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5rd FONA Festival of New Art
Rijeka, Croatia, Sept 9th 2007.
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COMPETITION PROPOSITIONS

1. Only recent works / performances / actions / projects, conceived and realised in period 2004 – 2007. will be allowed to enter the competition.
2. These can be conceived and realised in any media or technique, without limitations.
3. Age, sex, race or nation bear no importance in selection of the authors and works entered.
4. Dimensions are not set by propositions; if any technical, financial or spatial obstacles arise, we suggest that questions regarding work's format, size and type should be solved as agreed. Chosen candidates will be informed on this after receipt and selection of the works.
5. O.K. gallery board will decide the NUMBER of the works of individual exhibitor depending of their conception, quality, dimensions and exhibition possibilities.
6. Filled out application form, together with other materials (photos, slides, CD, video tapes and other) and works are mailed by the authors at their own expense (by mail, personal delivery, DHL or some other way). In the case of loss or transport damage occurred until the moment of the materials' and works' receipt, MMC bears neither responsibility or expense.
7. Author will give MMC a permission to use photos, slides etc. with no charge, with a view to a reproduction inside the catalogue, CD and other concurrent festival materials – unless author explicitly prohibits such a media intervention to the Organiser.
8. State of the received works will enter the Record, and MMC will inform the author of an eventual damage.
9. Work’s return will be effectuated within 3 months from the festival's end and will be realised in a same packing in which they came, whether by mail, DHL or some other previously agreed transport means.
10. Works' return expenses will be covered by the organizer of the 5rd FONA Festival Rijeka. This also applies to the works that will not enter the selection and won't be exhibited.
11. Author will insure artworks during their transport to Rijeka, while MMC Rijeka will cover insurance from the receipt date to the date of the works' return to the author.
12. On account of the selection amongst the authors and works that entered competition, O.K. Gallery Board will meet within a week from the expiration of the Application term (August 15th 2005 – August 22nd 2005.). Author will be informed of the Board's decision within the following 10 days.
13. Author is renouncing the right to withdraw works during the actual Festival, unless Organiser agrees about an earlier return.
14. In the case of disagreement, author can apply to a court in authority (Communal Court of Rijeka or some other court, if requested by the author).
15. It is understood that author has accepted Organiser’s conditions formulated in this notice by the act of sending the filled out Application Form for participating at the 5rd Festival of New Art Rijeka 2007.

Gallery Board Member
Branko Cerovac

On behalf of MMC Rijeka, director,
Damir Cargonja

O.K. Gallery curator
Kreso Kovacicek


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5rd FONA Festival of New Art
Rijeka, Croatia ,Sept 9th 2007.


