TRIESTE CONTEMPORANEA BREDA’S LESSON

page 1 page 2 page 1 page 2 page 3 BREDA’S LESSON page 4 page 5 page 6 Manuela Schirra designed by Giuliana CarbiJesurun conceived andeditedby cultural purposesonly. This bookisintendedtobeusedfor Texts ©theauthors. Editrice ©2018. Trieste ContemporaneaandJuliet BREDA’S LESSON Grafiche Filacorda Srl-Udine printing Nickolas Komninos Marko Sosič’s texttranslation Liana Rotter Katarina Moltedo Nickolas Komninos Silvia Agostini Ana Čavić language consultants Costanza Grassi editing assistants page 7 page 8 page 9 contents page 10 page 11 about Breda Beban biographies MARKO SOSIČ BERISLAV VODOPIJA MARIO FLECHA DUBRAVKA CHERUBINI FIORA GANDOLFI ANA ČAVIĆ MUNIVRANA MARTINA MIHA COLNER JANKA VUKMIR contributions by by a fewintroductory words Giuliana CarbiJesurun 64 60 54 50 46 38 32 26 18 14 74 70 page 12 page 13 a few introductory words page 14 page 15 themes incontemporary arthave verypersonalmemories, critical With teaching. impact ofherartisticworkandthe considering thesignificance and offered aunique perspectivein Beban fiveyearsaftershedied, symposium, dedicatedtoBreda also Breda’s closefriends,thisfirst world professionals thatwere artcuratorsand international Drawing ontheexperienceof woman inGucha her 2006video in 2008,andamazinglycommenting gave atthiseducationalinstitution video recording ofalecture Breda that gaveusthejoyofseeing Fine Art,UniversityCollegeLondon, collaboration oftheSladeSchool The symposiumhadthe Thessaloniki). and theKalfayan Galleries(Athens- in associationwiththeartist’s estate Čavić andDubravkaCherubini 22th, 2017inTrieste, curatorsAna of Breda BebanorganizedonApril the symposiumonartandlife scholars. Thisisacollectionfrom little bookavailabletofriendsand Contemporanea nowmakesthis It isgreat pleasure thatTrieste The mostbeautiful . further studiesand alsoforthe I hopethattheyare astimulus for these pages. knowing andloving,emrgesfrom Breda, whoItoohadthehonourof great artisticandmoralfigure of and completeportrayalofthe and politics.So,nowanintense of bigstoriesaboutgeography (humans andlove)onthemargins artist andmoralityorphotography related toBeban’s work–suchas been explored, whichare closely be today,aboutwhat weshould our origins,about what life should extraordinary placeswhich are about with optimism:tobetaken away witheuphoria,enthusiasm, of PhilippeStarck: “To beswept goal shehasfocusedwiththewords school ofinspiration”andwhose a schoolofindoctrination,but but aschoolofparticipation;not space; notaschoolofisolation, of illusion,butaschoolreal she hasdescribedas“notaschool project them theexcitingeducational enthusiasm equaltohers. Among of beingimplementedwithan very current andabsolutely worthy has leftuncompletedandwhichare study oftheprojects thatthe artist The EndlessSchool , which a few introductory words page 16 their loveforBreda tothis book. and BerislavVodopija thatadded Vukmir –andDubravkaCherubini Munivrana, MarkoSosičandJanka Flecha, FioraGandolfi, Martina – AnaČavić,MihaColner, Mario contributed totheTrieste meeting I sincerely thankeveryonewho than ever. school whichisneededtodaymore extremely importantnewkindof put thisschoolintooperation–an is ready tohelpfulfil herdream to As ofnow,Trieste Contemporanea become tomorrow”. Trieste ContemporaneaCommittee President Giuliana CarbiJesurun page 17 Janka Vukmir / LEGACY YET TO BE EXPLORED page 18 page 19 many otherlaterprofessional 80s, withherfirst soloshow,and She startedexhibiting intheearly wouldn’t havebeenthatsubstantial. although theagedifference today was stillaschoolpupilandstudent, Breda wasalready anartistwhenI see themstrolling pastmyhouse. similar neighbourhood,soIwould husband Ognjan.We livedina beautiful coupletogetherwith her and shewaspartofastrikingly the mostbeautiful womanintown regardless ofage-group. Breda was the placeswewere allwent to, exhibitions inZagreb andfrom I knewofBreda from attending from hertimesinZagreb. of peoplewhoremember Breda belonging toanever-smaller group as Igetolder, eachday,Ifindmyself exhibited orcuratedherworks,but I neverworkedwithBreda, Inever border line. presentation exactlyonthisthin and Iwillendeavourtosteermy maybe especiallysoinBreda’s case, things are inextricablyinterwoven, to remember herlife. Thesetwo it alsoincludestheopportunity exploration ofBreda’s work,but is thatthisnotonlyanacademic invitation, whichIthankyoufor, What Ilikedmostaboutthis New Wave inYugoslav musicand The 80swere thetimeofa great life. between unitsorchaptersofher sudden andunchangeableshifts with heralloftime.Shemade the country.Thisnomadismstayed probably feltathomeallaround her parents’ work-duties,soshe nomadic life, oftenmovingdueto engineer, shehadtheYugoslav-style course. Beingachildofmining places inYugoslavia, andZagreb of appearances inBelgradeandother in Belgrade. the MuseumofContemporary Art exhibition in1987 in theSalonof TV performancesandhadasolo legendary DunjaBlažević,shemade TV Galleryprogram curatedby several timesinBelgradeTelevision Gallery inBelgrade,sheappeared Her firstsoloexhibitionwasinSKC the warwascoming. positive, unrest wasinthe air and all overthecountry,butitwasn’t all culturally. There were great parties – politically,economically,and Tito’sin afluxafter deathin1980 as well.Thewholecountrywas Ljubljana. Bythemid-80sSarajevo between Zagreb, Belgrade and travelling toconcertsandexhibitions overall culture too,sowewere all Janka Vukmir / LEGACY YET TO BE EXPLORED page 20 simple: “Aslongasthehumaneye The answernowseemstobevery the form? is moreimportant–thecontentor painting atrapforthesoul?What time: isthemateriallanguageof solving myowndilemmaforalong the introduction text: exhibited, andsheherself wrote organised there. Herpaintingswere slike] My Work –Paintings year. Herexhibition,entitled at theendofJanuarysame after thegallerywasestablished PM Gallery,on17–24.3.1981,just In Zagreb, sheexhibitedsolointhe It makesmehappy toformlittle decorative painting. by thehand;butI am devotedto and achievingtheskillofpainting the intentiontowardsoriginality My workisnotdeterminedby world. onthis world, notacommentary which willbecomeanobjectinthis My aimistomakeaworkofart the witnessofthisright. life. Iwishtobetheparticipantand inmy have therighttoeverything It finallybecamecleartomethatI the soul,formequallyso. at.” Thebodyspeaksaccordingto can see,thereissomethingtolook , wasamongfirst10events

[Moj rad– I havebeen photograph ofherself, witharrows published aconceptualpiece: published/promoted, where she the magazine“Maj75–F”was Two daysaftertheshowclosed, energy exactlyinthisway. proof ofmyneedtoeliminatethe to paint,paintingsarethematerial I feeltheimpulse,orforced, structure ofthepainting–object. simple netwhichformsadecorative and temporalrhythmofpainting,a by whoserepetitionIperformspatial images byhandandbrush, Breda’s artisticpractice of theearly conceptualisation. and narration,icons andgridsthan this timemore inclinedtopainting oriented toherbodybutwasat up, emancipating,shewasalways work wasobvious,shegrowing but thegeneraldirection ofher Breda wasinherlatetwentiesthen, “New artpractice” included withintheproblematics of female artistswhoseworkscanbe intention topresent theworks of the “F”issuewas exhibition-actions since1975. the group offriendswhohave held magazine -catalogueinitiatedby “Maj 75”wasanindependent wants touse. showing partsofherbodyshe

made withthe . 2 1

And page 21 to atotallydifferent kind ofpainting Shortly afterthe80s Breda switched disappointing forher. art, whichmusthavebeenvery appropriationof postmodernist about herworkinthecontext Later Makovićwasverynegative Painting. the AmericansourceofNew assume evenanornament,indicate same element,fromwhichonecan plošnost decorativeness ofherpaintings, motive (tulips,parrot...).Expressive rhythmical row,thesamesimplified continuously repeats,inaregular format paintings,whereshe She presentsherselfwithlarge Maković describesherworksas: Curator andartcriticZvonko text writtenbyAchilleBonitoOliva. assisted byZvonkoMaković,witha galerije, curatorAndrej Medved, and Celje,organisedbyPiranske Immagini 1981, andtheexhibition by ZvonkoMakovićinZagreb Nova slika/NewPainting painting showofthetimetitled Sheparticipatedinamajor Wilde. to Transavanguardia ortheNeue the NewPainting,anequivalent called theNewImage,inYugoslavia 80s becamepartofwhatwas 4 and serialrepetitionofthe (19.3–3.4.1982)inPiran

