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01:05Good evening, dear viewers.
01:07The democracy of Scandinavian countries is almost official.
01:10The openness of the European North to the East and South is also likely to become official.
01:15Namely, last time you were in Helsinki, at the opening of the Virtual Balkans.
01:20This time we are in Stockholm, an exhibition that was expected with impatience.
01:24If you are not among those who have a mosquito on the wall of the Berlin Wall,
01:28surely you have heard about various manifestations due to the 10th anniversary of its collapse.
01:33The Museum of Modern Art in Stockholm began to think about this explanation two years ago
01:39and marked it with the project Asgard Wall, after the wall.
01:46The exhibition Asgard Wall in the Museum of Modern Art in Stockholm
01:50has gathered 140 artists from 22 countries.
01:53For this number, as well as for the concept of the exhibition,
01:56the chief curator Bojana Pejic, who for the past two years
01:59traveled to the countries of the former USSR, the former Yugoslavia and the rest of Eastern Europe.
02:04In each country, Bojana, with the help of information and documentation of the Soros Center for Contemporary Art,
02:10visited and selected artists present on the scene for the past 10 years.
02:15Although the report was made by younger authors, artists of the older generation were also represented,
02:20to show the continuity of contemporary forms in the Eastern Europe.
02:24The exhibition after the wall, on which I participated,
02:29in a way is characteristic for such big manifestations.
02:36The context here, in the foreground,
02:40largely influences the perception of individual works.
02:45I think that this also happened with my work.
02:48I exhibited an interactive video installation Koma,
02:52which I also exhibited at the Venice Biennale.
02:55But while that work was part of the purpose of my works,
03:00this work was found here in the context of such an exhibition,
03:03which has a political, social, historical character.
03:13Bojana Pejic, curator of the exhibition I'm Satisfied,
03:17invited me to the exhibition with the work Exploitation of the Dead.
03:21In a way, since I have been working in socialist countries for the past 10 years,
03:29I see it as the beginning of the exhibition.
03:32This work refers to the end of socialism.
03:36For me personally, it was a bit difficult to do this,
03:41because this work has already aged,
03:44but when I see it in the context of these other works and the whole exhibition,
03:49it was somehow different,
03:53in terms of content and color, if you will.
03:58The red color dominated here, while the others no longer used it.
04:28Exploitation of the Dead
04:58© BF-WATCH TV 2021
05:29In the name of the Father, and of the Son, and of the Holy Spirit.
05:33Amen.
05:36Last year, at the Fluxus Internationale,
05:38Noisterer played the music of Wiesbaden, saying,
05:41Let there be Fluxus, and be Fluxus. Amen.
05:45Last year, our audience traveled to Ljubljana
05:47to see a large edition of Fluxus in the Modern Gallery,
05:50an exceptional collection presented by René Bloch and Gabriel Knapstein.
05:54In the organization of IFE, it went around the world,
05:57leaving Zagreb aside.
05:59However, it is not all that black.
06:01The works of Josef Beuys, Djordje Brecht, Giuseppe Achiari, Simone Forti,
06:04Ala Hansen, Dick Higgins, Ben Vottier, Djordje Mačunas, Karol Šniman,
06:08Ben Peterson, Nam-Djung Pajka, Charlotte Murman, Emmet Williams, and others,
06:13a total of 50 works of Fluxus, which Francesco Koncz,
06:16a collector from Verona, donated to the Museum of Contemporary Art,
06:19became part of the collection and an important part of the future permanent existence of the museum.
06:23You can see the exhibition of Kustos Želimir Koščević,
06:26who deservedly found his place in Zagreb,
06:29until the 28th of June at the Katarinina Square 2.
06:40The opening of the exhibition began with a performance
06:42according to the scenario of Emmet Williams,
06:44The Evening from 1965.
06:46The participants of the evening, Francesco Koncz,
06:48artists, museum staff and friends,
06:50exactly in the afternoon they welcomed visitors
06:52sitting at the table with food and drink.
06:58Let me open the door to this gallery. It's open.
07:20Let's take a picture. Please come to this side.
07:50This is the Museum of Contemporary Art of the City of Zagreb,
07:53and it is certain that through the connection with the group Gorodubona,
07:56the people who were in that group,
07:59and with me, that idea gradually grew
08:02about a possible donation to your museum.
08:06This donation is especially significant
08:09at a time when the city of Zagreb and the Republic of Croatia
08:12are moving to the exhibition of contemporary art
08:16at a new location of about 10,500 sq.m.
