Izložba MOJA KUĆA JE I TVOJA KUĆA

Ovim pozivom punim dobrodošlice otvaramo vrata privatnog i skrivenog mjesta kojeg zovemo kućom. Ona, kao prostor porodice je i prostor ugnjetavanja, neplaćenog rada, strahova i nasilja. Porodica se predstavlja kao osnovna jedinica kapitalističkog društva u kojoj je uloga žene jasno odeđena, a okviri ponašanja unutar nje su unaprijed postavljeni kako bi očuvali patrijarhalni sistem i naciju. I koliko god da je uloga žene u kući bitna, njen politički i društveni značaj se negira i u privatnoj i u javnoj sferi. Javno i privatno, ali i granica među njima su u ovom stoljeću bila mjesta feminističkog otpora, borbe za prava i bolje uslove života i rada. Mnoga od ovih prava su izborena, ali borba nije završena. Neće ni biti dok se i u privatnom i u javnom ne promjene modeli moći i ženska emancipacija ne postavi kao temelj svake buduće političke borbe, a dugovječni koncept “ženi porodica, muškarcu država” ne transformira. Kuća, bila ona grad, ulica, država ili vlastita kuća, jeste i ostaje svakodnevni front borbe za jednakost i zajedničko.

“Moja kuća je i tvoja kuća” zato dovodi u pitanje okoštale diskurse dominacije i moći i predstavlja prostor za promišljanje svakodnevice i društva kroz emanicipacijiske temelje zajedničkog i političkog. Ona se razotkriva i otvara svima, jer ona je odgovornost koju svi dijelimo i na koju pozivamo.

Pitanja kojima se bavimo jesu pitanja otvorena u posljednjih sto godina. Neka od njih su rješena feminističkom i ženskom borbom de jure, ali ne i de facto. U današnjoj Bosni i Hercegovini, pitanja neplaćenog rada, kućnog rada, brige o porodici, nasilja nad ženama, ostaju u središtu ženske borbe.

Umjetnice Adela Jušić i Andreja Dugandžić u kolaboraciji na radu Rad ljubavi i istraživanju neplaćenog rada u kući kroz odnos privatnog i javnog, ukazuju na zataškavanje eksploatacije ženskog rada i njegovu transformaciju u rad iz ljubavi, rad koji smatra ‘prirodno’ ženskim i kao takav određuje poziciju i ulogu žene u društvu.

Film od 3 do 22 prati jedan radni dan u životu radnice, 60-tih godina u bivšoj Jugoslaviji, i pokazuje svu složenost života, rada i sistema koji opstaje zahvaljujući činjenici da ona umjesto 8 sati radi 19 sati dnevno. Umjesto 8 sati odmora, 8 sati rada i 8 sati sna ona se sve ovo vrijeme brine o djetetu, mužu, kući i vrijedno radi u fabrici. U socijalizmu se tako patrijarhat transformirao i internalizirao kroz nevidljivi ženski rad, odgovornost za kuću, djecu i porodicu.

Emina Kujundžić u radu Svila i kadifa portretira žene koje smo zaboravili/e, te kroz odjeću koju su nosile ukazuje na to kako su one koračale putem oslobađanja, emancipacije i bunta. Istina o njima koje pomjeraju granice, suprotstavljaju se konvencijama i predstavljaju lice borbe, jeste istina koju moramo spoznati.

Sandra Dukić nas kroz poznatu narodnu izreku “Sama pala, sama se ubila” uvodi u  sveprisutnosto nasilje, kroz ogoljavanje i osvještavanje čini ga vidiljivim i poziva na odgovornost za njegovo zaustavljanje. Odnos prema nasilju kao privatnom problemu i njegovo pojašnjenje kroz osudu žene i njenih izbora, u uhodanom maniru prebacivanja krivnje sa počinioca na ženu koja trpi nasilje, je tradicija koja perpetuira i normalizira uloge žrtve i počinica.