curated Podobe / 3 probably otherpersonalissues. related toherbyamemory and place ofexistencetotheplaces of withdrawalfrom hergeographical and inthecandlelight.Itwasakind direction, takingplaceindarkness live performanceswentinthesame spiritualism andrituals.Herart based onByzantinemysticism, simpler, geometricalandwere Those paintingswere superficially south ofSerbia. the monasteryofSopoćaniin – duetoher1983artresidency in Breda, they fellinlovemid-80s he becameafilm director, met than hisfellowschoolmates. Later seemed more mature andserious lonesome amongallthosegirlsand in school.Hewasabitshyand kindergarten andespeciallylater was verypopularwiththegirlsin Hrvoje Horvatićwasanicekid.He another country. this isanotherstoryandtheof teaching attheartacademies,but artists whocamebacklaterstarted in Croatia, althoughsome of the left consequencesinartproduction returned toart.Thisrupture has never returned there, manynever left Yugoslavia, andmanyofthem above-mentioned artistsofthe80s The wholegenerationofthe 5 Janka Vukmir / LEGACY YET TO BE EXPLORED page 22 As MihaColnereloquentlywrites connection betweentheirworks. guard film,there wasnotthatmuch Hrvoje actuallycamefrom avant- than bothbeingintovideoart, Iveković andDaliborMartinis.Other known videocoupleinZagreb, Sanja They were similartothemostwell- they workedforZagreb Television. were professionally veryvisible,as the artpopulation,althoughthey they becameabitdetachedfrom and shorterthanBreda, butbecause couple, notbecausehewasyounger They were abitofanunusual the warinearly90s. and leftZagreb intheearlydaysof Hrvoje workedtogether allthe aesthetical background. Sheand a filmintheNouvelle Vague Breda becameavideoartistwith Dubravka. to spendtimewithfamilyand passed awayin1997,andofcourse occasionally, especiallyafterHrvoje left Zagreb, onlytocomeback and paintingingeneral,she she leftallherpaintingdilemmas, nomadism. OncewithHrvoje, of hergeographicalandmedia identified through severalchapters Gallery, Breda’s career caneasily be posthumous exhibitioninPhoton in theintroduction toBreda’s make contactswithotherfellow was growing fast.Shedidn’t even from thediaspora,asdiaspora participate inexhibitionsofartists Breda ofbefore. Shedidn’t scene, Breda wasnolongerthe But atleastintheCroatian art longer there. fact thatthepainterinBreda isno in timeonebecomesusedtothe and entire life, butithappens,and sudden changeofthemedium a bitstrangeatthebeginning,this years theyspenttogether. Itwas In herentire professional life, there and female,evenfeminist attitude. regional, Balkanmythologies,rituals feel, butshealsogotbacktosome still holdFrench NewWave film Her laterprojects, althoughvideos, involved inmanyprojects. and teachingcareers, proactive and artist,withexhibition international well known,aproperly established and successagain.Shebecame she foundherprofessional stamina 40s and50s,aloneabroad, many burdens onher, inherlate Paradoxically, oncelife had putso meant existentialaffirmation. professional affirmation whichalso very ownlife andfoughtforthe Croatia, sheandHrvojelived their artists intheUKwhoalsoleft page 23 follow this,chapter bychapter, reflection ofthetime. We can be anexampleofpure political consequently poeticalcontext,can of personal,human,individualand determined toworkintherealm of workanartistwhoisso To meitisinteresting howabody human rituals. depends onhumanrelations and works are aboutexistence which her feelings,atmosphere. Her she becameorientatedtowards oriented towards herbody, now Just asshe,ayoungartist,was intimate relations andexperiences. any humanrelations, butthe subtle about humanrelations, and not Arte Vivo series suchasoneofherlastones, Gucha The MostBeautifulWoman in Beautiful Exile Dream Many ofherfilms,from atmosphere inhervideos. which gaveastrong markofthe was incorporatinginherworksand probably becauseofasensualityshe other art,butstillwashermetical, Hrvoje, wasreferring tosome work, evenwhenworkingwith dark andsomethingmystical.Her is somethingdifficult something , andherphotographic , over , theyare allobsessively Little filmstoCry , My FuneralSong Jayson’s , , Thank you! for manycolleaguestoresearch. from,learn thatwillbeapleasure much materialshehasleftusto completed lifetime, butthere isso is alwayssadtorevisit heruntimely during her20yearsoflife abroad. It and theWest thatshegottoknow and thechangesshehadtofight, cultures, thebreak-up ofYugoslavia of differences amongYugoslav through, eventothefinedetails events theartistwasmigrating through different countriesand Kulmer andĐuro Sederheadingthe same generationand Ferdinand Popržan, BrankaUzur…all ofthe Minovski, DaniloDučak,Vesna Fortunatović, ZvjezdanaFio,Dušan Nella Barišić,MarinaErcegović Rašić, MilivojBijelić,NinaIvančić, Igor Rončević,DamirSokić,Ante 3 vnos/19656, translationsJ.V. 2 translation J.V. Beban/page:1/entry:19908, search:all:all/author:%20Breda%20 1 Itwasagenerationofartistslike http://digitizing-ideas.org/si/ https://digitizing-ideas.org/en/ Janka Vukmir / LEGACY YET TO BE EXPLORED page 24 132_Denegri.pdf umjetnosti/ZU_41-42-1987_131- 5 019_Makovic.pdf, translationJ.V. umjetnosti/ZU_33-34-1982_006- 4 Marušić, MetkaKrašovec.) Andraž Šalamun,JožeSlak,Živko (Slovenian artistsattheshow: older generation. https://www.ipu.hr/content/zivot- https://www.ipu.hr/content/zivot- page 25 Miha Colner / THE WOMAN WITH A PHOTO CAMERA page 26 page 27 Her photographsmaynotbeas photographic worksofBreda Beban. most distinctiveandsignificant present andanalysesomeofthe In thefollowingtalkIwill Beban wasnot,however, atypical photography extensively. that pointshealsostartedusing artistic career, onherown,andat Beban graduallycontinuedher and unexpecteddeathin1997 (1991-1997). AfterHorvatić’s tragic context in thewiderinternational Yugoslavia (1986-1991)andlater video artistsoftheirtime,firstin of themostprominent and active new. Together theybecameone order totrysomethingcompletely decided toshift herartisticcareer in partner, HrvojeHorvatić,and the mid80swhenshemether she quitherpainterlypracticein the AcademyofFineArtsinZagreb and genres. Trained asapainterat worked across different visualmedia an extremely versatileartist who iconic. However, Bebanwasactually of thembecame,undoubtedly, number offilmsandvideos.Some who created and/orproduced a knows her, primarily,asafilmmaker her otherworksbecausethepublic widely knownandacclaimedas she wassuddenlyliberatedfrom all However, followingHorvatić’s death, what wasexpectedfrom her/them. because thatwasnotsomething of her/theirartisticpractice,simply hadn’t considered themaselements taking photographsforawhilebut She oncetoldmethatshehadbeen she foundappealingandinteresting. camera tocapture situationsthat carried asmallportabledigital format cameras.Instead,shealways professional equipmentorlarge photographer. Shedidnotown death. Theworkwas aninstant was herobservation onlife and the lossandshock. Moreover, it to putherlife backtogetherafter glimpse ofthetimewhenshetried direct manifestation ofhergrief;a Miracle ofDeath and exceptionallyintimate. therapy–painfully straightforward appeared almostasaform of tragedy. Thesephotographs was closelyrelated toherpersonal that shepublishedandshowcased The firstseriesofphotographs work basedonphotography. purposely startedbuildingabodyof her asafilmmaker, andhenceshe the public,whichhadperceived expectations oftheartworldand (2000)seriesisthe The Miha Colner / THE WOMAN WITH A PHOTO CAMERA page 28 collaborator. Theboxcontaining death ofherpartnerandartistic that Bebanexperiencedafterthe the profound senseofthe loss of Death Breda Beban’s series state istouchinglyconveyedinthe “The photographer’s emotional Cotton wrote: contemporary photographers. with someofthemostacclaimed by CharlotteCotton,side Art Photograph asContemporary book aboutthenewphotography, was alsoincludedinaninfluential success andsoonafterwards it after theytookrefuge from war-torn partner livedorstayed together on theplaceswhere sheandher photographs where shefocused a seriesoffour-part composite Heart toStopBeating I LayontheBedWaiting forHis similar intentions,is around thesametimeandwith Another veryintimatepiece,created unable togiveitafixedplace.” documents Bebanmovingthebox, of theircohabitation.Theseries his personalbelongingsandsigns home, inaroom stillcontaining the ashesisphotographedintheir . Theseimagescapture The Miracle (2000),

London, where Horvatićdied. The at HomertonUniversityHospitalin it gotthetitle–thepicture taken series hasacentralpiecefrom which artwork anddisplayedpublicly.The before theywere arrangedintoan the pictures were conceivedlong practice astheyclearlyshowthat are veryimportantexamplesofher 1991). Thesepictures, especially, just declared itsindependencein nationalism inCroatia, whichhad fled widespread anddangerous Yugoslavia (more specifically, they Furthermore, theseriesclearly shows and collectiveaspects oflife. out therelatedness ofpersonal in thesamework,pointing intimate andsocio-politicalissues in herwork.Bebanoftencombined individual isactuallyverycommon perception ofsocietyorthe The principleofaninside-out despite herpersonaldrama. on undisturbedanduninterrupted the outsideworldwhere life goes world. Inaway,theworkshows are twoclose-upsoftheoutside out ofthewindow;andfinallythere there isanimageasfrom agaze image ofabedinaninterior;then certain protocol: firstthere isan composed photographsfollowa page 29 order to create shortcuts.There is make inurbanenvironments in documented little paths people series inwhichshecontinuously Italy. There isalsoanuntitled in thecountrysideofTuscany, in becoming arefugee stationed her traumaticexperienceof (1991-2003) where shedocumented An ExileEncountersBabyJesus is aseriesofphotographsentitled proper exposure. Forinstance,there ongoing projects thatnever received But there were alsoseveralsmaller, been stored foryears. most oftenusematerialwhichhad often reversible becauseshe would process wasveryunpredictable and Like manyartists,Beban’s working had shemanagedtoprocess them. what wouldhavebecomeofthem therefore itisimpossibletopredict to thestatusofartworksand these pictures were neverupgraded development. However, manyof as sketchesandoutlinesforfurther snapshots thatsometimesserved works sheoftentooksimple these completedandpresentable context were appropriate. Besides them later, whenthetimeand archived materialsinorder to(re)use the flowofherworkasshecarefully

