šTaglinec 2011l 2

920 views

Published on

0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total views
920
On SlideShare
0
From Embeds
0
Number of Embeds
172
Actions
Shares
0
Downloads
2
Comments
0
Likes
0
Embeds 0
No embeds

No notes for slide

šTaglinec 2011l 2

  1. 1. = Međunarodni susret umjetnika| International Artists Meeting Antonio Gotovac Lauer, Štaglinec = 2011 1
  2. 2. = Međunarodni susret umjetnika| International Artists Meeting Antonio Gotovac Lauer, Štaglinec = 2011 Premošćivanje granica | Crossing Zones = Jezik | Language = Zemlja | Land Milijana Babić || Hrvatska | Croatia Anne Bean | Poshya Kakl || Engleska | Irak | England | Iraq David Belas | Pino Ivančić || Hrvatska | Croatia Buba | Marina || Srbija | Serbia Jasenka Bulj || Hrvatska | Croatia Mariel Carranza || Peru | Peru Efi Ben David | Gina Ben David || Izrael | Israel Vlasta Delimar | Milan Božić || Hrvatska | Croatia Alejandra Herrera || Čile | Chile Jason Lim || Singapur | Singapore Marko Marković || Hrvatska | Croatia Boris Nieslony || Njemačka | Germany Sinead O’Donnell || S. Irska | N. Ireland Goran Ristić || BIH | B&H Damir Stojnić || Hrvatska | Croatia The Smithsons | Kristina Leko | Vidan Leko Smithson | David Smithson || Hrvatska | Njemačka | SAD | Croatia | Germany | USA Mio Vesović || Hrvatska | Croatia2 3
  3. 3. 4 5
  4. 4. 6 7
  5. 5. = = J L ezik je nešto ogromno, on je enormno anguage is something enormous, a vast kompleksan sistem. A mi ga spontano and complex system. Yet we learn it qu- naučimo dok smo djeca. U ranom dje- ite spontaneously as children. In our in- tinjstvu bez ikakvog napora savladamo pravi- fancy, without any effort, we master the rules la našeg materinskog jezika, i to mnogo prije of our native tongue, much before things like nego neke druge stvari kao što su čitanje, pisa- reading and writing and arithmetic. We express nje ili računanje. Jezikom izražavamo svoje misli our thoughts to others in language. And under- drugima. I razumijemo druge kad govore istim stand others who speak the same tongue. And jezikom. A zahvaljujući izumu pisma, možemo thanks to the invention of script, we can under- razumjeti i zapisane misli onih koji odavno više stand the written thoughts of those who long nisu među nama. since are no longer with us. Mi ne možemo birati koji jezik će nam biti ma- We cannot choose our native tongue. Those terinski. Oni koji se rode u Velikoj Britaniji imaju who are born in the UK have the luck to be able sreću da u raznim državama mogu razgova- to talk in their own language in many countries. rati na svom jeziku. I Austrijanci se svojim jezi- Austrians too can make themselves understood kom mogu sporazumijevati s mnogo više ljudi in their own language with many more people nego što ih živi u Austriji. Nasuprot njima, ma- than live in Austria. As against them, Hungar- đarski intelektualci su svjesni da im je njihov ian intellectuals are aware that their language is jezik prije božja kazna nego dar s neba. I kažu more of a divine punishment to them than a gift da mi u Hrvatskoj imamo sreću s našim mate- from heaven. And they say that we in Croatia rinskim jezikom jer ga govore i druge države: are lucky because other nations speak our na- Srbija, Bosna i Hercegovina i Crna Gora. tive tongue: in Serbia, Bosnia and Herzegovina and Montenegro. Naravno da unutar svakog jezika koji se govo- ri u više država ima nacionalnih jezičnih razli- Naturally, inside every language that is spoken ka, često i većih nego između Hrvata i Srba. in several states, there are national linguistic Ali te razlike ne ugrožavaju međusobnu razu- differences, quite often greater than those be- mljivost pa se zato i dalje u lingvistici kaže da tween Croats and Serbs. But these differenc- je riječ o jednom jeziku, policentričnom jer on es do not threaten mutual intelligibility, and so ima nekoliko centara. Takvi su svi veći evrop- in linguistics it is still said to be one language, ski jezici i brojni izvanevropski, pa je policentri- but polycentric, because it has several centres. čan tip jezika čak prije normalno stanje nego This is the case with all the major European lan- iznimka. guages, and many outside the continent, and the polycentric type is more the norm than the Jezični puristi nas rado uvjeravaju da ne zna- exception. mo svoj jezik i da trebamo način izražavanja promijeniti onako kako oni propisuju. Među- Language purists are fond of persuading us tim, izvorni govornici znaju jezik i raspolažu that we don’t know our own tongue and that podsvjesnim znanjem njegovih pravila. Za us- we need to change our way of expression ac- poredbu, to je kao kad vozite bicikl: vi znate cording to their prescriptions. But native speak- voziti, iako ne znate navesti koje mišiće ko- ers know their language and have a subcon- ristite dok vozite. Tako isto dok govorite, vi scious knowledge of its rules. For comparison, podsvjesno stalno primjenjujete jezična pra- this is like when you ride a bicycle you know vila, iako ih najčešće niste u stanju navesti ili how to ride, even if you cannot state the musc- opisati. Naše podsvjesno znanje jezičnih pra- les you use to do so. And so it is when you spe- vila je čak mnogo, mnogo opširnije od pra- ak, you constantly, subconsciously, apply lan-8 9