U radu Priroda statistike Lane Čmajčanin personifikacija prirode je dvostruka: lična i statistička. Tipična reprezentativna relacija žena-priroda nije više pasivni označitelj. Materijalnost statistike položaja žena u BiH je nijema, dok priroda postaje lično, političko, javno, živo mesto ženskih glasova, imena, njihove vidljivosti koje stoje iza svih tih brojeva i njihovih pasivnih politika.

“Moja kuća” je ogledalo kuća našeg svijeta i mjesto je artikulacije, slavljenja, sjećanja i otkrivanja nevidljivih poprišta ženske istorije i njihovih borbi u prostoru koji prekoračuje i ruši postavljene granice između privatnog i javnog.

Danijela Dugandžić Živanović

Umjetnice: Adela Jušić & Andreja Dugandžić, Emina Kujundžić, Lana Čmajčanin i Sandra Dukić

Film: Krešo Golik

Kustosica: Danijela Dugandžić Živanović

Dizajn: Vanja Lazić

Hvala: Sanji Ravlić, Jeleni Petrović. umjetnicama, suradnicima/cama i partnerima, prijateljima i prijateljicama te drugima koji su pomogli realizaciju ove izložbe

Izložba je zajednički projekat Sarajevskog otvorenog centra i Udruženja za kulturu i umjetnost CRVENA.

MOJA KUĆA JE I TVOJA KUĆA
9.10.2014, Historijski muzej BIH, Sarajevo

RAD LJUBAVI
Andreja Dugandžić i Adela Jušić
Digitalni kolaž
2014.

Rad je inspirisan djelovanjem Mariarose Dalla Coste, Selme James, Silvie Federicci i pokreta “Nadnice za kućni rad”.

Žena besplatno reproducira radnu snagu koja je u kapitalizmu kvintesencijalna.  Ona rađa, odgaja, servisira i voli tu radnu snagu koju će kapital upotrijebiti (eksploatisati). Njen je rad u cjelosti degradiran, vješto maskiran u rad iz ljubavi, pa se kao takav ne razmatra kao društveno-ekonomska djelatnost koja ima vrijednost, već  kao prirodna usluga žene društvu. Žena koja obavlja kućanski rad sila je cjelokupnog ljudskog rada, permanentno izrabljivana u korist kapitalističke akumulacije.

Sistemski napad na ženu usmjeren je na čitavo njeno biće, pa tako i na njenu seksualnost. U patrijarhalnom i kapitalističkom okviru, ženska seksualnost je reducirana na pasivnost, receptivnost, sublimaciju,  pa gotovo i otpor prema vlastitom seksualnom nagonu.  Ona  je u službi kapitalističkih ciljeva koji funkciju maternice, vagine i klitorisa vide samo u reprodukciji radne snage. Unutar izolirane sfere doma, žena je objekt nad kojim muškarac izražava nezadovoljstvo spram sistema koji ga eksploatiše i nad kojim vježba moć koju mu taj sistem uskraćuje.

Bivajući uskraćene za autonomiju i kreativnost, kako u vlastitoj seksualnosti, tako i u procesu društveno-ekonomske proizvodnje, žene svoj identitet prepoznaju i grade samo u ulozi domaćice. Izolirane unutar kućnog geta, one ne uče o vlastitim političkim kapacitetima, mogućnostima njihove upotrebe i mogućnostima društvenog organiziranja.

Borba za denaturalizaciju kućnog rada je politička borba. Položaj domaćice i borba za njeno oslobođenje su determinirajući za položaj svih drugih žena.

Po kući smo radile dovoljno!

labor of love adela jusic andreja dugandzic.jpg

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SAMA PALA, SAMA SE UBILA
Sandra Dukić
Performans
2014.

