Zooming Fluid States

18:00 – 19:45

ZOOMING FLUID STATESPRELUDE PANEL14/15 SeaSon Prelude Croatian national Theater “Ivan pl. Zajc”Preludij u sezonu 14./15. HnK ivana pl. zajca u rijeci

HnK Ivan pl. Zajc / uljarska 1

20:00 Festival opening / otvorenje festivala

SHOWCASE BEAT LE MOT:COOKING IN CRISIS Krizna KuhinjaTHeaTrICal dInner performativna večera

Filodrammatica / Korzo 28/1

3. 9. 2014.WEDNESDAYSrijEDa

FLUID STATES SYMPOSIUM – PART 1 FluiD StatES Simpozij – Dio 113:30 – 15:00CluSTer PreSenTaTIon Predstavljanje zemalja sudionica Panama, ethiopia, India, Bosnia and HerzegovinaPanama, etiopija, indija, Bosna i Hercegovina

15:30 – 17:00CluSTer PreSenTaTIon Predstavljanje zemalja sudionica Bahamas, Greece, north atlanticBahami, Grčka, Sjeverni atlantik


19:00 – 20:00

RUSTOM BHARUCHA & LADA CALE FELDMAN:TERROR AND PERFORMANCEtErorizam Kroz izvEDbEnu umjEtnoStBooK PreSenTaTIonPrezentacija Knjige

Galerija drugo more


4. 9. 2014.THURSDAYcEštvrtaKˇ

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FLUID STATES SYMPOSIUM – PART 2 FluiD StatES Simpozij – Dio 2 9:00 – 10:30 CluSTer PreSenTaTIonPredstavljanje zemalja sudionicaCook Islands, romania, Japan, CanadaCook otočje, rumunjska, Japan, Kanada

11:00 – 12:30CluSTer PreSenTaTIonPredstavljanje zemalja sudionica australia, Philippines, lebanonaustralija, Filipini, libanon


17:00 – 18:30

RIJEKA EUROPEAN CAPITAL OF CULTURE 2020 CANDIDATErijEKa EuropSKa prijEStolnica KulturE 2020.dISCuSSIon / rasPrava


22:00

SPEECH KARAOKE ACTION GROUP: SPEECH KARAOKECukarikafe bar / Trg Jurja Klovića 4

5. 9. 2014.FRIDAYpEtaK

6. 9. 2014.SATURDAYSubota

18:00 – 22:00

FLUID STATES:PERFORMANCES OF UNKNOWINGizvEDbE nEpoznatogPerFormanCeS and arTISTIC InSTallaTIonS / PerFormansi iumJetničKe inStalaCiJe

Breakwater / lukobran (Šetnica)

22:00 – 02:00

DJ SMEđI šECER (BROWN SUGAR) WORLDWIDE ANALOG FEELGOD GROOVESParTy / zaBava

Breakwater / lukobran (šetnica)

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DAVOR MIšKOVIC`

Zoom festival this year focuses on the Fluid States project interested in discovering, throughout the whole 2015, whatever is unknown, invisible and illusive in performance art, whether through artistic interventions, or cultural events. a series of meetings, hybrid conferences and festivals will take place inside Fluid States, from new Zealand to Canada, from Phillipines to europe…

rijeka is one of the nodes inside the Fluid States network that will sublimate topics from all other nodes, and as the “aleph” from the Borges’ story, create a point in space that contains all other points. This is a great chance to get an insight about all aspects of performance art within differ-ent parts of the world.

Fluid States is a part of the PSi - Performance Studies International global network and brings together partners from both academic and artistic circles who have joined their knowledge to help create a new type of conference that seeks to take into account the relationship between the commu-nity that performs and the community that inter-prets the performance. In this endeavour, a logical solution is a dispersion of the conference into clus-ters of performance culture by the geographical location of the performance. This creates a new semantic construction - a location that both has a global reach and involves local communities.

Zooming Fluid States event in rijeka brings all clusters together into a single point, a point in which near future of performance art and theory is anticipated. The future is determined by our past experiences, values and knowledge. Fluid States as a whole seeks to reinterpret our past in order to create a future that we will fully understand, and participate in, not a future that will simply - occur.

Zooming Fluid States will generate a series of per-formances and discursive fragments without a sin-gle line of narrative. To each participant, visitor and viewer the elements are provided to creating their unique image or story. The festival calls for partici-pation, for creating an event, a referential frame, or an interpretative field. It does not simply display creations - it is a place of creation.

Zooming Fluid States program can never be pre-defined, its form remains unknown, it is a work in progress. The program booklet offers guidelines, defines a space inside which you are free to create performance forms and narratives, as you would do in a sandbox game. Players get tools that they can use to modify the environment and determine the style of play. It depends on us to create something- beautiful…

program ovogodišnjeg festivala naslanja se na projekt fluid States, koji će kroz različite formate tijekom 2015. godine pokazati svijetu ono što je nepoznato, nevidljivo i neuhvatljivo u pojmu izvedbe koji se proteže kroz različite umjetničke i kulturne forme. fluid States je serija događaja, hibridnih konferencija i festivala koja se proteže globalno, od novog zelanda do Kanade, od Filipina do europe. rijeka je jedna od točaka ove globalne mreže i u njoj dolazi do sažimanja svih tema pris-tunih u drugih točkama. riječki je događaj bor-hesovski alef fluid Statesa, mjesto koje sadrži sva druga mjesta, i kao takav predstavlja izvrsnu prili-ku za upoznavanje s pogledima na izvedbu u različitim dijelovima svijeta.

fluid States je nastao u okviru strukovne mreže Psi Performance studies international i na pro-jektu surađuje niz partnera iz akademskih i um-jetničkih krugova koji su udružili svoja znanja kako bi li stvorili novu formu konferencije. ova forma nastoji uzeti u obzir povezanost zajednice koja prakticira određenu izvedbu i zajednice koja tu izvedbu artikulira. u tom nastojanju kao logično rješenje nadaje se disperzija konferencije na kon-ferencijske clustere koji se održavaju u mjestima u kojima nastaje izvedbena praksa. tako se stvara novo mjesto semantičke konstrukcije, koje zadržava globalni doseg uz istovremeno uključivanje lokalnih zajednica.

riječki događaj, kojeg smo nazvali Zooming fluid States, sažima sve clustere u jedan događaj, u jednu točku koja anticipira ono što će se događati u bliskoj budućnosti u području izvedbene teorije i umjetnosti. Budućnost je određena našim pre-thodnim iskustvima, vrijednostima i znanjima, a fluid States u cjelini nastoji reinterpretirati našu prošlost u svrhu stvaranja i razumijevanja budućnosti u kojoj ćemo sudjelovati, koja nam se neće samo dogoditi.

Zooming fluid States je sastavljen od niza izved-benih i diskurzivnih fragmenata. nema jednu liniju narativa nego svakom sudioniku, posjetitelju i gle-datelju nudi elemente za stvaranje vlastitih slika i priča. ovaj festival poziva na sudjelovanje, stva-ranje događaja, referentnog okvira, interpretativnog polja i u tom smislu on nije izlog umjetničkih kreacija nego samo mjesto kreacije. Zooming fluid States je događaj koji nije unaprijed definiran, njegova forma nam nije poznata, ona tek nastaje. program nudi tek smjernice, određuje prostor u kojem možemo stvarati različite izvedbene forme i narative, on je dizajniran poput sandbox igara. igračima nudimo alate koje mogu koristiti po volji kako bi odredili okolinu i način igre. na nama je da stvorimo nešto lijepo.

