Montraker, Vrsar Tko Je Tko?

24.-26.06.2010. Montraker, Vrsar Tko je tko?

Mariam Abdelghani – direktorica Boris T. Matić – umjetnički direktor Slobodan Vugrinec – predsjednik savjetodavnog odbora Mike Downey – član savjetodavnog odbora Ante Magzan – član savjetodavnog odbora Natalija Vugrinec – koordinatorica turističkih aktivnosti Đurđica Božić – izvršna koordinatorica festivala Diana Dropulić – koordinatorica festivala i PR Marin Grgeta – koordinator lokalne zajednice i PR Lana Ujdur – producent Selma Mehadžić – koordinatorica filmskog programa Pero Kvesić – koordinator književnog programa Ivan Balić Cobra – koordinator galerijskog programa Studio Sonda – vizualni identitet Ara electronic – tehnika Marko Godeč – prijevod filmova i titlanje Saša Halambek – fotograf

2 Who is who?

Mariam Abdelghani – Festival director Boris T. Matić – Artistic Director Slobodan Vugrinec – President of the Advisory Council Mike Downey – Member of the Advisory Council Ante Magzan – Member of the Advisory Council Natalija Vugrinec – Coordinator of touristic activities Đurđica Božić – Executive festival coordinator Diana Dropulić – Festival coordinator and PR Marin Grgeta – Coordinator of the local community and PR Lana Ujdur – Producer Selma Mehadžić – Coordinator of the movie programme Pero Kvesić – Coordinator of the literary programme Ivan Balić Cobra – Coordinator of exhibitions Studio Sonda – Visual identity Ara electronic – Technology Marko Godeč – Translation and subtitling of the movies Saša Halambek – Photographer

3 Program | Programme

Svakodnevno organiziran 24.06. ČETVRTAK / Thursday gradski vlakić za prijevoz između lokacija. 18:00 A small city train is Hotel Pineta organized for the transport to the locations.

Izložba erotskih grafika Miroslava Šuteja i koktel Zgrada Općine, Trg Degrassi 1 19:00 Exhibition of erotic graphics by Miroslav Šutej and cocktail party Municipality building, The Degrassi squarre 1

18:00 Gastroafrodizijaci / Gastro-aphrodisiacs Riva/Promenade

Književnost: Pero Kvesić predstavlja Dragu 20:00 Glamuzinu Montraker Literary evening with Pero Kvesić and Drago Glamuzina

22:00 Film T. Brassa “Voajer“ Kino Montraker Film screening of Tinto Brass’ “Voyeur”

23:30 Koncert: Jelena Radan “Moja potraga za fadom“ Montraker Organizator zadržava pravo izmjene Jelena Radan’s Concert “My Search For Fado” i dopune programa. 01:00 Party Management of the Casanovafest Beach bars Sexy and erotic music night with DJ Borovich keeps all the rights to change, Montraker modify and withdraw perform.

4 25.06. PETAK / Friday 26.06. SUBOTA / Saturday

Predavanje Nataše Barolin Belić: “Mitovi o seksualnosti i što nam čine“ “Myths About Sexuality and How They Affect Us” lecture by Nataša Barolin Belić

Izložbe fotografija Izložbe fotografija Rina Gropuzza i Mare Bratoš; Izložba Renata Percana Stara škola, Ulica Rade Končara 29 Photography exhibitions Exhibitions of erotic photographs by Mara Bratoš and Rino Gropuzzo; Exhibition by Renato Percan “Old school” building, Rade Končara 29

Gastroafrodizijaci / Gastro-aphrodisiacs Gastroafrodizijaci / Gastro-aphrodisiacs

Književnost: Pero Kvesić predstavlja Marinu Književnost: Pero Kvesić predstavlja Milanu Vlaović Vujčić i pobjednika blogerskog natječaja Literary evening with Milana Vlaović Literary evening with Marina Vujčić and the winner of the bloggers’ competition

Film B. Bertoluccija “Sanjari“ Film F. Fellinija “Felinijev Casanova“ Film screening of Bertolucci’s “Dreamers“ Film screening of “Fellini’s Casanova”

Koncert: Boom Pacha Boom Showgirls: Don’t Touch This! Concert: Boom Pacha Boom

Party Party Sexy and erotic music night with DJ Borovich Sexy and erotic music night with DJ Borovich

5 O Festi va lu Festival

2. Casanovafest, festival ljubavi i erotike, održava se 24., 25. i 26. lipnja 2010. u Vrsaru, jednom od izvora inspiracije ove jedinstvene manifestacije, koji je i Casanovi, za vrijeme njegovih dvaju posjeta 1743. i 1744., ostao u sjećanju kao mjesto dobrog ića, refoška i lijepih žena

Casanovafest Casanovafest, festival ljubavi i erotike, osmislili su Slobodan Vugrinec i Boris T. Matić kao manifestaciju koja slavi povijesnu povezanost poznatog zavodnika Casanove i Vrsara. Giacomo Casanova je u dva navrata, 1743. i 1744., posjetio Vrsar koji je već tada bio poznat po dobrom iću, refošku i lijepim ženama. Casanovafest inspiriran je prirodnim ljepotama Vrsara i njegovim arhipelagom te činjenicom da je Koversada, prvi i tada najveći naturistički kamp u Europi, osnovan još davne 1961. Ljubav i erotika nesicrpan su izvor nadahnuća, stoga će festival kroz različite umjet- ničke sfere; književne večeri, izložbe, predavanja, gastronomska uživanja, filmske projekcije i glazbena događanja, slaviti tu vječnu temu i svevremenska promišljanja o ljubavnim odnosima koje je i sam Casanova intenzivno proživljavao, a potom i toliko slikovito opisivao u svojim ”Memoraima”.

6 2. Casanovafest, the love and erotic festival is being held on the 24th, 25th and 26th of June 2010 in Vrsar, one of the sources of inspiration for this unique manifestation, which even for Casanova, during his two visits in 1743. and 1744. remained in his memory as a place of fine drink, good food and beautiful women.

Casanovafest The Casanovafest, the love and erotic festival, was invented by Slobodan Vugrinec and Boris T. Matić as a manifestation which celebrates historical connections between the famous lover Casanova and Vrsar. Giacomo Casanova visited Vrsar two times, in 1743. and 1744. which was already famous for good drink, food and beautiful women. Casanovafest is inspired by the natural beauty of Vrsar and the archipelago and also the fact that Coversada, first and at that time the biggest naturist camp in Europe, was founded in 1961. Love and erotica are inexaustible source of inspiration and because of that the festival will celebrate that eternal theme and ponderation on love and relationships with different artistic areas such as literature evenings, exibitions, lectures, roundtables, gastronomical treats, movie projections and music events. Even Casanova himself pondered all theese issues which he experiences fist-hand and so vividly described in his ”Memoirs”.

7 Giovanni Giacomo Casanova

Giovanni Giacomo Casanova rođen je 2. travnja 1725. u obitelji venecijanskoga glumca. Nakon neuspjela školovanja za svećenika, postaje tajnikom kardinala Acquavive, te violinist u venecijanskom kazališnom orkestru. Istodobno, njegova dva mlađa brata postaju poznati slikari. Tih godina Casanovu optužuju zbog mešetarstva i crne magije te odlazi u Lyon, a zatim i Pariz gdje se priključuje slobodnim zidarima. Casanova se kreće u visokom društvu, upoznaje Josipa II, Katarinu Veliku i druge vladare. Druži se s Mozartom i Voltaireom. No uglavnom ljubi žene, kocka, karta i putuje Europom. Poslije povratka u Veneciju stalno ga prate uhode, te na koncu biva uhićen zbog sitnih uličnih kockanja i varanja. Nakon godine dana tamnovanja u zloglasnoj venecijanskoj tamnici Piombi, uspijeva potkraj 1756. probiti otvor na krovu zatvora, te bježi u fran- cusku metropolu. U Parizu Casanova pokreće prvu javnu lutriju i preko noći postaje bogat. U to vrijeme piše svoju prvu knjigu Povijest moga bijega iz mletačke tamnice, te prevodi Homerovu Ilijadu i počinje pisati utopistički roman Icosameron. Međutim, stalna strast za kockanjem, mešetarstvo i dugovi prisiljavaju ga na odlazak iz Pariza. Putuje širom Europe, a posljednjih desetak godina skrasio se u Češkoj gdje je dobio namještenje knjižničara i tajnika grofa Waldsteina. Iscrpljen bolešću i pustolovnim životom, Casanova gotovo više nikamo ne izlazi i većinu vremena provodi pišući svoja sjećanja kojih će biti dvanaest svezaka, odnosno 4 tisuće stranica.

Umro je 4. lipnja 1798. u zamku na sjeveru Češke u 73. godini, ne dočekavši tiskanje svojih Memoara, a upravo će ga oni tijekom nadolazećih stoljeća proslaviti kao naj- većega svjetskog pustolova i ljubavnika.

8 Giovanni Giacomo Casanova was born on the 2nd of April, 1725. in the family of a Venitian actor. After a failed education as a priest he became the secretary of Cardinal Acquaviva and a violinist in the Venetian theatre orchestra. In the same time his two brothers became famous painters. During these years Casanova was accused of brokerage and black magic and leaves to Lion and then to Paris where he joins the Free-masons. Casanova was a part of high society, when he meets Josip the 2nd, Katarina the Great and other leaders. He mingled with Mozart and Voltaire. Mainly he made love to women, gambled and played cards and traveled across Europe. After he returned to Venice he was followed by spies and in the end was arrested because of small street gambling and cheating. After two years in the cell, in Venetian prison Piomba, he managed to escape to Paris in 1756. through a hole in the roof. There he started the first public lottery and managed to get rich over-night. At that time he wrote his first book „History of my escape from the Venetian dungeon“, translated Homer’s „Iliad“ and started to write the utopian novel „Icosameron“. But his passion for gambling and accuired debts forced him to leave Paris. He traveled across Europe, setteling in Chekoslovakia where he worked as a librarian and secretary of Count Waldstein. Worn out from his sickness and constant travels, Casanova stayed at home and wrote his memoirs in twelve tomes (4000 pages).

He died 4th June, 1798. in a Castle on the north of Chekoslovakia. Although he was 72 years old he didn’t see his memoirs get published, establishing him as the greatest lover and adventurer in the World.

9 Izvadak iz Memoara A passage from the Memoirs

“Sat kasnije tartana digne sidro, a u zoru ga baci u jednoj istarskoj luci koja se zvala Orsara. Svi smo sišli da obiđemo grad...Mjesto sad pripada papi, a Svetoj su ga stolici poklonili Mlečani u znak poštovanja....”

“Dobra nam žena posluži za ručak ribe pripravljene na ulju, koje je ondje izvrsno, i ponudi nas refoškom, odličnim istarskim vinom. Dok smo još bili pri stolu, naiđe slučajno neki dobrodušni svećenik koji mi reče neka ne idem spavati u tartanu, jer da će mi on dati udob- no konačište a i dobar ručak ako sutradan zbog vjetra ne uzmognemo otploviti. Prihvatio sam ponudu objeručke. Kad sam se dobro najeo, iskreno zahvalih čestitoj ženi i iziđoh sa svećenikom razgledati grad. Navečer me on odvede svojoj kući i ponudi obilatom večerom koju je pripremila njegova domaćica. Ona je večerala zajedno s nama i prilično mi se svi- djela. Njegov refoško zagrijavao je srce još bolje od onog u podne...” “Povukoh se dakle na počinak i poslije deset sati duboka sna, domaćica, koja je sigurno vrebala kad ću se probuditi, unese kavu. Mlada i naočita, zasluživala je svaku pažnju...” “Učestale pažnje domaćice pokazaše mi da sam joj se svidio, a ja sam joj uzvraćao istom mjerom. Dan je svećeniku prošao kao tren, a sve zbog krasota koje sam otkrivao u njegovim stihovima, premda se gori jedva mogu zamisliti. Meni je ipak vrijeme sporo pro- lazilo, u nestrpljivom očekivanju da me domaćica povede na počinak. Takav sam bio i ne znam dali bih se morao stidjeti ili ponositi. U najtužnijem stanju tijela i duha usudio sam se podavati radosti, zaboravljajući nevolje koje bi obeshrabrile svakog razumnog čovjeka. I naposljetku dođe očekivani trenutak. Poslije nekoliko uvodnih milovanja, ona se pokaza ljupko popustljivom, ali se uzjoguni kad se stadoh tobože spremati da joj odam potpuno priznanje. Zadovoljan onim što sam dobio, a još više što je oklijevala pred onim glavnim, mirno sam zaspao. Sutradan pri doručku njen mi je izraz jasno kazivao da je ushićena što smo se tako blisko upoznali. Ja sam se odmah poduhvatio da je uvjerim kako moja sinoćnja nježnost nije bila posljedica refoška, ali naiđoh na otpor. No ona zasladi to ustezanje rekavši da bi nas netko mogao iznenaditi, pa je bolje da odgodimo do večeri, jer je jugoistočnjak još jači nego sinoć. Bijaše to izričito obećanje. ”Dan sam opet proveo sa svećenikom. Kad sam polazio u krevet, domaćica me ostavi, rekavši da će se vratiti. Primio sam je kako je očekivala i mi, sladeći se, provedosmo nekoliko sati.“

10 “Soon afterwards we left the shore, and in the morning we cast anchor in Orsara, a seaport of Istria. We all landed to visit the city...It belongs to the Pope, the Republic of Venice having abandoned it to the Holy See.“

„The good lady gave us a good dinner of fish cooked in oil, which in Orsara is delicious, and we drank some exquisite refosco. During our meal, a priest happened to drop in, and, after a short conversation, he told me that I ought not to pass the night on board the tartan, and pressed me to accept a bed in his house and a good dinner for the next day in case the wind should not allow us to sail; I accepted without hesitation. I offered my most sincere thanks to the good old lady, and the priest took me all over the town. In the evening, he brought me to his house where we partook of an excellent supper prepared by his housekeeper, who sat down to the table with us, and with whom I was much pleased. The refosco, still better than that which I had drunk at dinner, scattered all my misery to the wind... „ „I went to bed, and in the morning, after ten hours of the most profound sleep, the housekeeper, who had been watching for my awakening, brought me some coffee. I thought her a charming woman..“ „The day passed off very agreeably; the housekeeper surrounded me with the kindest atten- tions--a proof that she was smitten with me; and, giving way to that pleasing idea, I felt that, by a very natural system of reciprocity, she had made my conquest. The good priest thought that the day had passed like lightning, thanks to all the beauties I had discovered in his poetry, which, to speak the truth, was below mediocrity, but time seemed to me to drag along very slowly, because the friendly glances of the housekeeper made me long for bedtime, in spite of the miserable condition in which I felt myself morally and physically. But such was my nature; I abandoned myself to joy and happiness, when, had I been more reasonable, I ought to have sunk under my grief and sadness. But the golden time came at last. I found the pretty housekeeper full of compliance, but only up to a certain point, and as she offered some resistance when I shewed myself disposed to pay a full homage to her charms, I quietly gave up the undertaking, very well pleased for both of us that it had not been carried any further, and I sought my couch in peace. But I had not seen the end of the adventure, for the next morning, when she brought my coffee, her pretty, enticing manners allured me to bestow a few loving caresses upon her, and if she did not abandon herself entirely, it was only, as she said, because she was afraid of some surprise. ”The day passed off very pleasantly with the good priest, and at night, the housekeeper no longer fearing detection, and I having on my side taken every precaution necessary in the state in which I was, we passed two most delicious hours. I left Orsara the next morning.“

11 Casanovine mudrosti Casanova’s Wisdoms

“Ja smatram svoj dan izgubljenim ako mi se barem jedna žena toga dana ne osmjehne.”

