ViStePartijuIzdale Knjiga WEB

Vi ste
Partiju
izdale
onda
kada je
trebalo
da joj
pomognete ženski
politički
logor
na svetom
grguru
i golom
otoku
women’s
political
prison
camp
on sveti
grgur and You
goli otok
islands
Betrayed
the Party
Just When
You Should
Have
Helped It
Vi ste
Partiju
izdale
onda
kada je
trebalo
da joj
pomognete ženski
politički
logor
na svetom
grguru
Autorica / Author i golom
Andreja Kulunčić otoku
S u r a d n i c e / C o l l a b o r at o r s
women’s Renata Jambrešić Kirin, Dubravka Stijačić
political
prison
camp
on sveti
grgur and
goli otok You
islands
Betrayed
the Party
Just When
You Should
Have
urednice / editors
Irena Bekić, Renata Jambrešić Kirin, Andreja Kulunčić Helped It
Sadržaj Contents
Istraživačko-aktivistički umjetnički projekt

Andreje Kulunčić „Vi ste Partiju izdale onda kada
The art project of Andreja Kulunčić “You Betrayed
the Party Just When You Should Have Helped It”,
7 7
je trebalo da joj pomognete“ tematizira žensko which involves activism and research, takes up the Preodgoj žena na Svetom Grguru The Reeducation of Women on the
stradanje na Golom otoku i Svetom Grguru, o theme of the suffering of women on Goli Otok and i Golom otoku – moralna korupcija islands Grgur and Goli – Moral Corruption
čemu se još uvijek izuzetno malo govori. Projekt Sveti Grgur, of which there is still extremely little i ideološka indoktrinacija and Ideological Indoctrination
je nastao u suradnji s antropologinjom Rena- discussion. The project was created in collaboration Renata Jambrešić Kirin Renata Jambrešić Kirin
tom Jambrešić Kirin i psihoterapeutkinjom with anthropologist Renata Jambrešić Kirin and the
Dubravkom Stijačić, u organizaciji udruge Goli psychotherapist Dubravka Stijačić, and was organized
otok „Ante Zemljar“ i udruge MAPA, s fokusom by the Ante Zemljar Goli Otok Association and the 25 25
na propitivanje pozicije žena, koje niti danas association MAPA. The focus was placed on exam- Prostorna intervencija na lokalitetu Spatial intervention at the site
nisu ravnopravno prisutne u javnom diskursu o ining the position of women, who not even today are
totalitarnom nasilju i otporima istom, u Jugo- equally present in public discourse about the totali-
slaviji početkom hladnog rata. Cilj je projekta, tarian violence and the resistance to it in Yugoslavia 35 35
istraživanjem i uspostavljanjem ženske memorije at the beginning of the Cold War. The objective of the Političke zatvorenice Women political prisoners
traumatične prošlosti kroz prostornu umjetničku project was to research into and set down women’s
intervenciju, izložbu, web-stranicu, publikaciju memories of the traumatic past as a spatial artistic
te niz radionica i razgovora, otvoriti novi oblik intervention, exhibition, as a Web site, a publication 53 53
suočavanja s prostorom dehumanizacije. and a series of workshops and talks, to open up a Vi ste Partiju izdale onda kada You Betrayed the Party Just When
Nasilna, destruktivna i mizogina biopolitika u new form of confronting a space of dehumanisation. je trebalo da joj pomognete You Should Have Helped It
logoru za političke zatvorenice koja je sustavno The violent, destructive and misogynous bio-poli- – dekonstrukcija jedne amnezije – the deconstruction of an amnesia
napadala reproduktivno zdravlje kažnjenica, tics in the camp for women political prisoners that Irena Bekić Irena Bekić
isključivala njihove spolne specifičnosti i u isto systematically attacked the reproductive health of
vrijeme okretala zatvorenice jedne protiv drugih, the convicts, excluded their sexual specificity and
rezultirala je dubokom traumom i dugogodiš- at the same time turned the convicts against each 71 71
njom šutnjom žena o golootočkom iskustvu. other, resulted in profound traumas and the many Biografije Biographies
Stoga je u fokusu projekta rastvoriti narative koji years of silence of the women about their Goli Otok
su ostali na margini glavnih povijesnih linija. experience. Therefore, the focus of the project is
to open up narratives that have remained on the 76 76
margins of historical mainstream. Produkcija projekta Project production
Vi ste Pariju izdale onda kada
je trebalo da joj pomognete
You Betrayed the Party Just When
You Should Have Helped It 6 Vi ste Pariju izdale onda kada
You Should Have Helped It 7
Renata Preodgoj žena na The Reeducation of

Jambrešić Svetom Grguru Women on the islands
Kirin i Golom otoku – Grgur and Goli – Moral
moralna korupcija i Corruption and Ideological
ideološka indoktrinacija Indoctrination
Goli otok i Sveti Grgur najkraće možemo opisati We can best describe Goli Otok and Sveti Grgur as
kao mjesta represivne destaljinizacije. Nastali su sites of repressive destalinisation. They were created
1949. kao odgovor KPJ na raskid Tita i Staljina s in 1949, as the Yugoslav Communist Party’s answer
namjerom „preodgoja“ nelojalnih i kritici novog to the break between Tito and Stalin, with the in-
režima sklonih članova. Kako staljinistička narav tention of “re-educating” those members who were
i silina represivnog djelovanja jugoslavenskih politically disloyal or critical. As the Stalinist nature
službi sigurnosti prema vlastitim građanima nisu and the vehemence of the repressive activities of
otkriveni sve do raspada socijalističke Jugo- the Yugoslav security apparatus against their own
slavije početkom 1990-ih, značenje tog raskola citizens remained concealed until the dissolution of
ostaje ambivalentno, negirano ili potiskivano u Socialist Yugoslavia a few decades later, the meaning
zajedničkoj kolektivnoj svijesti. Naime, Titovo NE of this break had remained ambivalent, denied or
Rezoluciji Informbiroa u ljetu 1948. godine čin je repressed in the common collective consciousness.
iznimne hrabrosti i suprotstavljanja Staljinovoj Tito’s “NO” to the 1948 Cominform Resolution was an
hegemoniji, ali i okidač kampanji političkog te- act of exceptional courage and opposition to Stalin’s
rora uz pomoć kojeg su sigurnosne službe kršile hegemony, yet it also triggered a campaign of political
zakone, oduzimale građanska prava i negirale terror in which the state’s secret services broke laws,
etičke principe komunističkog djelovanja koje stripped people of their civil rights and denied the
društvo mijenja nabolje tako što mijenja i eman- ethical principles of Communist action, which claims
cipira individuu. Ni sedamdeset godina poslije to change the society for the better by changing and
ovo razdoblje represije nije valorizirano, kao što emancipating the individual. Even seventy years later,
ne postoji konsenzus o potrebi spomeničke za- there is still no consensus neither on the need to
štite Golog otoka niti o memorijalnoj gesti kojom protect Goli Otok as a landmark, nor on a memorial
bi se obilježilo postojanje komunističkog logora gesture to mark the existence of a Communist camp
za preodgoj neistomišljenika (1949.–1956.). for re-educating dissidents (1949-1956).
Titova ideja kako ibeovce 1 treba slomiti, a ne Tito’s idea, that Cominformists 1 should be broken, not
ubiti,2 otvara, osim ustaljenih logorskih metoda, killed,2 opened the path not only for the tried and
uvođenje niza golootočkih specifičnosti, pogo- tested methods of internment in camps, but also
tovo prema ženama. Kao penološki sustav sa for the introduction of a series of elements specific
svrhom izolacije i neutralizacije („psihičkog sla- to Goli Otok, especially when it came to the camps’ se oblikovalo kolektivističko društvo samo su se incarceration and subjugation in the Balkans of those
manja“) političkih neistomišljenika i osoba sklo- female inmates. As a penal system with the objective prilagodili logorskim uvjetima. Obrasci agitpro- who are weaker along gender, class and ideological
nih kritičkom pristupu novoj vlasti, imao je niz of isolating and neutralising (“psychologically break- povske kulture („politički časovi, čitalačke gru- lines, political indoctrination was the product of a
poveznica s fašističkim logorima na talijanskim ing”) political opponents and people with a penchant pe, mitinzi, igranke, parole“)7 bili su usmjereni new era and new means of mass communication. The
otocima, s nacističkim radnim logorima i sta- towards taking critical view of the new authorities, na normiranje socijalističkog čovjeka uz pomoć rituals and cultural practices that were used to shape
ljinističkim gulazima, ali i logorima za društve- it had a number of similarities to the Fascist camps autocenzure, autokorekcije i autoregulacije the collectivist society were merely adapted to camp
no-korisni rad i preodgoj kakve poslije nalazimo on Italian islands, Nazi labour camps, and Stalinist tjelesnog ponašanja i mišljenja, jednako kao i conditions. The patterns of agitprop culture (“politi-
u Kini, prije i poslije proleterske kulturne revo- gulags, as well as camps for socially beneficial labour poticanjem na zajedništvo i ponos pobjednika cal lessons, reading groups, meetings, dance parties,
lucije, kao i u drugim zemljama istočnog bloka.3 and re-education of the sort we would encounter iz Drugog svjetskog rata. U logorima je, baš songs”) 7 aimed at creating a normative Socialist man
Na Svetom Grguru i na Golom otoku (Radilište before and during the Chinese cultural revolution kao i na radnim akcijama, težak rad pratilo with the help of self-censorship, self-correction and
V) naizmjenično se od 1950. do 1956. godine and in other Eastern Bloc countries.3 Between 1950 marširanje do radilišta, neprekidno skandiranje, the self-regulation of one’s physical behaviour and
nalazio politički logor kroz koji je prošlo oko 860 and 1956, a political camp was situated by turns on pisanje transparenata i pjevanje revolucionarnih thought, while also at encouraging togetherness
žena optuženih za povezanost s Informbiroom u the islands of Sveti Grgur and Goli Otok (Worksite V). pjesama – kako bi kolektiv postao jedno tijelo, s and World War II victors’ pride. Just like labour ac-
okviru „provizornog pravnog okvira kažnjavanja i Some 860 women were interned there at one time or jednim srcem koje se zaklinje na odanost vođi. tions, in the camps, hard labour was accompanied by
suđenja“.4 Struktura kažnjenica pokazuje da nije another, accused of connections to the Cominform marching to the worksites, the ceaseless chanting of
riječ tek o oponašanju staljinističkih metoda i in the framework of the “provisional legal framework Ako imamo na umu ozračje afektivne egzaltacije slogans, creating banners and singing revolutionary
ruskih logora za srodnice „izdajica Domovine“ 5 for penalising and the trial process”.4 The structure poratnog razdoblja, lakše je razumjeti zašto songs, all in order for the collective to become one
nego o kažnjavanju mahom politički izgrađenih i of the convicts shows that this was not merely an je kažnjenički život i prisilni rad na Golom i Sv. body, with one heart pledging allegiance to the leader.
samosvjesnih žena, među kojima su prednjačile aping of Stalinist methods and Russian camps for Grguru pratilo cjelodnevno skandiranje slogana
komunistkinje 6 koje su povjerovale da su doista relatives of “traitors of the Homeland” 5 but the pun- (Tko s nama nije, bolje da ga nije!, Ubit ćemo If we keep in mind the atmosphere of affective exal-
ravnopravne (moćnim) drugovima u polugama ishment, by and large, of politically fully fledged and svakog skota ko je protiv KaPeJota!, Za koga? tation of the post-war period, it becomes easier to
vlasti. self-aware women, chief among whom were the Za Tita! Za Partiju! Svi! Svi! Svi! i dr.), pjevanje re- understand why convict life and forced labour on Goli
Communists,6 who believed that they really were volucionarnih pjesama, pisanje parola (žene su Otok and Sveti Grgur were accompanied by the daily
Žene su same morale izgraditi staze i brojne equal to their (powerful) comrades in their hold on komadićima svjetlucavog kalcita upisale Titovo chanting of slogans (Who isn’t with us better not be
objekte koji su danas vidljivi u tragovima. the levers of power. ime na jednoj uzvisini), i zašto su samo povla- at all!, We’ll kill all dogs who are against the C-P-Y!,
S iznimno okrutnim sistemom kažnjavanja, u ko- štene aktivistkinje i brigadirke sudjelovale u fol- For who? For Tito! For the Party! Everyone! Everyone!