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FLUID STATES SYMPOSIUMPART OF THE 2015 #21 PSi FLUID STATES DECENTRALIZED CONFERENCE

FluiD StatESSimpozijnulti EvEnt 21. pSi FluiD StatES KonFErEncijE za 2015. goDinu

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The map of the world is usually perceived as an arrangement of continents, dominated by the land and defined territories, terra firma and borders. But what if we undertake a perceptive and conceptual reversal, and replace continents with seas, and place oceans, such as the Pacific, in the center, instead of europe? What if we replace the earth with water, solid states with fluid ones?

Fluid States: Performances of unKnowing, a joint project of Performance Studies international (PSi) and numerous partner organizations across africa, europe, america, asia, australia and the Pacific: universities, cultural centres, museums and other state or local institutions, nGos and companies, will gather throughout 2015, 15 regional research clusters staged in diverse but interconnected loca-tions and regions outside or on the margins of the PSi’s traditional (uS & uK) geography.

The dramaturgical device that connects the clus-ters of activity in PSi#21 Fluid States is an oce-anic metaphor. each local cluster is an island, which creates a vessel to transport an item – an image, a text, an artefact or a performance – to dock at other islands who then engage that vessel as part of their own live and online activities.

additionally, Fluid States online loG enables par-ticipants to exchange images, texts, documents and other digital artefacts from ‘island’ to ‘island’ throughout 2015.

mapu svijeta često percipiramo na način da gledamo kako su poslagani kontinenti kojima dominira kopno i jasno označeni teritoriji terra firmom i granicama. no, što ako preokrenemo malo koncept i zauzmemo drugačiju perspektivu te na mjesto kopna postavimo more, na mjesto europe u sredini svijeta, postavimo naprimjer tihi ocean. Što kad zamijenimo zemlju vodom, a njeno stanje iz krutog u - tekuće…

fluid States izvedbe nepoznatog rezultat su surad-nje pSi grupe s brojnim partnerskim organizacijama diljem afrike, europe, australije i pacifika te sa sveučilištima, kulturnim centrima, muzejima, držav-nim i lokalnim institucijama, nevladinim udrugama i poslovnicama. u 2015. ovaj će projekt okupiti 14 zemalja sudionica okupljenih u klastere koji su razdvojeni geografski ali međusobno povezani i koji ujedno prenose pSi sastanak izvan uobičajenog pro-stora velike Britanije i SaD-a.

Dramaturški aparat koji povezuje sve zemlje sudi-onice fluid States i njihove aktivnosti kroz 21. pSi konferenciju jest metafora - oceana. Svaka od zemalja sudionica predstavlja otok-lađu koja prenosi neki predmet bilo da je to slika, tekst, artefakt ili performans koji pristaje na drugim otocima-lađama koji ga onda integriraju u svoje svakodnevne, ali i online aktivnosti. fluid States loG omogućava su-dionicima da razmijenjuju slike, tekst i dokumente na dnevnoj bazi - od otoka do otoka - tokom cijele godine.

Fluid States www.fluidstates.org

Performance Studies International/PSi www.psi-web.org

CLUSTER PRESENTATION

zEmljE SuDionicE

Conversations/performances around this cluster include engagement with countries of the Horn and the historically designated east africa while it treats all mentioned above as part of a “Greater” eastern africa, namely–Tanzania, Burundi, rwanda, uganda, Kenya, Somalia, djibouti, ethiopia, eritrea, Sudan, South Su-dan and egypt. This project is not just about the nation states in this region, though. It is also about boundary crossings.

razgovori i performansi unutar ovog klastera tematiziraju zemlje afričkog roga i zemlje povijesno označene kao dio istočne afrike ujedinjujući ih sve u “veću” istočnu afriku, točnije tu spadaju: tanzanija, Burundi, ruanda, uganda, Kenija, Somalija, Džibuti, etipija, eritreja, Sudan,Južni Sudan i egipat. međutim, ovdje se ne bavimo samo nacionalnim državama u regiji, već prelaženjem granica tih država.

ethiopia / etiopija

ADDIS ABABA

From before its inception as a nation-state the Isthmus of Panama has been at the crossroads of biogenetic migration, colonial expansion, international trade, scientific experimentation, naval engineering and cultural bricolage. as the home of the Panama Canal and as part of a strategic geopolitical history rooted in transoce-anic trade and cultural migration, Panama joins PSi-2015 Fluid States with a series of perfor-mance interventions on and about the Panama Canal, the country’s emblematic marker.

Panama / Panama

PANAMA CITY

prije nego je postao nacionalna država, panamski tjesnac je stajao na međi bioenergetske migracije, kolonijalne ekspanzije, međunarodne trgovine, znanstvenih eksperimenata, pomorskog inžinjerstva i kulturalnog brikolaža. unutar panamskog tjesnaca nalazi se panamski kanal s nasli-jeđem strateške geopolitičke povijesti koja je ukorijenjena u preko-oce-anskoj trgovini i kulturalnim migracijama. panama se pridružuje pSi fluid States projektu kroz intervencije koje se tiču panamskog kanala, njenog nacionalnog simbola.

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Bosnia and Herzegovina / Bosna i Hercegovina

OMARSKA

India / indija

NEW DELHIIndian cluster attempts a critical dialogue on how some of the most tenacious categories of the social sciences around ‘labor’ and the ‘economy’ can be interrogated at performative levels. While the subject of labor has been interrogated at mul-tiple levels in the social sciences, it is a relatively new area of research in the field of performance studies where labor is now being explored both in the context of actual performances as well as within the framework of the ‘creative economy.’

indijski klaster razvija kritički dijalog oko nekih od najustaljenijih formi u društvenim znanostima vezanih za rad i ekonomiju, preispitanih kroz izvedbenu umjetnost. Dok se tema rada i radničkog prava često obra-đivala unutar okvira društvenih znanosti, ona predstavlja relativno novo polje istraživanja u izvedbenoj umjetnosti u kojoj se sada sagledava u kontekstu stvarnih performansa, ali i unutar okvira kreativne ekonomije.

radna Grupa četiri lica omarske (rGčlo) bavi se sa četiri konstitutivna sloja povijesti rudarskog kompleksa omarska, u blizini prijedora, svaki od kojih odgovara jednom “licu” omarske. unutar radne Grupe rGčlo odr-žavale su se radionice i predavanja na kojima su sudjelovali znanstvenici i umjetnici iz bivše Jugoslavije i šire, bivši zatvorenici logora, bivši i sadašnji zaposlenici rudnika omarska, statisti iz filma snimljenog na prostoru rud-nika, ali i ostali zainteresirani građani koji su razmijenjivali video zapise, fotografije, tekstove, dokumente i prikupili obiman arhiv.

This cluster consists of four “platforms,” each of them corresponding to one “face” or archaeo-logical level of omarska, the mining camp near Prijedor in Bosnia, in the form of working groups, lectures, and workshops, based on an active exchange of video, audio and written material be-tween international scholars and artists and their peers from the former yugoslavia; between them and camp survivors; former and current employ-ees of omarska mine; local extras and crew hired for the movie shoot about omarska, and other interested citizens of this region.

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Bahamas / Bahami

DEAN’S BLUE HOLE

ovdje je naglašena jedinstvena geografija long islanda na Bahamima i tamošnje natjecanje u ronjenju na dah (vertical Blue) koje je za roni-lački sport ekvivalent Wimbledonu u tenisu. ovdje se sudaraju interesi lokalne zajednice, ronioca na dah i interpretatora izvedbene umjetnosti. performans naspram ronjenju na dah promatra se kao integrirani pro-ces u kojem se sudaraju djelo i intelekt pri čemu se nazire -duboka anatomija.

