EUROVISION LAB. KATALOG / CATALOGUE

Transcription

1 EUROVISION LAB. KATALOG / CATALOGUE

2 CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 069(4)( ) EUROVISION Lab. : en predmet - mnogo vizij - evrovizij : katalog prve EMEE eksperimentalne razstave = one object - many visions - eurovisions : catalogue of the first EMEE experimental exhibition / [pisci besedil Tajda Blazinšek... [et al.] ; uredili Urška Purg in Janja Štefanič ; fotografije Sašo Kovačič, Sarah Poženel]. - Ljubljana : Muzej novejše zgodovine Slovenije, 2015 ISBN Blazinšek, Tajda 2. Purg, Urška, Ljubljana, 2015 Katalog je brezplačen. The catalogue is free of charge. Projekt finančno podpira Kulturni program Evropske unije. With the support of the Culture Programme of the European Union.

3 EUROVISION LAB. En predmet mnogo vizij EvroVizij / One Object Many Visions EuroVisions KATALOG PRVE EMEE EKSPERIMENTALNE RAZSTAVE / CATALOGUE OF THE FIRST EMEE EXPERIMENTAL EXHIBITION

4 EUROVISION LAB. ONE OBJECT MANY VISIONS EUROVISIONS

5 KAZALO / CONTENT CONTENT uvod / INTROduction PROJEKT EMEE / EMEE PROJECT Proces laboratorija / Process of the laboratory VEČPLASTNI predmeti / MuLTI-LAYERED objects EMEE predmeti / EMEE objects Muzejski predmeti / Museum objects Izbop predmetov / selection of objects Muzejski hitri zmenki / Museum Speed Dating Izbranih 5 / selected 5 Časovna kapsula / time capsule EVROVIZIJE / EUROVISIONS 117 IMPRINT 121

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7 EUROVISION LAB. EUROVISION LAB. 7

8 8 MNZS-jev izbrani večplastni predmet fičo, pred muzejem / MNZS exemplary unit fičo, in front of the museum

9 uvod / introduction Muzeji kot kreativni laboratoriji / Museums as creative laboratories Dr. Kaja Širok, direktorica Muzeja novejše zgodovine Slovenije, Ljubljana / director of the National Museum of Contemporary History, Ljubljana, Slovenia EUROVISION LAB. Leta 2012 je osem partnerjev iz držav Evropske Unije pričelo skupni projekt EuroVizija: Muzeji razstavljajo Evropo (EMEE), katerega temeljno poslanstvo je vrednotenje večplastnih zgodb v evropskih muzejih. Hudomušen naslov projekta, ki je pri marsikateremu sodelavcu ob prvem srečanju izzval pripombo»da on pa ne bo prepeval,«nas je kasneje vodil daleč od glasbenih odrov v evropske muzejske depoje. Ob prvih pogovorih, prebliskih in misli kaj nas, Evropejke in Evropejce, povezuje in kje gradimo skupno zgodbo evropskih muzejev, je marsikdo najprej pomislil na glasbo in hrano. Glasba kot govorica sveta, kot promotor emocij in tolmač patosa prepevanih bolečin preteklosti. Hrana kot povezovalec med preteklostjo in sodobnostjo, med migracijo in modernizacijo, trendom ti. fusion food-a in navado pitja jutranje kave. A kje so zgodbe? Kje ljudje, ki bi te pesmi in stare recepte prenesli v pomenske pripovedi časa? Ali drugače postavljeno vprašanje: kateri predmeti imajo te lastnosti, da pripovedujejo večplastne zgodbe? Kateri muzeji imajo to sposobnost, da lahko nacionalne lastnosti predmetov prenesejo v večplastnost interpretacije časa? Muzeji imajo danes moč pomagati družbi in kot promotorji sožitja med kulturami In 2012 eight partners from countries of the European Union started the project EuroVision: Museums Exhibiting Europe (EMEE). The project is aimed at evaluating multi-layered narratives presented at European museums. The witty title reminiscent of the Eurovision Song Contest reaches far from stages to museum depots. In our initial discussions on what connects us, the Europeans, and what should be the basis for the story connecting the European museums, thoughts of many went to music and food. Music is considered to be the universal language, a way to express emotions and sing of the pain of the past. Food connects the past and the present, migrations and modernisation; it connects the trendy fusion food and the cup of coffee drunk each morning. But are these stories ever written down? Where are the people that would turn songs and recipes into meaningful testaments of time? To ask in another way: which objects have the capacity to tell these multi-layered stories? Which museums can transform and reinterpret objects of national significance into multi-layered objects of transnational relevance? Museums have the capacity to become the advocates of cultural coexistence and to bridge generation gaps. Some may deem them quaint, but 9

10 podirati medkulturne in medgeneracijske mostove. Niso tihe in dolgočasne institucije, temveč so prostori potenciala. Potenciala pa je ravno toliko, kolikor družba izkazuje potrebo po tem, da z institucijo sodeluje. Veliko hiš kulture se je v današnjem času preoblikovalo v prostore ustvarjanja družbenih odgovorov, v ustanove, ki ne služijo samo uresničevanju javne službe, temveč se trudijo postati ustvarjalci sprememb. Change of perspective/sprememba perspektive (COP) ni samo vodilo projekta EMEE, temveč cilj, ki smo si ga s partnerji na projektu zadali. Muzejsko delo kvalitetno predstaviti in obiskovalcem ponuditi več povezati potrebe našega dela z željami obiskovalcev. V okviru projekta smo željo po spremembah perspektiv udejanjali na treh nivojih: na področju evropske reinterpretacije predmetov in skupin, ki prikazujejo kompleksno raznolikost historičnih pomenov, med muzejsko stroko in obiskovalci ter v okviru povečanega mednarodnega sodelovanja. Sledili smo smernicam, se izobraževali in v okviru projekta spoznavali dobre prakse naših partnerjev. Vsak nam je nudil neprecenljive izkušnje o tem, kako muzeji in znanstvene institucije interpretirajo nacionalno dediščino. Ali lahko enosmerna (nacionalna) interpretacija zmoti ali celo užali obiskovalca? Kako lahko muzeji pripomorejo k temu, da so obiskovalci soudeleženi pri oblikovanju razstave? Koncept participativnega oz. udejstvovalnega muzeja je priročno ponudil they are places of tremendous potential; but the potential can only be realized if the society chooses to cooperate with these institutions. Museums are becoming social arenas, places of searching for answers to questions posed by the modern society; more than just a public service, they are striving to become the driving force of social changes. Change of perspective (COP) is more than just a guideline for the EMEE project, it is a goal that the participating partners aim to achieve. We wish to present the work of museums well and offer more to the visitors, thus connecting our work and their preferences. The change of perspective is realized on three different levels: as European reinterpretation of objects and object groups that reveal the complex diversity of historical meanings; as the change of perspective between museum experts and visitors, and by changing the contexts of the objects by means of international exchange of objects. Participating in the project, we followed the proposed guidelines, took part in workshops and thus gained an insight into our partners work. It proved an invaluable learning experience on how museums and other institutions interpret their national heritage. Is it possible for a single national interpretation to aggravate or even insult a visitor? How can museums include their public into conceptualizing exhibitions? The concept of a participatory museum offered many solutions to these questions. The participatory approach is an 10

11 marsikakšno rešitev. Udejstvovanje je trend, ki se pojavlja že daljši čas in ga najdemo ne samo v muzejih, ampak tudi v vseh ostalih sferah življenja. Udejstvovalni princip je izjemno dragocen, ko skušamo glas in vidnost enakopravno razdeliti med vse ljudi. V muzejskem kontekstu to predstavlja sodelovanje, ki obiskovalcem omogoči, da postanejo aktivni (so)ustvarjalci muzejskih izkušenj ali celo razstav samih. Nivojev udejstvovanja je veliko katere vpeljati je stvar, ki jo mora vsak muzej določiti sam. V okviru projekta smo želeli narediti korak dlje od teorije in najprej smo k sodelovanju pritegnili skupino ljudi, ki je sama sebe definirala kot neobiskovalce muzejev. Kandidate smo našli v nakupovalnih centrih in jih prijazno, preko razgovorov, povabili k obiskovanju našega muzeja in sodelovanju pri pripravi novih smernic razvoja muzeja. Ljudje so se označili kot neobiskovalci, saj menijo, da v muzeje ne zahajajo pogosto, kar pa ne pomeni, da njihovih programov ne poznajo. Kot so sami povedali, jim je domača ponudba tako blizu, da si za ogled razstav rezervirajo katerega od posebnih dni (npr. Prešernov dan ali Poletna muzejska noč), drugače pa nanje pozabijo. Naših muzejev ne razumejo kot okrnelih ostankov preteklosti, a muzeje raje obiskujejo v tujini. Velja navada, da je ob prvem obisku države, potrebno obiskati kak muzej. Proučili smo tudi potrebe pripadnikov ranljivih družbenih skupin in poskušali ponuditi ongoing trend that is being applied in all spheres of life, not only in museums. It has proven to be beneficial especially when the aim is to include the opinions of many. Applied in the museum context, it stands for collaboration that enables community members and visitors to take an active role in developing museum experiences that are more valuable to everyone and collaborate in setting up exhibitions. There are many different ways in which the participatory principles can be applied and not all may be suitable for every museum. To put theory into practice, we invited a group of people who consider themselves museum non-visitors to partake in our project. The candidates were selected through interviews conducted in various public spaces, like shopping centres and encouraged to help us envision new directions for museum development. Non-visitors, in their own opinion, do not visit museums often, but are nonetheless familiar with what they are exhibiting; thus they only visit museums when they prepare special programmes or events (on Prešeren Day, or Museum Night). While they do not deem Slovenian museums meagre remnants of the past, they prefer to visit museums abroad. Most believe that when visiting a country for the first time, it is necessary to visit at least one museum there. We also studied the needs of the vulnerable social groups and attempted to offer some improvements that would increase access to cultural assets. Our research and analyses resulted EUROVISION LAB. 11

12 izboljšave na področju dostopanja do kulturnih dobrin. Raziskave, analize in dolgi pogovori so vodili v nastanek priročnika Integracija multikulturne Evrope. Muzeji kot družbene arene, s katerim smo želeli tako muzejskim strokovnjakov, kot javnosti predstaviti smernice in dobre prakse muzejev iz cele Evropske unije. V priročniku smo želeli čim bolj plastično prikazati teorijo skozi primere dobrih praks, tako iz tujine, kot Slovenije. Vsakega od petih EMEE priročnikov pa smo obogatili še z delavnicami, ki na praktičnih primerih udeležencem približajo teorijo. Da bi vključili tudi mlade odrasle je projekt EMEE v letu 2014 razpisal natečaj za mlade scenografe. Vse gradivo je na voljo na spletni strani EMEE: Vstopamo v četrto leto projekta in ugotavljamo, da je cilj pot in ne dosežek. Dnevno se učimo, preko organiziranih delavnic in sodelovanj pa osvojena znanja tudi ponujamo sodelavcem iz drugih muzejev. Pri tem se zavedamo, da je učenje vzajemno in da samo sodelovanja rojevajo nove kreativne ideje ter uspešne rešitve. Veseli nas, da smo k sodelovanju privabili tudi mlade odrasle, skupino, ki ima največji potencial za uresničevanje inovativnih idej, a potrebuje mentorje, ki jih bi vodili skozi procese pridobivanja znanj. V obdobju, ko bi morali imeti največ priložnosti in zaupanja, je družba pod težo varčevalnih ukrepov pozabila na generacije bodočnosti. Skupini mladih smo ponudili prostor za in the handbook Integration of the Multicultural Europe. Museums as social arenas. The handbook intended for museum professionals as well general public offers guidelines for the development of good museum practices. It attempts to present the theoretical knowledge through examples observed in Slovenian museums and museums in the countries of the European Union. In each of the five EMEE handbooks, workshop examples that present the application of theory into practice are included. The EMEE Young Scenographers Contest created in 2014 was intended to include young adults into the EMEE project. More resources and information are accessible at the EMME website: Three years since the project has begun, it has become clear that its aim is not a particular achievement, but the learning process and sharing our findings with cooperating partners is the immense value of the project is finding new ways of collaboration and creative solutions. We are delighted to have been able to attract so many young adults to the project. They are a social group with immense potential, creative new ideas, but also in need of mentorship and guidance while acquiring new knowledge and skills. However, the politics implementing severe austerity measures are lessening their potential and thus inhibiting their creativity. We were fortunate to work with a group of young people and provide them with a space for the realization of their ideas, helped them 12

13 uresničevanje idej, z njimi kreirali zgodbe in jim dopustili, da svoje interpretacije muzejskih predmetov predstavijo sami. Tako muzej odpiramo na več načinov: z interdisciplinarnim pristopom, ki želi biti inovativen in družbeno razumljiv; z večplastnimi interpretacijami muzealij, ki želijo prebiti nacionalne ravni razumevanja časa; z uporabo novih načinov razmišljanja in dela, ki muzeje spodbujajo, da najdejo svoj prostor tudi na virtualnih omrežjih. Predvsem pa si želimo sodelovanja tako med sodelavci, muzealci iz drugih inštitucij, šolami, med obiskovalci in neobiskovalci. V želji, da bi takšna srečevanja postala stalna praksa in temelj medgeneracijskega povezovanja, spoštovanja in razumevanja kulturne raznolikosti kot dodane vrednosti naše družbe. Zahvaljujemo se partnerjem projekta EMEE: Univerza v Augsburgu (NE), Atelje Brückner (NE), Narodni muzej zgodovine (BO), Univerza Paris Est Creteil (FR), Univerza Roma Tre (IT), Nacionalni muzej za arheologijo (PT), Kunstverein monochrom (AU). create new narratives and interpretations of museum objects. The museum as a place is opening in many different ways: with an innovative and culturally significant interdisciplinary approach; with multi-layered interpretations of museum objects breaking the national interpretations of history; using new strategies of conceptualizing museum work and enhancing web-presence. We strive for collaboration between museum staff, those working in other institutions, schools, visitors, and non-visitors; and transforming museums into places connecting different cultures and generations, building a diverse and tolerant society. Lastly, we would like to thank our EMEE partners: Université Paris-Est Créteil (France), Università degli Studi Roma Tre (Italy), the Bulgarian National History Museum in Sofia, the Museu Nacional de Arqueologia in Lisbon (Portugal), Kunstverein monochrom in Vienna (Austria) as well as the Atelier Brückner in Stuttgart (Germany) EUROVISION LAB. 13

14 14 Partnerji EMEE med sestankom v Ljubljani, maj 2015 / EMEE partners during the meeting in Ljubljana, May 2015

15 Projekt EMEE / project emee EMEE EuroVision Lab. je rezultat projekta EMEE EvroVizija: muzeji razstavljajo Evropo. Ambiciozni cilj projekta EMEE je narediti muzeje bolj dostopne na več različnih načinov. Program za kulturo Evropske unije izvaja ta dva milijona vredni projekt v muzejih med novembrom 2012 in oktobrom EMEE je evropski muzejski razvojni projekt za nacionalne in regionalne muzeje. Njegov namen je razvijati inovativne interdisciplinarne pristope za muzeje, da bi lahko v novi luči prikazali muzejske predmete v širšem kontekstu evropske in transnacionalne zgodovine. Obiskovalcem bodo predstavljeni predmeti nacionalnega in regionalnega pomena, vabljeni pa bodo tudi k odkrivanju transnacionalnih in evropskih perspektiv z novimi načini predstavitve, nastopi in možnostmi za sodelovanje. Ob enem pa projekt razvija ustvarjalne koncepte namenjene izboljšanju obiska muzejev. Posebna pozornost je posvečena povečanju vpletenosti in udeleževanju obiskovalcev v muzejskem dogajanju. V tem pogledu je projekt namenjen predvsem povečanju števila obiskovalcev, ki v muzeje ne zahajajo pogosto. The EMEE EuroVision Lab. is a product of the EMEE project: EuroVision-Museum Exhibition Europe.The ambitious aim of the EMEE is to make museums more accessible in many ways. With around 2 million euros, the Culture Programme of the European Union supports this museum project to be implemented between November 2012 and October EMEE is a European museum development project for national and regional museums. It explores an innovative interdisciplinary approach that enables museums to re-interpret their objects in a broader context of European and trans-national history. Objects will be presented to visitors not only on a regionally and nationally determined level of meaning, but in a way that will invite visitors to discover transnational and European perspectives using new means of presentation, performances, and possibilities for participation. At the same time, the project develops creative concepts for audience development. Particularly by involving and activating visitors, the project tries to attract the rather large number of infrequent museum-goers to the museums. EUROVISION LAB. 15

16 16 Umetniška intervencija / Artist intervention: Živa Božičnik Rebec, Mia Ventin

17 Proces laboratorija / Process of the laboratory Urška Purg, Janja Štefanič Eksperimentalna razstava EuroVision Lab. je rezultat dela, ki smo ga začeli že leta 2012, ko smo v Muzeju novejše zgodovine Slovenije postali del evropskega projekta EMEE EvroVizija: muzeji razstavljajo Evropo. EuroVision Lab. je zasnovan štiridelni eksperiment z namenom približevanja muzejev javnosti in medsebojnega povezovanja. Zajema potujočo razstavo EMEE natečaja mladih scenografov, fotografsko razstavo muzejskih strokovnjakov in EMEE partnerjev, ki sodelujejo pri projektu, umetniško intervencijo in osrednjo razstavo, Časovno kapsulo. Marca 2015 smo k sodelovanju povabili petnajst mladih in petnajst muzejskih strokovnjakov iz Slovenije in tujine. Zamenjali smo običajne vloge in razdelili naloge. Muzealcem smo naročili naj prinesejo na ogled svoje paradne muzealije, mlade pa postavili v vlogo kustosov. V okviru hitrih zmenkov so morali muzealci nove kustose prepričati, da njihova muzealija sodi v cvetni izbor nacionalne dediščine in si zasluži postati predmet razstave. Experimental exhibition EuroVision Lab. is the result of work started in 2012 when the National Museum of Contemporary History became a part of the European project EMEE Eurovision: Museums Exhibiting Europe. EuroVision Lab. is an experiment comprised of four parts, the purpose of which is making museums more accessible to public and interconnected. It includes the traveling exhibition of the EMEE contest for young scenographers, a photo exhibition of museum experts and EMEE partners involved in the project, artistic intervention, and a central exhibition The Time Capsule. In March 2015, we invited 15 young adults and 15 museum experts from Slovenia and abroad to collaborate on the project. We turned the familiar roles of the public and the museum upside down and defined the new ones. We asked the museum workers to show their favourite museum objects and assigned the young the task of museum curators. In the manner of museum speed dating, the new museum curators selected objects from those that museum workers presented as the chief selection of national heritage with European references and therefore worthy of becoming objects of the exhibition. EUROVISION LAB. 17

18 Nujnost povezovanja: interakcija muzejev z obiskovalci. Pod sloganom»en predmet mnogo vizij EuroVizij«smo se v okviru projekta EMEE skupaj posvetili izzivom sodobnih muzejev. Kakšna je njihova vloga? So prepoznavni ali na ljudeh še pustijo vtis? Ali predmete dobro predstavijo? So muzeji prostori družbene interakcije? Prišli smo do več ugotovitev, med katerimi je bila najvidnejša potreba po povezovanju in iskanju novih vlog. Povezovanje tako med muzeji in muzejskimi strokovnjaki, kot tudi, če ne še pomembneje, povezovanje med muzeji, muzejskimi strokovnjaki in javnostjo. Ko smo združili mlade in muzealce, smo v muzejski talilni lonec zmešali najboljše iz obeh svetov: muzejske zaklade in dediščino, različna znanja in izkušnje s svežino, zanimanjem in navdušenjem. Mladi so se ob popoldnevih urili v različnih muzejskih veščinah, medtem ko so muzejski strokovnjaki nadgrajevali svoje znanje in razmišljali o večplastnosti predmetov iz lastnih zbirk. Z obojimi smo delali na podlagi naših izkušenj iz projekta EMEE in na praktičnem primeru našega predmeta izbranega za razstavo, fička, kreirali večplastne interpretacije muzejskih razstav. Muzejske»zmenkarije«Odigrali smo partijo muzejskih hitrih zmenkov, kjer so muzejski strokovnjaki v natanko treh minutah poskušali očarati mlade z Connecting: museums and the public Under the slogan One Object Many Visions EuroVisions, we focused on the challenges that museums face nowadays. What is their role in society? Are they recognizable do they leave an impression? Are their objects presented well? We reached several conclusions and found that the most pressing matter for museums to tackle is that of connecting between museums, museum experts, and the public. When we coupled young adults with museum experts, we took the best of both worlds: museum treasures, heritage, knowledge, and experience combined it with youthful enthusiasm, excitement, and interest. Young adults were instructed in different museum tasks, while the museum experts extended their knowledge and contemplated the multi-layered meanings of the objects in their collections. The programme for both groups was based on our own experiences with the EMEE projectand our exemplary unit fičo. After separate introduction sessions, we connected both groups. Museum speed dating While speed dating, museum experts had to dazzle the young adults with stories of their objects as well as their multi-layered and transnational components. Both parties met one on one and had exactly three minutes to talk before the bell rang, and announced to the young to change their seats. Young adults had to choose five objects that 18