“Ljubav je kraljica mladih i tiranin starih.”

“Muškarci su taštiji od žena. Radije će ljubavnika svoje žene proglasiti lažovom nego priznati da imaju rogove.”

“Najveća je greška svakog muškarca ako se zaljubi u jednu ženu. Zaljubiti se smije, ali samo u sve žene.”

“Ne može muškarac varati ženu onoliko koliko se žena može praviti da mu je vjerna.”

“Nije mi žao da napustim ovaj svijet, ali mi je žao što ostavljam tolike ljepotice.”

“Od neiskusne žene zavodnik najviše nauči.”

“Ona koja je bogata duhom, nema novaca; ona koja ima novaca siromašna je duhom. Zbog toga sam ostao neženja.”

“U svaku ženu, koja mi se dopada, smrtno se zaljubim. To traje sve dok se u drugu ne zaljubim još više.”

12 „I think that my day is lost if at least one women doesn’t smile to me.“

„Love is the qeen of young and tyrant of old.“

„Men are more vain than women. They would rather say that their wife lover is a lier than admit to being cheaten.“

„The biggest mistake of every man is falling in love with a woman. He can fall in love but only with all women.“

„A man can’t cheat a woman more than she can pretend she is being faithfull to him.“

„I’m not sorry I’m leaving this world, but I’m sorry I’m leaving all this beauties behind.“

„The seducer always learns the most from an inexperienced woman.“

„She who is rich in spirit has no money; she who has money i poor in spirit. That’s why I remained a bachelor.“

„I fall deadly in love with any women I like. It lasts until I met another.“

13 Lokacije Locations

Festival će se od 24. do 26. lipnja održavati na nekoliko lokacija:

Općinska zgrada, Trg Degrassi 1: Izložba Miroslava Šuteja Stara škola, Ulica Rade Končara 29: Izložbe Mare Bratoš, Rina Gropuzza i Renata Percana Vrsarska riva: Gastroafrodizijaci Hotel Pineta: predavanje Nataše Barolin Belić Montraker: književne večeri, filmske projekcije, glazbeni program, showgirls i noćne zabave

Vrsar Vrsar se u povijesti pojavljivao pod različitim imenima: Ursaria, Ursarium, Vrsarium, Orsaria i drugim sličnim varijantama kojima je svima zajednički korijen riječi ur što znači izvor. Ime je dobio zbog toga što su se mediteranski pomorci u starim vreme- nima opskrbljivali pitkom vodom s izvora na obali između Funtane i Vrsara. Znakovi naseljenosti Vrsara sežu u prapovijest kada su prve utvrde na tom području gradili prvi poznati stanovnici istarskog poluotoka, Histri. Razvoj Vrsara započinje u vrijeme rimske vladavine pod kojom u 4.st. Vrsar postaje značajno starokršćansko središte. Vrsar je tada bio važno raskrižje kopnenih i morskih trgovačkih puteva. Od 10. do 18. st. u Vrsaru su, u ime rimskih papa, vladali porečki biskupi kojima je Vrsar tada bio ljetovalište. Osamnaesto stoljeće je i razdoblje kada u Vrsaru, u dva navrata, 1743. i 1744., boravi naš glavni lik Giacomo Casanova. U drugoj polovici 18.st. Vrsar pada pod vlast Venecije. Padom Venecije vlast preuzima Austrija, a početkom 19.st vrlo kratko i Francuska. Od 1813. do 1918. ponovo je pod vlašću Austrije, a nakon 1918. pa sve do 1943. cijela Istra je dio Kraljevine Italije. Do kraja II. svjetskog rata Istru su okupirali Nijemci. Početkom svibnja 1945. Vrsar oslobađaju partizani. Nakon oslobođenja, Istra se priključuje Republici Hrvatskoj u sastavu Jugoslavije, a od 1990. godine Hrvatska je samostalna država. Danas je Vrsar moderni turistički centar Istre s oko 2700 stanovnika. Mjesto koje će vam pružiti odličan odmor i udovoljiti svim vašim čulima. Dobrodošli, prepustite se i uživajte!

14 The festival will be held from the 24th to 26th June on several locations:

The town hall, Degrassi square 1: Exibition by Miroslav Šutej; Old school, Rade Končar street 29: Exibition by Mara Bratoš, Rino Gropuzzo and Renato Percan; Promenade: Gastro offer Hotel Pineta: Lecture by Nataša Barolin Belić Montraker: literature nights, music program, showgirls, movie projections, night parties.

Vrsar Historicaly, Vrsar was called: Ursaria, Ursarium, Vrsarium, Orsaria and other varia- tions which all have in common the word Ur which means „spring“ (not the season). It got the name because of mediteranean sailors who in times of old got their water from the spring on the coast between Funtana and Vrsar. Vrsar has been populated since prehistorical times when the first fortifications in that area were built by the first knows inhabitants of the Istria peninsula, the Histri. The develpment of Vrsar begins in the time of the Roman goverment, under which it in the 4th century became a very important old christian centre. Vrsar was then an important crossroad of land and sea trade routes. From the 10th to the 14th century Vrsar was governed by bishops from Poreč, in the name of roman Popes, for whom Vrsar was a summer-resort. The 18th century is a period in which our main charachter Giacomo Casanova resides in Vrsar, in 1743. and 1744. In the second half of the 18th century Vrsar falls under the Venetian goverment. With the subsequent fall of Venice, Austria claims Vrsar, and in the begining of the 19th century briefly even France. From 1813. to 1819. Vrsar is again under the goverment of Austria and after that from 1918. till 1943. the whole Istria is part of the Kingdom of Italy. Till the end of World War II Istra was ocupied by Germans. In May 1945. Vrsar was liberated by partisans. After the libration Istria became a part of the Republic of Croatia, as a part of the Yugoslavia, and since 1990. Croatia is an independant country. Today Vrsar is a modern turist centre in Istria with about 2700 inhabitants. The place which will give you a fantastic vacation and will indulge all of your senses. Welcome, relax and enjoy!

15 Montraker Znamenitostima Vrsara treba pribrojiti i stare kamenolome u kojima se kontinui- rano lomio kamen od rimskih vremena do naših dana. Neki povjesničari umjetnosti iznose pretpostavku da je monumentalna i monolitna kupola mauzoleja istočno - gotskog kralja Teodorika Velikog (493. - 526.) u Raveni napravljena od vrsarskog kamena. Kamenolomi oko Vrsara i Rovinja naročito su se eksploatirali u doba duge mletačke vlasti nad Istrom (13. - 18. st.). U doba renesanse i baroka, u talijan- skim gradovima, bio je dobro poznat kvalitetni kamen iz Vrsara (pietra di Orsera). Naročito se upotrebljavao u Veneciji za gradnju palača, mostova, crkava. Radi na- bave kvalitetna kamena u Vrsar su povremeno navraćali talijanski kipari i gradite- lji. Prvi podaci o izvozu vrsarskog kamena u Veneciju potječu iz 14. stoljeća kada je 1334. privremeno boravio mletački kipar Leonardo Tagliapietra. U doba svoje pune aktivnosti u Veneciji gdje je ostavio svoja najvažnija djela (radovi na Duždevoj palači, nadgrobni spomenik duždu Tronu...).u Vrsar je navraćao i renesansni kipar Antonio Rizzo (1467. - 1498. g.) iz Verone. U današnje vrijeme, u revitaliziranom kamenolomu Montraker, tijekom ljetnih mjeseci održava se internacionalna kiparska škola, čija autorska ostvarenja osta- ju Vrsaru, oplemenjujući time gradski prostor. Mladi kipari iz Hrvatske i svijeta od 1991. godine nastavljaju vrsarsku tradiciju, pretačući je u originalnu i suvremenu umjetnost. Skladno uređeni poluotok Montraker je i poprište našeg festivala. Plato na samom vrhu pretvoreno je u festivalsko kino, a na Montrakeru će se održavati i književna događanja i lude noćne zabave.

16 Montraker One of the important sights of Vrsar is the old quarry which is constantly in use from the roman times to our days. Some historians think that the monumental and monolith dome of the mausoleum of the east gothic king Theodore the Graeat (493.-526.) in Ravena was made of stone from Vrsar. The quarryies around Vrsar and Rovinj were very exploited during the long Venitian goverment in Istria (13th-18th century). The stone from Vrsar was very famous in Italian cities during Renesaince and Baroque (Pietra di Orsera). It was mainly used for bulding palaces, bridges and churches in Venice. Sometimes, even the Italian sculptors and builders came to Vrsar to obtain this extaordinary stone. The first records of export of the Vrsar stone to Venice date from the 14th century, when in 1334. the Italian sculptor Leonardo Tagliapietra was in Vrsar. The famous rennesaince sculptor Antonio Rizzo (1467.-1498.) from Verona, Italy, also visited Vrsar during his most creative period in Venice where he made his most important work (the Ducal Palace, grave-stone of the doge Tron...). Today, in this revitalised quarry Montraker, during the summer months, an iner- national sculpting school is being held. All the works stay in Vrsar, enriching the city. Young sculptors from Croatia and the rest of the World from 1991. continue this tradition, transfusing it into original and modern art. The beautiful Montraker peninsula is the scene where our festival is being held. The plateau on top is tran- sformed into the festival cinema, literature events and wild entertainment will also take place there.

17 Predavanje Lecture

Mitovi o seksualnosti Ljudska seksualnost, seksualni nagon, seksualno ponašanje i seksualna aktivnost od davnih su dana predmet najrazličitijih mitova. Njihov utjecaj na stvarni, svakod- nevni seksualni život muškaraca i žena najčešće je vrlo štetan. Podsjetimo se, riječ mit dolazi iz grčkog jezika – mythos (riječ, govor), a njezino značenje je bajka, priča, izmišljotina, nevjerodostojan prikaz nekog događaja. Možemo tako reći da i seksualni mitovi nisu ništa drugo doli bajke, izmišljotine i nevjerodostojni prikazi nekih događaja ili pojava. Ako očekujemo da neka bajka ili neka nevjerodostojna tvrdnja budu primi- jenjeni u našem životu, ako se prema njima odnosimo kao prema stvarnim istinama, možemo biti gotovo sigurni da ćemo imati problema. Kažu da ako se neka laž ponovi mnogo puta, ljudi sve više počinju vjerovati da je to istina. Ako su nam često ponavljali neke stvari vezane uz ljudsku seksualnost te ako ih nismo kritički preispitivali, zasigurno ćemo neke (ili sve) seksualne mitove prihvatiti kao bogom dane istine i nastojati svoju seksualnost prilagoditi tim mjerilima i modelima. Budemo li pritom imali problema, a to je vrlo vjerojatno jer mitovi nisu istine, lako je moguće da ćemo početi optuživati sami sebe da ne funkcioniramo „kako treba“, da veličina i tvrdoća ne odgovaraju standardu, da razina želje i učestalost nisu dovoljni, da s nama nešto nije u redu i da sigurno svi drugi funkcioniraju kako treba, samo mi ne.

18 Myths about sexuality Human sexuality, sexual drive, sexual behaviour and sexual activity have always been the subject of various myths. Their influence on the real, everyday sex life of men and women is most often very harmful. The word myth comes from the Greek language (mythos = word, speech), and it means a fairytale, story, fabrication, and an untrustworthy account of some events. We can therefore say that sexual myths are nothing more than fairytales, fabrications, and untrustworthy accounts of some occurences. If we expect a fairytale or some unreliable claim to be applied in our lives and if we treat it as the absolute truth then we can be almost certain that we are going to have problems. It is said that if you repeat a lie often enough, people are going to start believing it. If we had often been told some things related to human sexuality and if we had not critically analysed them, we are bound to accept some (or all) sexual myths as the God-given truth and try to adapt our own sexuality to those standards and models. If we have problems at it, and that is highly likely because myths are not truths, we might easily end up blaming ourselves for not functioning the way we are supposed to, and thinking that the size and hardness do not match the standard, that the level of desire and frequency are not enough, and that something is wrong and everyone else must function properly except for us.

19 Mitovi o seksualnosti su brojni i u literaturi možemo pronaći različite sistematizacije i pristupe njihovu razmatranju. U ovom predavanju razmotrit ćemo sljedeće:

1. Seks je isto što i snošaj. Ne možete imati stvarno dobar seks bez snošaja. 2. Nema seksa, osobito ne dobrog, bez erekcije. 3. Pravi muškarac je uvijek spreman za seks. 4. Žene ne zanima erotski pribor, pornografija, maštanje ili seks na brzaka. 5. Muškarci jednostavno nisu (po prirodi) monogamni, a žene jesu. 6. Muškarcima je seks važniji nego ženama. 7. Ako poželite nekog drugog, nešto nije u redu s vašom vezom. 8. Ljubav je jamstvo dobrog seksa. 9. Trebali biste biti spremni u seksu učiniti sve za osobu koju volite. 10. Dobar seks je nužno spontan, planiranje ga uništava. 11. Trebali biste uvijek biti potpuno iskreni prema svojem partneru/ici. 12. Što smo stariji, kvaliteta seksualnog života nužno opada.

Ovo izlaganje želi pomoći u prepoznavanju najčešćih i najdestruktivnijih mitova te njihova utjecaja na naš seksualni život. Želi nas potaknuti da mitove zamijenimo razmišljanji- ma i odabirom načina življenja vlastite seksualnosti. Življenja utemeljena na valjanim informacijama i znanstvenim činjenicama, onome koje odgovara osobnim standardima svakog pojedinca i omogućuje mu da se osjeća cjelovito i zadovoljno.

20 Myths about sexuality are numerous and different systematisations and approaches to their study can be found in various publications. In this lecture we are going to examine the following topics:

1. Sex equals sexual intercourse. One cannot have really good sex without sexual intercourse. 2. There is no sex, especially good sex, without erection. 3. A real man is always ready to have sex. 4. Women are not interested in erotic accessories, pornography, fantasy or quick sex 5. Men are by nature not monogamous but women are. 6. Sex is more important to men than women. 7. If you desire somebody else, there is something wrong with your relationship. 8. Love guarantees good sex. 9. You should be ready to do anything in your sex life to please the person you love. 10. Good sex needs to be spontaneous, planning ruins it. 11. The older we get, the less good-quality sex we have.