MMC ( Multimedia Centre ) ltd. Rijeka
Kružna 6
51000 Rijeka
Croatia

e-mail: mmc@vip.hr
Phone: ++ 385 (0)918993758
Fax: ++ 385 51 259082



NOTICE


ART AND CRIMINALITY
or
Artaud's "Murdered Suicide" Van Gogh

Festival of New Art FONA 07
MMC Ltd., Rijeka / Palach

The theme we have chosen for our Festival's 2007 edition is the relation between the art and the "realm of general": system, morality, law, tribe, society, state, "global order": oppressive-repressive apparatus of the Control / Prisons / Madhouses / Hospitals (Kierkegaard, Nietzsche, Freud, Artaud, Battaile, Foucault, Lacan); in brief: relation / interaction of terms on ART / CRIME / CRIMINALITY – which is indirectly or explicitly, since the ancient times (Plato: Phaedrus, Phaedo, The Republic) until today, one of the "red lines" in discussions and confrontations on questions of art led by pleiad of aestheticists and moralists.
Modern and contemporary artists have highly exacerbated these questions, while, in so-called "vanguard", "radical", "trans-gressive", "extreme", "adrenaline", "post-humanistic", "pornographic", "pirate", "outsider", "Off" / "NO Art" / "Trans-Art" artistic practices almost regularly play on shocking borders and edges of an official or unofficial but otherwise generally accepted morality and law. Considering disturbing, but really due to that, intellectually demanding fact that term "criminality" is by no means neither natural nor strictly ethical – although, from the juridical point of view, the speech is about "crime", or "incrimination" of something! – we enter the whole range of artistic possibilities of relating to this very complex and subtle problem.
Namely, it is known that neither famous masters of the pen, brush, "body art", conceptual art, "Yugoslavian" New Artistic Practice since the 1960s to the collapse of Yugoslavia (1991) avoided being suspected of "criminal" intention, inspiration or action as an "evil deed", "act of Evil", Crime: from platonically denounced poets, artists, prophets as divine, but morally and, regarding capability of cognition, unaccountable "maniacs", through bandits, bullies and rogues of F.Villon, B. Cellini type, and insane self-destructive genius according to paradigm "Van Gogh's Ear" (in Rijeka MMC, in the frames of FONA 2006, presented was PROJEKATUHO/ProjectEar by the young Vojvodina artist Ratka Lugomerski), Nietzche's, Artaud's madness, to contemporary post-conceptualists and performance artists who self-consciously use shock and breaching all kinds of borders (state, law, moral, gender, "natural", aesthetic, ideological, cognitive borders): P.Manzoni, Ch.Burdon, the whole“Wiener Aktionismus” of 1960s and '70s, O.Kulik, A. Brenner, Stelarc, R. Aethey, several artists from Spain and Mexico ( M.le Antunez, La Fura dels Baus, Obed Gomez…), among “ours”: Serbian artists Raša Todosijević, Marina Abramović, Zoran Todorović, Tanja Ostojić, Spartak Dulić; Bosnian Jusuf Hadžifejzović, “Kurt & Plasto”, Andrej Đerković and so many others; Croatian Antonio Lauer alias Tomislav Gotovac – father of our performance art, experimental cineast and really maniacal film lover, Vladimir Dodig Trokut as a shaman, adept of the dark, anti-museologist , “secret service agent”, The Group of Six authors with recently deceased Željko Jerman as a “photography murderer”, then “sanguineous” slaughterer of the living creatures Sven Stilinović (“Geometry of bloodthirstiness”) and Mladen Stilinović as an “exploiter of the dead”, with Pino Ivančić…
A bard of the Rijeka panting and actionism, Zlatko Kutnjak, keeps elaborating dark themes of the evil, crime, madness, death and confrontation with the law since the early 1980s until today; performance artist Vlasta Delimar with "Lady Godiva", Projekt ENIGMA OBJEKTA/ Enigma of the object (Goran Karabogdan) with theft of art objects… Rijeka artists and close collaborators of MMC's “Palacha” Krešo Kovačićek, Damir Stojnić, Krešo Mustać, Dundara, “Adapteri”, bards of the “dark” poetry and rock – performance Zoran Štajduhar Zoff (“Grč”/Cramp), Predrag Kraljević Kralj (“Termiti”/Termites), Damir Martinović Mrle (“Let 3”/Flight 3 ), “Po metra crijeva”/Half a metre of guts, writer Igor Večerina (“Poet Theatre”): the whole RI PERFORMANCE SYNDICATE! During the last few years Damir Čargonja - Čarli, controversial director of "Poduzeće u kulturi"/ Culture Enterprise MMC Ltd. Rijeka as a organiser – actionist and performance artist started to appear in public, as well as the fashion designer Tajči Čekada.

MISTERY OF THE EAR
"Van Gogh case" is intriguing not only in the context of appearance and development of the modern painting, but even more as a paradigm of internal schism taking place within the very Subject of the modern artist, as well as an early and extreme anticipation of transgression from disintegrating classic "picture" to symbolic self mutilation of the author's body – this "home of the soul" that becomes too cramped for unconscious dynamics of surpassing / destroying of an Ego. This utterly desperate, radical, schizophrenic step out of the borders of the normal idea about the self in direction of its self-destruction witnesses about an abrupt breakthrough of a particular aspiration in the self-consciousness of the modern painting – from Van Gogh to Pollock, in direction of contemporary Body-Art and other performance practices, especially subculture practice of "working on one's self" by cutting, piercing, tattooing and conducting similar "primitive" procedures, in collusion with "underground" tradition of self-adornment and mutilation present among warriors, pirates, samurais, yakuzas, criminals of all types, prostitutes, possible suicides i.e. versatile OUTSIDERS and renegades from the "healthy social organism". Well known is that, in Christian tradition, suicides too are "incriminated" i.e. damned, expelled from the sphere of Sacred, as opposed to "those of a poor spirit" and lunatics – who are paradoxically beatified: "Beati pauperes spiritu, quoniam ipsorum est regnum caelorum"…etc, or even elevated to the divine status: "Divine Fool". Intuitively recognising that Van Gogh's EAR participates in all this in a mystical manner, Ratka Lugomerski, an artist from Vojvodina, devised and actualised PROJEKATUHO / ProjectEar – facetiously provoking reflection upon the possible MEANING of this anamorphotic UFO-EAR that levitates revolving around own axis over the corn field. Survey among people from various social classes and sub-groups showed wide range of ideas about WHY Van Gogh did IT: too much absinthe, drugs, all kinds of frustrations, madness, love – or – hate towards Gaugin who blew his mind, conflict between desires and duties, "to avoid self-castration": "sacrificing sanity" rather than "sacrificing phallus" etc. (paradigm Tertulian – Origenes) – more or less, this is a direction of the most frequent answers "about the reason" why genius painter conducted such an act. Ritual offering and consuming of various alcoholic beverages (Hadžifejzović, Tolj, Lugomerski) or narcotics (Dulić, Mustać et al.) are also classed among "problematic" deeds within radical methodologies of contemporary artists. Likewise, copulating in public, ritual fornication with animals, and even human corpses, "mistreating" or killing animals originating from artists – "shamans" and various performance artists from 1960s further, present on the contemporary "underground" as well as an elite scene. Thus, we invite artists to participate in elaboration of this theme!


