t Ne ulazeÊi u analizu uzroka i posljedi- l Restraining oneself from doing analysis ruæica ca, pitanja koliko su za neke od bitnih of causes and effects, and from won- pojava na suvremenoj likovnoj sceni bili dering to which extent the fall of commu- πimunoviÊ vaæni ili presudni pad komunizma, nedavni nism, the recent wars in ex-Yugoslavia, ratovi na prostoru bivπe Jugoslavije, post- postcolonialism or the final realization of kolonijalizam ili konaËna provedba ideje o the idea of Europe as a union were crucial Europi kao o zajednici zemalja, moæe se for some important phenomena on the con- sislej xhafa - utvrditi da se Stari kontinent naπao pred temporary art scene, one could argue that zagreb boogie neodgodivim pitanjem odreenja vlastita the Old World faced the urgent question of identiteta. Umjetnici s donedavno izolira- determining its own identity. Logically, woggie nog dijela Europe postali su, logiËno, jedni artists from that part of Europe that was od najtraæenijih protagonista, dio bez kojeg until recently isolated became almost the je nemoguÊe sloæiti puzzle novih povijesnih most wanted protagonists, the indispens- sislej xhafa - okolnosti - shvatiti ih i konaËno procijeniti able part for completing the puzzle of the buduÊnost. Zapadni kustosi otkrivaju sva- new historical circumstances, in order to zagreb boogie kodnevno nove i nove zlatne rudnike, a tak- comprehend them and finally to assess the va je klima osigurala i da mnogi, koji su iz future. The western curators reveal new woogie politiËkih i drugih razloga htjeli stvarati na gold mines every day, and such climate Zapadu, dobiju priliku. Jedan je od njih ensured that many artists who wanted to Sislej Xhafa, Albanac s Kosova. Performan- create in the West now could seize their sima, instalacijama, fotografijom i videom opportunity. Sislej Xhafa, Albanian from na granici ironije i subverzije djeluje od , is one of them. With his perfor- Italije i Nizozemske do Pariza, New Yorka i mances, installations, photographic and Tokija, prije svega na propitivanju osjetljivih video works bordering on irony and subver- polja /ilegalnih/ migracija, globalizacije i sion, he travels from Italy and Netherlands, multikulturalnosti. U performansu Stock Ex- to , and , questioning change, izvedenom na Manifesti 3 u Ljub- the sensitive fields of (illegal) migrations, ljani, bio je odjeven u poslovno odijelo i globalization and multiculturality. In his izvikivao vozni red vlakova ciljajuÊi na tlap- performance Stock Exchange, performed in nju da nas, napustimo li ekonomski nesta- 3 in , he was wearing a bilnu tranzicijsku zemlju, Ëeka blagostanje business suit and calling out train schedule, Europske Unije. Xhafa je provocirao i kad je alluding to the illusion that, if we leave an transparentom visokim 12 metara prekrio economically unstable transition country, jednu talijansku crkvu koja se obnavljala i the well-being of European Union is just najavio gradnju dæamije. Smislio je i novu awaiting us. Xhafa was provoking also sportsku disciplinu, trËanje s deblom, a when he covered an Italian church, that osim πto je u Fondaciji Michelangela Pis- was being renovated, with a 12-meter ban- toletta u Bielli organizirao okrugli stol na ner, and announced that a mosque was koji je pozvao ostarjele antifaπiste nezado- going to be built there. He also invented a voljne cijenama elektriËne energije, ili, new athletic discipline, running with a poigravajuÊi se omiljenom temom Vanesse trunk, and besides organizing a panel dis- Beecroft, umjesto bijelih ljepotica na scenu cussion in Michelangelo Pistoletto Founda- doveo crne emigrante i skitnice, nadahnu- tion in Biella, to which he called aging Êe za sudjelovanje na projektu Nivea u antifascists complaining about high elec- amsterdamskoj Galeriji W1 39 nalazi u tricity prices - or playing with Vanessa Be- Rembrandtovoj NoÊnoj straæi koju pretvara ecroft's favorite theme and bringing to the u æivu sliku i happening. Proπle je godine scene black emigrants and vagabonds gostovao u Zagrebu. U suradnji s Galerijom instead of white beauties - he found enough proπirenih medija bio se u sveËanost inspiration to participate in the Nivea pro- otvorenja obnovljenog MeπtroviÊeva paviljo- ject in Gallery W1 39 in na ukljuËio site specific projektom Zagreb Rembrandt's Night watch, which he trans- Boogie Woogie. Njegov rad koji Êe, odluËe- formed to a living picture and a happening. no je, trajno osvjetljavati paviljon, neki Last year, he visited Zagreb. In collabora- hvale, drugi zbog njega negoduju. Jasno, u tion with PM Gallery he participated in the pitanju je ne samo Ëinjenica da se radi o celebratory opening of the renewed Meπ- iznimnom arhitektonskom zdanju, nego i o troviÊ Pavilion with his site specific project 1. S. Xhafa, Stock Exchange, 2000. njegovoj slojevitoj povijesno-politiËkoj sud- Zagreb Boogie Woogie. His work, which bini. U svakom sluËaju, rijeË je, pogleda li will, as it has been decided, permanently 26 INTERVIEW

1 provide MeπtroviÊ Pavilion with light, pro- voked mixed reactions. Clearly, it is not only because of the fact that this is an exceptional building, seen from an architec- tural standpoint, but also because it had a complex historical/political fate. In any case, Xhafa's work presents a step away from it. But, the artist says that, besides paying tribute to the rich lumino-kinetic and geometric tradition, from Exat and New Tendencies to the present, it is a continua- tion of his dealing with the migrations theme.