08:20and how this collection will be as a whole,
08:23together with the Croatian segment,
08:26shown in all its beauty and significance.
08:38Francesco Koncz is not a typical gallery owner.
08:40The son of an industrialist, he closed his workshop
08:43and completely devoted himself to work with artists.
08:45He began to collect works of art from the early 1970s,
08:49collaborating with artists he invited to Italy,
08:52supporting their production either through the organization of their performances
08:56or by publishing numerous F.L.U.X.U.S. editions.
09:15...but so important is the quality of their work,
09:19also their attitudes, their way of thinking,
09:22their generosity, their hospitality,
09:24and I felt myself at home in a very positive way.
09:28So I said, I want to come back,
09:31and I want to see Zagreb again.
09:34Then the political situation changed.
09:37In the meanwhile, in my first visit, I was already aware of the museum.
09:42Francesco Koncz has already donated several museums,
09:45Queensland Art Gallery in Brisbane,
09:47Raku in Dijon, and the Centre for Contemporary Art in Warsaw.
09:50The conversation about the donation of the Museum of Contemporary Art in Zagreb
09:53between Mr. Koncz and Mrs. Željina Kočević
09:56began during the preparation of the exhibition Kartografie in 1996.
10:12...and then because I heard that there's a new museum coming now,
10:16and there's a project of creating a new museum,
10:20and I think the first thing to do is to foster, to give some help,
10:25to say that I believe.
10:27I don't want to give my donation to big American or whatever museum,
10:32because then you have your pieces in the cellar, or maybe not,
10:36and the human contact is gone.
10:39Well, from my point of view, when I consider art,
10:43not only a painting, or a sculpture, or a piece of work on the wall or in the garden,
10:48but art is a way of living.
10:51And so I've been following these creators,
10:55and I would say the people around John Cage,
10:59Burt Scunningham,
11:01Dijon Sound,
11:03Concrete Poetry,
11:05the beautiful Viennese group called From Nietzsche, Bruce,
11:09Schwarzkohler, Otto Mühl.
11:12I see my donation to Croatia growing,
11:15because I want to give more pieces.
11:18I see that the museum is extremely serious.
11:21It does not take for granted, you know.
11:23I consider this donation in the first place
11:27as a great and significant support to Mr. Konca
11:31in our project of the future museum.
11:34At typical Fluxus events,
11:36the opening was full of events.
11:39Fluxus filmmaker from the era of Fluxus Festspiele,
11:42released in 1962,
11:44also included the audience in his piece Carmen.
12:04I find at the last minute among the audience
12:08and the staff of the institution,
12:10because I like the work to be spontaneous
12:14and that people react naturally.
12:18I guess I should also say that
12:20originally I was trained as a classical musician
12:24and played double bass
12:26and symphony orchestras,
12:29orchestras for a number of years.
12:32Back in the 1950s and through the 1960s.
12:38And so in a way, 35 years later,
12:41this is revisiting my roots
12:43and looking at the work differently.
12:47So what I've done with Carmen
12:49and a number of other operas that I have recreated
12:53is just taken the best parts,
12:56or the parts I think are the best parts,
12:58and made a new libretto for it.
13:29...and offers a number of impulses.
13:31It is non-conformist and unconventional,
13:33highly poetic.
13:35Fluxus is, as George Brecht says,
13:37a fierce struggle against...
13:39...endless stupidity,
13:40distress and lack of meaning,
13:42which represents the wound of our lives,
13:44and is based on showing the world
13:46in which spontaneity, joy and humor will rule.
13:58It's a new way of thinking.
14:00And art nowadays...
14:02It's not only art.
14:03It's philosophy, it's communications,
14:05it's religion, it's a lot of things.
14:08So I hope that art comes to Zagreb in a massive way.
14:13I hope that the new museum,
14:15which is going to be created,
14:17will have a special impact.
14:19Not the big container,
14:21you know, a big story.
14:23I won't quote names,
14:24I would say Bilbao, just to say a name,
14:26where there is no art inside,
14:28but a museum which is modest outside,
14:30but full of creative,
14:32good religious art,
14:34which is the art which we need today.
14:36In order to show that we were not immune to the fluxus virus,
14:40part of the exhibition and events are dedicated to our art.
14:43The hostess of that part of the exhibition is Mirela.