  6. 6. vila koja se nude u gramatikama, rječnicima ili drugim knjigama. Nijedan lingvist na svijetu guage rules, although most often you are inca- pable of listing or describing them. Our subcon- = Govoriš li štaglinečki? = Do you speak Štaglinec language? nije dosad bio u stanju ni približno opisati sva scious knowledge of linguistic rules goes much, D W pravila koja bilo koji izvorni govornik nekog je- much wider than the rules that are provided in ok mnoštvo i dalje nadograđuje «babi- hile many still upgrade »Tower of zika nosi u glavi, a da pritom nije ni svjestan grammar books, and dictionaries. No single lonsku kulu» najmodernijim tehnikama Babel« with the most modern tech- da posjeduje neku posebnu vještinu. linguist in the world has ever been capable of i usavršava je najpreciznijim statistič- niques, perfecting its superstructure even approximately describing all the rules that kim izračunima, mala skupina ljudi odvratila se by the most accurate statistical calculations, Kad netko zahtijeva navodno ispravniji i čisti- od penjanja po njoj i krenula spuštati se pre- a small group of people turned away from any native speaker of a language carries in their ji jezik, time usađuje u nas na perfidan način ma zemlji. Kako se po putu i po prizemljenju climbing on it, and started going back, down head, without being aware of possessing any netrpeljivost prema ljudima. Kad netko ra- ne bi pogubili, raspršili i nestali, dogovorili su to earth. In order not to get lost, scatter or particular skill. zdraženo reagira na riječi koje prepoznaje kao mjesto i vrijeme susreta: Štaglinec, 18. lipnja vanish on their way or after landing, they had znak druge nacije, to je izraz jezične netole- When someone demands an allegedly purer 2011. godine. agreed place and time of meeting: Štaglinec, rancije, a jezična netolerancija je često poli- and more correct language, they are insidiously 18th June 2011. tički prihvatljiva maska za netoleranciju pre- implanting in our heads intolerance for others. I doista, do susreta je došlo. Ne, nije riječ o ma drugoj naciji. Odbojnost prema određenoj When someone reacts with irritation to words povijesnom romanu ili futurističkoj priči. Ri- Indeed, the encounter occurred. This is not grupi ljudi nije u demokratskim društvima pri- that he recognises as the sign of another peo- ječ je o jednom radosnom susretu. U zagr- a historical novel or a futuristic story, but a hvatljivo direktno izricati, pa se to indirektno ple, it is an expression of linguistic intolerance, ljaju majke prirode i zagrljajima jedni drugih, text about a joyful meeting. In the embrace čini kroz rasprave o jeziku pomoću naizgled and linguistic intolerance is often a politically ac- pripadnici naše male skupine vratili su se na of mother nature and mutual hugs, the mem- prihvatljivijih tvrdnji fokusiranih na jezik. ceptable disguise for lack of toleration for the početke. U međuvremenu, prvobitni jezik se bers of our small group returned to the begin- other nation. In democratic societies it is not ac- rascjepkao i odmetnuo od svoje prave naravi: nings. In the meantime, the original language Ali jezik nije vlasništvo purista, i arogantno je kad nije više želio služiti ljudima kao živo sredstvo is split apart and perverted from its true na- ceptable to express repulsion for a given group, oni vjeruju da jest. Jezik je vlasništvo svih njego- komunikacije, nego se počeo okoštavati u su- ture: no longer it wanted to serve people as and so it is done indirectly through discussions vih govornika, dakle svih nas, i svi mi ga nepre- stave koji su težili zbuniti, zavaditi i zatim zavla- a living means of communication, but began about language with what seem to be accept- stano sređujemo, uređujemo, dorađujemo. To dati zavađenim jedinkama, sposobnima razu- to ossify in systems that have tended to con- able claims focused on language. radimo spontano, nesvjesno i nenamjerno kad mjeti jedino same sebe. Ali našoj maloj skupini fuse, alienate and then rule the warring units– god govorimo ili pišemo. Do nastanka jezičnih But language is not the property of the purists, to nije predstavljalo problem. Svak je na svoj beings, capable of understanding only them- pravila dolazi na isti način kao što dolazi do na- and they are being arrogant in thinking it is. Lan- način, svojom umješnošću i umjetnošću odlu- selves. But it did not present a problem to our stanka utabanih prečica po parku. Prečice po guage is the property of all speakers, of all of us, čio učiniti sve kako bi pomogao tom ranjenom small group. Everyone in their own way, by parku nastaju tako što veći broj pojedinaca gazi and we all incessantly settle it, work on it, polish organizmu jezika i iscijelio ga. Na taj način bi his/her skill and art, decided to do everything travu po istom mjestu. Međutim, nijedan od tih it. We do this spontaneously, unconsciously and se donekle obnovilo međusobno razumijeva- to help the wounded body of language and pojedinaca nije gazio travu s ciljem da nastane unintentionally when we speak or write. Linguis- nje kakvo je postojalo nekada, prije vremena heal it. That would somewhat restore mutual prečica, nego s ciljem da u konkretnoj situaciji tic rules arise in the same way that well–trod- »babilonskoga carstva«, a kojeg nije nedosta- understanding that had existed once, before što brže dođe do odredišta. Nastanak preči- den shortcuts in the park. These shortcuts are jalo okupljenim umjetnicima. the time of »the empire of Babylon«, the un- ce je nenamjeravana posljedica iste radnje veli- made by most individuals walking on the grass derstanding which the assembled artists did kog broja ljudi. Na jednak način nastaju i jezična in the same place. But none of these individuals Boris Nieslony je zaplesao s kamenjem ne bi not lack. pravila. I to kroz dugačka vremenska razdoblja. has stepped on the grass with the intention of li ono ispustilo prvobitni zvuk; Marko Marković Pritom je obogaćivanje i čak profinjivanje izra- creating a shortcut, rather with the intention of je kirurškom iglom i koncem šio rane svoga