places and,atthesametime, historical characteristicsofparticular she visited,showingthevisualand covers foundinthestreets ofcities of imprints/photographsdrain never managedtocreate aseries a similarwayBebanplannedbut manifestations ofglobalisation.In which are theultimatevisual the genericarchitecture ofairports, representation ofreligion within absurdity andbanalityofthe (2003) where shedepictedthe the workentitled only photographing coupleskissing was more specific inherapproach, declared him/herapieceofart.She of acircle andthrough thatgesture 60s, installedamaninthemiddle Alberto Greco who,backinthe to Argentinianconceptualartist until herdeath.Init,shereferred still intheprocess ofcreation up Arte Vivo series ofphotographsentitled the mostacclaimedamongher And ofcourse,there isone of cultural landscape. visual appearanceanddesignofits planet issomewhatreflected inthe milieu ofeverysingleplaceonthe She believedthatthecultural universality oftheirappearance. (2008-2011)thatwas Airport Chapels

Miha Colner / THE WOMAN WITH A PHOTO CAMERA page 30 perspective ofanindividual, the world,but,alwaysfrom the economic injusticeandwarin circumstances suchasmigration, sensitive totopicalsocio-political aboutand always concerned throughout hercareer. Shewas issues Bebanwasaddressing described reflect theverysame All theseworksthatIhavehere pictures. chosen bytheprotagonists inthe and loveintheveryplacesthatwere to celebratemomentsoftenderness with apieceofwhitechalkinorder in acircle, whichwasdrawnbyher film, textorinstallation. Likeso from her otherpracticessuchas these workscannot beseparated talking aboutBeban’s photography, cohesive way.EventhoughIwas But Iwillnowconcludeinamore religion, isaperfectexampleofthat. upon differences innationalityand relationships andfamiliesbased Yugoslavia, whichbroke apartmany from politicalreality. Thewarin sometimes cannotbeseparated relationships andlove,issues that manifestations ofinterpersonal closely observedandvisualised herself. Atthesametime, she an ordinary humanbeinglike work. appropriate foraparticularpieceof use themediumthatwasmost many great artistsshewouldonly page 31 Martina Munivrana / IN THE CONTEXT OF FEMINIST AND POSTCOLONIAL THEORY page 32 page 33 the positionofawoman, anartist problematized womentopicsfrom In herwork,Breda Beban discussed andanalysed. the workofBreda Bebanwillbe theoretical frameworkwithinwhich a briefoverviewofthetopicand In thispresentation, Iwilltrytogive in theartisticworkofBreda Beban. and postcolonialbodyperformance performative constructionofidentity My research isbasedonthe Beban. researching theworkofBreda help meincontextualizingand and acquaintanceswillgreatly today andcreating newfriendships Participating inthisconference the subjectofmyscientific research. closely andultimatelychooseitas inspired metoresearch itmore work andmyfascinationwithit I verymuchappreciate herartistic know Breda Bebanpersonally,but most ofyouinthisroom, Ididnot dedicated toBreda Beban.Unlike to participateinthisconference Dubravka Cherubiniforinvitingme want tothanktheorganizersand of ContemporaryArtinZagreb. I I amaseniorcuratorattheMuseum My nameisMartinaMunivranaand the formationofarelationship emphasized. Thisapproach implies experience ofmigration,are resulting from herpersonal associated senseofmarginality the losthomeland,aswell emotions ofpityingorglorifying belonging, inwhichspirituality, national belongingandnot themes ofmigration/immigration, security andbelonging)the partnership, thesearch forlove, of autobiographicalletter(on and amigrantthrough theprism body performance inwhich the autobiographical -postcolonial construction ofidentity through who determinestheperformative shows Breda Bebantobeanartist by itsgeopoliticalposition,which The performanceisdetermined within feministartisticdiscourse. construction ofidentityisdiscussed question oftheperformative production ofBreda Beban,the In thecontextofartistic concept ofthe“other”. of the“other”andunderstands The artistherself acceptsthis reality hasanimportantrole.otherness and performance,where the term collective identity,itsconstruction toward abothpersonaland Martina Munivrana / IN THE CONTEXT OF FEMINIST AND POSTCOLONIAL THEORY page 34 position ofcontinuousmigration, with whathomerepresents, the a newhomeandcomingtoterms years) forthepurposesoffinding (from herchildhoodto mature geographical heritage,relocation was markedbyculturaland insight intoherprivatelife, which work ofBebanwithouthaving Therefore, wecannotviewthe intertwined withherartisticwork. death ofapartner)are considerably led tochanges(relocation, the Life eventsandcircumstances that the permanentlylosthomeland. intertwined withthegeographyof personal identityconstructionis through thedeep-setculturalcodes. corresponding “I”thatisaccepted one’s ownbiography showsthe Carlson indicatesthatworkingwith of theirownidentity.Marvin for manyartistsintheperformance experience hasproved ascrucial arts inthe70sandpersonal performances entertheperforming Examples ofautobiographical be considered. decisions andrelocations should also that influencedtheartist’s personal changes onthegeopoliticalplan the lossofherpartner, etc.Certain cooperation withherlife partner, category, aperformativeact being expressed asaperformative subject whichleadstotheidentity an unstableandnon-coherent person pointofviewinterms articulated aspeechfrom thefirst In herartisticworkBreda Beban as awhole. by theperformerbutculture actually arole thatisnotcontrolled the autobiographicalperformanceis identity whichisexpressed through Accordingly wecandeducethatthe a formofdesire toexist.It implies determination ofidentity, isactually which arisesfrom thesemiotic of performativeunawareness structures ofreality, interms the participationinsemiotic performative category. and herthesisonidentityasa to JudithButler’s performativity Breda Beban,inmyresearch Irefer identity intheperformanceof performative constructionof When talkingaboutthe formation. the otherdeterminantsinidentity into accountanddependingon must beanalyzedinclusively,taking for. Therefore, herartisticwork capable offormingwhatitstands 1 ForButler page 35 appeal offemininity usesthe body through themetaphorical On theotherhand, thepostcolonial culture. defines theideasofsubjectivityand tests andidentifies itself andassuch a partoffemalesubjectivitywhich discourse andmaleart,butbecomes not remain anobjectofmale of thewoman’s bodywhichdoes Luce Irigaray one hand,referring tothe thesis of meaning impliesaduality.Onthe performance astheintersectionof the figure ofpost-colonial body The autobiographicalbodyin a socialanddiscursiveobject. indicate thatitcanbeseenbothas theoretical frameworkswhich can beinterpreted through feminist instrument ofartisticexpression body. Thebodyseenasan autobiographical andpostcolonial through thetheoretical issuesof performance shouldbeviewed In thatcontext,herartistic Breda Beban. foundation forreading theworksof Ambiguous subjectivityisthe the polysemyofitsownsubjectivity. the necessityofaconsciousbeingin 2 , theself-introduction and becomesaplaceoftestimony. itself as a signifier ofthat connection Itpresentsand femaleotherness. between thepostcolonialotherness indicates theimplicitconnections hybridization. Thepostcolonialbody identity, itsdisplacementand and impliesthecomplexityof notion ofdisplacement,transferal action, whichisassociatedwiththe resistance; itbecomestheplaceof colonization andplacesof body thatindicatesthedouble main hypothesisis theconfirmation explore her workinsuchaway.The The goalofthisresearch isto described, classified andevaluated. work hasnotbeenfullyexplored, As ofyet,Breda Beban‘sartistic countries. of femaleartistsfrom postsocialist the culturalandpoliticalplacement performances ontheconstructionof observe theeffects ofperformative presented totheWest. We canalso how womenoftheEastare presented totheWest, orrather of amigrantfrom theEast is the questionofhowbody Beban‘s work,wecananswer through theanalysisofBreda By usingpostcolonialdiscourse, Martina Munivrana / IN THE CONTEXT OF FEMINIST AND POSTCOLONIAL THEORY