19 zgodbo o svojem predmetu, o njegovi večplastnosti in transnacionalnosti. Mladi pa so med vsemi izbirali njim najbolj povednih pet predmetov. Ko so se skupna srečanja končala, so mladi nadaljevali svoje delo s pripravo eksperimentalne razstave izbrane peterice. Preizkušali so se v različnih vlogah, od scenografov, kustosov, do urednikov in oblikovalcev novih konceptov. Poglavitna želja in cilj razstave sta presenetiti vas, obiskovalce, in vas prenesti v časovno kapsulo, v kateri izbrani predmeti pripovedujejo večplastne zgodbe o preteklosti. Del razstave, ki se mu posvečamo v naslednjem poglavju, prikazuje vse sodelujoče muzeje, ki so mladim nudili svoje znanje in pomoč. Na enak način preko predmetov, predstavi tudi partnerje projekta EMEE in njihove izbrane predmete, ki so jih poskušali postaviti v transnacionalni kontekst. V Muzeju novejše zgodovine Slovenije smo izbrali avtomobil Fiat 600 Zastava fičo. Fičo nam je služil kot praktičen primer, na katerem smo snovali trimesečna srečanja mladih in muzejskih strokovnjakov. Izbrali smo ga, ker je predmet, ki se je zasidral globoko v srca tako Slovencev, kot ljudi iz mnogih drugih bližnjih in daljnih dežel. V Sloveniji pa se ga velikokrat enoznačno interpretira kot predmet»naše«zgodovine. Prav zato smo ga tokrat želeli umestiti v širši kontekst in preko več-značnih zgodb na zabaven način predstaviti ta simbol mobilnosti in ekonomskega razcveta. spoke to them. Thus, we concluded the workshops and the young adults started with preparations for the experimental exhibition. They tried their hand at a variety of roles: they were scenographers, curators, and editors, with the intention of creating an exhibition a time capsule for visitors to explore. Part of the exhibition presented in the next chapter presents all participating museum experts that offered young adults their knowledge and help. EMEE partners are presented in the same way via the museum objects that they put in a transnational context. At the National Museum of Contemporary History of Slovenia, we chose to present a car, Fiat 600 Zastava fičo. Based on our work with fičo we devised meetings between the participating young adults and museum professionals. We chose fičo because it is an object deeply rooted in the hearts of Slovenes as well as people from many other countries. In Slovenia fičo is often considered a part of our history; that is why we decided to put in into a broader context and present it as a symbol of mobility and economic development through multi-layered stories. It is parked in front of the museum where visitors are welcome to explore it and read stories from fičo-owners and reminisce about their first cars. This is an attempt to invite people to explore and take an interest in museums. EUROVISION LAB. 19

20 20 Sodelujoči pri EuroVision Lab. procesu / The participants in the EuroVision Lab. process

21 Na voljo za raziskovanje, opremljenega z zgodbami lastnikov, ki za obiskovalce obujajo spomine na svoje prve avtomobile, smo ga namestili pred muzejem. S tem smo poskusili odpreti vrata tistim, ki sicer ne prestopijo praga muzejev. Z istim namenom vzbuditi zanimanje mimoidočih smo k sodelovanju povabili mlade umetnike. Tekom procesa EuroVision Lab. smo namreč prišli do ugotovitve, da je naš muzej neprepoznaven in neopazen za mnoge obiskovalce parka Tivoli. Mlade smo vprašali, kako bi opozorili na muzej tiste, ki v svojih miselnih zemljevidih prostega časa muzejev še nimajo lociranih. Odgovor na to sta ponudili dve mladi umetnici iz Kulturne cone Šiška, preko umetniške inštalacije in lastne interpretacije slogana razstave: En predmet mnogo vizij EvroVizij. Z optično igro nagovarjata obiskovalce, da se pomikajo po poti in odkrivajo različne perspektive ter igrivo raziskovanje zaključijo z obiskom muzeja. Raznolika in eksperimentalna razstava, na ogled med julijem in oktobrom 2015, je oplemenitena z obrazstavnim programom, ki so ga prav tako zasnovali in izvajali mladi. S tem smo poskušali zaokrožiti eksperiment kot rezultat dinamičnega sodelovanja z mladimi odraslimi in muzeji ter javnosti ponuditi nekaj svežega, privlačnega, dotikanju prijaznega, igrivega in raziskovalnega. Having the same thing in mind attracting the interest of passers-by we invited a group of young artists to participate in our project. We discovered that the museum is not very well known and is unnoticed by many who visit park Tivoli. We asked the young artists to devise a plan to promote and remind park visitors of the museum. Two young artists from Kulturna cona Šiška offered a solution to our problem. They constructed an installation with their interpretation of the project s motto: One object many visions EuroVisions. They created a game of optical illusions that invites the passers-by to move towards the museum, explore different perspectives, and visit the museum. A diverse experimental exhibition is open from July to October 2015 and has an accompanying programme that was also designed by young adults. This was an attempt to bring the experiment full circle to present the exhibition as a result of work of the young adults and museum professionals, and to offer the public a fresh, interesting, touchable, and playful exhibition. EUROVISION LAB. 21

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23 ONE OBJECT ONE OBJECT 23

24 24 EMEEMORY spomin / EMEEMORY game

25 VEČPLASTNI predmeti / MULTI-LAYERED objects Partnerji projekta EMEE in muzejski strokovnjaki poskušamo pripovedovati zgodbo Evrope preko večplastnih premetov. Ti predmeti pripovedujejo zgodbe o prevzemanju, kopiranju in preseganju meja iz časa pred globalizacijo in ponujajo vrednotenje tega procesa, ki je oblikoval družbo, kot jo poznamo danes. Ko skupaj postavimo predmete izjemno različnih namembnosti, ki prihajajo iz raznolikih območji ter pripadajo dolgemu časovnemu obdobju, lahko med predmeti najdemo povezave, ki z običajnim muzealskim pristopom velikokrat ostanejo skrite. Iskali smo ravno te preplete, ki izvirajo iz večslojnih interpretacij in s tem predme vpenjajo v širši kontekst in ustvarjajo trans-nacionalne zgodbe. Nekateri predmeti sežejo še dlje in zaobjamejo kar svet sam. Ponudijo nam vpogled v vrednotenje kopiranja, širjenja in prevzemanja kulturnih produktov od prazgodovine do danes; načenjajo vprašanja o pomembnosti avtorstva, prenosu znanja in vlogi soustvarjanja. Partnerji projekta EMEE smo posvetili veliko časa iskanju širših, Evropskih zgodb pomembnih predmetov iz zakladnic evropskih muzejev. Na podlagi tega smo razvili set delavnic, ki muzejskim strokovnjakom pomagajo tako pri novi interpretaciji predmetov, kot pri medsebojnem povezovanju pri tem in lažjem vključevanju družbe. Odraz tega dela je predstavljen v sledečem poglavju. At the EMEE project, the partners and museum professionals endeavour to present European stories through multi-layered objects. These objects tell stories of appropriations and copying, as well as crossing borders in a time before globalisation, and display values that shaped that process and the society we live in today. By juxtaposing objects that have various purposes, come from different environments and time periods we discovered connections between these objects that might remain hidden using familiar methods of museum work. We looked for connections steaming from multi-layered interpretations that connect these objects into a broader context creating transnational stories. Some objects connections go far beyond those and relate to others on a global scale. They offer an insight into our evaluation of copying, spreading and adopting of culture-specific objects to this day; they pose important questions about copyright, transferring knowledge, and the role of co-creation. As the EMEE partners we spent a considerable amount of time searching for broader, European stories of objects from the treasury of European museums. We developed a set of workshops designed to help museum professionals find new interpretations for their objects, build connections between museums, and encouraging the participation of the public. The results of our work are presented in the following chapter. ONE OBJECT 25

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27 EMEE predmeti / emee objects ONE OBJECT 27

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29 chinoiserie / chinoiserie Univerza v Augsburgu, Augsburg, Nemčija / University of Augsburg, Augsburg, Germany Chinoiserie je porcelan, poslikan z vzorci, ki združujejo kitajske in evropske značilnosti oblikovanja. V 17. stoletju so v Evropo začeli uvažati visokokakovosten kitajski porcelan, in chinoiserie je rezultat želje, da bi»kitajski«porcelan izdelovali tudi v Evropi. Iskanje skrivnosti proizvajanja porcelana je leta 1710 obrodilo sadove in v Meissnu v Nemčiji je bil izdelan prvi porcelan. Skleda in krožnik sta bila izdelana v rojstnem kraju evropskega porcelana in pobarvana v Augsburgu. Predmeta sta trenutno predstavljena na stalni razstavi v Mestnem muzeju v Augsburgu (Maximilian Museum), kjer je prikazan pomen augsburškega mojstrstva v 17. in 18. stoletju. Augsburg ima bogato zgodovino mojstrskega izdelovanje chinoiserie, saj je bila ta ena izmed značilnih oblik dekorja. Motivi, upodobljeni na chinoiserie, nam kažejo Kitajsko, kot so si jo v tistem času predstavljali v Evropi. Chinoiserie je primer globalnih kulturnih transferjev - kulturnih in umetniških prilagoditev in transformacij, ki so rezultat svetovne trgovinske mreže. Chinoiserie is porcelain that uses pattern sheets which combine Chinese and European design characteristics. In the 17th century, high quality Chinese porcelain was imported to Europe and Chinoiserie is the result of the desire to produce Chinese porcelain in Europe. The search for the secret of porcelain production was successful and, in 1710, the first porcelain was made in Meißen, Germany. A bowl and a saucer were produced in the birthplace of European porcelain and then painted in Augsburg. These objects are currently on display in a permanent exhibition in the city museum of Augsburg (Maximilian Museum), where they show the importance of Augsburg craftsmanship in the 17th and 18th century. These objects are a testimony of the highly developed craftsmanship in Augsburg, which has a rich history of Chinoiserie as this was one of the typical forms of décor. Motifs on the Chinoiserie show images of China as it was envisioned in Europe at that time. Chinoiserie is an example of global cultural transfer - cultural and artistic adaptions and transformations caused by the global trade networks. ONE OBJECT Na fotografiji / On the photo: Susanne Popp, Jutta Schumann, Oliver Mayer-Simet, Christina Speer, Susanne Schilling 29

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31 ČAŠA ZA POSVEČENO VODO / WATER SANCTIFICATION CUP Nacionalni muzej zgodovine Bolgarije, Sofija, Bolgarija / National Museum of History, Sofia, Bulgaria Čaše za posvečeno vodo se uporabljajo v vodnih in očiščevalnih obredih številnih religij in kultov: v budizmu, islamu, hinduizmu, judovstvu, šintoizmu in krščanstvu. Ritualne vodne posode se v številnih kulturah uporabljajo za izražanje velikega pomena vode. Voda je eden od univerzalnih simbolov čistosti in očiščenja, ki je obenem pogosto uporabljan element zdravilnih kultov. Voda v številnih mitih in religijah predstavlja vir življenja in hkrati enega izmed prvobitnih elementov. Voda lahko poleg tega razmejuje (kulturna) ozemlja. Posoda iz Samostana svete device Kosinitze v severni Grčiji je narejena iz dveh delov: notranji del je bogato okrašena skleda iz japonskega porcelana, zunanji del pa je iz pozlačene srebrne obloge. Na spodnjem obodu je v grščini zapisano:»v času Abbot Constantiy hieromonk iz vasi Krushevo«. Posode za shranjevanje svete vode so pogosto prave umetnine, ki so jih naredili priznani umetniki. Predmet hranijo v»posebni zbirki«v Nacionalnem muzeju zgodovine v Sofiji, ki vsebuje predmete, prinesene v Bolgarijo med prvo svetovno vojno. Water sanctification cups are used in water rituals and purification ceremonies in many religions and cults, such as Buddhism, Islam, Hinduism, Judaism, Shintoism, and Christianity. Ritual water vessels are used in many cultures to convey the great importance of water. Water is one of the universal symbols of purity and cleansing and a commonly used element of healing cults. Water is conceived as a source of life in many myths and religions and also represents one of the primordial elements. It can also function as a demarcation of (cultural) territories. The vessel from the Holy Virgin Kosinitza s Monastery in Northern Greece is made out of two parts: the inner part is a richly decorated Japanese porcelain bowl; the outer part is has a gilded silver lining. On the bottom outside edge is an inscription written in Greek: In the time of Abbot Constantiy hieromonk from Krushevo village. The vessels in which holy water is kept are often real works of art made by renowned artists. The object belongs to the so-called special fund of the National History Museum in Sofia, which contains artefacts brought to Bulgaria during World War I. ONE OBJECT Na fotografiji / On the photo: Valentina Ganeva-Marazova 31

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33 KNJIGA CHAMP FLEURY / THE BOOK CHAMP FLEURY Université Paris-Est Créteil ESPE, Pariz, Francija / Université Paris-Est Créteil ESPE, Paris, France Knjigo Champ Fleury (Cvetje na polju) sta v 16. stoletju napisala Geoffroy Tory in Gilles de Gourmont. Naslov knjige je simboličen in povzema cilje avtorjev: pisati v francoščini, nadgraditi tipografijo s starodavnimi pisnimi oblikami in geometrično linijo črk ter vzpostaviti francosko slovnico. V tej knjigi se tiskana stran in literatura uporabljata kot metafora za raj, kot fantazija oziroma filozofska in»analoška ugibanja«. Uvedba številnih gravur je privedla do zgodovinskega in resničnega»grafičnega izuma«tiskane strani. Raziskave, ki jih je Geoffroy Tory opravil na temo črk in monogramov, so postale evropske in svetovne reference. Slogi starih pisav iz 16. stoletja, garaldes in elzevirs, in linearnih pisav iz 20. stoletja so se preoblikovali, prilagodili in so danes široko dostopni za uporabo v urejevalnikih besedila. Že po definiciji so tipografije in grafike»migrantski«predmeti. Znakovne pisave so, ne glede na to, ali so podvržene pravicam, ki izhajajo iz intelektualne lastnine (npr. Futura), ali pa so v javni lasti (kot Garamond), splošno razširjene, tako v poslovnem svetu kot v zasebnih komunikacijah, zahvaljujoč razvoju industrijskega graviranja in tiskarskih tehnik ter vsesplošni uporabi računalnikov. Na fotografiji / On the photo: Cristophe Le François, Jean-Marie Baldner, Arnaud Mayrargue The book Champ Fleury (Flowers in the field) was written in the 16th century by Geoffroy Tory and Gilles de Gourmont. The title of the book is symbolic and summarizes the author s goals: to write in French, to upgrade the typography using an ancient written form and geometric shape of the letters, and to establish the French grammar. The printed page and literature are used in Champ Fleury as a metaphor for paradise, almost as a reverie or a philosophical and analogical speculation. The introduction of numerous engravings leads to a historical and real graphic invention of the printed page. Geoffroy Tory s research on letters and monograms became a European and global reference. Old style fonts from the 16th century, garaldes and elzevirs, or linear fonts from the 20th century were redesigned, adapted, and are widely available today for anyone to use on their word processors. By definition, typography and graphics are migrant objects. Character fonts, no matter if they are subject to intellectual property rights (such as Futura) or are in public domain (such as Garamond) are widely disseminated both in the professional world and in private exchanges with the development of industrial engraving, printing techniques and, nowadays, with the common use of computers. ONE OBJECT 33

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35 MÄLZELOV METRONOM / MÄLZEL S METRONOME Univerza Roma Tre, Rim, Italija / University Roma Tre, Rome, Italy Mälzelov metronom na fotografiji je v 19. stoletju izdelal francoski izdelovalec inštrumentov Albert Marloy. Metronom že vse od leta 1880 hranijo v Muzeju orodij za računanje v Pisi. Korenine izuma so evropske: prvi korak v razvoju metronoma je Galilejevo nihalo, drugi je poskušal nizozemski izumitelj Dietrich Nikolaus Winkel, njegovo idejo pa je izpopolnil Mälzel, čigar ime metronom nosi še danes. Z vsakim nihajem mehanizem znotraj metronoma proizvaja klikajoč zvok. Prednost tega tipa metronoma je, da ima nastavljivo hitrost nihanja, ki se prilagaja na lestvici, narejeni iz slonovine. Mehanični metronom za delovanje ne potrebuje baterij, čas delovanja je odvisen od sile, s katero je bil zagnan, in kota nihala na začetku. Razširjena uporaba metronoma po evropskih državah in kulturah je vezana na širjenje glasbe. Predmet je simbol razvoja in razširjene uporabe naprav za merjenje časa po vsej Evropi. Metronom pa je specifičen, ker je merjenje časa združil z akustiko. Na fotografiji / On the photo: Andrea Ciasca Marra This particular object is Mälzel s Metronome made by French instrument maker, Albert Marloye, in the 19th century. The metronome has been kept in the Museum of Computation Tools in Pisa since The history behind this invention is rooted in European history, as the first step in the development of the metronome was Galileo s pendulum, the second attempt was done by a Dutch inventor called Dietrich Nikolaus Winkel and in the end his idea was perfected by Mälzel, after whom the instrument gets its name. The metronome produces a clicking sound, which comes from a pendulum when it swings back and forth at a certain tempo - a mechanism inside makes a clicking sound with each oscillation. The advantage of this type of metronome is its adjustable swing speed, which can be made on its ivory scale. A mechanical metronome does not need a battery to work; the time it takes to stop ticking depends on the degree of the manually superposed force and the angle of the pendulum at the beginning. The widespread use of metronomes in European countries and cultures is linked to the diffusion of music. This object is a symbol of development and the use of time measuring devices throughout Europe. The metronome is specific because it combines the measurement of time with acoustics. ONE OBJECT 35

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37 ZVONČASTA ČAŠA / A BELL-BEAKER VASE Nacionalni arheološki muzej, Lizbona, Portugalska / Museu Nacional de Arquelogia, Lisbon, Portugal Četrto in tretje tisočletje pred našim štetjem sta obdobje številnih inovacij. Inovacije, kot so raba delovne živine, uporaba konjev za transport, izum kolesa, izboljšave plovil in kovinarstva, so pospešile izmenjavo na velike razdalje. Te inovacije so podlaga za posebno kulturno -zgodovinsko obdobje, kulturo zvončastih čaš, ki ga lahko imenujemo tudi prvi znani panevropski model, katerega reprezentativni predmet je zvončasta čaša. Zvončasta čaša je razširjena po vsej atlantski Evropi, od Iberskega polotoka do Madžarske in Danske, od Britanskega otočja do Severne Afrike, pa tudi po delu sredozemske obale. V večini zgoraj omenjenih regij je mogoče najti keramiko z enakimi lastnostmi (oblika in dekoracija), povezanimi s skladnim artefaktskim nizom. Ti uvoženi modeli kažejo na obstoj tako transregionalnih komunikacijskih kot strukturiranih in konsolidiranih proizvodnih omrežij. Ravno ta enotni in standardizirani videz zvončastih čaš je omogočal, da so bile sredstvo interakcije med regijami, da so potovale med različnimi kulturnimi konteksti. Bile so materialni jezik, s katerim so si lahko različne skupnosti in kulture prenašale zelo različna sporočila. Na fotografiji / On the photo: Miguel Feio and Mário Nuno Antas The fourth and third millennium BC were periods of numerous innovations. The exchange of goods, especially over large distances, is accelerated by numerous innovations such as the use of draft animals, using the horse as transportation, the invention of the wheel, and the improvement of vessels and metalworking. All these innovations paved the way for a specific cultural and historical period the bell-beaker period, which could be considered the first known pan-european model, from which the bell-beaker vase is a representative example. The dispersion of the bell-beaker covers the Atlantic Europe, from the Iberian Peninsula to Hungary and Denmark, from the British Isles to North Africa, and covering part of the Mediterranean coast. In most of the aforementioned regions, it is possible to find ceramic with the same characteristics (shape and decoration) associated with a coherent artifactual set. These imported models imply the existence of trans-regional communication networks and the existence of structured and consolidated manufacture networks. The stereotyped and standardized nature of the bell-beaker set allowed it to be a means of interaction between regions, traveling between different cultural contexts, providing a material language with which different communities and cultures were able to express a variety of different messages. ONE OBJECT 37