14:46In the Croatian room,
14:47you can see works by Tomislav Gotovac,
14:49Goran Trebuljak,
14:50Mladen Stilinovic,
14:51Vlade Matek,
14:52Dalibor Martinis,
14:53Ivan Kozarić,
14:54as well as photodocumentation
14:56of two Utopsus events,
14:58together with Želimir Koščević.
15:00Tomislav Gotovac,
15:01in early 1962,
15:03at Slijemen,
15:04did his work,
15:05showing Ella.
15:07We took with our films,
15:11with our antennas,
15:12we took what at that time
15:14was imitated
15:16all over the world,
15:18from New York,
15:20to Paris,
15:22to Tokyo.
15:24I am proud
15:26that I was able to
15:28catch some of the ideas
15:30that were
15:32fluxing
15:34in Europe
15:36at the end of the 50s
15:38and the beginning of the 90s.
15:40One cosmopolitan thing
15:42ended up on one
15:44host Slijemen,
15:46but I can say
15:48that at that time,
15:50that flux,
15:52although I knew
15:54that something existed.
15:56In front of the museum,
15:58in a warehouse with great interest
16:00for Ella in the Utopus,
16:02Mladen Stelinović develops
16:04his story about order and disorder,
16:06exploiting cookies.
16:08This work is called
16:10Step of Cookies,
16:12and it supports my idea
16:14about laziness and art.
16:16I buy a black box
16:18as they were arranged
16:20and at the beginning
16:22these cookies came in one row,
16:24so cookies from one row
16:26and sweets,
16:28as we see now,
16:30look like shit.
16:32Ivan Kožarić,
16:34who is the chef of the performance
16:36at which there were
16:38potato salad, wine,
16:40Emetta Williams in a mixer
16:42with vodka,
16:44Mladen Stelinović's cookies
16:46offered first
16:48the end,
16:50which he said was very good.
16:52How did it end?
16:54In the stomachs of different
16:56visitors.
17:00Vlado Martek continued
17:02with agitations.
17:04The country is in a state of silence.
17:06With art and song agitation
17:08for the reading of St. Eve.
17:10I think that with these cookies
17:12that can be taken from the table
17:14and put in a thought
17:16that leads
17:18to an improvisational easing
17:20of the perception of art
17:22in today's society.
17:24The reading of the two
17:26slogans of the sentence
17:28which can lead
17:30to a certain
17:32subversive area.
17:34Dalibor Martinis
17:36joined the exhibition
17:38with a performance.
17:40This is a beautiful performance
17:42monochrome for Yves Klein
17:44Flux version number 1.
17:46That work is not mine,
17:48but it belongs to Ben Vottiello.
17:52The work is, like most works
17:54from Flux,
17:56actually a synopsis
17:58on which any person
18:00or artist can perform
18:02his work.
18:04This work has the following
18:06synopsis.
18:08The performer paints
18:10a screen, a cinema screen
18:12with a black color
18:14while his favorite movie
18:16is shown.
18:18The work is from 1963.
18:20I made this work
18:22in my own way
18:24in 1999.
18:28The donation of Francesca Konca
18:30is an exceptional event in our culture.
18:32Flux collections are not common
18:34in European museums,
18:36so the Zagreb Museum of Contemporary Art
18:38is a perfect place
18:40to learn about
18:42the art of the 20th century.
18:46This donation of Flux
18:48in our environment
18:50is phenomenal
18:52and of great importance.
18:54Why? Because young people
18:56through these works
18:58can understand
19:00how promising
19:02and unauthoritative
19:04the limits of art are.
19:06They can join
19:08these works
19:10and think about the art
19:12of the second half of the 20th century
19:14without feeling
19:16the frustration of
19:18not being able to do it.
19:20These works are very close to people
19:22and in a way
19:24they are a real pursuit
19:26of subversive humanism
19:28that we all need.
19:30Unfortunately,
19:32they are trying again
19:34and again to break
19:36these barbaric
19:38and realistic shackles.
19:48These days,
19:50another proclamation
19:52has been released
19:54from Kipko's obscenity workshop.
19:56It calls us to turn the numbers
19:58upside down
20:00and kill them in the name.
20:02Here is a list of ten
20:04of Kipko's recent projects.
20:08With an emphasis on
20:10beautiful behavior in art,
20:12prognostic chains
20:14and hypnotic figures,
20:16the numbers in Kipko's work
20:18have their rightful place.
20:20Turning them upside down
20:22is not a whim,
20:24but an act of courage
20:26that opens the space
20:28for new possibilities.