Sama pala, sama se ubila je rad u kojem govorim o odnosu našeg društva spram žena koje su preživjele ili preživljavaju  porodično nasilje.  Publiku stavljam u ulogu slušatelja/ica i posmatrača/ica, dok  prenosim iskustvo jedne žene koja se nalazila u Sigurnoj kući. Ova priča poziva na odgovornost svakog ko zna za nasilje. Nasilje se ne može i ne smije ignorirati. Ono se mora osvjestiti, pokazati i sa njim suočiti sve one koji svaki dan zatvaraju oči pred ovim problemom. Ovim radom jedna intimna priča postaje javna, prekidajući tako tradiciju tabooiziranja nasilja i stavljanja pod tepih. Njena priča, postaje i moja priča, intima koja na neugodan i bolan način otkriva i podučava.

CYMERA_20141005_220135.jpg

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SVILA i KADIFA
Emina Kujundžić
Stencil Grafiti na Zidu
2014

Rad prati odijevanje bosanskohercegovačke žene kroz posljednjih sto godina. Iako je rad izveden hronološki, ovdje se ne radi o pregledu razvoja određene ideje ili pak njene materijalizacije. Svaka figura predstavlja jedan zaseban trenutak, lišen neke definisane naracije. Pri tome kontekstualni značaj tog trenutka može biti jasno prepoznatljiv, ali i ne mora; njegova vrijednost je na trenutke sasvim lična jer četiri figure predstavljaju moju mamu, majku, pramajku i mene, i kao takva, podložna je višeslojnim interpretacijama.

Kroz historiju je ženska odjeća bila u službi opresije, tako što je sputavala pokret i time ograničavala aktivnosti. Istovremeno, stavljajući žensku vanjštinu u fokus, moda je objektivizirala žensko tijelo, bilo kroz slavljenje njegove ljepote ili kroz njegovo sakrivanje. Umjesto da služi kao estetski izražajno sredstvo, odjeća je ovdje jedinica funkcionalnosti i svjedočanstvo pozicije žene u određenoj tački u vremenu.

Svila i Kadifa.png

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OD 3 DO 22

Krešo Golik
Film, 14 minuta
1966
Zagreb film

Film prati radni dan jedne žene od jutra do mraka. Nakon rada u tvornici čeka je rad u kući, skrb o djetetu i materijalna briga kako spojiti kraj s krajem. Muž dođe i ode, na jelo i spavanje, dok se ona dokasno u noć još uvijek bavi domaćinstvom, da bi rano ujutro, opet na vrijeme, bila na radnom mjestu u tvornici.

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PRIRODA STATISTIKE

Lana Čmajčanin
2014
Serija od 6 printova u boji, pvc digital print

Korištenje riječi statistika u svakodnevnom životu je najčešće povezano s brojčanim vrijednostima kojima pokušavamo opisati bitne karakteristike nekog skupa podataka.

Međutim promišljanje statistike iskljućivo kao brojčane vrijednosti nerijetko tu i završava.

Portreti žena koja su dobile imena po voću (Jagoda lat. Fragaria, Dunja lat. Cydonia oblonga, Višnja lat. Prunus cerasus) i cvijeću (Iris lat. Iris, Ruža lat. Rosa, Kala lat. Zantedeschia aethiopica) predstavljaju personifikaciju statističkih podataka.

Ovakvom kontekstualizacijom statističkih podataka problematizujem nepovoljan i podređeni društveni, pravni i socio – ekonomski položaj žena u savremenom kapitalizmu i patrijahalnom društvu kroz aktualne statističke podatke koji se navode u javnosti Bosne i Hercegovine.