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39 FIAT 600 ZASTAVA 600 ZASTAVA 750 FIČO / THE FIAT 600 ZASTAVA 600 ZASTAVA 750»FIČO«Muzej novejše zgodovine Slovenije, Ljubljana, Slovenija / National Museum of Contemporary History, Ljubljana, Slovenia Avtomobil Fiat 600 je dokaz evropske modernizacije. Predstavlja namreč modernizacijo po drugi svetovni vojni kako se je Evropa gospodarsko in demografsko spreminjala in kako povezana je bila kljub delitvi na dva bloka. Fiat 600 je veljal za simbol gospodarskega razcveta v Italiji, s prodajo licenc v druge evropske države pa je ta model avtomobila predstavljal podobne reči v različnih delih Evrope in celo po svetu. Lahko bi dejali, da so avtomobili močno zaznamoval to obdobje. Številne avtomobile v različnih evropskih državah povezujemo z gospodarskim razcvetom in novo ureditvijo po drugi svetovni vojni. Takšne avtomobilske ikone so bili poleg Fiata 600 oziroma kasnejše Zastave 600 in 750 v Jugoslaviji ter seata 600 v Španiji še Volkswagen tip 1 hrošč v Zahodni Nemčiji, pa Trabant v Vzhodni Nemčiji ter preoblikovani ZAZ 965 v Sovjetski zvezi. Različice avtomobila Fiat 600 so pri ljudeh pustile tako močan pečat, da so se združevali v klube oboževalcev in še danes prirejajo avtomobilistične razstave, tekmovanja ter relije, posvečene tem avtomobilom. Klube oboževalcev teh avtomobilov poznamo po vsej Evropi in celo v Južni Ameriki. The Fiat 600 is a testimony to European modernisation. It speaks of the modernisation after World War II how Europe was changing economically, demographically and how connected it was even though it was divided into two blocs. Foremost, the Fiat 600 was a symbol of the economic boom in Italy, and with licences being sold in other European countries, this model of car represented similar things in different parts of Europe and even the world. We can say that cars had a strong iconic impact on that era. Numerous cars across different European countries are connected to the economic boom and the re-establishment after World War II. Other iconic cars besides the Fiat 600, or later also the Zastava 600 and 750 in Yugoslavia, and the SEAT 600 in Spain were the Volkswagen Type 1-Beetle in West Germany, or the Trabant in East Germany, and the remodelled ZAZ 965 version in the Soviet Union. The impact of the variations of the Fiat 600 on society was so strong that people formed fan clubs, organised motor shows, as well as dedicated competitions and rallies to them. Such fan clubs are all over Europe and even in South America. ONE OBJECT Na fotografiji / On the photo: Kaja Širok, Urška Purg 39

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41 ČUDOVITI SVET ODSOTNOSTI»ZEIGERPOINTER«/ THE WONDERFUL WORLD OF ABSENCE "ZEIGERPOINTER" Umetniški kolektiv monochrom, Dunaj, Avstrija / monochrom Kunstverein, Vienna, Austria Zeigerpointer (nemško-angleška beseda, ki je izum monochroma) je najbolj škrta oblika podajanja vizualnih podob v tiskanih medijih. Zeigerpointerji so podobe prizorišč zločinov, lokacij nesreč in drugih lokacij, na katerih se je zgodilo nekaj, česar ni mogoče več videti, ker je dogodka že konec in ni več vidnih sledi (bodisi zato, ker nikoli niso nastale, bodisi zato, ker so bile že odstranjene med vrnitvijo v predhodno stanje). Ko ni ničesar fotografirati, fotoreporterji očividce, vpletene ali odgovorne osebe običajno prosijo, da pokažejo na mesto, kjer se je»tisto nekaj«zgodilo. Poezija predstavljanja neprisotnega preusmerja pozornost na trenutke, situacije in»kraje«, ki jih ponavadi nimamo za vredne upodabljanja. Kraje, ki so običajno našim očem skriti. Prav poseben mik prihaja ravno iz njihovega pomanjkanja čara. Zeigerpointerji zato ne predstavljajo dogodkov samih, ampak opozarjajo, da je reprezentacija nujnost medijske krajine, ki temelji skoraj izključno na samopojasnjevalni sugestivni moči podobe in napisa, ter da je konkurenčnost informacijskih izdelkov odvisna od hipne razumljivosti in kompaktne, brezšivne vizualizacije. Zeigerpointer (a German-English word invented by monochrom) is the most miserly form of capitulation in the print media. Zeigerpointers are images (in the scope of printed media reporting) of crime scenes, locations of accidents, as well as other locations in which something has happened that can no longer be seen because the reported event is already over and no traces are visible (either because none were produced or because they were already removed during the reinstatement of the former state). When there is nothing to take a picture of, the photojournalist generally asks eyewitnesses, concerned parties or somebody in charge, to point to the spot where it happened. The poetry of presenting the non-present shifts the focus to moments, situations and places which otherwise would rarely be worthy of an image. Places that are normally concealed from our perception. Its special allure comes from their lack of charm. Therefore, Zeigerpointers do not actually represent the events themselves, but illustrate how representation is a necessity of the media landscape which relies almost exclusively on the self-explanatory suggestive power of images and captions, and that the competitiveness of information products depends on their being easily understood and their compact, seamless visualization. ONE OBJECT Na fotografiji / On the photo: Anika Kronberger, Günther Friesinger, Kerstin Halm 41

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43 MUZEjSKI predmeti / MUSEUM objects ONE OBJECT 43

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45 PANJSKA KONČNICA»EKSEKUCIJA MAKSIMILJANA HABSBURŠKEGA«/ THE EXECUTION OF MAXIMILIAN OF HABSBURG BEEHIVE PANEL Čebelarski muzej v Radovljici, Radovljica, Slovenija / Museum of Apiculture, Radovoljica, Slovenia Panjske končnice so poslikane deščice, ki zapirajo čebelji panj kranjič. Več panjev skupaj sestavlja čebelnjak. Panjske končnice so se pojavile sredi 18. stoletja. Poslikane so bile z različnimi živobarvnimi motivi. Sprva so menili, da pisane barve na čebelnjaku vplivajo na orientacijo čebel med pašo in domom. Kmet čebelar pa je v teh slikarijah izražal svojo dušo, težave, veselje in zapisoval kroniko posebnih dogodkov. Poslikane panjske končnice so slovenska posebnost v ljudski umetnosti, ki se je z motivi obračala v domači in tuji svet. Panjska končnica z motivom usmrtitve Maksimiljana Habsburškega sodi med zgodovinske motive. Prizor, v katerem avstrijski nadvojvoda Maksimiljan I. Mehiški ( ) čaka na izvršitev smrtne obsodbe, temelji na zgodovinskih dejstvih, pogosto upodobljenih v evropski umetnosti. Ferdinand Maksimilijan Habsburško-Lotarinški je bil mlajši brat cesarja Franca Jožefa. Med letoma 1864 in 1867 se je zapletel v politične spletke francoskega cesarja Napoleona III. in se samooklical za mehiškega cesarja. V gverilski vojni leta 1867 ga je premagal odstavljeni mehiški predsednik Benito Juarez ( ) in ga obsodil na smrt. Kljub posredovanju evropskih vladarjev je bil 19. junija 1867 usmrčen v Querétaru v Mehiki. V vojni z mehiškimi vojaki je sodelovalo tudi 6000 vojakov iz tedanje avstro-ogrske države, med drugim tudi 420 iz Kranjske. Na fotografiji / On the photo: Tita Porenta Beehive panels are painted panels that enclose the kranjič beehive. Several beehives together form an apiary. Beehive panels have emerged in the middle of the 18th century. They were painted with a variety of colourful motifs. It was initially thought that vivid colours affect the orientation of the bees when returning from pasture. The beekeepers reflected their souls, troubles, joy and chronicled special events in these paintings. Painted beehive panels are a Slovene feature of folk art that expressed themselves with its motifs at events at home or even abroad. The beehive panel with the motif of the execution of Maximilian of Habsburg is regarded as a historic motif. The scene in which the Austrian archduke Maximilian I of Mexico ( ) is waiting for the execution of his death sentence is based on historical facts a common motif in art across Europe. Ferdinand Maximilian of Habsburg-Lorraine was the younger brother of Emperor Franz Joseph. Between 1864 and 1967, he was involved in political intrigue of the French Emperor Napoleon III and proclaimed himself Emperor of Mexico. In the guerrilla war in 1867, he was defeated by the deposed Mexican President Benito Juarez ( ) and sentenced to death. Despite the intervention of European rulers, he was executed on 19th June 1867 in Querétaru, Mexico Austro-Hungarian soldiers took part in the war against the Mexican troops, including 420 soldiers from the historical region of Carniola. 45 ONE OBJECT

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47 ROČNO IZDELANA VAZA IZ TULCA TOPOVSKE GRANATE / HANDCRAFTED VASE MADE FROM AN ARTILLERY SHELL CASING Goriški muzej, Gorica, Slovenija / Goriška Regional Museum, Gorica, Slovenia Vazo je avgusta 1919 iz medeninastega tulca topovske granate izdelal Luigi Catanzani. Takšne granate je med prvo svetovno vojno na soški fronti uporabljala italijanska vojska. Podobne vaze so med vojno in takoj po njej nastajale v državah, ki so bile vključene v prvo svetovno vojno. Izdelovali so jih tako vojaki kot obrtniki. Ta umetnost je v svetu poznana kot trench art. Cantazani je vazo okrasil s tehniko cizeliranja, ki je v Sredozemlju poznana že od prazgodovine. V globokem reliefu je v spodnjem delu vaze orisan gorski relief, iz katerega raste bršljan. Na vrhu vaze pa je zapisano italijansko ime za Kobarid, Caporetto. Podobne vaze so bile velikokrat postavljene v cerkve na območju soške fronte. S predelavo predmeta se niso odrekli spominu na krute dogodke, so pa granatam dali novo življenje. Gre za simbolni prehod od objekta namenjenega ubijanju, k objektu, ki nas tudi s cvetjem, ki ga nosi, opominja na grozote vojne, vernike pa prepušča molitvi. Vaze so svoje mesto našle tudi v hišah domačinov, ki so se borili na avstro-ogrski strani, kar se je zgodilo tudi z vazo, ki jo je Catanzani, italijanski obrtnik, prinesel na današnje slovensko ozemlje. Na fotografiji / On the photo: David Kožuh The vase was made by Luigi Catanzani from a brass artillery shell casing in August Artillery shells such as this one were used by the Italian army fighting on the Isonzo front during the First World War. Similar vases were made during and immediately after the war in countries involved in the war. They were made by soldiers as well as craftsmen. This art is known throughout the world as trench art. Catanzani decorated the vase with the repoussé metalworking technique, which has been known in the Mediterranean since prehistory. On the lower part of the vase, a mountain relief sprouting ivy leaves is outlined in deep relief. At the top of the vase, the Italian name for Slovene town Kobarid Caporetto is written. Similar vases were often placed in churches located along the battle line of Isonzo front. By redesigning these objects, the memory of the atrocious events has not been renounced; instead the artillery shells have been given a new life. This is a symbolic transition from an object designed for killing to an object that, with flowers that it carries, reminds us of the horrors of war and invites religious people to prayer. Vases have also found their place in the houses of the locals, who fought for an Austro-Hungarian side. This was the case with the vase that Catanzani, an Italian craftsmen, brought to the territory of present day Slovenia. ONE OBJECT 47

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49 OKOVANI VOJAŠKI ČEVLJI / HOBNAIL MILITARY BOOTS Kovaški muzej Kropa, Kropa, Slovenija / Iron Forging Museum in Kropa, Kropa, Slovenia Čevlje, okovane z žeblji planinčarji in trikuni (strojni nadomestki žebljev planinčarjev), je doniral upokojeni vojaški ataše Hansruedija Wylerja iz Ersigena v Švici. Kovaškemu muzeju v Kropi jih je leta 2006 poklonil zaradi povezave med kroparskim žebljarstvom in čevljarsko industrijo v Švici med letoma 1933 in Čevlje je izdelala švicarska tovarna Bally iz Schönenwerda, v 20. stoletju ena najpomembnejših srednjeevropskih tovarn obutve. Tovarna je dobavljala predvsem vojski, potrebe po okovani obutvi pa so se v obdobju med svetovnima vojnama povečale tudi zaradi razvoja alpinizma in zimskega turizma. Žeblji planinčarji so bili tu in tudi v drugih evropskih žebljarskih središčih na Češkem, v Italiji, Franciji, Avstriji, Švici in Nemčiji zadnji ročno kovani žeblji. Izdelovanje posebnih čevljarskih žebljev planinčarjev je bilo v prvi polovici 20. stoletja za kraja, ki sta se tradicionalno ukvarjala z žebljarstvom, Kropo in Kamno Gorico, zelo pomembno. Tam izdelani žeblji planinčarji so bili povečini namenjeni zahtevnemu švicarskemu trgu. Kovinarska zadruga Plamen je imela pred drugo svetovno vojno v Bernu svoje zastopništvo za prodajo žebljev planinčarjev. Tovarna je tudi patentirala tehnološko inovacijo izdelovanja polizdelkov za izdelovanje planinčarjev in za potrebe njihove prodaje registrirala trgovsko znamko REX. Izdelovali so jih približno do leta 1955, do začetka uporabe podplatov iz gume. Na fotografiji / On the photo: Saša Florjančič Hobnail boots with shoemaking spikes used in mountain footwear (the so called mountaineering or planinčarji nails) were donated by a retired military attaché of Hansruedi Wyler from Ersigen, Switzerland. He donated them to the Iron Forging Museum in Kropa in 2006, due to the ties between nail forging in Kropa and the Swiss footwear industry between 1933 and The boots were manufactured by the Swiss Bally factory, based in Schönenwerd, one of the most important Central European footwear factories in the 20th century. The plant primarily supplied the military, but the demand for hobnailed footwear increased in the period between the two world wars due to the development of alpinism and winter tourism. Planinčarji nails were the last hand-forged nails in Slovenia and other Central European nail forging centers in Czech Republic, Italy, France, Austria, Switzerland and Germany. The production of planinčarji nails was very important in the first half of the 20th century for the two settlements that had a tradition of nail making, Kropa and Kamna Gorica. Planinčarji nails were made mainly for the demanding Swiss market. The Plamen ironwork cooperative had their own representative agency in Bern for selling planinčarji nails before World War II. The factory also patented the technological innovation of producing intermediate products for the production of planinčarji nails and registered a trademark REX for their sale. They were in production until around 1955, when the rubber shoe soles were introduced. ONE OBJECT 49

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51 ALEXANDER KOSOLAPOV, LENIN COCA-COLA / ALEXANDER KOSOLAPOV, LENIN COCA-COLA MG+MSUM, Ljubljana, Slovenija / MG+MSUM, Ljubljana, Slovenia Ruski umetnik Aleksander Kosolapov, ki od leta 1975 živi in dela v New Yorku, v svojih delih pogosto vzporeja sovjetski komunizem in ameriški materialistični svet. Delo Lenin Coca-Cola se naslanja na vsebine iz popularne kulture in množičnih medijev, prav njih pa umetnik z delom tudi nagovarja. Podoba je prvič nastala leta 1980 kot slika, dve leti kasneje je bila množično natisnjena in izdana v obliki razglednice. Ikonografija dela je tudi petintrideset let po njegovem nastanku precej jasna. Množični podobi dveh svetinj, revolucionarja vzhodnega bloka in ikone potrošništva, pričata o koncu sedemdesetih in začetku osemdesetih let prejšnjega stoletja. Nagovarjata k premisleku o političnem, družbenem in kulturnem kontekstu tistega časa. Hkrati umetnik ustvari ironični moment, ki napeljuje k razmišljanju o uporabi sorodnih sredstev pri snovanju smotrov in ustvarjanju kulture, pa naj bodo ti vezani na vsakodnevno dejanje, kot je pitje kokakole, ali pa ideologijo, ki ji sledi posameznik ali družba. It's the real thing, je oglaševalska kampanja, ki jo je podjetje Coca-Cola začelo leta V delu Lenin Coca-Cola lahko slogan s pripisanim imenom Lenin razumemo kot njegov citat, s čimer umetnik le še podkrepljeno kaže na ironično protislovje dveh simbolov. The Russian artist Alexander Kosolapov, who has been living and working in New York since 1975, often juxtaposes Soviet communism with the American materialistic world in his work. The work Lenin Coca-Cola is based on content from mass media and popular culture, which this work also addresses. The image was first created in 1980 as a painting, and was mass printed and issued in the form of a postcard two years later. The iconography of the work is quite clear even thirty-five years after its creation. The mass images of two sacred things, a revolutionary from the Eastern Bloc and an icon of consumerism are a testimony of the era of the late 1970s and early 1980s. They address the political, social and cultural context of the time. At the same time, the artist creates an ironic moment which leads to reflection on the use of similar means of forming purposes and creating culture whether they are tied to mundane things, like drinking Coca-Cola or to ideology, followed by an individual or society. It s the real thing is an advertising campaign started by the Coca-Cola Company in In the work Lenin Coca-Cola the slogan with the appended name Lenin can be understood as his quotation, which the artist uses to reinforce the contradiction of the two symbols. ONE OBJECT Na fotografiji / On the photo: Dana Terzić 51

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53 KALUP ZA VLIVANJE SEKIR / MOLD FOR CASTING AXES Pokrajinski muzej Gorica, Gorica, Italija / Museum of Goriška Region, Gorizia, Italy Leta 1867 so na zahodnem pobočju Svetega Marka, griča nad Šempetrom pri Gorici, odkrili depo iz pozne bronaste oziroma zgodnje železne dobe. Sestavljalo ga je dvoje glinenih posod, ki sta bili zakopani v zemljo in sta vsebovali kovinska orodja, orožje in nakit. Namen tovrstnih depojev še danes ni natančno znan, raziskovalci pa predvidevajo, da gre za depo, ki je pripadal kovaču. V njem so bili shranjeni kovinski predmeti, predvsem sekire, ki pa so bile povečini poškodovane. Nepoškodovan in še vedno uporaben je zgolj na fotografiji predstavljeni kalup za vlivanje sekir, ki je na ogled v stalni arheološki zbirki Pokrajinskega muzeja v Gorici. Predvidevajo, da je skupna teža depoja presegala 400 kilogramov, vendar so zaradi številnih izgub predmetov arheologi le s težavo sestavili seznam vseh izkopanih predmetov. Ohranjeni predmeti so danes del zasebnih in muzejskih zbirk, predvsem v Gorici in na Dunaju. Prva je bila v času odkritja deželna prestolnica Šempetra, slednji pa državna. Šempeter danes leži na zahodnem robu Slovenije, v 19. stoletju je bilo to avstro-ogrsko ozemlje, ki je po prvi svetovni vojni prišlo pod Italijo in ostalo tam še do konca druge svetovne vojne. Najdba je bila izkopana na današnjem slovenskem ozemlju, predmete pa hranijo v Avstriji in Italiji. In 1867, a depo from the late Bronze or early Iron Age was discovered in the west hillside of Sveti Mark, a hill above Šempeter pri Gorici. It comprises two clay vessels that were buried in the earth and contained metal tools, weapons and jewelry. The purpose of this kind of depo is not known till this day. Researchers presume that the depo belong to a blacksmith. In it, metal objects were stored, mainly damaged axes. Only the displayed mold for casting axes, which is part of the the permanent archeological collection of the Museum of Goriška Region, is undamaged and still useable. Supposedly, the depos weighed more than 400 kilograms, but because many objects were lost, archeologists find it difficult to put together a list of the excavated objects. Preserved objects are held in private and museum collections, mostly in Gorizia and Vienna. The first was the capital of the province and the second of the state in the days of the discovery. Today, Šempeter lies on the western border of the Republic of Slovenia, while in the 19th century it was part of the Austro-Hungary territory and came under Italy after World War I and remained as such until the end of World War II. The objects were found in today s Slovene territory, however they are kept in Austria and Italy. ONE OBJECT Na fotografiji / On the photo: Alessandro Quinzi 53

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55 PUNČKA - IGRAČKA / THE DOLL TOY Muzej narodne osvoboditve Maribor, Maribor, Slovenija / National Liberation Museum Maribor, Maribor, Slovenia Punčka je bila v drugi polovici sedemdesetih let kupljena v Zvezni republiki Nemčiji. Hčerki nečakinje sta jo prinesla gastarbajterja, ki sta sorodnikom vedno prinašala izredno lepa darila. Punčka je dajala vtis, da govori, saj je imela na hrbtu majhen gramofon, v katerega se je vstavljalo plošče. Punčka je lahko rekla mama, mama ali Ich liebe dich (Rada te imam) in pela pesem Oh, du lieber Augustin. Lastnica punčke se je tako prvič srečala z nemškim jezikom, saj sicer niso imeli dostopa do avstrijske televizije ali radia. Punčka je predstavljala pravi zaklad in so jo lastnici zavidali vsi otroci, saj takšnih igrač v Jugoslaviji takrat ni bilo mogoče kupiti. Lastnica je punčko ohranila, ker ji je bila v mladosti tako dragocena. Zgodba igrače priča o času, ko je veliko ljudi odhajalo na delo v Zahodno Evropo, nazaj pa so prinašali predmete, ki so bili v Jugoslaviji redkost. Igrača opominja na zgodbe o ločitvah družin, ko so starši svoje otroke pustili v varstvu pri starih starših, sami pa so se s trebuhom za kruhom odpravili v tujino. Hkrati pa je punčka simbol ekonomske razlike med Vzhodom in Zahodom in nas spomni na obdobje, ko je bila čokolada na policah slovenskih trgovin izjema in se je stalo v vrstah za nakup pralnega praška. The doll was bought in the second half of the 1970s in West Germany. Seasonal workers known as Gasterbajterji, who always brought really nice gifts to family members, gave it to the daughter of their niece. The doll gave the impression that she could speak. On her back she had a small turntable where records could be played. The doll was able to say Mama, Mama, Ich liebe dich (I love you) and sang the song Oh, du lieber Augustin. For the owner of the doll this was her first contact with the German language, since she did not have access to Austrian radio or television. The doll represented an immeasurable treasure to the owner and was the envy of every child because toys like that could not be bought in Yugoslavia. The owner kept the doll to this very day, because it was so precious in her youth. The story of the toy represents a window into an era when many people migrated to Western Europe in order to find work and it recalls stories of separated families. Parents often left their children in the care of grandparents while they worked abroad. It is also a symbol of economic differences between the East and West and it reminds us of a period when finding chocolate in a market was an exception, not a rule, and when people waited in lines in order to buy washing powder. ONE OBJECT Na fotografiji / On the photo: Aleksandra Berberih Slana (Foto / Photo: Matej Kristovič) 55