This cluster uses the unique geography of long Island (The Bahamas) and the Vertical Blue freediving championship ('the Wimbledon of Free-diving', ny Times) as a site for provocative intersections between the local community, freedivers, and performance studies academics. Performance and freediving as integrated pro-cesses are examined, where action and intellect combine, and a 'deep anatomy' occurs.

Greece / Grčka

SANTORINI

u Grčkoj su se okupili radio umjetnici združeni oko avangardnih radio projekata kojima je cilj reproducirati nevidljive prostore uz pomoć zvuka. Sa otoka Santorini oni istražuju, susreću i prenose poruke, kao da je otok povezan vijestima o vulkanskim prognozama ili vijestima iz Grčke u 50im godinama, putem radio mreže.

Searching, countering and porting messages via a radio network – as the Santorini island would have been connected with news of vol-canic prognoses or events outside the Greek sphere in the 50’s – this cluster gathers radio artists and avant-garde audio projects aiming to recreate unseen spaces aurally.

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north atlantic / Sjeverni atlantik

GREENLAND, STREYMOY, AMAGER

Sjevernoatlantski klaster kroz suradnju s lokalnim umjetnicima, per-formerima, aktivistima i znanstvenicima pokušava pronaći povezni-cu između umjetnosti i svakodnevnog života na tri potpuno različita nordijska otoka; na Grenlandu koji je najveći otok na svijetu potpuno prekriven ledom, zatim na Streymoyu, najvećem od farskih otoka usred Sjevernog atlantika te na amageru, otoku koji je sastavni dio metropole, u Kopenhagenu u Danskoj. uvjeti za život na svakom od ova tri otoka su drastično različiti, pronalazi im se poveznica kroz dugu povijest trgovine, međunarodnih pregovora i kolonijalizma, a naziru se i društveno političke, ekonomske i identitetske sličnosti.

Collaborating with local artists, performers, activists and scholars, Fluid States north atlantic cluster investigates the relationship between art and everyday life in three different types of nordic islands: Greenland, the world’s largest island covered mostly by ice; Streymoy, the largest of Faroe Islands in the midst of the north atlantic ocean, and amager, an island which forms a part of a metropolitan area of Copenhagen in denmark. life conditions are radically different in these three island settings, and yet they are interconnected through histo-ries of trade, settlements and colonialism, as well as socio-political and economic dimen-sions of regionalism and identity politics.

Pacific / tihi ocean

COOK ISLANDS, RAROTONGA

as a liquid continent, oceania images itself through the ocean, te moana-nui-a-Kiwa, a connective space of currents, vortices, drifts, suspensions, sediments, tides, foams, and flows that resists fixity, performing in-flux. oceania, that collection of large-ocean nations, is partic-ularly sensitive to the effects of anthropogenic and highly politicized climate change: as the sea warms, acidifies and plasticises, and as sea levels rise and storm energies intensify, the ecol-ogies and economies, the social, political and ar-chitectural structures, as well as the geographical limits of islands come increasingly under threat.

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Kao da je likvidni kontinent, oceanija sebe vidi kroz ocean (te moana nui a Kiwa) kao vezivno tkivo struja, vrtloga, vodenih nanosa, sedimenata, plime, pjene i struja koje se opiru stabilnosti, koje su uvijek u fluksu. oceanija, kao zbir država velikog oceana postaje posebno osjetljiva na posljedice klimatskih promjena koje su izraženo antropogene i politizi-rane. Kako se more zagrijava, kiseli i plastizira, te kako se razina mora podiže i energije oluja intenziviraju, tako ekologija i ekonomija, društvene, političke i arhitekturalne strukture, kao i geografske granice otoka bivaju pod sve većom prijetnjom.

romania / rumunjska

CLUJ

rumunji pokušavaju ponovno promisliti europu u odnosu na dijasporu te kao mjesto razmjene i suradnje, zaustavljajući se na odnosu između živog kulturnog nasljeđa i europskih urbanih područja i zajednice ma-njina i migranata. Krenuvši od definicije živog nasljeđa kao zajedničke podloge za dijeljene narative, ovisno o tome što se odluči očuvati i pre-nositi na nove generacije, a što se odluči izbrisati i zaboraviti, preispitu-jemo ulogu sjećanja pripadnika zajednice manjina i sjećanja migranata u odnosu na memorijske procese dominantne grupe.

This cluster seeks to re-imagine europe as a diaspora space and a space of exchange and collaboration, by focusing on the relationship between living cultural heritage, european urban spaces and minority/migrant populations. Starting from an inclusive definition of living heritage as a common foundation and shared narratives, based on a selection of what gets preserved and transmitted forward and what gets erased and forgotten, it aims to question the place of minorities’ and migrants’ memories in relation to dominant groups’ memory-making processes.9

Japan / japan

AOMORI, TOHOKU

tema Japana naslanja se na regiju tohoku koja ima posebno mjesto u povijesti Japana, kao i u mašti i ekologiji. Japanci su dugo vjerovali da je tohoku mjesto na rubu civilizacije koje jako zaostaje, koje je - jezovito, ili kako to opisuje jedna narodna priča o regiji, bilo je to “selo u kojem se odrasta u svijetu punom opasnosti od nevidljivih sila i zlonamjernih bića koji prelaze iz ljudskog u životinjski svijet.” ovdje se bavimo istra-živanjem fiktivne i stvarne slike mjesta pogođenog katastrofama (potre-som, tsunamijem, nesrećom u elektrani fukushima) koje bi nam moglo dati odgovor kod promišljanja našeg “normalnog”, “pitomog” života te kod propitivanja moći performansa u doba kad doživljavamo spiritualnu, fizičku i političku krizu.

This cluster focuses on Tohoku region that holds a special place in Japanese history, imagination, and ecology. Japanese have long believed that Tohoku is the outskirts of civilization, lagging far behind the capital, and that it is a place of the uncanny, as yanagita Kunio’s Tohoku folktales illustrate: “…a vision of a typical village grow-ing up in a world full of dangers from invisible forces and from malevolent creatures shuttling between the human and the animal kingdom.” The cluster explores this very fictive/real image of a disaster-stricken place (with earthquake, tsunami, and Fukushima nuclear power plant) as a clue for reconsidering our “normal” and “domesticated” ordinary life and re-examining the power of performance in an age of crisis that is spiritual, physical, and political.10

australia / australija

MELBOURNE

Canada / Kanada

MONTREAL

Kanadski klaster preispituje dvojnu prirodu montreala kao centra fran-kofonog Quebeca koji je izvan svoje provincije marginaliziran u odnosu na anglosaksonski dominirane društvene strukture i američko-kanadski identitet. Kao što je vidiljivo iz spektakularne kulture performansa koja tamo postoji - od svjetski prepoznatog Cirque du Soleil preko jako žive lokalne umjetničke i izvedbene scene - montreal je čvorište na kojem jednako do izražaja dolaze i dominirajuće i alternativne umjetničke i izvedbene forme, što je čini se, podcijenjeno od strane povjesničara i teoretičara izvedbene umjetnosti u svijetu.