jemu su logorašice bile prisiljene biti i vršiteljice The female inmates had to build the paths and the klornoj i kazališnoj sekciji te pratile povremene Everyone!, and so on), the singing of revolutionary
torture, logor je bio mjesto patnje i poniženja. many buildings, only traces of which remain today, kinoprojekcije. Kako svjedoči Natalija Petrović, songs, writing slogans (women used pieces of glit-
Šikaniranje optuženih žena i policijski nadzor on their own. With an exceptionally cruel system „‘kulturni programi’ čija se sadržina svodila na tering calcite to write Tito’s name on an elevation),
nastavljani su i nakon izlaska iz logora. of punishment, where the inmates were forced to međusobna ponižavanja i ismejavanja logoraša, and why only privileged activists and brigadists par-
themselves perpetrate torture, the camp was a site neprekidno izvikivanje parola i pevanje glupih ticipated in the folk arts and theatre groups, and saw
U ženskim logorima na oba lokaliteta nalazi- of suffering and humiliation. The harassment of the pesama od kojih bi se i divljaci grozili – sve je to the occasional film screening. As Natalija Petrović has
mo bunkere i stražarnice s čuvarima, ograde accused women and police surveillance continued imalo samo jedan cilj: da se zatvorenik telesno testified, ’cultural programmes’, whose substance
od bodljikave žice, iznošene uniforme, glad i even after they had left the camp. iznuri i moralno samelje, pa da bude spreman boiled down to humiliating and ridiculing the inmates,
žeđ kao oblik prisile, fizičku torturu i rituale da izjavi, potpiše i uradi sve, ama baš sve, što the constant shouting of slogans and singing stupid
kažnjavanja, prisilni rad i „preodgoj“ batina- On both sites where the women’s camps were, we god da se od njega traži“.8 Supostojanje fizičkog songs that even savages would baulk at – it all had
ma. Dočim je sustav nadziranja i organizacije find bunkers and guardhouses with guards, barbed i psihičkog nasilja kao odrednicu logorskog one sole aim: to physically wear out and morally
preuzet iz pobrojenih logorskih sustava, a načini wire fences, worn out uniforms, hunger and thirst as života spominje i Eva Grlić: „potpuno drobljenje grind down the convict, until they were willing to
kažnjavanja i ponižavanja uvelike posuđeni iz means of coercion, physical torture and punishment ličnosti i fizički, stalnim napornim radom, ne- state, sign or do anything, really anything, whatever
duge memorije balkanskog tamnovanja i po- rituals, forced labour and “re-education” by beatings. normalnim uvjetima života, a zatim i moralno i they were asked to.8 The coexistence of physical and
djarmljivanja obespravljenih po rodnoj, klasnoj While the system of surveillance and organisation psihički kroz stalno ponavljanje kako smo svi koji psychological violence as a determinant of camp
i ideološkoj osi, politička je indoktrinacija bila had been adopted from the camp systems listed smo ovamo dospjeli ‘izdajnici’ zemlje, partije, life is also mentioned by Eva Grlić: “the absolute
proizvod novog doba i novih sredstava masovne above, while modes of punishment and humiliation naroda i Tita“.9 Partijske fantazme o „ženskoj grinding down of the personality, both physically, by
komunikacije. Rituali i kulturne prakse kojima were largely borrowed from the long memory of izdaji“,10 o „zločinu separacije“ od očinske figure continuous hard labour, abnormal living conditions,
vođe bile su razlogom domišljanja rodno speci- and also morally and mentally, through the constant reducirana porcija hrane i vode, tko je u samici, aim was as follows: to show that the Cominformist,
fičnog zlostavljanja, vrijeđanja, poružnjivanja i repetition of the statement that all of us who found a tko u izolaciji ili bojkotu. Ovakvo uvođenje the enemy, are without exception the worst kind
posramljivanja. ourselves here are ‘traitors’ of the country, the Par- samoupravne tehnologije kažnjavanja gdje žrtva of person, that they are scum, rotten, a disfigured
ty, the people and Tito”.9 Party phantasms about „kolaborira s egzekutorima“ izazvalo je „totalni character”.12
„Onaj tko je tukao jače, brže je izlazio van“ “women’s betrayal”,10 about the “crime of separation” moralni kolaps“ 13 i pretvorilo golootočki režim u
from the fatherly figure of the leader were the rea- jedinstven lagerski eksperiment i efikasan način A “worksite commander” headed the internal camp
Uz surove klimatske uvjete i žeđ, kažnjenice son for coming up with the gender-specific forms of zastrašivanja ne samo bivših logoraša/ica nego administration. She would line up the convicts and
najdulje pamte poticanje na agresiju i sadizam maltreatment, verbal abuse, uglifying and shaming. i drugih građana. Prema ocjeni samih kažnje- count them, hand her reports to the guards, com-
te bezočno nasilje u kojem su bile prisiljene nica, ni težak rad ni ideološka indoktrinacija municate with the camp administration, determine
sudjelovati. To je bio uvjet da novopridošla “Whoever beat more fiercely, got out more nisu ostavili tako teške psihičke posljedice na which convicts were to do what kind of work, who
kažnjenica prijeđe iz statusa „bande“, izolirane quickly” njihov daljnji život kao što je to učinila „mo- would get reduced rations of food and water, who
pojedinke izložene šikaniranju svake vrste, u ralna korupcija“ izazvana prisilom nanošenja will be sent to solitary confinement, and who will
status „revidirke“, članice logorskog kolektiva Along with the harsh weather conditions and the boli drugim kažnjenicama: „Onaj tko je tukao be in isolation or boycott. Such an introduction of a
ili „brigade“, s pravom da govori, spava, održava thirst, the incitement to aggression and sadism, and jače, brže je izlazio van. Oni koji su se odupirali, self-governing technology of punishment, where the
higijenu, javlja se povremeno obitelji, piše the ruthless violence in which they were forced to ostajali su dulje, ali svi smo tučeni i svi smo mi victim “collaborates with the oppressors” brought
duge izvještaje o svojoj krivnji, ali prije svega s take part, have remained longest in the convicts’ tukli druge. Svi smo mi tamo spušteni na razinu about a “total moral collapse” 13 and turned the Goli
obavezom da tuče, ponižava, denuncira, nadzire memories. This was the condition for a newly arrived egzekutora“.14 Naime, začarani krug straha i Otok regime into a singular internment camp exper-
„bojkotirane“ kažnjenice. Povjesničari ističu da je convict to move from being part of the “mob”, an iso- prijetnji, gubitka samopoštovanja i empatije, iment and an efficient way of striking fear not only
za razliku od drugih primjera iznuđene suradnje lated individual exposed to every kind of harassment, međusobnog optuživanja, denuncijacija i islje- into former inmates, but other citizens as well. In the
manjeg (povlaštenog ili kriminalnog) dijela lo- to a “reformed”,* a member of the camp collective, đivanja, vide kao onaj moment koji je priječio estimations of the convicts themselves, neither the
gorske populacije s upravom, golootočki sustav or to a “brigade”, where an inmate gained the right to zajedništvo, solidarnost i međusobnu podršku hard labour nor the ideological indoctrination inflict-
gotovo u potpunosti isključio čuvare i upravu speak, sleep, maintain hygiene, occasionally contact među kažnjenicama, ključnu za preživljavanje ed such grievous psychological effects on their sub-
logora iz žicom ograđenog prostora logora.11 her family, while still forced to write long reports u fašističkim logorima. Golootočki sustav je bio sequent life as the “moral corruption” caused by the
Svaka je baraka imala „starješinu barake“ (jer about her guilt, and, above all, she gained the obli- takav da logorašica muči i tuče drugu, to joj coercion to inflict pain on other prisoners: “Whoever
jezik ne poznaje ime za ženu s autoritetom) s gation to beat, humiliate, denounce, and surveil the je bio uvjet da bude puštena. I to je bio razlog beat more fiercely, got out more quickly. Those who
obavezom da organizira način „preodgoja bande“ “boycotted” convicts. Historians have highlighted that zašto su mnoge zauvijek šutjele o svom iskustvu: resisted stayed there longer, but we were all beaten,
i gotovo svakovečernje rituale javnog ispovije- unlike other examples of the coerced cooperation „Nigde ni u jednom logoru nisu tako nastojali da and we all beat others. We were all reduced to the
danja vlastitih „grijeha“ prema Partiji i/ili novoj of a smaller (privileged or criminal) segment of the čoveka ponize, da ga učine krpom, moralnom level of the executioners”.14 The vicious circle of fear
vlasti: „Sećam se, sednemo u krug. Napolju camp population with the administration, the Goli nakazom, da ga iznutra unište i unakaze… Odav- and threats, loss of self-respect and empathy, mutual
proleće, lepo vreme. Sede i banda i nebanda, Otok system almost completely excluded the guards de si morao da izađeš kao duhovni invalid, da se accusations, denunciation and interrogation, are
iako smo uvek odvojene, da ih ne zarazimo. I sad and the camp administration from the wire-enclosed gadiš samog sebe, da se stidiš, da ceo pretekli seen as the moment that prevented the togetherness,
izvode u sredinu kruga jednu po jednu ženu koje space of the camp.11 Each barrack had its “barrack život patiš“, svjedočila je Novka Vuksanović, koja solidarity and mutual support among the convicts
su morale da se raskritikuju, ali i da pričaju o prefect”,* in charge of organising a mode of “re-ed- je preživjela Auschwitz i Ravensbrück. that were key to survival in Fascist camps. The Goli
svom najintimnijem životu, o odnosu sa mužem, ucating the mob”, and the nearly nightly rituals of Otok system was such that an inmate’s conditions for
momkom. To se znalo jer ‘Udba sve zna’. Svrha je public confessions of one’s “sins” towards the Party Ženama koje su netom postale ravnopravne release were based on torturing and beating another.
bila sledeća: pokazati da ibeovac, da neprijatelj, and/or the new authorities: “I remember, we’d sit in a političke građanke, kažnjenički sustav jasno je This was the reason why many forever kept silent
da je to obavezno najgori čovek, da je ološ, da je circle. Outside it’s spring, nice weather. Both the mob postavio granice političkog djelovanja kao slije- about their experience: “There was not a camp where
pokvaren, da je unakažena ličnost“.12 and the unmob are there, although we are always pe poslušnosti partijskom vrhu te je zatirao duh, they sought so hard to humiliate a person, to turn
separated, so that we don’t infect them. They guide individualnu volju i kritičko propitivanje vlasti. them into a rag, destroy from within and disfigure…
Na čelu unutarnje uprave logora bila je „koman- the women one by one into the centre of the circle, Ceremonijalni oblici degradacije 15 žena nisu You had to leave this place spiritually disabled, dis-
dantica radilišta“ koja je postrojavala i pre- where they have to criticise* themselves, but also to samo predstavljali atak na njihovu čast, autono- gusted with yourself, ashamed, suffering your entire
brojavala kažnjenice, predavala raport miliciji, talk about their most intimate lives, their relation- miju, tjelesni integritet i samopouzdanje, nego past life”, Novka Vuksanović, a survivor of Auschwitz
komunicirala s upravom logora, određivala koje ships to their husbands, their boyfriends. This was to su im poručivali da su nevrijedne privilegija koje and Ravensbrück, testified.
kažnjenice rade koju vrstu poslova, kome je be known, because ‘the UDBA knew everything’. The su stekle svojim dotadašnjim revolucionarnim ili
profesionalnim radom. A kao što nas uči femi- To women, who had just become equal political Da su ženski gulazi u mnogim segmentima gori called Goli Život – Naked Life – was broadcast after
nistička teorija, kad nekome uništimo samo- citizens, the inmate system clearly established the od muških, pisao je Aleksandar Solženjicin, a the death of Danilo Kiš in 1990, the year Dragoslav
pouzdanje, potreban je dug proces zalječenja i limits of political action, as blind obedience to the na temelju istraživanja svjedočenja o Golom to Simić and Boško Trifunović published the testimonies
ponovne izgradnje osobe. Izvore ovim „cere- Party leadership, while individual spirit and will, su potvrdili Dragan Marković i Giacomo Scotti.18 of the convicts and an interrogator in their book,
monijama degradacije“ nalazimo u boljševičkoj and the critical questioning of the authorities were Marković zaključuje da su muškarci drastičnije Women’s Camp on Goli Otok. At Kiš’s urging, Ženi Lebl
praksi komunističke korektivne (samo)kritike extinguished. Ceremonial forms of women’s deg- kažnjavani, ali su žene teže podnosile posljedi- wrote down and published her testimonies, and a lit-
i moralne procjene 16, u „ceremonijama javnog radation15 were not only an assault on their hon- ce „preodgoja“ i daleko teže poslije istupale u tle later, the Zagreb publisher Durieux published Eva
optuživanja“ tijekom kineske kulturne revolucije our, autonomy, bodily integrity and self-confidence, javnost sa svojim iskustvom. Strah, nepovjerenje Grlić’s memories. Rosa Dragović-Gašpar, Vera Cenić
te u patrijarhalnom odgoju i socijalizaciji žena but also informed them that they were unworthy of u vlastite sposobnosti, apatija, nesigurnost, and Milka Žicina also published their memories, while
kao manje vrijednih članova zajednice. Članovi the privileges they had attained by their previous moralna konfuzija koju je većina kažnjenih žena in recent years several documentaries were filmed
patrijarhalne obitelji posramljuju ženu od malih revolutionary or professional engagement. And as ponijela s otoka, priječili su ih da se reintegrira- about Eva Panić Nahir, and a documentary film about
nogu, za sve postupke i osjećaje koji odudaraju feminist theory teaches us, when we destroy some- ju u javni i politički život i ako im je bila pružena the Montenegrin intellectual Đina Markuš 17 is also in
od norme, pa ona interiorizira osjećaj krivnje one’s self-confidence, the process of recovery and prilika za to. Za razliku od muškaraca, koji su production, based on an unpublished manuscript.
i srama, koji će je desetljećima poslije pratiti. rebuilding the person takes a long time. We find se od kraja 1960-tih postupno izborili za javni Aleksandr Solzhenitsyn wrote that in many aspects,
Upravo na tu matricu nadovezala se destruk- the sources for these “degradation ceremonies” in diskurs o Golom otoku, kroz knjige svjedočenja, women’s gulags were worse than men’s, which was
tivna i mizogina biopolitika u logoru, koja je the Christian ritual of public confession as a public romansirane memoare, romane, predstave, confirmed by Dragan Marković and Giacomo Scotti
sustavno napadala moralni i tjelesni integritet disclosure of one’s own sins (publicatio sui), in the filmove, žene su bile višestruko stigmatizirane i on the basis of their examinations of the testimo-
te reproduktivno zdravlje kažnjenica, a ujedno Soviet practice of Communist (self)criticism and onemogućene u svom javnom angažmanu. nies about Goli Otok.18 Marković concludes that men
isključivala njihove spolne specifičnosti, prisi- accusatory meetings, in the Chinese Communist Dublje potiskivanje osobne i političke traume were punished more severely, but women found it
ljavajući zatvorenice da kažnjavaju jedna drugu struggle sessions,16 and in the patriarchal education uvjetovano je i činjenicom da su žene zbog svoje more difficult to cope with the consequences of the
i unište žensku mrežu podrške. To je rezultirala and socialisation of women as less worthy members socijalizacije bile sklonije prisvojiti osjećaj kriv- “re-education”, and found it much harder to bring
dubokom traumom i dugogodišnjom šutnjom of a society. Women are shamed by members of a nje i manje vrijednosti, ne samo zbog pretrplje- their experiences out into the open. The fear, lack
žena o golootočkom iskustvu. patriarchal family from their earliest years for any ne torture nego i moralne izdaje humanih načela, of trust in their own capabilities, apathy, insecurity,
action or feeling that diverges from the norm, hence da su osjećale krivnju zbog patnji svoje djece i and moral confusion that most of the female con-
Jesu li žene patile teže i duže? interiorizing the feelings of blame and shame that will drugih članova obitelji, da su se teže vraćale u victs took with them from the island prevented them
haunt them for decades after. This was precisely the javni prostor i rekreirale nekadašnje društvene from reintegrating into public and political life even
Mučene, ponižavane i zaplašivane, bivše kažnje- matrix on which the camp’s destructive and misogy- mreže podrške, da su rjeđe dobivale posao if they had the chance to do so. Unlike the men, who
nice sa Sv. Grgura i Golog otoka desetljećima su nistic biopolitics was built, systematically attacking ekvivalentan njihovim profesionalnim sposob- gradually won the right to speak publicly about Goli
šutjele. Njihove priče izlaze u javnost tek 1990., the convicts’ moral and physical integrity, as well nostima i ambicijama. Za razliku od muških Otok in the late 1960s, through books of testimonies,
kad se socijalizam već ruši, jer odgovaraju as their reproductive health, while at the same time memoarista, bivše kažnjenice bile su spremnije fictionalised memoirs, novels, plays, and films, wom-
tadašnjem antikomunističkom narativu. Doku- banishing their sexual specificities, forcing the in- priznati da „nevinih nema, svi smo mi bili žrtve en suffered multiple levels of stigmatisation and were
mentarna serija Goli život emitirana je nakon mates to punish each other and destroy the women’s i dželati Titove i Staljinove vojske podjednako“,19 precluded from public engagement.