llCroatia is well known by its, I dare say, crazy kinetic and geometric experiments; from the fifties, much was accomplished in this field. Therefore, I became interested in the kinetics, moving light before all, in the way Croatian artists were treating it. Zagreb Boogie Woogie, which naturally recalls Mondrian's Broadway Boogie Woogie, con- 2 3 sists of neon lights placed on the pillars of the circular façade of MeπtroviÊ Pavilion. se Xhafina praksa, o svojevrsnom odmaku The installation is visible only during the od nje. Ali umjetnik Êe reÊi kako je, osim πto night, and I use four colors of light - yellow, je hommage bogatom lumino-kinetiËkom i blue, white, and red - which are Mondrian's geometrijskom naslijeu od EXAT-a i Novih basic colors, too. In so doing, I do not insist tendencija naovamo, ostvarenje nastavak on the esthetics, but on the physical expe- njegova bavljenja temom migracija rience of the work, on movement. The installation, and, of course, the magnifi- nn Hrvatska je poznata po, gotovo bih cence of the modernist building, can be mogao reÊi, ludim kinetiËkim i geometrij- fully experienced only from a distance. It is skim eksperimentima. Na tom je polju od best if you drive around the building in a pedesetih postignuto iznimno mnogo. car. To see some things clearly, you need Zaintrigirala me, dakle, kinetika, prije svega distance. That is why I included the move- svjetlo u pokretu na naËin kako su se tim ment. In this way, I emphasize the mean- fenomenom bavili ovdaπnji umjetnici. ing of geographical determination and Zagreb Boogie Woogie, πto je, naravno, po- exchange, all the time believing that the vezano s Mondrianovim Broadway Boogie migration culture is characteristic of Woogiejem, sastoji se od neona postav- Croatia, too. When I refer to Mondrian's ljenih na stupovima kruænog proËelja Meπ- work, it is because of the physical and emo- troviÊeva paviljona. Instalacija se vidi jedi- tional mobility it contains and emits. Of no tijekom noÊi, a koriste se Ëetiri boje course, the interpretation of both traditions svjetla - æuta, plava, bijela i crvena - πto su stems from my dealing with the theme of i Mondrianove osnovne boje. Pri tom manje movement, or more precisely, migration. inzistiram na estetici, a viπe na fiziËkom doæivljaju rada, na pokretu. Instalacija i, llThe Zagreb project seems to be a kind dakako, veliËajnost modernistiËkog zdanja, of stepping away from your practice, in potpunoma se doæivljavaju tek s dovoljne which irony is inevitable, as you had udaljenosti. Najbolje ako se automobilom already shown in your first noted action, a kruæi oko zgrade. Da bi se neke stvari vid- kind of subversion in Biennale in jele jasnije, potreban je odmak. Zbog toga 1997. sam ukljuËio pokret. Na taj naËin potenci- I was born in Kosovo and when I left it, ram znaËenje zemljopisne datosti i razmje- I was not forced to do so, as many others ne, a sve vjerujuÊi da je i Hrvatskoj svoj- were, but I left because of my personal rea- stvena kultura migracija. Kada se pozivam sons. I was studying and working in Italy, in na Mondrianov rad, to je zbog fiziËke i emo- , and now in New York. Mobility is 28 RAZGOVOR cionalne pokretljivosti koju sadræi i odaπilje. Naravno, interpretacija oba naslijea proiz- lazi iz mog bavljenja temom kretanja, toËni- je migracija. nn ZagrebaËki projekt Ëini se na neki naËin odmakom od vaπe prakse u kojoj je ironija neizostavna, kao πto ste bili pokaza- li veÊ svojom prvom zapaæenom akcijom, svojevrsnom subverzijom na venecijan- skom Bijenalu 1997. godine. Roen sam na Kosovu i kad sam oti- πao, to nije bilo zbog prisile, kao kod mnogih drugih, nego zbog osobnih