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57 STRELJANJA TALCEV V ZAPORU STARI PISKER / SHOOTING OF HOSTAGES IN "STARI PISKER"s Muzej novejše zgodovine Celje, Celje, Slovenija / Museum of Recent History Celje, Celje, Slovenia Vsaka vojna se vtisne v življenja ljudi in pusti posledice, ki jih spremljajo ves preostanek življenja. Predstavljeni predmet - razglas- so nemi pričevalci temačnega vojnega obdobja in opomin na grozote vojnega časa. Leta 1941 je vihra druge svetovne vojne zajela tudi Slovenijo. Spodnjo Štajersko so zasedli Nemci, ki pri svoji raznarodovalni politiki niso izbirali sredstev. V letih 1941 in 1942 so Nemci na dvorišču celjskega zapora Stari pisker streljali talce, ki so bili člani odporniških gibanj in civilisti, osumljeni sodelovanja s partizani. V šestih streljanjih so ustrelili 374 oseb. Najbolj množično je bilo streljanje 22. julija, ko so v enem dnevu ustrelili kar 100 oseb. Leta 1942 so poostrili režim in teror ter agresijo razširili še na družinske člane ustreljenih talcev. Na dvorišču zbirnega taborišča v Celju so ločevali otroke od njihovih mater. Ženske in dekleta, starejša od 18 let, so odpeljali v koncentracijsko taborišče Auschwitz, nepolnoletne otroke pa v posebna prevzgojna taborišča v Nemčiji. Hoteli so jim vzeti vse, kar jih je spominjalo na dom, otroštvo in starše. Every war imprints itself on the lives of the people and leaves marks that stay with them for the rest of their lives. The exhibited objects a proclamation are silent witnesses of a dark era and a constant reminder of the horrors of war. In 1941, the maelstrom of World War II also included Slovenia. Lower Styria was occupied by the Germans, who in their assimilation policies used all means available. In 1941 and 1942, the German soldiers shot hostages in the courtyard of the prison in Celje called Stari Pisker. Hostages that were shot were members of the resistance movements and civilians who were suspected of collaborating with the partisans. In six separate shootings 374 people were shot dead. Shooting peaked on the 22th July when 100 people were executed. The regime intensified in 1942 when they extended the terror and aggression to the family members of the shot hostages. In the courtyard of the assembly camps in Celje they also separated children from their mothers. Women and girls over the age of 18 were taken to the concentration camps in Auschwitz while underage children were taken to special reparation camps in Germany. There they wanted to take away everything that reminded them of home, their childhood and their parents. ONE OBJECT Na fotografiji / On the photo: Darja Jan 57

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59 ČEVELJ ZA SMUČARSKI TEK ALPINA RACING ELITE CS IN CL / ALPINA RACING ELITE CS AND CL CROSS COUNTRY SKI BOOT Muzej za Arhitekturo in Oblikovanja, Ljubljana, Slovenija / Museum of Architecture and Design, Ljubljana, Slovenia Alpina Racing Elite je tekmovalni čevelj za tek na smučeh, s katerim v teku na smučeh in v biatlonu tekmujejo svetovno priznani tekači. Čevelj je oblikoval z mednarodnimi priznanji nagrajeni industrijski oblikovalec profesor dr. Jure Miklavc. Grafično podobo mu je dal Jan Jagodič. Oblikovanje je potekalo v sodelovanju s konstrukcijsko ekipo Alpine. Čevelj je dobil več mednarodnih oblikovalskih nagrad. Predhodni model je leta 2002 dobil zlato medaljo na BIO 18, aktualni model pa nagrado Red Dot leta 2008 in nagrado Good Design leta Zaradi mednarodnega priznanja njegovemu oblikovalskemu delu je Jure Miklavc po prejetju nagrade Red Dot postal tudi član žirije za podeljevanje te nagrade v prihodnjih letih. Poleg oblikovalskih nagrad, ki so potrditev odličnega oblikovanja in zaradi katerih se tako sodoben predmet tudi znajde v zbirki industrijskega oblikovanja, so absolutno priznanje izdelku predvsem medalje tekmovalcev, ki z njim tekmujejo. V tem čevlju vrhunske rezultate dosegajo avstrijski, češki, estonski, finski, italijanski, nemški, norveški, poljski, švedski in švicarski športniki, nanj pa prisegajo tudi slovenski predstavniki Vesna Fabjan, Teja Gregorin, Andreja Mali, Jakov Fak, Klemen Bauer in Janez Marič. Zmagovalci nosijo čevlje, razvite in izdelane v Sloveniji, a prepoznane in priznane po vsem svetu. Na fotografiji / On the photo: Špela Šubic Alpina Racing Elite is a cross-country ski-racing boot, used by world-renowned athletes competing in cross-country skiing and in the biathlon. It was designed by the internationally awarded industrial designer, Professor Jure Miklavc, Ph.D. The graphic design is the work of Jan Jagodič. The boot was designed in collaboration with the Alpina design team. The boot has won several international design awards. The previous model won the gold medal at the BIO 18 (18th Biennial of Industrial Design) in 2002, while the current model received the Red Dot award in 2008 and the Good Design award in Due to the international recognition of his design work and after receiving the Red Dot award, Jure Miklavc became a jury member of the aforementioned awards in the following years. In addition to the design awards, which are a confirmation of the excellent design and thanks to which such a modern object can be found in an industrial design collection, the ultimate recognition of the product are the medals the athletes have won while wearing these boots. Austrian, Czech, Estonian, Finnish, Italian, German, Norwegian, Polish, Swedish and Swiss athletes have all produced top results while wearing these boots. As well as to the many Slovene athletes, such as Vesna Fabjan, Teja Gregorin, Andreja Mali, Jakov Fak, Klemen Bauer and Janez Marič, who swear by them. Winners wear boots developed and manufactured in Slovenia and which are recognised and well-renowned worldwide. ONE OBJECT 59

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61 VITEŠKA DVORANA V POSAVSKEM MUZEJU BREŽICE / THE KNIGHT S HALL AT THE POSAVJE MUSEUM BREŽICE Posavski muzej Brežice, Brežice, Slovenija / Posavje Museum Brežice, Brežice, Slovenia Viteška dvorana se nahaja v Gradu Brežice. Na začetku 18. stoletja jo je dal za poroko svoje hčere poslikati grof Ignac Maria Attems iz štajerske plemiške družine. Za častno nalogo poslikave je izbral slikarja Karla Frančiška Remba iz Radovljice. Slikar se je šolal v Rimu, kjer je med drugim obiskal Palačo Barbenini, po vzoru katere je poslikal Viteško dvorano. Poslikave ilustrirajo elemente iz grško-rimske mitologije, navdih zanje pa je slikar črpal iz takrat priljubljenih Ovidijevih Metamorfoz. Med poslikavami zasledimo grško-rimske bogove in zgodbe drugih mitoloških bitij, ena izmed njih je ugrabitev Evrope. Bitja so razporejena glede na osnovne elemente, ki jim pripadajo zrak, vodo, ogenj in zemljo. Strop je poslikan s figurami, ki simbolizirajo v baroku cenjene znanosti in umetnosti, kot so glasba, geometrija, slikarstvo, zdravilstvo, filozofija, astronomija... Skozi stoletja je dvorana spreminjala svojo namembnost. Prostor, namenjen koncertom, plesom, slovesnostim, je med prvo svetovno vojno postal bolnišnica za ranjence s soške fronte. Slednji so na stene zapisovali svoja imena in vtise. Danes je dvorana ponovno namenjena različnim slovesnostim in občasno tudi snemanju glasbenih videospotov in filmov. V dvorani, ki je edinstven primer baročnega posvetnega slikarstva na Slovenskem, so filme snemali mednarodno znani igralci, kot so Jackie Chan in Telly Savalas. Na fotografiji / On the photo: Silvija Skrivalnik, Andreja Matijevec The Knight s Hall is located in the Brežice Castle. In the early 18th century, count Ignac Maria Attems from a Styrian aristocratic family had it painted for his daughter s wedding. The honourable task of painting it was given to the painter Karl Frančišek Remb from Radovljica. The painter was educated in Rome, where he had also visited the Palazzo Barbenini, which he used as inspiration when painting the Knight s Hall. The paintings depict elements of Greco-Roman mythology, as the painter drew inspiration from the then popular Ovid s Metamorphoses. Among the paintings, we can find Greco-Roman Gods and stories of other mythological creatures, one of them being the abduction of Europa. The creatures are arranged according to the basic elements to which they belong air, water, fire and earth. The ceiling is painted with figures symbolizing the Baroque sciences and arts that were valued at the time, such as music, geometry, painting, medicine, philosophy, astronomy Over the centuries, the purpose of the hall changed. The area used for concerts, balls and ceremonies, became a hospital for the wounded from the Isonzo front during World War I. The wounded used to inscribe their names and impressions on the walls. Today, the hall is once again being used for various ceremonies and occasionally for shooting music videos and films. In the hall, which is a unique example of secular Baroque painting in Slovenia, films starring internationally famous actors like Jackie Chan and Telly Savalas were shot. 61 ONE OBJECT

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63 VOS BRAZDASTEGA KITA / BALEEN OF THE BALEEN WHALE Prirodoslovni muzej Slovenije, Ljubljana, Slovenija / Natural History Museum of Slovenia, Ljubljana, Slovenia Vosi so nacefrane plošče iz keratina, ki vosatim kitom visijo z zgornje čeljusti. Skoznje kiti precejajo morsko vodo in tako lovijo drobne morske organizme, s katerimi se hranijo. Do 20. stoletja, dokler je bil lov na kite še dovoljen, so iz vosi izdelovali oporne palice za steznike, strehe otroških vozičkov in dežnike. Vos, ki je razstavljena v Prirodoslovnem muzeju Slovenije, je pripadala mladi samici brazdastega kita, imenovani Leonora. Leonora je živela v Sredozemskem morju, da pa bi zadovoljila svoje velike potrebe po hrani, ki je je zaradi globalnih podnebnih sprememb vedno manj, je morala prepotovati velike razdalje. Pot jo je pripeljala v ozemeljske vode različnih držav, na poti ji je ves čas grozil trk z velikimi transportnimi ladjami in turističnimi križarkami, ki v Sredozemskem morju najbolj ogrožajo kite.»s trebuhom za kruhom«je tako priplavala tudi v Jadransko morje vse do Tržaškega zaliva, a žal tu poginila. Nihče ne ve, zakaj. Prirodoslovni muzej Slovenije je s posebnim postopkom očistil okostje njenega gromozanskega trupla. Vos sedaj na razstavah opozarja na ogroženost kitov in odgovornost vseh prebivalcev Evropske unije in vsega sveta za ohranitev teh velikih sesalcev in čim večjo ekološko osveščenost. Na fotografiji / On the photo: Staša Tome Baleen are bristle-like panels made of keratin that hang from the upper jaw of the baleen whale. Through them, they filter sea water and catch tiny sea creatures on which they feed. Until the 20th century, when hunting of the whales became prohibited, they were used as supporting rods for corsets, roofs for trolleys and umbrellas. The baleen that is exhibited in the Natural History Museum of Slovenia belonged to a young female baleen whale called Leonora. Leonora lived in the Mediterranean Sea where she could no longer satisfy her needs for food. Because of global warming, food is getting scarcer and whales need to travel farther distances in order to find it. Her path took her to the territorial waters of different countries and she was under constant threat of collision with large transport ships and tourist cruise ships, which pose the largest threat to whales in the Mediterranean Sea. In order to find food she swam to the Adriatic Sea, to the bay of Trieste, where she unfortunately perished. Nobody knows exactly why. The Natural History Museum of Slovenia cleaned her skeleton in a special procedure. The exhibited baleen now carries a message of the threats whales are facing and is a reminder of the responsibility of all the inhabitants of the European Union and the rest of the world to protect these large mammals and increase environmental awareness. ONE OBJECT 63

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65 35-MILIMETRSKI KINOPROJEKTOR ISKRA NP-21 / 35-MM ISKRA NP-21 FILM PROJECTOR Slovenska kinoteka, Ljubljana, Slovenija / Slovenian Cinematheque, Ljubljana, Slovenia Po drugi svetovni vojni je v Jugoslaviji film dobil pomembno vlogo. Leninova izjava, da je od vseh umetnosti najbolj pomemben film, je bila podlaga nove kulturne politike. To je bil začetek slovenske kinematografije, ki je vključevala filmsko produkcijo in sistematično postavljanje kinodvoran v skoraj vsako naselje. Nastajajoča tovarna Iskra je dobila nalogo, da razvije kino projektorje in pripadajočo opremo za predvajanje filmov. Inženirji in strokovnjaki so izkoristili dejstvo, da so bili po vojni razveljavljeni vsi nemški patenti. Podrobno so preučili tedaj najboljši nemški projektor Zeiss-Ikon Ernemann VII B, ki mu prvi Iskrin kinoprojektor NP-1 dolguje svoj način delovanja. Po uspešni izdelavi prototipov in napol ročni izdelavi prve serije desetih projektorjev je Iskra v letu 1949 serijsko izdelala 185 projektorjev. Iskrini inženirji pa so že razvijali nove in boljše modele. Od leta 1953 so tako prodajali model NP-2, ki so ga že v letu 1955 nadgradili v NP-21. Ta je bil konstruiran za velike dvorane, lahko je predvajal širokojalonski format, imel pa je tudi izpopolnjeno in številno dodatno opremo. Od leta 1952, ko so jih začeli izvažati, so ti projektorji potovali v Turčijo, Iran, Brazilijo, Bolivijo, Čile, Belgijo, Avstrijo, Madžarsko in tudi v Afriko, kjer jih uporabljajo še danes. Do leta 1966, ko so ukinili proizvodnjo kinoprojektorjev, so v Iskri izdelali 3200 projektorjev. Na fotografiji / On the photo: Metka Dariš After the World War II, film was given an important role in Yugoslavia. Lenin s statement that film is the most important among arts was the basis of a new cultural policy. This was the beginning of Slovene cinematography, which involved film production and systematically setting up cinemas in almost every town. The emerging Iskra factory was given the task of developing film projectors and related equipment for screening films. Engineers and experts took advantage of the fact that all German patents were nullified after the war. When developing the functionalities of Iskra s first film projector, the NP-1, they studied in detail the Zeiss-Ikon Ernemann VII B film projector, which was considered the best at the time. After the successful production of prototypes and the semi-manual production of the first set of ten projectors, Iskra serially produced 185 projectors in By then, Iskra s engineers were already developing newer and better models. The NP-2 model began being sold in 1953 and was then upgraded to the NP-21 model in The new model, which was designed for large cinema halls, had the ability to play a wide-screen format and had numerous and improved accessories. Since 1952, when they began to export them, the film projectors travelled to Turkey, Iran, Brazil, Bolivia, Chile, Belgium, Austria, Hungary and Africa, where they are still in use. By 1966, when production ended, 3200 film projectors were made in Iskra. ONE OBJECT 65

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67 PLIŠASTI MEDVED IN ITALIJANSKI POTNI LIST/ THE TEDDY BEAR AND THE ITALIAN PASSPORT Slovenski etnografski muzej, Ljubljana, Slovenija / Slovene Ethnographic Museum, Ljubljana, Slovenia Predmeta sta tematsko povezana prek osebne družinske naracije z migracijsko tematiko. Plišasti medved je pripadal Bojanu Zidariču, sinu tržaških zamejcev, ki sta zaradi fašizma in poroke iz Trsta emigrirala v Ljubljano. Ker je bil dečkov oče predstavnik Gospodarske zbornice SR Slovenije v Jugoslaviji, se je družina iz Ljubljane veliko selila po svetu: v Celovec, Mehiko, Madrid in Trst. Italijanski potni list je pripadal njegovi mami, Nevi Zidarič, roj. Lipovec, tržaški Slovenki zamejki, ki so ji v času druge svetovne vojne in fašizma ime in priimek poitalijančili v Nivea Tigliani. Neva je zaradi poroke iz Trsta emigrirala v Ljubljano, potni list pa je bil izdan za potrebe enoletnega bivanja družine v Celovcu. Tako sta migranta tudi predmeta sama, saj je funkcija potnega lista prav ta, da omogoča migracijo, medvedek pa se je po svetu selil skupaj z družino. Razmah proizvodnje in prodaje plišastih medvedov v začetku 20. stoletja predstavlja vseevropski transnacionalni kulturni fenomen. T. i. teddy bear je ime dobil po ameriškem predsedniku Theodoru Rooseveltu, ki na lovu iz usmiljenja ni pokončal mladega medvedka. Zgodba je pritegnila ameriškega izdelovalca igrač, ki je prvi izdelal plišastega medveda. Medvedke so pričeli sočasno izdelovati tudi v Evropi, kjer še danes veljajo za eno izmed najbolj priljubljenih plišastih igrač. Na fotografiji / On the photo: Tjaša Zidarič The two objects are thematically connected through a personal family narration with a migratory subject matter. The teddy bear belonged to Bojan Zidarič, a son of Slovene parents from Trieste, who migrated from Trieste to Ljubljana due to fascism and marriage. Since the boy s father was a representative of the Slovene Chamber of Commerce of the Socialist Republic of Yugoslavia, the family moved around a lot. From Ljubljana to many places around the world: Klagenfurt, Mexico, Madrid and back to Trieste. The Italian passport belonged to the boy s mother, Neva Zidarič, born Lipovec, a Slovene national from Trieste, whose name was italianised to Nivea Tigliani by fascists during World War II. Neva migrated from Trieste to Ljubljana for her wedding, and the passport was issued for the purpose of a one-year stay in Klagenfurt. Thus, the objects themselves were migrants, as the purpose of the passport is to allow migration, and the teddy bear was transported around the world together with the family. The growth in teddy bear production and sales in the early 20th century represents a pan-european, trans-national cultural phenomenon. The socalled teddy bear got its name from US President Theodore Roosevelt, who spared the life of a bear cub while hunting. The story appealed to a US toy manufacturer who produced the first teddy bear. At the same time, they started to manufacture teddy bears in Europe, where they are still considered one of the most popular plush toys. ONE OBJECT 67

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69 TELEFON ETA 80, ISKRA / ETA 80 TELEPHONE, ISKRA Tehniški muzej Slovenije, Bistra, Slovenija / Technical Museum of Slovenia, Bistra, Slovenia Telefon ETA 80 je izdelala kranjska tovarna Iskra. Z možnostjo izbora različnih barv ohišja je bil v redni proizvodnji vse od leta 1980, razširil se je po vsem svetu in bil deležen pogostega ponarejanja. Za obliko telefona je zaslužen slovenski oblikovalec, dr. Davorin Savnik, ki se je izobraževal ne le v Sloveniji, temveč tudi na Češkem, v Veliki Britaniji, Italiji in ZDA. Zaradi trpežnosti, zanimive oblike in preproste uporabe je za telefon prejel številna domača in tuja priznanja. Zaradi značilne ploščate oblike so uporabniki telefon ljubkovalno poimenovali palačinka, oziroma fittipaldi po brazilskem dirkaču formule 1 Emersonu Fittipaldiju. Prislužil si je tudi nadimek olimpik, saj je bil izbran za uradni telefon olimpijskih iger v Moskvi leta K temu je pripomogla pomembna tehnična inovacija, ki je uporabnikom omogočala nastavitev poljubnega elektronskega tona zvonjenja. Za namene predstavitve olimpijskemu komiteju sta Davorin Savnik in inženir Miran Jarc v telefon namestila melodijo ponarodele pesmi Kalinka, ki jo je na harmoniko zaigral kar Savnik sam. Telefon je pomemben spomenik oblikovanju, saj si je prislužil častno mesto v zbirki newyorškega Muzeja moderne umetnosti (MoMA) in se s tem zapisal tudi v zgodovino slovenskega oblikovanja. The ETA 80 telephone was manufactured by the Iskra factory which was based in Kranj. With a choice of different colors, it was in regular production from It spread all over the globe and was counterfeited regularly. The design of the telephone is credited to Slovene designer, Davorin Savnik Ph.D., who was educated not only in Slovenia, but also in the Czech Republic, the UK, Italy and the United States. Because of its durability, interesting design and ease of use, Savnik received numerous national and international awards for the telephone. Due to its distinctive flat shape the users have nicknamed the phone pancake or fittipaldi, after the Brazilian Formula 1 driver, Emerson Fittipaldi. It also earned the nickname Olimpik, because it was selected as the official telephone of the 1980 Olympic Games in Moscow. This was aided by a significant technical innovation that allowed users to install a customized ringtone. For the purpose of presentation to the Olympic Comitee, Davorin Savnik and engineer Miran Jarc installed the tune of the folk song Kalinka, played on the accordion by Savnik himself. The telephone is an important monument of design, and it was awarded an honorary place in the collection of the Museum of Modern Art in New York (MoMA) and has thus written its name in the history of Slovene design. ONE OBJECT Na fotografiji / On the photo: Mojca Slapar 69