Trans-montréal cluster seeks to explore the dual nature of montreal as the center of a part of north america (francophone Québec) which is, outside of the province, viewed as marginal to anglophone dominated power structures and conceptions of american/Canadian identity. as evidenced in its spectacular as well as ex-perimental performance cultures—from the world-renowned Cirque du Soleil to the lively local art and performance scene—montréal is a vibrant hub of both mainstream and activist and alternative performance and art expression, one that is under-appreciated by historians and theorists of art and performance around the world.11

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Contemporary life in australia, the world’s largest island continent, is framed by borders whilst constantly being reconstructed through dynamic processes of mobility. Performing mobilities, the australian regional cluster activity of ‘Fluid States’, explores this phenomenon through a combination of artistic research and critical enquiry. running throughout 2015, the project proceeds from a set of journey-based projects, via a month long gallery exhibitions and mobile performance program, towards a 3-day performance symposium held in mel-bourne in october.

Philippines / Filipini

MANILA

tim umjetnika i znanstvenika s filipina putuje na različita odredišta bilo autobusom ili brodom, premještajući se s jedne strane na drugu, pre-ispitujući vlastitu elastičnost. putem uče o lokalnim običajima, poima-njima, leksikonima izvedbene umjetnosti unutar filipinskog arhipelaga. ovaj projekt je nastao kao odgovor na nedavno nastale nevolje u zemlji i za njega je ključno saznati što život na tako “nakrivljenoj” zemlji koja je često opustošena katastrofom znači i što takav život sadrži za različite zajednice koje obitavaju na arhipelagu, zašto i kada će mu one pružiti otpor te što sve to može značiti u terminima izvedbene umjetnosti.

a core team of artists and scholars within this cluster is traveling to various localities by bus and by boat, ‘rolling on and rolling off’ from one site to the next, to investigate resilience and in the process learning local practices, conceptions, and lexicons of performance in the Philippine archipelago. designed in response to recent calamities in the country, the project addresses a key theme – what liv-ing ‘on tilted earth’ often ravaged by disaster means and entails for various communities in the archipelago, why and how are they resilient, and what this might mean in terms of performance, that is, actual doing in all its creative/expressive forms and manifestations.

Suvremeni život u australiji, na najvećem otoku-kontinentu, snažno je označen granicama dok se istovremeno neprestano rekonstruira kroz dinamične programe mobilnosti. australski klaster unutar fluid States istražuje ovaj fenomen tako da kombinira umjetnički i istraživački rad. tokom 2015. unutar projekta događat će se istraživačka putovanja, izlo-žbe u galerijama duge mjesec dana, programi vezani za mobilnost te u konačnici trodnevni simpozij u melbournu u mjesecu listopadu.

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lebanon / libanon

BEIRUT

18. prosinca 2010. označava povijesni trenutak na Bliskom istoku. arapsko proljeće unijelo je novu dinamiku i čitav niz nasilnih i ne-nasil-nih prosvjeda u arapsku regiju. Kroz povijest, ovo je područje uvijek bilo područje nemira, ali nikad u tolikoj mjeri kao za vrijeme arapskog pro-ljeća. libanonški klaster istražuje kako je ovaj pokret utjecao na regiju,a posebice na umjetnost u regiji.

december 18 2010 marks a historic event in the middle east. The arab Spring brought a vast movement of both violent and non-violent demonstrations in the arab region. History has always contained times of unrest in the mena area but none as global as the arab Spring. The lebanese cluster explores how this move-ment affected the region and more particularly ‘art’ in the region.14

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FLUID STATESPERFORMANCES:PERFORMANCES OF UNKNOWING

umjEtnicKipErFormanSiFluiD StatES:izvEDbE nEpoznatog

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Panama Canal is the primary shipping route for world trade between the atlantic and the Pacific and provides Panama with great economic stability. Isthmus of Panama is the home of the Panama Canal and a part of stra-tegic geopolitical history rooted in transoceanic trade and cultural migration. a presenter and performer from Isthmus of Panama will bring a sprinkle of that canal in a smell of perfume.

panamski kanal glavni je plovni put i mjesto na kojem se odvija trgvina između atlantika i pacifika što pruža panami veliku ekonomsku stabilnost. panamski tjesnac dom je panamskom kanalu i ima strateški značaj i ge-opolitičku povijest ukorijenjenu u prekooceanskoj trgovini te u fenomenu kulturalne migracije. predstavnik panamskog klastera na Zooming fluid States donijet će dio tog kanala u mirisu parfema.

Panama / Panama

PERFUMIN’ PANAMAparFEmiranjE panamEThe Canal / Kanal

performance and concept / koncept i izvedbaSeBaSTIan C. BenTIn

north atlantic / Sjeverni atlantik

SISTERS HOPESEStrE hopEPoetic education /poetično obrazovanje

at Zooming Fluid States Sisters Hope will create a sensuous, immersive and interactive performance-installation manifest at a boat by the seas. In their poetic shapes they have trav-eled from the far north to initiate dialogue and share dreams for the future of our educational systems. Sisters Hope operates in the intersec-tion of performance art, research, activism and pedagogy. They are working proactively toward manifesting a more sensuous and poetic edu-cational system, currently on the large-scale project Sisters academy, the school of a sensu-ous society, which will also manifest as a part of The north-atlantic Cluster at Psi#19 Fluid States. Sisters Hope was founded in 2007 by Gry Worre Hallberg and anna lawaetz. In the fictitious performance-universe they personify the twin sisters - headmistresses, explorers and seekers of peace.

na Zooming fluid States festivalu, sestre Hope stvaraju čulnu, uranja-juću, interaktivnu instalaciju na brodu u blizini mora. poput poetskih figura, one su doputovale s dalekog Sjevera da bi započele dijalog i podi-jelile svoje snove o budućnosti obrazovnog sustava. rad sestara Hope na rubu je izvedbene umjetnosti, istraživačkog rada, aktivizma i pedagogije. njihov proaktivan trud na podizanju svijesti o mogućnosti više čulno i pjesnički određenog obrazovanja, trenutno je dio većeg projekta Sisters academy, škole za poetski senzibilizirano društvo, a u sklopu sjever-noatlantskog klustera projekta fluid States. Sestre Hope, odnosno Gry Worre Hallberg i anna lawaetz, započele su s radom u 2007. u fiktiv-nom svemiru izvedbenih umjetnosti, one personificiraju sestre blizanke - ravnateljice, istraživačice i tražiteljice mira.

concept and performance / izvedba i koncept Gry Worre HallBerG & anna laWaeTZ

Japan / japan

THE OTHER’S FOOL PARADEparaDa luDadance procession / Plesna procesija

a Butoh-related walk-parade-procession on the Breakwater, The “other” Fools’ Parade, will lead individuals in slow motion with still moments along the breakwater, and back. It should be like a pilgrimage and return. In light or white clothing, participants will move to a sound of a local instrument, while everyone else will be welcomed to join this procession. Before the start, in a pre-workshop, individuals will learn how to be a lead movers out along the breakwater, catching the moves of the traditional Japanese Butoh dance. a brief in-troduction to Hijikata Tatsumi and ohno Kazui (two founders of the butoh) film, will be made, as well.

tijekom plesne procesije na lukobranu, posjetitelji festivala kretat će se na tragu japanskog Butoh plesa usporenim pokretima od početka šet-njice, do kraja, i natrag. Zamišljeno je da sve izgleda poput hodočašća i povratka kući. Sudionici će se obučeni u bijelo, micati na zvuke lokalnog instrumenta, dok će se cijelim putem prolaznici pozivati da se pridruže -paradi. prije početka, sudionici će na radionici naučiti korake tradici-onalnog japanskog butoh plesa. također, napravit će se uvod u filmsko djelo H. tatsumija i o. Kazuia, dvojice utemeljitelja butoha.