smrti Danila Kiša 1990., te godine u Beogradu network of support. This resulted in deep traumas te preuzeti svoj dio povijesne odgovornosti za
Dragoslav Simić i Boško Trifunović objavljuju and long-lasting silence among women about their iznevjerenu komunističku utopiju o društvu po This deeper repression of personal and political
ispovijesti kažnjenica i isljednice u knjizi Ženski experience of Goli Otok. mjeri čovjeka. Kao svjedokinje češće su propiti- trauma was also a product of the fact that due to
logor na Golom otoku. Na nagovor Kiša, Ženi vale etičku granicu između hrabrosti i „fanatiz- their socialisation, women were more inclined to
Lebl zapisuje i objavljuje svoja svjedočenja, ne- Did women suffer more and longer? ma“, osobnog integriteta i poriva preživljavanja, assume a feeling of guilt and inferiority, not only due
što kasnije u Zagrebu Durieux objavljuje sjećanja tražile povijesne analogije i književne slike da bi to the torture suffered, but also the moral betrayal
Eve Grlić. Sjećanja su objavile i Rosa Drago- Tortured, humiliated and intimidated, the former nam razotkrile i približile stanje „pretpolitičke of humane principles; that they felt guilt over the
vić-Gašpar, Vera Cenić, Milka Žicina, a posljed- inmates of Sveti Grgur and Goli Otok kept silent for životinje“ u koje u bile dovedene.20 suffering of their children and other family mem-
njih godina snimljeno je nekoliko dokumentara- decades. Their stories only began to seep into the bers; that they found it more difficult to return to the
ca o Evi Panić Nahir i priprema se dokumentarni public domain in 1990, when socialism had already Sudbina političkih kažnjenica predstavljenih public sphere and recreate erstwhile social support
film o crnogorskoj intelektualki Đini Markuš,17 na begun to cave in, as these stories fit the anti-Com- ovim projektom pokazuje da je fokus represivne networks; that they more rarely got jobs that suited
temelju neobjavljenog rukopisa. munist narrative of the period. A documentary series državne politike bio upravo na obrazovanim their professional abilities and ambitions. Unlike
stručnjakinjama i kompetentnim komunistki- male memoirists, the former female convicts were Dugogodišnje posljedice poratnog političkog hypocoristic name for female comrades that reflect-
njama koje su konkurirale drugovima partijcima more willing to admit that “none were innocent, we terora na žensku emancipaciju i socijalnu ed the ridiculously patronizing attitute of male com-
za položaje u medijima, državnim službama i were all both victims and executioners of Tito’s and mobilnost treba tražiti upravo u postupcima rades; (drug, m., meaning comrade; druga, f., means
administraciji. Među kažnjenicima najbrojniji Stalin’s army alike”,19 and accept their share of the Udbe i policijskoj inkriminaciji žena na temelju other, second, “secondary partner”) – in the (non)
su bili radnici, službenici i seljaci, a „političke historic responsibility for the betrayed Communist moralnih osuda njihova privatnog života, karak- sensitive meaning of “other”, “secondary” partners.
kriminalke“ činile su u velikom broju intelek- utopia of a new socialist Man “with a human face“. As tera, mobilnosti i postignuća. One su sugerirale The ethnologist Miroslava Malešević commented
tualke i studentice, novinarke, prevoditeljice witnesses, they more frequently questioned the eth- građankama da je primarni kontekst njihova on this paternalistic and instrumentalist behaviour
s ruskog, ali i službenice sa završenom gimna- ical line between bravery and “fanaticism”, personal dokazivanja i samoostvarivanja – dom, radni of former comrades, who concentrated on consol-
zijom.21 Podatak o pet do sedam posto žena u integrity and the drive for survival, sought historical kolektiv i društveni (volonterski) angažman. idating power: “Having fulfilled the task enforced
ukupnom broju političkih zatvorenika, korelira s analogies and literary images to better reveal the Sastavni dio promjene kursa rješavanja „ženskog by extraordinary circumstances, a former partisan
činjenicom da su komunistkinje u socijalističkoj state of the “pre-political animal” which they had pitanja“ predstavlja i raspuštanje Antifašističkog woman and shock worker (udarnice) would (…) with-
Jugoslaviji rijetko zauzimale više od pet ili sedam been reduced to.20 saveza žena 1953. godine, uz objašnjenje da je draw from the social scene as quickly as she emerged
posto mjesta u najvišim tijelima izvršne vlasti.22 iscrpljen njegov politički i kulturni kapital, a on it. Energetic breakthroughs into all professions,
Zaslugom antifašističkih borkinja žene su dobile The fates of the female political convicts this project izraz „afežejka“ počinje se koristiti pogrdno za including the highest levels of government, were
pravo glasa, pravo nasljeđivanja, izjednačene presents show that the state’s repressive policies žene koje su si uzele pravo da odlučno nastupaju quickly halted” 24. Evidence of the downplaying of
su u plaći s muškarcima, no raskorak između focussed precisely on educated, ambitious and u javnosti. women’s (revolutionary and leftist) history lies in the
proklamiranog i stvarnog bio je velik. Nepravdu competent women and professionals among the fact that socialist Yugoslavia never established a re-
su posebice osjetile predratne revolucionarke i Communist ranks who competed with their comrades Zašto se vraćamo ženama nestalim u žrvnju search institution, archive or museum dedicated to its
komunistkinje 23 koje su umjesto zapaženih uloga for positions in the media, the social services and političkog nasilja? world-famous women partisans and revolutionaries,
u društvenom i političkom životu tavorile idućih the administrative apparatus. Among male convicts, among them ninety-one war heroines recognised as
pedeset godina u dubokoj anonimnosti. Time factory workers, clerks and farmers outnumbered Ženama koje su stradale ili nestale kao javne National Heroes, the most distinguished decoration
je Partija poslala jasnu poruku da su borbenost, the rest, while “women political criminals” largely ličnosti zbog sukoba Tita i Staljina ne vraćamo in the country. The long-term consequences of polit-
autonomnost i nepoštivanje direktiva nepoželjne, consisted of intellectuals and students, journalists, se radi produbljivanja obiteljskih, društvenih ical terror on women’s emancipation and social mo-
a lojalnost i subordiniranost poželjne osobine translators from Russian, as well as office workers ili političkih trauma, nego baš obratno, radi bility should be sought precisely in these secret police
drugarica često nazivanih drug_ce – vrsta hipo- who had graduated from secondary school.21 The fig- razvezivanja čvorova boli i traumatskih pozljeda procedures of the moral condemnation of women’s
koristika uz pomoć kojeg su komunisti iska- ure of up to seven percent of political convicts being koje se prenose generacijama i ostavljaju (ne) private lives, characters, mobility and achievements
zivali svoj podsmješljiv, patronizirajući odnos women is correlated with the fact that in Socialist vidljive tragove na biografijama potomaka poli- that suggested to women citizens that the primary
prema drugaricama kao „drugim“, „drugotnim“ Yugoslavia, women Communists rarely held more tičkih zatvorenica. Drugi poticaj svijest je o tome context of their self-realisation was the home, the
partnericama. Etnologinja Miroslava Malešević than five to seven percent of the positions in the da borba za ljudska i ženska prava nikad nije work collective and social (volunteer) work. The
komentirala je paternalistički i instrumenta- highest echelons of the executive branch.22 It was the dovršena i da nam u osnaživanju vlastitih poten- disbanding of the Women’s Antifascist Association
listički odnos drugova iz borbe prema bivšim women antifascist fighters who won women the right cijala za nju treba poznavanje ženske povijesti, in 1953, with the justification that its political and
partizankama i udarnicama i zaključila da su one to vote, the right to inherit property, and obtain pay a osobito povijesti onih žena koje su stradale cultural capital had been depleted, was an integral
„maknute s društvene pozornice jednako brzo equity with men; however, the discrepancy between zbog „političkog delikta“ slobodnog mišljenja i element of the change of direction in solving the
kao što su se na njoj pojavile“,24 a nakon što su the declared and the real was large. izražavanja kritičkih stavova. Svi policijski dosjei, “women’s question”; the term “afežejka” 25 began to
ispunile svoju zadaću u izvanrednim povijesnim intervjui, pisana sjećanja i drugi egodokumenti, be used as a slur for women who claimed a right to
okolnostima. Energičan proboj žena u sve profe- The pre-war revolutionaries and Communists 23 felt kao i sjećanja nasljednica Golootočanki, koje decisively speak out in public.
sije, uključujući naviše položaje u vladi, brzo je the injustice particularly strongly, as instead of play- smo prikupile u okviru projekta Vi ste Partiju
zaustavljeno, smatra Malešević. Dokaz umanji- ing prominent roles in social and political life, they izdale onda kada je trebalo da joj pomogne- Why do we return to women who disappeared
vanja ženske (revolucionarne i lijeve) povijesti had to struggle on in deep anonymity for the next te, služe nam da bismo sagledale mjesto žena in the crush of political violence?
jest i činjenica da u socijalističkoj Jugoslaviji fifty years. Thus, the Party sent a clear message that u epizodama političkog terora, ali i da bismo
nije osnovana ni jedna znanstvena instituci- combativeness, autonomy and not respecting direc- izdvojile ono što je osnažujuće i pozitivno u tim We do not return to the women who perished or
ja, arhiv i li muzej posvećen jugoslavenskim tives were undesirable, while loyalty and subordi- svjedočenjima, što vraća vjeru u humanističke disappeared as public figures in order to deepen
revolucionarkama i partizankama, od kojih je nation were the desirable characteristics of female vrijednosti, slobodu izbora i moralnog djelova- family, social or political traumas, but for precisely
devedeset i jedna proglašena narodnim herojem. comrades, frequently called “drug_ce” (drug-ca – a nja. Upravo je interes za „banalnost dobra“ 25, the opposite reason: to untie the knots of pain and
za napore kažnjenica da održe minimalne, traumatic injuries that are transmitted across gener- spent twenty years in the Siberian Gulag, and Rosa
prividne normalnosti u logorskom univerzumu, ations, leaving (in)visible traces on the biographies Dragović-Gašpar, long-term prisoner of Sveti Grgur,
ono što odskače od uobičajenog istraživačkog of the inmates’ descendants. The second impetus Goli Otok, Stolac and Bileća, speak of how after the
interesa za posljedice dehumanizacije mjerene comes from the awareness that the struggle for hu- camp, their humanistic views became deeper, and
gubitkom tipičnih maskulinih vrijednosti – čast, man and women’s rights is never finished, and that they freed themselves of the blind faith in the dog-
hrabrost, principijelnost. U središtu svih napora to strengthen our own potentials for that struggle, matic principles of the Communist ideology. Howev-
preživljavanja u ekstremnim uvjetima jest ono we need knowledge of women’s history, especially of er, much like many other former political prisoners,
što često stereotipno nazivamo „ženskim vred- those women who suffered for the “political offence” they never ceased to believe in the ideals of a just,
notama“ – izdržljivost, suosjećanje, potreba za of free thinking and expressing critical views. All the egalitarian, democratic society based on humanist
povjeravanjem i pomaganjem najslabijima. To police files, interviews, written memories and other principles. Facing the new social challenges of a state
su ujedno vrijednosti koje nam i danas mogu ego-documents, as well as the memories of the fe- of emergency caused by the pandemic, we become
poslužiti da sukreiramo bolje društvo na temelju male descendants of the women from Goli Otok that more aware that setting a high bar of humanist ideals
demokratske, pluralne, rodno osjetljive kulture we collected in the framework of the You Betrayed the in a community is always in correlation to the numer-
sjećanja. Želimo promijeniti i kulturnu prak- Party Just When You Should Have Helped It project ous threats of their denial and betrayal.
su unutar koje ženska svjedočenja o važnim will help us to comprehend the place of women in
povijesnim epizodama dolaze u fokus javnosti episodes of political terror, but also to single out what
tek posredstvom interesa muških intelektualaca is empowering and positive about these testimonies,
ili djela velikih književnika poput Danila Kiša i what restores belief in humanist values, in freedom of
Davida Grossmana.26 choice and moral action. The interest in the “banality
of goodness” 26, for the convicts’ efforts to maintain
Traumatske pri/povijesti žena nisu dobar izvor minimal, ostensible normalcy in the world of the
spoznaja o prirodi međuljudskih odnosa, ali camp, is precisely what stands out in relation to
nam mogu pružiti dragocjene uvide u snagu regular scholarly interest in the consequences of
ljudskog duha i moć samoiscjeljivanja, u moć dehumanisation, measured by the loss of typically
samopromjene. Tako Evgenija S. Ginzburg masculine values – honour, bravery, and principle.
