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Променливиот Лик На Сеќавањето the Changing Face of Remembrance Променливиот Лик На Сеќавањето the Changing Face of Remembrance

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Променливиот Лик На Сеќавањето the Changing Face of Remembrance Променливиот Лик На Сеќавањето the Changing Face of Remembrance променливиот лик на сеќавањето the changing face of remembrance променливиот лик на сеќавањето the changing face of remembrance 30 June - 9 July 2012, Library of the Ss. Cyril and Methodius University, Skopje 10 – 19 July 2012, Center for Balkan Cooperation LOJA, Tetovo Организатор | Organised by Forum Ziviler Friedensdienst (forumZFD) Во соработка со | In cooperation with Training Center for Management of Conflict | Skopje Embassy of the Federal Republic of Germany | Skopje CIVIL - Center for Freedom | Skopje Center for Balkan Cooperation LOJA | Tetovo КАТАЛОГ | CATALOGUE Издавач | Publisher Преводи | Translations Forum Ziviler Friedensdienst Luan Morina, Qerim Ondozi, Kristina Thaqi (Albanian) Kralja Milutina 11 Jelena Frančić, Sanja Katarić, Milica Radulović (Bosnian, Croatian, Serbian) 11000 Belgrade, Serbia Denise Dewey-Muno (English) Kristina Naceva, Rodna Ruskovska (Macedonian) Уредници | Editors Daniel Brumund, Christian Pfeifer Уметнички директор | Art director Aleksandar Milić - MILIĆ DESIGN Коректура | Proofreading Daniel Brumund, Milica Radulović, Igor Serafimovski Печатење | Printing Kolor Pres, Lapovo (Serbia) Текстови | Texts © Авторите | The authors © Belgrade, Forum Ziviler Friedensdienst (forumZFD) Фотографии | Photographs ISBN 978-86-915567-1-6 © Marko Krojač 2 содржина / content Вовед Introduction 4 - - - Dr Lutz Schrader Спомениците и политиката на идентитети на Западен Балкан Monuments and Politics of Identity in the Western Balkans 6 - - - Dr Bojana Pejić Југословенски споменици - уметноста и реториката на моќта Yugoslav Monuments: Art and the Rhetoric of Power 10 - - - Valentino Dimitrovski Назад во минатото: спомениците и сеќавањето во Македонија Back to the Past: Monuments and Remembrance in Macedonia 14 - - - Dr Senadin Musabegović Симболичкото значење на спомениците во Босна и Херцеговина Symbolic Significance of Monuments in Bosnia and Herzegovina 18 - - - Dr Vjeran Pavlaković Оспорени истории и монументални минати времиња: Contested Histories and Monumental Pasts: 22 хрватската култура на сеќавањето Croatia’s Culture of Remembrance - - - Shkëlzen Maliqi Војна на симболи: сеќавањето во Косово The War of Symbols: Remembrance in Kosovo 26 - - - Mirjana Peitler-Selakov Меморијалната уметност во Србија од Балканските војни до денес Memorial Art in Serbia from the Balkan Wars until Today 30 - - - Фотографии Photographs 34 - - - Marko Krojač Биографија Biography 92 - - - Биографии на авторите Authors’ Biographies 94 3 вовед Улогата на спомениците е да го одбеле- и темпорални простори. Трансформацијата, Навистина е многу впечатлива изложбата за сликата или за симболичкиот концепт на жат споменот на конкретен настан или лич- уништувањето и запоставувањето на за спомениците во поранешна Југославија сопствената група или нација. Така, кога се ност од минатото за да создадат политич- постојните споменици претставуваат „ажу- што ја организира „Форум ЗФД“, а која размислува за споменикот како појава, тре- ки соодветни концепти за идентитетите де- рирани“ политички концепти на идентитет и сега се прикажува и во Скопје. Споменици- ба прво да се испита што се сакало да се по- нес. Иако овие концепти на идентитет можат се, следствено, „онолку релевантни за иден- те се популарни во сите земји на поранешна стигне со него. Каква порака ни пренесу- да ги поделат луѓето и да поттикнат на на- титетот“ колку и естаблишментот за нови- Југославија. Целта на поголемиот број спо- ва тој? силство, тие можат да имаат и помирувач- те споменици. Затоа, за изложбата „МОну- меници е да се помогне во националната по- Во Германија, споменици се подигаа најчесто ки ефект и да доведат до создавање на за- МЕНТИ“ е важно не само да го покаже сами- трага по идентитет и за справување со наци- за жртвите на националсоцијалистичкиот едници. По распаѓањето на Социјалистичка от споменик, туку и неговото опкружување. оналните трауми предизвикани од крвавото режим и тоа често дури децении по Федеративна Република Југославија се Кога го најдовме Марко Кројач, најдовме фо- распаѓање на Југославија. Ова е разбирливо завршувањето на Втората светска војна. Тие јавуваа концепти за идентитет со акутно на- тограф што покрај тоа што исклучително до- и оправдано. се места каде што преживеаните и потомци- ционална двосмисленост во државите кои бро го познава регионот, умее и да ги прет- За мене е впечатливо како изложбата успе- те ги оплакуваат жртвите. Тие се потсетник ја наследија. Овие идентитети често беа де- стави спомениците во нивниот просторен ва да ги поврзе меѓусебно малкуте споме- за потомците на жртвите, но исто и за сто- финирани со разликувањето од другите, со- контекст. ници