concept and performance / izvedba i koncept HayaTo KoSuGe, TaKaSHI morISHITa, yu Homma, PeTer eCKerSall, KaTHerIne meZur,yuKo KaSeKI

Greece / Grčka

RADIO FREE SANTORINIraDio SloboDan Santorinidisaster messaging /poruke katastrofe

neighbored by Crete in the extreme east of the european mediterranean, the Santorini cliff-stead stands some 500 kilometers from the coast of lybia and 200 kilometers from the coast of Turkish asia. The Santozeum museum building sits high in the town’s urban fabric, its highest room, and in turn - a vantage point over the panorama of the island – currently organized as a radio broadcast room, an aural lighthouse. Searching, countering and porting messages via a radio network – as the island would have been connected with news of volcanic prognoses or events outside the Greek sphere in the 50’s – this project hosts underground radio artists and avant-garde audio projects aiming to recreate unseen spaces aurally. In the bow of a vessel, radio Free Santorini will be played for the audience in rijeka at a full volume through an augmented sound system.

litica Santorini nalazi se u susjedstvu Krete, otprilike pet stotina kilome-tara udaljena od obale libije i dvije stotine kilometara od turskog dijela azije. Zgrada muzeja Santozeum smještena je visoko u urbanom tkivu grada, na njegovoj najvišoj točki otkuda se pruža pogled na čitav otok. trenutno služi za emitiranje radio poruka i svojevrsni je zvučni svjetionik. prenosi vijesti o vulkanskim prognozama i događajima iz sfere Grčke iz pedesetih. na ovom projektu trenutno sudjeluju radijski urednici i under-ground umjetnici kojima je cilj ove nevidljive predjele učiniti vidljivima uz pomoć zvuka. radio Slobodan Santorini oglasit će se kroz jak sound-system sa gradske rive

concept and performance /izvedba i koncept Ileana drInoVan, LJubiša MaTić

nadra assaf will be telling the story, through a poetic verse, performance and dance, of her history with the mediterranean. as she tells the story she moves in the space covering a specified area. Throughout the story she de-posits ‘pieces’ from the mediterranean (stones, sand, water) into the Croatian space. Her chosen photos of mediterranean will accompany the performance.

lebanon / libanon

WAVES OF ExISTENCE: CROSSING THE MEDITERRANEAN 1963-2014

valovi poStojanja: prElazEci mEDitEran 1963-2014 In Flux / u fluksu…

nadra assaf će ispričati svoju povijest s mediteranom kroz pjesnički stih, performans i plesni pokret. Kako se priča razvija, tako se nadra pomiče u prostoru, pokrivajući jedan po jedan njegov dio. također, odlaže koma-diće mediterana (kamenje, pijesak, vodu) u prostor riječke luke. izabrane autorske fotografije nadre assaf pratit će ovaj performans.

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concept and performance /izvedba i koncept nadra aSSaF

Phillipines / Filipini

REHEARSAL FOR DISASTERvjEŽba za KataStroFuGame oF PaTInTero /igra Patintero

We live on tilted earth… / Živimo na nakrivljenoj zemlji…

rehearsal for disaster is a video installation combined with a flow of interweaving actions by three artists caught up in a disaster of one form or another. The video is a post-apoca-lyptic silent dance movie about a group of survivors who go through a corpo-spiritual boot camp as a form of active response to their recent experience of massive grief and loss. This adventure helps them to have a perceptual shift and makes possible a new consciousness that would guide them to the road of reconstruction. The ‘rehearsal’ on the video turns into the real thing as the artists play out a Philippine game of tag (Patintero) with members of the audience who might be enticed to participate.

vježba za katastrofu (rehearsal for Disaster) je video instalacija koja se bavi različitim odgovorima trojice umjetnika na katastrofu u svim formama u kojima se ona pojavljuje. to je nijema izvedba, postapokaliptični ples grupe preživjelih koji prolaze vlastiti korpo-spiritualni logor i na taj se način suočavaju s vlastitim iskustvom duboke tuge i velikog gubitka. Kroz avanturu u video uratku, pomiču percepciju i dobivaju novu svijest o putu ka obnovi. “proba” iz video uratka postaje stvarna u trenutku kada umjetnici zaigraju igru lovice s publikom (na filipinima znanu kao patintero), mameći tako na sudjelovanje.

concept and performance /izvedba i koncept JaZmIn llana, eduardo PereZ, Jay CruZ

Bosnia and Herzegovina / Bosna i Hercegovina

FOUR FACESOF OMARSKAcEtiri lica omarSKEIdeological (under)Currents / ideološke (pod)struje

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Four Faces of omarska is a research platform exploring strategies of memorial production from the position of subjugated experience and knowl-edge, excluded from public memory and history. The project title comes from four constitutive layers in the history of this mining complex near Prijedor, Bosnia. In socialist yugoslavia omarska was established as a large mining enterprise organized according to the principles of social-ist self-management; during the Bosnian war Serbian forces turned this mine into the largest internment and torture camp in Bosnia; after the war omarska was privatized and sold to the steel transnational arcelor mittal; and in 2007, the grounds around the mine/camp were used as a film set for the Serbian First World War specta-cle “St. George Slays the dragon”. Throughout the years, the group has gathered various video, photography, text and audio material, the parts of which will be presented and discussed at Zooming Fluid States festival.

radna Grupa četiri lica omarske (rGčlo) bavi se sa četiri konstitutivna slo-ja povijesti rudarskog kompleksa omarska, u blizini prijedora. utemeljenu u socijalističkoj Jugoslaviji kao dio velikog rudarskog poduzeća organiziranog u skladu s načelima socijalističkog samoupravljanja, omarsku su, u ratu devedesetih, srpske snage pretvorile u najveći logor u Bosni i Hercegovini; nakon rata, omarska je privatizirana i prodana transnacionalnom proizvo-đaču čelika arcelor mittalu; 2007. na prostoru rudnika snimljen je srpski etno-blockbuster o prvom svjetskom ratu “Sveti Georgije ubiva aždahu”. radna grupa je tijekom višegodišnjeg rada na projektu četiri lica omarske prikupila obiman arhiv u obliku video i audio zapisa, fotografija, tekstova, knjiga, dokumenata, koji će se na Zooming fluid Statesu predstaviti.

concept and performance /izvedba i koncept mIrJana DragosavLJević,SrÐan HerCIGonJa, vanessa vasić-JaneKović,MiLiCa ToMić, JovanKa voJinović

Cook Islands, Pacific /otočje Cook, tihi ocean

ARA MOANAara moanaPathway to the Sea / Put do mora

ara-moana is the pathway to the sea and the pathway in the sea. It also refers to the glim-mer path that forms a line of light from land to horizon reflecting both sun & moon. as a processual, site-specific installation, ara-moana will be located and dispersed on the edge of rijeka’s harbor. The installation, sited in one or two shipping containers, will create a potent environment for sonic and video art and ignite a series of events and durational performances along the breakwater from dawn until dusk and into the night. as the pathway to and on the sea, ara-moana responds to both the breakwa-ter and the painted yellow line on its concrete causeway, which provides a navigational tool along the boundary between inner harbour and outer sea. The performance will be com-pleted by a ‘pig dinner’ for further storytelling amongst the participants.