page 36 international feministart. international the contextof Croatian and positions theartist’s workin construction ofidentityand terminology oftheperformative ultimate goalofestablishingnew theory ontofeministarthasthe performance andpostcolonial The applicationofthe and heterotemporal. boundaries andisbothdiachronic classic chronology, howit moves function beyondtheso-called physicality oftheperformance and feministentriesintothe statement ofhowthepostcolonial performative actsmakesavivid artistic workofBreda Beban inits typologically determined.The already positioneddifferently and a different wayandwhoare performative performancein artists whousethebodyin among otherfemaleCroatian “placement” ofBreda Beban positioning andsubsequent This process willalsoallowthe and feministperspectives. intersection ofthepostcolonial “female voice”occursatthe artist, whosearticulationofthe of herartisticstatusasafeminist In theexampleofBreda Beban and in thisparticularcontext. its constructionthrough performing thinking onthetopicofidentityand question ishowtoapproach represents aproblem area. The where theveryconceptofidentity itself asatimeofcrisisidentity, agemanifestsThe postmodern topic opentonewinterpretations. and itsinterpretation makesthis the contextofpostcolonialtheory The constructionofidentitywithin possibility ofapplying contemporary what alsomotivates meisthe researched herartisticpresence, now, nobodyhassystematically In additiontothefactthatuntil humanitarian crisis. but alsointheoverallgeopolitical only intheworkofBreda Beban topics whichcanbedetectednot for homeandlove-alloftheseare the EastmeetingWest, theneed circumstances. Thelossof identity, which are results ofcertainlife are witnessestodifferent fates by geopoliticalchanges.We large-scale migrationconditioned the features ofcurrent situationof among otherthings,wecanfind the analysisofherartisticwork, page 37 I hopetoachievethis through personal definition ofidentity. relationship towards spaceandthe make spaceforreflecting onour belonging /notbelonging,and with questionsofidentityand century thatisfacedandchallenged art productionofthe oftheturn critically reflect onthecontext and believe thatwemustlookatand to personalstoriesofindividuals.I them bothonaglobalscaleand what thesechangesbrought with context ofgeopoliticalchangesand events inCroatia viewedwithinthe to carryoutananalysisoftheartistic context, Ibelievethatitisnecessary is thekeytaskofourworld.Inthis towards theBalkansasametaphor relationship ofpostcolonial theory Chakravorty Spivakstatesthatthe Circle, Belgrade,2003),Gayatri of thePresent Dying”(Belgrade Postcolonial MindTheHistory of herbook“TheCriticismthe accomplishments. Intheforeword theory intheanalysesofsuchartistic as theuseofpostcolonialfeminist and identityconstruction,aswell performing practices,performativity to keepupwiththenewresearch on approaches andmethodstrying interdisciplinary theoretical in theworkofJudithButlerandit Performativity isthecentralconcept Identity. Feminisim andtheSubversionof 1 Thank youforyourtime! art history. of bothCroatian andinternational and influencewithintheframework the importanceofBeban’s activities further research andtoemphasize infoteka. kulturu razlike 2 attributes. of genderaswellotheridentity and thecategoryofsociability the categoryofnaturalness,gender identity, body,subject,genderand of particularexecutionalcategories: manages thesemioticconstitution Butler, J.(1999). Irigaray,L.(1999). London:Routledge. . Zagreb: Ženska Gender Trouble: Ja, ti,mi:za Ana Čavić / WE ARE THE STORIES THAT WE TELL OURSELVES page 38 page 39 Although shelived herlife withsuch that ourmeetingwas meanttobe. Breda thought (asIdid,and,stilldo) fate inthem,weobliged.Ithink the beststorieshavehandof our meetingwasfatedandsinceall it. Evidently,bothhaddecidedthat must or theotherofthemsaid‘You two faintly ritualisticandurgent.One seemed outoftheordinary; itfelt remembered thisdetailbecauseit lecture theatre tomeetBreda. I me downtothefront ofthe took mebythehandandmarched my thenpersonaltutorsliterally Sharon MorrisandSusanCollins, aforementioned talk,Professors story sheliked.Attheendof The firsttimeImetBreda is a Beban wasgivinganartisttalk. a graduatingartstudentandBreda Slade SchoolofFineArtwhere Iwas starts oneeveningin2008atthe more thananyother. Ourstory and onmyartisticpractice–perhaps had anenduringinfluenceonme knew her, from 2008to2012,have Undoubtedly, thefourshortyearsI and verypersonalpointofview. on mefrom myownspecific, profound effect Breda Bebanhad I canonlytellthestoryof meet.’ andpromptly leftusto to tellastory,ourforitis that imageinmind,Iamgoing stories thatwetellourselves.”With She oncetoldme,“We are the purpose through herart. them withenduringmeaningand human relationships, endowing mysteries oflife andthemagicof spiritual personwhoembracedthe she wasneverthelessadeeply that things“happenforareason” independence toeverhavebelieved formidable agencyandsuchfierce the annualtrumpet competition by Breda duringhertimespentat edited footagefilmed andedited a combinationofdocumentaryand central “characters”,toldthrough of twowould-be-lovers,the is thestoryofachanceencounter Beautiful Woman inGucha behind her2006work when discussingthemotivation of transformationinherownwords the Sladeshedescribedthisprocess human condition.Duringthetalkat into universalnarrativesaboutthe life’s materialandtransformthem compelling storiesoutofherown remarkable artist;herability totell I thinkthatiswhatmadehersucha me, aboveallawonderfulstoryteller. fitting tributetoBreda who was,for The Most , which page 40 page 41 Ana Čavić / WE ARE THE STORIES THAT WE TELL OURSELVES page 42 imagination andtheaccompanying insight intoherheightened Breda’s artworksgiveusan closer tothereality Iexperienced.’ I fictionalisedit,inorder to makeit the event,soIbasicallyreedited it, ‘I remember clearlyhowIfeltabout man. beautiful bellydancerandayoung and mutualcaptivationbetweena proceeded tocapture theencounter when shehappenedtonoticeand ruckus inthethickoffestival had beenfilmingtheoff-stage and festivalinGuča,Serbia.She story aboveall:the setting(mise- for Breda’s artforegrounds the portraits are notcharacterstudies, she oftenfilmedherfriends–the are filledwith real-life characters– although hermovingimageworks fiction and reality. And,similarly, thus inhabitsaplaceinbetween documentary footages.Herwork chance elementsshecaptured inher improvisation duringfilming andthe and controlled sheembraced carefully choreographed, crafted her art.Althoughartwas life and‘fictionalised’them in she isolatedinstancesofher intensity offeelingwithwhich love song playingaChetBaker of aturntable unexpected juxtapositionoffootage loss andhelplessnessthoughthe bombings andpersonalfeelingsof drama ofthe1999Belgrade visually. Itcaptures theunfolding dramatic contrastsonicallyand film ideas andideologies.Her2000 contrasting) characters,images, dramatic encounterbetween(often sound are allintheserviceof en-scène), situation,stagingand were characters, epitomisingthe inanimate objects, asthoughtthey through the juxtapositionoftwo anyone couldtellamovingstory utterly fascinatedbytheideathat uploud.Iwas speakers turned through theuseofstate-of-the-art ‘physically attackedbythesound’ how shewantedtheaudiencetobe contrast’ betweenthetwo,and the talk,sheemphasised‘big Breda screened jets flyingtheirdeadlyload.When with thejarringsoundofmilitary when therecord jumps–contrasts pleading forlove–almostobsessively Baker’s seductive,huskyvoice the competingsoundtracks:Chet The videoinstallationforegrounds war planesflyingoverBelgrade. Let’s callitlove 1 andfootageofNATO Let’s CallitLove enactsthis at page 43 The storyofhowI met Breda Beban something comparable topoetry. into somethingirreducibly elegant, the beautyandtragedyoflife lifts herunflinchingportrayalsof is thefeather-light framework that of objectiveandsubjectivereality. It as wellherpoeticjuxtapositions unresolvable tensionsinher artwork her imaginationisthesource ofthe of whenIthinkBreda. I think imaginationiswhatIthink burning real, orcannotbereal. Abright, which inventsthingsthatare not confused with‘fantasy’,beingthat can happen,inreality. Not tobe reality, beingthatwhichcan be,or me, ‘imagination’isimbeddedin story?” Isayimaginebecause,for wonder, “DidI to theevening,Isometimes her unfolditschimingnarrative home) likementaljewelryandhear present candlelightinherLondon up againstthecandlelight(theever- metaphorical braceletandholdit her pluckacharmoutfrom that can nolongersitwithherandsee on acharmbracelet.NowthatI She collectedstorieslikecharms Breda knewhowtotellastory. best andworstofhumanactivity. imagine it? Our in Azerbaijan,where Imet andfellin me toperformintheBakuBiennale, cupid, bychance,whensheinvited Balkans. Orhowshecametobemy familiar toanyonelivinginthe reading–analogus tealeafreading her coffee cup,duringacoffee cup in seen onejustlikeitthatmorning, charm around myneckforshehad amused interest