Boris Nieslony was dancing with stones in or- žajnih mogućnosti kad je u dodiru s govornici- getting, in the given situation, where he wants jezika; Sinéad O’Donnell se trudila uobličiti mi- der to make them let out their original sound; ma drugih jezika dolazilo do razmjene jezičnog to go to as fast as possible. The creation of the sao na papir, a Jason Lim je zaustavio govor Marko Marković, with a surgical needle and materijala. Čisti jezici ne postoje i nikada nisu shortcut is the unintentional result of the same vjetra. Gina i Efi ben David su oblikovale nova thread, was sewing the wounds of his (moth- postojali. action by a large number of people. Language imena od grančica trešnjinog drveta. Alejan- er) tongue; Sinéad O’Donnell was trying to rules are created in the same way. Over a long dra Herera je kontemplirala težinu nerazumije- formulate her thought on paper, and Jason = Snježana Kordić period of time. And expressive capacities tend vanja. Buba i Marina su posudile tuđe jezike, a tete zvane »Proljeće« krijepile su jezike sviju Lim stopped the speech of wind. Gina and Efi Ben David shaped the new names out of to be enhanced and refined when, in contact with speakers of other language, there is an ex- kako bi ustrajali i ne bi izgubili radost. Milijana cherry tree branches. Alejandra Herera was change of language materials. Pure languages Babić je ispisala priznanje koprivom, prizna- contemplating the weight of non–understand- do not exist, and never have existed. nje da već teško razumije čak i one s kojima ing. Buba and Marina borrowed other peo- dijeli isti jezik. Damir Stojnić je dahom ozvu- ple’s tongues, while a group of women called = Snježana Kordić čio anđela, dok su Pino i David dahtali i režali poput životinja. Mariel Carranza se, vezana za »Spring« were invigorating all present pal- ates so to persevere and not lose joy. Milijana10 11 Preveo | Translated by Graham McMaster
  7. 7. zemlju, prisjećala govora bića koje postoji iz- među životinja i anđela. Bili su tamo još mnogi Babić wrote her confession in nettle, the con- fession that she finds it harder and harder to = drugi i dali svoj doprinos, sebe. understand even those who share the same language with her. Damir Stojnić tuned in an Na kraju dana, u zemlji je izgaralo staro ime angel with his breath, while Pino and David Čovjeka (Tom) dok je Milan Božić ispirao sta- Milijana Babić || Hrvatska | Croatia were panting and growling like animals. Mari- ru boju sa svoje družice Vlaste Delimar. Ime je Anne Bean | Poshya Kakl || Engleska | Irak | England | Iraq el Carranza was, tied to the ground, recalling gutala vatra, boju je ispirala voda, u zraku je David Belas | Pino Ivančić || Hrvatska | Croatia the speech of the beings whose existence is lebdjela prekrasna glazba Glenna Millera koju Buba | Marina || Srbija | Serbia between animals and angels. There were also je izvodio tamburaški orkestar «Podravka». Jasenka Bulj || Hrvatska | Croatia many others who gave their contribution, their Suton je progutao sve. Boje, toplinu, zvukove. Mariel Carranza || Peru | Peru selves. Iz tišine, na rubu svjetlosti i mraka, rodilo se Efi Ben David | Gina Ben David || Izrael | Israel novo ime, nova boja, novi jezik. Štaglinečki. At the end of the day, the old name of the Man Vlasta Delimar | Milan Božić || Hrvatska | Croatia (Tom) was burning out in the ground, while Alejandra Herrera || Čile | Chile Sveti Pavle je upozorio Korinćane da se ne Milan Božić was washing away the old paint Jason Lim || Singapur | Singapore razmeću poznavanjem stranih jezika, pa čak from the body of his companion Vlasta Deli- Marko Marković || Hrvatska | Croatia ni anđeoskih, jer uza sva ta znanja bit će tek mar. The name was being consumed by fire, Boris Nieslony || Njemačka | Germany hladan limeni vjetrokaz na krovu koji zveči pod the color was being washed away by water, Sinead O’Donnell || S. Irska | N. Ireland naletima vjetra ili instrument bez duše koji ječi and the wonderful music of Glenn Miller per- Goran Ristić || BIH | B&H pod udarima lošeg svirača — ako ne sjednu formed by the tambura orchestra »Podravka« Damir Stojnić || Hrvatska | Croatia zajedno za stol i ne podijele hranu, piće i lju- was floating in the air. Twilight swallowed it all: The Smithsons | Kristina Leko | Vidan Leko Smithson | David Smithson || Hrvatska | Njemačka | SAD bav. Štaglinčani bi ga, vjerujem, preduhitrili u colours, heat, sounds. From the silence, on | Croatia | Germany | USA pisanju te poslanice. Prije nego li bi se stigao the edge of light and darkness, a new name, Mio Vesović || Hrvatska | Croatia mašiti pera, već bi sjedio za dugačkim stolom, new colour, new language was born: Štaglinec dijelio pogaču, nazdravljao domaćim vinom i language. radosno pjevao. Na štaglinečkom. St. Paul warned the Corinthians not to boast Tečaj ovog svjetskog jezika se za sve zaintere- with their knowledge of foreign languages, sirane i dalje održava jednom godišnje u ma- even angelic languages, because all that lom mjestu Štaglinec pored Koprivnice. Dođi knowledge will be just a cold tin vane clink- pa nauči. ing under the gusts of wind, or a soulless in- strument tinkling under the beats of bad play- = Ivana Krencer ers — unless they sit together at the table and share food, drink, and love. The people from Štaglinec 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 Štaglinec language. The course of this world language, for all con- cerned, is still held annually in a small village near Koprivnica called Štaglinec. Come and learn. = Ivana Krencer12 13