razloga. Studirao sam i radio u Italiji, Londonu i sada u New Yorku. Pokretljivost je dio moje kulture, emigracija i migracija su dio al- banske kulture na Kosovu, a vjerujem i druπtava koja ga okruæuju. Radi se, meu- tim, o vrlo starom fenomenu, a danas moæ- da stvaramo neku vrst stereotipa raspravlja- juÊi o njegovu podrijetlu. O emigrantima, boat people kako ih se naziva od Vijetnam- skog rata, govorimo iz pozicije suvremenos- 4 ti. Dakle, ono Ëime sam se bavio do 1997. a part of my culture, emigration and migra- 2-3. S. Xhafa, Nivea, Amsterdam, 2003. nisam javno pokazivao, a tada sam shvatio tion are a part of Albanian culture in Koso- 4. S. Xhafa, Zagreb Boogie Woogie, Zagreb, Dom da moram izaÊi s radom, dijeliti ga i kritiË- vo, and also of neighboring societies, as I hrvatskih likovnih umjetnika / House of Croatian ki sudjelovati, postavljati pitanja. Nisam bio believe. However, it is a very old phenome- Artist, 2003., foto / photo: Ivana VuËiÊ pozvan na Bijenale, ali sam doπao i smislio non, and we are today maybe creating a ilegalni albanski paviljon. Projekt sam naz- kind of stereotype when we discuss its ori- vao Clandestine Albanian Pavillion. Odje- gin. We talk about emigrants, the boat peo- ven kao nogometaπ, s dresom naslikanim ple, as they are being called since the na koæi, nosio sam loptu, a na leima torbu Vietnam War, from our contemporary posi- s albanskom zastavicom i radio prijemni- tion. Therefore, until 1997 I did not show kom s kojeg se Ëuo prijenos utakmice. in public what I was working on, and then Proπao sam kroz britanski i francuski pa- I realized that I had to go out with my work, viljon, igrao nogomet sa sluËajnim pro- to share it and critically participate on it, to laznicima. Nije tu bilo ni nametljivosti niti ask questions. I was not invited to the agresije. Prije sam tom, nazovimo je “po- Biennale, but I came and invented the ille- krenutom arhitekturom”, æelio ukazati na gal Albanian Pavilion; I called the project neprestanu razmjenu Zapada i Drugog ili Clandestine Albanian Pavilion. Dressed as a TreÊeg svijeta. KonaËno, bilo je to i pitanje football player, with team uniform painted zaπto Albanija, ili ako hoÊete Hrvatska, ne- on my skin, I carried a ball, and on my back maju svoj paviljon, a ima ga Luxemburg s I had a bag with a small Albanian flag and 200 tisuÊa stanovnika. Zar to πto Indija ne- a radio that transmitted a football game. I ma paviljon znaËi da nema umjetnika? went through the British and French Sustav umjetnosti je pervertiran, nema fair Pavilions, playing football with passers-by. playa. Ali kada to kaæem, nikako ne æelim There were no imposition or aggression; iskoriπtavati Ëinjenicu da sam Albanac; to je rather, with this, let us call it "moving archi- naslijee koje ni na koji naËin nisam spre- tecture", I wanted to point to the permanent man iskoristiti. Nacionalizam me ne zanima. exchange between the West and Second or Third World countries. Finally, it was the nn »esto istiËete da se ne radi o posla- question why , or Croatia, if you nju, da ne dajete odgovore. Ipak, koliko will, did not have their own pavilions, and mislite da provociranjem politiËkih, socijal- Luxembourg, with only two hundred thou- nih i kulturoloπkih pitanja umjetnost moæe sand inhabitants, had one? And, if India did utjecati na ustanovljene strukture moÊi? not have a pavilion, did it mean that there Ironija i utopija su, rekao bih, zdravi were no artists? The art system is pervert- 29 ed; there is no fair play. But when I say so, I do not want to exploit the fact that I am Albanian; I do not want to use this heritage in any way. I am not interested in national- ism.

