Nicoline van Harskamp - DeLVe | Institute for Duration, Location and ...
Nicoline van Harskamp - DeLVe | Institute for Duration, Location and ... Nicoline van Harskamp - DeLVe | Institute for Duration, Location and ...
nikakvih kritičkih masovnih reakcija na taj očiti čin nasilja nad osnovnim ljudskim pravima. Protagonisti Žilnikovih filmova predstavljaju mješavinu fikcije i dokumentarizma, u pitanju su uvijek marginalizirani likovi, neuklopivi u postojeće društvene okvire. U prvim filmovima krajem 60-ih i početkom 70-ih to su nezaposleni, beskućnici, zlostavljana romska djeca; u skorije vrijeme to su žrtve kontradikcija liberalne politike i demokratizacije Europe te tržišne ekonomije. Jedan od njih je upravo Kenedi Hasani, koji dočekuje prinudno vraćene Rome na beogradskom aerodromu. U svojim ranijim filmovima Žilnik ukazuje na paradoks jugoslavenskog društva, na brutalne državne mehanizme na jednoj strani i proklamirane humanističke vrijednosti na drugoj, koji predstavaljaju materiel d’apprentissage za razumijevanje mehanizma raspada Jugoslavije, daleko od prikaza egzotične plemenske zemlje Balkana. Žilnikovi filmovi sadrže važnu liniju kritičnosti i političke angažiranosti, i to ne samo u razdoblju socijalizma nego i danas, u općenitoj europskoj stvarnosti. U opisu projekta Gdje se sve tek treba dogoditi stoji: “Projekt također promatra regiju Balkana kao svojevrsno ogledalo koje odražava novi trenutak i paradokse društvene i političke konstelacije u Europskoj Uniji i zapadnim neoliberalnim demokracijama općenito: redifiniranje pojma kolektiviteta, krizu kapitalizma, nacionalnih država, zajedničkih nacionalnih identiteta…” Nakon posjeta Banja Luci vraćala sam se Varšavi, gdje trenutno živim i radim. Dok je Banja Luka u meni budila gore navedene asocijacije i još pregršt konkretnih političkih pitanja i problema koje nisam imenovala u ovom tekstu, kod mojih kolega i prijatelja spomen na Banja Luku izazivao je smijeh. time that the war in Yugoslavia began. After that they lived in Germany, first of all as refugees, and later on were allowed to get jobs, they had children, and had the sense of a normal life. During 2002 and 2003, without any public debate, hundreds of Roma and their families were secretly deported from Germany to their “countries of origin”. They had to leave everything behind them in Germany. In Serbia these families were faced with an enormous tragedy, were considered marginal, deprived of all the rights that they had in Germany, while the younger members of their families knew no language but German. To date, neither in Germany nor in Serbia have there been any critical mass reactions to this patent action of violence against fundamental human rights. The protagonists of Žilnik’s films represent a mixture of fiction and documentary film, with still marginalised people at issue, who cannot be fitted into the existing social frameworks. In the first films, at the end of the 60s and in the early 70s, these were the unemployed, the homeless, abused Roma children; in more recent times they were the victims of the contradictions of liberal politics and the democratisation of Europe and the market economy. One of them was this very Kenedi Hasani, who is waiting for the other forcibly repatriated Romas at Belgrade airport. In his earlier films, Žilnik refers to the paradox of Yugoslav society, to the brutal mechanisms of the state on the one hand and the vaunted human values on the other, and represent the materiel d’apprentissage for the understanding of the mechanisms of the breakdown of Yugoslavia, very far from a depiction of an exotic tribal country of the Balkans. Žilnik’s films contain an important line of criticism and political engagement, and not only in the period of socialism, but today too, and in the universal European
Naime, u poljsko-hrvatskom, a zasigurno i poljsko-bosanskom i poljsko- srpskom rječniku, jasno piše: banialuka – glupost, bedastoća plesci, mowic banialuki – pričati, (valjati, lupetati) gluposti I sam naziv izložbe Spaport poigrava se s etimološkim paradoksom i zabludom. U poljskom slučaju Banialuka se prvi put spominje 1650. kao naslov knjige, a u pitanju je, naravno, Smiješna priča dobre princeze Banialuke iz Istočne zemlje. Nema nikakvih naznaka zašto je princezino ime baš Banialuka. S konotacijom gluposti i bedastoće se pojavljuje se i kod poznatog poljskog komediografa, Aleksandra Fredra. Izgleda da je Napoleon obećao da će se o pitanju Poljske raspravljati u Banja Luci, ali do te rasprave nikada nije došlo. No, izvori su nepouzdani pa je moguće da je posrijedi još jedan “spaport” slučaj. Poljska banialuka obogatila je izvore i karakteristike stereotipne slike Balkana te usprkos kreativnim poticajima ipak sam posegnula za drugim referencama u poljskom okruženju. Jedna od zanimljivih strana života u postsocijalističkom, tranzicijskom društvu, a dolazeći pak iz drugog postsocijalističkog, tranzicijskog društva, jest prepoznavanje neizbježnih konfliktnih čvorišta tranzicije prema liberalnom kapitalizmu, čije su posljedice klasne razlike, kulturno i duhovno osiromašenje, ravnodušnost, letargija, manjak solidarnosti, i još mnoge druge. Naravno, postoje i razlike uslovljene prvenstveno različitim povijesnim i inim kontekstima, jer “Istočna Europa“ nije uniformirani pojam. Posebno je zanimljivo promatrati se pojedino društvo, njegova službena politika, mediji, intelektualni krugovi, naravno i suvremena umjetnost, odnose prema daljnoj i reality. The description of the project Where Everything is Yet to Happen stated that “[it] also considers the Balkan region as a kind of mirror that reflects the new moment and the paradoxes of the open social and political constellation in the EU and in western