Botanical Anatomy.jpg

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Impromptu prezentacija knjige Lala’s Reader/impromptu presentation of a Lala’s reader

Lala Raščić, Public Room i Udruženje za kulturu i umjetnost CRVENA
vas pozivaju na impromtu prezentaciju

LALA’S READER
Lalas Reader
Četvrtak,18.09.2014, 20h – 21:30h
Public Room
Avdage Šahinagića 6
Sarajevo
Veselimo se vašem dolasku.
LALA’S READER
urednice: Lala  Raščić i Jelena Vesić
uvodni tekst: Jelena Vesić
izdavač: P.A.R.A.S.I.T.E.,  Ljubljanja
dizajn: Hamper, Zagreb
naklada: 200 numeriranih i potpisanih primjeraka
351 stranica
2014
Lala’s Reader su prodržali Fondacija za muzičke, scenske i likovne umjetnosti FBiH, Ministarstvo Kulture RH, Grad Zagreb, i General Engineering d.o.o.,Sarajevo.
 
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Exhibition I want to speak about the war

adela jusic hocu da govorim o ratu

Voyage to Europe
I want to speak about the war

Otvaranje u četvrtak 4. septembra u 20 sati
Opening on Thursday, September 4 at 8pm
Galerija Klovićevi dvori, Jezuitski trg 4, Zagreb
4 – 26. 9. 2014.

Artists: Radoš Antonijević, Janko Baljak, Boogie , Ivan Grubanov, Uroš Djurić, Siniša Ilić, Aleksandar Jestrović Jamesdin, Dejan Kaludjerović, Srđan Keča, Marko Lulić, Vladimir Miladinović, Mladen Miljanović, Ana Nedeljković & Nikola Majdak Jr, Darinka Pop-Mitić, Reflektor-knjige za slušanje, Milica Tomić, Ibro Hasanović, Vlatka Horvat, Nemanja Cvijanović, Lana Čmajčanin i Adela Jušić
Curators: Mia David and Zorana Đaković
U organizaciji Kulturnog centra Beograda
Organized by the Cultural Centre of Belgrade
Projekat je posvećen obeležavanju stogodišnjice Prvog svetskog rata
The project is dedicated to 100th anniversary of the WWI

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Electronicgirls

crvena electronicgirls

Pussy Galore

Kundurdžiluk bb, 71000 Sarajevo, Bosnia and Herzegovina
Wednesday, August 6th at 9 pm

Live set: The Expanding Universe of Al-Joberal-Chirolechii
Electronic, Experimental Music from Venice, IT

This sonic event moves from Stockhausen’s Intuitive Music, general axiom assumed by the ensemble, and Meyer-Eppler’s Aleatoric process.
The idea of music as an expansion of our thoughts, as a language able to draw unseen worlds and feelings.
https://soundcloud.com/theexpandinguniverseofajc

Dj set: LECRI, Venice IT
Electronic, Space disco, Cosmic, House music
http://www.mixcloud.com/cri-pac/
http://www.electronicgirls.org/

Entry: 3 KM
(buy a ticket-support artists)

POSTS

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AWARE

adela jusic aware

Syros International Film Festival

26 of July – 1 August 2014
2nd Elementary School of Hermoupolis Syros, Greece

Preview: 26 July 2014,  6-8pm
Opening hours:  4-8pm

Exhibiting artists:
Mona Hatoum, Adela Jušić, Silvia Kolbowski, Paky Vlassopoulou

Curated by Kostas Stasinopoulos

A WAR E presents works by women artists in which wars of different kinds are examined and deployed. By tracing the war phenomenon to the unconscious, where the personal dimensions of war are no longer denied, these works complicate the frequently and authoritatively bordered territories of the personal and the political, the individual and the social, the psychic and the cultural, the public and the private.

A WAR E explores a state of being that is suspended yet actively charged. It recalls a moment in which the subject is faced with the influx of new information before it is processed, categorized and transformed to knowledge. The viewer in the exhibition is arrested between what can and cannot be attained as an object of knowledge, between conscious and unconscious and before responsibility towards critical thought and enquiry.