  8. 8. = Milijana Babić Ne razumijem, riječi u koprivama. I do not understand, the words in the nettles. = Hrvatska | Croatia Na ovogodišnju temu reagiram izjavom Ne At this year’s theme I react with the statement razumijem. Priznajem da ne razumijem puno I do not understand. I confess that I do not toga iako pričamo isti jezik. Pritom se koristim understand a lot even though we speak the vizualnim jezikom koji nije razumljiv. Premošći- same language. Doing this, I use a visual lan- vanje granica nemoguće je bez razumijevanja. guage that is not understandable. Bridging Nerazumijevanje ima svoje posljedice. borders and limits is impossible without un- derstanding. Misunderstanding has its con- sequences.14 15
  9. 9. = Anne Bean | Poshya Kakl ‘PAVES’ = Engleska | Irak | England | Iraq Trajanje: 30 minuta | Duration — 30 minutes Anne Bean nije bila prisutna na festivalu. Da bi bila uključena, iako ne fizički tamo, poslala je kutije s žutim vrpcama i dva lica od papira: jed- no papirnato lice sebe, a drugo lice od papira bilo je lice iračko–kurdske umjetnice Poshye Kakl. Vrpcu sam koristila za aktivnu instalaciju kroz prozor sobe u kojoj sam izvodila svoj per- formans cijeli dan. Uz pomoć jedne djevojčice odmatala sam kolutove žute vrpce i puštala 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.16 17
  10. 10. = David Belas | Pino Ivančić »...dječja narodna igra : govu percepciju... trenutak kad su svi prirodni = Hrvatska | Croatia ODUzimanje zemlje...« reflexi lišeni svih konvencionalnosti... uzet će mi ruku i voditi kroz... osjećam radost alke- mije krvi... ne ovdje, hajdemo dalje... sa svo- + poznata dječja igra oduzimanje zemlje, ov - jeg mjesta vidim zvijezde i misli mi streme u dje transformirana u sferu odraslih, svako– uragan svijetla... dnevnih aktualnosti Krenuo sam vlastitom interpretacijom, osob- nog rituala prisvajati zemlje oko sebe, te kroz ...kad smo bili mali... crtanje po zemlji koma- fizičku akciju uvjeravati samoga sebe da je ta dom drva... asfaltu kredom ili komadićem ci- zemlja uistinu moja. Nakon obavljenog rituala, gle... kako je bilo moguće u kojem dijelu gra- kroz ritual dovodio sam se u stanje iz kojeg su da il sela... i bilo je bitno »ukrasti/oduzeti« što proizlazile sve iduće akcije, borbe, bijeg, skri- veći komad teritorija suprotnog dijela do tre- vanje ispod stola te nakraju nestajanja u krošnji na kad je nekom zauzet cijeli njegov ucrta- trešnje. Sve što mi se dogodilo zapravo je po- ni teritorij ... bila nam je to razbibriga/igra... sljedica izvedbe same. Osnovna ideja kojom ta igra je samo prebačena u kontekst aktu- sam se ravnao te pitanje na koje sam tražio alnosti odraslog svijeta... crtanje je zamijenje- odgovore je: Da li je ljudska potreba za prisva- no ritualom obilježavanja/zauzimanja teritorija janjem pa naknadno otimanje zemlje skrivena zrnjevljem pšenice i kukuruza... od nasušne u samom nagonu za preživljavanje te shodno potrebe preživljavanja do čiste pohlepe i ego- tome nastanje pojma privatnog vlasništva ili je ističkog samozadovoljavanja... bildanje ega... to kategorija čiste ljudske pohlepe odnosno koji živi i stvara u beskrupuloznom svijetu i nedostatak razumijevanja vlastitih ograniče- uniformiranom društvu... svaka extremna si- nja. Nakon ostvarenog performansa te na- tuacija u kojoj se čovik nadje izoštriti će nje- kon razmišljanja o događajima u Štaglincu, pokušavam definirati osobni stav o temi »Je- zik« i krenuti od onoga što tjera ljude do jezika samog, do potrebe za komunikacijom, kako uopće dolazimo do jezika i zašto? Nemam ne- kog odgovora, ali možda je pitanje dovoljno, također sjećam se osjećaja koji me pratio tije - kom cijele izvedbe i volio bi ga nekako artikuli- rati... da motiv, osjećaj, koji me tjerao da tako ritualno osvojim zemlju je isti onaj koji me po- tjerao na stablo, a zove se »PLAN ZA BIJEG« ili način preživljavanja. STRAH. ...sama koncepcija rada dozvoljavala je slo- bodu improvizacije i otvorenog kraja, ...i nit- ko nije znao kako će performans završiti... on proizlazi iz ideje, interakcije izvođača, publike, i okoline. materijal: — kanta / vjedro zrnjevlja kuruze — kanta / vjedro pšeničnog zrnja18 19
  11. 11. 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 »... children’s traditional play: instinct for survival and consequently the con- CONfiscation of land ...« cept of private property is inhabited or is it a category of pure human greed and lack of un- + a well–known children’s play confiscation derstanding of our own limitations. After real- of land was here transformed into the sphere izing the performance and after thinking about of adult daily actualities the events in Štaglinec, I have been trying to define a personal attitude about the top- ic of »Language« and start from what com- ... when we were little ... drawing on the gro- pels people to the language itself, the need to und with a piece of wood ... on asphalt with communicate, how we come to the language a piece of chalk or brick ... as was possible in and why? I do not have any particular answer, a particular part of the city or village .... and it but the question itself is perhaps enough; I was important to »steal / seize« as much of a also remember the feeling that accompa- territory belonging to the opposite side, up to nied me during the whole performance and the moment when someone’s whole marked I would like to, somehow, articulate it... yes, territory is occupied .... it was our pastime.... the motive, feeling which forced me to occu- that game is only transferred into the context py the land in such a ritual way is the same of the news of the adult world .... drawing is one that chased me up a tree, and is called replaced by the ritual of marking / occupy- »ESCAPE PLAN« or a way of survival. FEAR. ing territory with grains of wheat and corn ... ... the very conception of work allowed free- from the critical need to survive to pure greed dom of improvisation and open–endedness, and egoistic masturbation ... building of ego ...and no one knew how the performance was ... who lives and works in an unscrupulous going to finish ... .. it results from the idea, the world and uniform society ... any extreme sit- interaction of performers, audience, and en- uation where man finds himself will sharpen vironment. his perception ... a moment when all the natu- ral reflexes are deprived of all conventionalities ... will take my hand and guide me through Material: — bucket / pail of corn grain ... I feel the joy of the alchemy of blood .... — bucket / pail of wheat grain 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-20 21