This presentation aims to help recognising the most frequent and most destructive myths, their influence on people’s sex lives but it also aims to offer a possibility to replace these myths by thinking and choosing to live our own sexuality based on quality infor- mation and scientific facts and by making a choice which corresponds to our personal standards and enables us to feel more satisfied and complete.

21 Gastroprogram Gastro Programme

Gastrokutak Casanovafesta „opjevat“ će afrodizijačka svojstva školjkaša iz Limskog kanala, crnog tartufa iz doline Mirne, meda i maslinovog ulja.

Afrodizijak Ljubav ipak ide kroz želudac Određenim namirnicama se već stoljećima pripisuju afrodizijačke moći pa nije ni čudo da još uvijek traje potraga za savršenim afrodizijakom koji će nam dodatno rasplamsati već uzavrele strasti. Termin afrodizijak potječe od naziva grčke boginje ljubavi i ljepote, Afrodite, i označava sve ono što pobuđuje i pospješuje seksualnu želju. Afrodizijaci u određenoj mjeri pojačavaju cirkulaciju te spolne organe opskr- bljuju krvlju, šire krvne žile i kapilare što rezultira osjećajem uzbuđenosti. Osim toga, izvor su neophodne energije, zagrijavaju organizam izazivajući navalu topline, žmarce, brže lupanje srca, crvenilo i znojenje. Utječu na funkcioniranje žlijezda s unutarnjim izlučivanjem o kojima većim dijelom ovisi spolni život, prvenstveno po- tičući produkciju ženskih i muških spolnih hormona. Nadalje, djeluju na središnji živčani sustav tako da relaksiraju, podižu raspoloženje i samopouzdanje te pojača- vaju spolnu želju i uzbuđenje.

Limski kanal je zaljev sa statusom zaštićenog krajolika na zapadnoj obali Istre, iz- među Vrsara i Rovinja. Ime mu dolazi od latinske riječi limes što znači granica jer je udolina još u doba Rimskog Carstva odjeljivala dvije tadašnje rimske provincije, današnje gradove Poreč i Pulu. Sam kanal je nešto duži od 10 km, a s obje strane uzdižu se strma brda, ponegdje visoka i do 100 m. Nastao je kao estuarij (potoplje- no riječno ušće) rijeke Pazinčice koja danas ponire u Pazinskoj jami kod Pazina, a u prošlosti se ulijevala u more u Limskom kanalu. U njezino staro korito prodrlo je more i tako je nastao današnji zaljev. Voda je u njemu djelomično bočata, zbog pod- vodnih izvora slatke vode, pa je samim tim pogodna za razvoj biljnog i životinjskog svijeta. Limski kanal je danas poznato uzgajalište riba i školjaka od kojih su nama, naravno, najzanimljivije oštrige....

22 The dining corner of Casanovafest will praise the reputation of shellfish from the Lim channel containing aphrodisiac properties, black truffles in the Mirna valley, honey and olive oil.

Aphrodisiac Love goes through the stomach Various food has the aphrodisiac powers assigned for centuries, therefore it’s no wonder that the quest for the perfect aphrodisiac still exists by which we will further inflame our already hot passions. Aphrodisiac is a term that originates from the Greek Goddess of love and beauty, Afrodite and indicates everything that excites and enhances sexual desire. The aphrodisiacs to some extent increase the circulation and supply the blood to the sexual organs, they widen the blood vessels and capillaries, which results in a feeling of arousal, they are the source of energy, heat the body provoking a rush of heat, goosebumps, faster heart beats, redness and sweating. They affect the internal secretion glands which are largely responsible for our sexual life, primarily by encouraging the production of female and male sexual hormones. Furthermore, they have the effect on the central nervous system to relax, thus elevating moods and self-confidence, and heightening sexual desire and excitement. The Lim channel bay has a status of protected landscape on the west coast of Istria, between Vrsar and Rovinj. The name comes from the Latin word limes, which means limit, since the valley at the time of the Roman Empire separated the two Roman Provinces, today’s towns of Poreč and Pula. The channel is slightly longer than 10 km, with both sides raising as steep hills, somewhere up to 100 m. It originated as an estuary of the river Pazinčica that falls into the Pazin pit, and in the past it flowed into the sea in the Lim channel. The sea invaded the old river bed. The water in the Lim bay is in part brackish, due to underwater springs of sweet water, and is therefore suitable for the development of flora and fauna. The Lim channel today is well-known for growing of fish and shellfish which to us, of course, the most interesting being oysters.

23 Oštrige, koje su, dakako, u neumjerenim količinama od jutra do večeri bile na jelov- niku najslavnijeg ljubavnika na svijetu, Casanove, gotovo da su sinonim za afrodizijak. Osim što već samim svojim oblikom, okusom i mirisom potiču grešne misli, bogate su cinkom o kojem neposredno ovisi produkcija testosterona, muškog spolnog hormona. Također, muško sjeme sadrži puno cinka, razinom oko 100 puta višom nego u krvi, pa postoje indikacije da je smanjen unos cinka povezan i sa smanjenjem spolne moći. Cinka, bjelančevina i joda, također važnih u ljubavnom smislu, osim u oštriga- ma, ima i u ostalim plodovima mora i ribama.

Savjet: kamenice možete držati u hladnjaku na temperaturi ne nižoj od 4°C, okrenute naopako i pokrivene čistom i vlažnom krpom. Nemojte ih uranjati u vodu nego ih samo isperite u hladnoj vodi prije uporabe i uklonite sve one koje nisu čvrsto zatvorene.

Na samom su vrhu liste afrodizijaka i vrtoglavo skupi, ali vrtoglavo učinkoviti, na- dahnjujući i poticajni tartufi. Crni tartuf (Tuber Aestivum Vitt), poznat i kao ljetni ili scorzone (s korom) izvana je crn, a unutra tamnosmeđ. Njegova veličina, na isti način kao i kod bijeloga, varira od veličine trešnje do jabuke, ali se može pronaći i mnogo veći primjerak. I ova vrsta raste pod zemljom u simbiozi s drugim biljkama o kojoj joj ovise miris i ukus. Najpoznatija područja berbe u Hrvatskoj nalaze se u Istri, na brežuljkastim terenima unutrašnjosti i u crvenoj zemlji izvan šumskih terena.

24 Oysters, which were on Casanova’s menu from morning till evening in enourmous quantities are almost a synonym for aphrodisiac. Besides it’s actual shape, flavor and fragrance encourage sinful thoughts, they are rich in zinc on which directly depends the production of testosterone, male sex hormones. Also, the male semen contains lots of zinc, around 100 times higher than in blood, and there are indications that the reduced intake of zinc is associated with reduced sexual powers. Zinc can also be found in other seafood and fish, alongside iodine and crucial proteins. Tip: oysters can be kept in refrigerator, at a temperature not lower than 4° C, turned upside down and covered with a clean, damp cloth. Do not soak them in water, just rinse them before use and remove those that are not tightly closed. At the very top of the aphrodisiacs list are the very expensive, but highly effective, inspiring and invigorating truffles. Black truffle (Tuber Aestivum Vitt), also known as the summer truffle or scorzone (with incrustation) is outside black and dark brown inside. Its size ranges from cherries to apples, but you can also find a much bigger specimen. This species grows underground in symbiosis with other plants on which it’s smell and taste depends. One of the most known harvest areas in Croatia are located in Istria on the undulating terrain in the interior and red soil outside the forest terrain.

25 Med U grupu najmoćnijih afrodizijaka spadaju pčelinji proizvodi, a njihova konzumacija poja- čava seksualnu želju. Med je bogat različitim organskim kiselinama, te obiluje kalijem, natrijem, kalcijem, magnezijem i fosforom. Pored ostalih, polen sadrži i silicij, sumpor i mnoge druge elemente. Za potenciju je od izuzetnog značaja kalcij, za čiju resorpciju je neophodan magnezij, mineral koji inače regulira psihičku ravnotežu. Matična mliječ (proizvod mladih pčela radilica) također je bogat mineralima. Sadrži čak i elemente kao što su zlato, i cink, koji je značajan za kontrolu hormona. Med, polen i matična mliječ bogati su i vitaminima. U medu, polenu i matičnoj mliječi ima najviše vitamina C i folne kiselina koja je od posebnog značaja za stvaranje estrogenih hormona i iskorištavanje bjelančevina. Ukoliko niste ljubitelj meda, pripremite “ljubavne kuglice” od sezama i meda koje sadrže kalij, magnezij, vitamin E (vitamin plodnosti) i vitamin F, kao i kalcij, fosfor i lecitin. Sezam je bogat proteinima, čak za 50 posto više od mesa. Prema istraživanjima u SAD-u, više od dvije trećine ženske populacije je već poslije šest tjedana terapije „ljubavnim kuglica- ma” pokazalo prve znake „ozdravljenja”. Žene su postale bolje raspoložene i seksualno aktivnije. Ako imate problema s potencijom isprobajte tretman medom. Najbolje je med uzimati sa cvjetnim prahom u odnosu 5:1. Može se kombinirati i s mliječi. Najbolja i najefikasnija kombinacija je kilogram meda, 50 g polena i 10 g mliječi. Preporučuje se i čaj od ružmarina zaslađen medom koji, pored poboljšanja cirkulacije, jača i potenciju, uz to štiti organizam od infekcije. Stari recept za bolju potenciju, svakako je kombinacija oraha i meda.

26 Honey Bee products belong to the group of the most powerful aphrodisiacs and their consu- mation stimulates sexual desire. Honey is rich with organic acids and it abounds with potassium, sodium, calcium, magnesium and phosporus. Among other things, pollen contains silicon, sulphur and many other elements. Calcium is very important for sexual potency and magnesium, a mineral which regulates psychological balance, is needed for its absorption. Royal jelly (a secretion of young worker bees) is also rich with minerals. It even contains elements such as gold and zinc, which is important for the control of hormones. Honey, pollen and royal jelly are rich with vitamins, too. In them there are vitamin C and folic acid, which has special importance for the creation of estrogens and the use of proteins. If you do not like honey, then you can prepare some love pellets made of sesame and honey, which contain potassium, magnesium, vitamin E (the fertility vitamin), and vitamin F as well as calcium, phosporus and lecithin. Sesame is rich with proteins, up to 50 per cent more than meat. According to some US research, more than two thirds of the female population showed the first signs of healing after only six weeks of the love pellets therapy. The women were in a better mood and became more sexually active. If you have problems with sexual potency, try the honey treatment. The best way of doing it is to take honey with pollen, in a 5:1 ratio. It can also be combined with royal jelly. The best and the most efficient combination is the one which includes a kilogramme of honey, 50g of pollen, and 10g of royal jelly. Rosemary tea sweetened with honey is also recom- mended. It can improve circulation, stimulate sexual potency and protect your organism from infections. There is also an old recipe for improving sexual potency and it consists of combining walnuts and honey.

27 Maslinovo ulje Primajući u Splitu na manifestaciji “Maslina 2007.” titulu Kneza maslinarstva za doprinos razvoju te poljoprivredne grane, predsjednik Republike Stjepan Mesić izjavio je kako mu je saborski zastupnik HNS-a Jakša Marasović otkrio da zdravi plod masline ima čak i afrodizijačko djelovanje.

- Ja sam to negdje čuo. A kako maslinari imaju mnogo djece, vjerujem da je to istina - rekao nam je danas Marasović. Nutricionistica Olja Martinić smatra kako je moguće da maslina utječe i na spolnu moć. Maslina, kaže, obiluje vitaminom E i fitokemikalijama koje blagotvorno djeluju na cijeli organizam.

- Radili smo u poliklinici testove na tisućama ljudi i nikad nismo naišli na osobu koja ne podnosi maslinovo ulje. No, kad je riječ o afrodizijačkim svojstvima, mislim da bućinu ulju ipak treba dati malu prednost pred maslinovim - kaže Martinić.

Nutricionistica Darija Vranešić, međutim, ističe kako ne postoje znanstveni dokazi o afrodizijačkom djelovanju masline.

- Budući da u znanstvenim krugovima ne postoji jasna definicija afrodizijaka, veoma je teško i nezahvalno govoriti o tome je li nešto afrodizijak ili nije - objasnila je Darija Vranešić. Profesorica na zagrebačkom Prehrambeno-biotehnološkom fakultetu Irena Čolić-Barić rekla je kako nutricionisti ne dijele stav o afrodizijačkom djelovanju masline.

Prema narodnom vjerovanju, plod masline smatrao se darom bogova, jer je zahtijevao malo truda oko stabala, a prodaja ploda i ulja masline kroz povijest je hranila mnoge stanovnike Mediterana.

28 Olive oil While being in Split at the manifestation Olive 2007 and while accepting the title of the Duke of Olive Growing for his contribution to the development of this sector of agriculture, the President of the Republic of Croatia, Stjepan Mesić, said that the MP Jakša Marasović had explained to him that a healthy olive could even have aphrodisiac powers. - I have heard about it somewhere. And since olive-growers have many children, I believe it is true – Mr Marasović told us today. Nutritionist Olja Martinić believes in the possibility that olives affect sexual power. Olives, she says, are rich with vitamin E and phytochemicals which have positive effects on the organism.

- In our polyclinic we have tested thousands of people and we have never found a person who could not tolerate olive oil. But, when it comes to aphrodisiac properties, I believe we should give pumpkin oil the preference over olive oil – Ms Martinić says. Nutritionist Darija Vranešić however points out that there is no scientific proof of the aphrodisiac power of olives.

- Since there is no clear definition of aphrodisiacs among scientists, it is very difficult and unrewarding to say whether something is or is not an aphrodisiac – Ms Vranešić explained. A professor at the Faculty of Food Technology and Biotechnology in Zagreb, Ms Irena Čolić-Barić, said that nutritionists do not have the same attitudes towards the aphrodisiac properties of olives.

According to popular belief, olives was considered to be a gift of gods because little effort was required to grow their trees, and the sale of olives and olive oil used to feed many inhabitants of the Mediterranean throughout history.