The exhibition takes place at the Second Elementary School of Hermoupolis, an active and vibrant centre of the community and a space that reflects personal experience and collective memory. The works of the exhibition create an immersive environment for the viewers, who are invited to explore multifaceted subject positions and identity politics. Situated at the intersection of art history, psychoanalysis, political and feminist theory, conflicts of times past are brought to the fore in an effort to create a historical image of the contemporary. Implicating the consequences of the conventional split between the psychic and the social, the works in the exhibition illuminate art as protest and intervention to dominant and patriarchic historical narratives, war discourse and political resistance.

Download catalog A WAR E

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Factory of Memories

We are very happy to announce that our project “Factory of Memories” has been selected by Balkans Arts and Culture Fund (BAC), 2014 Collaboration Projects in Arts and Culture (COLABs). The project is developed in partnership with Tirana Ekspres.

The Project “Factory of Memories” is dedicated to reflect and rethink the Western Balkans’ regional collective memory cinematically and artistically.  It targets young filmmakers and video artists from non-EU Western Balkans countries in order to foster cross-border and interethnic dialogue and exchange. The main aim is to engage emerging artists to create and produce their own short-films/videos dealing with regional memories. After the international dissemination of the call for applications, 8 selected participants will enrich their practical skills in film and video making; they will gain knowledge and explore new perspectives on regional collective memories during two intensive workshops. Thereafter, the participating artists – inspired and guided by proven experts, film practitioners, video artists and professors – will create their own short-films and videos on common histories. At the end of the production phase (duration: 8 weeks) they will finalize their movies and videos together with the expert team during the second round of workshops. The produced short-films and videos will premiere in a public screening-event at Tirana Ekspres (Albania) in summer 2015. During the screening-weekend the participating artists will get in dialogue with a wider audience and invited international experts. Following that, a DVD comprising all contributed movies is produced and sent on a tour across borders- across the region.

Field, themes, approaches: Collective Memory, Short-Film and Video Art, Capacity Training, Research and Independent Artistic Production
Duration: 12 months, 1o.2014-10.2015

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Prezentacija – PLACEMENT

CRVENA vas poziva na prezentaciji dizajnersko-istraživačkog tima Placement u utorak 22. jula u 19h.

Danielle Aubert, Lana Cavar i Natasha Chandani su grafičke dizajnerice koje su se upoznale tokom magistarskog studija na Yale Univerzitetu. Žive na različitim mjestima, u Princetonu, Zagrebu i Booklynu. Grupu Placement su osnovale 2009. godine i bave se proučavanjem interakcije ljudi sa mjestom. Placement definiraju kao specifičnu lokaciju (Lafayette Park, Detroit), ali i šire, kao tip lokacije (plaža, centar grada, autobusna stanica). Njihov prvi projekt, Thanks for the View, Mr. Mies (Hvala na pogledu G. Mies), knjiga o Lafayette parku u Detroitu (Metropolis Books, 2012), izabrana je za jednu od 50 najbolje dizajniranih knjiga u 2012. Povjesničarka arhitekture Phyllis Lambert knjigu je opisala kao “izvrstan terenski vodič” po tom komšiluku.

Placementov novi projekt se bavi Holiday Innom u Sarajevu.
Prezentacija uz neformalni koktel i druženje će se održati u prostorijama CRVENE, Dolina 5, Sarajevo
www.placementpublication.org
https://www.facebook.com/events/1432426933711635/

Fotografije sa prezentacije
https://www.facebook.com/126606900752377/photos/pb.126606900752377.-2207520000.1406120922./694316287314766/?type=1&theater

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Šta je nama naša borba dala? What has our struggle given us? – Crowdfunding campaign

Molimo podržite našu crowdfunding kampanju na KissKissBankBank!
Please support our crowdfunding campaign at KissKissBankBank!

Partisan women c

http://www.kisskissbankbank.com/en/projects/what-has-our-struggle-given-us

Official history offers limited evidence or data on the great contribution that women of Yugoslavia made in people’s liberation movement during the War World 2.  In fact, more than 100,000 women joined the struggle and actively participated, as soldiers, bombers, ambulance officers, nurses, cooks, couriers,  delegates, political commissars, commanders and party leaders. With war, women entered the public and political scene.