koja je u sibirskim gulazima provela dvadeset What lies at the centre of all the efforts to survive in
godina i Rosa Dragović-Gašpar, dugogodišnja extreme conditions is what we often stereotypically
zatvorenica na Sv. Grguru, Golom otoku, Stocu i call “female values” – resilience, compassion, the
Bileći, pripovijedaju da su nakon logora postale need to confide, and to help the weakest. These
humanija bića, produbile svoja humanistička are also values that can help us today to co-create
uvjerenja i oslobodile se slijepe vjere u dogmat- a better society based on a democratic, plural, gen-
ske principe komunističke ideologije. Međutim, der-sensitive culture of memory. We also want to
kao i niz drugih bivših političkih kažnjenica, change the cultural practice within which women’s
one nisu prestale vjerovati u ideale pravednog, testimonies about significant episodes in history
egalitarnog, demokratskog, na humanističkim only become the focus of public attention solely by
principima zasnovanog društva. Našavši se pred virtue of interest on the part of male intellectuals or
novim društvenim izazovima izvanrednog stanja through works of great literary figures such as Danilo
uvjetovanog globalnom epidemijom, postajemo Kiš or David Grossman.27
svjesniji da su visoko postavljeni humanistič-
ki ideali jedne zajednice uvijek u korelaciji s Traumatic stories are not a good source of knowledge
brojnim opasnostima njihova opovrgavanja i about the nature of human relations, but they can
iznevjeravanja. give us precious insights into the strength of the hu-
man spirit, the capacity for self-healing and the ability
to change oneself. Thus Yevgenia S. Ginzburg, who
1 — Ibeovci (engl. Cominformists) su prihvatili Rezoluciju IB-a i 1 — The Information Bureau of the Communist and Workers’ Parties, 15 — Pojam „ceremonije degradacije“ definirao je sociolog Harold 14 — Vera Winter. Statement from a video interview made on 25 August
u njoj iznesene, uglavnom lažne, optužbe protiv Josipa Broza i commonly known as Cominform, was the official central organization of Garfinkel u studiji iz 1956. kao čin javne komunikacije čija je 2013 as part of the Personal Memories project by Documenta – Centre for
Komunističke partije Jugoslavije. the International Communist Movement from 1947 to 1956. Cominformists, namjera prokazati pojedinca kao nevrijednog privilegija njegove Dealing with the Past (http://www.osobnasjecanja.hr/).
or Ibeovci in the Croatian and Serbian language, were those who opted dotadašnje uloge u društvu ili instituciji. Ona imaju najviše učinka u
2 — Titovo je geslo bilo „po glavi, ali ne glave“, usp. Božidar Jezer- for the 1948 Cominform Resolution and its, mostly false, accusations društvima koja nisu „sasvim demoralizirana ili dezorijentirana“. 15 — The term, “degradation ceremony”, was defined by sociologist Harold
nik, Non cogito ergo sum, Ljubljana, 1994, Borec 533/534, str. 686. against Josip Broz Tito and the Yugoslav Communist Party. Garfinkel in a 1956 study as an act of public communication whose aim is
16 — Usp. Michel Foucault, „Technologies of the Self“, u Ethics, to denounce an individual as unworthy of the privileges of their erstwhile
3 — Koncept popravno-radnih logora („gulaga“) uvodi SSSR uz 2 — Tito’s motto was “on their heads, but not off with them”, cf. Božo Subjectivity and Truth, ur. Paul Rabinow, London, 1997 [1982], sv. 1, role in the society or an institution. They were most effective in societies
pomoć Staljinova represivnog aparata 1929. godine. GULAG je Jezernik Non cogito ergo sum, Ljubljana, 1994, Borec 533/534, p. 686. str. 244; Hannah Arendt, The Origins of Totalitarianism, New York – that were not “entirely demoralised or disorientated“.
zapravo kratica za Glavnu upravu popravno-radnih logora i kolonija London, 1976 [1951], str. 353.
koja je upravljala ogromnom mrežom logora (radnih, kažnjeničkih, 3 — The concept of corrective labour camps (Gulags) was introduced 16 — Cf. Michel Foucault, “Technologies of the self”, in Ethics, Subje-
tranzitnih, ženskih, dječjih, „materinskih“, logora za kriminalce i by the USSR in 1929, with the aid of Stalin’s repressive apparatus. The 17 — Projekt Sare Stijović Đina dobio je potporu programa La ctivity and Truth, ed. Paul Rabinow, London, 1997 [1982], vol. 1, p. 244;
političke zatvorenike). GULAG is actually an acronym for the Main Directorate of corrective labour Fabrique Cinema Francuskog instituta 2020. godine u okviru 73. Hannah Arendt, The Origins of Totalitarianism, New York – London, 1976
camps and colonies (Glavnoe upravlenie lagerei), which administered Kanskog filmskog festivala. Svjedočenja crnogorskih kažnjenica [1951], p. 353.
4 — Martin Previšić, Povijest Golog otoka, Zagreb, 2019, str. 164. the huge network of camps (labour, convicts’ transit, women’s children’s, predstavio je i digitalni Muzej žena Crne Gore (https://www.
Na temelju Udbine evidencije Previšić pokazuje da je kroz oba logo- “maternal” camps and camps for criminals and political prisoners). muzejzena.me/). 17 — Sara Stijović’s project, Đina, won the support of the La Fabrique
ra prošlo „oko 550 do 570 žena, uz napomenu da ih u isto vrijeme Cinema programme of the French Institute in 2020, in the framework of
nikada nije bilo više od 380 do 400“, str. 468. 4 — Martin Previšić, Povijest Golog otoka [The History of Goli Otok], Za- 18 — Dragan Marković, Josip Broz i Goli otok, Beograd, 1990; Gia- the 73rd Cannes Film Festival. The testimonies of Montenegrin convicts
greb, 2019, p. 164. Based on UDBA records, Previšić shows that “around como Scotti, Goli otok: Italiani nel gulag di Tito, Trst, 2002. were also presented by the digital Montenegrin Women’s Museum (https://
5 — Ovi su logori poznati pod kraticom ČSIR (Člyen sem’i izmenni- 550 to 570” passed through both camps, noting that there had never been www.muzejzena.me/).
ka Rodini). Usp. Nensi Adler [Nanci Adler], Preživeli iz Gulaga, more than 380 to 400 women inmates there at a single time”, p. 468. 19 — Rosa Dragović-Gašpar, Let iznad Golog otoka, Beograd, 1990,
Beograd, 2005. str. 251. 18 — Dragan Marković, Josip Broz i Goli otok, Belgrade, 1990; Giacomo
5 — Such camps were known under the acronym ČSIR - Člyen sem’i Scotti, Goli otok: Italiani nel gulag di Tito, Trieste, 2002.
6 — O tome svjedoči Kolet Smiljanić, novinarka i prevoditeljica izmennika Rodini. Cf. Nanci Adler, The Gulag Survivor, New Brunswick, 20 — „Ja nisam heroj, ja nisam heroina, ja sam zec, ja se plašim.
na Radiju Beograd: „Kada su me udbovci hapsili, rekla sam – 2002. Ja neću da kažem, ja neću da priznam, ja mogu da trpim batine, ali 19 — Rosa Dragović-Gašpar, Let iznad Golog otoka [One Flew over Goli
mene nije vaspitavala ulica nego Partija. Ona me je svemu ovome ja se tresem.“ Iskaz Jelke Zrnić u Simić i Trifunović, Ženski logor na Otok], Belgrade, 1990, p. 251.
naučila. Učila me je da budem iskrena i da iskreno iskazujem svoje 6 — Kolet Smiljanić, journalist and translator for Radio Belgrade, testified Golom otoku, str. 155.
mišljenje“. Usp. Dragoslav Simić i Boško Trifunović, ur. Ženski logor about this: “When the people from UDBA were apprehending me, I told 20 — “I’m not a hero, I’m not a heroine, I’m a rabbit, I’m scared. I won’t
na Golom otoku – ispovesti kažnjenica i islednice, Beograd, 1990, them – I wasn’t educated by the street, but by the Party. It taught me all 21 — Usp. Berislav Jandrić, „Nacionalna i socijalna struktura ibeo- tell, I won’t confess, I can take the beating, but I’m shaking”. Jelka Zrnić’s
str. 26. this. It taught me to be honest and to honestly express my opinion”. Cf. vaca iz Hrvatske na Golom otoku u razdoblju 1949. – 1952.“, Časopis statement in Simić and Trifunović, Ženski logor na Golom otoku, p. 155.
Dragoslav Simić and Boško Trifunović, ed. Ženski logor na Golom otoku za suvremenu povijest, 2/3 (25), 1993, str. 183–202.
7 — Simić i Trifunović, Ženski logor na Golom otoku, str. 9 (Svjedo- – ispovesti kažnjenica i islednice [Women’s Camp on Goli Otok. Convicts’ 21 — Cf. Berislav Jandrić, „Nacionalna i socijalna struktura ibeovaca iz
čenje Natalije Petrović). and Jailors’ Testimonies], Belgrade, 1990, p. 26. 22 — Povjesničarka Sabrina P. Ramet navodi podatak da su 1948. Hrvatske na Golom otoku u razdoblju 1949. – 1952“. [National and Social
godine komunistkinje činile 20 % članova Komunističke partije Structure of Croatian Cominformists on Goli Otok], Časopis za suvremenu
8 — Op. cit., str. 13. Usporedi i opis srodnih „optuživalačkih 7 — Simić and Trifunović. Ženski logor na Golom, Belgrade, 1990, p. 9. Jugoslavije, ali je samo 9,7 % žena bilo zastupljeno na 5. kongresu povijest, 2/3 (25), 1993, pp. 183–202.
sastanaka“ (engl. accusatory meetings) tijekom kineske kulturne (Natalija Petrović’s testimony) KPJ održanom te iste godine, a svega tri žene (4,8 %) uključene u
revolucije: „Pažljivo pripremljeni i organizirani, masovni montirani rad Centralnog komiteta KPJ. Usp. S. P. Ramet, Gender Politics in 22 — The historian Sabrina P. Ramet cites the fact that in 1948, women
procesi i optuživalački sastanci slijedili su jasne i dobro razrađene 8 — Op. cit., p. 13. See, e.g., the description of similar “accusatory the Western Balkans, 1999, str. 99. Communist made up 20% of the members of the Communist Party of Yu-
obrasce. Dramaturška sredstva poput pozornice, rekvizita, scena- meetings“ during the Chinese cultural revolution: “Carefully arranged and goslavia, but just 9.7% of the membership represented at the 5th Congress
rija, agitatora i momenti gradacije, bili su usmjereni na izazivanje organized, the mass trials and accusatory meetings followed clear and 23 — Riječ je o Adeli Bohunicki, Jeleni Hadžikan, Branislavi Marko- of the CPY held that year, while only three women (4.8%) were involved
emocija kod publike – kako bi se izazvalo negodovanje protiv meticulously prearranged patterns. Dramatic devices such as staging, vić, Kristini Kusovac, Dragici Srzentić, Simki Stanković i dr. in the work of the Central Committee of the CPY. Cf. S. P. Ramet, Gender
ciljanih skupina i mobiliziralo publiku na podršku režimu“. Klaus props, working scripts, agitators, and climactic moments were used to Politics in the Western Balkans, 1999, p. 99.
Mühlhahn, Criminal Justice in China: A History, Cambridge, MA, efficiently engage the emotions of the audience—to stir up resentment 24 — Miroslava Malešević, „Osmi mart – od utopije do demagogi-
2009, str. 182–183. against the targeted groups and mobilize the audience to support the je“, Glasnik Etnografskog instituta SANU, 1988, br. 36-37, str. 53-80. 23 — The women in question were Adela Bohunicki, Jelena Hadžikan,
regime“. Klaus Mühlhahn, Criminal Justice in China: A History, Cambridge, Branislava Marković, Kristina Kusovac, Dragica Srzentić, Simka Stanković
9 — Eva Grlić, Sjećanja, Zagreb, 1997, str. 203. MA, 2009, pp. 182–183. 25 — S konceptom „banalnost dobra“, specifičnim za moralne and others.
postupke običnih ljudi koji su spašavali Židove i druge proganjane
10 — Upravnica Marija Zelić ovim je riječima dočekivala kažnjenice: 9 — Eva Grlić, Sjećanja [Memories], Zagreb, 1997, p. 203. skupine te se suprotstavljali zlu u ekstremnim povijesnim momenti- 24 — Malešević, Miroslava, „Osmi mart – od utopije do demagogije“, Glasnik
„Ovo što ste vi uradile to je izdaja zemlje. Izdale ste zemlju u ma, Cvetan Todorov je parirao konceptu „banalnost zla“ H. Arendt. Etnografskog instituta SANU, 1988, vol. 36-37, pp. 53-80.
najtežem momentu. (…) kad je Partija na vas najviše računala, vi 10 — Warden Marija Zelić used to welcome the convicts with the following Usp. Todorov, Voices from the Gulag: Life and Death in Communist
ste u tom momentu toj Partiji zaboli nož u leđa“ (Simić i Trifunović, words: “What you did was a betrayal of the country. You betrayed the Bulgaria. University Park, Pennsylvania, 1999. Za primjere etičnog 25 — A member of the Women’s Antifascist Front – initials AFŽ.
Ženski logor na Golom otoku, str. 228). country at the most difficult moment. (...) just when the Party counted postupanja bivših političkih zatvorenica u socijalističkoj Jugoslaviji,
upon you the most, you stabbed the Party in the back” (Simić and Tri- usp. Renata Jambrešić Kirin. “Yugoslav Women Intellectuals: From 26 — With the concept of the “banality of goodness”, specific to the moral
11 — Ivo Banac, Sa Staljinom protiv Tita, Zagreb, 1990, str. 235; funović, Ženski logor na Golom otoku, p. 228). a Party Cell to a Prison Cell“. History of Communism in Europe, conduct of rescuers and other ordinary people who oppose evil in extreme
Previšić, Povijest Golog otoka, str. 239–258. 2014, vol. 5, str. 36-51. historical situations, Tzvetan Todorov played on Hannah Arendt’s searing
* “Banda” and “revidirka”, translator’s note. ‘banality of evil’. Cf. Todorov, Voices from the Gulag: Life and Death in
12 — Simić i Trifunović, Ženski logor na Golom otoku, str. 33–34 26 — Jedna od sugovornica Danila Kiša u dokumentarnom serijalu Communist Bulgaria. University Park, Pennsylvania, 1999. For examples
(Caca). 11 — Ivo Banac, Sa Staljinom protiv Tita [With Stalin against Tito], Zagreb, Goli život (1990), Eva Nahir Panić, ispričala je Davidu Grossmanu of the moral conduct of former female political prisoners in socialist Yu-
1990, p. 235; Previšić, Povijest Golog otoka, pp. 239–258. svoju životnu priču na temelju koje je napisao izuzetan roman unu- goslavia, see Renata Jambrešić Kirin. “Yugoslav Women Intellectuals:
13 — Shoshana Felman, The Juridical Unconscious, Cambridge – tar književnosti svjedočenja – Kad je Nina znala (Zagreb, 2020). From a Party Cell to a Prison Cell“. History of Communism in Europe, 2014,
London, 2002, str. 20. * “Starješina barake” – a masculine noun meaning “elder”, a figure of vol. 5, pp. 36-51.
authority – no feminine noun or variant exists in the Serbo-Croatian, tn.