29 Književne večeri Nights of Literature

Literatura i novi medij Knjiga Geoffreya Millera, kod nas prevedena pod naslovom “Razum i razmnožava- nje”, u kojoj se tvrdi da je seksualna selekcija bitna za evoluciju čovjeka i razvoj ci- vilizacije, nalazi svoju potvrdu i u razvoju suvremenih medija i najnovijih tehnologija komunikacije. Seksualnost, od grube pornografije do profinjene erotike, uvelike je postala sadržajem koji kola novim komunikacijskim kanalima na više načina. Na jednoj ravni je taj sadržaj odraz seksualnih i emocionalnih silnica stvarnoga života, a na drugoj se stvarni život počeo odvijati kroz i/ili pomoću novih komunikacijskih tehnologija. Literatura je našla novu temu, našla je novo područje po kojemu se širi, a to područje postalo je i izvorište nove literature. Romeo i Julija ne sreću se više na trgu nego u virtualnoj stvarnosti, ljubavnici se ne obraćaju jedno drugom drhtavim glasovima nego sve više, ili u nekim razdobljima isključivo, multimedijskim porukama. U romanu “Tri” Drage Glamuzine ljubavnici opsesivno komuniciraju mobitelima i sms-porukama, u “Tuđem životu” Marine Vujčić” karakteri iz virtualne stvarnosti prodiru u stvarni svijet, a suptilna erotika u romanu “Blato” Milane Vlaović nadopu- njuje se eksplicitnim savjetima za sreću i zadovoljstvo koje autorica redovno daje putem visokotiražnih novina.

30 Literature and New Media In his book “The Mating Mind: How Sexual Choice Shaped the Evolution of Human Nature” (translated into Croatian as Razum i razmnožavanje), Geoffrey Miller claims that sexual selection plays an important role in human evolution and the development of civilization. The claim finds its confirmation in the development of the new media and the latest communication technologies. Sexuality, from hardcore pornography to delicate eroticism, largely became the content circulating the new communication channels in multiple ways. On the one hand, that content reflects sexual and emotional forces of the real life, while on the other, the real life proceeds through and/or with the help of the new communication technologies. Literature has found a new theme, a new realm which, in turn, became the source of new literature. Romeo and Juliet will no longer meet on a square, but in the virtual reality; lovers will no longer address each other in trembling voices but rather through multimedia messaging. In the novel “Three” (Tri) by Drago Glamuzina, the lovers lead obsessive communication through multimedia messaging and mobile phones; in “Another’s Life” (Tuđi život) by Marina Vujčić, characters from virtual reality penetrate the real life; the subtle eroticism in the novel “Sludge” (Blato) by Milana Vlaović goes along with explicit advice for happiness and satisfaction which the author regularly offers through best-selling newspapers.

31 Milana Vlaović Milana Vlaović rođena je u Metkoviću, gdje je pohađala osnovnu i srednju školu. Pravo i novinarstvo studirala je u Zagrebu. Deset godina živjela je u Italiji, Španjolskoj i Grčkoj, a sad se skrasila u Zagrebu. Majka je troje djece. Ona je žena o kojoj se piše, ali i osoba koja piše. Na tri je načina prisutna na domaćoj javnoj sceni. Još kao studentica pisala je za Globus i Pop extra, poslije bila kolumnistica u magazinima Elle, Tkalča news i Stroybook, a danas ima interaktivnu savjetodavnu rubriku u Jutarnjem listu. Autorica je glazbe i tekstova brojnih zabavnih pjesama na repertoaru raznih više ili manje poznatih izvođača. Njezin literarni prvijenac, roman „Blato“, toliko je uspješno ostvarenje da je samo na temelju njega priznata i kao književnica.

Marina Vujčić Marina Vujčić rođena je u Trogiru. U Zagreb je došla studirati te ostala osnovavši obi- telj. Danas radi kao profesorica hrvatskog jezika i književnosti. Nakon smrti supruga, književnika Bore Vujčića, živi sa sinom. Nedavno je objavila prvi roman, „Tuđi život“, koji je od prvog dana nakon izlaska zauzeo mjesto među najprodavanijim knjigama u domaćim knjižarama. Ranije je objavljivala pjesme za djecu u dječjim časopisima Smib i Prvi izbor, objavila je ekološku poemu „Bijeg uz brijeg“, a pisala je i scena- rije za televiziju i drame za kazalište. Djeluje i kao lektorica, poboljšavajući radove drugih književnika i novinara, a važan je i njezin višegodišnji rad jezične savjetnice u Kazalištu Ulysses.

32 Milana Vlaović Milana Vlaović was born in Metković, where she attended primary and secondary school. She studied law and journalism in Zagreb. For ten years she lived abroad, in countries such as Italy, Spain and Greece, but she decided to settle down in Zagreb. She is a mother of three children. She is a woman who is written about but, at the same time, a woman who writes. She has been present in the local media in three different ways. As a student, she used to write for the magazines Globus and Pop Extra, then she had her own column in magazines Elle, Tkalča News and Storybook and now she has her own interactive problem page in the newspaper Jutarnji list. She is the author of music and texts of pop songs sung by various more or less famous singers. Her literary debut, a novel named Mud, was such a successful work that she is now also considered to be an accomplished writer.

Marina Vujčić Marina Vujčić was born in Trogir. She came to Zagreb as a student and decided to stay and form a family there. Today she works as a Croatian language and literature teacher. Since the death of her husband, writer Boro Vujčić, she has been living with her son. She has recently published her first novel Somebody Else’s Life, which has been among the top-selling books in Croatian bookstores since the day it was published. Before publishing the novel, she used to publish her poems for children in children’s magazines Smib and Prvi izbor, she published an ecological long poem A Downhill Escape and she wrote screenplays for television as well as dramas for theatres. She works as a language editor, improving the works of other writers and journalists. Her work as a language consultant is of great importance for the Ulysses Theatre, for which she has been working for a number of years.

33 Drago Glamuzina Drago Glamuzina rođen je u Vrgorcu, a diplomirao je književnost i filozofiju u Zagrebu. Radio je kao novinar u Vjesniku i urednik u Nacionalu, a od 2003. glavni je urednik u izdavačkoj kući Profil. Jedan je od osnivača i programski direktor Zagrebačkog sajma knjiga. Knjige pjesama „Mesari“ i „Je li to sve“ dobile su nekoliko važnih nagrade te objavljene i u Njemačkoj, Makedoniji, Sloveniji i Srbiji. Uvršten je u desetak antologija suvremenog hrvatskog pjesništva. Zajedno s Romanom Simićem objavio je panora- mu hrvatske erotske priče „Libido.hr“. Prije dvije godine objavio je vrlo erotizirani roman „Tri“ koji je dobio nagradu T-portala za najbolji roman te godine, a objavljen je i u Srbiji i Makedoniji.

Pero Kvesić Pero Kvesić rođen je u Zagrebu, diplomirao je sociologiju i filozofiju, te dugi niz godina radio kao novinar i urednik u novinama, časopisima i kao urednik knjiga. Objavio je desetak svojih knjiga pripovijedaka, romana i pjesama. Početkom osamdesetih godina bio je tajnik Društva književnika Hrvatske. Autor je serije animiranih filmova „Mali leteći medvjedi“ te niza scenarija za televiziju i filmove. Bio je urednik strip-iz- danja, a i sam je crtao stripove i ilustracije. Bavi se fotografijom, a posljednjih godina vodi nekoliko uspješnih blogova. Jedna njegova priča uvrštena je u školsku lektiru za srednjoškolce u Danskoj.

34 Drago Glamuzina Drago Glamuzina was born in Vrgorac. He graduated in literature and philosophy from the University of Zagreb. He worked as a journalist in the newspaper Vjesnik and as an editor in the magazine Nacional, and he has been editor in chief in the publishing company Profil since 2003. He is one of the founders and programme director of the Zagreb Book Fair. His poetry books Butchers and Is That All have been awarded by important and published in Germany, Macedonia, Slovenia and Serbia. He has also been included in about ten anthologies of contemporary Croatian poetry. Together with Roman Simić he published a collection of Croatian erotic stories Libido.hr. Two years ago he published a very eroticised novel Three, which won a T-portal award for that year’s best novel. It has also been published in Serbia and Macedonia.

Pero Kvesić Pero Kvesić was born in Zagreb. He graduated in sociology and philosophy. For years he worked as a journalist and editor in newspapers and magazines as well as a book editor. He has published about ten of his short stories, novels and poems. In the early 1980s he was the Croatian Writers’ Association secretary. He is the author of a series of animated films The Little Flying Bears and a number of screenplays for television and films. He used to work as an editor of comic books but he also used to make comic books and illustrations himself. He does photography and for the last couple of years he has been running a few successful blogs. One of his stories has been included in the required reading for secondary school pupils in Denmark.

35 Biblioteka Casanova Casanova bibliotheque

O ”Osveti”

Zbirka pripovijedaka „Osveta“ objavljena je kao knjiga prvi put 1983. godine. Sastavljena je uglavnom od erotiziranih novinskih priča objavljivanih u svojevremeno vrlo popu- larnim magazinima Start i Erotika, gdje su bile rado čitane, pa je ta sudbina zadesi- la i knjigu koju se odavno ne može nabaviti, a teško se nađe i u knjižnicama. Neke epizode iz priča u međuvremenu su već ušle u urbane legende. Drugo izdanje nakon više od četvrt stoljeća za neke će biti otkriće u susretu s nepo- znatim, a za druge priznanje da su – usprkos prolaznom karakteru tekstova pisanih za novine – priče uspjele zadržati aktualnost i svježinu sve to vrijeme. No i oni koji te priče ne znaju i oni koji su ih već zaboravili jednako će se zabaviti čitajući ih. Ovo je izdanje prošireno pričama istog tipa, karaktera, iste kvalitete i iz istih izvora koje su napisane i objavljene u nekoliko godina nakon pojavljivanja knjige „Osveta“. Jedna od kvaliteta knjige je u svakom slučaju i erotika koja obuzima svaku novu ge- neraciju istom snagom i pobuđuje jednako zanimanje.

36 About ”Revenge”

The collection of short stories Revenge was first published in the form of a book in 1983. It consists mostly of eroticised newspaper stories published in, at the time, very popular magazines, Start and Erotica, where the readers enjoyed reading them. This book, which can rarely be found these days, not even in libraries, shared the same fate. Some of the episodes from the stories have, in the meantime, become urban legends. After more than a quarter of a century, the second edition will for some people be an encounter with the unknown and a revelation and for some others it will be an acknowledgment that the stories have managed – despite the transient nature of newspaper texts – to still be relevant and fresh in these modern times. But the people who do not know the stories or those who have already forgotten about them will have an equally good time reading them. This edition is extended by stories of the same type, character, and quality. These stories were taken from the same sources and were written and published several years after the publication of the book Revenge. One of the book’s strong points is definitely the erotic, which pervades each new generation with the same intensity and attracts the equal amo- unt of interest in it.

37 Izložbe Exhibitions

Miroslav Šutej

slikar, kipar i grafičar (Duga Resa, 29. travnja 1936. - Krapinske Toplice, 13. svibnja 2005.)

Diplomirao je 1961. na zagrebačkoj Akademiji likovnih umjetnosti na Odsjeku gra- fike u klasi profesora M. Detonija. U razdoblju od 1961. do 1963. godine suradnik je majstorske radionice Krste Hegedušića, a 1963. sudjeluje na 3. bijenalu mladih u Parizu gdje osvaja Grand-prix za slikarstvo. Ta mu nagrada omogućuje boravak u Parizu od 1964. do 1965. godine. Od 1978. do smrti 2005. godine predaje na Akademiji likovnih umjetnosti u Zagrebu. Bio je član HAZU-a. Bavio se scenografijom, likovnim projektiranjem interijera te grafičkim oblikovanjem (dizajnirao je hrvatski grb kao i hrvatske novčanice kune). Šutej je umjetnik bogate mašte i izvanredna senzibiliteta, a njegovo stvaralaštvo potvrdilo se kao kontinuirani i dinamičan proces. Radovi su često prožeti ludističkim - primjer su pomični crteži (City 10, 1972) koji se sastoje od dva sloja, statičnog i dinamičnog, pomoću kojih se mogu stvarati razne kombinacije. Kod Bombardiranja očnog živca I. iz 1962. dolazi do izražaja njegova izrazito moćna kreativnost. U ciklusu Aure (1986-88) koristi se nasljeđem op-arta i novih tendencija. Gotovo pola stoljeća predstavljao se uvijek s novim i zanimljivim radovima, pokazujući snagu svoje mašte. Njegovo iznimno stvaralačko umijeće ostavilo je vidan trag na hrvatskoj likovnoj sceni zajedno sa jednim od najosebujnijih umjetničkih opusa suvremene hrvatske umjetnosti. Šutejevi radovi nalaze se u vodećim svjetskim galerijama i muzejima kao što su londonska Galerija Tate, Muzej moderne umjetnosti u New

38 Miroslav Šutej painter, sculptor and graphic artist (born in Duga Resa on April 29, 1936 died in Krapinske Toplice on May 13, 2005)

He graduated at the Department of Graphic Arts of the Academy of Fine Arts in the class of professor M. Detoni in 1961. In the period from 1961 to 1963 Šutej was an associate in the workshop of Krsto Hegedušić while in1963 he participated at the third Biennale of Young Artists in Paris, where he won the Grand-prix award for pa- inting. This prize gave him an opportunity to stay in Paris from 1964 to 1965. He was a professor at the Academy of Fine Arts in Zagreb from 1978 to 2005. He was also a member of the Croatian Academy of Sciences and Arts. His activities covered different areas such as scenography, artistic interior design, and graphic design (he designed the Croatian coat of arms as well as the Croatian banknote kuna). Šutej is an artist of rich imagination and extraordinary sensibility and his creative work proved to be a continuous and dynamic process. In his work we often find ludic elements – an example of this are his moveable drawings that consist of two layers, the static one and the dynamic one, which are used for creating various combinations. The work entitled The Bombarding of the Optic Nerve I from 1961 shows his powerful creati- vity. In the cycle entitled Auras (1986-1988) he refers to opt-art and new tendencies. For almost half a century he created interesting works showing the strenght of his imagination. His outstanding creative skills left a permanent trace in the Croatian art scene along with one of the most peculiar opuses in the contemporary Croatian art. Šutej’s works can be found in some of the world’s most famous galleries and muse- ums such as the Tate Gallery in London, the Museum of Modern Art in New York as well as in the collections of the Museum of Modern Art in Rijeka and Zagreb.

39 EROTIKA Miroslav Šutej

Više od četvrt stoljeća dijeli novo izdanje Šutejeve serije Erotika od njezinog izvornog koncepta sa polovice 70-ih godina prošlog stoljeća. Serija Prijapov vrt, kojoj je ime dao umjetnikov prijatelj i izvanredan hrvatski kritičar Vlado Maleković, priziva arka- dijsku bezvremenost, neopterećenu znanjem, slabostima i sudbinskim nedaćama. Neposrednost, nepretencioznost i voajersko golicanje Šutejevih dopadljivih seksualnih prizora kod promatračâ pojačavaju samosvijest o njihovom vlastitom vizualnom iskustvu. Suprotstavljajući razigrana zazivanja plodnosti i trudnoće i preciznu izvedbu crtača, Šutej ne daje samo šaljivu vizualizaciju čovjekovog iskustva življenja već i otkriva razliku između umjetničog djela i popularne umjetnosti. Svojim ogromnim samopo- uzdanjem i vjerom u svoje crtačke sposobnosti on prkosi ograničenjima banalnog.

