + MOBILE UNIT
Zoran Pavelić - Almissa Emergency, 2020
12:00 - 21:00
ULICA MILE GOJSALIĆ / MILE GOJSALIĆ STREET
Eric del Castillo - Stilitas, 2020
od 12:00
STUP SRAMA, POLJIČKI TRG / PILLAR OF SHAME, POLJIČKI SQUARE
Lana Stojićević - Kolona / Traffic Jam, 2020
(MOŽE SE POSJETITI + ON DISPLAY:)
10:00 -12:00 i 16:00 - 21:00
CRKVA SVETOGA DUHA / CHURCH OF THE HOLY SPIRIT
Adrian Paci - Centro de permanenza temporanea, 2007
17:00 – 2:00
GRADSKI MUZEJ OMIŠ / OMIŠ CITY MUSEUM
Ale de la Puente - Un infinito + An Infinity, 2014
ULICA FOŠAL, PLAKATNA MJESTA /
FOŠAL STREET, POSTER LOCATIONS
Božena Končić Badurina - Što ova mladost ima zaboravit'?/ What Does This Youth Have to Forget?, 2020
ULICA FOŠAL 8 / FOŠAL STREET 8
ANA Elizabet - Dišeš + Are You Breathing?, 2011
BILLBOARD NA ULAZU U OMIŠ, (POLJIČKA CESTA – DOČINE)
BILLBOARD AT THE ENTRANCE TO OMIS, (POLJICA ROAD - DOČINE)
Thierry Geoffroy / Colonel - The Emergency Will Replace The Contemporary, 2016
17:00 – 20:00
TVRĐAVA MIRABELLA (BUNKER) / MIRABELLA FORTRESS (BUNKER)
Toni Meštrović - Samokontrola + Self-control, 2020 (dokumentacija)
______________________
24.8. PONEDJELJAK + MONDAY
8:00 - 15:00
ZGRADA GRADSKA UPRAVA / CITY HALL
Dino Bićanić - Everything Is Going to Be a Memory, 2017
19:00 – 21:00
POKRETNA JEDINICA + MOBILE UNIT
Kata Mijatović - Almissa Emergency, 2020
20:00
ŠETNICA RIBNJAK (LUKOBRAN NA PRIKU) / PROMENADE RIBNJAK (BREAKWATER ON PRIK)
Driton Selmani - Flag of Tomorrow, 2020
Razgovor s autorom
(MOŽE SE POSJETITI + ON DISPLAY:)
10:00 -18:00
CRKVA SVETOGA DUHA / CHURCH OF THE HOLY SPIRIT
Adrian Paci - Centro de permanenza temporanea, 2007.
8:00 –15:00
GRADSKI MUZEJ OMIŠ / OMIŠ CITY MUSEUM
Ale de la Puente - Un infinito + An Infinity, 2014
ULICA FOŠAL 8 / FOŠAL STREET 8
ANA Elizabet - Dišeš + Are You Breathing?, 2011
BILLBOARD NA ULAZU U OMIŠ, (POLJIČKA CESTA – DOČINE)
BILLBOARD AT THE ENTRANCE TO OMIS, (POLJICA ROAD - DOČINE)
Thierry Geoffroy / Colonel - The Emergency Will Replace The Contemporary, 2016
ULICA FOŠAL, PLAKATNA MJESTA / FOŠAL STREET, POSTER LOCATIONS
Božena Končić Badurina - Što ova mladost ima zaboravit'? / What Does This Youth Have to Forget?, 2020
STUP SRAMA, POLJIČKI TRG / PILLAR OF SHAME, POLJIČKI SQUARE
Lana Stojićević - Kolona + Traffic Jam, 2020
17:00 – 20:00
TVRĐAVA MIRABELLA (BUNKER) / MIRABELLA FORTRESS (BUNKER)
Toni Meštrović - Samokontrola + Self-control, 2020 (dokumentacija)
_______________________
25. 8. UTORAK + TUESDAY
20:00
DOM ZDRAVLJA / HEALTH CENTER
Viktor Popović - Bez naziva (Arhiv Omiš: Dom zdravlja) / Untitled (Archive Omiš: Health Center, 2020
21:00- 23:00
PLATO KRAJ SREDNJE ŠKOLE / PLATEAU NEAR HIGH SCHOOL
Boris Greiner - Razgovor s autorima / Conversation with artists
Snimljeni razgovor s autorom Thierry Geoffroy / Colonel I kustosicom Tijanom Mišković + Recorded conversation with the author Thierry Geoffroy / Colonel and the curator Tijana Mišković
(MOŽE SE POSJETITI + ON DISPLAY:)
8:00 - 15:00
ZGRADA GRADSKE UPRAVE / CITY HALL
Dino Bićanić - Everything Is Going to Be a Memory, 2017
8:00 – 15:00
GRADSKI MUZEJ OMIŠ / OMIŠ CITY MUSEUM
Ale de la Puente - Un infinito / An Infinity, 2014
17:00 – 20:00
TVRĐAVA MIRABELLA (BUNKER) / / MIRABELLA FORTRESS (BUNKER)