Great sacrifices made by women in 1941 and 1942 motivated the creation of Antifascist Front of Women (AFŽ), which was founded on December 6, 1942 in Bosanski Petrovac. At its founding, president Tito addressed the assembly and welcomed the establishment of the organisation, recognizing women’s bravery and resilient participation in liberation movement. Women have fought side by side with men, for freedom and against fascist occupiers and their domestic servants. Such sacrifices were to be rewarded, women were promised equality, one that they have well earned. Women constituted ten percent of all soldiers in war, 25,000 were killed or died, 40,000 were wounded.

And so it was, in 1945 women were granted with the right to vote and in 1946  rights of women  were inscribed in the new Constitution of the Socialist Federal Republic of Yugoslavia – guaranteeing  equal rights with men in all fields of state, economic and social-political life.

The organisation was at the beginning focused on partisan struggle and greater mobilization of women to join the struggle, but has later on extended its presence and involvement on the public scene. Post-war activities of AFŽ considered renewal of war devastated country, education of women and building loyalty to socialism.  Modernization of women’s lives corresponded to the overall socialist idea by which the degree of one’s civilisation is determined by the condition of women in one’s society.

However, in reality, socialist utopia was far from achieving. Women in rural areas who populated majority of households in Yugoslavia were still discriminated and exploited. Despite their significant contribution in war and post war socialist transformation, they were poor as they were, before the war. New socialist woman was actually very tired, juggling between work, family and housework, volunteering on construction of new roads, etc. She had little time left for political activity.

Antifascist Front of Women was led to self-dismantle in 1953; existence of a separate organisation was allegedly threatening to remove women from political life and lead to an idea that women have to fight against the rest of the society to achieve their rights. At its closure, Tito again addressed women pleading for their enthusiasm to return to those tasks that women are fit for, such as care for mothers and children, health care and education, or any other work that is allowed by women’s physical and other abilities.

Only 91 women were bestowed to national heroes for their merits in war, ten of them were from Bosnia and Herzegovina.

Antifascist Front of Women gave extraordinary contribution to struggles against fascism, women’s equality, but also to freedom and emancipation of Yugoslav society as a whole. What did we lose by its disbandment? How much do we know about it today and what does this knowledge mean to us? What do we do with it?

We want to collect, research, analyse and share information and evidence on the work of Antifascist Front of Women, and present it in a form of a growing online archive.The archive will be comprised of books, magazines, photographs, documents, testimonies, stories, art works and all other material that we come across and produce.

Suggested online archive  ( „W h o s g u?“)  is part of a CRVENA’s ongoing project organized around affirmation of AFŽ heritage. Project started in 2010 and involves series of activities and events, such as art exhibitions, panels, public discussions, artist talks, etc.

PARTNERS

We have been cooperating with the Museum of History in Sarajevo who will grant us with access to library and share all available material. Our intention is to develop such partnerships with other institutions as well, such as are the National Archive, Historical Archives Sarajevo, etc. Likewise we will make special efforts in finding individuals who hold any knowledge or evidence on the achievements of AFŽ and women who stood behind it.

WHY FUND IT

Our intention is to direct the collected amount towards digitalization of the material that exists in institutions, libraries and private collections (scanning, photographing of materials, creating and maintaining website). Majority of the archive is not digitalized and is even threatened to rot  or crumble, due to inadequate conditions it is kept in. Digitalization would enable preservation, but also considerably wider availability of the material for research and educational purposes.


Qu’avons-nous obtenu au moyen de notre combat ?

PARTICIPEZ À LA LUTTE ! Qu’avons-nous obtenu au moyen de notre combat ? Cette question n’est pas posée de manière ironique : elle en représente la réappropriation, elle en représente la continuité.