ara moana je put do mora i put u moru, ali odnosi se i na svjetlucavu liniju svijetla preko horizonta i kopna koja reflektira sunčevu i mjesečevu svjetlost. ara moana je procesualna, site-specific instalacija koja će se nalaziti raspršena po rubovima riječkog lukobrana. Dio instalacije u brodskim kontejnerima stvarat će snažnu audio i vizualnu podlogu za po-pratni niz događanja po čitavom lukobranu, a trajat će od sumraka sve do zore. Kao put u i do mora, žuta linija na betonskoj podlozi poslužit će kao navigacijski alat za pronalazak puta od luke do otvorenog mora. čitavi performans zaokružit će se večerom na kojoj će sami sudionici dovršiti priču o ara-moani.

concept and performance /izvedba i koncept dorITa HannaH, KaTarZyna Pol, PIrIPI SmITH, amanda yaTeS

Bahamas / Bahami

SUBDIVISION I (KVARNERSKI ZALJEV, CROATIA)poDjEla i (KvarnErSKi zaljEv, hrvatSKa)deep anatomy /Duboka anatomija

referencing Borges’ story of the emperor’s map, and Baudrillard’s philosophical analysis of this text, this work casts a meticulously constructed grid of plastic floating just under-neath the shifting seascape that it occupies. as the tide reaches its full ebb they appear to almost reach the surface, but never quite do. undulating with the swell, they attempt to map or colonise the unfixed, transient nature of the sea with the rigidity of land-based navigational systems and agricultural subdivision. The work anticipates the deep anatomy cluster in Psi#21 Fluid States directed in the Bahamas by Sam Trubridge. Sam Trubridge is a perfor-mance designer and artistic director for the multi-disciplinary performance platform, The Playground nZ ltd. Sam’s work has produced new investigations into the dynamic relationship between performance and audiences/commu-nities with the ground-breaking festival The Performance arcade, and performance collab-orations with sleep scientists and freediving athletes.

mreža puna plastike bit će ostavljena da pluta ispod promijenjivog morskog pejzaža (u stalnoj mijeni), i poslužit će kao poveznica između Borgesovog mita o carevoj mapi i Baudrillardove analize istog teksta. Kada je oseka, čini se da ovi komadići dotaču površinu, ali nikad dovoljno. Bubreći i valjajući se, čini se da mapiraju i koloniziraju nefiksnu,prolaznu prirodu mora, opirući se rigidnosti navigacijskih sustava s kopna. ova izvedba dio je Deep anatomy klastera s Bahama, kojim ravna Sam trubridge. Sam trubridge je izvedbeni dizajner i umjetnički ravnatelj multidisciplinarne platforme the playground nZ ltd. trubridge u svom radu istražuje nove dinamičke veze između performansa i publike u sklopu the performance arcade festivala na kojem surađuje sa znastve-nicima i roniocima.

concept and performance /izvedba i koncept Sam TruBrIdGe

australia / australija

CIRCULATIONcirKulacijaWalk on the salt /Put po soli

For one day, visitors from throughout the world will be invited to bring salt from their own regions to perform exchanges and to recount and reimagine the implications of salt and of themselves. Circulation is an open-ended live performance installation exploring changing interrelationships in the movements of people, value, matter and ecological cycles.

na jedan dan, posjetitelji festivala pozvani su donijeti sol, svaki iz svoje regije, na razmjenu i na novo promišljanje značenja soli u odnosu na svijet i na njih same. Cirkulacija je live performans i umjetnička instalacija otvorena interpretaciji, koja istražuje međuodnose ljudi, njihovih pokreta, vrijednosti, tvari i eko ciklusa.

concept and performance /izvedba i koncept mICK douGlaS

ZOOMING FLUID STATES PRELUDE PANELCROATIAN NATIONAL THEATER “IVAN PL. ZAJC”, RIJEKA14/15 SEASON PRELUDE

prEluDij u zooming FluiD StatESprEluDij u SEzonu 14./15. hrvatSKog naroDnogKazališta ivan pl . zajc u rijEci

Theatre, Theatrical Co-Creativity and the democratization of Spectatorship - Theatre, as an artform, is characterized not just by creativity but also by co-creativity - that is, by collaborative, co-creative relationships in which artists and spectators have to come together to make an ephemeral event and to make meaning of an ephemeral event. For most commentators, the co-creative dimension of theatre means it is a more democratic artform than most. The spectators have the power to effect the way a play, performance or public event unfolds, through laughter, tears or other interjections throughout the event; through literal interven-tions in the flow of the event, or through inter-pretations of the event in foyers, in the press, or more recently in online platforms like blogs, microblogs and review sites. What is interesting about much contemporary theatre practice, of course, is the way it puts the spectator's role as co-creator on the spot and in the spotlight. This spotlighting is designed to make the spectators' insightful, stereotyped or prejudiced attitudes to the characters and their conflicts fodder for their fellow spectators and society at large to scrutinize. Bree Hadley will reflect on the plea-sures, perils, and ethical pitfalls of practices - in theatre, or in festivals, events and encounters that take place beyond the theatre - in which a spectator suddenly, unwittingly, and sometimes even unwillingly finds him or herself and his or her own point of view subject of public scrutiny, discussion and debate.

Kazalištu kao umjetničkoj formi nije svojstveno samo stvaralaštvo nego i zajedničko stvaralaštvo, to jest, suradnički, sustvaralački odnosi u kojima se susreću umjetnici i gledatelji ne bi li stvorili kratkotrajni doga-đaj i kreirali značenje tog kratkotrajnog događaja. po mišljenju većine, sustvaralačka dimenzija kazališta znači da je riječ o demokratičnijoj umjetničkoj formi od većine drugih. Gledatelji imaju moć da smijehom, suzama ili drugim uplivima utječu na to kako će se predstava, izvedba

CO-CREATIVE SPECTATORSHIP KazalištE, Kazališno SuStvaralaštvo i DEmoKratizacija glEDatEljStva

ili javni događaj odvijati; putem doslovnih intervencija tijekom događaja, ili kroz interpretaciju događaja u foajeima, u novinama te, odnedavna, na online platformama poput blogova, mikroblogova i stranica za kritičku refleksiju. ono što je zanimljivo jest način na koji praksa suvremenog kazališta u središte stavlja gledateljevu sustvaralačku ulogu. ta središnja gledateljeva pozicija trebala bi učiniti da ih uvidi, stereotipi ili predra-sude koje gledatelji imaju spram likova i njihovih konflikata oslobode od štete koju inače nanose ostalim gledateljima i društvu u cjelini. u svom izlaganju Bree Hadley će se osvrnuti se na užitke, opasnosti i etičke poteškoće praksi u kazalištu, kao i na festivalima, događanjima i susre-tima onkraj kazališta, u kojima iznenada, neočekivano, a ponekad čak i neželjeno gledatelj ili gledateljica, odnosno njihove točke gledišta, postaju podvrgnuti javnom ispitivanju, raspravi i debati.

Bree Hadley is a Senior lecturer in Perfor-mance Studies in the Creative Industries Faculty at Queensland university of Tech-nology in Brisbane, australia. Her work on identity and spec-tatorship in contem-porary, pop cultural and public spaces performance has been published worldwide. Hadley is currently President of the aus-tralasian association for Theatre, drama and Performance Studies (adSa), a di-rector of Performance Studies international (PSi), and a nationally recognised commen-tator on drama, the-atre and performance in her role as critic for The australian.