intheseahorse family home,andshesuddenlytook met inMokraGora,Serbia,atmy shared together. Likethetimewe is notasinteresting asthestorieswe desired condition oflife”. highest categoryof artandmost could offer, “for beautywasthe was thehighestcomplimentBreda beautiful startofafilm.Beautiful a great storyandwouldmakea third hadcutitoff. Shesaiditwas it, theotherhadplaiteditand a hospitalchair. Onehad brushed be mygirlfriends–had cutmyhairon hairdressers whoalsohappenedto sisters–three beautiful andkind was seriouslyillwithcancer, three ill andtoldherthenhow,whenI I cutherhairwhenshewasseriously to him,thenleftusfate.Orhow me bythehandandintroduced me only thistimeitwasBreda whotook echoed howBreda andIhad met, love withmypartner. Ourmeeting Ana Čavić / WE ARE THE STORIES THAT WE TELL OURSELVES page 44 home. Herconceivingofsucha listening toitintheintimacyofher played attheirfuneralandfilmthem die thatday,theywouldwantit so muchthatif theywere to the mosttothematthatmoment, friends toselectthesongthatmeant funeral song.Shewouldaskher her closestfriendslisteningtotheir filming intimatevideoportraitsof Breda hadtoldmeshebeen of theparticipants.Inearly2010, not onlybecauseIwasalsoone for meishermostpoignantwork, final work, friendship alsospanthelife ofher The fourshort,intenseyearsofour Although shecompleted thepiece seem insignificant bycomparison. into acelebrationof life, makingit thecontemplation ofdeath turns flat. In played oneeveninginherLondon Volim Januar while mychosenfuneralsong, did sowithherheld-heldcamera hopeful aboutthefuture and she deeply unhappyandyet moments ofmylife when I was captured oneofthemostformative and sitforher, Iagreed. Initshe when sheaskedmetoselectasong touching portraitintriguedme,so dark, daringandatthesametime My FuneralSong My FuneralSong byĐorđe Balašević, , Breda , which Ne aware ofthehistoricalmoment she her tobeacitizenoftheworld; a muchwiderscope.Theyshow Breda toldthrough herarthave friend andmymentor. Thestories personal memoriesofBreda, my Of course,theseare someofmy story andour(here) too. part ofitsstory,hermy the workitself andhasbecomea illness isdifficult tountanglefrom terminal cancer, thetimelinessof before beingdiagnosedwith returning toit–arecurring themein of herconstantliteral andfigurative experiences ofexile duringtheyears that were inspired herpersonal of herexilefrom herhomecountry works madeintheUKasaresult exist,” andproceeded toshow Yugoslavia, acountrythatdoesn’t in Art beganwith,“Iwasborn Her talkattheSladeSchoolofFine woman; andanartist. experience ofbeingamigrant; experienced andcared about: the she focusedonissuespersonally project Ialsoparticipatedin–where producer of evident inherworkascreative participate init.Thisisespecially was livinginanddeterminedto imagine artafter –a page 45 RCA Novus,18April1989. Plays from theFilm“Let’s GetLost’, the album‘ChetBakerSingsand (Let’s GetLost) 1 casting storyteller. image ofBreda Beban–the spell- it, andonus.SoIwillendwiththat piece shemade;putaspellon piece.” Thatcanbesaidofevery “white magic”basically,withthis “I… wantedtomakesomekindof At theveryendoftalkshesaid her own. story intimatelyintertwinedwith Yugoslavia is,therefore, another of end ofYugoslavia, andascreening had begun,thematically,withthe her work.Thetalkendedwhere it ChetBaker, Let’s CallitLove For Heaven’s Sake , ChetBaker, from . Thestoryof Fiora Gandolfi / I FIRST MET BREDA IN VENICE page 46 page 47 Disease isnotarepresentation Formosa comesto mind. on theChurch ofSantaMaria tumours oftheface.TheMascaron of illnessinmarble–cystsand In Venice Breda cameacross images dignity. dreamlike, playfulandmortal maintaining anarchaic, primordial, city isailinganddecrepit – while at ease,becauseeverythinginthe In Venice theterminallyillBreda felt week. to workdayandnightforawhole She hadthestrength andenergy locomotive: nothingcouldstopher. My friendBreda waslikea world. that are exportedthroughout the company thatstillproduces trains is associatedwithtrains:ita In fact,inItaly,thenameBreda indestructible asalocomotive. Breda.... Shewasasstrong and Like theFlemishcityBreda? No. Like theSlavicgoddessBreda? No. from hername,Breda. Maybe thisstrength wasderived strong. she seemedfragile,butwas she lookedhealthybutwasill, seemed young,butshewassixty; She wasindescribablydifferent: she doorbell. of theoccupantsandagolden of ahand,plaquewiththename works, where youseetheimprint embodiment ofsomeherearly together withaletterbox,are the number ofdoorbells,setinthewall with asneer. Breda noticedthata at youwithanairofdistrust,some look atthedoorbellsthatstare back Breda, wewould observe you.With In Venice, thewallsspeaktoand succumbs toillnessandchanges. of thedevil–butlife, which ease. Howcouldthey feelflawed Here, people withcancercanfeelat bring tomindpaintings byTàpies. been repaired a thousand times Rauschenberg; thedoorsthathave window grillesresemble worksby be ironic, artistic:thepatched-up desolate. Whatisbroken canalso everything isalive,anditnever In Venice, everythingisbroken and or monstersthatpeeratyou. All theletterboxesare faces, masks doorbells, oroftheflakingplaster. the silentgazeofwalls, same time.Nobodycanescape looking atthesamething no needtospeak;we’dbothbe the crampedalleyways,there was When wewalkedtogetherthrough In Venice Breda neverfeltalone. Fiora Gandolfi / I FIRST MET BREDA IN VENICE page 48 In Venice, reflections break up reality of life, deathandrebirth. illness mayfeelpulledintothiscycle life. Apersonsuffering anincurable In Venice, there isarecycling of feel acceptedintheirfailinghealth. The sickare notmarginalised;they In Venice, nothingcanbediscarded. away. would havebeensimplythrown and thedoorsthatinothercities the chippedbrickwork,doorbells value themarblecorroded bytime, In thiscity,plantedinthemud,we every step? devastation ofcraftsmanshipat when theyseethesuperblyartistic and makeanewoneappear. page 49 Dubravka Cherubini / ART LOVER page 50 page 51 which were created inthemost most. Behindmany ofherworks, of artandshephysically realised ideas themselveswere already works works reflect herbackground. Her her laterperformancesandvideo 70s tothebeginningof80sand truths. Herpaintingsfrom thelate and reveals essentialorhidden Breda’s workisautobiographical into art. did, said,orimaginedsheweaved her verychildhoodforwhatevershe she musthavebeenartisticsince now, Ihavecometorealise that fromlearn her. Thinkingofher Already atthattime,onecould only original inwhatevershewasdoing. fearless andrebellious and always in class.Shewassharpandsmart, she wasdifferent from therest ofus Even asakidintheprimaryschool, thoughts, herideas. the airsparkswithherwork, her bodyisnotaround anymore, Even though,inthepastfiveyears, too inourfifty yearsfriendship. have beenhundreds ofotherthings sometimes, mypupil.Shecould sister, mydaughter, myteacherand, to) love.Shewasmyfriend, All thatartis,Breda mademe(learn present from afairytale.Among for fifty yearswaslikeapriceless Having suchapersoninmylife respecting herscars. a treasure ofherwoundsand ofhermind,making every corner deeply andheartily,investigating And life, shelivedherlife tothefull, joy, exile,death–it’s aboutlife. work isaboutlove,solitude,pain, what wasoncehercountry.Her partners, andthewarthatdestroyed intimate way,are herfamily,friends, film, andmusic. about art,literature, psychoanalysis, we wouldalwaysend uptalking shoes Iboughtatan80%off sale, haircut orthemust-haveJillSander issues, suchasourfriend’s £300 we sometimestalkedabouttrivial my kitcheninTrieste. Even though nighties, inherLondonflator grappa, whilewewere still inour umpteenth to thelateafternoons’ place fromcoffee theearlymorning were theendlesslessonsthat took the Balkans.Themostprecious throughlong, marvellousjourneys and beinghercompaniononour a collaboratoronsomeofherfilms; idea forsomeofherprojects; being me were witnessingthebirth ofthe the greatest privilegesimparted to Dubravka Cherubini / ART LOVER page 52 used tosaythatIwasherlongest tightly boundupinmybody.Breda herart,whichbecame I internalised influence andforsuchalongtime, Living undersuchanaesthetic were equallyimportanttoher. most excitingworldmusic.Allthese of booksorthelatestplaylist and forthreferencing endlesslists Mike Scott,shewouldswitchback friendship withDerek Jarmanor Muratova, orremembering her about herconversationwithKyra Le QuattroVolte Maud’s Whether explaining know howtoplayit”. now inyourcourt,andyoubetter last words tomewere, “Theballis demanding andsevere teacher. Her the mostgenerous andthe most and oldeststudentshewas , Chungking Express , ortellingme My Nightat or page 53 Mario Flecha / THE PRESENCE OF ABSENCE page 54 page 55 London, wheninRome dowhatthe and talkedaboutthe weatherin second time.We were verypolite in oneoftheseImetBreda forthe small gatheringsattheirhouseand evenings Ferdi andRoseannahad Back inLondon,someSunday president inthenineteenforties. Peron, thewife of theArgentinian brought tomymindimages ofEva ignore. Heroldfashioned