14 — Vera Winter. Iskaz iz videointervjua nastao 25. 8. 2013. u okvi- * Raskritikuju – a non-standard use of the prefix “ras-” that can denote 27 — One of Danilo Kiš’s interlocutors in the documentary series Goli Život
ru projekta Osobna sjećanja Documente – Centra za suočavanje s a quality of vehemence, or deconstructiveness. (1990), Eva Nahir Panić, told David Grossman her life story, on the basis of
prošlošću (http://www.osobnasjecanja.hr/). which he wrote an exceptional novel in the genre of testimonial literature
12 — Simić and Trifunović, Ženski logor na Golom otoku, pp. 33–34 (Caca). – When Nina Knew (Zagreb, 2020).
13 — Shoshana Felman, The Juridical Unconscious, Cambridge – Lon-

don, 2002, p. 20.
“
Kamen smo nosile We carried the stone
iz mora na vrh brda. from the sea to the top
Kada je hrpa na vrhu of the hill. When the
bila dovoljno velika, pile at the peak was
nosile bi kamenje big enough, we’d carry
nazad do mora. the stones back to
the sea.
VE R A W I N T E R
”
Prostorna
intervencija
na lokalitetu
Spatial
intervention
U rujnu 2020., 64 godine nakon raspuštanja In September 2020, 64 years after the female
logora za političke zatvorenice na Svetom political prisoners’ camp on Sveti Grgur and Goli
Grguru i Golom otoku, u sklopu projekta „Vi islands was dissolved, informative signs were put
ste Partiju izdale onda kada je trebalo da joj up as part of the project, “You Betrayed the Party
pomognete“ postavljene su infotable s natpisom Just When You Should Have Helped It,” bearing
o ustroju i povijesti logora na tim lokalitetima. an inscription about the organization and history
of the camps on these sites.
„U ovoj uvali i na obližnjem otoku “Alternating between this bay and

Sveti Grgur naizmjenično se od 1950. the neighbouring island of Sveti
do 1956. godine nalazio politički Grgur from 1950 to 1956 there was a
logor kroz koji je prošlo više od 850 camp for political prisoners through
žena optuženih za povezanost s which passed more than 850 women
informbiroom. Žene su same morale accused of having Cominform
izgraditi staze i većinu objekata koji connections. With an exceptionally
su danas vidljivi samo u tragovima. cruel punishment system, in which
S iznimno okrutnim sistemom the women inmates were forced
kažnjavanja, u kojemu su logorašice to assume the role of torturer, the
bile prisiljene biti i vršiteljice camp was a place of suffering and
torture, logor je bio mjesto patnje humiliation. The harassment and
i poniženja. Šikaniranje optuženih police surveillance of the accused
žena i policijski nadzor nastavljani women continued even after they
su i nakon izlaska iz logora.“ had been let out of the camp.”
U kamenu na lokalitetu Golog otoka uklesano Former inmate Vera Winter’s testimony was also
je i svjedočanstvo bivše logorašice Vere Winter carved into the rock on the Goli Otok site, in the
ispisano rukopisom njezine unuke Nine Winter: handwriting of her grand-daughter Nina Winter:
„Kamen smo nosile iz mora na vrh brda. “We carried the stone from the sea to the top
Kada je hrpa na vrhu bila dovoljno veli- of the hill. When the heap on the top was
ka, nosile bi kamenje nazad do mora“ large enough, we’d carry the rocks back to
the sea”
Lokaliteti nisu bili obilježeni te ih se umjetnič-
kom prostornom intervencijom željelo markirati, The sites had not been marked, and the artistic
upozoriti na prepuštenost ženskog logora zabo- spatial intervention sought to label them, to
ravu i vremenskim uvjetima koji brišu tragove, warn that the women’s camp has been aban-
a željelo se i tematizirati žensko stradanje, doned to oblivion and to the elements that
posebice ono povezano s nasljeđem političkog erase the traces, as well as to bring into focus
nasilja, o čemu se još izuzetno malo govori. women’s suffering, especially the suffering
linked to political violence, which is still the
topic of extremely limited discussion.
“
Više nismo ljudi, više We are no longer
ne znamo ništa, samo people, we are no
blejimo i gledamo kao longer anything,
šašavi… mislim da nije we just bleat and look
bilo mesta gde nisam stupid… I think there
osećala bol. was not a single place
that didn’t hurt me.
ra da ž i ž i ć
”
Kratke
biografije
zatočenica
Short
biographies
of prisoners
Ženi Lebl Na ustupljenoj fotografiji i

sudjelovanju na projektu
zahvaljujemo Ženinoj
We are grateful to Ženi’s niece
Ana Lebl for allowing us to use
her photograph and for her
nećakinji Ani Lebl. participation in the project.
(1927— 2009)
Ženi Lebl je rođena u građanskoj obitelji seku- Ženi Lebl was born into a bourgeois family of secular radila kao suradnica Politike. Nakon Rezolu- of Journalism and Diplomacy, while simultaneously
lariziranih Židova u Aleksincu 1927., a od 1932. Jews in 1927 in Aleksinac. From 1932 until World War cije Informbiroa u ljeto 1948., u travnju 1949. working as a contributor to the Politika newspaper.
do Drugog svjetskog rata živjela je u Beogradu. II, she lived in Belgrade. At the very outset of World optužena je za „klevete protiv naroda i države“ In April 1949, in the wake of the summer of 1948
Otac, inženjer rudarstva, odveden je u njemač- War II, her father, a mining engineer, was taken into jer je prepričala vic o Titu kao „ljubičici beloj od Cominform resolution, she was accused of “slander
ko zarobljeništvo kao časnik vojske Kraljevine German captivity as an officer in the army of the King- sto kila“. Međutim, kao u nizu srodnih slučajeva, against the people and the state” for telling a joke
Jugoslavije odmah na početku Drugog svjetskog dom of Yugoslavia, while her mother, grandmother pravi razlog je bilo podmetanje kolega iz redak- about Tito, “a hundred kilo violet”.* However, much
rata, a majka, baka i brojni drugi članovi obitelji and many other members of her family perished in cije koji su pretendirali na mjesto dopisnika u like in a series of related cases, the real reason lay in
stradali su u logoru Sajmište. Ženi i njezin brat the Sajmište camp. Ženi and her brother Aleksandar Parizu za koje je Ženi bila predložena. Ispitiva- incriminations by her colleagues from the editorial
Aleksandar uspjeli su izbjeći progon Židova managed to escape the persecution of Jews by fleeing na je i mučena u Glavnjači te nakon izricanja board, who had set their sights on the post of Paris
bijegom iz Beograda – Ženi se u prosincu 1941. Belgrade. In December 1941, Ženi took shelter in Niš administrativne kazne upućena u ženske „logore correspondent, for which Ženi had been nominated.
sklonila u Nišu pod lažnim imenom kod Jelene under an assumed name, staying with Jelena Glavaš- za preodgoj“ u Ramskom ritu, Zabeli, Grguru i na She was questioned and tortured in Glavnjača, and,
Glavaški, dobitnice priznanja Pravednik među ki, who was awarded the title of Righteous among the Golom otoku. Prema evidenciji Udbe u logorima having been sentenced to an administrative punish-
narodima, a Aleksandar Lebl je, nakon skri- Nations, while Aleksandar Lebl, after a period in hid- je boravila od 28. travnja 1949. do 30. kolovo- ment, sent to the women’s “re-education camps” in
vanja u Splitu, dospio u logor na Rabu gdje se ing in Split, ended up in the Rab concentration camp, za 1951. Nakon povratka u Beograd nije mogla Ramski Rit, Zabela, Grgur and Goli Otok. According
1943., nakon pada Italije, pridružio partizanima. where in 1943, after Italy’s capitulation he joined the pronaći posao te je niz godina tražila dozvolu to UDBA records, she was interned in camps from 28
Ženi je, pod lažnim imenom Jovanka Lazić, Partisans. Under the assumed name of Jovanka Lazić, za odlazak u Izrael kamo 1954. napokon odlazi i April 1949 until 30 August 1951. Upon her return to
uhićena početkom 1943. i odvedena na prisilni Ženi was arrested in early 1943 and taken away to be nastavlja borbu za novu egzistenciju. Na poticaj Belgrade, she could not find a job, and spent years
rad u Treći Reich, a oslobođenje je dočekala u used as forced labour in the Third Reich. At the time Danila Kiša, koji je s Aleksandrom Mandićem trying to obtain a permit to go to Israel, for which
berlinskom zatvoru Gestapoa. Nakon povratka of liberation, she was an inmate of the Gestapo’s Ber- snimio dokumentarac Goli život (1989.) o sud- she finally left in 1954, to continue her struggle for a
u Beograd zatekla je nove stanare u obiteljskoj lin prison. On returning to Belgrade, she found that bini žena na Golom otoku i Sv. Grguru, napisala new existence. With the encouragement of Danilo Kiš,
kući, a zahvaljujući upornosti, znanju jezika (nje- her family house had new tenants. Her persistence, je i objavila knjigu Ljubičica bela (1990.) s istom who together with Aleksandar Mandić had filmed Goli
mački, ruski, francuski) i čeličnoj volji završila je knowledge of languages (German, Russian, French) temom. život (Naked Life) (1989), a documentary about the
gimnaziju, započela studij prava i upisala Novi- and her iron will allowed her to finish secondary fate of the women held on Goli Otok and Sveti Grgur,
narsko-diplomatsku visoku školu te usporedno school, start studying law, and enrol in the College she wrote and published a book about the same
subject-matter, Ljubičica bela (White Violet) (1990).
Vera Winter Zahvaljujemo na fotografiji

Darku Winteru, sinu Vere
Winter, te unuci Nini Winter
We thank Vera Winter’s son
Darko Winter for her photo-
graph, and her granddaughter
za sudjelovanju na projektu. Nina Winter for her participati-
on in the project.
(1923 — 2015)
Vera Winter rođena je kao Vera Barišić 1923. u Vera Winter was born Vera Barišić in Glamoč in 1923. njezinoj stručnoj spremi i kompetencijama. Prvi was a long while before she was given a position that
Glamoču. Potjecala je iz učiteljske obitelji koja je Hers was a family of teachers, which frequently je put o svom iskustvu zatočeništva na Golom matched her professional skills and competencies.
u razdoblju Kraljevine Jugoslavije često mijenjala changed residence during the Kingdom of Yugosla- otoku progovorila 1989. Njezin suprug Gabriel The first time she spoke out about her experience as
mjesto boravišta. Početak Drugog svjetskog rata via. The family saw the beginning of World War II in Winter također je bio zatočenik Golog otoka, no an inmate on Goli Otok was in 1989. Her husband,
obitelj je dočekala u Zagrebu gdje Vera Barišić Zagreb, where Vera Barišić began to study econom- kao što je posvjedočila, svojim sinovima nikada Gabriel Winter, was also imprisoned on Goli Otok,
započinje studij ekonomije. Zbog kritike tadašnje ics. Her criticism of the Ustasha government led to nisu govorili o logoraškom iskustvu. but, as she testified, they never spoke to their sons
ustaške vlasti izdržala je jednomjesečnu kaznu u a one month prison sentence, which she served in about their experiences as camp inmates.
zatvoru u Petrinjskoj ulici. Kraj rata dočekala je u the Petrinjska street prison. She was in Zagreb when
Zagrebu. Nakon što je diplomirala ekonomiju te the war ended. Having graduated with a degree in
nakon kratkotrajnog zaposlenja, dobiva direktivu economics, and after a short period in work, she
da ode u Beograd na posao u jedno od saveznih received a directive to go to Belgrade to take up a
ministarstava. Poslije objave Rezolucije Inform- posting at one of the federal ministries. After the
biroa jedan od njezinih nadređenih uhićen je kao publication of the Cominform Resolution, one of
simpatizer Staljina, a agenti Udbe je ispituju. her superiors was arrested as a Stalin sympathiser,
Kada je tijekom ispitivanja naivno rekla da sluša and she was questioned by UDBA agents. She was
radio Moskvu, vrlo je brzo uhićena. Nakon uobi- very quickly arrested, having naively said during her
čajene torture u istražnom zatvoru u Beogradu, questioning that she listened to Radio Moscow. Fol-
29. travnja 1950. deportirana je u ženski logor na lowing the customary torture at the Belgrade remand
Sv. Grguru. U logorima na Golom otoku i Svetom prison, on 29 April 1950 she was deported to the
Grguru provela je punih 36 mjeseci. Prema women’s camp on Sveti Grgur. She spent a full 36
Udbinoj evidenciji, puštena je na slobodu 22. months in the Goli and Sveti Grgur camps, before,
lipnja 1953. Zbog ove „rupe“ u biografiji uspjela according to UDBA records, being released on 22
je dobiti posao skladištarke u poduzeću Katran i June 1953. This “gap” in her biography landed her a
dugo je trebalo da dobije mjesto koje odgovara job as a stock keeper in the Katran company, and it
Đina Markuš Na pomoći i poslanim

materijalima zahvaljujemo
kolegici Nataši Nelević,
We are grateful to our colleague
Nataša Nelević, dramaturgist,
writer and founder of the digital
dramaturginji, književnici Montenegrin Women’s Museum
i utemeljiteljici digitalnog (www.muzejzena.me),
Muzeja žena Crne Gore for her assistance and the
(www.muzejzena.me) materials she sent us.