  12. 12. = Buba Čvorić | Marina Tomić »AVAZ«* = Srbija | Serbia Mesec dana pre početka festivala »Moja ze- mlja, Štaglinec« započele smo dnevno pisa- ti jedna drugoj ručno 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, Štaglinec« u Hrvatskoj. Buba je pisa- la iz Holandije a Marina uglavnom iz Švaj- carske. Za vreme jednomesečne prepiske prestale smo potpuno sa komuniciranjem. Nakon tog meseca »slepe« korespodenci- je, dve lokalne žene iz Štaglineca Nada No- vak i Marija Polančec su sele skupa javno čitajući jedna drugoj naša pisma. Marija Po- lančec je bila Marinin a Nada Novak Bu- bin glas. Taj takozvani drugi deo jednome- sečnog performansa zbio se tokom otva- ranja festivala i trajao je nekoliko časova. *Avaz je turcizam, glas. “AVAZ”* One month before the festival “My Earth Šta- 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 Štaglinec” 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- lančec from Štaglinec sat together and read our letters to each other in public. Marija Po- lančec 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.22 23
  13. 13. = Jasenka Bulj Moja virtualna priča My Virtual Story We used to meet at my computer screen, = Hrvatska | Croatia everyone was in his/her environment, his/her surroundings. I photographed the screen and Just as in real life, conversations via Skype Baš kao i u stvarnom životu tako i preko the whole situation, those with whom I con- take a different course with each person. Skypea razgovori sa svakom osobom imaju versed. Their portraits are recorded. The vir- drugačiji tijek. In the spring of this year I was separated from tual world of temporary communication has my usual surroundings for two months. Co- become real. They became palpable and re- U proljeće ove godine bila sam dva mjeseca mmunication with friends in other parts of the corded, and when the line got disconnected odvojena od svoje uobičajene okoline. Komu- world took place via computer through the the faces disappeared, all that was between nikacija s prijateljima u drugim krajevima odvi- Skype service. us during the conversation disappeared. They jala se preko računala putem Skype servisa. were not aware that they were recorded in Way of communicating across the screen is Način komuniciranja preko ekrana uvijek je vrlo space and time. always very personal and different. Portraits osoban i drugačiji. Portreti koji nastanu u ta- arising from such a situation can always be Their faces were a reflection of the moment, kvoj situaciji uvijek mogu biti zanimljivi. Prijatelji interesting. Friends and persons are in their conversation, mood, environment and situati- i osobe su u svojem okruženju, a nesvjesnost environment, unaware of the fact that a pho- on which they were surrounded with. činjenice fotografiranja kao postupka, nedo- tographic process is going on, so lack of awa- statak svjesnosti o činu snimanja, omogućila When I was invited by Vlasta to Štaglinec, I reness about the act of shooting allowed the je drugačiju iskrenost u samoj fotografiji. felt that this was an opportunity for our mutual different sincerity in the photograph. communication, portraits of people who were Bili smo na vezi u raznim razdobljima dana, We were on the line at various times during with me in moments of conversation, and ovisno o vremenskim zonama, nekada je bilo the day, depending on time zones, someti- who disappeared, to be this way collected at jutro ili pak večer, svi smo bili na raznim kraje- mes it was morning sometimes evening, we one place in a new joint conversation that has vima svijeta i drugim kontinentima. were all in different parts of the world and ot- actually never occurred. Sretali smo se na ekranu mog računala, svat- her continents. ko je bio u svojoj okolini u svom okruženju. Fotografirala sam ekran i cijelu situaciju, one s kojima sam komunicirala. Njihovi portreti ostali su zabilježeni. Virtualni svijet trenutne komuni- kacije postao je stvaran. Postali su opipljivi i zabilježeni, a kada se prekinula veza nestala su lica, nestalo je sve što je bilo između nas tijekom razgovora. Oni nisu bili svjesni da su ostali zabilježeni u prostoru i vremenu. Njihova lica su bila odraz trenutka, razgovo- ra, raspoloženja, okoline i situacije koja ih je okruživala. Kad me je Vlasta pozvala u Štaglinec osjetila sam da bi to bila prilika da naša zajednička komunikacija, portreti ljudi koji su bili sa mnom u trenutcima razgovora i koji su nestali, bude na ovaj način skupljena na jednom mjestu u novom zajedničkom razgovoru koji se zapra- vo nije nikada dogodio.24 25