hairstyle a fewweekslater),wasdifficult to Beban, (Ionlyfoundouthername As weknow,thepresence ofBreda one. I wasworkingwithhimonanother working withheronaproject and the studiowhenIarrived.Ferdi was Ferdy Carabott.Shewasleaving her atthestudioofamutualfriend, time becauseIonlyhadaglimpseof I cannotsaymetherforthefirst tend togoblank.” — “Whilefilmingortakingphotos,I Perhaps I’llstartwithhervoice. know where tobegin. unknown reason, itisdifficult to to talkaboutafriend.Forsome strange honourandaconfusingtask very personalway.Formeitisa I decidedtoapproach mytalkina possible. the peoplewhomadethisevent I wouldliketosaythankyouall tragedy thatIknewverylittleabout but allthatformewasanabstract horrendous warinex-Yugoslavia, me. Yes, Ididknowaboutthe she camefrom were amysteryfor The originofhernameandwhere sense”. becomes aprocess oftryingtomake —“I tendtogoblank.Editing something like, She mentionedworkandsaid was betterdropped. subject hadlittleinterest forherand Romans do.SoonIrealised thatthe the suffering ofotherhumanbeings had myeyesandbrain saturatedby I askedmyself howIshouldfeelif I several countries. the fragmentationofYugoslavia into ended withherexiletoSwedenand of thestruggleinYugoslavia. That people homeless.Shelivedpart which leftaquarterofmillion survived theSkopjeearthquake thatattheageof10, she I learnt conversation shapingourfriendship. histories were creeping intothe but from timetoour personal discussing aboutartortheworld times. Oursubjectswere far from After that,wemetsociallymany was averyremote conflicttoher. inArgentina military government – asmuchthecrimesof Mario Flecha / THE PRESENCE OF ABSENCE page 56 daughter orsonofsomeone,where of origin,inaplacewere the past staysparalysedinyourcountry empty blackboard, meanwhile your Suddenly youare alone,a kind of identity, history,familyandfriends. our countriesmeantlosing de laPlata.We agreed thatleaving coast andIfrom theshores ofRio She arrivedfrom theMediterranian in 1991.We were bothimmigrants. thatshearrivedinLondon l learned one day. are bombed.You cry”,Breda said — “That’s whatyoudowhen in BuenosAires. around me.Ihadflashesofthe70s around her kitchentable.Icanstill Jafre which Iorganised,wesat By 2003aftertheFirst Biennialof like andignore therest. magnificent. You cantakewhatyou you are aforeigner andthatis how to survive.Nevertheless learn another planetandyouneedto of youradoptedcountryliveon to acceptthatemotionally,people yourself toanewcodeofbehaviour, becomes, itisnecessarytoadapt To filltheemptyblackboard thatone you andrecognise them. language asyouandtheyrecognise your friendsliveandspeakthesame way tothetasteofwine. work, untilthesmellofcoffee gave videos andfilmsdiscussingher We spenthourslookingather sort ofintelligenceandabitluck. was through intuitionfollowedbya agreed thattheonlywaytodoit of knowledgeandfeelings passion ofpushingtheboundaries time wetalkedaboutart,the Medioeval villageandforthefirst exhibiting herworkintheCatalan hear usdiscussingthepossibilityof smell thecoffee boilinginapot.I work, itisoneofhelplessness, Gloomy atmosphere pervadesthe menacing American warplanes. only interruptedbytheflightof of ChetBaker’s nostalgic jazz, playing thesoundtrack turntable loneliness. Afixedframeofa emotional filmofseductionand Let’s Call itLove were: interests atthatmoment. Those works whichencompassedher She choosetoshowtwovideo her brilliance. sensibility abletodissectafrog with Breda theartisthadasharp passion andintellectualfreedom. She tackledherartisticpracticewith other sideofthescreen”, she said. —“I amoneofthosewomenonthe whichisan page 57 and love,hermain subjects,aswell working onmore filmsaboutlife Back inLondon,as always,shewas screen around the plaza. of thethree chairs,mirroring the the film,Breda performedtheritual Martí inJafre. Aftervariousloopsof Iglesia infront ofthechurch ofSant the ThreeChairs a caveinmyhouseand We projected Know HowtoLove Not KnowHowtoSuffer, DoesNot a well-knownfolksong Breda andthebandbreak outinto small gypsyband.Asshedoesso, a boatwhichsheshares with a on theoutskirtsofBelgrade as shedrifts downtheDanube This atmosphericfilmshowsBreda home. of thefirstoneuntilyouarrive people movethelastchairinfront top oftheseatschairswhile using three chairs.You walkon home from thegamblingplace The ritualconsistsincreating away winning atgambling. her grandfatherperformingitafter Balkan ritual,Breda remembered Taking itsnamefrom atraditional Three Chairs The otherpiecewas sadness andhope. whichisafilmofjoy. Let’s CallitLove at thePlazadela . Walk ofthe Walk of Who Does in I toldherthelittleknewplus months inBuenosAires. been offered aresidency forafew until Ifoundoutthatshehad I couldnotunderstandhercuriosity years. my cityafterlivinginLondonfor35 nothing ofwhatwasgoingonin surprised andIknewcloseto its people,theartworld.Iwas asked meaboutBuenosAires, wine waitingforsomefood,she One daywhenwewere drinking as teachinginSheffield. The circle isanesotericgeometrical Breda’s imagination. was thisasaperformance thatwon manifesto In thesameyearhewrote the creating ahugescandal. President walkedclosetohim, freed someratswhentheItalian At theVenice Biennialin1962,he troublemaker. artist butmore thanthis,he wasa a great performerandinstallation Greco wasapainter, abadwriter, Informalismo. founded amovementcalled In 1959heandafewcolleagues Conceptual ArtinBuenosAires. by hiswork,hewasthefatherof Greco. Ihadalwaysbeen fascinated mentioned anartistcalledAlberto Dito delArteVivo andit Mario Flecha / THE PRESENCE OF ABSENCE page 58 Breda wenttoBuenosAires. She — “LiveArt”. while saying and pointingatthemwithhisfinger, encircling themwithwhite chalk passers-by wasaworkofart,then of Romeanddecidingwhichthe involved himwalkinginthestreets The performanceofAlbertoGreco Magic Circle. and couldnotbreak free from his person, heorshebecameaprisoner when hedrew acircle around a Russian orientalist,mentionsthat no startorend.Ouspenski,the andunity,having symbol ofeternity drawing whichfortheSufisis the lovers. held upaposterwith thenamesof she encircled themwithachalkand each other. Squattingnext tothem, photographs oftwopeoplekissing time andproduced aseriesof the meaningofacircle onemore While shewasthere, shetwisted dance milongas. about goingbacktowriteand back toLondon,shekepttalking Aires somuchthatwhenshe came Belgrade andsheenjoyedBuenos roads ofSanTelmo reminded her of Breda lovedparties.Thecobbled Buenos Aires wasagreat party,and arrived there attherighttime, that belongtotheutilitycompanies points onthestreets ofBuenos Aires those hundreds ofcastiron access metal round orsquare top,oneof she kneltonthestreet infront ofa hand andgraphiteintheother, Holding apieceofpaperinone history inapeculiarway. researched theArgentineeconomic country butasilentglimpse.She discourse aboutthestateof – apoliticalonenotanirritated on anotherproject inBuenosAires At thesametimeshewasworking In 2006Isawherfilm, Americans. ofthe and nowitistheturn good intentionofEnglishpeople of Spanishpeople,followedbythe three empires. The goodintention suffered thegood intentionsof We discussedhowtheArgentinians Argentina. paper thestoryofcolonialismin technic offrottage, sheprinted on around thecityandusing simple were installed.Mappingthem provided thehistoryofwhen they tops,likelogos, These veryornate electricity andwater. the exploitationoftelephone,gas, that forcenturieshavemanaged The Most page 59 —“Poetry willrob meofmy death.” words ofFrench poetReneChar: And now,Iremember Breda inthe than avideowork. timing hasmore todowith afilm film becausethevisualstructure and The filmwasawesomeandIsaya on location.” memory ofthereality Iexperienced footage didn’t really matchthe I wasfilming,howeverthe recorded genuine intensityofthemomentas event. Icouldremember the 19 minutesrecording ofaparticular was tobefoundsomewhere inthe I wasviewingit,knewthatafilm —“I filmed20hoursoffootage.As Jafre. Ofthisfilm,Breda said: invited Breda tothe3rd Biennialof Beautiful Woman inGucha and Berislav Vodopija / THE RESTING PLACE OF TRANSIENCE – BREDA BEBAN’S BENCH page 60 page 61 place BorisPodrecca’s masterpiece time, itwasmaybe eveneasierto remember thinkingthat,atthe that’s nothingbut adrabstreet? I placing acolourfulbenchinplace giving up,forwhere isthesensein placed, inotherwords suggested streets where the benchcouldbe check thelocation,suggestedother investigative commissionscometo and soonforth.Various department forcommunalaffairs then from somesortofmunicipal first from thelocalcommunity, the sidewalkrequired permission, full ofcars.To placethebenchon was prohibited, itwasnevertheless Although parkingonthesidewalk exhibited. window where itwasmeant tobe same dimensionsasthebookstore “Garden ofEden”,which was ofthe from thecolouringofherpainting paint thebenchwere borrowed strong coloursshewoulduseto some plantsin“jardinières”. The sketch ofthepaintedbench,with One dayshebrought acolour window, inaveryparticularway. idea tousethesidewalkasextended bookstore window Breda Beban In April1983Istartedtalkingto

