KO SU BILI SARADNICI UDBE U BIH PDF

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To browse Academia. Skip to main content. By using our site, you agree to our collection of information through the use of cookies.

To learn more, view our Privacy Policy. Log In Sign Up. Aleksandra Sekulic. Beogradska publika imala je priliku da se susretne sa ovom temom u radu Fanal!

Festival kratke video forme sada poznat kao Avi. Lauer, a. Lauera, a. Tomislava Gotovca. Gostovanje na festivalu namaTRE. Whose videography have we seen in the frame of the project Videography of the Region? Repeating the practice of those flexible approaches to the definition of region turned out to be the biggest contribution of this project, thanks to its continuity during past several years.

Therefore we had a chance to observe the region, year by year, through various project combinations of the points of video production and presentation. The temporary yearly maps of the region drawn by this project illustrated current situation in a specific field which also vibrated with the inconsistent criteria.

Here we come to the other undetermined element in this formula: video. Video remained the open category in this project also, ready to embrace bordering and experimental forms which could appear.

In the methodological approach known as media archaeology, which traces the lines of the development of the media objects — the apparatus, the point of the observation is the time of the internet. The speculations about the most democratic medium, initiated in the s, which reached the visions of an absolutely independent and open television, now are confronted with a situation which eludes the existing notions of media.

The notion of vernacular video, as presented by Tom Sherman1 can offer us a more adequate referent system for observing the development of video as an artistic form, and that is why this text we here join to the overview of a specific videography. When I started this project in , I saw it as a part of a wider strategy of this Center, which has a significant tradition in the production and presentation of film and video, and its activities were directed to intensifying the communication and exchange in the field of film and video both on the international and the regional level, realized in the regular weekly programs in the SCCC, festival projects, film and video production, workshops.

In the frame of the regular programs of AFC in SCCC, in the series Videography of the Region I organized lectures and screenings of the artists, curators, collectives and art groups, whose coming to Belgrade enabled both learning about the works screened on their programs, and also chance for the authors gathered around AFC to meet relevant groups, initiatives and projects, as well as creating possibilities for long term collaborations, exchange and communication.

In the overview of these programs, we go through various projects, initiatives, retrospectives, which, seen in such context of a continious series, illustrate the effort to record a dispersion of a notion such is video to various production forms and presentation models.

So, in the beginning we had an opportunity to see the presentation of the work of Davide Grassi and Aksioma platform from Ljubljana. Beside the projects which examined the possibilities of connecting the performance, video and live broadcast throught the streaming experiments, here we will offer a description of one of the works realized within the SilentCell platform, since this the subject of this work is the first anti-fascist action in Europe: the burning of the Reichstag.

Belgrade audience had already met with this subject in the film Fanal! March Radau, whose author Ron Sluik, artist and curator from Amsterdam, presented in in National Library of Serbia in the frame of Mikrokino Fest a number of actions which re-actuelized this gesture.

In this series, the projects which dealt with the systematizing and historization of video production had a special significance, since it is exactly that way it is possible to establish a foundation for the discussion about all of the aspects of this tradition and comprehend the wider context of the contemporary production.

One of the most significant projects of historization or systematization of video production, providing an insight into the context and circumstances, which inspired and initiated many ideas and projects is The Futurists, which will be here presented to illustrate awareness of a specific history and outreach of video within the alternative culture in the end of the past century.

Video festival Videomedeja from Novi Sad already has a significant tradition and reputation within the international festival scene, due to its clear program orientation and dedicated work in promoting video, innovative presentation models, support to experimental and border forms which follow the technological theoretical developments in this dynamic field.

He presented current interpretations of the subject of research of visual anthropology, taking the example of YouTube as one of the new resources for this science, and also demonstrated some of the strategies, videografija inviting students to participate in the practical exercise and work with the camera. Tomislav Gotovac, who was in this way bringing up the spirit of joy of creation from the times when it was immanent to Academic Film Center and other cine clubs as the punctums of exploring the proces of production.

This particular program maybe gave the best response to that proclaimed goal of this project related to learning about the analogue results of the self-organized education and production, with realization of multi-layered collaboration and exchange, adding the notion of regional cooperation a new meaning.

With the openning to the wide and dynamic international scene in , when it officially becomes international, a new space for the contextualization opened for the local and regional production within the international frame of thi specific production. I had an opportunity to conceptualize the programs of AFC and of this festival in the period , so every year I would include one of the programs of Videography of the Region in the special programs of the festival, that way connecting the two according activities of the Center.

Belgrade audience rarely had a chance to see the production of the young generation of artists from Bosnia and Herzegovina, and this particular curatorial effort was the result of a wish of a new generation to gather this production and observe it as a section comprised of various artistic approaches in the challenging production conditions.

Next year, relating to the theme of the festival: Associations, Cine Club Split was presented, being one of the most active and most significant centers of the production in the region of former Yugoslavia. For the opening of this collaboration I selected a program which is closely connected to the problem of academic education and creativity of the younger generation of artists, which is also important issue for the program of Visual Arts of SCCC.

Cristina David had an experience of art education both in Romania and Norway, and that is why her participation in this series was a chance to compare the approaches and the programs of two different education systems from the point of an artist.

Observing the works of contemporary works by sheding light on the artistic tradition which is their pretext, enabled a more serious analysis of the influences of changes in the society and the production systems onto the artistic practice, which the audience in AFC, thanks to the continious presence of Lokomotiva in its programs, had an opportunity to observe on the example of a local scene.

The spring of symbolically compensated for the missed program in previous year: the program of Kinoatelje Gorica, planned for March was postponed a few times due to the political and security situation in Serbia.