  14. 14. = Mariel Carranza Mariel Carranza Mariel Carranza Joined in the pulsating/ breathing = Peru | Peru I AM / JA JESAM I AM / JA JESAM Sensation that unified us all Time awareness returned As the body began vibrating Vezana za zemlju Bound to the ground But I no longer remembered Užad vezana oko mojih zapešća i gležnjeva Ropes tied around my wrists and ankles Who I was Namotana oko kamenova Coiled around rocks Arising and pulling the ropes Pijesak je popustio pod težinom Sand caved in under the weight JA JESAM JA JESAM? JA JESAM Tijela potonulog u zemlju Of the body sunk into the earth Unsure of which way to go Um upetljan u svoju nepreglednost Mind entangled in its vastness Searching contorted faces of others Svjesnost o fizičkom sebstvu Awareness of physical self Vibrating/repeating JA JESAM Probuđen čisti osjećaj bivanja Awakened pure sensation of being Fell, pulled by the ropes Širi se u svim smjerovima Expanding in all directions To the ground Prepuštanje/postajanje jednoga sa svime Yielding/ becoming one in all Raised again pulsating/ Brisanje pojmova vremena, mjesta, granica Erasing concepts of time, place, boundaries Breathing/ vibrating, Nebo konfigurira slike The sky configured images Repeating JA JESAM? Koje se rastaču u moje biće Disintegrating into my being Slowly approaching Kao što se moje tijelo rastače u zemlju As my body disintegrated onto the earth The sun reflection in the window Osjećala sam puls žarećeg sunca I felt the pulse of the brazing sun I saw myself Kako kuca u mom tijelu i vjetru Beat in my body and in the wind JA JESAM Koji ga raznosi svuda naokolo Carrying it to everything around JA JESAM? Kukci The insects JA JESAM Vrte se i migolje po mojoj koži Wriggling, squirming on my skin Pridruženi pulsiranju/disanju Osjećanje koje nas je sve ujedinilo Svijest o vremenu se vratila Kako je tijelo počelo vibrirati Ali ja se više nisam sjećala Tko sam Ustajući i povlačeći užad JA JESAM JA JESAM? JA JESAM Nesigurna kojim putem ići Tražeći iskrivljena lica drugih Vibrirajući/ponavljajući JA JESAM Pala sam, konopima povučena Na zemlju Dižem se opet pulsirajući/ Dišući/vibrirajući, Ponavljajući JA JESAM? Polako se približavajući U odrazu sunca u prozoru Ugledah sebe JA JESAM JA JESAM? JA JESAM26 27
  15. 15. 28 29
  16. 16. = Efi Ben David | Gina Ben David Materinji jezik — performans duljeg trajanja “Mother tongue” — Durational performance = Izrael | Israel Majka i kći odjevene u bijelo, rade zajedno. Mother and daughter dressed in white, are working together. ‘Nećete pomoći mladicama da narastu time što ćete ih vući prema gore’ “You won’t help shoots grow, by pulling them up higher” Kod kuće uzgajane mladice (izdanci, klice) Mong graha (po)jedene su jedna po jedna, Home made shoots of Mong beans have been od strane 10 prstiju obojanih crnim lakom za eaten one by one, by 10 fingers colored in nokte, ostavljajući prazne staze koje su tvorile black nail polish, leaving empty trails that crea- slova, riječi, taoističku kinesku poslovicu. te letters, words, a Taoist Chinese saying. 3 sata meditacije. 3 hours of meditation. U ritmu kopanja 13 rupa u zemlji, imena umjet- To the rythem of digging 13 holes in the gro- nika se prevode na hebrejski. U skladu s nji- und, artists’ names are being transliterate to hovom podudarnošću sa slovima na tipkovnici Hebrew. According to their matching letters in računala, pretvaraju se u novo ime na novom a computer keyboard, they are transformed jeziku i oblikuju od grančica trešnjinog drveta. into a new name in a new language, and for- med by cherry tree twigs. 13 pari nogu koje stoje u rupama prekrivaju se zemljom. 13 pairs of feet standing in the holes are being covered with soil. 13 umjetnika je ukorijenjeno u tlo Moje zemlje. ‘Nećete pomoći mladicama da narastu time 13 artists are rooted in MOJA ZEMLJA land. što ćete ih vući prema gore’. “You won’t help shoots grow, by pulling them up higher”.30 31
  17. 17. 32 33
  18. 18. = Vlasta Delimar | Milan Božić Apsolutni umjetnik (sjećanje i osjećaj) Antonio Absolute Artist (Memories and Feelings) Anto- carried out during the funeral of Antonio Goto- = Hrvatska | Croatia Gotovac Lauer nio Gotovac Lauer 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- Kako nismo mogli preuzeti odgovornost da se Since we could not take the responsibility to pants, white sneakers; a choice of dressing of brinemo za umjetničku ostavštinu koju nam je care for his artistic legacy offered to us by An- the deceased immediately before his death. Antonio Gotovac Lauer za života ponudio, tonio Gotovac Lauer himself while alive, we The project’s aim was to carry out a num- odlučili smo se nakon njegove smrti na jedan decided after his death on a larger project en- ber of actions and performances in Croatian veći projekt pod naslovom Apsolutni umjetnik titled Absolute Artist (Memories and Feelings) towns where Gotovac worked (Zagreb, Rije- (Sjećanje i osjećaj) Antonio Gotovac Lauer koji Antonio Gotovac Lauer, intended to have his ka, Koprivnica, Split and Dubrovnik). je imao intenciju da se njegov život i rad valo- life and work validated through the prism of After the performing actions in Croatia, we rizira kroz prizmu drugog umjetnika. another artist. continued in Venice, London, Paris, Suboti- Kroz zadnjih šest godina intenzivnog druže- During six last years of intensive meetings ca and Belgrade. These are the cities whe- nja Božić, Delimar, Lauer iz kojeg je proizašao Bozic — Delimar — Lauer, from which was re we together with him planned to continue zajednički performans u Ilici 2.09. 