about her . 1 Breda hadthe author’s And so,onepleasanteveinJune, started work. Zrinjevac, andinsomeatelierBreda identical tothoseplacedinthepark We boughtanicewoodenbench, after fixingthebenchtoasphalt. the fourholesthatwouldremain, damage causedtothesidewalkby community wasworriedaboutthe revolucije. Fortheirpart,thelocal street thencalledUlicasocijalističke us toplaceBreda’s benchonthe on Zagreb’s FlowerSquare thanfor exceptionality, non-anonymity. As is aninvitationfor a momentof to imagineapedestrian, thebench the street where isalmostimpossible pedestrians are oftenintimidated,in and blockthesidewalks,where the cars racebyorotherwisepark for you.Inthestreet where trams, “Here’s thebench!Breda’s tamedit words were these: Antoaneta Pasinovićamongwhose titled actually afoldedpiecepaper, text forthecatalogue,whichwas issued asuitablecatalogue.The occasionally, likeonthisoccasion, openings, informedthemediaand bookstore window.We alwaysheld we hadtheopeningofBreda’s Tamed Bench waswrittenby Berislav Vodopija / THE RESTING PLACE OF TRANSIENCE – BREDA BEBAN’S BENCH page 62 themselves andtheirlovedones. the feelingofreconciliation with into sound,fullofjoyandwith of Eden,where coloursspill over found themselvesinherGarden bench and,foramoment,they sittingonthat Everybody tookturns visitors responded andappeared. out,remarkably,As itturned many artist insideofhim...” the city,betweenmanandman- the reciprocity betweenmanand city, amediatorintheawareness of is amediatorwhenpatrolling the Beban’s author’s window,thebench an invitetoparticipateinBreda humanity, launched theirmission own skinwastheonly measure of for whomtheboundary oftheir man wasapotentialenemyand any faithinlove,forwhom disturbed byanyfaithinthefuture, The destructiveforces thatbe, That wasBreda. against thedefaultreligious theme: the unbridledcelebrationoflife) set pagan elements(inthesenseof than PicassoandStravinsky,with performance thatwasmore radical it feltlike I remember thatlateafternoon; The RiteofSpring . A Since then,neitherpolicemennor moral citizensandpoliceofficers. informed ofthefrequent visits of also forBožoBeckwhomIhad community andforthepolice,but It wasaproblem forthelocal window. in histotalnudity,thebookstore the beautyofGarden ofEden, in Zagreb couldseeAdamexcitedby exhibited amalenudeinart,people before LeopoldMuseuminVienna to savetheworld.Thirtyyears Eden, inwhichthere isnothingthat container hasbecome theGarden of of myfellowcitizens, thegarbage next door. Unfortunately, formany going totheemploymentoffice whole armyofunemployedpeople potential tobedangerous fora a bookstore window,stillhasthe and thereal ones,likethisonein of Edenhidebehindbigfences was stolen.Today, falseGardens which wasstored inthebookstore, later, thepainting with alltheplants.Afewyears citizens stolethe“jardinières” press. Afteronlyafewdays, some Eden The photosofBreda’s moralists came,everagain. appeared inalmostallthe Garden ofEden Garden of , page 63 The authorscould present their complete freedom ofexpression. passers-by, whilegiving theartist directly, withthestreet; visitors;and communicate asanyshopwindow: was, asIimaginedittobe, of the in Zagreb andbeyond.Theconcept or situationsoccurringatthattime, response tocertaincultural events of artintheformaspecific space forpresenting theirwork guest artiststocreate their own window concept ofthe This ishow,in1981,Ioriginatedthe in a neglected area of the bookshop. lay completelyemptiedanddisused covered withwoodenblinds, which manifestation Iusedashop window 1 use whatnature hastooffer. be anecessityoneday,sowebetter material foraGarden ofEdencould cannot bedestroyed. Thebuilding intocanonlydisintegratebut turn waves. TheashesthatBreda has Ugljan, nobodycantameAdriatic Nobody canstealthesunseton could excitesomeAdam. Forthistypeofartistic,cultural author’s bookstorewindow whichenabledallinvited author’s bookstore

socijalističke revolucije inZagreb.) in bookstore „Znanje“inUlica window note: The culture ingeneral.(Translator’s offer awideroutlookonartand manuscripts, objectsetc.Itriedto photocopies, newspaperarticles, books, artmonographs,photos, own work,theirselectionof wasoneofthewindows author’s bookstore Marko Sosič / BIOGRAPHY OF FUGACITY page 64 page 65 it. Likeamoment before wearing the seawithherimage reflected in body, andaround herthesurfaceof see herunwrapthecanvasfrom her And thenIseeheragain,Breda, I into herinterpretation ofart. iconography thatiselegantlywoven prime sources ofemotioninthat in herlife andherchildhood,like the loveofher, Breda, immersed that hehasjustembraced.For think abouttheOrthodoxreligion him havingnotbeenbaptised,I about hisCroatian origins, about inside me.ForamomentIthink uncertainty andsilenceopensup baptised’ hesays,andanabyssof of myhouseinTrieste. ‘Igot Then IhearHrvoje’s words infront its longjourney. migratory bird thathasjust finished Primavera makes herseemlikeaByzantine is wrappedaround her, undoesand reaches herankles.Thecanvasthat transparent sea.Theseathat just before enteringthecalmand is thecanvasthatBreda wore At thesametime,insideme,there Lucien Freud. ThefaceofHrvoje. in mymemorieslikeapaintingby like anoilpainting.Hisfacelives standing outinthedarkspringsky His faceisthefirstthingIsee , itmakesherseemlikea advance offascistideologiesand no longerstandtheunstoppable Yugoslavia. HrvojeandBreda can The warisabouttokickoff in part ofherchildhoodmemories. canvas, thesea.Asif shehadworn Byzantine Renaissance.Her, her the Renaissance,afigure from the of herhand.Itislikeascenefrom opened, withalitcandleinthepalm finds herself now,withherarms black skirt.Atthesamepointshe in theeyes,withawhiteshirtand her painting,whilestaringatme Tuscany andforalongtimeIreceive So, twoweekslater theyleavefor seems nottohave anyheating. home ofanEnglishcurator, which to moveTuscany, tothe holiday fortheirlives.Theyplan concern fight withanunknownfuture, with about howmuchsheshouldhaveto the more itshines,themore Ithink smile isbeautiful andradiant, but stay forabouttwoweeks.Breda’s I liveinwithmyparents. They At firstI receive theminthe house of thepeople. that forthisreason theyare traitors that theyare escapingabroad and abandoning theirhomeland,but say thatinreality theyare not The nationalfascistsinZagabria decide toabandontheirhomeland. Marko Sosič / BIOGRAPHY OF FUGACITY page 66 Then London,where once again bird. a coat,around thattired migratory painting wrappedaround herlike memories. AndIseethecanvas,her again, tired andexhausted from to herbody,thenloweringthem while shelifts herarmsup,vertical sea, withthewateratankledepth, standing inthecalmandtransparent And thenIseethemagain,Breda, could survivethewinter. people brought suppliessothey them inthatperiod,thelocal Later Idiscoverhowhard itwasfor about them. no news.Idonotknowanything remember howIsentthatlittle many toanewskiosk. Idonot trader, butstillImanage to sell I trysellingthecards. Iamno refined. wild salesinitiativeseemsnobleand hands andonhercanvaseventhis from herownmemory.In as if shehadcollectedthoseflowers other cards likethoseinthe world, with wildflowers.There are no to London.Ilookatallthosecards in Trieste andtosendthemoney flowers. Heasksmetosellthem Breda haspaintedsomewild sends mesomeEastercards where they havetofightsurvive.Hrvoje Hrvoje. ThenalsoRadeleavesfor Rade ismyonlylinktoBreda and a certainway,inmyimagination, act intheplayIwasproducing. In was studyingSlovenesohecould a fewmonthsinthetheatre Idirect, Šerbedžija, whoIoffer aplacetofor it. ItistheperiodwhenRade wickedness andtrytounderstand in mylife Ihavetodealwithhuman painful experiences,forthefirsttime them. Mylife istoohectic,fullof Then Ihearnothingmore from money toLondon. her story,discovers herbody. in thecalmandtransparent sea,tells woman, likealover andfriend,she, there are hidden. Likeamotherand still doesnotknowhowmanytraps destination, initssafe-haven,and a longtimeandhasarrivedatits Like abird thathasbeenflyingfor so fullofsuffering anddignity. movements unveilstousherstory, woman whothrough herarm away,likeaByzantine turning And thenIseeBreda, asshe is battling forhisandtheirsurvival. battling tokeepforhisartisticfaith, I canhearfrom hisvoicethat heis I amdoing,whatwriting,and from Hrvojewhere heasksmewhat Except forafewtelephonecalls London andIlosealllinkstothem. page 67 one monthtoIreland, Ijustdonot possessed, traveling, writing.Igo and forwards likeIhavebeen old friend.Iamgoingbackwards Now Breda istheonlylinklefttomy because ofmypowerlessness. feel powerless,Ialmostguilty voice shetellsmeofhisdeath.I abroken heart ofthenight.With Then IhearBreda’s voiceinthe it was. be thelasttimeIeverseehim.And and Ihavethefeelingthatwill happy. Thenwesayourgoodbyes Beckett. Agift thatmakes mevery a book.ThebiographyofSamuel read it?BackthenHrvoje gives me me havetheirscreenplay so Ican to finally read. Cansomeone let and noonewantstogiveitme read it,becauseIdonothave it