(1920 — 2006)
Đina Markuš rođena je 1920. u trgovačkoj obitelji Đina Markuš was born in 1920 to a family of traders in u Beogradu jer je znao da mu prijeti uhićenje i mitted suicide in Belgrade after the 1948 publication
u Cetinju. Još kao gimnazijalka priklonila se Cetinje. While still attending gymnasium, she gravi- deportacija na Goli otok. Nedugo zatim uhićena of the Cominform Resolution, as he knew that he was
komunističkim idejama – kao i mnoge mlade tated towards Communist ideas; much like many je i Đina pod optužbom da je tiskarska slova iz at risk of arrest and deportation to Goli Otok. Soon
crnogorske i jugoslavenske komunistice – slije- other young Montenegrin and Yugoslavian women pošte slala u inozemstvo radi antijugoslavenske after, Đina herself was arrested, under the allegation
deći u tome muške članove obitelji. Spremala communists, she followed in the footsteps of the propagande. Bila je jedna od mnogih komunista that she sent typeset characters from the post office
se za studij medicine u Beogradu kada su 1941. male members of her family. She was preparing to koji su se u to doba bunili protiv „diplomatskih abroad, for anti-Yugoslavian propaganda. She was
Talijani okupirali Crnu Goru. Zbog ilegalnog undertake the study of medicine in Belgrade, when in magacina“ koji su najavili poslijeratno klasno among the many Communists of the day who protest-
rada i podrške komunistima ubrzo se zatekla u 1941, Montenegro was occupied by the Italians. Her raslojavanje i formiranje crvene buržoazije. Uhi- ed the “diplomats’ shops” that presaged the post-war
fašističkom zatvoru Bogdanov u Cetinju. Zbog illegal activities and support for the Communists soon ćena je 1949. i neko je vrijeme provela u istraž- class stratification and formation of a red bourgeoisie.
borbenog djelovanja u partizanskim redovi- landed her in the Fascist prison Bogdanov in Cetinje. nom zatvoru Glavnjača u Beogradu, a potom je She was arrested in 1949 and spent some time in the
ma bila je ponovno zarobljena i internirana u Because of her activities in the armed struggle as odvedena na Goli otok i Sv. Grgur. Puštena je iz Glavnjača remand prison in Belgrade, after which
logor sve do kapitulacije Italije, da bi se potom a Partisan, she was re-arrested and interned in a logora 1952. Do same smrti nije se uspjela pri- she was taken to Goli Otok and Sveti Grgur. She was
vratila preko Slovenije i priključila partizanima camp until Italy’s surrender, after which she returned lagoditi „normalnom životu“. Patila je od teške i released in 1952. She was unable to adapt to “normal
u završnim akcijama oslobođenja Crne Gore i by way of Slovenia, to rejoin the Partisans in the fi- dugotrajne nesanice i često je zapadala u stanja life” for the rest of her life. She suffered long bouts of
Jugoslavije. Iz rata će izići kao mlada komunisti- nal actions to liberate Montenegro and Yugoslavia. koja su nalikovala na katatoniju (nepokretnost, intense insomnia, often descending into states that
ca s priznanjima za bespoštednu posvećenost She would leave the war as a young Communist, zgrčenost tijela, šutnja). Liječena je u više psi- resembled catatonia (immobility, rigidness in the
antifašističkoj borbi i revoluciji. Nakon rata, Đina recognised for her unsparing dedication to the an- hijatrijskih ustanova. Godine 1989. napisala je body, speechlessness). She received treatment in a
Markuš dobiva politički povjerljiv posao poštan- ti-fascist struggle and revolution. After the war, Đina (neobjavljene) memoare o danima provedenim number of psychiatric institutions. In 1989 she wrote
ske službenice u Beogradu. Počinje poratni život Markuš received a politically confidential job as a na Golom otoku i Sv. Grguru. Umrla je 2006. od the (unpublished) memoirs about her days spent on
ispunjen entuzijazmom, obnovom i izgradnjom post office clerk in Belgrade. She embarked on the prekomjerne doze tableta za spavanje. Goli Otok and Sveti Grgur. She died in 2006, of an
zemlje te kolektivnom posvećenošću ostvarenju post-war life brimming with enthusiasm, renewal and overdose of sleeping pills.
revolucionarnih ideala. Nakon objave Rezolu- rebuilding the country, as well as the collective ded-
cije Informbiroa 1948. muž Đinine sestre, vojni ication to making revolutionary ideals reality. Đina’s
oficir Vido Đurašković, izvršio je samoubojstvo sister’s husband, army officer Vido Đurašković, com-
Eva Grlić Na fotografiji Eve Grlić,

intervjuu i suradnji na pro-
jektu zahvaljujemo
We are grateful to daughter
Vesna Domany Hardy for the
photograph of Eva Grlić, the
kćeri Vesni Domany Hardy. interview and her cooperation
on the project.
(1920 — 2008)
Eva Grlić rođena je 1920. u Budimpešti u Eva Grlić was born in 1920 in Budapest, to a Sep- je od 5. svibnja 1949. do 30. siječnja 1953. Kao the female camps on Goli and Sveti Grgur from 5 May
sefardsko-aškenaskoj obitelji. Od brojne obitelji hardic-Ashkenazi family. She, her daughter Vesna što je napisala u knjizi Sjećanja, na robiji je osim 1949 until 30 January 1953. As she wrote in her book,
holokaust su preživjele samo ona, kći Vesna Domany and her father’s brother Moše Izrael were 16 zubi izgubila i svaku nadu u sustav u koji je Memories, along with 16 teeth, her captivity also cost
Domany te očev brat Moše Izrael. S obzirom na the sole Holocaust survivors from a large family. As kao mlada vjerovala. Do mirovine je radila u her any hope in the system that she had believed in
to da je u partizanima djelovala kao politička she was active in the Partisan movement as a political tvornici Katran, prvo kao obična radnica, a po- as a youth. She spent the rest of her working days
radnica, uređivala biltene i radila u redakcija- worker, editing bulletins and working on the edito- tom kao sekretarica i urednica tvorničkih novina. before retirement working in the Katran factory, first
ma novina Glasilo AFŽ-a za Slavoniju, Vjesnik i rial boards of the Anti-Fascist Women’s Slavonian U mirovini je prevodila s njemačkog i mađarskog as a common worker, then as a secretary and editor
Naprijed, nakon rata zaposlila se kao novinarka Gazette, Vjesnik and Naprijed journals, after the jezika, pisala priče te objavila memoarsku knjigu of the factory newspaper. She spent her retirement
u redakciji zagrebačkog lista Naprijed. Tu je war she worked as a journalist for the Zagreb-based Sjećanja (1997.) te knjigu priča Putnik za Krakow translating from the German and Hungarian, writing
upoznala Danka Grlića s kojim se vjenčala 1946., journal Naprijed. There she met Danko Grlić, whom i druge priče (2002.). stories, and publishing Memories (1997), her book of
a iduće godina rodila je sina Rajka. U vrijeme she married in 1946, giving birth to their son Rajko memoirs, and a collection of stories, A Passenger on
raskola sa Sovjetskim Savezom Danko Grlić je the following year. At the time of the schism with His Way to Krakow and Other Stories (2002).
uhićen i zatvoren na Golom otoku. Uskoro nakon the Soviet Union, Danko Grlić was arrested and im-
toga uhićena je i Eva, i to u dva navrata. U prvom prisoned on Goli Otok. Soon after, Eva was arrested
naletu oduzet im je stan, a Evu su pustili iz too, on two occasions. First, their flat was seized,
zatvora nakon osam mjeseci. Izgubila je posao, only for Eva to be released from prison eight months
postala beskućnica, kći Vesna završila je u dječ- later. She lost her job, became homeless, her daugh-
jem domu, dok su brigu o dvogodišnjem Rajku ter Vesna ended up in a children’s home, while the
preuzeli stric i prabaka. Nakon što joj je suprug two-year-old Rajko was cared for by his uncle and
pušten na slobodu, Eva je ponovno uhićena zbog great grandmother. After her husband was released,
jedne rečenice kojom je izrazila nezadovoljstvo Eva was re-arrested over a sentence with which she
te je osuđena na zatvor na Golom otoku, gdje je expressed her dissatisfaction, and condemned to
provela dvije godine. Prema Udbinoj evidenciji u imprisonment on Goli Otok, where she spent two
ženskim logorima na Golom i Sv. Grguru boravila years. According to UDBA records, she was held in
Miljuša Jovanović Zahvaljujemo Dragoslavu

Simiću na ustupljenim
materijalima.
We thank Dragoslav Simić for
the materials he provided us
with.
(1917 — 1991)
Miljuša Jovanović bila je sestra generala Arsa Miljuša Jovanović was the sister of general Ars Jo- sasvim poseban lik, zauzima počasno mesto, s is a completely singular figure, who holds a place of
Jovanovića, prvog načelnika Generalštaba Jugo- vanović, the first Chief of the General Staff of the neverovatnom, filmskom biografijom. Pripadala honour, with an incredible, cinematic biography. She
slavenske narodne armije. Kao pripadnica Prve Yugoslav People’s Army. As a member of the 1st Pro- je Komunističkoj partiji do kraja života, reklo bi remained a member of the Communist Party until the
proleterske brigade sudjelovala je u Igmanskom letarian Brigade she was part of the Igman march in se kao ‘vernik partije’, ali onako zanesenjački, end of her life, one might say, like a ‘party faithful’,
maršu krajem siječnja 1942. Zbog smrzavanja late January 1942. She was rendered permanently baš kao da je iz romana Nikolaja Ostrovskog but with fervour, as if she was a character in Nikolai
stopala ostala je invalid. Poslije sukoba Tita disabled after her feet froze during the march. After Kako se kalio čelik.“ Ostrovsky’s novel How the Steel Was Tempered.”
sa Staljinom u lipnju 1948. general Jovanović Tito’s disagreement with Stalin in June 1948, general
je prihvatio Rezoluciju Informbiroa te je s još Jovanović accepted the Cominform Resolution, and
dvojicom oficira pokušao pobjeći u Rumunjsku. tried to flee to Romania along with two other officers.
Poginuo je u okršaju s graničnom patrolom 11. He died in a skirmish with the border patrol on 11
kolovoza 1948. Njegova sestra, koja nikada nije August 1948. His sister, who never got over the death
prežalila smrt voljenog brata, uhićena je ubrzo of her beloved brother, was arrested soon after. At
nakon toga. U to je vrijeme bila na rukovodećoj the time, she held a leading post in the alliance of
poziciji u Savezu ratnih vojnih invalida. U istraž- war-disabled veterans. She spent nearly two years
nim je zatvorima provela gotovo dvije godine. in remand prisons. According to UDBA records, she
Prema Udbinoj evidenciji u ženskim logorima was held in women’s camps on Goli and Sveti Grgur
na Golom i Sv. Grguru boravila je od 2. listopa- from 2 October 1950 until 6 February 1954. Drago-
da 1950. do 6. veljače 1954. godine. Dragoslav slav Simić published Miljuša’s testimony in the book,
Simić je objavio Miljušino svjedočenje u knjizi Ženski logor na Golom otoku. Ispovesti kažnjenica i
Ženski logor na Golom otoku. Ispovesti kažnjeni- islednice (Women’s Camp on Goli Otok. Convicts’
ca i islednice (Dragoslav Simić i Boško Trifuno- and Jailers’ Testimonies) (Dragoslav Simić and Boško
vić, prir., Beograd, ABC Product, 1990.). Simić je Trifunović, ed., Belgrade, ABC Product, 1990). This is
ovako sažeo svoj doživljaj ove izuzetne osobno- how Simić summed up his experience of this extraor-
sti: „U mojoj profesionalnoj karijeri Miljuša je dinary character: “In my professional career Miljuša
Branka Weil Zahvaljujemo Miri Furlan,

kćeri Branke Weil,
na životopisu i fotografiji.
We are grateful to Mira Furlan,
daughter of Branka Weil, for her
biography and photograph.
(1922 — 1978)
Branka Weil rođena je u Sarajevu. Budući da Branka Weil was born in Sarajevo. Since her mother sproveden na Goli otok, a uskoro nakon toga taken away to Goli Otok. Branka was to follow soon,
je majka ostavlja odmah nakon rođenja, odgoj left her immediately after birth, her upbringing was uhićena je i Branka, isključivo zbog svoje veze s solely for her relation to Ivan. Ivan was to spend two
preuzima njezin otac Fritz Weil, sin Arpada Weila taken over by her father Fritz Weil, son of Arpad Weil njim. Ivan na Golom otoku provodi dvije godine, years on Goli Otok, and Branka three, allegedly for
iz Bijeljine. No Branka djetinjstvo provodi seleći from Bijeljin. Branka spent her childhood moving from dok Branka ondje ostaje tri godine, navodno poor conduct, that is, unwillingness to take part in
se od obitelji do obitelji, kao dijete posvojeno na family to family, as a child in temporary foster care. zbog „lošeg ponašanja“, tj. nespremnosti da torturing inmates. After her release, Branka found
određeno vrijeme. Dok joj otac putuje Europom While her father travelled around Europe, working sudjeluje u mučenju zatvorenica. Nakon izlaska a job in the Zagreb City Library, where she founded
baveći se edukacijskim i filantropskim radom, as an educator and philanthropist, Branka arrived Branka se zapošljava u Gradskoj knjižnici u the Children’s Department, which she led for years.
Branka stiže u Zagreb i upisuje se u klasičnu in Zagreb and enrolled in the Classical Gymnasium, Zagrebu gdje osniva i godinama vodi Dječji odjel. Branka became a member of numerous international
gimnaziju gdje joj je profesorica i razrednica dr. where her teacher and form master was Dr. Ljuba Branka postaje članica brojnih internacionalnih juries to select the world’s best book for children.