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72 72 Raziskovanje interaktivne razstave / Discovering the interactive exhibition

73 Izbor predmetov / selection of objects Sodelovanje z neobiskovalci in muzeji / Cooperation with non-visitors and museums Urška Purg, Janja Štefanič EuroVision Lab. je ciljno usmerjen na mlade in muzeje. V raziskavi o neobiskovalcih muzejev, ki smo jo izvedli v letu 2014 pod okriljem projekta EMEE, smo opazili potrebo po namenjanju več pozornosti mladim odraslim. To je populacija med osemnajstim in petintridesetim letom starosti, ki ima za obisk muzejev najmanj motivacije in v muzeje zelo redko zahaja. Gre za populacijo, ki je izvzeta iz šolskega pritiska obiskovanja muzejev, in po večini še nima svojih otrok, ali pa ti niso dovolj stari, da bi si jih želeli peljati v muzeje. Vsekakor nismo edini muzej, ki se srečuje z izzivom privabljanja mladih odraslih v svoje prostore. Ravno zato smo se odločili, da na to situacijo pogledamo z dveh strani. Odločili smo se približati muzeje mladim in mlade približati muzejem. Ne gre torej za enosmerno situacijo, temveč za situacijo, ki se jo je potrebno lotiti iz dveh smeri. Mladi ne zahajajo v muzeje v tolikšni meri kot bi si mi želeli, obenem pa muzejski strokovnjaki redko dobijo priložnost za stik s to populacijo, kaj šele možnost tesnega sodelovanja. Načeloma je ta stik prepuščen receptorjem muzeja ali varnostnikom. Z eksperimentom EuroVision Lab. pa smo obojim, tako mladim odraslim kot muzejskim strokovnjakom, želeli omogočiti nove izkušnje in vpogled v način razmišljanja enih in drugih. S tem smo naslovili nujnost medsebojnega povezovanja med muzeji in povezovanja muzejev z javnostjo. Z izvedbo muzejskega eksperimenta EuroVision Lab. smo dosegli oboje in obenem obrnili ustaljene vloge med javnostjo in muzeji ter dali javnosti prosto pot pri kreiranju razstave in kataloga. Kaj nam je uspelo narediti z mladimi in kako so to doživljali sami, je predstavljeno v pričujočem poglavju. EuroVision Lab. is aimed at young adults and museums. The 2014 research project regarding non-visitors of museums that was part of the EMEE project, pointed to the need of engaging young adults. People aged between 18 and 35 have very little motivation to visit museums and seldom do so, as they are no longer forced to visit museums as part of their schooling, nor do they have children old enough to desire to take them there. Many museums face difficulties with attracting young people; that is why we looked for a twofold solution to this problem. We decided to bring museums closer to young adults and young adults closer to museums. This is not a one sided situation and needs to be approached from both sides. Young adults do not visit museums as often as we would like and in turn, museum professionals rarely get the chance to come in contact, let alone work with them. This task falls to museum receptionists and protection staff. EuroVision Lab. experiment enabled young adults and museum professionals to gain new experience and an insight into each other s mindsthis also addressed the need for interconnecting museums and connecting them with the public. EuroVision Lab. achieved both, as well as switching roles of the public and museum professionals thus enabling the public to design an exhibition and its catalogue. The following chapter shows examples of our experiences and work. MANY VISIONS 73

74 74 Muzejski hitri zmenki v MNZS, maj 2015 / Museum Speed Dating in MNZS, May 2015

75 Muzejski hitri zmenki / Museum Speed Dating in potek izbora predmetov / Selecting Objects for the Exhibition Anja Moric Delavnice EuroVision Lab. so mladim omogočile sodelovanje pri pripravi razstave in stik z delom muzejev, muzejskim strokovnjakom pa vpogled v razmišljanje in želje mladih, ki ga bodo lahko uporabili pri svojem nadaljnjem delu s to ciljno skupino. Predvsem pa so delavnice spodbudile kreativno sodelovanje med udeleženimi mladimi in med mladimi in muzealci, pri čemer smo se oboji zelo zabavali. Po uvodnih srečanjih, na katerih smo se seznanili z muzejsko dejavnostjo, uporabo socialnih omrežij za potrebe muzejev, scenografijo in konceptom večplastnega predstavljanja predmetov v muzejih, smo se mladi načrtovalci razstave EuroVision Lab. prvič srečali s predstavniki trinajstih sodelujočih muzejev. Namen srečanja je bil izmed trinajstih predmetov, ki so jih predhodno izbrali muzealci sami, izbrati pet predmetov za razstavo. Osrednji dogodek srečanja so bili hitri zmenki, na katerih je moral vsak muzealec vsakemu od mladih v pičlih treh minutah predstaviti svoj predmet in ga prepričati, da je prav ta predmet najprimernejši za razstavo. Trem minutam prepričevanja je sledila minuta za vprašanja mladih. Kustosi so prinesli tematsko pester nabor izredno zanimivih predmetov in so se na hitre zmenke temeljito pripravili, mladi pa smo jih poskušali čim več spraševati, da bi dobili kar Workshops that were part of the EuroVision Lab. project presented a unique opportunity. As the participating young adults, we were able to see up close and partake in the preparation of an experimental exhibition, while the museum professionals working with us gained an insight into our perception of museums that could later be applied to their work with young adults. These workshops prompted creative cooperation between all participants and enabled us to have fun together. Introductory meetings with the EMEE staff were designed to acquaint us with museum s activities, use of social media to promote museums, scenography, and the concept of multi-layered object presentation. We were assigned the role of curators of the EuroVision Lab. exhibition. We met representatives of thirteen participating museums at the National Museum of Contemporary History. The aim of the meeting was to select five of thirteen objects that the museum representatives presented for the exhibition. The main event of the day was museum speed-dating. Each museum representative had to present his or her object in just three minutes and thus convince us that theirs was worthy of exhibiting. After their three-minute presentations, we were given a minute to ask as many questions as we could to get as much information as possible. We were given special forms to fill in and MANY VISIONS 75

76 največ informacij. Svoje vtise o predstavljenih predmetih smo beležili na vnaprej pripravljene obrazce s seznamom predmetov. Mladi smo se zbrali za zaprtimi vrati, brez kustosov. Pred nami je bila izredno težka naloga, saj smo morali iz nabora zelo zanimivih predmetov, ki so bili vsak po svoje favoriti za razstavo, izbrati zgolj pet predmetov. Vse predmete smo zapisali na tablo, nato pa je vsak udeleženec glasoval za pet predmetov, ki so ga najbolj prepričali. V prvem krogu glasovanja smo izločili predmete z najmanj glasovi, ostali so se uvrstili v naslednji krog. Ker tudi v drugem krogu še nismo dobili zmagovalcev (favoritov je bilo enostavno preveč), je vsak glasovalec kratko utemeljil, zakaj je glasoval za določen predmet. Prav tako smo se pogovorili o zasnovi razstave in se zedinili, da morajo izbrani predmeti ustrezati konceptu časovne kapsule dnevne sobe. Vseskozi smo sledili tudi skupnemu dogovoru, da naj vsi izbrani predmeti predstavljajo transnacionalno in obenem slovensko okolje (zgodbo) in naj bodo pomembni za povezovanje in srečanje različnih kultur. Po tretjem krogu glasovanja in veliko izmenjanih argumentih smo dobili končen nabor predmetov, ki jih skupaj s temeljnimi razlogi za njihov izbor kratko predstavljamo v nadaljevanju. write down our observations. The curators came well-prepared and brought with them a wide array of interesting objects. Later on we met without the curators to tackle the difficult task of selecting the five objects that would later be exhibited. The object selection was exceptional and each was worthy of exhibition in its own right. A list was made and written down, then each of us voted for his or her five. Objects to get the least amount of votes were eliminated. Even the second round of voting did not yield the final selection as there were too many favourites. In the following discussion, each of us argued for his or her choices. Thus we conceptualized the exhibition and decided on a concept of a time capsule a living room. All objects had to tell a transnational story, as well as one that is relevant to Slovenian heritage, and communicate a desire for connecting different cultures. In the third round of voting a final selection was made. 76

77 OPIS PREDMETOV IN UTEMELJITEV ZA IZBOR: THE OBJECTS AND THE REASONS FOR THEIR SELECTION: Panjska končnica z motivom usmrtitve Ferdinanda Maksimilijana Habsburško, ki je med letoma 1864 in 1867 vladal kot cesar Mehike. Poslikane panjske končnice so posebnost slovenskega prostora, saj jih drugod po svetu ne najdemo. So izraz ljudske umetnosti in kreativnosti. Dotično panjsko končnico smo izbrali, ker prikazuje svetovni dogodek zgodovinski motiv cesarjeve usmrtitve, ki danes ni poznan širšim množicam. Podoba je poleg zgodovinske izpovednosti tudi dober prikaz srečanja dveh kultur. Gre za transnacionalni prenos zgodovinskega motiva, skupnega dvema kontinentoma, Ameriki in Evropi, pri čemer je forma tipično slovenska je tipičen slovenski predmet z mednarodno motiviko. Panjska končnica je pomembna tudi zato, ker opozarja na vse bolj aktualno problematiko izumiranja čebel, ki so bistvenega pomena za obstoj življenja na zemlji. A painted beehive panel depicting the execution of Maximilian of Habsburg, who ruled as the Emperor of Mexico between 1864 and 1867 Painted beehive panels are a particularity of Slovenia, as they cannot be found anywhere else in the world, and are a unique example of folk art and people s creativity. This particular panel was selected because it depicts an event with a worldwide significance: a historical motif of an execution that is not widely known. In addition to its historical relevance, the motif represents the coming together of two cultures. A uniquely Slovenian form, the panel depicts a transnational historical motif connecting two countries, thus making it a typical Slovenian object of international relevance. The beehive panel s value, however, is also more current it draws attention to the issue of the extinction of bees that are of paramount importance for the survival of life on earth. MANY VISIONS Vaza/granata iz prve svetovne vojne Vaza predstavlja stik dveh kultur in razpad oz. spremembo svetovnih političnih sistemov. Simbolizira prenovo in rojstvo dobrega iz slabega; iz granate predmeta, ki je bil namenjen ubijanju in uničevanju, nastane estetski umetniški predmet vaza za rože, ki pomeni mir in prenovo. Vaza/granata nas opozarja na to, da A vase/a WWI grenade shell The vase connects two cultures and symbolises changes of political systems. It symbolises restoration and the coming of good from evil: a grenade, an object designed for destruction and taking of people s lives, was transformed into an artistic objects, a vase symbolising peace and restoration. The vase/grenade is a constant remind- 77

78 strahote vojne ne smejo biti pozabljene, in da se moramo iz zgodovine učiti. Predmet smo izbrali, ker simbolizira v današnjem času zelo aktualno reciklažo, idejo, da se stvari da ponovno uporabiti. Plišasti medvedek in potni list Plišasti medvedek je transnacionalen predmet, kulturni fenomen, ki se je razširil iz ZDA po vsem svetu. Predstavlja migracije idej, predmetov in ljudi. Razstavljeni medvedek je večkrat prečkal meje skupaj s svojim lastnikom, zato v povezavi s potnim listom predstavlja specifično zgodbo posameznika oz. družine, hkrati pa tudi zgodbo prebivalcev Tržaškega ozemlja v času po drugi svetovni vojni. Potni list s spremenjenim imenom matere lastnika medvedka prikazuje težave ljudi pri prestopanju meja v času pred padcem železne zavese in opozarja na škodljivost različnih ideologij. Plišasti medved in potni list sta simbol z migracijami zaznamovanega sveta, ki še vedno ni v celoti presegel omejitev, s katerimi so se srečevali ljudje s tržaškega ozemlja pred več kot 60 leti. Hkrati poudarjata pomen Evropske unije v smislu združevanja (nekoč) z mejami razdeljenega prostora. Iskrin kinoprojektor NP 21 Kinoprojektor predstavlja napredek in tehnološki razvoj. Pomemben je bil za vzpon filma kot splošnega kulturnega medija po letu er to the atrocities or war and the importance of learning from past mistakes. This object was chosen as it could be interpreted as recycling reusing a no longer useful item. A teddy-bear and a passport The teddy-bear is a transnational object, a cultural phenomenon originating in the USA that has become popular world-wide. It is a symbol of migration of ideas, objects, and people. The teddy-bear included in the exhibition was taken to many countries, and together with the passport, represents a specific personal family story, as well as the story of inhabitants of the territory around Trieste after the end of WWII. The passport belonged to the mother of the teddy-bear s owner. It shows that her name was changed and is thus a symbol of the troubles of people living in the time before the fall of the iron curtain. These two objects symbolize a modern world marked by migrations and constraints that marked the lives of people living in the Free Territory of Trieste sixty years ago, constraints that we have not yet been able to overcome. They also highlight the importance of the European Union in the unifying of the once divided space. Iskra s film projector NP 21 The film projector is a symbol of technological advancement. It is especially important as it represents the rise of film as the most 78

79 1945. Projektor so v Sloveniji (takratni Jugoslaviji) izdelali in izpopolnili na osnovi nemške ideje, kar mu daje evropski značaj. Poleg tega je to predmet, ki je bil vseprisoten in v uporabi po celem svetu; v nekaterih afriških državah ga še danes uporabljajo. Je tipičen primer pretoka stvari iz tedaj ekonomsko in tehnološko razvitejše Jugoslavije v druge države gibanja Neuvrščenih. Kot je razvidno iz oglaševalskega plakata Janeza Trpine, je Iskra s svojim kinoprojektorjem želela doseči vse svetovne trge. Ker je še vedno v uporabi, in ker film kot medij še vedno živi in se razvija, predstavlja projektor kontinuiteto z današnjim časom. Telefon ETA 80 Prvi Iskrin elektronski telefon je eden izmed najbolj prepoznavnih predmetov iz 80. let. Takrat je bil izbran za uradni telefon olimpijskih iger v Moskvi. Predstavljal je novost in možnost izbire v času, ko to še ni bilo samoumevno, niti to, da bi bil telefon prisoten v vsakem domu. Hkrati je bil največkrat kopiran telefon na svetu na primer v ZDA in na Japonskem, za kar je prejel celo nagrado Plagiarius. Kopiranje predstavlja vzporednico s sodobnim svetom, ko se zaradi vse večjega pretoka informacij nenehno srečujemo s problemom plagiatorstva. Telefon že sam po sebi omogoča komuniciranje in predstavlja povezovanje, ki je ena od značilnosti Evropske unije. influential media since The projector made in Slovenia, then Yugoslavia, was based on a German design, which gives it European character. Other than that, it is an object that was used worldwide, and is still used in several countries in Africa. NP 21 is an excellent example of Yugoslavia s export to other countries that formed the Non-Aligned movement. The advertising poster designed by Janez Trpina makes it evident that the film projector was intended to be sold worldwide. Continued use of these projectors and the subsequent development of film give this object contemporary relevance. Iskra s telephone model ETA 80 Iskra s first electronic telephone is one of the well-recognized objects from the 80 s. It was selected as the official telephone for the Moscow Olympics. It represented a novel possibility of choice in a time when this was not self-evident, nor was it common that every household had a telephone. It was the most copied telephone in the world, especially in the USA and in Japan. It was even awarded the Plagiarius award. Copying represents a parallel to the modern world, where plagiarizing enabled by the fast flow of information has become a serious concern. The telephone itself, however, enables communication and represents connections that are one of the governing principles of the European Union. MANY VISIONS 79

80 80 EMEEMORY Spomin / EMEEMORY game

81 Izbranih 5 / selected 5 MANY VISIONS 81

82 82 Hrani: Čebelarski muzej v Radovljici, Radovljica, Slovenija / Held: Museum of Apiculture, Radovoljica, Slovenia

83 PANJSKA KONČNICA»EKSEKUCIJA MAKSIMILJANA HABSBURŠKEGA«/ THE EXECUTION OF MAXIMILIAN OF HABSBURG BEEHIVE PANEL Filip Draženović Panjska končnica z motivom usmrtitve Ferdinanda Maksimilijana Habsburško, ki je med letoma 1864 in 1867 vladal kot cesar Mehike Pomembno mesto v slovenski kulturni dediščini zasedajo panjske končnice pročelne deščice panjev podolžne oblike, ki jih poznamo pod imenom kranjiči. Poslikava končnic se je na Slovenskem začela v drugi polovici 18. stoletja. Največ takšnih panjev je bilo moč najti na severnem in osrednjem Kranjskem, na Koroškem in na severozahodnem delu Štajerske ter na Goriškem. Trgovanje z živimi čebelami pa je panjske končnice zaneslo tudi drugod po svetu. Poslikava panjskih končnic je cvetela približno dve stoletji, v začetnih desetletjih dvajsetega stoletja je bila že skoraj povsem opuščena. Dediščina panjskih končnic je edinstvena zvrst ljudske umetnosti, ki je avtohtona na slovenskem ozemlju, vendar ni več funkcionalno povezana s čebelarstvom. Poslikava prednjih delov panjev se je začela, ker so kmetje verjeli, da bodo tako čebele lažje našle pot domov. Na končnice so slikali podobe svetnikov, ki naj bi varovali čebelje roje in jih ščitili pred boleznimi. Predloge za motive naslikane na panjske končnice so bile upodobitve v cerkveni umetnosti. V času po sredini 18. stoletja, ko se je razmahnilo poslikavanje panjev, pa se je razširilo tudi A painted beehive panel depicting the execution of Maximilian of Habsburg, who ruled as the Emperor of Mexico between 1864 and 1867 Painted beehive panels are an important part of Slovenian national heritage. Beehive panels are the small front boards of traditional Carniolan wooden beehive known as kranjič. Painting of panels begun in the second half of the 18th century and was widespread in northern and central parts of Carniola, in Carinthia, the north-western part of Styria, and in the Goriška region. Trading with live bees contributed to the spreading of painted beehive panels elsewhere. The tradition of painting the front boards of beehives lasted for two centuries it ceased in the first decades of the 20th century. The heritage of painted beehive panels in a uniquely Slovenian kind of folk art that is no longer functionally connected to beekeeping. It emerged from a belief that bees could better orientate themselves if the hive was pained. Beehive panels were decorated with hagiographic imagery, because people believed that this way bees would be safe from diseases. Painted imagery was influenced by ecclesiastical art. In the second half of the 18th century, in addition to beehive panel painting, decorating interior objects such as chests and cribs begun to expand. Many beehive panels with MANY VISIONS 83

84 poslikavanje predmetov notranje opreme, na primer skrinj in zibelk. Ohranjenih je mnogo končnic z različnimi motivi, do sedaj znano motiviko sestavlja več kot šeststo različnih motivov, približno polovica teh ima nabožno motiviko, posvetne motive pa sestavljajo domišljijski in lovski prizori in zgodovinske teme, pojavljajo pa se tudi številni prizori iz vsakdanjega življenja ljudi. Razstavljena panjska končnica je nastala po letu 1867 in prikazuje zgodovinski motiv, usmrtitev Ferdinanda Maksimiljana Habsburško -Lotarinškega v Mehiki, kjer je vladal kot cesar od 1864 do Motiv je, čeprav se morda na prvi pogled ne zdi tako, tesno povezan s problematiko kranjskih kmetov v drugi polovici 19. stoletja. Neenakomeren razvoj podeželja, deljenje kmečkih posesti, prenaseljenost in pomanjkanje zaposlitvenih možnosti so vodili v zadolževanje kmetov. Posojanje denarja kmetom je postalo donosen posel, kmečki dolgovi pa eden največjih problemov slovenskega podeželja. Prodano je bilo veliko kmečkih posesti, kmetje so bili prisiljeni odhajati na sezonsko delo na Hrvaško in v nemška in avstrijska industrijska središča. Eden od znakov naraščajoče kmečke stiske so bili tudi prostovoljni vojaki, meksikajnarji, ki so se pri družili vojski Maksimiljana Habsburškega, ko je odhajal v Mehiko. Med okrog šest tisoč vojaki, ki so ga spremljali, jih je bilo približno štiristo s Kranjske. varying motifs remain; today there are more than six hundred known panel motifs, approximately half of which has religious content. Secular motives include imaginary and hunting scenes, depictions of historical events, and imagery connected to people s everyday lives. The exhibited beehive panel was made after 1867 and depicts a historical event the execution of Maximilian of Habsburg-Lorraine in Mexico, where he ruled as emperor between 1864 and This motif is linked to the predicament of Carniolan peasants in the second half of the 19th century. Unequal development of the countryside, divisions of farmland, overpopulation, and lack of employment contributed to peasant indebtedness. Lending money to impoverished peasants became a lucrative business, while peasant debt became one of the biggest concerns of Slovene countryside. Many estates were sold and people were forced to look for work abroad in Croatia and in industrial cities in Germany and Austria. One of the indicators of the growing peasant straits were meksikajnarji, volunteers that joined the army of Maximilian when he was departing for Mexico. He was accompanied by about six thousand soldiers, four hundred of whom from Carniola. Most of those who left never returned. Those that did undoubtedly had many interesting and curious stories about a foreign country to tell. The Carniolans were well-informed about the goings-on in the world; they could read about 84