L’histoire officielle n’offre qu’un témoignage et des données limités en ce qui concerne le grand rôle joué par les femmes yougoslaves au sein du mouvement de libération nationale au cours de la Seconde Guerre mondiale. En effet, plus de 100 000 femmes rejoignirent ce combat pour y participer activement en tant que soldates, pilotes de bombardier, ambulancières, infirmières, cuisinières, coursières, déléguées, commissaires politiques, commandantes et dirigeantes de parti. Par le biais de la guerre, les femmes firent leur entrée sur la scène publique et politique.

Les grands sacrifices effectués par les femmes en 1941 et 1942 ont entraîné la formation du Front antifasciste des femmes yougoslaves (Antifašistička fronta žena ou AFŽ en bosniaque, croate, monténégrin et serbe), fondé le 6 décembre 1942 à Bosanski Petrovac, en Bosnie-Herzégovine. Lors de sa fondation, le président Tito s’est adressé à l’assemblée et a chaleureusement loué la création de l’organisation, reconnaissant le courage des femmes et leur infatigable participation au mouvement de libération. Aux côtés des hommes, les femmes ont combattu pour la liberté contre l’occupation fasciste et les gouvernements au service de cette dernière. De tels sacrifices devant être récompensés, on promit aux femmes l’égalité bien méritée. Les femmes représentaient 10 % de l’ensemble des soldats ayant participé à la guerre ; 25 000 d’entre elles ont été tuées ou sont décédées, tandis que 40 000 autres ont été blessées.

Sur cette lancée, le droit de vote fut accordé aux femmes en 1945, puis, en 1946, les droits des femmes furent inscrits dans la nouvelle Constitution de la République fédérative socialiste de Yougoslavie, leur garantissant une égalité de droits avec les hommes dans tous les domaines de l’État, de l’économie et de la vie sociale et politique.

Au début, l’organisation était axée sur la lutte antifasciste et l’intensification de la mobilisation des femmes dans ce combat, mais elle a par la suite étendu sa présence et son engagement à la scène publique. Après la guerre, les activités de l’AFŽ englobaient la reconstruction des pays dévastés par la guerre, l’éducation des femmes et le renforcement de la loyauté envers l’idéologie socialiste. La modernisation de la vie des femmes correspondait à l’idéal socialiste global qui voulait que la condition des femmes d’une société détermine le degré de civilisation de cette dernière.

Cependant, en réalité, l’utopie socialiste était loin d’être une réalité. Les femmes des zones rurales qui représentaient la majorité des foyers yougoslaves étaient toujours l’objet de discrimination et d’exploitation. En dépit de leur contribution substantielle lors de la guerre et de la mue socialiste d’après-guerre, elles étaient toujours aussi pauvres qu’elles ne l’étaient avant la guerre. La nouvelle femme socialiste était fatiguée, jonglant sans cesse entre son travail, sa famille, les tâches ménagères, le travail bénévole de construction de nouvelles routes, etc. Il ne lui restait que peu de temps à consacrer à ses activités politiques.

Le Front antifasciste des femmes yougoslaves a été amené à s’auto-dissoudre en 1953 : l’existence d’une organisation distincte présentait soi-disant un danger d’exclure les femmes de la vie politique et supposait la nécessité pour les femmes de combattre le reste de la société afin d’obtenir des droits égaux. Lors de la cérémonie de clôture, Tito s’est à nouveau adressé aux femmes, les priant de retourner avec enthousiasme aux tâches pour lesquelles elles sont compétentes, tel que s’occuper de leur mère ou de leurs enfants, les soins de santé et l’éducation, ou tout autre travail que leur capacités physiques et autres leur permettent d’effectuer.

Seules 91 femmes, dont dix originaires de Bosnie-Herzégovine, se sont vues accorder le statut d’héroïne nationale pour leurs exploits en temps de guerre.