AFFLORESCENCE OF CRIMINALITY, PIRATISM AND FREE ENTERPRISE DURING 1990S: DECRIMINALISATION OF THE PIRATE ART-ENTERPRISE IN RIJEKA 1997-2007
According to the Hakim Bey's famous theses on pirates, vanguardists and "music as a principle of state organisation", as well as of TAZs (Temporary Autonomous Zones), precisely our city Rijeka, i.e. Fume from 1919 and "on", due to the incredible "pro-fascist", and, regarding "artistic" inspiration, PIRATE action of a militant writer Gabriele D'Annunzio, became the last pirate utopia and – simultaneously – the first, paradigmatic modern (trans-) artistic Temporary Autonomous Zone! Wild anarcho-hordes of cyberpunkers enabled all interested to acquaint themselves ON LINE with the whole complex system of this pirate-artistic deterministic chaos which Strange Attractor was, exactly, Italian poet D'Annunzio. At the turn of 2007, Rijeka will live marked by the exhibition "Fiumani"/Fiumans and Venucci's model for public monument "For Legionary" (organised by Museum of Modern and Contemporary Art/MMSU), while Palach's Festival of New Art FONA 2003 introduced precisely mentioned Bey's story about Fiume as pirate D'Annunzian – vanguardist TAZ. The point in question being the first historical appearance of FASCISM – organised "criminality" rigidly speaking – in the world, does not confuse Hakim Bey a bit, since notorious fact is that every European historical vanguard (technical term by Peter Buerger) finished largely in totalitarian political instrumentalisation – which, since the times of banishing D'Annunzio from Fiume in early 1920s to mid 1930s, happened also in Italy, therefore in Fiume, as well as in Germany and Russia (USSSR), while well known is how things developed in France – where no less than Antonin Artaud barely stayed alive for nine years in a madhouse. Released shortly before his death, after the "capitulation"of his repressive psycho-jailers, he managed to write his magnificent proto anti-psychiatrist text: VAN GOGH – MURDERED SUICIDE. Having better understood the fact that "legitimate" State stealthily governs like a disguised mega-criminal, while Society itself and "moral" System maltreats and abuses an Individual, certain "informal" sub-cultural association in culture called OTVORENI KRUG/Open Circle, since the mid 1990s to the end of this decade, was preparing for "transformation" to registered COMPANY: in the first phase "Jona Ltd.", and afterwards – having "acquired" its present headquarters on the premises of the Jan Palach Club – MMC Ltd. Rijeka (Multimedijalni centar d.o.o./ Multi-media centre Ltd.) Gallery O.K. was founded on the premises of MMC Palach and, since 1998 until today deals with examining border areas of the Art and extreme situations in which, over and over again, results every open-minded crossing of "eternally" predetermined, allegedly-legitimate, repressive REGULATIONS that hinder experimental and faultfinding behaviour and activity on the home Art scene. Ever since "Van Gogh's Ear" every radically disposed and directed artist / theoretician / critic is clearly aware that artistic exploration of conflicting relations I – Non-I / individual – social-political system / Law – transgression, unavoidably takes place in an ambivalent, anamorphotic, unsettled and susceptible "underground" sphere BEYOND GOOD AND EVIL (Nietzsche: Jenseits Gut und Boese ), as well as that the aesthetic question of the first-grade importance is – ever since Kant's "Critique of Judgement"- which is the place of this RELATION / INTERACTION of habitually naively i.e. abstractly juxtaposed "pairs of contrarieties" inside artistic concepts, poetics, methodologies, practices and pragmatically devised strategies and tactics of "situationistic" public activity, MMC Rijeka ("Palach") decided to explicitly set title syntagm: ART & CRIMINALITY as the leading theme of the festival FONA 2007.

ART ON THE EDGE / BEYOND THE EDGE OF THE LAW / SYSTEM

The number of home “Unadapted / Misfits” artistic offenders against the Regulations who closely cooperate with MMC Palach:
Lauer, Trokut, Sven Stilinović, Vlado Martek, the late Željko Jerman, Zlatko Kutnjak, Zlatan Dumanić, Pino Ivančić, “Zlobecsport”, Crtalić, GHETTO – project of Sonja Barač Rudynski, Ana Peraica, Damir Stojnić, Krešo Kovačićek, Krešo Mustać, Franko Bušić, Spartak Dulić, Goran Karabogdan, Zubović, RI PERFORMANCE SYNDICATE et al.