screenplay, becauseIhave never screenplay, Istilldonotknowthe and hisfilm.Idonotknowthe face isgrey. Iamhappyforhim already lefttogoameeting.His his Ljubljanaapartment,Breda has years. ThatdayHrvojeisalonein I meetthemagainaftermany real film.TheSloveniantelevision. a co-producer fortheirfilm,a later inLjubljana.Theyhavefound And thenIseethemafewyears She showsmesomephotographs passes afterawhile. it provokes suffering. Thisfeeling that mypresence irritatesher, that with Hrvoje,Ihavethesensation her, intheroom where sheslept Later, overthosedaysIspendwith alcohol andanirrationaljoy. a whiskey,weare drunkfrom the station.Weme atVictoria drink for London.Breda iswaitingfor coach thatleavesDublineveryday I reach Englandbyferryandthe stop. IgotofindBreda inLondon, person standingat thecross-roads. of thehotel,blurred detailofa of across-roads from thebalcony half-closed hotelwindow,theview the viewofcitythrough the an unmadebedwithwhitesheets, San Paolo,1994,HotelResidential, of amanandchildinthesnow. a conservatory,theblurred detail coloured covers,awindow facing with predominantly yellow multi- Toronto, December1992,abed a viewontothevillage,clouds. with yellowsheets,awindow Tuscany, September1991,abed their road. FibbianoMontanino, I lookatthereflexion inthe trees, abandoned corrugatediron shacks, look attheTuscan countryside,the of theirmovesandhisdeath.I Marko Sosič / BIOGRAPHY OF FUGACITY page 68 a windowfacingtheawningof and theotherforfamilyorfriends, two emptybeds,oneforthepatient December 1997,HomertonHospital, detail ofanemptyroad. London, glass thedistantcity,road, the the windowhalf-closed, beyondthe with ahighwoodenheadboard, George’s Hotel,theroom, thebed is located.Liverpool,April1996, where thecorrugatediron structure a fencethatborders theproperty of asuburbanstreet, thedetailof the buildingsofcity,view sheets underahighwindow,facing 1995, ahotelroom, abedwithblue Dresden, LangeStrasse,November chestnut tree withoutleaves.The closed. Outsidea glimpse ofahorse of awindowwith the curtainshalf- his ashesonakitchentableinfront another desknexttoabrasslamp, to thekitchensink,hisasheson next Road. Hisashesintheurn of theapartmentwindowinLenthall rectangular onthedeskinfront urn And finallyhim,hisashesina branches. the windowframe,bitsofbirch nearly reach theground. Adetail, leaves onthebirch brancheswhich courtyardthe internal window,the shoots ofabirch tree, theviewfrom hospitalcourtyard,an internal the the knowledgeofcreation andof if thesunthatcarrieswithin itself that itstillisnotthemoment,as another, butitisasif sheknows is settingfrom onemomentto makes itunderstoodthatthesun humanity. Thelightallaround andancientstoryof the modern the canvastotellherversionof Then IseeBreda againwhoraises sun insomepartoftheapartment. litupbythe of thisfriendinanurn bed withastripedcover. Theashes withitsmortalremainsurn onthe listen tothesilence inhereyesand and iscalmtransparent, whileI water, whichreaches herankles I lookatBreda standinginthesea house, silent,nowandthen,while and tobestill,silent,infront oftheir again, togobacktheiroldhouse cancelled, soIknowmustgothere photographs onthetelephoneget I observeit,photographbut I aminfront oftheirhouseand again andagain. again. IfinditinLenthallRoad, I lookfortheirlasthome,againand not want,doestoset. by thelastraysofthissunthatdoes her facesculptured inmarble andlit with herglancetotheright, as longBreda staysinthe water, art doesnotwanttoset,atleast page 69 unveil herownstoryfulloflight. I watchherunwrapthecanvasto biographies page 70 page 71 Kumacreola -MigrantWritings). 2015(MigrantBooks, Isernia 2008 andCosmoIannoneEditore, communities, Trieste 2005, 2006, of immigrantassociationsand by C.A.C.I.T. –Coordination The authorofshortstoriespublished the trusteeofherarchive. Trieste Contemporanea,Trieste) and FilmFestival,Trieste;International activity ofherwork(Imilleocchi- collaborator intheexhibition works oftheartistBreda Beban, in Trieste. Assistantinvariousvideo Lumpur andsince1990hassettled in Zagreb, livedinRome,Kuala DUBRAVKA CHERUBINI internationally. has performedbothnationallyand the publisherandpublicist.She re-imagines theatricallythe role of working collectivelysince2007) (Ana Čavić&RenéO’Drobniak, artist, whilethe performer sheisanexperimental Ladies ofthePress* and aspartofthecreative duo and startedperformingbothsolo Slade SchoolofFineArtin2008 UK. Shegraduatedfrom the performance artistbasedinLondon, ANA ČAVIĆ isaYugoslav-born Ladies ofthePress* . Asasolo is born isborn

internationally. specialist publications,locallyand regularly withinstitutionsand in Ljubljana.Hecollaborates for ContemporaryPhotography coordinator atPhoton–Centre worked asacuratorandprogramme art. Between2006and2016he images andotherformsofmedia specialises inphotography,moving editor andeducator;hiswork who worksasacurator, publicist, MIHA COLNERisanarthistorian has writtenandillustrated articles the moralvalueof aesthetics,she undiscovered andpassionate about writer. Attracted by the unusual and fashion designerand journalist, FIORA GANDOLFIisanartist, eighth edition. local artists;thefestivalisnowinits and Arts, invitingbothinternational the Jafre BiennialofContemporary until 2003.InJafre hefounded Flecha SpaceinJafre (Catalunya) London (1987-1992)andtheMario directed theMarioFlechaGallery in where heworkedasanartist and Argentina before movingto Europe, publisher. in Hestudiedjournalism crafstman,writerand born MARIO FLECHAisanArgentinian- biographies page 72 art inthecontextofpost-colonial studies ontheworkofBreda Beban is currently pursuingherdoctoral University ofZagreb, where she History andinPhilosophyatthe curator. ShegraduatedinArt MUNIVRANAisanart MARTINA collages ingalleriesandmuseums. paintings, drawingsandfabric art performancesandexhibited on fashionandcustoms;created Dance Group; publishedbooks costumes fortheCarolyn Carlson Argentina andItaly;created and magazinesinFrance,Spain, about fashionfornewspapers as theNationalTheater inNova several theatres andfestivals,such worked asartisticdirector for University ofZagreb, andhe the AcademyofDramaticArts, film director. Hegraduatedat Slovenian writer, theater and MARKO SOSIČisaTrieste-born Collection ofPaintings. she iscurrently responsible forthe Contemporary ArtinZagreb, where moved in2005totheMuseumof Contemporary ArtZagreb and then curator attheSCCA-Institutefor became program coordinator and and feministtheory.In2001she He hasdevotedthewholeofhis of PhilosophyZagreb University. comparative literature atthe Faculty a degree inSlavonicstudiesand IVAN BERISLAV VODOPIJA languages. have beentranslatedinvarious stories andfournovels,which children, twocollectionsofshort radiophonic andtheatre playsfor He istheauthorofnumerous Permanent TheaterinTrieste (Italy). Gorica (Slovenia)andtheSlovene and amemberofthe Executive vicepresident ofAcademia Moderna Croatian IndependentPublishers, She wasalsopresident ofthe which sheisthecurrent president. Contemporary ArtinZagreb, of co-founded theInstitutefor Art inZagreb andin1998she the Soros CenterforContemporary Zagreb. Inthe1990sshedirected art criticandcuratorbasedin JANKA VUKMIRisanarthistorian, since hisstudentdays. He haswrittenpoetryandprose what usedtobeYugoslavia. of literature andartinthe whole of informed aboutbooksinthearea today isheldtobeoneofthemost working life tothebooktrade and took page 73 Croatia andinternationally. contemporary artpublishedin of numerous publicationson an editor, publisherandauthor Board ofAICA–Croatia. Sheis about Breda Beban page 74 page 75 U.S. Breda BebanlivedinLondon contemporary artin Europe andthe been exhibitedatmajor museumsof a rangeofproductions thathave or filmmaker, shehasfashioned or incollaborationwithotherartists 1997. Working independentlyand/ until Horvatic’s untimely deathin they continuedtheircollaboration eventually settlinginLondon,where travelled from placeto before the warinformerYugoslavia, they together in1991afteroutbreak of Horvatic inthemid-eighties.Exiled her partnerandcollaboratorHrvoje and photographyaftermeeting began toworkwithfilm,video, painter andperformanceartist,she Zagreb. Startinghercareer asa at theAcademyofFineArtsin and Croatia. Shestudiedpainting Beban wasraisedinMacedonia ex-Yugoslavia in1952,Breda inNoviSad, authenticity. Born of intimacy,vulnerabilityand recognized asuniqueexpressions Beban’s filmsandphotographsare geography, politicsandlove.Breda on themarginsofbigstoriesabout subjectivity andemotionthatoccur deals withcontemporarynotionsof creative producer whosework an artist,filmmakerandcurator/ Breda Beban(1952-2012)was Hallam University. Professor ofMediaArtsatSheffield and Sheffield, where shewas page 76 page 77 page 78 by this publicationhasbeensupported www.triestecontemporanea.it [email protected] +39 040639187 via delMonte2/1 ITALY -34122Trieste Trieste ContemporaneaCommittee ISBN 978-88-903025-2-7 Juliet Editrice,Trieste page 79 page 80 page 3 page 4 ISBN 978-88-903025-2-7 Juliet Editrice,Trieste