liberal democracies in general: the redefinition of the concept of collectivity, the crisis of capitalism, of national states, common national identities.” After the visit to Banja Luka, I returned to Warsaw, where I currently live and work. While Banja Luka aroused in me the associations given above and a few more concrete political issues and problems, which I didn’t mention by name in the text, the mention of Banja Luka aroused laughter among my friends andcolleagues. In the Polish-Croatian and most likely in the Polish-Bosnian and Polish-Serbian dictionary is clearly written: banialuka – stupidity, nonsense mówić banialuki- speak rubbish. The actual name of the Spaport exhibition plays with an etymological paradox and fallacy. In the Polish case Banialuka is mentioned for the first time in 1650 as the title of a book, and at issue of course is The ridiculous story of the good Princess Banialuka from the Eastern country. There are no hints as to why the princess’ name is just Banialuka. It appears with connotations of stupidity and ridiculousness with the well-known Polish comedy writer Alexander Fredro. It seems that Napoleon promised that the Polish question would be discussed in Banja Luka, but that there was never actually any such discussion. But the sources are unreliable and it is possible that one more “Spaport” is concerned. The Polish banialuka enriched the sources and characteristics of the stereo-
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Naime, u poljsko-hrvatskom, a zasigurno<br />
i poljsko-bosanskom i poljsko- srpskom<br />
rječniku, jasno piše:<br />
banialuka – glupost, bedastoća<br />
plesci, mowic banialuki – pričati, (valjati,<br />
lupetati) gluposti<br />
I sam naziv izložbe Spaport poigrava se s<br />
etimološkim paradoksom i zabludom. U<br />
poljskom slučaju Banialuka se prvi put<br />
spominje 1650. kao naslov knjige, a u<br />
pitanju je, naravno, Smiješna priča dobre<br />
princeze Banialuke iz Istočne zemlje. Nema<br />
nikakvih naznaka zašto je princezino ime<br />
baš Banialuka. S konotacijom gluposti i<br />
bedastoće se pojavljuje se i kod poznatog<br />
poljskog komediografa, Aleks<strong>and</strong>ra Fredra.<br />
Izgleda da je Napoleon obećao da će se o<br />
pitanju Poljske raspravljati u Banja Luci,<br />
ali do te rasprave nikada nije došlo. No,<br />
izvori su nepouzdani pa je moguće da je<br />
posrijedi još jedan “spaport” slučaj. Poljska<br />
banialuka obogatila je izvore i karakteristike<br />
stereotipne slike Balkana te usprkos<br />
kreativnim poticajima ipak sam posegnula<br />
za drugim referencama u poljskom<br />
okruženju.<br />
Jedna od zanimljivih strana života u<br />
postsocijalističkom, tranzicijskom<br />
društvu, a dolazeći pak iz drugog<br />
postsocijalističkog, tranzicijskog društva,<br />
jest prepozna<strong>van</strong>je neizbježnih konfliktnih<br />
čvorišta tranzicije prema liberalnom<br />
kapitalizmu, čije su posljedice klasne<br />
razlike, kulturno i duhovno osiromašenje,<br />
ravnodušnost, letargija, manjak solidarnosti,<br />
i još mnoge druge. Naravno, postoje<br />
i razlike uslovljene prvenstveno različitim<br />
povijesnim i inim kontekstima, jer “Istočna<br />
Europa“ nije uni<strong>for</strong>mirani pojam. Posebno<br />
je zanimljivo promatrati se pojedino<br />
društvo, njegova službena politika, mediji,<br />
intelektualni krugovi, naravno i suvremena<br />
umjetnost, odnose prema daljnoj i<br />
reality.<br />
The description of the project Where<br />
Everything is Yet to Happen stated that “[it]<br />
also considers the Balkan region as a kind<br />
of mirror that reflects the new moment<br />
<strong>and</strong> the paradoxes of the open social <strong>and</strong><br />
political constellation in the EU <strong>and</strong> in<br />
western liberal democracies in general: the<br />
redefinition of the concept of collectivity,<br />
the crisis of capitalism, of national states,<br />
common national identities.” After the<br />
visit to Banja Luka, I returned to Warsaw,<br />
where I currently live <strong>and</strong> work. While<br />
Banja Luka aroused in me the associations<br />
given above <strong>and</strong> a few more concrete political<br />
issues <strong>and</strong> problems, which I didn’t<br />
mention by name in the text, the mention<br />
of Banja Luka aroused laughter among my<br />
friends <strong>and</strong>colleagues. In the Polish-Croatian<br />
<strong>and</strong> most likely in the Polish-Bosnian<br />
<strong>and</strong> Polish-Serbian dictionary is clearly<br />
written:<br />
banialuka – stupidity, nonsense<br />
mówić banialuki- speak rubbish.<br />
The actual name of the Spaport exhibition<br />
plays with an etymological paradox<br />
<strong>and</strong> fallacy. In the Polish case Banialuka<br />
is mentioned <strong>for</strong> the first time in 1650 as<br />
the title of a book, <strong>and</strong> at issue of course is<br />
The ridiculous story of the good Princess<br />
Banialuka from the Eastern country. There<br />
are no hints as to why the princess’ name<br />
is just Banialuka. It appears with connotations<br />
of stupidity <strong>and</strong> ridiculousness with<br />
the well-known Polish comedy writer<br />
Alex<strong>and</strong>er Fredro. It seems that Napoleon<br />
promised that the Polish question would<br />
be discussed in Banja Luka, but that there<br />
was never actually any such discussion.<br />
But the sources are unreliable <strong>and</strong> it is<br />
possible that one more “Spaport” is concerned.<br />
The Polish banialuka enriched the<br />
sources <strong>and</strong> characteristics of the stereo-
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