CONTROL, INSTITUTIONS, MADHOUSES, PENITENTIARIES: ART EXPEDITIONS "GOLI OTOK" 2000 – 2007, MMC Rijeka; "BALEFEST: BALE / VALLE 2002-2004", MMC Rijeka & "Zlobecsport" Gallery, Bale / Valle

NAKED LUNCH ON NAKED ISLAND
Goli otok as a topos of a penitentiary island i.e. prison-artistic TAZ

On Goli otok (literally: Naked island) in the period from 1949 – 1989, a clear distinction between criminals, artists, ideological opponents and innocent victims of the systematic paranoia, madness, conspiracy theory and repression of the ruling regime, did not exist. In this particular place, from 1949 – 1953, legally installed pro-regime "guardians" simply called all convicts – "Banda!" i.e. gangsters.

This is precisely ideal situation for analysing legal notion of the guilt and the truth, according to which is determined what is and what is not "evil" or at least what is right to think, speak, do. Here, only Austinian performative of a statement – speaking act in a language game (Wittgenstein!) called "right-wrong", spoken by the proper instance from officially established position makes someone a criminal, "evil-doer", even if this someone is the author of "Pakao nade" / Hell of Hope, poet Ante Zemljar, regular participant in MMC actions on Goli otok since 2000 to his recent death.

In this language game, even "incorrectly" written poem may become a true crime. Likewise, unfit orientation: religious, ideological, sexual, artistic, business – briefly: of all kinds. In the summer of 2000, a three-member MMC team Čargonja-Stilinović-Cerovac, without seeking anyone's opinion and permission, had undertaken controversial travelling-artistic action of "conquering" Goli otok. Similarly, Zagreb artist Igor Zlobec (also participant in the Goli otok festival), from times immemorial paints "unlawfully", while, in cooperation with MMC, his cyber-anarchoid company "Zlobecsport" has founded – without defining owner's rights! – a contemporary art off-festival of distinctively provocative character, taking place in some ruinous house in the ancient Istrian township of Balle (Italian: Valle). This festival lasted – despite various troubles – for three summers (2002-2004), presenting very didactic example of totally unprofitable and autonomous "Temporary autonomous zone" on the artistic map of Croatia. Likewise, Zlobec's media and web subversions that he initiated in the mid 1990s, marked an unofficial pioneer start of the "criminal" pirate-artistic ON LINE activism in Croatia.
Since its very beginning, our festival FONA (2003-2006) pays special attention to such activities, while this new edition invites artists and art-activists of all profiles to intensify focusing their attention in the direction of profound surveying "criminal" origin of artistic conflicts with the mainstream – social and artistic order. There is no need to take example by famous experiences (Slovenian NSK, Laibach, Irwin, Bojan Štokelj, our Antonio Lauer alias Tomislav Gotovac and other "classics" of subversive activity), but rather undertake serious study of these, not easily solved, trans-aesthetic problems of artist's relation towards social order of normal morality and law.


for MMC Ltd. Rijeka
member of the Gallery O.K. Council and
The Organisational Board of FONA 07
Branko Cerovac
Rijeka / Fiume, October 2006