20:30For the last two years
20:32I have been
20:34shamelessly depicting them
20:36in the field of painting
20:38as they came to me.
20:40In the last two years
20:42this strategy of thinking
20:44has been based on
20:46two very simple operations.
20:48On the basis of nature,
20:50numbers always equate something
20:52and the second operation
20:54is to turn their figure upside down.
20:56By doing this
20:58I want to open
21:00the space between them
21:02in a system that is
21:04extremely cold and rational
21:06and ultimately
21:08equal to the world.
21:10In this last project
21:12that I did
21:14for the Beck Gallery,
21:16I painted upside down
21:18ten numbers
21:20that are my destiny
21:22in life.
21:24I placed them
21:26on a very colorful
21:28and ornamental base
21:30that in some cases
21:32followed the upside-down figure
21:34of the numbers
21:36and in other cases
21:38I used patterns
21:40that corresponded
21:42to the upside-down numbers
21:44on a symbolic level.
21:46I placed such pictures
21:48on a large garbage dump
21:50in Zagreb
21:52and what happened?
21:54The colorfulness of that space
21:56automatically visually
21:58distorted my
22:00colorful pictures
22:02and equated them with their space.
22:04I have already claimed
22:06that the language of numbers
22:08is such a language that equates
22:10differences between different objects,
22:12phenomena
22:14and even people.
22:16And this happens
22:18especially if you
22:20turn their figures
22:22upside down
22:24when a truly unobstructed space
22:26is opened
22:28to express incompatible numbers.
22:32Most of the current
22:34pieces of this project
22:36are followed by pictures
22:38now collected in a small monograph.
22:40The artifacts that were exhibited
22:42at one time
22:44on a large garbage dump
22:46I later exhibited
22:48in the Bek gallery
22:50and the gallery itself
22:52was concerned
22:54that the process
22:56on a garbage dump
22:58is documented
23:00in a very attractive publication
23:02that has about
23:04a hundred pages.
23:06In it, like a guide for use,
23:08there is regularly a reduction
23:10of the artist's text
23:12and an illustration that closes
23:14the circle of well-intentioned
23:16The use of monographs
23:18in the published edition
23:20is financed by the interpretation
23:22of the city garbage dump
23:24Alkevičar's favorite place
23:26where he performs
23:28his last ritual of turning.
23:30If I were to announce
23:32a few more contributions
23:34about the exhibits we visited
23:36the previous week
23:38and if I were to say
23:40that they are the two most common
23:42themes in the history of art
23:44It is very interesting
23:46how to follow the transformations
23:48that are happening
23:50with the conventions.
23:54After a great tour of Europe
23:56the Slovenian traveler around the world
23:58Bojan Štokelj stopped
24:00in the Kraljević gallery.
24:02These digital displays satisfy
24:04all interests of the landscape genre
24:06but there is also a trap.
24:08The simulation of the landscape
24:10as a romantic metaphor
24:12of the past idolatry
24:14announces that the romantic era
24:16of virtual reality is behind us.
24:18The cyber-theorists warn us.
24:20Virtual reality becomes
24:22the main manipulative space
24:24of technology used
24:26for all kinds of attractions.
24:28In the space of cyberspace
24:30the last refuge of modern joggers
24:32the spirit of McDonald's
24:34techno-totalitarianism
24:36is gradually and uncompromisingly
24:38being drawn in.
24:42For the overall impression
24:44of the exhibition of Ivan Vučić
24:46in the Nova gallery
24:48the only thing missing
24:50are the sellers of grits
24:52that we usually see
24:54at the entrance to the cinema.
24:56In her photographic style
24:58she is directly influenced
25:00by the activity of the film media.
25:02The portrait of Nina,
25:04composed of dynamic
25:06psychological states,
25:08leaves an impression
25:10of instability, apathy
25:12and helplessness.
25:14I think that the social comment
25:16that I think can be seen
25:18from these photographs
25:20is much more important
25:22than the framing of the photograph
25:24itself, the person
25:26who is on it,
25:28what each photograph
25:30individually speaks for itself,
25:32but an atmosphere,
25:34a kind of sensibility
25:36that speaks
25:38as a critical
25:40or a social comment
25:42in which we live.