The final program of the overall series of Videography of the Region was held on June 8 and 9, In the continuation of our conversation with Diana Nenadic about the publishing activity of the Croatian Film Clubs Association, as an editor of the publication she presented the DVD Performance Tapes, comprised of the recorded performances of Antonio G.

Tomislav Gotovac. The symbolic closure of a long process of meeting, exploration, connecting and reconstruction of one region or more , through a specific videography, was finalized by an artistic opus which opens the possibilities to intervene into the very apparatus of the art production, with hope it will inspire future activities.

Videography of the Region has been presented in the frame of different manifestations throughout the region, and its path will be continued, following the maps which emerged from it. Visiting the festival namaTRE. In other words, there is no conclusion, this was a beginning.

Which is, of course, also the biggest success of this project. Grasi je autor brojnih video radova, performansa, instalacija, dokumentaraca i medijskih projekata.

The lecture focuses on the following projects: - Problemarket. It is responsible for organizing and managing the international Problem Stock Exchange, formally created at the beginning of and operational since November 16, More: www. His artistic work has a strong social connotation and is characterized by an inter- media approach. Grassi is the author of numerous videos, performances, installations, documentaries and media projects.

Grassi is the co-founder and artistic director of Aksioma — Institute for Contemporary Arts www. He collaborates internationally with several artists, museums, institutions, foundations, galleries and festivals. As artist-in-residence he lectures and leads workshops at universities and contemporary art institutes. About Aksioma — Institute for Contemporary Arts, Ljubljana Aksioma - Institute for Contemporary Arts is a non-profit cultural institution based in Ljubljana, Slovenia, which is interested in projects that take advantage of the new technologies in order to investigate and discuss the structures of modern society.

Ali ko je bio Marinus van der Lube? Komunista koji radi za Kominternu, kako su tvrdili nacisti? Kakogod, ne bi bilo precizno interpretirati ovaj re-enactment kao prostu parodiju.

Kao i Upravo je u tom duhu, Adolf Hitler has just become Chancellor, but Germany remains, at least officially, a Republic. When the police arrive, in the building they find Marinus Van Der Lubbe, a Dutch revolutionary Communist who has recently arrived in Germany.

When Hitler, who is dining with Goebbels, receives the news, he immediately interprets it as the sign of a Bolshevik conspiracy against the fragile German nation.

The next step was the Leipzig trial, where the Nazi party attempted to ascribe responsibility for this apparently isolated act carried out by Van der Lubbe to Comintern, also accusing three Bulgarian Communists: Georgi Dimitrov, Blagoi Popov and Vassil Tanev.

Sentenced to death, Van der Lubbe was decapitated on 10 January While historians agree on the involvement of Van der Lubbe, it is not yet clear whether he acted alone or under the orders of a third party.

But just who was Marinus Van der Lubbe? A crazed pyromaniac, as claimed by Soviet propaganda, and in the 60s, the journalist Fritz Tobias? A Communist working for Comintern, as the Nazis asserted? Or the scapegoat in a plot hatched by the Gestapo, as the German historians Bahar and Kugel attempted to prove in the 90s? One thing for sure is that the Nazis benefited enormously from the Reichstag fire, which in actual fact paved the way for the establishment of the Nazi dictatorship [2].

At It is not a canonical re- enactment, for obvious reasons: not only due to the historic ambiguity of events, but also its terrorist nature - any attempt to stage it literally would actually be another attack. On the contrary, SilentCell Network seems interested in re-interpreting the Reichstag fire in the light of a present that has much in common with the situation generated by the original event.

We too find ourselves forced to make radical, final decisions in a context where the distinction between good and evil is increasingly blurred. In times of urgency you have no choice but to choose from the options that those in power present to you.

It was in this spirit that on 11 December , he left Ljubljana Airport, heading for Berlin. Like any normal tourist, Mare passed through the non-places on the way to his destination, distractedly taking in the symbols, gestures and messages that organize, plan and control our daily lives: the airport signage, passport control, the map of the underground. Once in the underground he became immersed in a book on the Russian revolution, the symbol of a threat that afflicted the Western world for many years, before it was defeated by the events of history.

The same is true of Mare, whose actions at the Reichstag - the emblem of the rebirth of Germany after the wall came down, and visited by thousands of tourists every day - do not now represent a source of fear. His protest is not disruptive, like that of his predecessor 77 years previously, nor does it spark off any explosive political consequences.

No-one notices him but the neutral eye of the camera that follows him from the start of his journey, while he throws little cardboard flames into the bins around the Reichstag. His gesture is minimal and silent, but this is precisely where its power lies: he moves away from the choice between black or white, in search of a third way, a less significant but effective third way.

Re-published here, pp. Originally published in RE:akt! Nacionalna galerija Makedonije izdala je Videography of the Region aims to offer an insight into the current research and projects in the field of video and new media in the region.

The National Gallery of Macedonia published in an anthology, consisting of twelve video pieces produced by Macedonian authors. Borjan Zafirovski radi uglavnom van Makedonije, on je predstvanik generacije koja stvara duh savremenog videa i filmske ko-produkcije. On reaguje buntovno, u dobro poznatim filmskim manirima. Ovde nisam uzimala u obzir video instalacije. Naravno, ove su radionice bile potrebne i korisne. After the independence of Macedonia many video artists were promoted for a simple reason — because Europe wanted to get to know the artistic output of the new states of ex-Yugoslavia.

I had great experiences in the promotion of video works produced in Macedonia, and I always had a clear vision of what I was doing.

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