* * * * *


UMJETNOST I KRIMINAL
ili
Artaudov “Ubijeni Samoubojica” Van Gogh

Festival of New Art FONA 07
MMC d.o.o., Rijeka

Odabrana tema našeg festivala 2007. godine jeste relacija umjetnosti i “sfere općega” : sistema, ćudoređa, zakona, plemena, društva, države, “globalnog poretka”: opresivno –
represivne aparature Nadzora / Zatvora / Ludnica / Bolnica ( Kierkegaard, Nietzsche, Freud,
Artaud,Battaile, Foucault, Lacan ); kraće rečeno: relacija / interakcija pojmova o
UMJETNOSTI / ZLOČINU / KRIMINALU – što je implicite ili eksplicite još od antičkih
vremene ( Platon: Fedar, Fedon, Država… ) do danas jedna od “crvenih linija” rasprava i
sukoba plejade estetičara i moralista o pitanjima umjetnosti.
Moderni i suvremeni umjetnici veoma su zaoštrili ta pitanja, a u takozvanim “avangardističkim”, “radikalnim”, “trans-gresivnim”, “ekstremnim”, “adrenalinskim”, “posthumanističkim”, “pornografskim”, “piratskim”, “autsajderskim”, “Off“ /”NO Art”/ “Trans – Art” umjetničkim praksama gotovo redovno igraju na šokantnim granicama i rubovima službenog ili samo neslužbenog, ali općeprihvaćenog ćudoređa i zakona. Imajući u vidu uznemiravajuću ali baš stoga i intelektualno zahtjevnu činjenicu da pojam “kriminala” nije nipošto prirodan niti strogo etički – iako je, pravno gledano, riječ o “zločinu”, krimen –u odnosno o “inkriminaciji” nečega! – otvaramo čitavu lepezu artističkih mogućnosti odnosa prema toj veoma kompleksnoj i osjetljivoj problematici.
Naime, poznato je da ni znameniti umjetnici pera, kista, “body arta”, konceptualne umjetnosti, “jugoslavenske” Nove umjetničke prakse od 60-ih do raspada Jugoslavije ( 1991. ) nisu bili lišeni sumnji u “kriminalnu” namjeru, inspiraciju ili čin kao “zao čin”, “čin Zla”, ZLO – čin: od platonovski denunciranih pjesnika, umjetnika, proroka kao božanskih, ali moralno i spoznajno neubrojivih “manijaka”, preko razbojnika, nasilnika i obješenjaka tipa F.Villon, B. Cellini, te suludih autodestruktivnih genija po paradigmi “Van Goghovo Uho” ( u riječkom MMC-u u sklopu FONA-e 06 prezentirani PROJEKAT UHO mlade vojvođanske umjetnice Ratke Lugomerski ), Nietzscheovo, Artaudovo ludilo, do suvremenih postkonceptualista i performera koji samosvjesno rade na šoku i kršenju granica svih vrsta (državnih, zakonskih, moralnih, rodno - seksualnih, “prirodnih”, estetskih, ideoloških, spoznajnih ): P.Manzoni, Ch.Burdon, cijeli “Wiener Aktionismus” iz 60-ih I 70-ih, O.Kulik, A. Brenner, Stelarc, R. Aethey, nekoliko artista iz Španjolske i Meksika ( M.le Antunez, La Fura dels Baus, Obed Gomez), od “naših” srpski umjetnici Raša Todosijević, Marina Abramović, Zoran Todorović, Tanja Ostojić, Spartak Dulić; bosanski Jusuf Hadžifejzović, “Kurt & Plasto”, Andrej Đerković i toliki drugi; hrvatski Antonio Lauer aka Tomislav Gotovac – otac našeg performansa, eksperimentalni sineast i upravo manijakalni filmofil, Vladimir Dodig Trokut kao šaman, adept crnila, anti-muzeolog, “agent tajne službe”, Grupa šestorice autora s nedavno preminulim Jermanom kao “ubojicom fotografije”, zatim “krvožednim” koljačem živih bića Svenom Stilinovićem ( “Geometrija krvožednosti” ) i Mladenom Stilinovićem kao “eksploatatorom mrtvih”, s Pinom Ivančićem…
Bard riječkog slikarstva i akcionizma Zlatko Kutnjak “tamne” teme zla, zločina,
ludila, sukoba sa zakonom i smrti elaborira od ranih 80-ih naovamo,; performerica Vlasta
Delimar s “Lady Godivom”, Projekt ENIGMA OBJEKTA ( Goran Karabogdan ) s krađom
umjetničkih predmeta…
Riječki umjetnici i bliski suradnici MMC-ovog “Palacha” Krešo Kovačićek, Damir Stojnić, Krešo Mustać, Dundara, “Adapteri”, bardovi “mračne” poezije i rock – performancea Zoran Štajduhar Zoff ( “Grč” ), Predrag Kraljević Kralj ( “Termiti” ), Damir Martinović Mrle ( “Let 3” ), “Po metra crijeva”, književnik Igor Večerina ( “Poet Theatar”): cijeli RI PERFORMANCE SYNDICATE!
Posljednjih godina je kao organizator – akcionist i performer počeo nastupati i Damir
Čargonja – Čarli, kontraverzni direktor “Poduzeća u kulturi” MMC Rijeka, te mlada modna
dizajnerica Tajči Čekada.