llYou often emphasize that this is not about the mission, that you do not provide the answers. Still, how much do you think art can influence the established structures of power by provoking political, social and cultural questions? Irony and utopia are, I would say, healthy ways in which I pose complex social questions. When I say this, I do not mean exclusively politics, because today even talking about how smoking can dam- age your health is politics. I try to open a space for communication, to talk about humanity and respect. When, in my work, I mention countries like Switzerland, I allude to the economic monopoly, dirty money, the fact that even today we are "building 5 6 walls". I do not say we must demolish them, maybe only to jump over them or naËini na koje postavljam kompleksna make them "softer", or else we ourselves druπtvena pitanja. Ne mislim pri tome is- would fall into the trap of violence. kljuËivo na politiku, jer danas je politika i kada govorimo o πtetnosti puπenja ili o ll You emphasize this kind of softer nacionalnoj zastavi. Nastojim otvoriti pros- approach in many works dealing with resis- tor komunikacije, govoriti o ljudskosti i o tance to authority; you try to point out how poπtovanju. Kad se u radu dotiËem zemalja porous and permeable are the borders kao πto je, na primjer, ©vicarska, aludiram between the legal and the illegal. na ekonomski monopol, na prljavi novac, Talking about authorities, I will men- na Ëinjenicu da i danas “gradimo zidove”. tion a project for the Over the Edges exhibi- Ne kaæem da ih moramo ruπiti; moæda tek tion that Jan Hoet curated in . For my preskoËiti ili ih uËiniti “mekπima”, da se i work Pleasure over Flower, I transformed a sami ne bismo ulovili u zamku nasilja. police station - a place where you come, for instance, when you are arrested - into a lux- nnTakav mekπi pristup istiËete u mnogim urious, pleasant place with carpets, seven- radovima koji se bave otporom prema teenth-century mirrors, stylish furniture and autoritetu, nastojite ukazati koliko su flowers. So, I was dealing with authority in porozne i labave granice izmeu ilegalnog i a very, very sensible way, because I think legalnog. that attack is a sign of weakness. Kad smo kod autoriteta, spomenut Êu projekt za izloæbu Over the Edges, koju je u llAnd what about the arrested people, Gentu bio postavio Jan Hoet. Za rad how did they react? Pleasure over Flower policijsku sam sta- Of course, I didn't want to suggest that nicu, dakle mjesto kamo se dolazi, prim- they should have been happy for being jerice, zbog uhiÊenja, pretvorio u luksuzno, arrested. But, pleasantries aside, I was ugodno mjesto s tepisima, zrcalima iz 17. interested in attitudes towards work from stoljeÊa, stilskim namjeπtajem i cvijeÊem. both perspectives. A thief is outside the Dakle, bavio sam se autoritetom na vrlo, law, but if we consider that this is also a vrlo senzibilan naËin, jer smatram da je kind of work, I think I am not to judge him. napad znak slabosti. Someone may be forced to steal to stay alive, and, of course, the police don't need nnA πto je s uhiÊenicima? Kako su oni to treat him like an angel, but one must reagirali? bear in mind that he or she is a human 30 INTERVIEW Dakako, nisam htio sugerirati da bi tre- being. One must pay for committing a crime bali biti sretni πto su uhiÊeni. No, πalu na or misdemeanor, but there must be respect. stranu, zanimao me odnos prema radu iz Regardless of our past or country of origin. obiju perspektiva. Nekakav kradljivac jest izvan zakona, ali ako uzmemo u obzir da je llFor the project Piazza della Signoria, i to posao, mislim da nisam pozvan you yourself stole something from the osuivati. Netko je na krau prisiljen da bi pocket of a Moroccan man. What was the preæivio i, naravno, policija ga ne treba tre- message of this? I presume, the same as tirati kao anela, ali mora se imati na umu what you have just been talking about. da se radi o ljudskom biÊu. Za zloËin ili I named this project - that is, the pho- prekrπaj mora se platiti, ali mora biti tograph that remained as a record - Piazza poπtovanja, bez obzira na neËiju proπlost ili della Signoria, after the square in zemlju podrijetla. where I performed it. I played with the wide meaning of the word "stealing" in English. nn I sami ste za projekt Piazza