25:48After the review of the Zagreb exhibitions,
25:50this time we are relatively rich
25:52with exhibitions outside of Zagreb,
25:54Split, then Slavonski Brod,
25:56and an interesting programme
25:58of one-day exhibitions in Rijeka,
26:00about which Ivica Pretenjača
26:02writes for Transfer,
26:04a young Rijeka librarian
26:06This award, the publication
26:08of the award-winning manuscript
26:10in the edition of Matica Hrvatska,
26:12has never been realized,
26:14and this could be a reason
26:16for a bigger and more heated
26:18story about the person
26:20and the enthusiasm.
26:22But if Transfer sees someone
26:24who can spread the farce
26:26that took place
26:28at the Salon Mladi
26:30Matica Hrvatska,
26:32we ask them to do it
26:34because in the end
26:36it always remains the same.
26:38The question is the presence of the spirit
26:40in formal and similar works,
26:42the question is the energy of investment,
26:44the question is the sincerity
26:46and the artist's moral.
26:48And maybe that, as a metaphor
26:50of self-sufficiency,
26:52is the only topic
26:54that Sokić deals with.
26:56And the models,
26:58that was also Mondrian,
27:00are only models,
27:02not works from some works
27:04in the next 10 years.
27:06It's not even a topic,
27:08I chose some works
27:10that, let's say,
27:12coordinate each other,
27:14to problematize,
27:16to be referential,
27:18to refer to some art
27:20from before,
27:22to be some kind of comment
27:24on the art,
27:26how I work most often.
27:28That's what can be seen.
27:32In the Rijeka Malo Salon
27:34the exhibition of Alena Floričić,
27:36last year's winner of the Grand Prix,
27:38at the 25th Salon Mladih in Zagreb.
27:40Floričić's exhibition is the first
27:42in a series of one-day exhibitions
27:44started by Tanja Dabo,
27:46a young artist from Rijeka.
27:48The project was created
27:50to dynamize the art scene in Rijeka
27:52and to conquer official exhibition spaces
27:54for the recent works of young Croatian authors.
27:56The exhibitions are held
27:58in the space between
28:00the exhibition dates,
28:02when the gallery is otherwise empty,
28:04because the previous exhibition
28:06has ended and the new one
28:08has not yet been set up.
28:10Floričić, in this work,
28:12symbolically called
28:14the artist's cap,
28:16themes the relationship
28:18between reality and art,
28:20public and gallery space
28:22and questions its own need
28:24for artistic activity.
28:26These problems are met
28:28and the artist's cap
28:30becomes a place of freedom,
28:32an intimate utopian space
28:34resistant to both reality
28:36and art.
28:38The fortress in Slavonski Brod
28:40is an urbanistic and architectural challenge
28:42for cultural and artistic content.
28:44The fortress is also home
28:46to the Barutana Art Workshop,
28:48led by Ivan Šeremet,
28:50a conceptual artist.
28:52The exhibition of Vlasta Žanić
28:54within the institution
28:56is a wise move to revive
28:58and revalorize the finished work
29:00with the help of a presentation
29:02of younger, high-quality authors.
29:04Vlasta Žanić is a refined
29:06and well-balanced artist,
29:08with a potential that,
29:10unfortunately, cannot be expressed
29:12in times and conditions
29:14where public, unremarkable sculpture
29:16is almost a forgotten term.
29:18On the 9th of October,
29:20we met two drummers
29:22who led us to the great door
29:24of what in 2000s
29:26would become a construction site
29:28or a execution site.
29:40The many years of ruin
29:42and unnecessaryness
29:44of the Zagreb Youth Exhibition
29:46has made the public
29:48of the exhibition
29:50who are used to see it
29:52the only one in the city
29:54suitable for contemporary
29:56exhibition forms,
29:58such as contemporary dance,
30:00for example,
30:02has caught up
30:04with the same
30:06raw material production.
30:18As you can see,
30:20the building of the Zagreb Youth Exhibition
30:22is in a state
30:24in which we are working
30:26and showing it,
30:28because the economy of the city
30:30and everything that is going on
30:32with our business
30:34obviously has a lot to do
30:36with the Zagreb Youth Exhibition
30:38for many years,
30:40especially from its beginning
30:42when it was not really necessary
30:44to be in a state
30:46to have a temporary
30:48exhibition site
30:50and you know that
30:52these are jobs that usually
30:54last about a year in the world,
30:56even longer,
30:58we have an exhibition site
31:00and years of work.
31:02The works of absolute reconstruction
31:04began in July,
31:06and had to be completed
31:08by the first student this year,
31:10but the deadline is extended.