Bree Hadley predaje izvedbenu umjetnost na odsjeku za krea-tivne industrije na Queensland sveučili-štu u australiji. njezini radovi koji se bave te-mom identiteta gleda-teljstva u suvremenoj i pop umjetnosti te problematikom javnih prostora kod takvih performansa objav-ljeni su u prestižnim časopisima. Hadley djeluje kao predsjed-nica adsa-e, austral-skog udruženja za kazališnu, dramsku i izvedbenu umjetnost, direktorica psi-a, a uz to piše dramske i kazališne kritike za the australian.

INTRO TALK uvoDna rijEc

BREE HADLEY

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at the end of the Zooming Fluid States, Bree Hadley will organize the display of images, texts and artefacts gathered during the Fluid States performances, on the walls of the Breakwater, after the performances have finished and the final party has started.

ZOOMING FLUID STATES OF SPECTATORSHIPzavršna prEzEntacija FEStivala zooming FluiD StatES

po završetku Zooming Fluid states festivala, Bree Hadley će organizirati izlaganje fotografija, tekstova i artefakata sakupljenih tijekom performansa u sklopu festivala, nakon što oni završe a tulum zatvaranja festivala počne, duž zidića na lukobranu.

BALCAN CONTEMPORARY SUMMER SCHOOLCRITICAL WRITING WORKSHOP

ljEtna šKolabalcan contEmporarYraDionica KriticKog piSanjaˇ

despite the common aesthetic values, contacts and collaborations of the South east europe, the audiences of the Balkan region are often unaware of the existence of a performing art scene, let alone a distinct one. The BalCanCon-temporary project intends to create a communi-cation community in an environment comprising of artists, interpretative art field, audience and the horizon of social expectation. The BCC is designed to connect Se europe’s fragmentary and often isolated independent (performing) arts scenes focused on social and political concerns.

The critical writing workshop will be a part of the Zooming Fluid States 2014 festival.

a series of meetings and discussions during the workshop will work towards introducing the participants to performance studies in relation to cultural, political and social issues that concern it. The workshop will include group work and dialogue. The participants will be asked to come up with shorter reflective and observational texts daily, in a response to the works presented at the festival and the festival itself. Participants will also read the texts of others and set up the dialogue concerning the texts in collaboration with their mentor. The social context, the re-lation between global and local, and the Fluid States theme will be in the very focus of the workshop. Selected works of the participants will be published online on both the Fluid States (fluidstates.org) and drugo more (drugo-more.hr) official websites.

unatoč zajedničkim estetskim vrijednostima, brojnim povezivanjima i suradnjama u području južne europe, publika balkanske regije često nije svjesna postojanja scene za izvedbenu umjetnost, a kamoli njene vrijednosti. Cilj BalCanContemporary (BCC) projekta stvaranje je ko-municirajuće zajednice u krugu umjetnika, interpretatora umjetnosti i publike te pomicanje horizonta očekivanja. BCC ima za zadatak spojiti fragmentirane i često izolirane aktere nezavisne (izvedbene) scene s fokusom na društvene i političke teme.

WORKSHOP FACILITATORvoDitEljica raDionicE

UNA BAUER

dr. sc. una Bauer doktorirala je 2011. na odsjeku za dramu i kazalište sveuči-lišta Queen mary u londonu. Kao vanjski suradnik predaje na preddiplomskom stu-diju gluma i mediji u rijeci, na akademiji dramskih umjetnosti u Zagrebu i na aka-demiji za kazalište, radio, film i televiziju u ljubljani. Kazališne i plesne kritike, eseje i analize te razne in-tervjue, objavila je u prestižnim domaćim časopisima, ali i na svjetskim radijima, web portalima i magazinima.

radionica kritičkog pisanja pod vodstvom teatrologinje une Bauer u sklopu BCC ljetne škole odvijat će se u bliskoj razmjeni i interakciji s festivalom zooming Fluid states.

radionica je zamišljena kao niz intenzivnih susreta i diskusija kojima je cilj senzibilizirati polaznike za različite aspekte kulturalne, političke i socijalne izvedbe (performanse) na konkretnim primjerima i kroz grupni, dijaloški rad. od polaznika se očekuje spremnost da svakodnevno pišu kraće tekstove (kritičke refleksije i opservacije) kao “odgovor” na radove prezentirane na festivalu kao i na samu koncepciju festivala, da čitaju tekstove ostalih polaznika radionice i ulaze u dijalog s komentarima mentorice i drugih polaznika. osobit naglasak bit će na društvenom kontekstu, odnosu globalnog i lokalnog te samoj temi konferencije fluid States. odabrani radovi polaznika bit će objavljeni na stranicama www.fluidstates.org i www.drugo-more.hr.

una Bauer got her Phd at Queen mary, university of london and is currently teach-ing at the postgradu-ate specialist course acting, media, Culture at the university of rijeka, as well as at the academy of drama arts in Zagreb and at the academy of Theatre, radio, Film and Television in ljubljana. Her theatre and dance reviews, analysis and other types of texts have been published in various magazines and web portals, and broadcasted on radio programs, both home and worldwide.

SHOWCASE BEAT LE MOT: COOKING IN CRISISKrizna Kuhinjatheatrical dinner /performativna večera

CooKInG In CrISIS is a combination of theatrical performance and a public gather-ing in which artists and audience members act together. Together with artists from Fluid States in rijeka, Showcase Beat le mot de-velop a communal evening of cooking, during which guests discuss the ability to take action in times of crisis, societal topics and current issues. a few weeks later, the project takes the experiences collected from its first phase to Hamburg for a performance within THe arT oF BeInG many at Kampnagel.

KriZna KuHinJa kombinira performans i javno okupljanje prilikom kojeg umjetnici djeluju zajedno s članovima publike. u suradnji s umjet-nicima koji predstavljaju fluid States projekt u rijeci, Showcase Beat le mot organizira zajedničku večer kuhanja za vrijeme koje gosti raspravljalju o mogućnosti poduzimanja akcije u vrijeme krize, o društvenim temama i aktualnim problemima. nekoliko tjedana nakon, iskustva iz ovog pro-jekta iskoristit će se za novi performans unutar drugog projekta tHe art oF Being manY u Kampnagelu u Hamburgu

produced by / produkcijaShowcase Beat le mot in cooperation with drugo more, rijeka and The art of being many, Kampnagel Hamburg.

Promoted by Fonds Szenenwechsel of the robert Bosch Foundation

concept and performance / izvedba i konceptSHoWCaSe BeaT le moT: nIKola durIC, darIuSZ KoSTyra, THorSTen eIBeler, VeIT SPrenGer (dr. PHIl.)

SPEECH KARAOKE ACTION GROUP: SPEECH KARAOKE

Speech Karaoke – as the name suggests – works in a similar way as a traditional karaoke. Instead of choosing between songs from a booklet, the user chooses between speeches. Within a relaxed atmosphere one can listen to speeches delivered by other karaoke bar guests – or try out how it feels to interpret someone’s speech. Speech Karaoke is a constantly ex-panding project by The Speech Karaoke action Group. When the Speech Karaoke-project ar-rives to a new city, local speeches are added to the Karaoke archive. The project was created in Finland, the promised land of karaoke bars.