dela The moment you step on the square, its Signoria krali iz dæepa jednog Marokanca. stealing beauty captures you, but if you Koja je bila poruka? Pretpostavljam upravo drink a cup of coffee there, you are being ovo o Ëemu ste maloËas govorili. robbed in a way. So I put my hand in some- Projekt sam, odnosno fotografiju koja one's pocket and stole something, as a log- je ostala kao zapis, nazvao Piazza dela ical continuation of the story. Three years Segnoria prema trgu u Firenci na kojem ago I collaborated with Antwerp Royal Phil- sam ga izveo. Poigrao sam se πirokim zna- harmonic in the Again and Again project. I Ëenjem rijeËi “kraa” na engleskom jeziku. requested that the members of the orches- 7 Dakle, Ëim se naete na Piazzi zarobi vas tra dress elegantly, and during the perfor- njezina ljepota, ali popijete li ondje kavu, mance they carried black masks with holes 5. S. Xhafa, Clandestine Albanian Pavillion, Venecija na odreeni ste naËin orobljeni. Zavukao for eyes and mouth. Just like terrorists. In a / Venezia, 1997. sam potom ruku u tui dæep i krao kao lo- similar manner, in this work I was dealing 6. S. Xhafa, Pleasure our Flowers, Gent, 2000. giËan nastavak priËe. Prije tri godine sura- with the complexity, multiplicity and 7. S. Xhafa, Piazza della Signoria, Firenca / ivao sam pak s antverpenπkom Kra- uniqueness of the contemporary society, Florence, 1998. ljevskom filharmonijom za projekt Again but I must emphasize again, without ideo- and Again. Traæio sam da Ëlanovi orkestra logical judgments. Finally, the work itself budu elegantno odjeveni, a za vrijeme iz- was performed in the photographic medium vedbe nosili su preko lica crne kape s because I didn't want to use the possibility otvorima za oËi i usta. Kao teroristi. U tom of public spectacle. When I was offered to sam se radu sliËno bavio kompleksnoπÊu, perform the same project, but live, with the raznolikoπÊu i jedinstvenoπÊu suvremenog New York Philharmonic, I refused. The aim druπtva ali, opet naglaπavam, bez ideoloπ- was not to associate the work with a certain kih predznaka. KonaËno, i sam rad ostvaren situation, but to generalize it; it could refer je u mediju fotografije, jer nisam æelio isko- to Chechnya, Kosovo or Mexico, as well as ristiti moguÊnost javnog spektakla. Kada mi to Ireland or Spain. je ponueno da isti projekt, ali uæivo, izve- dem s Njujorπkom filharmonijom, odbio ll You insist on general democratic sam. Cilj nije vezati rad uz odreenu situa- assumptions that imply respect for the ciju, nego ga uopÊiti. On se moæe odnositi other and the different. Post-colonial West podjednako na »eËeniju, Kosovo i Meksiko, is especially sensible for such dialog. But, kao i na Irsku ili ©panjolsku. how to find an adequate interlocutor? Don't you think that those who come form former nn Insistirate na opÊim demokratskim totalitarian or colonial countries speak from postavkama koje podrazumijevaju uvaæa- a different perspective, precisely because vanje drugog i drugaËijeg. Post-kolonijalni of their experience of living in them? Zapad posebno je senzibiliziran za takav I believe that everybody has one's own dijalog. Kako, meutim, pronaÊi ravno- system of values, by which one confirms pravnog sugovornika? Ne Ëini li vam se da that one exists, that one is present. But at oni koji dolaze iz bivπih totalitarnih ili koloni- the same time, we don't know for sure what jalnih zemalja, upravo zbog iskustva æivlje- we are and who we are. My place in the nja u njima, govore iz drugaËije pozicije? West is a matter of personal choice, and Vjerujem da svatko ima osobni sustav not something I got because of my origin, vrijednosti kojim potvruje da jest, da je not something inherited. I see value only in 31 8