MISTERIJ UHA
"Slučaj Van Gogh" nije intrigantan jedino u kontekstu pojave i razvoja modernističkog slikarstva već jos više kao paradigma rascjepa koji se iznutra dogadjao u samom Subjektu modernoga umjetnika, kao rana i ekstremna anticipacija transgresije od raspada klasične "slike" na simboličko samoranjavanje autorova tijela - te "kuće duše" koja je postala pretijesna za nesvjesnu dinamiku nadilaženja / destrukcije Ega. Taj upravo očajnički radikalan shizofreni iskorak onkraj granica normalne slike o sebi u smjeru njene autodestrukcije svjedoči o naglom prodoru jedne težnje u samosvijest modernog slikarstva - od Van Gogha do Pollocka,u pravcu suvremenih Body-art i drugih performerskih praksi, a posebice u subkulturne prakse "rada na sebi" putem rezanja, probadanja, piercinga, tetovaže i sličnih "primitivističkih" postupaka, u dosluhu s "podzemnom" tradicijom samoukrašavanja sakaćenja u ratnika, pirata, samuraja, jakuza, kriminalaca svih fela, prostitutki, potencijalnih samoubojica odnosno svakovrsnih OUTSIDERA i otpadnika od "zdravog društvenog orga- nizma". Poznato je da su u kršćanskoj tradiciji i samoubojice "inkriminirani" to jest prokleti, izbačeni iz sfere Svetog, za razliku od "siromašnih duhom" i luđaka - koje na paradoksalan način beatificiraju: "Blaženi siromašni duhom, njihovo je kraljevstvo nebesko", itd. ili čak "deificiraju: "božanska luda". Intuitivno spoznavši da Van Goghovo UHO mistički participira u svemu tome, vojvođanska umjetnica Ratka Lugumerski koncipirala je i realizirala PROJEKATUHO - provocirajuci na duhovit nacin refleksiju o mogućem ZNAČENJU tog anamorfotičnog UHO - UFO-a koji lebdi vrteći se oko vlastite osi nad žitnim poljem. Anketa među ljudima iz različitih socijalnih slojeva i podgrupa pokazala je široki dijapazon ideja o tome ZAŠTO je Van Gogh TO učinio: previše absinta, droge, svakojake frustracije, ludilo, ljubav - ili - mržnja prema Gauguinu na kojega je pucao, sukob izmedju želja i dužnosti, "da izbjegne samokastraciju": "žrtvovanje razuma" radije nego "žrtvovanje falosa" itd. (paradigma Tertulian - Origenes) - u tom bi se otprilike smjeru mogli nanizati najčešći odgovori o "razlogu" takvoga čina u genijalnog slikara. Ritualno služenje i konzumiranje raznih alkoholnih pića ( Hadžifejzović, Tolj, Lugomerski ) ili narkotika ( Dulić, Mustać i ini ) također spada u "problematične" postupke unutar radikalnih metodologija suvremenih artista. Isto tako, javni seksualni odnosi, ritualno općenje sa životinjama, pa i leševima ljudi, "maltretiranje" ili ubijanje životinja, sve je to još od artista - "šamana" i raznih performera, od 60-ih godina nadalje, nazočno na suvremenoj "underground" ali i elitnoj sceni. Eto, pozivamo umjetnice i umjetnike da sudjeluju u elaboraciji teme!

PROCVAT KRIMINALA, PIRATIZMA I SLOBODNOG PODUZETNIŠTVA 90-ih ;
DEKRIMINALIZACIJA PIRATSKOG ART – PODUZETNIŠTVA U RIJECI 97. – 07.

Po čuvenim tezama Hakima Beya o piratima, avangardistima i “muzici kao principu organizacije države”, te o TAZ – ovima ( Privremene Autonomne Zone = Temporary Autonomous Zones ) upravo je naš grad, Rijeka, točnije Fiume od 1919. pa “nadalje”, uslijed nevjerojatne “protofašističke” a po “artističkom” nadahnuću PIRATSKE akcije militantnog književnika Gabriele D’Annunzia postao posljednjom piratskom utopijom i – istodobno – prvom, paradigmatičnom modernom ( trans - ) artističkom Privremenom Autonomnom Zonom! Divlje anarho - horde cyberpunkera omogućile su Svakom zainteresiranom da se i ON LINE upozna s cijelim kompleksnim sustavom tog piratsko – umjetničkog determinističkog kaosa čiji je Strange Attractor bio, eto, talijanski pjesnik D’Annunzio. Rijeka će potkraj 2006. na 2007. živjeti u znaku izložbe “Fiumani” i Venuccijeva modela za javni spomenik “Legionaru” (u organizaciji MMSU), a “Palachov” Festival nove umjetnosti FONA 2003 inaugurirao je upravo spomenutu Beyevu priču o Fiume kao piratskom danuncijevsko - avangardističkom TAZ-u. To što je riječ i o prvom povijesnom nastupu FAŠIZMA – organiziranog “kriminala” rigidno tumačeno – u svijetu nimalo ne zbunjuje Hakim Beya pošto je notorna činjenica da nijedna europska povijesna avangarda ( tehnički termin Peter Buergera ) nije završila drugačije nego baš u mahom totalitarističkoj političkoj instrumentalizaciji – što se od vremena izbacivanja D’Annunzija iz Fiume ranih 20-ih godina prošloga stoljeća pa do sredine 30-ih godina dogodilo i u Italiji, dakle i u Fiume i u Njemačkoj i u Rusiji (SSSR), a poznato je kako su se stvari odvijale u Francuskoj – u kojoj je u umobolnici devet godina jedva preživio jedan Antonin Artaud – koji je izašavši, pred smrt, po “kapitulaciji” njegovih represivnih psiho - tamničara u poratnoj Francuskoj uspio napisati svoj veličanstveni proto – antipsihijatrijski tekst VAN GOGH: UBIJENI SAMOUBOJICA.
Shvativši dublje činjenicu da se “legitimna” Država prikriveno vlada poput maskiranog mega – kriminalca, te da upravo Društvo i “ćudoredni” Sistem maltretira i zlostavlja Individuu, jedna “neformalna” supkulturno – kulturna riječka udruga OTVORENI KRUG ( Open Circle ) od sredine do konca 90-ih godina pripremila se za “pretvorbu” u registrirano PODUZEĆE: u prvoj fazi “Jona d.o.o.” a potom – po “osvajanju” svog današnjeg sjedišta u prostoru Kluba Jan Palach – u MMC d.o.o. Rijeka ( Multimedijalni centar d.o.o. ).
Galerija O.K., utemeljena unutar MMC-a Palach, od godine 1998. do danas bavi se ispitivanjem rubnih područja Arta i ekstremnih situacija do kojih uvijek iznova dovodi svako slobodoumno prekoračenje “jednom za svagda” zadanih tobože – legitimnih represivnih PROPISA koji blokiraju eksperimentalno i kritičko ponašanje i djelovanje na domaćoj Art sceni. Pošto je još “od Van Goghovog Uha” svakom radikalno nastrojenom i usmjerenom umjetniku / teoretičaru / kritičaru bjelodano jasno da se umjetničko propitivanje konfliktnih odnosa Ja – Ne-ja / individua – društveno-politički sistem / Zakon – prekršaj neizbježno odvija na ambivalentnom, anamorfotičnom, nemirnom i osjetljivom “underground” terenu ONKRAJ DOBRA I ZLA (Nietzsche: Jenseits Gut und Boese ), te da je estetičko pitanje prvog reda – još od Kantove “Kritike rasudne moći” koje je mjesto te RELACIJE / INTERAKCIJE obično naivno odnosno apstraktno suprotstavljenih “parova suprotnosti” unutar umjetničkih koncepcija, poetika, metodologija, praksi i pragmatično projektiranih strategija i taktika “situacionističkog” javnog djelovanja, za opću temu Festivala FONA 2007 MMC RIJEKA ( “Palach” ) odlučio je ekplicite postaviti naslovnu sintagmu: UMJETNOST & KRIMINAL.