во Кралството Југославија со тие во рителите дека жртвите никогаш не смеат да седни националности, на пример, преку Изложбата „МОнуМЕНТИ“ ја организира ре- Социјалистичка Федеративна Република се заборават. И ова може да има улога во нагласувањето на религиозната поврзаност гионалната канцеларија на Форум ЗФД за Југославија (СФРЈ) и со денешните. За пу- обликувањето на националниот идентитет. или лингвистичките разлики. Иако ова може- Западен Балкан и покрај во Белград ќе биде бликата во Скопје, неверојатно е како по Имам желба во 21-иот век споменици- би е разбирливо во смисла на големината и прикажана и на други проектни локации како често апстрактните споменици од СФРЈ, те да станат објекти и места на сеќавање на историскиот тек на градењето на држа- на пример, Скопје, Приштина и Сараево. Во вклучувајќи ги тука и потресните спомени- и на помирување, а не на провокација и на вите на Западен Балкан, тоа, сепак, има не- сите земји во регионот има потреба да се ци во Јасеновац и во Косовска Митрови- исклучување. Еден афоризам на Станис- гативно влијание врз реализирањето на не- најде друг начин за соочување со минатото ца на познатиот архитект и хуманист Богдан лав Јержи Лец поттикнува на размислување: опходните процеси на модернизација во све- и да се преиспитаат доминантните концепти Богдановиќ, денес следуваат историски спо- „Најголемиот број споменици се шупливи“! тот во кој сите сè повеќе се поврзуваат. По- за идентитетите. Конкретно, ова значи кри- меници што глорифицираат некои одамна натаму, тоа го попречува поконструктивното тичко размислување за сопственото минато, минати времиња. Гудрун Штајнакер соочување со минатото што е нужно потреб- признавање на жртвите на другите народи Спомениците го обликуваат и го зазема- Амбасадорка на Федеративна Република но за забрзување на регионалниот дијалог и поцелосно препознавање на врзувачките ат јавниот простор. Ги толкуваат настаните Германија, Скопје за итните политички и економски прашања и елементи што недвосмислено постојат преку и пренесуваат пораки. Целта е да предизви- за остварувањето траен мир. и над етничките граници. каат емотивна реакција кај набљудувачот. Со изложбата „МОнуМЕНТИ“, Форум ЗФД Следователно, спомениците се дел од кул- сака да покаже како концептите на иденти- Кристијан Фајфер турната меморија што треба да го облику- тет се развиле во земјите на Западен Бал- ва идентитетот независно од тоа колку спо- Регионален менаџер за Западен Балкан кан во текот на 20. век. Со оглед на нивна- мениците навистина имаат врска со истори- та улога, спомениците претставуваа соврше- Forum Ziviler Friedensdienst (forumZFD) скиот настан или личност. „Историските спо- ни средства за претставување на тие проце- меници“ често се претставување и визија на си на интересен начин. Еден ист споменик „тоа“, „тој“ или многу поретко на „таа“ и как- понекогаш може да предизвика разни кон- ви би требало да бидат. Повеќе се работи цепти на идентитет за конкретни географски 4 introduction The role of monuments is to commemorate monument can sometimes even conjure up The exhibition organised by forumZFD on of one’s own group or nation. Hence when a specific event or personage from the past different concepts of identity for specific monuments in former Yugoslavia now being considering the phenomenon of monuments, so as to create politically compliant con- geographic and temporal spaces. The trans- shown in Skopje is very impressive. Monu- the intention behind it should always first be cepts of identity in the present day. While formation, destruction and neglect of existing ments are in demand in all succession states enquired. What is the monument’s message? these concepts of identity can divide peoples monuments constitute “updates” of political to the former Yugoslavia. Most of these monu- In Germany, monuments for the victims of the and foment violence, they can also have a concepts of identity and are consequently ments aim to contribute to the national search National Socialist regime were mostly only reconciliatory effect and lead to the formation as “relevant to identity” as the establishment for identity and to cope with the national erected decades after the end of the Second of communities. Following the collapse of the of new monuments. Hence it is important for trauma in the wake of the bloody collapse World War. They are places for the survivors Socialist Federal Republic of Yugoslavia, con- the MOnuMENTI exhibition to not only show of Yugoslavia. This is understandable and and descendants of the victims to mourn. cepts of identity with an acutely national bias the monument itself, but also the surround- legitimate. They are a reminder to the descendants of were experienced in the succession states. ing area. With Marko Krojač, we successfully I find it remarkable how the exhibition suc- both the victims and the perpetrators to never These identities were often defined by the acquired a photographer, who not only
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