85 Večina vojakov, ki so odšli, se ne vrnila domov. Tisti pa, ki so se, so nedvomno na Kranjsko prinesli marsikatero zanimivo in nenavadno zgodbo o daljni deželi. O dogajanju v Mehiki, kot tudi drugod po svetu, so bili na Kranjskem obveščeni v Kmetijskih in rokodelskih novicah, ki so bile takrat edini slovenski časopis. Poročila iz Mehike pa niso bla zanimiva le za Kranjce, ampak tudi za prebivalce drugih evropskih držav, posebno za Francijo. Maksimiljanova usmrtitev je bila velika sramota za francosko javnost in je razkrila neodgovornost zunanje politike Napoleona III. Drugi mehiški imperij je bil namreč rezultat evropskega, predvsem pa francoskega posredovanja v Mehiki. Maksimiljan je bil nastavljen kot cesar po napadu na Mehiko, ki je bil namenjen izterjavi dolgov in dostopu do rudnikov srebra. Maksimiljanova vladavina je bila odvisna od podpre francoske vojske, kmalu po tem, ko je Napoleon III zaradi ameriškega pritiska odpoklical francoske vojake iz Mehike, so republikanske sile pod vodstvom Benita Huareza zajele Maksimiljana. Usmrčen je bil skupaj z dvema generaloma poleti Novica o njegovi smrti je kmalu dosegla Pariz. Števila poročila in fotografije, ki so se pojavljale v javnosti, so spodbudile Eduarda Maneta, da je na to temo naslikal tri oljne slike velikega formata, skico z olji in napravil litografijo. Veliki format, ki je bil navadno namenjen slikanju mitothem in Kmetijske in rokodelske novice, then the only newspaper in Slovene. Reports from Mexico were not interesting only for the people of Carniola, but for other as well, especially for the French. The execution of Maximilian was a great embarrassment for the French, as it exposed Napoleon III foreign politics as very irresponsible. The second Mexican Empire was the result of European, predominantly French, interference in Mexico. Maximilian had been installed as emperor following an invasion of Mexico intended to collect debts and gain access to silver mines. Maximilian s rule depended on the support of French military troops and soon after Napoleon III, after an American interference, called them off, Maximilian was captured by republican forces led by Benito Huarez. Maximilian was executed in the summer of 1867 along with two of his generals. News of his death soon reached Paris. Numerous reports and photographs of the event appeared in the press and soon after Eduard Manet crated three oil paintings of large format, an oil sketch, and a lithograph depicting the execution. The large format that he used was traditionally reserved for painting scenes from mythology, and together with the work s aesthetic claims to objectively present events of contemporary history, points to the painter s implicit criticism of Napoleon III s regime. This is most evident in the final version of the painting exhibited in Mannheim in Germany. The Mannheim painting, unlike the Boston one, in MANY VISIONS 85

86 loških prizorov, in estetska drža zavezana objektivnemu predstavljanju snovi iz moderne zgodovine, kažeta slikarjevo družbenokritično držo, ki je najočitnejša v zadnji verziji slike, razstavljeni v Mannheimu v Nemčiji. Na tej so, drugače kot v bostonski različici, kjer so strelci oblečeni v oblačila mehiških republikancev, vojaki oblečeni v značilno vojaško uniformo 19. stoletja in se jih da zlahka zamenjati za francoske vojake. Slika obeležuje takratno politično dogajanje, vpeta pa je tudi v širši evropski umetniški kontekst, saj se navezuje na Streljanje talcev tretja maja 1808 Francisca Goye. Manetove slike so del evropskih in ameriških zbirk, panjsko končnico pa hrani Čebelarski muzej v Radovljici, oboja pa so interpretacije zgodovinskih dogodkov svetovnih razsežnosti, ki se dotikajo problematike vojn in imperialističnih zasedb držav. Gospodarsko izkoriščanje in vsiljevanje politik, ki koristijo gospodarsko močnejšim državam kot ga kaže primer Mehike, pa ni samo pretekla praksa svetovne politike. V takšno dogajanje pa je bila posredno, prek Avstro-ogrske, v 19. stoletju vpletena tudi Kranjska. which shooters are dressed in garments associated with Mexican republican soldiers, shows them in the 19th century field uniform. Thus the shooters could be easily mistaken for French soldiers. The painting depicting then contemporary political events is also closely connected to the European art tradition, drawing influence from Goya s The Third of May Manet s paintings are part of European and American collections; the painted beehive panel is kept at the Museum of Apiculture in Radovljica both are interpretations of events that shaped world history and raise issues of war and imperialist invasions. Economic exploitation and implementation of politics that benefit solely the countries with stronger economies, as it was in Mexico, is not a political practice of the past. The 19th century Carniola, as part of the Austro-Hungarian Empire, was also involved in these events. 86

87 Bibliografija / Bibliography Annenberg Learner, The Execution of Emperor Maximilian, Dostopno na: index.html. [ ] BOGATAJ, J. (1992), Sto srečanj z dediščino na Slovenskem, Ljubljana: Prešernova družba. Čebelarski muzej Radovljica, (2015). Dostopno na: predstavitev.html. [ ] FRIED, M. (1996), Manet's Modernism: or, The Face of Painting in the 1860s, London: The University of Chicago Press. MoMA, Manet and the Execution of Maximilian, Dostopno na: [ ] Museum of Fine Arts Boston, Execution of the Emperor Maximilian. Dostopno na: -the-emperor-maximilian [ ] PANTELIĆ, N. (1984), Jugoslovanska ljudska umetnost, Ljubljana: Cankarjeva založba. The National Gallery, The Execution of Maximilian. Dostopno na: -manet-the-execution-of-maximilian. [ ] VODOPIVEC, P. (2010), Od Pohlinove slovnice do samostojne države : slovenska zgodovina od konca 18. stoletja do konca 20. stoletja, Ljubljana: Modrijan. Slovenski etnografski muzej, Panjske končnice. Dostopno na: [ ] Wikipedia, The Execution of Emperor Maximilian, Dostopno na: [ ] MANY VISIONS 87

88 88 Hrani: Goriški muzej, Gorica, Slovenija / Held: Goriška Regional Museum, Gorica, Slovenia

89 ROČNO IZDELANA VAZA IZ TULCA TOPOVSKE GRANATE / HANDCRAFTED VASE MADE FROM AN ARTILLERY SHELL CASING Jaroš Krivec Predmeti so nemi ostanki zgodovine in služijo kot nosilci spomina, ljudje pa jim pripišemo različne pomene. Predmeti pa lahko postanejo tudi simboli spremembe, kot je primer pri vazi, ki je narejena iz medeninaste topovske granate. Gre za dvoličen predmet oz. predmet dveh identitet. Razumevanje te vaze se je skozi čas močno spremenilo, saj je iz sredstva za opustošenje in povzročanje škode granate, po umetniški obdelavi postala vsakdanja dekoracija. Kljub novi namembnosti pa nas še vedno opominja na grozote preteklosti in ozavešča o prestanem trpljenju. Obrtniška izdelava vojnih spominkov je v svetu poznana pod imenom trench art. To tematiko raziskujejo različne strokovne discipline, od zgodovine do etnologije in antropologije, v zadnjem času je pomembno mesto zasedla tudi arheologija prve svetovne vojne. Razvoj trench art-a skozi zgodovino Pojav trench art-a oz. izdelovanja spominkov iz rabljene vojaške opreme sega daleč v preteklost. Znano je, da so že v napoleonskih vojnah, Krimski vojni in Ameriški državljanski vojni vojni zaporniki iskali način umetniškega izražanja z obdelovanjem kosti in rabljenih nabojev. Veliko zbiralcev trench art-a smatra, da lahko čas prve Objects are silent remnants of history that carry cultural memory and to which people assign different meanings. Objects can also become symbols of change, as shown in the example of the vase made out of the brass grenade shell. It is a two-sided object, an object of two identities. The vase has gained new meanings, it was transformed from a device of destruction a grenade, into a decorative item. But despite its transformation it is a reminder of the past atrocities and suffering. Making souvenirs out of military items is called trench art. Trench art is discussed in various fields of study such as history, ethnology, and anthropology, and recently the archaeology of the First World War. Development of trench art in history Trench art making souvenirs from used military equipment begun even before the First World War. Trench art was produced in the Napoleonic wars, Crimean war, and the American civil war by war prisoners from bones and bullet casings. Many trench art collectors consider the First World War era the beginning of trench art production in Europe en masse. French and Belgian soldiers are considered to be the pioneers of WWI trench art; they transformed objects found on battlefields helmets, knives, bullets, cutlery, and thermoses MANY VISIONS 89

90 svetovne vojne označimo kot obdobje konjunkture izdelovanja tovrstnih izdelkov po celi Evropi. Kot pionirji trench art-a med prvo svetovno vojno veljajo francoski in belgijski vojaki, ki so najdbe z bojišč čelade, nože, naboje, jedilni pribor in termovke predelali v uporabno-umetniške predmete, kot so vaze za rože in cigaretnice ter s tem prišli do dodatnega zaslužka, ki jim je pomagal prebrodili težak in osiromašen povojni vsakdan. Trench art je obči pojav umetniškega in obrtniškega ustvarjanja po vseh frontah prve svetovne vojne. Vaza je bila izdelana iz 75 mm granate. Z granatami tega tipa je italijanska vojska obstreljevala takratno avstro-ogrsko vojsko na soški fronti, ki je potekala tudi po današnjem Slovenskem ozemlju med leti 1915 in "S pobiranjem uporabnega materiala so vojaki začeli takoj po koncu bojev. Za ta namen so bili določeni posebni oddelki avstro-ogrske vojske (Sammelkompanien)" (Lipovec po Košir 2014). Zaradi povojne materialne stiske pa materiala ni zbirala le vojska, ampak tudi civilno prebivalstvo. Bodečo žico so uporabili za ograde za živino, vojaške barake so razstavili in les uporabili za lastno gradnjo, najdeno pločevino pa namenili za strešno kritino. Bivši vojaški material se je tako preselil v civilno sfero in postal sestavni del povojnega obdobja. "Nabiranje»železa«je z leti prešlo v zbirateljstvo, saj se je med generacijami, ki niso doživele prve svetove vojne, povečalo zanimanje za dogodke, ki so se odvijali v Posočju in drugod po Evropi" (Košir 2014). into artistic objects such as vases and cigarette cases, and sold them to make money to support themselves in times of dire need during and after the war. Trench art was a common form of artistry and craftsmanship on all WWI fronts. The vase was made out of 75-milimeter grenade shell. This type of grenade was used by the Italian army between 1915 and 1917 against the Austro-Hungarian army on the Isonzo Front that was fought mostly on Slovenian territory. "Collecting used equipment started immediately after the fighting ended. Special military divisions of Austro-Hungarian army (Sammelkompanien)" (Lipovec after Košir 2014) were assigned this task. Due to the general shortage of materials, the civilians collected materials as well. Barb wire was used for stockades, barracks were disassembled and wooden boards were used for building, tin was used as roofing. Thus former military equipment became private property. "Collecting metal for building materials transformed into collecting memorabilia as the generations from the basin of the River Soča and elsewhere in Europe that did not live through the war wanted to learn more about the goings-on during the war" (Košir 2014). 90

91 Izdelovalci Predelovanje vojaškega materiala v obrtniško umetniške izdelke je svoje ime, trench art, dobilo, ker so umetniške predmete v začetku izdelovali vojaki v strelskih jarkih med premori vojskovanj. Izdelovali pa so jih tudi vojaki izven bojišč in civilno prebivalstvo. Med njimi tudi vojni ujetniki, ki so zavoljo preživetja izdelovali umetniške izdelke z namenom prodaje ali zamenjave z zaporniškimi pazniki za hrano, pijačo, cigarete in podobno. Svoje predmete so prodajali tudi na umetniških razstavah v zaporih. Na pobudo filantropskih društev, ki so simpatizirale z vojnimi ujetniki in interniranci, so vzpostavili zelo razvejano tržno mrežo predmetov izdelanih v zaporih. Tudi razne dobrodelne organizacije so se trudile prodajati izdelke ranjenih in invalidnih vojakov, ki so bili poškodovani med vojno. S pridobljenim denarjem so lahko tem bolnikom lajšali življenja v bolnišnicah. Namen in uporaba Nekaj trench art izdelkov je bilo narejenih kot osebnih spominkov na vojno, veliko pa jih je bilo tudi prodanih drugim vojakom, ki so jih odnesli s sabo domov, ali pa so bili poslani kot spominki domačim v zaledju. Veliko so jih po vojni naredili civilisti in veterani, da bi zadostili povpraševanju turistov, vdov in romarjev, ki so si prihajali The makers of trench art Transforming military equipment got its name, trench art, because the first examples were made in trenches during ceasefire. It was also made by soldiers that were not on the battlefields as well as by non-combatants. Among them were also prisoners of war whose survival depended on making and selling or trading these objects for food, drink, and cigarettes among other things. Crafted objects were sold on exhibitions in prisons. Philanthropic societies concerned with the well-being of prisoners established a vast network of trench art commerce. Many charitable organisations sold items crafted by soldiers that were injured during the war. The profits from sales served as financial support for the soldiers. Purpose and use Trench art was made as souvenirs of war, some of it was sold to other soldiers or soldiers sent it to their families. Much of it was crafted by non-combatants and war veterans after the war to sell to tourists, war widows and those that came to visit abandoned battlefields. As trench art was in high demand, companies producing it were established. The vase and its message The before mentioned vase is a well-preserved example of trench art. It was made on the 9. August 1919 in northern Italy. Luigi Catanzani MANY VISIONS 91

92 92 ogledovat zapuščena polja smrti. Zaradi velikega povpraševanja je nastalo mnogo podjetij, ki so proizvajala te izdelke. Sporočilo naše vaze Lepo ohranjen primerek trench art-a je že omenjena vaza. Izdelana je bila 9. avgusta 1919 v severni Italiji. Vazo je v tehniki cizeliranja, ki je v Sredozemlju poznana že od prazgodovine, naredil italijanski vojak Luigi Catanzani. Poleg tega, da se je spremenila namembnost predmeta, se je spremenila tudi njegova lokacija. Italijanska granata, ki jo je v vazo predelal italijanski vojak, je kot izdelek ljudske obrti prišla na Slovensko. Vaza simbolizira mir in povezuje ljudi, ki so se med vojno borili na nasprotujočih si straneh. Na vazi je v globokem reliefu v spodnjem delu prikazan gorski relief, ki najverjetneje predstavlja hribe soške fronte. Z reliefa raste bršljan, ki predstavljal mir. S predelavo tega in tudi drugih predmetov, se niso odrekli spominu na vojno, predmetom so dali novo življenje in nov pomen. Vaza priča o človeški iznajdljivosti in zmožnosti napraviti korak naprej in živeti svoj vsakdan z nekoč tako osovraženim in strah vzbujajočim predmetom kot je granata. Tako so le te marsikje postale neopazen dekorativni predmet, kot na primer vaze za rože, ki so postavljene v cerkve na območju soške fronte, in katerih namen je danes, da s svojo specifično estetsko vrednostjo lepšajo in bogatijo naš vsakdan. Poleg tega pa nemo pričajo in opozarjajo, da strahote vojne niso pozabljene in da se moramo iz zgodovine učiti. made the vase using Repoussé metalworking technique that has been known in the Mediterranean since prehistory. Thus the object s use was transformed as well as its location: the Italian grenade that an Italian soldier transformed into a decorative item was taken to Slovenian territory. The vase symbolises peace and joining of people who fought on opposite sides during the war. On the bottom of the vase, a mountain range, most likely the mountains of the Isonzo Front, sprouting ivy leaves symbolizing peace is outlined in deep relief. Transforming this object and others like it did not diminish the memory of war, but rather gave them new form and meaning. The vase is testimony to human ingenuity, the capacity to move forward, and include objects as dreaded as a grenade into their everyday lives. Many grenade shells became unusual decorative items like vases that have been placed in churches along the Isonzo Front line; to this day, their unusual aesthetic enriches our lives. In addition to that, they remain silent witnesses, reminders of the atrocities of war and of the importance of learning from past mistakes.

93 Bibliografija / Bibliography 100 let prve svetovne vojne, Soška fronta. Dostopno na: [ ] Army Museum, Personal Treasures: WWI Trench Art. Dostopno na: -one-centenary/personal-treasures-wwi-trench-art/. [ ] MANY VISIONS Collectors Weekly. Trench art. Dostopno na: [ ] KOŠIR, U. (2014), 'Arheologija in prva svetovna vojna', Apokalipsa, , KOŽUH, D. (2015), Intervju. SANDERS, N. J. (2011), Trench Art: A Brief History & Guide, , Barnsley: Leo Cooper. Trench Art of the Great War And Related Souvenirs. Dostopno na: [ ] 93

94 94 Hrani: Slovenski etnografski muzej, Ljubljana, Slovenija / Held: Slovene Ethnographic Museum, Ljubljana, Slovenia

95 PLIŠASTI MEDVED IN ITALIJANSKI POTNI LIST / The Teddy Bear and the Italian Passport Vid Sosič Oba predmeta povezuje družinska zgodba. Potni list je pripadal Nevi Zidarič, rojeni Lipovec, pripadnici slovenske manjšine iz Trsta, ki se je leta 1950 preselila v Ljubljano, da se je tam poročila. Leta 1952 se jima je z možem, Borisom Zidaričem (rojenim leta 1919), ki je bil prav tako iz Trsta, a se je v Ljubljano zaradi pritiskov fašističnega režima preselil 1920, rodil sin Bojan. Boris je postal predsednik Slovenske gospodarske zbornice v Jugoslaviji in zaradi narave njegovega dela, se je družina pogosto selila po svetu. Živeli so v Ljubljani, v Mehiki, v Madridu v Španiji in nazadnje so se preselili v Trst. Tam so leta 1950 kupili plišastega medvedka. Plišasti medvedek je internacionalni kulturni fenomen. Plišasti medvedi so prišli na evropski trg v prvi polovici 20. stoletja in so še danes izjemno priljubljene igrače. Ime teddy bear, pod katerim je igrača poznana v angleško govorečem svetu, izvira iz ZDA, države, ki je z Evropo že dolgo povezana z migracijami. Igračo so poimenovali po predsedniku Theodoru Rooseveltu, ki je predsedoval v prvem desetletju 20. stoletja. Leta 1902 se je udeležil lova na medvede, na katerega ga je povabil guverner Misisipija. Ker Roosevelt ni ustrelil nobenega medveda, je njegov asistent za drevo privezal medvedja mladiča, češ naj ga ustreli, a ga predsednik ni hotel ustreliti. Opis dogodka je bil objavljen v časopisju A family story connects both items. The passport belonged to Neva Zidarič, born Lipovec, a member of Slovene minority from Trieste in Italy, who moved to Ljubljana to get married in In 1952 her son, Bojan Zidarič, was born. The boy s father Boris Zidarič (born in 1919) was also a member of Slovene community in Italy, but his family migrated to Ljubljana in 1920 to avoid the persecution of the fascist regime. Later in life, Boris became the president of the Slovene Chamber of Commerce in the Socialist Republic of Yugoslavia. Working for the Chamber of Commerce, he and his family moved around the world. They lived in Ljubljana, Mexico, in Madrid in Spain, and finally they moved back to Trieste. This is where the teddy bear was bought in the 1950 s. The teddy bear is an international cultural phenomenon. Teddy bears entered the European markets in the first half of the 20th century and have remained popular ever since. The name for the bear-shaped plush toy originates in the United States, a country that has a long lasting connection with Europe through migration. The toy got its name after the American president Theodore Roosevelt, who was in office in the first decade of the 20th century. In 1902, he was invited by the governor of Mississippi to a bear hunting trip. He did not shoot any animals that day, so his assistant tied a bear cub to a tree for Roosevelt to shoot, but MANY VISIONS 95