40 EROTICA Miroslav Šutej

More than a quarter of a century separates the recent printing of Miro Šutej’s Erotica series from its original conception in the mid-1970s. The Garden of Priapus as the series was called by the artist’s friend, the prodigious Croatian critic, Vlado Maleković, invokes an Arcadian timelessness unburdened by knowledge, fragility and the trials of fate. The immediacy, unpretentiousness, and voyeuristic titillation of Šutej’s catching sexual images reinforce the viewer’s seIf-awareness of his own visual experience. By contrasting playful incantations of fertility and pregnancy against a draftsman’s precision of execution, Šutej presents not only a humorous visualization of man’s existential experience, but also reveals the aesthetic distinction between fine and popular art. He challenges the limitations of the banal through a tremendous se- If-confidence in his own skill as a designer.

41 Seksualna ikonografija doživjela je jedinstven procvat u 20. stoljeću. Međutim, javnost je osjetno omekšala svoj stav prema ovoj vrsti slikarstva tek za vrijeme seksualne revolucije 1960-ih godina. Prije toga, ovu vrstu su često cenzurirali i obuzdavali pa je stoga bila ograničena na najintimnije umjetničke oblike – one stvarane unutar elite i za elitu intelektualnih krugova zapadne kulture. Erotske slike mogle su se pronaći jedino u podzemnom svijetu intelektualno-umjetničke proizvodnje ili u tami trgovina na skrivenim policama te u egzilu, u sumnjivim četvrtima s bordelima liberalnih grad- skih zajednica. Rastući interes za seksualnost i njezinu ulogu u životima pojedinaca te pojava slobodnijih rasprava o društvenoj prihvatljivosti raznih oblika seksualnog ponašanja omogućili su diskurs i olakšali pristup nekoć teško dostupnim zbirkama erotske poezije i slika. Tada su se počele pojavljivati nove antologije erotske poezije i umjetnosti, koje su proučavale radove iz raznih geografskih i povijesnih perspektiva. Tiskanje i objavlji- vanje umjetničkih djela s temom seksualnosti prenijelo je koncept erotike iz područ- ja koje pripada intelektualnoj eliti do šire društvene sfere popularne kulture. Jedno takvo erotsko izdanje, Peter Webbove Erotske umjetnosti, koje je bilo namijenjeno informiranju šire javnosti o svjetskom nasljeđu ove vrste umjetnosti, izdano je one godine kada ja Šutej po prvi put izložio svoje crteže. Bez pretjeranog teoretiziranja, knjiga je dotakla pitanje razlike između erotske umjetnosti i pornografije, razlike koja je bila glavni problem u kontekstu ove teme sa različitih kulturoloških i međunarod- nih stajališta. U 19. i 20. stoljeću, negiranje užitka definiralo je odnos zapadne kulture prema seksualnosti. Unutar ograničenja takve politike seksualnog obuzdavanja, neumiješano voajerističko promatranje dalo je promatračima sigurnost udaljenosti, na taj im način omogućujući da se ne osjećaju kao da prelaze granice onoga što se smatralo čistom pornografijom. Analizirajući takvu paranoičnu strategiju proma- tranja, možemo doći do objašnjenja za dominaciju tema dionizijske neumjerenosti, nasilja i sadizma u prikazima subjekta. Suprotno tome, Šutejeva Erotika nudi nam opsesivne vizualne igre riječi koje na šaljiv i ironičan način komentiraju vizualnu kompenzaciju obuzdanih.

42 More than a quarter of a century separates the recent printing of Miro Šutej’s Erotica series from its original conception in the mid-1970s. The Garden of Priapus as the series was called by the artist’s friend, the prodigious Croatian critic, Vlado Maleković, invokes an Arcadian timelessness unburdened by knowledge, fragility and the trials of fate. The immediacy, unpretentiousness, and voyeuristic titillation of Šutej’s catching sexual images reinforce the viewer’s seIf-awareness of his own visual experience. By contrasting playful incantations of fertility and pregnancy against a draftsman’s precision of execution, Šutej presents not only a humorous visualization of man’s existential experience, but also reveals the aesthetic distinction between fine and popular art. He challenges the limitations of the banal through a tremendous seIf-confidence in his own skill as a designer. In the nineteenth and twentieth centuries, Western culture’s relationship to sexuality was defined by a denial of pleasure. Within the confines of such sexually repressive politics, the uninvolved voyeuristic gaze gave viewers the security of distance, thus allowing them to feel as though were not breaching the boundaries of what considered to be pure pornography. In an analysis of such a paranoid strategy of looking, we may discover an explanation of the dominance of the themes of Dionysian excess, violence, and sadism in representations of the subject. Šutej’s Erotica, on the contrary, presents us with obsessive visualization-puns that humorously and ironically comment on the visual compensation of the repressed. His fascinating imagination, thematic selectivity, and perfect aesthetic articulation (evidenced in his mastery of the medium) are not employed just to produce erotic imagery, but moreover, to establish a link to the tradition of erotica production within Western intellectual circles. In fact, through the transferral of his drawings from the single sheet form to a print portfolio, Šutej alludes to the tradition of discreetly maintaining erotica in manuals and exclusive illustrated series, practices known to every culture no matter how competent the censorship was.

43 Njegova fascinantna mašta, tematska selektivnost te savršena estetska artikulaci- ja (dokazana njegovim majstorstvom u ovom načinu umjetničkog izražavanja) nisu iskorišene samo kako bi proizvele erotske slike već i kako bi uspostavile poveznicu s tradicijom erotske proizvodnje unutar intelektualnih krugova sa Zapada. Zapravo, kroz prijenos njegovih crteža s lista papira u mapu, Šutej aludira na tradiciju diskret- nog zadržavanja erotike u priručnicima i teško dostupnim ilustriranim serijama. Takvi običaji poznati su svakoj kulturi, bez obzira na to koliko je cenzura bila uspješna. Šutej pronalazi inspiraciju u svojem divljenju životnoj energiji biljaka. On stvara vizualne analogije između biljnih i ljudskih organa upotrebljujući ogromnu taktilnu sugestivnost. Ovaj umjetnik uživa slikajući vitalnost oplodnje i senzualne trudnoće, za koje on smatra da potiču kreativnu produktivnost. No njegove slike ne vizualiziraju samo radost, već i bol, kroz prikaz susreta biljnih i ljudskih oblika u tijeku metamorfoze. On prikazuje štovanje falusa kroz promatranje te aludira na neobič- ne četveronožce koji proizlaze iz određenih oblika pokućstva. On upravo kroz takvo bezbrižno i komično kopulativno slavlje uspjeva ponovno oživjeti duh drevnih kultova i rituala plodnosti, na način koji bi se mogao usporediti sa Aubrey Beardsleyevim ilu- stracijama Lizistrate. Međutim ovaj imaginarni, seksualni svijet također predstavlja i distrakciju, paravan, veo koji sadržava i skriva pravu poruku ovog načina umjetničkog izražavanja. Njegova tehnika crtanja je uvjerljiva i precizna, a njegov stil jednosta- van i često sličan intalju. On primijenjuje razbacane iscrtane oblike jasno ocrtanih volumena na gušće iskrižanim pozadinama širokih raspona tonova. Stilizirani oblici utobe i vegetacije, organi i predmeti tehnički su dovedeni do savršenstva na način koji bi se mogao usporediti sa standardnim elementima iz njegovog uobičajenog stila grafičkog dizajna. Ovi oblici otkrivaju dva lica Šutejevog stvaralaštva – njegove slike jesu, a istodobno i nisu onakve kakvima se čine. Njegove vizualne igre riječi, naizgledno oživljavanje njegovih predmeta te neprimjetna tranzicija volumena u dvodimenzionalne oblike stvaraju tenzije između mimetički uvjerljivog prikaza i am- blemske redukcije znaka. Seksualna tema postaje sredstvo u ovoj strategiji složene vizualne komunikacije. Velovi takvih površinskih tema moraju se vizualno prodrijeti ili otkloniti kako bi se moglo vidjeti i cijeniti bogatstvo oblikovnih i sintaktičkih igara riječi i otkrića koji se nalaze ispod njih.

Andrej Smrekar

44 Šutej draws his inspiration from his admiration of the life energy of plants. He crea- tes visual analogies between plant and human organs exerting a tremendous tactile suggestiveness. The artist takes great pleasure in imaging the vitality of fertilization and voluptuous pregnancy, which he feels stimulate creative productivity. Yet his images visualize not just joy, but also pain, through a depiction of the meeting of plant and human forms in the flux of metamorphosis. He reveals the phalicism of the gaze and aIIudes to the fantastic quadrupeds derived from certain forms of furniture. lt is precisely through this careless and comic copulative celebra- tion that he recaptures the spirit of ancient fertility cults and rituals, in a manner that can be easily compared to Aubrey Beardsley’s Illustrations of Lysistrata. Yet, this imaginary, sexual world is also a means of distraction, a screen, a veil that hoIds and hides the actual message of the medium. His drawing technique is confident and exact, and his style is simple and often similar to intaglio. He applies sparsely hatched shapes of clearly outlined volumes onto more densely crosshatched backgrounds of broad tonal ranges. Stylized visceral and vegetative shapes, organs and objects, are technically perfected in a manner comparable to the prefabricated modular elements known from his ordinary graphic design style. These forms reveal Šutej’s double nature - his images are ... and yet, at the same time, are not what they seem to be. His visual puns, the seeming animation of his objects, and the imperceptible transition of volumes into two-dimensional shapes, create a tension between a mimetically convincing representation and an emblematic reduction of the sign. The sexual subject matter reveals itself as a tool in this strategy of complex visual communication. The veils of such surface themes must be visually penetrated or removed in order to see and appreciate the wealth of formal and syntactical puns and discoveries that reside below.

Andrej Smrekar

45 KOLOPLET OPOJNOG CRTOVLJA Percan i Orlić sučelice

Podnaslovom “Istarska pastorala” autori ove pjesničko-grafičke mape precizno su žanrovski i prostorno odredili nakupljene listove i stranice. Istaknuti likovni umjetnik Renato Percan i znameniti književni djelatnik Drago Orlić u ovoj su se inicijativi našli združeni zajedništvom svojega istarskog podrijetla i djelovanja, a bogme i paralelizma svojih erotsko-oniričkih nadahnuća. Naslov edicije “Štrolige, prči i divice” određuje pak točne motivsko-tematske raspone, jer je i u stihovima i u grafikama riječ o evo- kaciji fantastičnih bića iz pučke mašte, u kojima se ljudska svojstva i izgled mješaju sa životinjskim karakteristikama i moćima što, pogotovo na spolnom području, nad- mašuju obične i svakidašnje raspone djelovanja. Postavimo li pitanje tko kome prethodi, crtač pjesniku ili pjesnik crtaču, u ovome slučaju imamo jasan odgovor da je prvo Renato Percan načinio svoje vizije i prizore, a da ih je potom Drago Orlić kreativno komentirao i stihovima dopunio. Za Orlićevu dionicu možemo kazati da je iznimno tečna, humorna i nepretenciozna, leksički bogata i sintaktički opuštena. Majstor zavičajnog govora posebno se dobro snalazi u anakreontsko-pastoralnoj ikonografiji, koju s arkadijsko-akademskih, aleksandrin- sko-eruditskih visina rado prizemljuje i spušta u znani mu dragi okoliš. U našoj suvremenoj umjetnosti malo tko je tako izrazito figurativan kao što je Renato Percan, a opet su rijetki poput njega toliko udaljeni od konvencionalnog, standardnog prikaza, mimetički zasnovanog tumačenja zbilje. Naime, on ne samo da ne bježi od antropomorfizma, nego gotovo da i ne kreće bez osjećanja i naslućivanja tjelesne utemeljenosti bića, ali pritom to radi sasvim slobodno od uhodanih prostornih rela- cija i nezavisno od sudbinske nam gravitacije. Lako je utvrditi da Percan ne robuje imitaciji prirode, jer ako analiziramo karakter njegova poteza i narav njegovih kom- pozicija, brzo ćemo se složiti kako oni imaju nužnu autonomnost i značenje struk- turalnog mišljenja. Izohipse i izobate, paralelna pletiva i umrežene parcele njegovih linija ne mogu se pomiriti s plošnošću i neutralnošću sugestije, nego nužno asoci- raju na prodor u dubinu ili na nabiranje u volumen. Utoliko mu je ljudsko tijelo naj- prirodniji, najprimjereniji izazov s bogatstvom organskih manifestacija i pluralnošću anatomskih modifikacija. Erotska fantazija svakako podiže temperaturu bilježenja i uzdiže prikazano u sferu s onu stranu deskriptivnog. Ne moraju biti doslovce figurae Veneris ili apologia Priapea, ali Percanova ljudska golotinja neizbježno zadobiva oniričku dimenziju, svojstva nadrealnog viđenja opojnog muško-ženskog kolopleta. U zagrljaju i stiskanju, u privlačenju i pretapanju, u prožimanju i međusobnom pružanju (pa i pražnjenju) pojedinih dijelova i udova gubi se sila teža, likovi se kreću uzgonom žudnje i rasprostiru potrebom ekstenzije, ekspanzije, ekstaze. Kreativno druženje Percana i Orlića nastalo je na brazdi regionalne vjernosti i za- jedničkih afiniteta za pučkost, prirodnost i pobudnost iskazivanja. Stoga s veseljem pozdravljamo lijep susret, uz uvjerenje da će i gledatelji-čitatelji također rado podijeliti njihov čin i učinak.