31:12Due to these wonderful people
31:14in the exhibition site
31:16we had a show
31:18and we caught up
31:20in a battle
31:22with the blue railway
31:24and the blue equipment
31:26that had to be removed,
31:28regardless of the fact
31:30that the exhibition site
31:32is almost in an oasis
31:34when it comes to access.
31:36Practically, we are talking
31:38about the middle of the 12th,
31:40end of the 12th month
31:42so that we can start
31:44at the same time
31:46to work on some
31:48additional works.
31:50Among the construction material
31:52in addition to the construction site
31:54a large show was held
31:56and a wonderful press conference
31:58in which the repertoire of ZKM
32:00was presented,
32:02intended for the mentioned show.
32:04We are planning, of course,
32:06a lot of interesting things,
32:08but this season's repertoire
32:10is made by young Croatian authors
32:12and editors
32:14who have a real place
32:16in ZKM.
32:18Authors such as Balitić,
32:20Sajko, Zajica and Trenčina.
32:22An unusual part of the event
32:24marks the concert
32:26that musicians such as
32:28Jinx, Hotline, Gopce,
32:30Pojota, Boxer and other drummers
32:32gave to the ZKM audience.
32:34On our part,
32:36the best wish
32:38is that this exhibition site
32:40will be a place
32:42where we can show
32:44the best of ZKM.
32:46Among other things,
32:48contemplation,
32:50slowdown,
32:52uncertain story,
32:54these are the names
32:56of the performances
32:58that some are confused,
33:00some are delighted,
33:02and some should
33:04perhaps ask
33:06about their stage work.
33:09The state-of-the-art project...
33:11Finding different levels of communication
33:13through the orbitals,
33:15from rough and clear
33:17to subtler and more and more
33:19visible forms,
33:21is what brings together
33:23Nataša Rajković and Bob Jelčić.
33:25And that, like sweet infections,
33:27also affects the actors,
33:29who have a new and different
33:31experience on stage.
33:33As we said,
33:35we started to deal
33:37with characters
33:39that were already decided,
33:41so we created a base
33:43for the characters.
33:45The work on the show
33:47is based on the text
33:49by Nataša Rajković,
33:51created from live material
33:53of the actor's private personality.
33:55For me, as an actress,
33:57it was interesting and new
33:59that the actor himself
34:01sat down,
34:03because he was
34:05going through
34:07very private conversations
34:09where we met,
34:11and then to a big
34:13classic,
34:15where we were
34:17looking for our characters,
34:19not knowing
34:21what to do.
34:23And one of the
34:25specifics of this work
34:27is that Bob and Nataša
34:29have a principle
34:31of surprise.
34:33They work with actors
34:35in a way that
34:37they like to be surprised,
34:39to be surprised,
34:41in the best sense of the word.
34:43Do you know what I want?
34:45That you pay me.
34:47Whatever you know.
34:49Then we asked ourselves
34:51why or what it means today,
34:53and what we can say
34:55to the people watching us.
34:57And what would make sense
34:59to say to the people watching us.
35:01We came to the conclusion
35:03that
35:05what I said
35:07was a dissatisfaction.
35:09It was one of the basic parameters,
35:11one of the basic reasons
35:13why I would have
35:15a reason to say something to someone.
35:17Through Dostoyevsky
35:19we came to a modern,
35:21ordinary situation,
35:23in the sense of ordinary people.
35:25Today's problems
35:27that are not explicitly
35:29expressed,
35:31but I think
35:33they are very clearly expressed.
35:35What we were trying
35:37with pleasure
35:39was how far it goes
35:41and how a person
35:43can react to it.
35:47Or what can he do
35:49to not have it anymore.
35:51So we concluded
35:53that we can do a little of that.
35:55The acting problem
35:57that I personally
35:59haven't had contact with
36:01is that it is acting
36:03on the edge of privacy.
36:05So something that is
36:07hyper-realism,
36:09if we can use
36:11that term from painting,
36:13is still
36:15a very harsh acting.
36:17Because we are not private,
36:19because we are faces,
36:21and that is another face,
36:23that is not us.
36:25So that a person
36:27does not lose himself
36:29on the edge of privacy
36:31and acting,
36:33that is to stay on this side.
36:35The audience
36:37started receiving
36:39from the 26th student
36:41a lot of emotions.
36:53The pacification of the dance
36:55impulse of contemporary dance
36:57has come to life these days.
36:59The 10th student
37:01in Zagreb's Tvornica
37:03Danijela Janković
37:05and the author of
37:07Zagreb.