Ljuba Kosar, prof. francuskog i hrvatskog, koja Kosar, professor of French and Croatian. In 1935, žirija za izbor najbolje svjetske dječje knjige. At the invitation of many libraries in Europe, Branka
1935. službeno posvaja 13-godišnju Branku. Za Branka, at the age of 13, was officially adopted by Na poziv mnogih knjižnica, godinama putuje u spent years travelling around various European cit-
vrijeme Nezavisne Države Hrvatske zahvalju- Dr. Kosar. Despite her Jewish background, Branka europske gradove gdje se bavi uspostavljanjem ies, where she established and taught her system
jući statusu dr. Ljube Kosar Branka uspijeva managed to survive the Independent State of Croatia i podučavanjem svog sustava katalogizacije of cataloguing in local libraries. She received many
preživjeti usprkos svom židovskom porijeklu. thanks to Dr. Ljuba Kosar’s status. She enrolled in u lokalnim knjižnicama. Dobitnica je mnogih rewards and accolades in her profession. She died at
Upisuje studij francuskog jezika i književnosti, university to study French language and literature, nagrada i priznanja u svojoj struci. Umrla je u 56. the age of 56 of spinal cancer; her health problems
kao i hrvatsko-srpskog jezika i jugoslavenske as well as Serbo-Croatian language and Yugoslav godini od raka kralježnice – njezini zdravstveni having begun back on Goli Otok.
književnosti. Godine 1941. njezin otac Fritz Weil literature. In 1941, her father Fritz Weil became a problemi počeli su još na Golom otoku.
postaje žrtva ustaških rasnih zakona u kon- victim of the Ustasha race laws in the Jasenovac
centracijskom logoru Jasenovac. Osim Fritza, concentration camp. Along with Fritz, the greater
u Jasenovcu je ubijen najveći dio obitelji Weil. part of Branka’s Weil family were also murdered in
Nakon Drugog svjetskog rata Branka počinje Jasenovac. After World War II, she began working as
raditi kao novinarka. Tako se upoznaje s Ivanom a journalist, making the acquaintance of Ivan Furlan,
Furlanom, također novinarom, upravo pristiglim also a journalist, who had just returned from the
iz partizanske borbe. Ivan 1948. biva uhićen i Partisan struggle. In 1948, Ivan was arrested and
“
Znam bila je mlada devojka, I know there was a young girl,
studentkinja filozofije, vrlo lepa student of philosophy, very
i dobra, zvala se Zora, čini mi se pretty and good. She was called
Stojanović ili Stojković… Ona je Zora, Stojanović, I think, or
umrla. Ja sam pitala da li će sad Stojković… She died. I asked if
njeni doći da je nose kući da je her people would come to take
sahrane. Onda mi ove iz Uprave her home to bury her. From the
kažu – ne može to, njoj nisu Admin they said to me – it’s not
istekle dve godine, ona mora tu possible, her two years are not
odležati pa makar i mrtva. up, she has to serve her time
here, even if she’s dead.
M I LK A P U C I N A
”
Irena Vi ste Partiju izdale You Betrayed the Party

Bekić onda kada je trebalo Just When You Should
da joj pomognete – Have Helped It –
dekonstrukcija the deconstruction
jedne amnezije of an amnesia
Kada je francuski povjesničar i izdavač Pierre When in the mid-eighties the French historian and
Nora polovicom 80-ih godina prošloga stoljeća publisher Pierre Nora began to publish the three
započeo objavljivati višetomnu knjigu Mjesta volumes of his work Realms of Memory (Les Lieux de
pamćenja 1 u akademskim je krugovima pota- Mémoire),1 he set off a discussion among scholarly
knuo raspravu o pamćenju, povijesti i sjećanju. circles regarding memory, history and remembering.
Analizirajući narative, prakse i reprezentacije Analysing narratives, practices and representations
nacionalnog sjećanja u Francuskoj, on ih je of national memory in France, he viewed them as a
sagledao kao povijesno uvjetovan i nestalan discourse that is historically contingent and unsta-
diskurs, a sjećanje i pamćenje kao kulturne ble, and both remembering and memory as cultural
konstrukte koji utječu jedan na drugoga u constructs that affect one another in a dialectic rela-
dijalektičnom odnosu singularnosti i poopćene tionship of singularity and generalised structure. In
strukture. Slično sugerira i Jan Assmann u knjizi his book, Cultural Memory, Jan Assmann suggests
Kultura sjećanja. Sjećanje je za njega kulturna something similar. Memory to him is a cultural prac-
praksa, sfera „vezanosti i obaveznosti koja kako tice, a sphere of “binding obligations that bring order,
u vremenu tako i u socijalnoj dimenziji uspo- meaning, and cohesion both to the temporal and
stavlja poredak, smisao i povezanost, omogu- the social dimensions of the world”, through whose
ćuje rekonstrukciju prošlosti na kojoj počivaju establishment “it is only possible to reconstruct the
pamćenje i povijest.“ 2 Budući da je ostvareno u past on which memory and history depend”.2 Since
području ideologija i modificirano prema dispo- collective memory is often realised within the domain
zicijama društvene moći, kolektivno pamćenje of ideologies, and modified according to the dispo-
konsolidacijsko je tkivo društva i obećanje positions of social power, it serves as the consolidating
vijesnog smisla. Međutim, kao što svaki sustav tissue of society and the promise of historical mean-
sadrži i svoj negativni otisak, odnosno ono što je ing. However, just as every system contains its own
iz njega ispušteno, tako je i kolektivno pamće- negative impression, that is, that which has been
nje prošupljeno mjestima namjernog zaborava. omitted from it, collective memory too contains the
Događa se tako da su u izgradnji nacionalnih gaps where places of intentional forgetfulness lie. It
povijesnih narativa neuklopiva sjećanja, pa bila so happens that in the construction of national histor-
ona krhka i izblijedjela, isključena iz društva ical narratives, those memories that are incongruous,
sustavnom amnezijom ili nemarom. Službena even if fragile and faded, are excluded from society
je povijest, piše Walter Benjamin, zaglušujući by means of systematic amnesia or neglect. Official umjetnika Damira Čergonje Čarlija 2000. i Oko- appeals to is what set in motion the artistic projects,
diskurs pobjednika, ali ušutkani glasovi također history, Walter Benjamin writes, is the deafening liš sjećanja Darka Bavoljka 2016. U trogodišnjem Goli Otok – New Croatian Tourism by the artist and
postoje. Ne bismo smjeli pristati na naslijeđe discourse of the victor, but the silenced voices do je razdoblju Bavoljak organizirao i producirao originator of the idea Damir Čergonja Čarli in 2000,
gluhoće, upozorava nas, jer traume potlačenih also exist. We should not accede to the legacy of privremene komemorativne in situ intervencije and the Environment of Memory by Darko Bavoljak
traže iskupljenje.3 Taj pragmatični zahtjev u deafness, he warns us, because the traumas of the i umjetničke geste sedamdesetak pozvanih in 2016. In a three-year period, Bavoljak organised
ljudskom savezništvu 4 i solidarnost koja nam je oppressed demand redemption.3 This pragmatic umjetnika. Među njima Andreja Kulunčić, u par- and produced temporary commemorative in situ
potrebna polazište su rada Andreje Kulunčić o request in human unity 4 and the solidarity we need, tnerstvu s Bavoljkom, pokreće kompleksni pro- interventions and artistic gestures by some seventy
ženskom stradanju na Golom otoku. are the starting points of Andreja Kulunčić’s work jekt Vi ste Partiju izdale onda kada je trebalo da invited artists. One of them was Andreja Kulunčić,
about the plight of women on Goli Otok. joj pomognete, jedina se fokusirajući na ženski who initiated the complex project, You Betrayed
Goli otok u kolektivnoj je memoriji prisutan kao dio logora s namjerom da obuhvati i učini vidlji- the Party Just When You Should Have Helped It in
simbol komunističke represije, stradanja i mu- Goli Otok is present in the collective memory as a vom ovu složenu problematiku i s krajnjim ciljem collaboration with Bavoljak. This project was the
čeništva. Kada Jan Assman u spomenutoj knjizi symbol of Communist repression, of suffering and da je unese u javni prostor. Ako je Goli otok, only one that sought to focus on the female part of
naglašava ulogu prostora u kulturi sjećanja, martyrdom. When Jan Assman highlights the role kako navodi Renata Jambrešić Kirin, „kiklopov- the camp, with the intention of grasping and making
on kaže da i cijeli krajolici mogu poslužiti kao of space in the culture of memory in the aforemen- ski otok hrvatske političke mitologije“ 7, onda je visible this complex set of issues, and with the end
medij kulturnog pamćenja.5 No da bi se neko tioned book, he states that entire landscapes can ženski zatvor kiklopovski problem te iste politike. goal of introducing it into the public space. If Goli
mjesto označilo spomenikom ili da bi i samo bilo serve as the medium for cultural memory.5 However, Naime, čini se da je muk koji ga prati dio prešu- Otok, as Renata Jambrešić Kirin writes, “is the cy-
semiotizirano, potreban je konsenzus zajed- for some place to be marked by a monument, or be ćivanja ženske povijesti ne samo u okvirima fe- clopean island of the Croatian political mythology”,7
nice o komemorizaciji tog pamćenja. Upravo semioticised itself, there needs to be a consensus nomena golootočnog logora već i socijalističkog then the women’s prison is the cyclopean problem
je konsenzus ono što je izostalo u raspravama in the community on commemorating this memory. jugoslavenskog, i kasnijeg postsocijalističkog of this same policy, as it seems that the silence that
o političkom logoru Goli otok, o čemu govori And consensus is exactly what was absent from the društva. Patrijarhalne raspodjele moći definirale accompanies the women’s prison is part of the same
feministička teoretičarka Renata Jambrešić discussions about the camps for political prisoners su logorsku logistiku, ali ni rijetke suvremene silence that surrounds women’s history, not only
Kirin. Institucionalno zanemarivanje i političke on Goli Otok, an issue explored by the feminist the- interpretacije nisu uspjele izmaknuti tom men- within the framework of the phenomenon of the Goli
manipulacije zapriječile su put njegovoj histo- orist Renata Jambrešić Kirin. Institutional neglect talnom okviru. Stoga je rad Renate Jambrešić Otok prison camp, but also of the Socialist Yugoslavi-
rizaciji, ekspertizama, kao i mogućim spome- and political manipulation have obstructed the path Kirin, jedne od rijetkih, ako ne i jedine autorice an, as well as the subsequent post-socialist, society.
ničkim obilježavanjima. Osim toga, „ova kratka towards the historisation of Goli Otok, professional koja je usmjerila fokus istraživanja na ženska Patriarchal divisions of power defined the logistics
totalitarna epizoda represivne destaljinizacije appraisals, as well as any possible commemoration stradanja, dragocjeni udio u rasvjetljavanju go- of the camps, but the few modern interpretations
(…) nikad nije dobila svoj kaznenopravni epilog, in the form of a monument. Besides, „this brief to- lootočne teme. Polazeći u istraživanju od femi- were equally unable to escape this mental frame-
a njezine žrtve političku rehabilitaciju.“ 6 I ne talitarian episode of repressive destalinisation (…) nističkih teorija ona je pokazala da feministička work. For this reason, the work of Renata Jambrešić
samo to. Potpuno ignoriranje postojanja žen- never got its legal denouement, nor did its victims pozicija, čini se, jedina barata aparatom kojim Kirin as one of the few, if not the sole, author who
skog zatvora u kojemu je obitavalo oko 860 žena, receive political rehabilitation”.6 And this was not all. je moguće zahvatiti i dekonstruirati patrijarhal- focussed her research on the plight of women has
čija se krivnja često sastojala jedino od toga što The complete disregard of the existence of the female ni koncept upisan u strukturu i funkcioniranje a precious stake in the process of shedding light on
su bile srodnice ili supruge optuženih inform- camp, which held a total of around 860 women who logora. Ženski zatvor, upozorila je, nije bio, kako the topic of Goli Otok. Taking feminist theory as the
biroovaca, dodatno je zamračilo ovu opskurnu were often guilty of no more than having been the se predstavlja, dometak ili inačica muškome, starting point for her research, she has shown that
dionicu naše povijesti. Institucionalno zanemari- relatives or wives of accused Cominformists, cast već „izvorno mjesto prakticiranja foucaultov- the feminist position would appear to be the only one
vanje i dnevnopolitičko nadmudrivanje, stihijski an additional shroud over this obscure segment of ske anatomo-politike slamanja i stegovnog equipped with the means to grasp and deconstruct
turizam privatnih koncesionara na Golom otoku Croatian history. Institutional neglect and politicking, discipliniranja tijela“ 8 kao ključnog koncepta the patriarchal concept written into the structure
te, kao u kakvoj grotesknoj transfiguraciji ili lo- uncontrolled tourism by private concession-holders preodgoja. To je uključivalo opresiju i nasilje u and functioning of the camp. The female camp, she
šem vodvilju, proglašavanje Sv. Grgura lovištem on Goli Otok, and, as if in a grotesque transfiguration kojima su žene rekreirale obrasce patrijarhalnog warned, was not affixed to, or a variant of, the male
na jelene daljnje su devastacije napose ženske or a poor vaudevillian performance, the designation ponašanja poput agresivnosti, vrijeđanja i slično, camp, as it is usually represented, but an “original site
povijesti na Arhipelagu Goli. of Sv. Grgur as a deer hunting ground, are merely fur- proizvodeći u tom bolesnom obratu vlastitu for the practice of the Foucauldian anatomo-politics
ther devastations of history on the Goli Archipelago, negaciju sebstva. Raskol s vlastitim licem jer of breaking and disciplining the body”8 as the crucial
Svijest o odgovornosti na koju nas poziva and women’s history in particular. su bile „ i žrtve i dželati“ 9 razlog je šutnji bivših concept of re-education. This also included oppres-
Benjamin pokrenula je umjetničke projekte Goli zatočenica, dodatno suočenih s prešutnim, ali sion and violence in which women recreated the pat-
otok – novi hrvatski turizam idejnog začetnika Awareness of the responsibility which Benjamin zaglušujućim optužbama patrijarhalnog društva: terns of patriarchal behaviour such as aggressiveness,
nakon što su prozvane lošim kćerima Partije, verbal abuse and similar, producing in this sick turn stotina žena. Ostaci kamenih građevina što ih author has strategically taken into her calculations
one su obilježene kao loše majke, loše supruge, their own negation of their selves. The split with mogu vidjeti putnici s brodica, koje su rukama in advance.
