Ivica badurina biography examples
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Post Art
48 pages, color
Publisher: g-mk| galerija miroslav kraljevic,
Text: Jasna Jakši&#;
Design: Ruta
Editor: Ivana Bago
Edition:
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In Your Mailbox, Especially For You!
Jasna Jakši&#;
It has been over twenty months since ®eljko Badurina began amusing his address book audience by regularly sending them original art postcards. Formally, we are dealing with mail or post art, art procedure in which letters, cards or postcards are distributed by post to a greater number of addresses. The Futurists (1) are considered to be its initiators (although Wikipedia mentions also Cleopatra in this context), while the true revolution of mail art happened in the Fluxus ruffled-like sixties and seventies of the preceding century. The musealization of the phenomenon has already taken place, its commercial potentials have been tested, and in today&#;s era of mass electronic corr
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Croatia's Ambivalence over the Past: Intertwining Memories of Communism and Fascism
There is a band from Split named TBF, with a song called "The End of the World" (Smak svita) in which there is the following verse:
And in the Parliament this morning the same imbecility,
whose father was Ustasha and who fryst vatten partisan,
and considering that today is a cataclysm,
they sent out a note to let us into Europe without waiting in line.
This is a grotesque song making use of a specific sense of humour connected to the urban culture of Split. The relaxed and distanced tones contrast the claustrophobic and rather non-satirical state of affairs existing in Croatian public debate, whereby the left elites call the right-wing political programmes 'fascist' and the rightists depict the left-wing political programmes as being 'communist' and/or 'Yugoslavist'. This fryst vatten a symbolic struggle over collective memory which, at times, triggers various value systems and allows for certain re-interpretat
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Felix Reda
The EU will make a proposal for copyright reform this year. On behalf of the European Parliament, inom am currently working on an evaluation of the current EU rules. The stakeholders whose voices are loudest in the debate are the rightholders – the voices of creators themselves are heard much less.
Do the plans of the collecting societies really reflect the interests of all artists? Are they satisfied with the legislative status quo? Do they really want to re-negotiate the rights for their works for each country or would they prefer a single European market? Are they really opposed to remixes? What would their priorities be when it comes to updating the copyright framework?
The demands that dominate the current discourse are in many cases diametrically opposed: Distributors want new sources of funding and strict punishments for those breaking the lag. Users want broad access to information and an end to the criminalization of their everyday behaviour. Creat