96 in zgodba je postala izjemno popularna. Navdihnila je Morrisa Michoma, ruskega žida, ki se je v New York preselil leta 1887, da je naredil plišasto igračo v obliki medvedka in pisal predsedniku, če lahko igračo poimenuje po njem. V istem času se je tudi v Evropi razmahnila proizvodnja plišastih igrač. Leta 1893 je bilo ustanovljeno podjetje Margarete Steiff GmbH, ki se je ukvarjalo izključno s proizvodnjo plišastih igrač. Margaret Steiff je bila spretna šivilja, ki je imela svoje modno podjetje, plišaste igrače je začela šivati za lastno zabavo, kasneje pa je njeno podjetje izdelovalo le igrače. Najbolj prepoznaven izdelek njenega podjetja je bil plišasti slon, leta 1902 pa je njen nečak naredil prvega medvedka, igračo, ki je postala izjemno priljubljena. Podobne igrače je začelo izdelovati mnogo podjetij in še danes so plišasti medvedki ene izmed najbolj popularnih igrač zahodnega sveta, zato bi jih lahko smatrali kot simbol Zahoda. V petdesetih letih prejšnjega stoletja je Evropo delila blokovska politika. Ideološki in politični razdor med vzhodno in zahodno Evropo je simbolizirala neprehodna meja železna zavesa. Jugoslavija ni pripadala niti eni niti drugi strani. Ker je bila komunistična država, ki pa je zavrnila politiko Varšavskega pakta, so njene meje ostale odprte tako na vhod kot na zahod. Na Italijansko -Jugoslovanski meji je bilo ustanovljeno Svobodno Tržaško ozemlje. Ozemlje je bilo ustanovljeno z namenom umiritve ozemeljskega spora med he took pity on the cub and refused to kill it. This event caught the eye of a political cartoonist, the story was published, and became very popular. The story inspired Morris Michtom, a Russian Jewish immigrant, who arrived in New York in 1887, to create a toy shaped as a bear. He asked the president for permission to name it Teddy after him. At the same time, the production of stuffed toys began to flourish in Europe as well. Margarete Steiff GmbH Company was founded in The company focused exclusively on the production of stuffed toys. Margaret Steiff was a skilled seamstress who first begun sewing toys for her own amusement while running a clothes company, and only later begun to produce only toys. Her signature toy was a stuffed elephant, but in 1902 her nephew made the first teddy bear for her company, and the toy became immensely popular. It was copied by many companies and remains one of the most popular toys to this day. It is especially popular in the West. Thus it may be regarded as a symbol of the Western world. In the 1950 s Europe was divided by the bloc politics. The division to the Eastern and Western bloc was symbolized by the nigh impregnable physical and ideological border the Iron Curtain. On neither side of the divide was Yugoslavia, a communist country that refused the Warsaw pact, thus making its borders open to both of the disputed sides. On the Yugoslav-Italian border the Free 96

97 sosednjima državama. Trst, rojstni kraj Neve in Borisa Zidariča, je postal pomembno stičišče dveh delov Evrope, zato so se Zidaričevi lahko vrnili tja in kupili medvedka. Kljub padcu železne zavese, ki je Evropo spremenil v drugačen kontinent, imajo potni listi še vedno velik pomen. Konec spora je naredil Evropo bolj odprto. Schengensko območje vključuje 26 držav in omogoča Evropejcem prehajanje državnih mej brez potrebe po identifikaciji ali potrebe po odgovarjanju na vprašanje:»business or pleasure?«territory of Trieste was founded. It was a unique political territory established to restrain territorial claims over the city between the neighbouring countries. Trieste, the hometown of Neva and Boris Zidarič, became a significant point where both parts of Europe came together, which explains why the Zidarič family were able to return to Trieste and buy the teddy bear there. Regardless of the fact that the Iron Curtain has fallen and transformed Europe into an entirely different continent, passports still carry a lot of weight. Reticence ended and made way for hopes of openness. Schengen area, now including 26 countries, enables European travellers to move around without identification or the need to answer the question: Business or pleasure? MANY VISIONS Bibliografija / Bibliography Minka's Bear Passion, Teddy Bears, Steiff Biographies. Dostopno na: htm. [ ] Smithsonian institute, The National Museum of American History, Teddy Bear, Dostopno na: americanhistory.si.edu/collections/search/object/ nmah_ [ ] Wikipedia, Morris Michtom. Dostopno na: en.wikipedia.org/wiki/morris_michtom. [ ] ZIDARIČ, T. (2015), Intervju. 97

98 98 Hrani: Slovenska kinoteka, Ljubljana, Slovenija / Held: Slovenian Cinematheque, Ljubljana, Slovenia

99 Kinoprojektor / The film projector Tajda Blazinšek Film, najvplivnejši medij preteklega stoletja, ki je predstavljal tako vest družbe kot propagandno trobilo oblasti, Francesco Casetti imenuje»oko 20. stoletja«(casetti 2013: 10). Z beleženjem resničnih dogodkov in ustvarjanjem vzporednih domišljijskih svetov, je pomembno vplival na način percepcije sveta. Množična zabava, ki jo je nudila fikcija gibljivih slik, je bila predstavnikom vseh družbenih slojev najprej dostopna v kinematografih. Slednje sta omogočila dva izuma: filmska kamera in filmski projektor. Leninova izjava, da je od vseh umetnosti najpomembnejši film, je bila podlaga nove kulturne politike komunistične Jugoslavije. Četudi je bila prva javna kinematografska predstava v Ljubljani na ogled že leta 1896, stalni kinematografi pa so bili prisotni v večjih in manjših slovenskih krajih že pred prvo svetovno vojno, mnogi začetek zgodovine kinematografije na Slovenskem postavljajo v obdobje po drugi svetovni vojni. To je obdobje, ki ga je zaznamovala kinofikacija, načrten razvoj in nacionalizacija kinematografije po partijski direktivi. Število kinematografov se je z gospodarsko ureditvijo povojne Jugoslavije izjemno povečalo, za kar je bilo v veliki meri zaslužno tudi kranjsko podjetje Iskra. Komite za kulturo in prosveto v Beogradu je namreč kmalu po koncu druge svetovne vojne Iskri zadal nalogo, da razvije kinoprojektorje Film, the most influential media of the past century, was thought to represent the conscience of the society as well as being the propaganda of the ruling classes. Francesco Casetti called it the eye of the 20th century (Casetti 2013: 10). Films influenced people s perception of the world by documenting historical events as well as by creating imaginary worlds. Watching moving pictures at cinematographs became a form of mass. This was possible due to inventions of the camera and the film projector. Lenin s statement that cinema was the most important of all arts became the basis for the cultural politics of communist Yugoslavia. Despite the fact that the first public screening of a film in Ljubljana was already in 1896 and cinemas were built in various Slovenian towns before the First World War, many believe that the history of cinematography begun in earnest after WWII. This was the era of cinematography, of planned development and nationalisation of cinematography following the directives of the Communist Party. The number of cinemas in the post-war Yugoslavia increased greatly. This increase was mostly due to the company Iskra in Kranj. After the end of WWII, the Cultural committee in Beograd assigned Iskra to develop film projectors and other equipment needed for film projections. Iskra s engineers and experts used MANY VISIONS 99

100 in pripadajočo opremo za predvajanje filmov. Inženirji in strokovnjaki so izkoristili dejstvo, da so bili po vojni razveljavljeni vsi nemški patenti in podrobno preučili tedaj najboljši projektor Zeiss-Ikon Ernemann VII B, kateremu prvi Iskrin kinoprojektor NP-1 dolguje način delovanja. Pionirsko delo sta prevzela inženir Franc Špiler in Herman Vidmar in v dobrih treh letih razvila prvi kinoprojektor pri nas. Novembra leta 1948 so v kinu Matica (stavba današnje Slovenske Filharmonije) z Iskrinim projektorjem predvajali prvi slovenski umetniški film Na svoji zemlji, ki so si ga ogledali tudi delegati drugega kongresa Komunistične partije Slovenije. O pomembnosti dogodka je poročal časopis Slovenski poročevalec, ki je premiero filma napovedal kot»dogodek, ki pomeni za nas prav toliko kot Trubarjev nastop za našo književnost ali Linhartov za slovensko gledališče«(vrdlovec 2009: 205). Decembra leta 1948 so prvi Iskrin kinoprojektor montirali tudi v kabini ljubljanskega kina Triglav. Po uspešni izdelavi prototipov leta 1948 in napol ročni izdelavi prve serije desetih projektorjev, je Iskra že v naslednjem letu serijsko izdelala 185 projektorjev. Proizvodnjo so v nadaljnjih letih tehnično izpopolnjevali in razvijali nove in boljše modele s pripadajočo opremo. V začetku je bil velik problem, da so bili projektorji izjemno težki tudi do osemsto kilogramov kar je oteževalo transport in s tem tudi prodajo. Lito železo so zato hitro nadomestili z aluminijem in the fact that after the war all German patents were invalid, and studied the Zeiss-Ikon Ernemann VII B, then the best film projector available. It served as a base for the mechanism of Iskra s NP-1. Engineers Franc Špiler and Herman Vidmar undertook the task of constructing the first film projector in Yugoslavia. The first Slovenian artistic film Na svoji zemlji was projected with Iskra s projector at kino Matica (in the building of the Slovenian Philharmonic). A delegation of members of the Communist Party of Slovenia attended the event. Newspaper Slovenski poročevalec reported about the event; the premiere was branded an event as important for us as Trubar s contribution to our literature or Linhart s to the Slovenian theatre (Vrdovec 2009: 205). Another Iskra s film projector was installed in kino Triglav in December Following successful manufacture of prototypes in 1948 and semi-manual manufacture of a series of ten projectors, a series of 185 projectors was produced. In the following years various improvements were made in the production process and new models with accompanying equipment were made. In the first stages of production, the manufacturers faced a problem with the projector s weight. They were extremely heavy, weighing up to 800 kilograms, which caused difficulties with transport and sales. Later cast iron was replaced with aluminium and sheet metal which rendered the devices easier to transport. Sound systems went into production in Iskra was the first 100

101 pločevino in omogočili lažjo prenosljivost strojev. Že leta 1952 so se usmerili tudi v razvoj naprav za ozvočenje. Tudi na tem področju so v takratni Jugoslaviji orali ledino, zato je kinoakustika sčasoma prerasla v zelo uspešno panogo kranjskega podjetja. Proizvodnja je zajemala tranzistorske stereo ojačevalnike, kino-ojačevalnike in hi-fi ojačevalnike ter druge naprave. Leta 1953 so na tržišče postavili model NP-2, ki so ga že v letu 1955 nadgradili in izdelali model NP-21. Ta je bil konstruiran za velike dvorane, lahko je predvajal filme širokozaslonskega formata, poleg tega pa je imel tudi izpopolnjeno številno dodatno opremo. Kinoprojektor je bil eden izmed najbolj uspešnih Iskrinih izvoznih programov, saj je skupaj z napravami za kino-projiciranje, v 50-ih letih, zlati dobi reproduktivne kinematografije, predstavljal kar osemdeset odstotkov Iskrine proizvodnje. Že leta 1952 so jih začeli izvažati tudi v tujino. O tem priča promocijski plakat, iz katerega veje želja po prodoru v svet. Janez Trpina, eden prvih slovenskih profesionalnih grafičnih oblikovalcev, je na njem izjemno plastično upodobil prebivalce različnih narodnosti z vseh kontinentov sveta. Reklamna propaganda za tuji trg se je obrestovala in tako so Iskrini projektorji potovali po celem svetu. Od skupno 3200 kinoprojektorjev, ki so jih izdelali do leta 1966, ko so proizvodnjo ukinili, so jih okoli 950 izvozili v Turčijo, Iran, Brazilijo, Bolivijo, Čile, Belgijo, company in Yugoslavia to produce sound systems for cinemas and its production was very profitable. They produced stereo amplifiers, cinema amplifiers, hi-fi amplifiers, and other devices. Film projector NP-2 was released in Its 1955 update was called NP-21. This projector was constructed for large auditoriums as it could project films in widescreen format and it came with various additional screening equipment. Film projectors were one of Iskra s most successful export items; together with other cinematographic equipment, their production comprised about eighty percent of Iskra s entire output in the 1950s the golden age of cinematography. The export of film projectors begun in Proof of Iskra s foreign market ambitions is an advertising poster designed by Janez Trpina, one of the first professional graphic designers in Slovenia. The poster stereotypically depicts people of different races and nationalities looking at the film projector model NP-21. Advertising on foreign markets proved to be successful and Iskra s film projectors were sold around the world. By 1966, when they stopped the production, 3200 film projectors were manufactured, 950 of which were exported to Turkey, Iran, Brazil, Bolivia, Chile, Belgium, Austria, Hungary, and African states of the Non-Aligned. During the years of their production, the projectors were continuously improved. They proved to be of great quality, durability, and very reliable. Iskra s film projectors were renowned MANY VISIONS 101

102 Avstrijo, na Madžarsko in nekatere afriške države neuvrščenih. Projektorje so v letih proizvodnje stalno nadgrajevali in izboljševali. Odlikovali so jih kakovost, vzdržljivost in zanesljivost. Njihov sloves je segel daleč onkraj jugoslovanskih meja. Tako so na primer Iskrini tehnologi in oblikovalci za kinoprojektor model KO 8 prejeli priznanje strokovne komisije USUF za najboljšo oblikovno in funkcionalno stvaritev s področja kinotehnike. Glas o kakovosti Iskrinih kinoprojektorjev se petdeset let po koncu proizvodnje iz različnih delov sveta širi še danes. Tako je nekaj let nazaj skupina slovenskih filmskih navdušencev ob obisku filmskega festivala v Ouagadougou v Burkini Faso, presenečeno ugotovila, da so predvajali filme iz Iskrinega kinoprojektorja. Prav tako so slednji še vedno v rabi tudi v nekaterih kinematografih v Turčiji in drugod po svetu, v Slovenski kinoteka pa so obratovali vse do leta V okviru projekta Kino na Slovenskem, ki poteka pod okriljem muzejskega oddelka Slovenske kinoteke, ugotavljajo, da se Iskrini kinoprojektorji, četudi so jih nadomestile sodobnejše naprave, v mnogih kinodvoranah širom Slovenije kot nekakšne muzealije nahajajo še danes. Med njimi prevladuje ravno model NP-21. around the world. The developers of the model KO 8 received an award for their device from the USUF committee for the best design and functionality in cinematography. Iskra s film projectors are still well-known around the world. Just a few years ago, a group of Slovene film enthusiasts visited a film festival at Ouagadougou, Burkina Faso to find out that the films were projected on Iskra s projector. They are still used in cinemas in Turkey; at Slovenska kinoteka they were in used till Research project Kino na Slovenskem lead by the museum department of Slovenska kinoteka found that Iskra s film projectors are displayed in many cinemas in Slovenia even though now mostly modern digital devices are used. The most common model among them is NP

103 Bibliografija / Bibliography CASETTI, F. (2013), Oko 20. Stoletja: Film, izkustvo, modernist, Ljubljana: Slovenska kinoteka. DARIŠ, M. (2015), Intervju Slovenska kinoteka. (2004), 'Kinotečnik: programski mesečnik Slovenske kinoteke', Mesečnih slovenske kinoteke 3(7-8), Ljubljana: Slovenska kinoteka. VRDLOVEC, Z. (2009), v, Radovljica: Didaktika. MANY VISIONS Promocijski plakat za Iskrin projektor NP-21, enega prvih slovenskih profesionalnih grafičnih oblikovalcev, Janeza Trpine (hrani: Narodna in univerzitetna knjižnica, 1958). Promotional poster for Iskra NP- 21 film projector, designed by one of the first Slovenian professional graphic designers, Janez Trpin (held at the National and University Library, 1958). 103

104 104 Hrani: Tehniški muzej Slovenije, Bistra, Slovenija / Held: Technical Museum of Slovenia, Bistra, Slovenia

105 TELEFON ETA 80, ISKRA / ETA 80 TELEPHONE, ISKRA Gal Pavliha Zgodba o Iskrinem telefonu ETA 80 se začne v koncu 70. let prejšnjega stoletja. Prvi model je bil leta 1978 prvič predstavljen pod imenom Olimpik. Ta obče prepoznavni, kultni Iskrin telefon je oblikoval dr. Davorin Savnik, vodja Iskrinega oblikovalnega oddelka, izdelal pa ga je Viktor Bančič. V redni proizvodnji je bil od leta 1980 dalje, skupaj z novejšimi modeli, kot so na primer ETA Toda kako in čemu je prav model ETA 80 postal prelomni faktor v dobi elektronskega telefoniranja in nepogrešljiv v skoraj vsaki pisarni in gospodinjstvu? Začetki razvoja telefonskih aparatov na Slovenskem segajo v obdobje 50. let. Po drugi svetovni vojni je tovarna Iskra v Kranju začela s kopiranjem nemških izumov od telefona Siemens do kinoprojektorjev. Prvi slovenski telefonski aparat je bil izdelan leta Aparat z imenom ITV 1 je bil prvi Iskrin induktorski namizni telefon in je bil kopija Siemensovega telefona OB 33. V Sloveniji so ga množično uporabljali predvsem na poštnih uradih in železnici. Uspeh danes večinoma neznanega ali pozabljenega industrijskega velikana se je začel leta Iskra se je v 50. letih uveljavila kot proizvajalec kakovostnih in cenovno ugodnih izdelkov. Postala je vodilno slovensko podjetje na področju telekomunikacij, elektronike in avtomatizacije. The story of Iskra s telephone ETA 80 started at the end of the 1970s. In 1978, the first model called Olimpik was introduced. The device that became a well-known cult telephone was designed by Davorin Savnik, the head of the design department at Iskra, and engineered by Viktor Bančič. Regular production went from 1980 onwards along with newer models being introduced, such as ETA But why is it that the ETA 80 model was the one to become a turning point in the age of electronic telecommunications and an indispensable part of almost every office and household? Development of telephone manufacture in Slovenia started in the 1950 s. After the end of the Second World War, the company Iskra in Kranj begun to copy German inventions ranging from the Siemens telephone to film projectors. The first Slovenian telephone ITV 1 was manufactured in Iskra s first table-top telephone was a copy of the Siemens OB 33 and was widely used at post offices and railway stations. Now mostly forgotten or an entirely unknown company, Iskra, first became successful in In the 50 s, it became recognizable as a manufacturer of quality and accessible goods, and soon established itself as a leading Slovenian company in the fields of telecommunication, electronics, and automatization. MANY VISIONS 105

106 Oblikovalski oddelek je Iskra dobila leta 1962, za kar je bil v večjem delu zaslužen dr. Davorin Savnik, ki se je šolal tako v Sloveniji (Fakulteta za Arhitekturo in Akademija za glasbo, Ljubljana), kot tudi v tujini (visoka šola za industrijsko oblikovanje v Gottwaldovu na Češkem, ter izpopolnjevanja v Veliki Britaniji, Italiji in Ameriki), kjer so se izoblikovali njegovi oblikovalski nazori. Zelo si je prizadeval, da bi Iskra s svojimi izdelki postala prepoznavna. Iskra je bila svojevrstno jugoslovansko podjetje. Njihovo načelo je bilo, da morajo vsi tako izdelovalci kot oblikovalci, sodelovati v razvoju izdelkov, in da morajo biti izdelki prepoznavni tako doma kot v tujini. Takšen način se je kmalu odlično izkazal. Izdelki so se odlično prodajali, sodelovali na različnih razstavah in prejemali priznanja. In prav telefon ETA 80 je eden izmed izdelkov, ki je ime Iskre ponesel po svetu. Pri tem so nedvomno pomagale tudi olimpijske igre leta 1980 v Moskvi, na katerih je bil izbran za uradni telefon. Anekdota pravi, da so ob predstavitvi telefona olimpijskem komiteju nekoga prosili, da pokliče telefon iz sosednje sobe. Ko je telefon ETA 80 zazvonil v melodiji Kalinke, je bilo jasno da je pravi olimpik. Melodijo Kalinke naj bi na harmoniko zaigral Davorin Savnik, v telefon pa naj bi jo prenesel inženir Miran Jarc. ETA 80 ni bil le oblikovalski dosežek; bil je prvi Iskrin telefon, ki ni bil več analogni, ampak elektronski. Leta 1976 so avtomatski aparat The design department at Iskra was founded in 1962, mostly due to Savnik s efforts. Savnik was well-educated; his design aesthetic was formed during his extensive schooling in Slovenia (Faculty of Architecture and Academy of Music, Ljubljana) and abroad (Czech Republic, UK, and USA). He strived to make Iskra recognizable for its products. It was a singular Yugoslavian company with two main operating principles one of close cooperation between manufacturers and designers during production and the other of manufacturing the same objects for foreign and domestic markets that were followed to great success. Their products sold well, were exhibited at various fairs and exhibitions, and received many awards. The ETA 80 was one of the products that contributed to Iskra s worldwide renown. This was likely due to the 1980 Moscow Summer Olympics. ETA 80 was selected as the official telephone of the games. An anecdote suggests that while presenting the ETA 80 to the committee, it was called and as it rang with the melody of the beloved Russian folk song Kalinka, the committee decided to select it. Supposedly, the melody was played by Savnik himself on his accordion. The recording was then implemented by the engineer Miran Jarc. ETA 80 was more than a great design achievement, it was the first electronic telephone manufactured by Iskra. In 1976 the automatic device was developed into an electronic one an ETA. The classic induction coil was replaced by 106