8. S. Xhafa, Again and Again, 2000. prisutan. Ali istovremeno, ne znamo pouz- creativity and individuality. The trauma of dano πto smo ni tko smo. Moje je mjesto colonialism is too deep and the next two or na Zapadu stvar osobnog odabira, a ne neπ- three generations will feel it, I'm sure. The to dobiveno podrijetlom, naslijeeno. Vri- West and former colonies must solve many jednost vidim jedino u kreativnosti i indivi- traumas in dialogue. For instance, France dualnosti. Trauma kolonijalizma je predu- knows that it cannot close the borders just boka i osjeÊat Êe se, sasvim sam siguran, like that, because of everything that was joπ dvije ili tri generacije. Zapad i bivπe happening during the last century. The time kolonije moraju dijalogom razrijeπiti mnoge has come for the West to face the rise, if I traume. Francuska, primjerice, zbog svega may say so, of a new healthy identity. May- πto se dogaalo u proπlom stoljeÊu, zna da be very soon, the head of the Foreign Office ne moæe tek tako zatvoriti granice. Vrijeme in Great Britain will be of Indian origin, je da se Zapad suoËi s dolaskom, da tako maybe we will see the time when we will kaæem, novog, zdravog identiteta. Moæda Êe carry only one flag, without prejudices and uskoro ministar vanjskih poslova Velike fear. People do not easily accept the fact Britanije biti indijskog podrijetla, moæda that the world is not reserved for the select- Êemo doæivjeti vrijeme kada Êemo bez pred- ed, that we should once and for all reject rasuda i straha podizati samo jednu zas- the idea of domination. Freedom does not tavu. Ljudi se teπko mire s Ëinjenicom da mean depriving others of this same free- svijet nije rezerviran za odabrane i da bi tre- dom. The past is behind us, we should talk balo raskrstiti s idejom o nadmoÊi. Sloboda about it, but I will say also that some coun- ne znaËi liπavanje drugoga te iste slobode. tries do not succeed in this. This makes me Proπlost je za nama i o njoj treba govoriti. sad, not because I am one of, let's say, the No reÊi Êu i to da neke zemlje to joπ ne newcomers, but because there is no under- uspijevaju. To me æalosti, i to ne zato πto standing of the richness and power that lie sam jedan od, nazovimo pridoπlica, nego in this phenomenon of wandering, of peo- zato πto se ne shvaÊa koliko bogatstvo i ple moving from one place to another. moÊ leæi u tom fenomenu lutanja, kretanja Sometimes it is being done illegally, if we Ëovjeka od jednog do drugog mjesta. use the vocabulary of authority, but does it Ponekad to Ëini, kako se to kaæe rjeËnikom not enrich what we call legal? Of course, autoriteta, ilegalno. Ali, ne obogaÊuje li se only if there is an accord. tako ono πto zovemo legalnim? Naravno, ako postoji dogovor. llYou travel a lot. What experiences do you carry, for example from Israel, where nn Mnogo putujete. Kakva iskustva you were invited to lecture at the Tel Aviv nosite, primjerice, iz Izraela, kamo ste bili University? 32 RAZGOVOR pozvani odræati predavanje na telavivskom Israel has been at war for decades and sveuËiliπtu? I was interested to experience it from a per- Izrael je desetljeÊima u ratu i zanimalo spective we do not see on TV screens. I me doæivjeti ga iz perspektive kakvu ne vidi- talked to young people, to the generation mo preko TV ekrana. Razgovarao sam s fed up with war, but I am not a politician, mladima, s generacijom kojoj je dosta rata, so I cannot give statements. I know only ali nisam politiËar da dajem ocjene. Samo that people crave peace and that both znam da ljudi æude za mirom i da pate i Palestinian and Israeli side suffer. izraelska i palestinska strana. llAfter your experience of Europe and nnNakon iskustva Europe i New Yorka New York, you said you would go to rekli ste da odlazite u Bombaj. Bombay. Indija je za mene ideal multikultu- For me, India is the ideal of multicul- ralnog druπtva, iako o njoj ne znam niπta, jer tural society although I know nothing about ne æelim uËiti iz kolonijalne literature, nego the country because I don't want to learn je æelim iskusiti. Ne znam odakle dolazim, from colonial literature but to experience it kao πto ne znam odakle dolaze moja majka myself. I don't know where I come from, as ili sestra. Svatko od nas sa sobom nosi I don't know where my mother or sister osobno iskustvo. Indija Êe me svakako izne- come from. Every one of us carries a per- naditi. Koliko Êe to trajati, ne znam, ali bit sonal experience. India will inevitably sur- Êe poËetak drugaËijeg sagledavanja stvar- prise me. I don't know how long it will last, nosti. t but it will be a beginning of seeing the real- ity in a different way. l

prijevod / translation: Goran VujasinoviÊ

≥ Ruæica ©imunoviÊ, povjesniËarka umjet- nosti, kritiËarka, urednica emisije Kretanje toËke na Prvom programu Hrvatskog radija. Ruæica ©imunoviÊ, art historian and critic, editor of Kretanje toËke, programme on Croatian Radio. 33