Život umjetnosti 101 (2017)
EDITOR IN CHIEF: Sandra Križić Roban
UREDNICA TEMATSKOG BROJA / THEMATIC ISSUE EDITOR: Ana Dana Beroš
EXECUTIVE EDITOR: Sanja Horvatinčić
EDITORIAL BOARD: Liesbeth Decan, Sanja Horvatinčić, Leonida Kovač, Vladimir Kulić, Irena Šimić
TRANSLATION: Mirna Herman Baletić, Marina Schumann
LANGUAGE EDITING AND PROOFREADING: Dunja Aleraj Lončarić (hrvatski jezik / Croatian language), Dunja Opatić (engleski jezik / English language)
DESIGN AND LAYOUT: bilić_müller studio
AUTHORS OF TEXTS: Artikişler Collective, Merve Bedir, Irena Bekić, Ana Dana Beroš, Keller Easterling, Antonio Grgić, Ana Jeinić, Petra Kelemen, Tonka Maleković, Maja Marković, Duga Mavrinac, Jelena Pašić, Dubravka Sekulić, Lea Vene, Ante Tonči Vladislavić
COVER: Matija Kralj, Geotrauma, odbačeni prsluci za spašavanje izbjeglica na sjeveru otoka Lezbosa, 2017. / Matija Kralj, Geotrauma, mounds of discarded life jackets in northern Lezbos, 2017
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Naslovnica ovoga broja nosi fotografiju umjetnika Matije Kralja naslova Geotrauma. Tijekom proteklih godina s njime sam istraživala i dokumentirala (de)konstrukciju tzv. balkanske rute, od tranzicijskog centra Dobova na slovensko-hrvatskoj granici, preko makedonsko-grčke granice i neformalnoga pograničnog izbjegličkog naselja Idomeni, do grada Mardina u sjevernoj Mezopotamiji, nadomak tursko-sirijske granice, gdje smo bilježili svakodnevicu gradskih izbjeglica. Naslovnica je dio videorada koji paralelno prikazuje dva narativa izmještajućih, plivajućih granica – jedan prikazuje snimke vojno nadgledanih i upravljanih izbjegličkih logora u sjevernoj Grčkoj, evakuiranih ad hoc šatorskih „naselja parazita” na benzinskim crpkama netom nakon zatvaranja Idomenija ljeti 2016., dok drugi prikazuje snimke zloglasnoga detencijskog centra Moria, svojevrsnoga ljudskog odlagališta, te smetlišta odbačenih prsluka za spašavanje na sjevernom Lezbosu ujesen 2017. Geotrauma bilježi tragove širećih granica i propituje koloplete (su)djelovanja europskih migracijskih politika i međunarodnih humanitarnih organizacija te mase turist-volontera (engl. voluntourists) i aktivista anarhista u „industriji katastrofe”.
Ipak, u radu Matije Kralja geotrauma nije tek rana, urezana u organsko tkivo stranim predmetom, niti je riječ o iskustvu pojedinca, nego o fizičkoj i materijalnoj stvarnosti u koju se upisuje cjelokupan zemaljski život, a ti su tragovi nagomilani i zapetljani unutar nas. Poprišta koja su u javnom diskursu obilježena terminom „izbjegličke krize”, poput izbjegličkih logora, napuštenih pograničnih pustopoljina ili skrivenih groblja bezimenih, u bilježenju tog autora poprimaju značaj planetarne geotraume onkraj atomiziranih, rascjepkanih iskustava i košmarnih uspomena. Čak i dokumentacija odlagališta prsluka za spašavanje na otoku Lezbos, odbačene popudbine izbjeglica, izblijedjele nakon medijske eksploatacije i spektakularizacije tijekom povijesnog „ljeta migracija” 2015., nastoji nas potaknuti na razmišljanje o onome što ostaje, o onome što ostavljamo čovječanstvu u naslijeđe. U slijedu događaja u kojem su Grčka i Turska već postale „zemlje odlagališta” Europske zajednice, a Tvrđava Europa prelijeva se na susjedne kontinente, fotografska bilježenja Matije Kralja podsjećaju nas da smo odgovorni tražiti i zamišljati, upravo kroz trenutačne i dugotrajne, beskrajne (geo)traume, mogućnosti novih (ko)egzistencija i društava otvorenih granica koja prihvaćaju drugost, kolektivnost i solidarnost, upravo sada i ovdje.
Ana Dana Beroš (iz uvodnika)
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The cover page of this issue displays a photograph by artist Matija Kralj called Geotrauma. During the past years, we have researched and documented together the (de)construction of the so-called “Balkan route”, from the transition centre Dobova at the Slovenian-Croatian border to the Macedonian-Greek border and the informal refugee camp of Idomeni, and further to the city of Mardin in northern Mesopotamia, near the Turkish-Syrian border, where we observed the everyday life of urban refugees. The title page is part of a video that juxtaposes two narratives of displacing, shifting borders – one showing the scenes of military run refugee camps in northern Greece, and the evacuated ad hoc tent “parasite settlements” at petrol stations shortly after the closure of Idomeni in Summer 2016, and the other showing the infamous detention centre Moria, a sort of human wasteland, and heaps of discarded life jackets in northern Lesbos in Autumn 2017. Geotrauma documents the traces of expanding borderscapes and explores the intricacies of interaction between European migration policies and international humanitarian organizations, as well as the massive inclusion of voluntourists and activists-anarchists in the “industry of disaster.”