2009. pod derived a joint performance in Ilica Street in our joint actions but we did not succeed, and naslovom »Dva muškarca i jedna žena« (Hr- Zagreb on 2nd September 2009 entitled »Two are the cities where Gotovac worked before. vatska remek — djela) nastalo je i niz tzv. pri- Men and one Woman« (Croatian Masterpie- This complex project is a commemoration on vatnih performansa koje smo nastavili i nakon ces) a series of so–called private performan- the activity of one contemporary who had a smrti Antonija Gotovca Lauera. Prvi posthu- ces were derived, which we continue to give specially important influence on art — perfor- mni privatni performans izveli smo za vrijeme after the death of Antonio Gotovac Lauer. mance scene in Croatia. samog posljednjeg ispraćaja Antonia Gotov- The first posthumous private performance we ca Lauera na groblju Mirogoj. Svo troje bili smo odjeveni u istu odjeću; crno saten odije- lo, bijela košulja, bijele gaćice, bijele tenisice; kao pokojnikov izbor odijevanja neposredno prije smrti. Cilj projekta bio je da se izvode akcije i per- formansi u više 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 naše zajedničke akcije ali nismo uspjeli i to su gradovi u kojima je Gotovac prije radio. Ovaj kompleksan projekt sjećanje je na djelo- vanje jednog suvremenika koji je imao poseb- no važan utjecaj na likovno — performersku scenu u Hrvatskoj.34 35
  19. 19. 36 37
  20. 20. = Alejandra Herrera »Prelaženje međa« = Čile | Chile Festival se održava u nekadašnjoj užari koja se nalazi na velikom imanju s jednom većom ne- dovršenom građevinom i dva manja prostora. Mjesto je puno energije. Energija se nakupila tijekom povijesti prostora i prethodnih festivala koji su se tamo događali. Posjed sam temelji- to istražila. Večer prije dana nastupa, osjećala sam da mjesto ne odgovara za izvedbu koju sam planirala, pa sam odlučila da ću rad izve- sti u selu među stanovnicima. Nismo proveli mnogo vremena u tom selu, pa sam osjetila potrebu komunicirati s mještanima i povezati se s njima. Započinjem akciju oko 2 sata hoda od mjesta gdje ću je završiti. Počinjem hodati. Nosim bi- jelu odjeću: hlače, majicu i čarape. U ruci dr- žim vrč pun crnog vina. Svakih 10 koraka ot- pijem vino i pustim ga da iscuri iz mojih usta preko bijele odjeće, bojajući je u crveno. To činim svaki put kad prođem pored pješaka ili automobila. Prolaznici mi nešto dovikuju, ali ja ne razumijem što. Osjećam ljutnju i strah. Au- tomobili usporavaju, ali ne staju. Ljudi se ne smiješe, djeluju iznenađeno i lice im poprima prestrašen i zbunjen izraz. Nastavljam hodati, noge mi počinju osjećati nepravilnosti na ce- sti. Moje ruke također osjećaju težinu vrča. Sat vremena je prošlo i vrč s vinom je polu- prazan. Odjeća je već dobrano boje vina i moj izgled čini se odražava koliko vremena perfor- mans traje. Hod je pun razmišljanja, pitanja, kontemplacije. Cesta se promijenila, više nije autocesta, nego seoska ulica. Nakon 2 sata hoda stižem na odredište. Gotovo svi su vani i čekaju početak festivala. Ulazim u prostor i krećem se prema kuhinji gdje ljudi pripremaju hranu. Nastavljam izvoditi performans za njih. Vraćam se van i ostavljam prazan vrč na be- toniranoj stazi. Krećem se dalje prema vrtu u kojem sam ostavila veliko keramičko jaje. Ho- dam uokolo prostora s jajetom, moleći Zdravo Mariju na španjolskom. Vraćam se na mjesto gdje sam ostavila vrč i bacam jaje preko ra- mena.38 39
  21. 21. Saturday, June 18, 2:30 PM, Staglinec, Croatia. stand anything they are saying. I sense anger “Crossing Land Borders” and fear. Cars slow down, but don’t stop. Pe- ople are not smiling, they act surprised and have expressions of terror, confusion. The festival takes place at an old rope fac- tory. It is located on a large property with un- I keep walking, my feet start feeling the irregu- finished construction and empty houses. The larity of the road. My arms are also feeling the place has a lot of energy. Energy that has weight of the jug. An hour has passed and the been contained there because of the history jug of wine is half empty. The clothes are dee- of the space and the previous festivals that ply colored from the wine and my appearance have taken place there. I surveyed the proper- seems to show the time that has passed thus ty extensively. The evening before the perfor- far in the performance. The walk has been full mances, I felt like the location was not for the of reflection, questions, contemplation. work I was planning, so I decided that I would The road changes, no longer a freeway but make work in the town amongst the residents. surface streets in the middle of the village. We had not spent any time in the nearby village, so I felt the need to communicate and After 2 hours of walking I arrive at my desti- connect with its citizens. nation. Almost everyone is outside waiting for the opening of the festival. I enter the space I start the action approximately 2 hours wal- and move into the dinner area where there are king distance from where the piece will end. people preparing food for the opening. I conti- I begin walking. nue the action for them. I am wearing white clothes; pants, t–shirt I return outside and leave the empty jug on a and socks. I am holding a jug full of red wine. cement path. I move to a garden where I have Every 10 steps I take a drink of the wine and I left a large ceramic egg. I walk around the space let it spill out of my mouth over the white clot- with the egg, reciting the Hail Mary in Spanish. hes, staining the clothes red. I also engage in I return to where the jug was left, and throw this action each time I pass by a pedestrian or a egg over my back. car. Bystanders yell at me, but I don’t under-40 41