Tonko Maroević

46 WHIRL OF LUSCIOUS STAVES Percan and Orlić face-to-face

Under the subtitle “Istrian pastoral” the authors of this poetic and graphic portfolio have clearly defined the gathered sheets and pages both in terms of their genre and space. Renato Percan, a distinguished artist and Drago Orlić, an eminent writer, are brought together in this initiative through their common Istrian origin and activity as well as through the parallelism of their erotic and oniric inspiration. The title of the edition “Štrolige, prči i divice“ determines the exact expanse of motifs and themes since both in verse and graphics we come across the evocation of fantastic beings taken from folklore, the beings in whom human characteristics and appearance intertwine with animal features and powers. When it comes to sexuality, all of this exceeds the ordinary and everyday range of activity If we ask who precedes whom, whether the artist precedes the poet or vice versa, in this case the answer is clear; it was Renato Percan who first did his visions and scenes while Drago Orlić added creative comments as well as verses. We could describe Orlić’s passage as exceptionally fluent, humorous, unpretentious, lexically rich and syntactically relaxed. As a master of the vernacular, Orlić is at home in the Anacreontic-pastoral iconography that he takes down from the Arcadian–academic and Alexandrian-erudite hights to his beloved, well–known environs. There are few artists in the Croatian contemporary art as pronouncedly figurative as Renato Percan and at the same time so distant from the conventional, standard ra- presentation and mimetic interpretation of reality. Not only does he stick to anthro- pomorphism but he never starts out without the feeling of physical foundation of a being. While doing this, Percan is completely free from established spatial relations and independent from providential gravity. It is obvious that Percan is not a slave to the imitation of nature. If we analyse the character of his strokes together with the nature of his compositions, we will readily agree that they possess indispensable auto- nomy and the meaning of structural thinking. Contours and isobaths, parallel knitting as well as the networked parcels of his lines cannot come to terms with the flatness and neutrality of the suggestion; they inevitably remind of the dive in the depths or creasing in the volume. Consequently, the human body is his most natural and the most adequate challenge offering a plethora of organic manifestations as well as the plurality of anatomical modifications. Erotic fantasy certainly raises the temperature of versing and elevates the represented to the sphere beyond the descriptive. It does not have to be about figurae Veneris or apologia Priapea, but nevertheless the human nudity necessarily gains an oniric dimension, the qualities of a surrealist perception of luscious whirl of male-female coupling. In their embrace and squeezing, in their attraction and blending, in their intertwining and mutual offering (as well as in disc- harging) of individual parts and limbs gravity disappears, the figures are lifted up by lust and spread out driven by the need for extension, expansion, ecstasy. The creative association of Percan and Orlić was born on the furrow of regional loyalty and mutual affinities for folkishness, naturalness and urge to expression. Therefore, we warmily greet such a wonderful encounter convinced that the spectators as well as the readers will be more than glad to share in their act and effect.

Tonko Maroević

47 IZLOŽBE FOTOGRAFIJA

Erotika kao tema pojavljuje se u fotografiji vrlo rano. Svi smo imali prilike vidjeti stare požutjele izgrebane fotografije skraja 19. ili početka 20. stoljeća, stvarane vrlo ograničenom fotografskom tehnikom, ali s puno žara i želje da se zauvijek zadrži taj jedinstveni trenutak odnosa fotografa i modela. Erotska fotografija sadržava puno toga: povjerenje, strast, znatiželju, maštu, hrabrost, seksualnost, estetiku i etiku. Zato kao fotografska disciplina nije laka. Prošle godine sam na 1. CASANOVAFESTU izlagao svoje stare erotske fotografije snimane oko 1980. za magazin „Start“. Postavši „izbornik“ za ovogodišnje izdanje festivala, tražio sam vezu ili, bolje rečeno, nastavak prošlogodišnje fotografske pri- če, i našao kolegu fotografa slična senzibiliteta i pristupa erotici koji snima za erotske časopise „Playboy“, „Klik“ i druge. Tako ćemo ove godine u Vrsaru imati izložbu erotske fotografije Rina Gropuzza iz Rijeke. I druga prošlogodišnja izložba kolege iz Pule, crno bijele-fotografije velikog formata Đanija Celije, ima svojeg supernasljednika ili, bolje rečeno, nasljednicu. Mara Bratoš, fotografkinja iz Dubrovnika koja živi u Zagrebu, radi za časopise „Elle“, „Klik“, „Cosmopolitan“ i druge. Vidjet ćemo njezinu vrlo zanimljivu i nesvakidašnju izložbu autoaktova.

Dođite u Vrsar na Casanovafest, družite se s nama i uživajte u ljubavi i erotici!

Ivan Balić Cobra

48 PHOTOGRAPHIC EXHIBITIONS

As a theme, the erotic appeared very early in the realm of photography. We have all had a chance to see old, yellowed and scratched photographs from the late 19th or early 20th century. Although they used to be taken with, then very limited, technology, they were taken with a lot of enthusiasm and desire to capture and forever store that unique moment in the relationship between the photographer and the model. Erotic photography comprises a number of things: trust, passion, curiosity, imagination, courage, sexuality, esthetics and ethics. Therefore it is not always easy to work within this discipline. At the first CASANOVAFEST held last year, I exhibited my old erotic photographs, taken around the year 1980 for the magazine START. After having become a selector for this year’s CF, I started looking for a connection or continuation of the photographic story told last year and I ended up finding a colleague, a photographer who takes pictures for erotic magazines such as Playboy and Klik and who has a similar sensibility and approach to the erotic. That is why this year in Vrsar we are staging an exhibition of erotic photographs by RINO GROPUZZO from Rijeka. This year the other exhibition that was held in Vrsar last year, the one by Đani Celija, who exhibited his large format black-and-white photographs, has a great successor. MARA BRATOŠ, a photographer from Dubrovnik who lives in Zagreb and works for magazines such as Elle, Klik and Cosmopolitan, will be presented through her very interesting and unusual exibition of Nude Self-Portraits. Come to Vrsar and its Casanovafest, socialize with us, and enjoy love and erotica.

Ivan Balić Cobra

49 SKLAD I SUGLASJE GRANIČNIH PROSTORA

Fotografije Rina Gropuzza pokrivaju prilično raznoliko područje medija. Prije svega modna, reklamna i erotska, Rinova fotografija od prvih izložbenih nastupa plijeni pa- žnju svojom atraktivnošću. Spoj različitih motiva koji je, likovnim jezikom govoreći, predstavljen tako da glorificira ljepotu forme i boje, bez obzira da li je na fotografiji jagoda, jabuka, mak, golo žensko tijelo, stara istarska zgrada, šaš, mondeni automobil, jedrilica ili šal… Iza prvih utisaka, pokrivenih skladom i uobičajeno pedantnim tre- tmanom, iza vrsnosti korištenja tehnologije, iza preciznosti, obično stoji, kao skriveni tekst potka humora, odnos ravnoteže među oprekama sadržaja, poneka mala podvala dobrom građanskom ukusu, igranje na rubu dopuštenog.Svojevremeno je, u nekim prijašnjim ciklusima Rino intervenirao na podlozi fotografije ucrtavajući rastere crne, zlatne i srebrne mreže širokih polja, pa se sadržaj unutar njih čitao dvojako.

50 HARMONY AND CONCORDANCE OF BORDERING SPACES

Rino Gropuzzo’s photographs cover a rather diverse field of media. His photography is above all fashion photography as well as advertising and erotic, and it has been attracting attention with its attractiveness since his first exhibitions. It is a union of different motifs which is, in the language of visual arts, presented in a way which glorifies the beauty of the form and colour, no matter what is in the photograph, a strawberry, an apple, a poppy, a naked female body, an old Istrian building, sedge, a posh car, a sailboat or a scarf... Behind the first impressions, covered with harmony and a common pedantic treatment, behind the excellent use of technology, behind the precision, there is usually, just as a hidden text, a thread of humor, a balanced relationship between the contrasts of the content, an occasional little prank to the good bourgeois taste, a game played at the limits of the permitted.

51 S jedne strane insinuirao se svojevrsni voajerizam (akt iza mreže, zakriveni akt, ometena pristupačnost…), s druge strane erotska se tema na određeni način takvim postupkom negirala (precrtano, pošarano, ne-slika…) i na posljetku rešetkasta je struktura zatvarala prizor, svodila ga u nešto odmaknuto, izmješteno iz galerijske dostupnosti, markirajući granicu između gledatelja i prikazanoga. Taj je ciklus predstavljao najveću prekretnicu u dugogodišnjem radu ovog autora. Ponajprije zbog toga što se Gropuzzo njime oprostio od dugogodišnjeg skladnog razgovora s očekivanjima točno određene i već profilirane publike, ujedno odmjerivši svoje snage s unošenjem autorskog komentara na podlogu - prije svega: oku ugodna prizora. Nakon uvjetno nazvanog ‘’križaljka’’ ciklusa, promjena se u izlagačkoj praksi nastavila, iako povratkom na čistu fotografiju bez intervencija, ono ipak s kombinira- nom poetikom prikaza. Glamour, lijepe žene, skladni pejzaži, harmonična tijela voća ili cvijeća, sve je ostalo u okviru vizualnog hedonizma s malim akcentima humorne okrenutosti prema rubnim pozicijama suvremene estetike i novih vizualnih medija. Latentna prisutnost grubosti, latentna prisutnost kiča, latentna prisutnost dokone igre s ‘’đavoljim repom’’, ali uvijek u dobronamjernoj, pokroviteljskoj pasivnosti promatrača koji ne propušta igru izrazito likovnih elemenata prizora koji se pretaču u fotografske kompozicije.Druga pravilnost promjene novijeg datuma, Rinova je izlagačka komu- nikacija s publikom na način da je glavnina fotografija na izložbi uvijek prenesena iz jednog konteksta u drugi, iz jednog znakovnog korpusa u drugi. Tako se na primjer, određene fotografije nastale u reklamne svrhe ili kao privatni, krajnje intimni zapisi da bi promjenom dimenzije i stavljanjem u novi kontekst, promijenili svrhu i sakrili prvotnu namjeru. Udruženi, ti se prizori otvaraju kao ektrovertirani, svojom snažnom kromatikom naglašeni, u kompoziciju cjeline udruženi i primarnom likovnošću od sadržaja oljušteni - kao prizori jedne, ali mnogočlane slike. Izložba tako funkcionira kao jedna dekomponirana fotografija u kojoj svaki pojedinačni rad naglašava slijedeći i tako redom od prve do posljednje fotografije.Unutar čvrste cjeline, ponajčešće se zatvaraju i male unutrašnje jezgre (najčešće triptisi) u posebnim kromatskim korpu- sima, pa je crveno i zeleno ovom prigodom otvorilo mnogo usputnih međuspektralnih situacija. Na toj ravni, boje se čak i simbolički pridružuju motivima, glorificirajući jaki vitalitet. Utoliko je ova izložba dvostruko podcrtana kao izložba žena, cvijeća i voća. Dinamična, bujna, glasna, ali svakako i odmjerena u skladu s već dobro poznatim autorskim rukopisom Rina Gropuzza.

Nataša Šegota Lah

52 In some other cycles Rino used to intervene in the background of his photographs by adding screens, black, golden and silver nets of wide fields, so that the content in them could be interpreted in two ways. On the one hand, a certain voyeurism was insinuated (a nude behind the net, a hidden nude, obstructed accessibility,...) and on the other the erotic theme was thus negated (crossed out, scribbled on, non-photographs,...). In the end, the grid structure was closing the image and was reducing it to something distant, removed from the reach of the gallery, thus marking the boundary between the observer and the exhibited work. That cycle represented the greatest turning point in the long career of this artist mainly because it was then that Gropuzzo said goodbye to the harmonious conversation with the expectations of a determined and distinctive audience while, at the same time, measuring his strenght with adding comments on the background of – most of all: a scene pleasing to the eye. After the so-called crossword cycle, the exhibiting practice continued to change. Gropuzzo returned to the plain photograph with no interventions but he still combined the poetics of representation. Glamour, beautiful women, harmonious scenery, harmonious shapes of fruit or flowers, it all remained within the boundaries of visual hedonism with some accents of humorous focus on the marginal positions of contemporary aesthetics and new visual media. The latent presence of roughness, latent presence of kitch, latent presence of an idle game with the devil’s tail but always with a well-meaning, protec- tive passivity of an observer who does not miss out on playing with the scenes’ visual elements which are transferred into photographic compositions. The second recent change is Rino’s exhibiting communication with the audience.He transfers most of the exhibited photographs from one context to the other, from one sign corpus to the other. Thus, some photographs which were made for advertising purposes or as priva- te, extremely intimate records change their dimensions and are put in a new context. That way they change their purpose and hide the initial intention. Put together, these scenes open up, become extroverted, accentuated by their strong colours, united in the composition of the ensemble, and peeled off from the content by primary artistic moments – just as the scenes of one picture with a lot of small ones. The exhibition functions as one decomposed photograph in which each individual work accentuates the following one, from the first photograph to the last one. Within the compact ensemble, there can be found some small internal cores (most frequently triptychs) in special chromatic corpuses so this time the red and the green created a lot of incidental intraspectral situations. The colours join the motifs even symbolically and they glorify the strong vitality. That is why it is emphasized that this exhibition is an exhibition of women, flowers, and fruit. It is dynamic, exuberant, loud but most certainly measured in conformity with the well-known signature of Rino Gropuzzo.

Nataša Šegota Lah

53 AUTOAKTOVI MARE BRATOŠ

U najnovijoj seriji autoaktova koje izlaže u dubrovačkoj Galeriji Otok, Mara Bratoš ističe i potvrđuje sve one atribute po kojima je postala jasno prepoznatljiva na suvremenoj hrvatskoj umjetničkoj sceni. I ovdje na ovim kolor fotografijama velikog formata svjedočimo neuvijenu afirmaciju tijela, no također i, usred potpune izloženosti i raz- golićenosti, hladni, distancirani pristup. I, mada je akt pa i auto-akt Mari oduvijek bio familijaran motiv (bilo kao modelu pokojnom Pavu Urbanu ranih devedesetih, bilo u njezinim vlastitim kasnijim foto-radovima), ovaj put se konstantne premise autoričina izraza radikalnije ističu. U istodobno drskom i nedužnom, samosvjesnom i poniznom poziranju pred vlastitom kamerom, u niši-sceni obloženoj tkaninom cvijetnog uzor- ka, u prostoru koji stilizira ideju idile koliko istodobno sugerira i pustoš, varirajući na jednostavnoj drvenoj stolici različite pokrete i poze...

54 AUTOAKTOVI MARE BRATOŠ

With the latest series of nude self-portraits exhibited at the Otok gallery in Dubrovnik, Mara Bratoš emphasizes and confirms all those attributes that made her a clearly recognizable figure in the Croatian art scene. Even in these large-scale colour photographs we can witness an overt affirmation of the body but amidst this complete exposure and nakedness we come across a cold, reserved approach. Although Mara has always been familiar with a nude as well as a nude self-portrait (either as a model of the late Pavo Urban in the early 90’s or later in her own photogaphs), this time the constant premises of the author’s expression are stressed more radically.Through her posing that is both brash and innocent, self-confident and humble in front of her own camera, in the niche-like scene lined with fabric of floral pattern, in the space that stylizes the idea of idyll suggesting at the same time ...