107 spremenili v elektronskega, v ETA aparat. Klasično indukcijsko tuljavo v notranjosti so zamenjale elektronske komponente, ki so bile postavljene na tiskano vezje (tranzistorji, upori, kondenzatorji). Ogleni mikrofon je zamenjal elektrodinamični, ki je prenašal zvok z manj popačenji. Telefonski aparat je bil v primerjavi s prejšnjimi modeli odpornejši na klimatske spremembe, kot zvonjenje je bilo možno vgraditi poljubno melodijo (za dohodni poziv je skrbel tonski pozivnik), za oddajanje impulzov oziroma njihov izbor je skrbel vrteči številčnik, v slušalki pa so bili, tako kot v drugih Iskrinih telefonih, elektrodinamični vložki. Kasneje so na tej osnovi izdelovali več modelov, ki so se razlikovali po funkcijah kot so: ozemljitvena tipka, tipka za prekinitev mikrofona, namesto vrtečega številčnika tipke na pritisk, itd. Za interne sisteme (več linij za določen sklop, na primer za hotele ali hiše) so tudi izdelali model brez številčnika. Prvotni model ETA 80 so, podobno kot prejšnje modele, izdelovali iz termoplastične mase. Sestava telefona je trpežna, velikost pa 7,3 22,2 25,4 cm. S strani ima obliko solze, zaradi svoje preproste in inovativno ploske narave pa je kmalu dobil vzdevka»palačinka«in»fitipaldi«(po avtomobilskem dirkaču iz 80. Emersonu Fittipaldiju). H kultnemu statusu telefona je nedvomno prispevalo tudi to, da ga je bilo mogoče kupiti v različnih barvah. Raznobarvnost, preprosta oblika, udobna slušalka, trpežnost in electronic components attached to a printed circuit board (transistors, resistors, capacitor). Carbon button microphone was replaced with an electronic one that enabled sound transmissions with less distortions. The new device was less prone to triteness, it was possible to implement different ringtones (the ringer was tonal), it had a rotary dial, and the earphone had, like other Iskra telephones, electronic implements. This served as a base for later models that differed in various functions; some included a gravity switch, a separate key for disconnecting the transmitter, and dial keys. For internal telephone systems (used in hotels or households), a model without the dial was manufactured. First ETA 80s were, much like successive models, made from a thermoplastic material that proved to be durable. The case s measurements are centimetres. Viewed from the side, the device is tear-shaped; the novel flat shape earned it nicknames Palačinka ( pancake ) and Fitipaldi (after the famous F1 racer Emerson Fitipaldi). The ETA 80 model was available in various colours which helped establish it as a cult item. Colourful cases, the simple and distinct shape, comfortable handset, durability, and different ringtone options meant a wide array of choices for a rather low price (approx. 10 /$). ETA 80 was the most replicated telephone worldwide at the time. Savnik s idea was copied by sixteen companies; more than 160 million MANY VISIONS 107

108 možnost lastne izbire melodije so uporabniku ponujali veliko možnosti izbire po precej zmerni ceni (prib. 10 Eur/$). ETA 80 je bil največkrat kopirani telefon po svetu. Savnikovo idejo je kopiralo kar šestnajst tovarn po svetu. Narejenih je bilo več kot 160 milijonov izdelkov. Bil pa je tudi izjemno cenjen o tem priča tudi dejstvo, da se je njegova kopija v ZDA prodajala kar za sedemkrat višjo ceno. Prejel je sedem odličij za lepo obliko. Med najbolj prestižnimi nagradami pa tudi Japonsko nagrado G Mark. ETA 80 je v stalni zbirki odlično oblikovanih sodobnih izdelkov v nemškem Muzeju moderne umetnosti (Die Pinakothek der Moderne) v Münchnu kot tudi v zbirki največjega svetovnega muzeja moderne umetnosti v New Yorku (MoMa The Museum of Modern Art). Nedvomno je telefon ETA 80 dosegel stopnjo brezčasnega kultnega objekta tako v Sloveniji kot tudi drugod, na primer na Japonskem in pa v ZDA in je tako zares obče prepoznan izdelek. products were made, and were exceptionally valued in the USA, a replica was seven times more expensive. It received seven awards for design, among the most prestigious ones, the Japanese Good Design Award. The ETA 80 model is part of collections dedicated to good design in Museum of Modern art (Die Pinakothek der Moderne) in Munich, Germany and MoMA in New York. Undoubtedly, ETA 80 has achieved a cult status not only in Slovenia, but around the world, and is a recognizable object worldwide. Bibliografija / Bibliography Delo, Umrl je oblikovalec Davorin Savnik. Dostopno na: [ ] Monitor, Zgodovina Iskrinih telefonov. Dostopno na: -telefonov/157841/. [ ] SLAPAR, M. (2015), Intervju Stari telefoni, ETA 80 eden najbolj zanesljivih Iskrinih telefonov. Dostopno na: iskra/eta-80. [ ] Work with sound, Automatic telephone Iskra Eta 80 sound of keypad. Dostopno na: [ ] 108

109 MANY VISIONS Obiskovalec med prebiranjem razstavnega vodnika po Časovni kapsuli / Visitor reading the exhibition guide in the Time Capsule 109

110 110 EuroVision Lab. Časovna kapsula v MNZS / EuroVision Lab. Time Capsule in MNZS

111 Časovna kapsula / time capsule Urška Purg, Janja Štefanič Šteje se leto Vstopili ste v dnevno sobo nekega ljubljanskega stanovanja. Pravkar ga je od svojih starih staršev podedovala mlada študentka zgodovine. Prostor še danes odraža čas, v katerem sta babica in dedek opremljala svoje skupno stanovanje. V kotu so rože, babičin ponos, naokrog po stanovanju pa so raztreseni različni predmeti, dedku ljube dragocenosti. Na družinskih srečanjih je najraje pripovedoval zanimive zgodbe o dogodivščinah meksikajnerjev, ki jih prikazuje panjska končnica, ter obujal spomine na svojega očeta, ki se je boril v prvi svetovni vojni. Pogovore o vojni je po navadi babica pretanjeno speljala na prijetnejše spomine. Običajno je le povprašala, če so rože v vazi, ki je pravzaprav predelan tulec granate, lepe, potem pa je začela pripovedovati o tem, kako poseben dogodek je bil, ko so se odpravljali v kinematografe. S tem se je pogovor preusmerila na takratno pomembnost kina in razvoja kinoprojektorjev v Iskri. Stanovanje sta si uredila tako, da sta se v njem počutila kar najbolj udobno. Predmeti, s katerimi sta se obdala, so ju spominjali na pretekle trenutke in polepšali nujno stanovanje. Nekateri predmeti so jima bili še posebej pri srcu, ker so ohranjali spomin na njuno pestro življenjsko pot. Posebej tople spomine jima prikliče It is You have entered the living room of a flat in Ljubljana. A young history student recently inherited it from her grandparents. The room has hardly changed since her grandparents furnished their first flat many years ago. There are grandmother s plants in the corner, and grandfather s memorabilia is scattered all over the room. He used to tell interesting and unusual stories of meksikajnerji on family reunions. He was inspired by one depicted on the beehive panel that he kept. Then there were the tales of his father, a soldier in the Great War. Her grandmother was a softer person and whenever he started brooding, she wittily changed the course of the conversation. She would point to the vase made out of a grenade shell where she always kept a bouquet and start talking about the flowers. Sometimes she talked about how special and exciting it was to go to the cinema, shedding light to the importance of cinema projectors made by Iskra. The pair furnished the apartment to make it as cosy as possible and decorated it with their personal memorabilia. Some items were especially dear to them. The most cherished was an old tattered teddy-bear that they bought their infant son. He loved the toy so much he took it everywhere they went. The family travelled often and MANY VISIONS 111

112 112 EuroVision Lab. Časovna kapsula v MNZS / EuroVision Lab. Time Capsule in MNZS

113 stari, oguljeni plišasti medvedek, ki sta ga kupila sinu, ko je bil še čisto majhen. Od dneva, ko sta mu ga podarila, ga je medved spremljal povsod, kamorkoli so šli. In potovali so veliko, zato so zamenjali veliko potnih listov. V nočni omarici sta ohranila tistega, ki ju je poleg veselja ob njuni poroki spominjal na grenko izkušnjo povojnega italijanskega fašizma. Natanko te predmete se je odločila njuna vnukinja, nova lastnica stanovanja, obdržati. Da se med prenovo stanovanja ne bi izgubili ali uničili jih je obrobila z rdečo. Obdržala je tudi eno tistih nepotrebnih novotarij, kot sta nenehno tarnala babica in dedek, rdeči telefon, po katerem so kramljali, ko niso bili skupaj. Kadarkoli pa je prišla na obisk, jo je dedek zmeraj ponosno odpeljal na sladoled s svojim fičkom. Tudi ta je sedaj njen. S konceptom časovne kapsule smo želeli predmete približati obiskovalcem. Nabor predmetov, ki so nagovorili mlade avtorje te razstave, smo skupaj predstavili v vodiču po razstavi v obliki časopisa. Tako namen te razstave ni postaviti v ospredje zgodovine same, temveč osvetliti, kako si mladi želijo, da bi muzeji zgodovino predstavili njim. Časovna kapsula obiskovalce vabi k svobodnemu raziskovanju po prostoru, odkrivanju drobcev in koščkov ter jih nagovarja naj se s predstavljeno vsebino poigrajo ter si ustvarijo svojo sestavljanko naše zgodbe. accumulated a collection of passports; they kept one in the nightstand a reminder of the joy of their wedding and the bitter experience of the fascism that followed the Great War. These are the items their granddaughter decided to keep. Not to damage or lose them during the renovation, she marked them with red tape. But she also kept one particular novelty, as her grandparents called it, the noisy red telephone. They had many long conversations on it when they did not see each other for a long time. And there is grandfather s old car fičo she inherited as well. Her grandfather would take her for a drive in his small car and then they would have ice-cream! The aim of the exhibition is to draw attention to selected objects form people s everyday lives using the concept of a time capsule. Objects that inspired the young authors of this exhibition are presented in an exhibition guide that is designed as a newspaper. This way we wanted to showcase, not history itself, but how the participants in our experimental exhibition wanted history presented to them. The Time capsule invites visitors to explore the exhibition on their own, so that they may uncover bits and pieces, and in the end, put these together to create their own story of history from the puzzle we created. MANY VISIONS 113

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115 EUROVISIONS EUROVISIONS 115

116 116 Otroci se igrajo v MNZS-jevem izbranem večplastnem predmetu fičo / Children playing in MNZS exemplary unit fičo

117 EvroVizije / EuroVisions Urška Purg, Janja Štefanič Z eksperimentalnim laboratorijem smo ubrali nekoliko neobičajno pot dolgotrajnejšo, komunikacijsko in organizacijsko zahtevnejšo od tistih, ki smo jih vajeni, zato na trenutke neznano, a obenem lepo, bogato in razvejano. Vajeti smo prepustili drugim, ne-muzealcem, tistim, ki jih ki jih muzealci pogosto vidimo, kot posameznike, ki jih muzeji»ne zanimajo«in jim očitamo, da vanje premalo zahajajo. Preden smo se podali na to pot, smo morali pretresti lastno mnenje in prepričanja o neobiskovalcih. Naučili smo se, da se morajo muzeji odpirati javnosti in se od nje tudi učiti. Muzeji morajo prisluhniti in se prilagajati skupnosti, del katere so. V procesu Euro- Vision Lab. smo se v Muzeju novejše zgodovine Slovenije učili drugačnih vizij in pogledov. Naučili smo se, da bi si več mladih odraslih želelo stikov z muzeji, če bi jih ti povabili in nagovarjali na njim bližji način. Naučili smo se, da se želijo dotakniti osebnih spominov in izkušenj, ki izhajajo iz zgodovinskih dejstev, in biti pri tem aktivni. Naučili smo se, na kakšen način si mladi želijo predstavljeno zgodovino in dediščino. Naučili smo se, da ozke predstavitve muzejskih predmetov niso kos sodobni javnosti preplavljeni z informacijami in možnostmi dostopanja do njih. Naučili smo se, da si tudi obiskovalci želijo avtentične izkušnje predmetov s pomočjo The experimental laboratory proved to be a somewhat different method it took more time, it was a complex challenge in regard to communication and organisation, but a wonderful, enriching, and manifold journey into the unknown. Control over it was given to people who are not museum professionals, to those whom we often see as people uninterested in museums and reproach them for not visiting museums often enough. Before we started our journey, we had to examine our own thoughts and opinions about non-visitors. We learnt that museums should become more open to public, learn from those that visit them, and should be in tune with and adapt to the community as they are a part of it. The process of EuroVision Lab. at Museum of Contemporary History taught us different views and visions. We learnt that young adults would want to come into contact with museums if they felt invited and addressed in a more familiar way. We learnt that they want to experience people s memories and experiences that steam from historical facts and while doing so, become active participants. We learnt in what ways young adults want history and heritage presented to them. We learnt that the narrow presentations of museum objects do not match the public s demand for information and access to it. We learnt that visitors crave a EUROVISIONS 117

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119 dotikov in preko vseh čutil izkusiti širino in kompleksnost zgodb, ki jih muzeji ponujajo. Prav te plasti zgodb predmetov so tiste, ki privlačijo in muzeje kot pripovedovalce teh zgodb delajo pomembne, vredne. Naučili smo se, da se imamo mnogo naučiti od naših obiskovalcev in tistih, ki v muzeje ne prihajajo. Naučili smo se, da ko damo glas javnosti in predmetom, lahko ustvarimo imenitne zgodbe, ki imajo nacionalne, evropske in celo svetovne razsežnosti. EuroVision Lab. je eksperiment, pri katerem proces predstavlja cilj, zato vemo, da kljub uspehu razstave ne smemo zaključiti delovanja v tej smeri. S tem namenom tovrstni eksperimenti potekajo tudi v ostalih partnerskih državah. Vsak od partnerjev je k eksperimentu pristopil nekoliko drugače, glede na lastne potrebe in predhodne analize stanj. Glavni namen vseh različic eksperimenta EuroVision Lab. je z evalvacijo svojega dela dobiti vpogled v širok spekter muzealskih izzivov in rešitev, ki jih lahko muzeji širom Evrope uporabljajo in prirejajo za lastne potrebe. more personal experience of museum objects, touching them, experiencing them with all senses, thus creating complex narratives that the objects have to offer. The many-layered stories that the objects tell are what attracts visitors to museums and makes them important and valuable. We learnt that we have a lot to learn from our visitors and non-visitors alike. We learnt that when giving voice to the public and the objects, we can create wonderful stories of national, European and even world-wide significance. EuroVision Lab. is an experiment with the goal of creating a path; that is why we know that despite the success of the exhibition, our work has only just begun. The same path is being carved in other partner countries. Each of the partners developed their own way of approaching the experiment based on their needs and analyses. The main goal of all varieties of the EuroVision Lab. experiment is to gain insight into challenges of museums and finding solutions that would benefit European museums through evaluation of our work. EUROVISIONS Na fotografijah / On the photos: Utrinki z odprtja razstave EuroVision Lab. v MNZS, julij 2015 / Impressions from the EuroVision Lab. opening at MNZS, July

120 Partnerji projekta EMEE / EMEE project partners: Ustanove, ki so sodelovale pri vzpostavitvi eksperimetnalne razstave EuroVision Lab. in kataloga / Institutions that participated in the process of creating the experimental exhibition EuroVision Lab. and the catalogue: 120

121 IMPRINT EuroVision Lab. En predmet mnogo vizij EvroVizij Za projekt EMEE Izdal in založil Muzej novejše zgodovine Slovenije (zanj direktorica dr. Kaja Širok) Uredili: Urška Purg in Janja Štefanič Oblikovanje in prelom: Gilberto Mazzoli Zasnova kataloga: Sabine Hibler, Prof. Uwe R. Brückner, Linda Greci Atelier Brückner, Günther Friesinger, Kerstin Halm monochrome EuroVision Lab. One Object Many Visions EuroVisions On the behalf of the EMEE project, published by the National Museum of Contemporary History (on behalf of the publisher: Kaja Širok, Ph.D.) Editors: Urška Purg in Janja Štefanič Design and layout: Gilberto Mazzoli Catalogue design concept: Sabine Hibler, Prof. Uwe R. Brückner, Linda Greci Atelier Brückner, Günther Friesinger, Kerstin Halm monochrome EMEE celostna podoba: Kerstin Halm, Günther Friesinger monochrom Pisci besedil: Tajda Blazinšek, Filip Draženović, Jaroš Krivec, Anja Moric, Gal Pavliha, Urška Purg, Vid Sosič, Katarina Sučič, Kaja Širok, Janja Štefanič EMEE Corporate Identity: Kerstin Halm, Günther Friesinger monochrom Contributing authors: Tajda Blazinšek, Filip Draženović, Veronika Koren, Jaroš Krivec, Gal Pavliha, Urška Purg, Vid Sosič, Katarina Sučič, Kaja Širok, Janja Štefanič IMPRINT Fotografija na naslovnici: Aleksander Jesenovec, hrani Muzej novejše zgodovine Slovenije Umetniška inštalacija pred muzejem: Živa Božičnik Rebec, Mia Ventin Fotografije: Sašo Kovačič, Sarah Poženel Tisk: AERO PRINT d.o.o. Naklada: 250 Photography on the cover: Aleksander Jesenovec, held in National Museum of Contemporary History, Slovenia Artistic installation in front of the museum: Živa Božičnik Rebec, Mia Ventin Photographs: Sašo Kovačič, Sarah Poženel Print: AERO PRINT d.o.o. Copies:

122 Zahvaljujemo se muzealcem, ki so nam podali znanje o svojih muzejskih predmetih: Mário Nuno Antas, Jean-Marie Baldner, Aleksandra Berberih Slana, Uwe R. Brückner, Andrea Ciasca Marra, Alenka Černelič Krošelj, Metka Dariš, Miguel Feio, Saša Florjančič, Günther Friesinger, Valentina Ganeva -Marazova, Linda Greci, Kerstin Halm, Darja Jan, Katja Kolenc, David Kožuh, Anika Kronberger, Cristophe Le Francois, Andreja Matijevec, Oliver Mayer-Simmet, Arnaud Mayrargue, Susanne Popp, Tita Porenta, Alessandro Quinzi, Susanne Schilling, Jutta Schumann, Silvija Skrivalnik, Mojca Slapar, Christina Speer, Špela Šubic, Staša Tome, Simona Trpkovič, Ana Vičar, Urša Vodopivec, Tjaša Zidarič, Anja Zver Thanks goes to all the museum experts for their contribution and knowledge about the museum objects: Mário Nuno Antas, Jean-Marie Baldner, Aleksandra Berberih Slana, Uwe R. Brückner, Andrea Ciasca Marra, Alenka Černelič Krošelj, Metka Dariš, Miguel Feio, Saša Florjančič, Günther Friesinger, Valentina Ganeva-Marazova, Linda Greci, Kerstin Halm, Darja Jan, Katja Kolenc, David Kožuh, Anika Kronberger, Cristophe Le Francois, Andreja Matijevec, Oliver Mayer-Simmet, Arnaud Mayrargue, Susanne Popp, Tita Porenta, Alessandro Quinzi, Susanne Schilling, Jutta Schumann, Silvija Skrivalnik, Mojca Slapar, Christina Speer, Špela Šubic, Staša Tome, Simona Trpkovič, Ana Vičar, Urša Vodopivec, Tjaša Zidarič, Anja Zver Izid kataloga sta omogočila: Ministrstvo za kulturo Republike Slovenije in Program za kulturo Evropske unije Printing of the brochure has been made possible by: the Ministry of Culture of the Republic of Slovenia and the European Union Katalog je oblikovan v okviru projekta»evrovizije Muzeji razstavljajo Evropo«(EMEE), ki se izvaja pod okriljem Programa za kulturo Evropske unije, med novembrom 2012 in oktobrom This catalogue was developed in the scope of the EU Culture project EuroVision Museums Exhibiting Europe (EMEE), which is to be implemented between November 2012 and October

123 Koordinator projekta: Prof. Dr. Susanne Popp, Mag. Susanne Schiling Predstojnica oddelka Didaktika zgodovine Univerza Augsburg, Universitätsstraße 10, Augsburg, Nemčija Coordinator of the project Prof. Dr. Susanne Popp, Susanne Schiling, M.A. Chair of History Didactics, University of Augsburg, Universitätsstraße 10, Augsburg, Germany Partnerji projekta: ATELIER BRÜCKNER, Nemčija Nacionalni muzej zgodovine Bolgarije, Bolgarija Université Paris-Est Créteil ESPE, Francija Univerza Roma Tre, Italija Nacionalni arheološki Muzej, Portugalska Muzej Novejše Zgodovine Slovenije, Slovenija Umetniški kolektiv Monochrom, Avstrija Project partners: ATELIER BRÜCKNER GmbH, Germany National Museum of History, Bulgaria Université Paris-Est Créteil ESPE, France University Roma Tre, Italy National Museum of Archaeology, Portugal National Museum of Contemporary History, Slovenia Kunstverein monochrom, Austria IMPRINT Katalog je uporabnikom dostopen z licenco Creative Commons: Priznavanje avtorstva Nekomercialno. Dodatne omejitve so navedene na spletni strani: deed.en Copyright ATELIER BRÜCKNER GmbH This paper is available under the Creative Commons Attribution-NonCommercial-NoDerivatives; additional terms may apply. by-nc-nd/4.0/deed.en Izvedba tega projekta je financirana s strani Evropske komisije. Vsebina publikacije (komunikacije) je izključno odgovornost avtorjev in v nobenem primeru ne predstavlja stališč Evropske komisije. This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein. 123

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