Nevertheless, for Matija Kralj geotrauma is not merely a wound, incised in organic texture by means of a foreign object, or even an individual experience; instead, it is a physical and material reality in which the entire life on earth is inscribed, with the said traces accumulated and entangled within us. Sites that are in public discourse marked by the “refugee crisis”, such as refugee camps, evacuated wastelands along the borders, or hidden graveyards of anonymous victims, acquire the significance of a planetary geotrauma that reaches beyond all atomized, fragmented experiences and nightmare memories. Even his documentation of the life jacket junkyard on the island of Lesbos, with its discarded refugee luggage faded from media exploitation and spectacularization during the historic “summer of migration” of 2015, seeks to make us reflect on what remains behind and what we will leave to humanity as our legacy. In the course of events where Greece and Turkey have already turned into the “waste countries” of Western Europe, and Fortress Europe has been spilling over to the neighbouring continents, the photographic documentation of Matija Kralj reminds us that we are obliged to seek and invent, precisely through the current and endless (geo)traumas, new possibilities of (co)existence and open-border societies that will accept otherness, collectiveness, and solidarity, here and now.
Ana Dana Beroš (from the foreword)
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CONTENTS
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Tema trans/migrantnosti podijeljena je u dva poglavlja – Gradovi izbjeglica, nazvano prema naslovu knjige Žarka Paića Gradovi izbjeglica: Od etike gostoljubivosti do politike prijateljstva (Zagreb, Pan Liber & IEGS, 2016.) i Planet Gastarbeiter (Radnici u gostima), čijim se naslovom podsjećamo na djelo jednog od najpoznatijih hrvatskih umjetnika gastarbajtera, Dragutina Trumbetaša. / The subject of trans/migrancy has been divided into two sections – Cities of Refugees, borrowing the title from Žarko Paić’s book Cities of Refugees: From Ethics of Hospitality to the Politics of Friendship (Zagreb, Pan Liber & IEGS, 2016) and Planet Gastarbeiter (Guest Workers), reminiscent of the work of Dragutin Trumbetaš, a famous Croatian artist-migrant worker.
4–13
Ana Dana Beroš
TRANS|MIGRANTNOST: psihogeografije prijelaza
TRANS|MIGRANCY: The Psychogeographies of the Threshold
GRADOVI IZBJEGLICA / CITIES OF REFUGEES
20–33
Antonio Grgić
Arhitektura kao znak rituala prijelaza: fortifikacijski sustavi kao palimpsest znakova društveno – političkih promjena upisanih u europsku topografiju
Architecture as a Sign of Rites of Passage: Fortification Systems as a Psalympsest with Signs of Socio-Political Change Inscribed in the Topography of Europe
34–45
Merve Bedir
Grad kao logor, logor kao grad
The City as the Camp, the Camp as the City
46–61
Ana Jeinić
Dijalektika otočnosti: Otvorena zatvorenost otočnih zajednica kao model društvenog organiziranja u eri migracija
Dialectics of Insularity: The Open Enclosure of Island Communities as a Model of Social Organizing in the Age of Migrations
62–67
Keller Easterling
Posvuda
Everywhere
68–75
Ante Tonči Vladislavić, Lea Vene
Privremeni ručni rad – prema afirmaciji i integraciji
Temporary Handwork – Towards Affirmation and Integration
76–81
Artikişler Collective
The Residual – Etika lica
The Residual –The Ethics of Face
82–97
Ana Dana Beroš, Dubravka Sekulić
Razgovor s Andrewom Herscherom: Izmještanja: protupovijesti arhitekture i izbjeglištva
Interview with Andrew Herscher: Displacements: Counter-Histories of Architecture and Refugeehood
PLANET GASTARBEITER (RADNICI U GOSTIMA) / PLANET GASTARBEITER (GUEST WORKERS)
100–113
Irena Bekić, Duga Mavrinac
Biti / postojati između tamo i tamo. Toposi privremenih migracija u izložbi Između tamo i tamo: anatomija privremenih migracija
Being / Existing between There and There. Commonplaces of Temporary Migration at the Exhibition Between There and There: Anatomy of Temporary Migrations
114–135
Maja Marković
Migracija kao nužnost: umjetničko djelovanje kolektiva Migrative Art 1991.–1996.
Migration as a Necessity: Artistic Activity of the Migrative Art Collective (1991–1996)
137–145
VIZUALNI ESEJ / VISUAL ESSAY
Tonka Maleković
Spaces Between (Living) Places
Spaces Between (Living) Places
146–151
Petra Kelemen
Migracije, susreti i prepoznavanja
Migrations, Encounters and Recognitions
152–167
Jelena Pašić
Razgovor s Margaretom Kern: Gastarbajterice kao anticipacija suvremenog tržišta rada: uključivanje glasova iz noćne smjene
Interview with Margareta Kern: Gastarbeiterinnen as an Anticipation of the Modern Labour Market: Including the Voices from the Night Shift
168–179
RECENZIJA
Dubravka Sekulić
Četrdeset godina Sedmog čovjeka (recenzija knjige)
Forty Years of A Seventh Man (Book review)
180–183
Biografije
Biographies