PROJET

Le Front antifasciste des femmes yougoslaves a effectué une contribution extraordinaire dans le cadre du combat contre le fascisme et pour l’égalité des sexes, mais également pour la liberté et l’émancipation de la société yougoslave dans son ensemble. Qu’avons-nous perdu lors de sa dissolution ? Que savons-nous de l’AFŽ aujourd’hui ? Qu’est-ce ce savoir signifie pour nous et qu’en faisons-nous ?

Nous voulons recueillir, analyser, effectuer des recherches sur et diffuser des informations et témoignages sur le travail effectué par le Front antifasciste des femmes yougoslaves, qui seront présentés sous la forme d’une archive en ligne en constante évolution. Cette archive comprendra des livres, des magazines, des photographies, des documents, des témoignages, des récits, des œuvres d’art et tout autre matériau que nous aurons recueilli ou produit.

L’archive en ligne prévue (nommée « W h o s g u? » pour « What has our struggle given us? », Qu’avons-nous obtenu au moyen de notre lutte ?) s’inscrit dans le projet en cours de l’association CRVENA visant à consolider l’héritage de l’AFŽ. Ce projet a commencé en 2010 et comprend une série d’activités et évènements, tels que des expositions, des tables rondes, des discussions publiques, des rencontres avec des artistes, etc.

PARTENAIRES

Nous coopérons avec le Musée d’histoire de Sarajevo, qui nous donnera accès à sa bibliothèque et à tous les documents disponibles. Nous avons l’intention de développer des partenariats similaires avec d’autres institutions, telles que les Archives nationales, les Archives historiques de Sarajevo, etc. De la même manière, nous entendons effectuer des efforts particuliers afin de retrouver les individus pouvant contribuer, par leur savoir ou leurs documents, à notre archive sur le travail de l’AFŽ et des femmes qui en faisaient partie.

À quoi servira la collecte ?

Nous avons l’intention de consacrer le montant recueilli à la numérisation des documents existants dans les institutions, bibliothèques et collections privées (scannage et photographie des documents, création et maintenance d’un site Web). Non seulement une majorité de documents d’archives ne sont pas numérisés, mais ils sont même en danger de pourrir ou de s’effriter en raison des conditions inadaptées dans lesquelles ils sont conservés. La numérisation permettrait de préserver ces documents, mais également de les rendre considérablement plus accessibles à des fins de recherche et d’éducation.

Translation to French by our supporter Clémentine Choubrac,

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Damir Imamović Sevdah Takht and Amir Gwirtzman koncert

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Quality summer reading: Performative Gestures Political Moves

Association for Promotion of Women in Culture – City of Women and the Red Athena University Press (a collaborative publishing project by the Centre for Women’s Studies Zagreb and prominent post-Yugoslav feminist scholars) published a book in English language entitled Performative Gestures Political Moves. Homonymous symposium was held at ZRC SAZU in 2010 (organised by City of Women) and this book represents its follow-up.

Editors Katja Kobolt and Lana Zdravković invited 12 different authors to share their thoughts about the »performativity«. Authors Angela Dimitrakaki, Ana Peraica, Barbara Orel, Dunja Kukovec, Grupa Spomenik and DeLVe, Marija Ratković, Marina Gržinić, Martina Pachmanová, Milijana Babić, Suzana Milevska, Tea Hvala and Waldemar Tatarczuk focused on the aforementioned concept and its »echo in the research focused on what should thus also be considered as an effect of the performance of power – on the art and theory production in so-called “Eastern Europe”.«

Publication aims to foster a reflection on performative and performance forms by women artists but and upon current research positions and theoretical considerations of performativity, performance art, feminism, historisation and, above all, their political implications in/and/for the “continental Post-Socialist” condition.

You can order this book at City of Women (via e-mail info@cityofwomen.org) for 16 EUR (you can pick it up at the City of Women office or receive it by mail).

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