Speech Karaoke, kako samo ime govori, nalik su karaokama kakve po-znajemo, s iznimkom da se umjesto pjesme bira govor poznatih lica. u opuštenoj atmosferi, natjecatelji slušaju izvedbe govora međusobno, ali i s gostima karaoke bara. Speech Karaoke pokrenula je Speech Karaoke action grupa koja neprestano širi svoj utjecaj te svaki put kad se pojavi u novom gradu, svojem opusu dodaje nove govore koje je izgenerirala lokalna zajednica. projekt je izvorno nastao u finskoj, obećanoj zemlji karaoka.

produced by / produkcijaSPeeCH KaraoKe aCTIon GrouP

rustom Bharucha, spisatelj, redatelj, dramaturg i kritičar u kulturi, autor je knjiga “Kazalište i svijet”, “politika kulturalnih praksi” te nedavno objavljene “terorizam kroz izvedbenu umjetnost/terror and performance”. potonju će predstaviti na Zooming fluid States festivalu, kroz razgovor o temama kojih se u knjizi dotiče: 11. rujna, islamofobija, istina, po-mirenje i nenasilje. rezultat ove knjige, kako to vide kritičari, dobiven je argument u predstavljanju terorizma kao isparljivog i mutirajućeg fenomena koji se svakodnevno proživljava, prokušava i - izvodi. rustom Bharucha predaje izvedbenu umjetnost na sveučilištu Jawarharlal nehru u new delhiju u indiji.

Writer, director, dramaturge and cultural critic, rustom Bharucha is the author of several books including Theatre and the World, The Politics of Cultural Practice and the recently published Terror and Performance. during Zooming Fluid States, he will participate in an interactive discussion on his last book reflecting on its key motifs: ‘September 11’, Islamophobia, Truth and reconciliation and non-Violence. The outcome of his work, as the critics argue, is a brilliantly argued case for seeing terror as a volatile and mutant phe-nomenon that is deeply lived, experienced and performed within the cultures of everyday life. rustom Bharucha is Professor of Theatre and Performance Studies at the Jawarharlal nehru university in new delhi.

RUSTOM BHARUCHA & LADA CALE FELDMAN: TERROR AND PERFORMANCEtErorizam Kroz izvEDbEnu umjEtnoSt(rouTledGe, 2014)

book presentation /prezentacija knjige

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RIJEKA – EUROPEAN CAPITAL OF CULTURE 2020rijEKa – EuropSKa prijEStolnica KulturE 2020.discussion / rasprava

Ireland and Croatia will host the european Capital of Culture event in 2020. City of rijeka, department of Culture considers this candida-ture as one of the most important projects for the strategic and cultural development of the city between 2013 – 2020.

The project is seen as a unique chance to widen the reach of cultural events and to gain international recognition with diversity and actuality. This is, at the same time, a chance to re-examine the cultural and urban identity of the city and to find new identity, which does not necessarily look back to the past, but creates a desire to generate all sorts of original events and new value-systems.

rijeka will base its programme on co-operation of the whole sector of culture at local, region and wider levels, and on connections with europe and the european identity. The City of rijeka will propose a programme that will question cultural, social and economic chal-lenges that whole europe is facing, and will indicate the contribution of culture to sustain-able development.

during Zooming Fluid States, the candidature will be the topic discussed among our guests, members of the Fluid States project, that ar-rive from diverse geographical locations, dis-persed throughout the whole earth.

Hrvatska i irska natječu se za nagradu europske prijestolnice kulture za 2020. godinu. ocijenivši značaj projekta epK 2020. za kulturni, turistički, gospodarski i cjelokupni razvoj rijeke i primorsko-goranske županije te njihovu međunarodnu vidljivost, odjel za kulturu Grada rijeke uvrstio je kandidaturu rijeke za epK 2020. godine u Strategiju kulturnog razvitka Grada rijeke 2013. – 2020., kao jedan od najvažnijih projekata.

projekt epK 2020. predstavlja jedinstvenu priliku da se poveća kako opseg kulturne ponude, tako i aktualnost, raznolikost i međunarodna prepoznatljivost. to je ujedno prilika da rijeka preispita vlastiti kulturni

i urbani identitet te pronađe nova identifikacijska uporišta, koja neće biti okrenuta prema prošlosti, već ispunjena željom za stvaranjem novih gradskih sadržaja i vrijednosti.

rijeka će bazirati svoj program na suradnji cijelokupnog kulturalnog sektra na lokalnoj, regionalnoj i međunarodnoj razini te poveznici s europom i europskim identitetom. Grad rijeka predlaže program koji će donijeti nove izazove u kulturi, društvu i ekonomiji s kojima se susreće čitava europa, a posebno će istaknuti doprinos kulture u samoodrživom razvoju.

tijekom Zooming fluid States festivala raspravi o riječkoj kandidaturi pridružit će se gosti-članovi fluid States projekta, stanovnici sa svih kontinenata na Zemlji.

DJ SMEđI šECER(BROWN SUGAR):WORLDWIDE ANALOG FEELGOOD GROOVESparty / zabava

dJ Brown Sugar is turning vinyl records - 45s, flex and obscure - since 2007, moving dance floors with his funk, soul, and dance floor jazz tunes. In his search for the ultimate pleasure and the original groove that has that rare moment of smooth and simple magic, his records keep wearing out, and dripping with sweat from the dancers. For the Zooming Fluid States, he has prepared a worldwide analog feelgod grooves mix, that will move all the continents and join them in one.

Gdin. Smeđi Šećer nepatvoreni je vinilni DJ koji od 2007. podastire riječke plesne podije uzavrelim funkom, soulom i dancefloor jazzom s 45ica, fleksica i ostalog roda opskurnih vinila. Životno posvećen prona-laženju apsolutne ugode, slaganju soničnih kolaža i iskopavanju iskon-skog groovea, ogoljene i iskrene magije koja se može pronaći u rijetkim studijskim trenucima oviniljene diskografske povijesti. ploče mu se troše pri svakoj svirci, ali ti potrošeni dijelovi ostaju ugrađeni u znojnim ple-sačima. Za Zooming fluid States festival pripremio je worldwide analog feelgod grooves miks koji će pomaknuti sve kontinente u jedan!

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production / produkcija drugo more

concept / koncepcijaMarin blažević, Davor Mišković

producers / producenticeivana Katić, Petra Corva

assistant producer / asistent producentaJosh Borom

public relations / odnosi s javnošćuKatarina Lovrečić

visual identity / vizualni identitetana Tomić & Marino Krstačić Furić

partners / partneriPSi, HnK Ivana pl. Zajca

donors / donatorinacionalna zaklada za razvoj civilnog društva, Zaklada Kultura nova, ministarstvo kulture republike Hrvatske, Grad rijeka – odjel za kulturu, Primorsko-goranska županija, robert Bosch Stiftung, Jadran Galenski laboratorij, Statens Kunstfond

media coverage / medijski pokroviteljinovi list, radio rijeka, Kulturpunkt, Korzo.net

festival bar / festivalski barCukarikafe bar

technical leadership / tehničko vodstvoIvan Bauk

video documentation / video dokumentacijaFilmaktiv

photo documentation/ foto dokumentacijaMagdalena rikanović

many thanks to / veliko hvalaProstor Plus, damir Batarelo, Port of rijeka authority / lučka uprava rijeka / and to all Zoom Festival volunteers / i svim volonterima zoom festivala

CaTaloGue / KaTaloG

publisher / izdavačdrugo more

catalogue editors / urednici katalogaivana Katić, Katarina Lovrečić

graphic design / grafički urednici i dizajnana Tomić & Marino Krstačić Furić

translations / prijevodKatarina Lovrečić

print / tisakKerschoffset

edition / naklada300

Ovaj projekt financira Nacionalna zaklada za razvoj civilnog društva

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RIJEKA, CROATIA / FILODRAMMATICA / BREAKWATER (LUKOBRAN) / CUKARIKAFE BAR

Documents

Zooming Fluid States