Toni Meštrović - Samokontrola / Self-control, 2020 (dokumentacija)
ULICA FOŠAL 8 / FOŠAL STREET 8
ANA Elizabet - Dišeš / Are You Breathing?, 2011
BILLBOARD NA ULAZU U OMIŠ, (POLJIČKA CESTA – DOČINE)
BILLBOARD AT THE ENTRANCE TO OMIS, (POLJICA ROAD - DOČINE)
Thierry Geoffroy / Colonel - The Emergency Will Replace The Contemporary, 2016
ULICA FOŠAL, PLAKATNA MJESTA /
FOŠAL STREET, POSTER LOCATIONS
Božena Končić Badurina - Što ova mladost ima zaboravit'? / What Does This Youth Have to Forget?, 2020
STUP SRAMA, POLJIČKI TRG / PILLAR OF SHAME, POLJIČKI SQUARE
Lana Stojićević - Kolona / Traffic Jam, 2020
ŠETNICA RIBNJAK (LUKOBRAN NA PRIKU) / PROMENADE RIBNJAK (BREAKWATER ON PRIK)
Driton Selmani - Flag of Tomorrow, 2020
_______________________
26.8. SRIJEDA + WEDNESDAY
19:00 -20:00
VELIKA PLAŽA / CITY BEACH
Vlasta Žanić - Voda do grla / Neck Deep, 2020
(ON DISPLAY, MOŽE SE POSJETITI:)
8:00 - 15:00
ZGRADA GRADSKE UPRAVE / CITY HALL
Dino Bićanić - Everything Is Going to Be a Memory, 2017
8:00 – 15:00
GRADSKI MUZEJ OMIŠ / OMIŠ CITY MUSEUM
Ale de la Puente - Un infinito / An Infinity, 2014
17:00 – 19:00
ULICA MILE GOJSALIĆ / MILE GOJSALIĆ STREET
Eric del Castillo - Stilitas, 2020
17:00 – 20:00
TVRĐAVA MIRABELLA (BUNKER) / / MIRABELLA FORTRESS (BUNKER)
Toni Meštrović - Samokontrola / Self-control, 2020. (dokumentacija)
ULICA FOŠAL 8 / FOŠAL STREET 8
ANA Elizabet - Dišeš / Are You Breathing?, 2011
BILLBOARD NA ULAZU U OMIŠ, (POLJIČKA CESTA – DOČINE)
BILLBOARD AT THE ENTRANCE TO OMIS, (POLJICA ROAD - DOČINE)
Thierry Geoffroy / Colonel -The Emergency Will Replace The Contemporary, 2012.
ULICA FOŠAL, PLAKATNA MJESTA /
FOŠAL STREET, POSTER LOCATIONS
Božena Končić Badurina - Što ova mladost ima zaboravit'?/ What Does This Youth Have to Forget?, 2020
STUP SRAMA, POLJIČKI TRG / PILLAR OF SHAME, POLJIČKI SQUARE
Lana Stojićević - Kolona / Traffic Jam, 2020
ŠETNICA RIBNJAK (LUKOBRAN NA PRIKU) /
PROMENADE RIBNJAK (BREAKWATER ON PRIKO)
Driton Selmani - Flag of Tomorrow, 2020
+ ukoliko vrijeme nije naznačeno, može se pogledati tijekom cijelog dana
+ if no time is specified, can be 4een throughout the day
______________
EMERGENCY
Emergency is an imposed form of time, but also a call to awareness. In a state of emergency there is a feeling that we are out of time, that there is no time or delay. At the same time, paradoxically, the perception of time is expanded and splintered into its tiniest parts, nanoseconds that become a fractal infinity. The interior of the time machine is open wide, and at any rate, it stopped being mechanical a long time ago, the symbolic copy of universal rotation, but is instead its electronic translation into a line composed of zeros and ones.
Emergency is, therefore, not only related to the speed of reaction, but also to changes in the perception of time. Even though we can prepare for it in advance, plan and develop procedures, the experience of such reactions points to the space of synchronicity, coincidence or loss of control, will or apathy. Adrenaline instantly increases strength, perception and intuition. As we extinguish the fire, another space opens up within us, the power of humanity, community, empathy. Suddenly we know that we are not alone.