55 ...bez jasne svrhe i razloga (kao da ironizira čin snimanja, parafrazirajući, čini se, slike modela u časopisima za muškarce), Mara istodobno pokazuje «tijelo uopće», njegovu ljepotu kao i grotesknost, te - slijedeći svjesno ili nesvjesno Beuysov naputak (Zeige deine Wunde) - vlastitu ranjenost. Posebno je to vidljivo u sekvenci od tri manje fotografije neznatno variranog lica i poprsja gdje se upravo naturalistički(jaka šminka, istaknuti madež, neugodno ukočeni pogled iz kojeg kao da je iščilio život) iskazuje nijemost boli - na promatraču neznan način - povrijeđenog bića koje, međutim, ne traži sažaljenje.Latentna ironija žanra (idealizirane pin up-slike) kojemu bi ovi aktovi uvjetno mogli pripadati, čitljiva je i u samoj scenografiji unutar koje autorica-model performira svoj repertoar pokreta. Naime, unatoč namjenski uređene scene u stu- diju, na njoj su vidljivi neretuširani spojevi i neizglačani nabori tkanine. Štoviše, od sekvence do sekvence varira i sam kadar slike u koji (inače nedopustivo za korektan finalni konvencionalni proizvod) povremeno ulazi i okrajak poda prostorije. Tako si Mara, kao i u drugim svojim ciklusima, unatoč sugestiji koncepcijski «sterili- ziranog» prizora, dopušta nehaj pristupa uz, istodobno, eleganciju kojom negira vlastiti patos - proturječnosti koje ne samo da ne ugrožavaju nego i dodatno uslojavaju konačni produkt i njegov učinak. Naime, upravo zbog tih zgusnutih kontradiktornosti koje bogato vibriraju u ovom novom ciklusu slika Mare Bratoš, početna formalna i motivska jednostavnost rezultira sadržajnom složenošću, a strogo subjektivna pret- postavka autoričine teme postaje opće prepoznatljiva, prihvatljiva i označujuća.

Antun Maračić

56 ...the idea of desolateness, varying different moves and poses on a simple wood cha- ir and doing this without apparent purpose and reason (as if she ironizes the act of shooting thus paraphrasing the pictures of models in men’s magazines), Mara simul- taneously shows the body in general, its beauty as well as its grotesqueness. While doing this, Mara follows, either consciously or unconsciously, Beuyus’ instruction (Zeige deine Wunde) and shows her own vulnerability. This is particularly noticeable in the sequence of three smaller photographs showing inconsiderably varied face and bust where the muteness of the pain felt by a hurt being who does not need compassion is naturalistically expressed (heavy make-up, conspicuous mole, discomforting fixed stare from which life disappeared), in the way unknown to the observer. What is more, the frame of the photograph varies from sequence to sequence and it shows a part of the room’s floor, which is impermissible for a satisfactory conventional final product. Just as in her other series, and despite the suggestion of a conceptually sterile scene, Mara permits the negligence of the approach along with the elegance through which she negates he own pathos – these contradictions do not endanger but contribute to the layering of the final product and its effect.Thanks to these dense contradictions this new series of photographs teems with the initial simplicity of forms and motifs results in the complexity of content while a strictly subjective premise of the author’s theme becomes generally recognizable, acceptable, and denotative.

Antun Maračić

57 Filmski program Film programme

REDATELJI MEDITERANA

Ljetno kino Casanovafesta ove će godine ugostiti redateljske velikane s Mediterana. Što slučajnošću a što namjerno, svi odabrani redatelji su Talijani – Bernardo Bertolucci, Federico Fellini te zanimljivo ime talijanske ali i svjetski poznate filmske erotike Tinto Brass. Želja je Casanovafesta svake godine predstaviti jednu ekranizaciju života karizmatičnog Casanove. Kako smo prošle godine predstavili Sylviju Kristel, erotsku ikonu francuske kinematografije, izbor filma o Casanovi odredila je njezina uloga u „Casanovi“ Simona Langtona, gdje je slavnog zavodnika glumio Richard Chamberlain. Ove je pak godine izbor „Fellinijeva Casanove“ odredio cijeli filmski program. Drago nam je što ćemo prikazati ekranizaciju Casanovina života iz redateljske palice jednog od najvećih talijanskih umjetnika uopće – Federica Fellinija. Njegov utjecaj na redatelje 20. stoljeća neosporan je, a David Lynch, Pedro Almodovar i Tim Burton samo su neki koji taj utjecaj priznaju. Dobitnik čak četiriju Oscara za najbolji strani film („8 ½“, „Cesta“, „Cabirijine noći“ i „Amarcord“) potpisuje i remek-djelo „Slatki život“. Dok smo razmišljali o Mediteranu, Italiji i erotici, nametnulo nam se još jedno veliko talijansko ime – Bernardo Bertolucci. Redatelj koji u svojem filmskom izričaju često povezuje politiku i seks te koketira s motivima bizarnog i društveno neprihvaćenog, već je davne 1972. i filmom „Posljednji tango u Parizu“ izazivao kontroverze. Odabir filma „Sanjari“ u ovogodišnji filmski program proizašao je iz neodoljive kombinacije nekoliko elemenata – suvremenih, mladih i karizmatičnih glumaca, intrigantne, erotične i incestuozne priče iz daleke i politički turbulentne 1968. godine, činjenice da je snimljen u najromantičnijem gradu na svijetu, Parizu, te da je praćen notama najbolje glazbe iz 1960-ih. Ime Tinta Brassa poznato je mnogima, a biti u filmskom svijetu talijanske erotike ne- moguće je bez kontroverznih i raspojasanih erotskih elemenata. Iako često napadan od filmskih kritičara, davno je zbog svog stila prozvan Kraljem erotike. Čak i danas, kao gotovo 80-godišnjak, dječačkim je žarom posvećen prikazu seksualnih odnosa, golotinje i neizostavne, njemu svojstvene erotike.

Želimo vam prekrasne filmske trenutke u noćima ovogodišnjeg Casanovafesta!

Selma Mehadžić

58 DIRECTORS FROM THE MEDITERRANEAN

The summer cinema of Casanovafest is going to host great directors from the Mediterranean... whether by accident or on purpose, all the selected directors are Italian - Bernardo Bertolucci, Federico Fellini and an interesting name which belongs to the Italian and worldwide known erotic films - Tinto Brass. The aim of Casanovafest is to present one film version of the charismatic Casanova’s life every year. Last year we presented Sylvia Kristel, the erotic icon of the French cinematography. She was chosen for this category because of her role in Casanova by Simon Langton, where the great seducer was played by Richard Chamberlain. This year the choice of Fellini’s Casanova determined the whole film programme. We are pleased to be able to screen the film version of Casanova’s life as seen by one of the greatest Italian artists – Federico Fellini. His influence on the 20th-century directors is indisputable and David Lynch, Pedro Almodovar and Tim Burton are some of the directors that admit being influenced by him. Fellini was the winner of four Oscars for Best Foreign Language Film (8 ½, The Road, Nights of Cabiria and Amarcord) and he also signed the masterpiece La Dolce Vita (The Sweet Life). While thinking about the Mediterranean, Italy and erotica, one other name sprang to our mind as a logical choice for the programme – Bernardo Bertolucci. The director who often brings together politics and sex in his films and flirts with motifs of the bizarre and socially unacceptable, Bertolucci aroused controversy with his film Last Tango in Paris as early as 1972. His film The Dreamers was included in this year’s film programme because of the irresistible combination of several elements – contemporary, young and charismatic actors, an intriguing, erotic and incestuous story from a politically turbulent year 1968, the fact that it was filmed in Paris, the most romantic city in the world, and that the tunes that follow the plot are the quality music from the 1960s. Tinto Brass’ name is known to many and it is impossible to enter the world of Italian erotica without his, often controversial and licentious, erotic films. Although he has often been attacked by film critics, he was proclaimed King of Erotica a very long time ago. Even today, as an 80-year-old, he is dedicated with a boyish zeal to the portrayal of sexual intercourse, nudity and the unavoidable erotica, so typical of him.

We wish you beautiful film moments during this year’s Casanovafest nights...

Selma Mehadžić

59 SANJARI (2003.) Zemlja: Francuska, VB, Italija Trajanje: 115 min. Redatelj: Bernardo Bertolucci Scenarij: Gilbert Adair Uloge: Eva Green, Michael Pitt, Louis Garrel

Godina je 1968. Mladi američki student (Michael Pitt) dolazi u Pariz na studij. U jednom od čestih odlazaka u parišku kinoteku upoznaje brata i sestru, Thea i Isabelle (Louis Garrel i Eva Green), s kojima se brzo sprijateljuje i kojima se useljava nakon odlaska njihovih roditelja izvan grada. Dok na ulicama Pariza traju politički prosvje- di, troje mladih filmofila zapliće se u vlastiti svijet emocionalnih i seksualnih igara u kojima svi mnogo dobivaju, ali i gube.

60 THE DREAMERS (2003.) Country: France, UK, Italy Duration: 115 min Director: Bernardo Bertolucci Screenplay by: Gilbert Adair Roles: Eva Green, Michael Pitt, Louis Garrel

It is the year 1968. A young American student (Michael Pitt) comes to Paris to study. On one of his frequent visits to the Parisian cinémathèque he meets a brot- her and a sister, Theo and Isabelle (Louis Garrel and Eva Green), with whom he quickly forms a friendship. He moves in with them soon after their parents leave the city. While politicial protests are taking place on the streets of Paris, the three young film lovers get entangled in their own world of emotional and sexual games with which all of them win some and lose some.

61 Izrazito erotičan, s referencama na filmska remek-djela iz 20. stoljeća i protkan glazbenim notama Boba Dylana, Jimija Hendrixa, The Doorsa i Janis Joplin, film je svojevrsna oda slobodnom duhu 60-ih, buntu mladih, seksu i kinematografiji.

Bernardo Bertolucci rođen je 1941. u talijanskom gradu Parmi. Iako je htio biti pjesnik, studij književnosti napušta u 21. godini i počinje redateljsku karijeru kao pomoćnik talijanskog redatelja Pasolinija. Šezdesetih postiže uspjeh filmom „Prije revolucije“, što mu omogućuje da 70-ih, u vrijeme recesije talijanske filmske industrije, počne snimati koprodukcije. Njegovi najuspjeliji filmovi često su snimljeni izvan Italije, a glavne uloge igraju uglavnom inozemni glumci. Primjer je i njegov „Posljednji tango u Parizu“, pariška priča u kojoj glavne uloge igraju Marlon Brando i Maria Schneider. Česta tema Bertoluccijevih filmova upravo su seks i politika. U „Konformistu“ kriti- zira fašističku ideologiju, „Posljednji kineski car“ snimljen je u Zabranjenom gradu u Pekingu, što je bio potez bez presedana. Svojim prikazom i kontekstualizacijom seksa i ljubavnih odnosa često izaziva kontroverze i biva više puta podvrgnut cenzuri. U „Sanjarima“, uz prikaz seksualnih i ljubavnih odnosa troje mladih ljudi, nedvojbeno odaje počast nekim od najvećih djela filmske umjetnosti te podcrtava svoju izjavu da je najbolja filmska škola pariška kinoteka.

62 An extremely erotic film, with references to the 20th-century film materpieces and full of music notes by Bob Dylan, Jimi Hendrix, The Doors and Janis Joplin, it is an ode to the free spirit of the 1960s, the rebellion of the young, sex and cinematography.

Bernardo Bertolucci was born in 1941 in the Italian town Parma. Although he wanted to be a poet, he stopped studying literature when he was 21 and started his directing career as an assistant to the Italian director Pasolini. In the 1960s he achieved success with his film Before the Revolution, which enabled him to start shooting coproductions in the 1970s, at the time of the recession of the Italian film industry. His most successful films were often shot outside Italy, and the main roles were often given to foreign actors. An example is his wide-known film Last Tango in Paris, a Parisian story in which the main roles are played by Marlon Brando and Maria Schneider. A recurrent topic of his films are sex and politics. In The Conformist he criticises the fascist ideology and The Last Emperor was shot in the Forbidden City in Beijing, which was an unpreceden- ted event. By portraying and contextualising sex and love relationships, he has often aroused controversy and has been censored numerous times. In The Dreamers, while showing a sexual and love relationship between three young people, he is honouring some of the greatest achievements of the film industry and stresses the significance of his statement that “the best school of film is the Parisian cinémathèque”.

63 FELINIJEV CASANOVA (1976.) Zemlja: Italija, SAD Trajanje: 155 min. Redatelj: Federico Fellini Scenarij: Federico Fellini, Giacomo Casanova, Bernardino Zapponi Uloge: Donald Sutherland, Tina Aumont, Cicely Brown, Carmen Scarpitta

U Fellinijevoj filmskoj adaptaciji biografije najpoznatijeg zavodnika Giacoma Casanove u glavnoj ulozi pojavljuje se Donald Sutherland, a pratimo Casanovin život u egzilu nakon bijega iz zatvora, kamo ga je smjestila inkvizicija. Lutajući Europom od Pariza, Londona, Rima, Berna i Dresdena, živi raskalašenim i površnim životom prelazeći iz jedne ljubavne avanture u drugu.

Federico Fellini jedna je od najvažnijih osobnosti talijanske kinematografije uopće. Prvi međunarodni uspjeh postiže filmom „Dangube“, nakon čega snima uspješnice „Cestu“ i „Cabirijine noći“, oba nagrađena Oscarom za najbolji strani film. „Slatki život“, jedan od svojih najboljih filmova, snimio je 1960. godine. Nebrojene nagrade donose mu 60-ih titulu filmske redateljske superzvijezde, a svojim je filmovima dao golem doprinos svim važnijim tematskim i stilskim orijentacijama europskog filma u tom vremenu. Među poznatijim naslovima još su „Osam i pol“, „Amarcord“ i „Fellinijev Casanova“ u kojemu prikazuje opsjednutost likova seksualnošću. Fellinijev izbor Donalda Sutherlanda za glavnu mušku ulogu bio je neporeciv, što dokazuje podatak da je preporuku distributera da uzme Roberta Redforda odlučno odbio. Poštovanje između Sutherlanda i Fellinija bilo je obostrano. Nakon što je za ulogu morao obri- jati kosu do pola glave, Sutherland je komentirao: „Kad ti Fellini kaže da se ošišaš, onda to i napraviš.“

64 FELINI’S CASANOVA (1976.) Country: Italy, USA Duration: 155min. Director: Federico Fellini Screenplay by: Federico Fellini, Giacomo Casanova, Bernardino Zapponi Roles: Donald Sutherland, Tina Aumont, Cicely Brown, Carmen Scarpitta

Fellini’s film adaptation of the most famous seducer Giacomo Casanova’s biography. Donald Sutherland stars in the main role while we are following Casanova’s life in exile after his escape from prison, where he was sent by the Inquisition. While wan- dering through Europe, from Paris and London to Rome, Bern and Dresden, he lives a licentious and superficial life and has one fling after the other.