UMJETNOST NA RUBU / ONKRAJ RUBA ZAKONA / SUSTAVA

Niz domaćih “Neprilagođenih / Misfits” umjetničkih prijestupnika Propisa – bliskih suradnika MMC-a:
Antonio Lauer, Vladimir Dodig-Trokut, Sven Stilinović, Vlado Martek, odnedavno pokojni Željko Jerman, Zlatko Kutnjak, Zlatan Dumanić, Pino Ivančić, “Zlobecsport”, Crtalić, GHETTO – Sonje Barač Rudynski, Ana Peraica, Damir Stojnić, Krešo Kovačićek, Krešo Mustać, Franko Bušić, Spartak Dulić, Goran Karabogdan, Zubović, RI PERFORMANCE SYNDICATE i dr.

NADZOR, INSTITUCIJE, LUDNICE, KAZNIONICE: ART EKSPEDICIJE “GOLI OTOK 2000 – 2007”, MMC Rijeka; “BALEFEST: BALE / VALLE 2002 – 2004”, MMC Rijeka & Zlobecsport Gallery, Bale / Valle

GOLI RUČAK NA GOLOM OTOKU
Goli otok kao topos kaznioničkog otoka odnosno kaznioničko – artističkog TAZ-a

Na Golome se od 1949. do 1989. nije jasno razlikovalo tko je zločinac tko kriminalac tko umjetnik, tko ideološki neistomišljenik a tko samo nedužna žrtva sistematične paranoje,ludila, teorije zavjere i represije od strane vladajućeg režima. Na tom mjestu su legitimno postavljeni prorežimski “čuvari” sve robijaše u razdoblju 49 - 53 jednostavno nazivali – Banda!
To je upravo idealna situacija za analizu pravnog pojma krivnje i istine, po kojoj se određuje što jeste a što nije “zlo” ili barem ispravno misliti, govoriti, činiti. Tu jedino austinovski performativ izjave - govornog akta u jezičkoj igri ( Wittgenstein! ) zvanoj “pravo – krivo” izrečen od prave instancije s oficijelno etablirane pozicije čini nekoga kriminalcem, “zločincem”, pa bio on i, recimo, pjesnik “Pakla nade” Ante Zemljar, redoviti sudionik MMC- akcija na Golom otoku od 2000 do njegove nedavne smrti.
U toj jezičkoj igri pravim zločinom može biti i "pogrešno" napisana pjesma. Isto tako, nepodobna orijentacija: vjerska, ideološka, spolna, umjetnička, poslovna, riječju: svake vrste.
Ljeta 2000. godine tročlani MMC – tim Čargonja – Stilinović – Čarli poduzeo je ne pitajući nikoga za mišljenje i dopuštenje kontraverznu travelling – artističku akciju “osvajanja” Golog
otoka.
Slično tome, zagrebački umjetnik Igor Zlobec ( inače i sam sudionikom Festivala na Golom otoku ) otkad zna za sebe slikao je “protuzakonito”,a u suradnji s MMC-om njegova cyber – anarhoidna firma “Zlobecsport” utemeljila je – bez utvrđenih vlasničkih prava! – u jednoj staroj ruševnoj kući u drevnom istarskom gradiću Bale ( talijanski:Valle ) Off – festival suvremene umjetnosti izrazito provokativnog karaktera.
Taj festival potrajao je – usprkos raznim neprilikama – tri ljeta (2002-2004) predstavljajući veoma zoran primjer totalno neprofitabilne i autonomne “Privremene autonomne zone” na umjetničkoj mapi Hrvatske. Isto tako, Zlobecove medijske i web – subverzije s kojima je otpočeo od sredine 90-ih godina značile su neslužbeni pionirski početak “kriminalnog” piratsko – umjetničkog ON LINE aktivizma u Hrvatskoj.
Takvim aktivnostima naš festival FONA (2003 – 2006) otpočetka posvećuje specijalnu pozornost, a ovo novo izdanje poziva umjetnice, umjetnike i art – aktiviste svih profila da pojačano fokusiraju svoju pažnju u smjeru dubinskog sondiranja problematike “kriminalnog” podrijetla umjetničkih sukoba s mainstream – društvenim i umjetničkim poretkom. Ne treba se ugledati na slavna iskustva ( slovenski NSK, Laibach, Irwin, Bojan Štokelj, naši Antonio Lauer, Tomislav Gotovac i ini “klasici” subverzivnih aktivnosti ) već samo se ozbiljno pozabaviti tim nimalo jednostavno rješivim spletom trans – estetičkih problema odnosa umjetnika prema društvenom poretku normalnog morala i zakona.