I proposed the theme of this year’s Almissa Open Art Festival as early as last year. In the meantime, the imperative of emergency caught up with us, almost overtook us, and its presence in our everyday life became obvious. The state of emergency and urgency have always been a part of contemporaneity, as W. Benjamin writes in 1940, in his eighth Thesis on the Philosophy of History: “The tradition of the oppressed teaches us that the ‘state of emergency’ in which we live is not an exception but the rule.”(1) The state of emergency that is now only concealed with the urgency of the pandemic. The intention of this year’s Almissa is to portray this globally imposed concept, its implications in contemporaneity and in our lives, as well as the uncertainty as a lever for strategies of political and economic manipulation.
The experiment of isolation and the experience of external silence, facilitated focusing of attention to internal spaces of duration. At the same time, an acceleration and an unstoppable penetration of the external happened through virtual windows. Now, even more than before, while being virtually connected and physically distant, there are new levels of public encroachment into private space. Different rhythms and perceptions of time, opposite and conflicting temporalities became a deep personal experience: slowing down, accelerating, waiting for results, time of illness and uncertainty, exhaustion, inability to project the future.
More than ever before, the emergency of others has also become ours, clearly demonstrating the interconnectedness of everything on our only planet. It is as if this chiaroscuro scenario illuminated and accented the shadows of dust accumulated under the carpet.
We have long been witnessing the breakdown of tissue on all levels. The health crisis has already been well-primed by the ecological crisis and climate change, as well as the exploitation of natural resources, including those human. Even though the halting of activities momentarily froze the picture of the downturn, it is very likely that this virus is also the consequence of disturbed ecological systems in the Anthropocene era. For a moment, the invisible virus stopped the machinery, and brought connectivity, fragility, as well as the emancipatory power of vulnerability to the fore. But it also threw inequality into painfully stark relief.
Symptoms of the chronic model of the neoliberal capitalist disease became more visible: growing poverty and inequality; the dysfunctional business model of healthcare; racism and xenophobia; violence against the most vulnerable – such as women, the elderly, refugees and migrants; the rise of nationalism and populism, perfidious forms of colonialism, tourism – autism of the world, the gentrification of cities that is swallowing public spaces and communities.
The future could become a terrifying dystopia with deep socio-economic problems, the threat of techno(logical)-totalitarianism that relies on already established dynamics of control and the abolition of freedom. We find ourselves neck-deep, it has long been too late for anything, but it is also too late to give up. Do we have a plan for yesterday? How can we prepare the terrain (even if it is only one square metre in size) without allowing for the return of the old tomorrow?
Almissa Open Art is heading into its 11th edition, that we renamed as the number of the emergency services 112, in order to emphasize two things – dissecting the concept of emergency, but also the ability of art to diagnose and initiate processes in the pulsating present. Jean-Marie Gustave Le Clézio anticipates that “one day, perhaps, we will find out there was no art, but only medicine.” (2)
Through interventions, actions, performances and projections, as well as other hybrid forms, we will address the public, accidental passers-by in the town of Omiš, speak loudly and whisper about the dysfunction of the world, try to find new directions of movement, and challenge the existing structures. To relate artistic practices of direct action in public space and the poetic pushing of limits of time, the necessary, futile, insane, the somersault that could change the order, alter the system that is collapsing on concrete and invisible levels, collectively, individually and subcutaneously.
This year’s Almissa will call "for the recapturing of personal space, but also the common public urban space" (3), pointing to care as a form of resistance and "solidarity as a necessary precondition for community development." (4) It will caution against the narrowing of personal freedoms, temporality as permanence, the unreliability of support and the certainty of an avalanche as a metaphor for the times we live in.
I am convinced that art as the field of sensibility and solidarity can contribute to the culture of tenderness and strengthening the bonds that hold us together. To the feeling of community, “a new sensory fabric in which prosaic activities acquire poetic dimension through which they create a common world”, which Rancière calls “redistribution of the sensory”. (5)
In the time of emergency, it seems even more important, as Rancière says, that the question of the relationship between aesthetics and politics be raised at this level, the level of the sensible delimitation of what is common to the community, the forms of its visibility and of its organization. (6) Perhaps precisely in the time when emergency is overriding contemporaneity, it will be possible to anticipate the new fabric of community?
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1 Benjamin, Walter, Eseji, Nolit Beograd, 1974, p.83
2 “Jednog dana ćemo možda saznati da nije postojala umjetnost, već samo medicina.”, Le Clézio, Jean-Marie Gustave u Deleuze & Guattary, Što je filozofija?, Sandorf & Mizantrop, Zagreb, 2017. p. 134.
3 From artist's statement - ANA Elizabet)
4 From artist's statement- Božena Končić Badurina
5 Rancier, Jacques. Politike vremena, Novi osvrt na modernost, Sveska br. 6, mjesto izdavanja i godina p.7
6 Rancière, Jacques, 2004, The Politics of Aesthetics, Distribution of the sensible, London, New York, Continuum International Publishing group. p. 18