  22. 22. = Jason Lim Stigao sam u Hrvatsku otvorenog uma, ne = Singapur | Singapour imajući unaprijed stvorenu predodžbu o tome što ću raditi kao performans. Prekrasan krajo- lik Štaglinca 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 što zemlja ima za ponuditi, odlučio sam da u svom komadu želim ima- ti što manje moguće akcije. Želio sam osta- ti nepomičan. Unutar perimetra zemljišta bilo je obilje oborenih stabala i grana. Sviđao mi se kontrast mrtvih stabala položenih i po- slaganih pored polja mladih kukuruza. Slika mene kako stojim u polju kukuruza s gra- nom bila je prva slika koja mi je došla u pa- met. Balansiranje velike grane na glavi odr- žavalo me mirnim. Granu je pomicao vjetar koji je puhao nad zemljom, čas jak, čas blag. Činilo 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.42 43
  23. 23. = Marko Marković SITNI VEZ = Hrvatska | Croatia Sitni vez u narodnoj primopredaji označava vještinu heklanja ( šlingeraj) te vještinu sviranja određenih dionica na tamburici. Izvedba sitni vez spoj je tradicionalnog folklora u suvremenom ruhu body–arta. Uz pratnju tamburice (svira Vlado Bunić) s kompozicijom »Podravska krv« odjeven u na- rodnu nošnju, autor u prirodnom ambijentu seoskog domaćinstva izvodi performance. Sjedeći za stolom, kirurškom iglom i koncem šije svoje ožiljke dobivene tijekom života tj do- bivene u ranijim izvedbama. Na taj način zaši- va stare rane te zatvara prijašnje epohe jednog vremena: izranjajavane zemlje, ljudi i sudbina na tim prostorima. Izvedba Sitni Vez dolazi iz ciklusa koji se bavi folklornim tematikama što obrađuju položaje ljudi na određenim 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 Bunić) 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.44 45
  24. 24. = Boris Nieslony Kamenje me čekalo. Svaki pojedini kamen je = Njemačka | Germany bio zadovoljan. Ali tužan, vrlo tužan. Dobili su samo 20 minuta. Oni žele ostati sa mnom satima. Igrati se sa mnom, zabavljati se, imati duboka iskustva s mojim pokretima, žele plesati i vrtjeti se u zraku, biti bačeni u visinu i padati proizvodeći ovaj prekrasan zvuk. Da, kamenje je bilo tuž- no kad sam ga ostavio u Štaglincu. Nadam se da se ne ljuti na mene, dok leži u vrtu s ovo malo 20–minutnog sjećanja. 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 Štaglinec. Hope they are not angry with me, lying in the garden with this little 20–minute memory.46 47
  25. 25. = Sinead O’Donnell Materijalna Mjera = S.Irska | N. Ireland Trajanje: 3 sata Tema festivala je bila »jezik«. Ja sam umjet- nica koja se predstavlja kao osoba s poteš- koćama i svojedobno sam istraživala kako je moja poteškoća utjecala na metodologiju izvedbene umjetnosti. Na ovogodišnjem festi- valu sam polako punila jednu sobu u kući gu- žvajući bijele papire formata A4. Ovaj perfor- mans je izrazio poteškoće s pisanjem teksta i ujedno djelovao kao način mjerenja prostora materijalom. Material Measure Duration: 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.48 49
  26. 26. = Goran Ristić FORKED TONGUE (performans/instalacija) Forked tongue (performance / installation) = BIH | B&H FORKED TONGUE — (Rašljasti jezik) je jezik FORKED TONGUE is the language of repti- gmazova, koji se rašlja na dvije strane i služi les, which separates in two and is used for im za orijentaciju u prostoru, kao i raspozna- orientation, and for recognition of warm from vanje toplog od hladnog. Ono u čemu ga naj- cold. It is most used for the biggest challen- više koriste je najveći izazov prirode — preživ- ge of nature — survival: how to recognize the ljavanje, kako prepoznati plijen i što većom br- prey and kill it as fast as possible, how to find zinom ga usmrtiti, pronaći rod, usmjeriti se na your species, how to direct on the right path, pravi put, skloniti od neprijatelja. Možda baš away from the enemy. Perhaps hence a ge- odatle potiče genetički kod koji je kod čovjeka netic code is promoted that is in man expre- izražen u jeziku. Indijanci su u Americi zvali bi- ssed in language. The Red Indians in America jelce »forked tongue (jezik viljušaka)« jer su im called the whites »forked tongues« because riječi bile podijeljene na više značenja. Jedno their words were divided into multiple meanin- su govorili njima, drugo između sebe a treće gs. One was spoken to them (the Indians), the su radili. Forked Tongue je rad koji se bazira other (second) was said between themselves na historijskim političarima i njihovom govo- (the whites) and the third thing was done. For- ru upućenom običnom narodu. Uspoređiva- ked Tongue is a work that is based on historic nje ljudskog bića na vlasti s gmazom koji je politicians and their speech addressed to or- u stanju da uništi čovjeka jednim ugrizom nije dinary people. Comparing a human being that ni po čemu različito od govora predsjednika has political power with a reptile that is able koji jednom rečenicom može da uništi na hilja- to destroy a man with one bite is no different de ljudi. Slatko zapakovane laži i obećanja da from the speech of one president who can by ćemo jesti zlatnim kašikama su u protivnom one sentence destroy thousands of people. gorko nasjedanje na njihove riječi, bez ikakvog Sweetly packed lies and promises that we will upozorenja na drugačiji ishod. Performans/ eat with golden spoons, in the otherwise can Instalacija je moja izvedba i shvatanje pred- mean to be bitterly taken in their words, witho- sjednika koji su bili na vlasti i bez premca nam ut any warning of a different outcome. Perfor- obećavali a ujedno i lagali. Njihovo zaslužno mance/Installation is my performance and un- mjesto nisu nikakvi muzeji ni svečane dvorane derstanding of the presidents who had power već viljuška: onakvo kakav je bio i njihov jezik and were unmatchedly promising and lying at a posebno djela. Nabijanjem na viljuške de- the same time. Their meritorious position is no struiram i poništavam svaki njihov govor, koji museum(s) or festive hall(s), but just a fork, as nije donio mir i dobro. 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.50 51

×