Federico Fellini is one of the most important personalities in the Italian cinematography. His first success was the film I Vitelloni, after which he filmed other successful films The Road and Nights of Cabria. Those two were both awarded with Oscars for the Best Foreign Language Film. He made La Dolce Vita, one of his best films, in 1960. Countless awards made him a superstar among film directors in the 1960s and with his films he made a significant contribution to all important thematic and stylistic orientations of the European film of the time. Among the most important titles we can find 8 ½, Amarcord, and Fellini’s Casanova, in which he shows the characters’ obsession with sexuality. His decision to choose Donal Sutherland for the leading male role was unquestionable. This was proved by the fact that when the distributors wanted to choose Robert Redford, he was determined not to go along with that decision. There was mutual respect between Sutherland and Fellini. After he had shaved half of his head for the part, Sutherland commented: “When Fellini

65 VOAJER (1994.) Trajanje: Zemlja: Italija Redatelj: Tinto Brass Scenarij: Alberto Moravia (prema noveli) Uloge: Katarina Vasilissa, Francesco Casale, Cristina Garavaglia, Raffaella Offidani

Dodo, profesor iz Rima, u dubokoj je depresiji nakon što ga napusti žena. Zavodi ga mlada studentica, no to mu ne pomaže da prežali ženin odlazak. Uskoro posjećuje oca kojeg njeguje seksepilna bolničarka.

Tinto Brass rođen je 1933. Njegovu filmografiju uglavnom čine izrazito erotski filmovi zbog kojih je prozvan ‘Kraljem erotike’. U talijansku filmsku industriju ušao je radeći za slavne R.Rosellinija i F.Fellinija, a međunarodno postaje poznat svojom kontroverznom adaptacijom ‘Caligule’, Gorea Vidala. Sukobljava se tada s Bobom Guccioneom – vlasnikom magazina Penthouse i producentom filma. Nezadovoljan Brassovom verzijom, Guccione ubacuje svoje dosnimljene scene i izbacuje Brassa iz montažnog studija. Brass ne želi potpisati autorstvo nad filmom ali film ipak postaje njegovo najpoznatije djelo do danas. Nakon ‘Caligule’ Brass se fokusira na erotske filmove, što naziva svojom intimnom borbom protiv licemjerstva cenzora. Među njegovim najpoznatijim erotskim uratcima svakako su – ‘Paprika’, ‘Cosi fan tutte’, ‘Monella’ i ‘Trasgredire’. Tinto Brass i danas, sa 77 godina, snima, a nedavno je na- javio svoj novi film koji bi trebao biti prva 3D porno-produkcija. O odnosu erotike i pornografije jednom je rekao: ‘Pornografija je tu da vam izazove erekciju, erotika je tu da izazove emocije.’

66 VOYEUR (1994.) Duration: Country: Italy Director: Tinto Brass Screenplay by: Alberto Moravia (based on a novella) Roles: Katarina Vasilissa, Francesco Casale, Cristina Garavaglia, Raffaella Offidani

Dodo, a professor from Rome, is deeply depressed after his wife leaves him. A young student seduces him but that does not help him to get over his wife’s departure. He soon decides to visit his father, who is being looked after by a sexy nurse.

Tinto Brass was born in 1933. His filmography is mostly made of extremely erotic films, which is why he was named King of Erotica. He made his way into the Italian film industry by working for the famous directors R. Rossellini and F. Fellini and he became internationally famous for his controversial adaptation of Caligula by Gore Vidal. It was then that he had a conflict with Bob Guccione – the owner of the magazine Penthouse and the producer of the film. Unhappy with Brass’ version, Guccione added his own scenes filmed afterwards and expelled Brass’ from the editing studio. Brass did not want to claim the authorship of the film but the film has nonetheless become his most famous work. After Caligula, Brass started focusing on erotic films, which he decided to call his intimate battle against the hypocrisy of censors. Among his most famous erotic works most certainly are: Paprika, Cosi fan tutte, Monella and Trasgredire. Even today, at the age of 77, Tinto Brass still makes films. He has recently announced his new film, which should be the first 3D porn-production. When it comes to the distinction between erotica and pornography, he once said: “Pornography is there to cause an erection whereas erotica is there to arouse emotions”.

67 Glazbeni program Music program

Jelena Radan

Moja potraga za fadom koncert

Jelena Radan svoj glazbeni program „Moja potraga za fadom“ opisuje kao uspored- ni kolosijek - nadogradila se još jednim glazbenim izrazom, kao svojom odvojenom glazbenom strasti. Upoznala je fado. Svoj susret s fadom opisuje kao dobrodošli trenutak novoga, drukčijega, inspirativ- noga, lijepoga. Fado joj je otkrio jedan njen unutrašnji dio, koji je, nakon vremena slušanja, istraživanja i prevođenja, odlučila podijeliti sa svojom publikom. To je jedno od njenih glazbenih putovanja koje se svakim novim koncertom, te svakim novim slu- šateljem nadograđuje i opetovano ispunjava. Po prvi puta, na koncertu u rujnu 2007, na Peristilu, na dvije pjesme uvrstila je i mandolinu, kao instrument koji je povezao ionako bliske ugođaje fada i glazbe ovog podneblja. Glazbeni program portugalske glazbe upotpunjuje dijelovima prijevoda ispjevanih pjesama, jer su to tekstovi u kojima pronalazi mnoštvo osjećaja koji grade iznimni ugođaj. Svoj osjećaj nakon koncerta uspoređuje s katarzom-pročišćenjem. Jelena je izabrala dvadesetak najljepših, najbolnijih, najuzbudljivijih pjesama fada u namjeri da publici opjeva svoju ljubav prema istom i ispriča svoj susret s fadom. Pjesme Fernanda Pessoe, Paula de Carvalha, Augustine Bessa-Luis, Jorge Fernanda… nalaze se u njenom izboru fada koji ju je dirnuo. Naslovi poput ponosne i tugaljive Fado Portugues, bolne Com que voz, profinjene ljubavne Fado do retorno, pa sve do njenog prvog fada Danca de magoas (Ples tuge), ali i one iz podnaslova Da vida quero os sinais (Od života želim znakove). Zar ne želimo svi? Što je to što nas u fadu ne čini ravnodušnima, ako ga fadista izvede kako treba? Saudade je taj osjećaj sjete, čežnje, bolna praznina neispunjenih želja, ali i vapaj, ponos, traganje…

68 Jelena Radan

My search for fado concert

Jelena Radan describes her music programme My Search for Fado as a parallel railway line - she has been enriched by another musical expression, which is her separate kind of passion for music. She has met fado. She describes her encounter with fado as a pleasant moment of something new, different, inspirational, and beautiful. Fado has revealed another part of her, which she decided to share with her audience after some period of listening to it, exploring and translating it. It is one of her musical journeys that, with each new concert and each new listener, seems to be perfected. In September 2007, when she was about to hold a concert on Peristil in Split, she decided to introduce the mandolin into two of her songs for the first time. She had chosen the mandolin because it is an instrument which connects similar characters of fado and the music from this region. This music programme, based on Portuguese music, is completed with excerpts of translations of the songs which are sung because these are the texts in which she finds numerous emotions that create an exceptional atmosphere. Jelena describes her state after a concert as catharsis – purification. She has chosen about twenty most beautiful, most painful and most exciting fado songs which will transmit to the audience her love for fado and tell them the story of her encounter with it. The poems and songs of Fernando Pessoa, Paul de Carvalho, Augustina Bessa-Luis, Jorge Fernando…all found their way to her list of fado which had touched her. The titles include the proud and sad Fado Portugues, painful Com Que Voz, the sophi- sticated love song Fado Do Retorno as well as her first fado song Danca De Magoas (Dance of Sorrow), but also the one from the subtitle Da Vida Quero Os Sinais ( I Want Signs from Life). Don’t we all want the same? What is it in fado that makes us not be indifferent if a fadista performs it well? Saudade is that melancholic feeling, a feeling of longing, a painful emptiness of unfulfilled wishes but also a cry, pride and a search...

69 I kako stoji u jednoj od najljepših pjesama, Chuva (Kiša), postoje trenuci i prolaznici koje lako zaboravljamo kroz život, ali postoje i oni koje nikada ne zaboravimo, te nam sama pomisao na njih vraća osmijeh na lice. Možda će baš trenuci provedeni na koncertu „Moja potraga za fadom“, izmamiti takva sjećanja kod publike, a sam koncert postati jedna od onih uspomena koje ni chuva ne može izbrisati.

Glazbenici: Joško Tomić - akustična gitara ; Mario Stojan - akustična gitara; Nenad Miškec - bas gitara; (po prilici Matko Petrić – perkusije; po prilici Mario Bavčević – mandolina).

Boom Pacha Boom Boom Pacha Boom je sedmeročlani VIS koji svira pop pjesme iz 1950-ih i 1960-ih godina. Sastavljen je od glazbenika, koji su zanat pekli u bandovima različitih žanrova, stilova i usmjerenja te su odlučili zaroniti u nevini svijet zaljubljenih tinejdžera s polo- vine prošlog stoljeća. Uživajte u poznatim i manje poznatim pjesmama jednog drugog, sretnijeg vremena koje će vam dočarati tri rasplesana ženska vokala uz pratnju jednako rasplesanih svirača na akustičnoj gitari, električnoj gitari, bas gitari te bubnjevima. Nabacite točkice i osmijeh pa dođite po svoju porciju plesa i dobrih vibracija.

70 And as one of the most beautiful songs, Chuva (Rain), says, there are moments and passers-by in life that we easily forget but there are also those ones that we never forget, and the thought of them alone can bring a smile upon our face. Maybe the moments spent at the concert My Search for Fado will elicit those memories from the audience and the concert itself might become one of those memories that not even chuva will be able to erase.

Musicians: Joško Tomić – acoustic guitar ; Mario Stojan - acoustic guitar; Nenad Miškec - bass guitar; (on occasion, when needed: Matko Petrić – percussion and Mario Bavčević – mandolin)

Boom Pacha Boom Boom Pacha Boom is a seven-member band which plays pop songs from the 1950s and 1960s. It includes musicians who made their way in the industry by playing in bands which play different genres and styles of music and who decided to dive into the innocent world of lovesick teenagers from the mid-20th century. Enjoy listening to well-known and less known songs made in a different, happier period, which will be evoked by three dancing female vocals and equally ready to dance musicians playing the acoustic guitar, electric guitar bass guitar and the drums. Put on your polka dot clothes and a smile and come and get your own portion of dancing and good vibrations.

71 Don’t touch this Don’t Touch This jedinstvena je plesna skupina u Hrvatskoj koja pruža uistinu ose- bujan scenski doživljaja. Njihov show spektakl nudi mnogo više od plesa: erotiziranu koreografiju, buđenje adrenalina i vrhunsku zabavu. A danas se upravo to traži: zabava začinjena doživljajem. Don’t Touch This osmislila je skupina profesionalaca, ponajprije koreografa i plesača iza kojih su godine mukotrpnog rada. Sastavni dio tima su i prokušani estradni stručnjaci, maštoviti kostimografi, PR ekipa… Osim plesa, koji je uz snažan erotski naboj uvijek tematski određen – školarke, vampirice, rokerice…, oskudno odjevena skupina Don’t Touch This izvodi i niz spektakularnih iluzionističkih trikova. To treba doživjeti!

72 Don’t touch this Don’t Touch This is a unique dance troupe in Croatia, which provides us with a truly particular experience. Their show offers more than just dancing: eroticised choreo- graphy, adrenalin rush and great fun. And these days that is exactly what is sought after: fun spiced with a memorable experience. Don’t Touch This was formed by a team of professionals, mainly choreographers and dancers who have gained experience through years of hard work. Experienced experts in the industry, imaginati- ve costume designers, a PR team, and other experts are also a part of these girls’ team. Besides dancing, which is sexually charged and always defined by a theme – schoolgirls, vampires, rockers, the skimpily dressed dance crew Don’t Touch This performs a series of spectacular magic tricks. A must-see!

73 DJ Borovich DJ Borovich svirat će nam zavodljivu, seksi i groovy glazbu erotskih i soft porno filmova 70-ih, 80-ih (Emmanuelle, Laure, Deep throat, 1001 night-Sheherezade, Shumaladen report, Il Profeta,...) zvanu sexploitation music. Napaljene trube, masni ritmovi, seksi vokali, razvučene rhodes dionice, smiješni ritmovi na ksilofonu, gitare koje se mazno šuljaju, a sve oplemenjeno replikama i pokojim krikom zanosa iz filmova ovu glazbu čine unikatnom i idealnom za početak vrsarskih noćnih avantura. Svakog dana nakon filmskih projekcija, a prije koncerta, DJ Borovich će vam sexploitation glazbom dodatno raspaliti maštu i zagolicati libido. Nakon sexploitation DJ seta i koncerta vodimo vas u neki od barova tik uz more gdje vas očekuje tulum kakav ste oduvijek priželjkivali. DJ Borovich nakon uvodnog erotskog seta odlazi u još vrelije glazbene sfere stvarajući atmosferu dostojnu festivala ljubavi i erotike. Pažljivim odabirom rijetkih sastojaka iz raznih dijelova svijeta, Borovich nam je spremio čarobni glazbeni napitak u kojem prevladavaju french disco, afrobeat&disco, funk, soul, soca, latino grooves, mash up 80s, 90s... Spomenuti glazbeni pravci poznati su po afrodizijačkom elementu. Nitko nije imun na vreli ritam nabijen erotikom, smijehom, pozitivnom energijom, što je potvrđeno puno puta na plesnim podijima kada je DJ Borovich odlučio sijati ljubav.

74 DJ Borovich DJ Borovich is going to play us sexploitation music - seductive, sexy and groovy music from erotic and soft-porn films from the 1970s and 1980s (Emmanuelle, Laure, Deep Throat, 1001 Night-Sheherezade, Shumaladen Report, Il Profeta, etc). Excited trumpets, greasy rhythms, sexy vocals, extended rhodes sequences, funny rhythms on the xylophone, guitars which are coyly sneaking up as well as replicas and some cries of extasy taken from the films - all this makes the music unique and ideal for the beginning of night adventures in Vrsar. Every day after the film screenings and before the concerts, DJ Borovich is going to make your imagination run wild and stimulate your libido with his sexploitation music. After the sexploitation DJ set and a concert, we are going to take you to one of the bars right next to the sea where you are going to have a party that you have always wanted to have. After the introductory erotic set of music, DJ Borovich is going to take us to even hotter music spheres and thus create an atmosphere worthy of a love and erotica festival. By carefully choosing some rare ingredients from different parts of the world, Borovich prepared us a magical music potion full of different kinds of music such as french disco, afrobeat & disco, funk, soul, soca, latino grooves, mash up 1980s, 1990s, etc. The above mentioned music genres are known for their aphrodisiac powers. No one is immune to hot rhythm charged with eroticism, laughter and positive energy, which has been proven on dance floors numerous times, whenever DJ Borovich decided to spread love.

75 1 Gastro Montraker

2 Dionys - Književne večeri

3 Party Montraker * Ulaz besplatan / Free entrance Entrara libera / Freier Eintritt 4 Kino Montraker

5 Koncerti Montraker

6 Stara škola Rade Končara 29

7 Općinska zgrada Trg Degrassi 1

8 Hotel Pineta