Za MMC d.o.o.

Član Savjeta Galerije O.K. i
Organizacijskog odbora FONA 07

Branko Cerovac

Rijeka / Fiume, Listopad 2006.


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PROPOZICIJE NATJEČAJA

1. Primat će se recentni radovi / performancei / akcije / projekti , koncipirani ili već realizirani u razdoblju 2003. – 2007.
2. Radovi smiju biti koncipirani i realizirani u bilo kojem mediju i tehnici, bez ograničenja.
3. Godine starosti, spol, rasa, nacija nisu važne pri selekciji prijavljenih autora i radova.
4. Dimenzije nisu određene propozicijama;bude li tehničkih, financijskih ili prostornih zapreka, predlažemo da se pitanja formata, veličine i tipa rada pokušaju riješiti dogovorom. O tome će MMC Rijeka obavijestiti odabrane kandidate po primitku i selekciji prijavljenih radova.
5. Savjet Galerije O. K. odlučit će o broju radova pojedinih izlagača – ovisno o njihovoj koncepciji, kvaliteti, dimenzijama i mogućnostima izlaganja.
6. Materijale ( fotografije, slajdove, CD, video tapes i drugo ), te radove autori šalju o svom trošku ( poštom, osobnom dostavom, DHL-om ili na drugi način ). U slučaju nestanka ili oštećenja pri transportu do trenutka predaje materijala i radova MMC ne snosi odgovornost niti trošak.
7. Autor dopušta MMC Rijeka nesmetanu besplatnu uporabu fotografija, slajdova itd. u svrhu reproduciranja u prospektu, na CD-u i ostalim popratnim materijalima Festivala – ukoliko autor izričito ne zabrani Organizatoru takvo medijsko posredovanje poslanih materijala.
8. O stanju zaprimljenih radova bit će sastavljen Zapisnik, a o eventualnim oštećenjima autore će obavijestiti MMC.
9. Povrat radova bit će izveden u istoj ambalaži kako su radovi primljeni ( poslani ), poštom, DHL-om ili nekim drugim prethodno dogovorenim načinom transporta.
10. Troškove povrata radova snosi organizator.
To važi i za radove koji neće biti odabrani ili izloženi i za odabrane radove.
11. Autor osigurava radove u transportu do Rijeke, a MMC d.o.o. Rijeka od dana primitka do dana povrata radova autoru.
12. Radi odabira prijavljenih autora i radova Savjet Galerije O. K. sastati će se u roku od tjedan dana nakon isteka roka za prijavu ( 15.08. – 22. 08. 2007. ). O odluci Savjeta autor će biti obaviješten u slijedećih deset dana.
13. Autor se odriče prava povlačenja radova za trajanja Festivala, ukoliko se Organizator ne složi s ranijim povratom.

14. U slučaju spora, autor se može obratiti nadležnom sudu ( Općinski sud Rijeka ili neki drugi, ukoliko autor tako bude zahtijevao ).
15. Smatra se da je autor prihvatio Organizatorove uvjete formulirane u ovoj obavijesti činom slanja ispunjene Prijavnice za sudjelovanje na 5.Festival / FONA / Rijeka 2007.


Za MMC d.o.o. Rijeka

Damir Čargonja, direktor MMC Rijeka