loše građanke. Perfidno imputiran, ovaj društve- their own character for having been “both victims i pomoću rudimentarnih alata gradile same
ni teret upisuje se transgeneracijskim kanalima and executioners”9 is the reason behind the silence kažnjenice, ispražnjeni su znakovi nedefinirane The central section of the piece is the marking of the
kao namet kćerima. of the former inmates, who furthermore had to face bivše upotrebe. No kako je umjetnost uvijek location, the women’s side of Goli Otok and Sveti
the tacit, yet deafening accusations of a patriarchal mogla intervenirati na mjestima institucionalnih Grgur, where, decades after the dismantling of the
Zato Andreja Kulunčić okuplja tim stručnjakinja, society: having been declared bad daughters of the puknuća, zahvaljujući svojim fleksibilnim strate- camps, there is nothing to signal the specific history
teoretičarku Renatu Jambrešić Kirin i socijalnu Party, they were labelled as bad mothers, bad wives, gijama, disciplinarnim mimikrijama, aproprijaci- of the place and the institutionalised suffering of
terapeutkinju Dubravku Stijačić, potom plesnu bad citizens. Perfidiously imputed, this social burden jama metoda, alata i tehnika, generiranju novih more than eight hundred women. The remains of the
umjetnicu Zrinku Užbinec, saksofonisticu Jasnu is inscribed through trans-generational channels, as situacija i uporabi, a iznad svega etičkim zahtje- stone buildings visible to travelers on board vessels
Jovićević i vokalisticu Annette Giesrieg te a levy on daughters. vom, tako je i ovdje iznašla kanale za komemo- passing by, which the women convicts themselves
strateški razvija projekt kojim će obuhvatiti kom- riranje izopćenog pamćenja. Radi se pritom o built with their hands and with the aid of rudimentary
pleksnost fenomena kroz nekoliko linija i dionica This is why Andreja Kulunčić brought together a team dvostrukom komemoracijskom ključu. Naj- tools, are the hollowed-out signs of an undefined
rada. One nekada teku usporedno naliježući of female professionals, theorist Renata Jambrešić prije, Andreja Kulunčić postavlja na lokalitete erstwhile use. However, just as art has always been
na različite dijakronije i semantičke slojeve, Kirin, Dubravka Stijačić, a social therapist, dance art- spomen-ploču s osnovnim informacijama o žen- able to intervene in sites of institutional ruptures
obraćajući se različitoj ciljanoj publici, a nekada ist Zrinka Užbinec, saxophonist Jasna Jovićević and skom logoru i njegovom ustroju kao identifika- thanks to its flexible strategies, disciplinary mim-
se susreću i prepleću gradeći nove memorije. vocalist Annette Giesrieg, and strategically developed ciju mjesta. Osim ploče aplicira i QR kod preko icries, appropriations of methods, tools and tech-
Pažljivo promišljeni umjetnički segmenti defini- a project to take in the complexity of the phenome- kojega posjetitelji mogu doći na web stranicu 10 niques, generating of new situations and uses, and
raju mnogostrukost polja, a suptilno osmišljene non through several lines and stages of work. At times i informirati se detaljno o političkom logoru above all, its ethical demand, here too it found the
taktike proces kroz koji će se kristalizirati u tri they flow in parallel, leaning on various diachronies
zahtjeva: kao komemoracijska konfiguracija na and semantic layers, addressing different target
otoku, razrješenje naslijeđenog traumatskog audiences, sometimes meeting and interweaving,
tereta u humanizmu i gradnji boljeg svijeta i rebuilding new memories. Carefully thought-through
pozicioniranje ženskih narativa unutar povijesnih artistic segments define the multiplicity of the field,
konstrukcija. Ako bismo ta razrješenja sagledali while subtly conceived tactics define the process
prostorno, onda bismo mogli govoriti o radu in through which they are to crystallise into three de-
situ i njegovoj deteritorijalizaciji. mands: as a commemorative configuration on the
island, as a resolution of the inherited traumatic
In situ burden in humanism and the building of a better
… a ispred nije bilo ničega osim uništenja world, and the repositioning of women’s narratives
(W. G. Sebald Saturnovi prsteni) within historical constructions. If we were to look at
these resolutions in terms of space, we might speak
Deteritorijalizacija podrazumijeva nove konfigu- of a work in situ and its deterritorialisation.
racije nastale povezivanjem linija rada s nekim
drugim, vanjskim linijama. Na taj se način on ne In situ
prostire samo unutar definiranih granica um- … and ahead lay nothing but destruction
jetničkog polja već zahvaća ispred i iza, i pokraj, (W. G. Sebald The Rings of Saturn)
prije, i poslije, i sada, stvarajući labilnu gradnju
s kojom autorica unaprijed strateški računa. Deterritorialisation implies new configurations that
Središnja dionica rada je obilježavanje lokaliteta, emerge when lines of work are connected to other,
ženske strane Golog otoka i Sv. Grgura na kojima, external lines. This way, it does not extend only as far
desetljećima nakon raspuštanja logora, ne po- as the defined limits of the artistic field, but reaches
stoji ništa što bi signaliziralo specifičnu povijest in front and behind, and beside, before and after and
mjesta i institucionaliziranu patnju više od osam now, creating an unsteady construction which the
Arhipelaga Goli, kao i o samom projektu. Web channels for commemorating an excommunicated prolazeći punktovima rekreira logor, pretvara It is a series of traces that, by transmitting intimate
stranica je baza za istraživanje, arhiva stručnih i memory. The commemorative key is twofold. First, desertoovsko mjesto u prostor11. Primjerice, feeling and thought, inscribe affect into space. The
znanstvenih tekstova i, što je najvažnije, sadrža- Andreja Kulunčić installs a memorial plaque at the naiđe li na riječi Vere Winter „Kamen smo nosile matter at hand is not therefore a monumental rep-
va arhivu svjedočanstava bivših logorašica. Valja site, with the basic information about the women’s iz mora na vrh brda. Kada je hrpa na vrhu bila resentation of a heroic gesture or tragic yet glorious
naglasiti da ploča nije umjetnička plastika već je camp and its organisation, as an identification of dovoljno velika, nosile bi kamenje nazad do downfall of a people, but a process in which a space
dio umjetničke strategije. Kao metafunkcionalni the places. In addition to the plaque, she also adds mora,“ on/ona jednim pogledom može obuhva- acquired its definition, and a natural landscape be-
objekt, ona je materijalni posrednik informacije a QR code which directs visitors to the website 10 titi udaljenost, osjetiti oštar kamen pod nogama, came a mental configuration. At the same time, this
i medij putem kojega potisnuti povijesni narativ where they can find additional information on the zapuhe bure među rebrima ili sunce od kojeg alignment with memory destabilises it, showing its
postaje dijelom kolektivnoga. Isto tako ona je Goli Archipelago political camp, as well as on the gori tjeme. Takva identifikacija ne kalkulira ka- fragility, the ruptures in the steadfast geography. By
medij subjektivacije logorašica, mjesto njihovog project itself. The website is the home base for re- tarzom već se radi o intimnom dijalogu, susretu traversing between the points, each visitor recre-
ponovnog upisivanja u javni prostor. Tek postav- search, an archive of scholarly and scientific writing jedan na jedan, izravnom pozivu na pamćenje. ates the camp, turning the deCerteauist place into
ljanjem ove ploče, koja slijedi kodove konvenci- and, most importantly, contains an archive of former Verbalni preostaci osporenih priča nalaze svoje space.11 For instance, if they were to come across the
onalnog komemorativnog formata, one dobivaju inmates’ testimonies. It ought to be stressed that the oprostorenje u antispomeniku jer nisu predvi- words of Vera Winter, “We carried the stone from
svoje javno lice, a društvo katarzično mjesto. plaque is not an artistic installation, but part of an đeni da tvore reprezentativnu sliku i ne stvaraju the sea to the top of the hill. When the heap on the
To je ujedno dio aktivističke agende autorice artistic strategy. As a meta-functional object, it is the cjelinu već otkrivaju manjak. top was large enough, we’d carry the rocks back to
i predstavlja njezin otvoreni aktivizam. Nije material mediator of information and the medium the sea”, they can cast a single glance to grasp the
suvišno naglasiti da se radi o prvom, i jedinom, through which the repressed historical narrative Postoji određena uzajamnost između krajolika distance, feel the sharp rock underneath their feet,
obilježavanju mjesta nakon šezdeset godina. becomes part of the collective narrative. Likewise, it i kažnjenica. Svakodnevnim radom, nošenjem i feel the gusts of the Bura wind on their ribs, or the
is a medium of the inmates’ subjectivation, the site premještanjem kamena, one su iznova proi- sun burning their pates. Such identification does not
Istovremeno, zajedno s Renatom Jambrešić of their re-inscription into the public space. It is only zvodile krajolik, a uzvratno, tim radom bivale calculate with catharsis, but is an intimate dialogue,
Kirin i Dubravkom Stijačić, započinje kreirati with the installation of this plaque, which follows the oslabljene, umanjivane, depersonalizirane. a one-on-one meeting, a direct call to remembering.
Afektivnu mapu preživljavanja koja će diskret- codes of the conventional commemorative format, Svedene na muk, na ne-glas,12 ne-subjekt, one The verbal remains of the contested stories find their
no i direktno markirati prostor logora. Radi se that they acquire their public faces, and the society su hipertrofirale u tijela koja su trebala biti spatialisation in an anti-monument, as they were not
o svjedočanstvima kažnjenica koja nam, kao gains a place of catharsis. It is at once an element of disciplinirana. Riječ je o paradoksu jer su ta meant to form a representative image, and do not
tragovi golootočnog života, pomažu da rekon- the author’s artistic agenda, representing her open hiperbolizirana tijela fizički oslabljena, izmu- make up a whole, but show up a lack.
struiramo tu svakodnevicu. Autorice će stvoriti activism. It bears highlighting that this is the first and čena oskudicom hrane i vode, nezaštićena od
mrežu sjećanja definirajući desetak punktova sole marking of this site, sixty years on. vremenskih uvjeta, fizički i psihički maltretirana, There is a certain reciprocity between the landscape
u prostoru koje će materijalno i trajno obilje- izložena torturi, unakažena – ošišana do glave and the convicts. With their everyday labour, the
žiti. Primjerice, neka će od njih, kao što to već In parallel, together with Renata Jambrešić Kirin and s ispuštenim pramenovima kose, u prevelikoj carrying and moving of stones, they re-produced
jest svjedočanstvo Vere Winter, biti isklesana u Dubravka Stijačić, Andreja Kulunčić begins to create ili premalenoj odjeći i rasparenoj obući. Kao the landscape, while in return, being weakened by
kamenu rukopisom nasljednice – kćeri, unuke ili an Affective Map of Survival, which will discreetly and u nekoj obrnutoj karnevalizaciji koja ne izvrće the labour, diminished, depersonalised. Reduced
nećakinje kazivačice. directly mark the space of the camp. It consists of ruglu vlast već se dodatno izruguje slabima, ona to silence, to voicelessness,12 to a non-subject, they
female convicts’ testimonies as traces of Goli Otok su postala znak, amblem i locus jednostrano hypertrophied into bodies that had to be disciplined.
Ova suptilna intervencija pokriva i razvija mnogo life that help us reconstruct that everyday. The au- proklamirane izdaje.13 It is a paradox, as these hyperbolised bodies were
značenjskih slojeva i uspostavljenih odnosa. To thors will create a n etwork of memories by defining physically weakened, raddled by the scarcity of food
je niz tragova koji prenoseći intimno osjećanje i around ten points in space that will be materially Izvedbe triju umjetnica, plesačice suvremenog and water, unsheltered from the elements, physically
misao upisuju afekt u prostor. Nije, dakle, riječ o and permanently marked. For instance, some will plesa, instrumentalistice i vokalistice, kroz me- and psychologically harassed, exposed to torture,
monumentalnoj reprezentaciji junačke geste ili be carved in stone in the handwriting of a female dij pokreta, glasa i zvuka transfiguriraju istovre- disfigured – hair cropped to the scalp omitting the
tragične, a slavne propasti naroda, već o proce- heir – a daughter, granddaughter or neice, informants menu sažetost i hiperbolizaciju tijela u golootoč- odd tuft, in clothes that were too large or too small,
su u kojemu je prostor dobio svoju definiciju, a in this project – as has already been done with Vera nom logoru. U solo i zajedničkim performansima and mismatched shoes. As in a sort of reverse carni-
prirodni krajolik postao mentalna konfiguracija. Winter’s testimony. in situ rekreiraju mukotrpnu svakodnevicu valisation, where those who are exposed to mockery
Pritom ga poravnanje sa sjećanjem destabilizira, kažnjenica. Pritom se ne radi o pokušaju imitira- are not those in power, but where the mocking of the
pokazuje njegovu fragilnost, rupture u posto- This subtle intervention covers and develops a num- nja ili ilustriranja, rekreiranju patnje bez ostatka. weak is redoubled, they became a sign, an emblem
janoj geografiji. Svaki posjetitelj/posjetiteljica ber of layers of meaning and established relations. Suprotno, radi se o ritualu prijelaza, prevođenju and a locus of a one-sidedly proclaimed betrayal.13
instalacije denotiraju prostor otoka. Pritom se emerges in the bending of the movements, in the
ne radi o pukom transponiraju ili prikazu izvedbi relation between sounds and voices, the previous
s lokaliteta već o kreiranju heterogenog mjesta and current existences.
koje višestruko prelama konkretne prostore i
vremenske segmente. Prostor i vrijeme golo- Reterritorialisation
otočnog zatvora, prostor i vrijeme izvedbi te Memory needs places and tends toward
ovdje i sada publike međusobno se uvlače jedni spatialisation.14
u druge, i jedni kroz druge, i zrcale u vlastitoj
raspršenosti. Autorica gradi izložbu kao mjesto The author displays the video recordings of the per-
nove imaginacije uspostavljajući je na različi- formances in an exhibition space, where they denote
tim medijskim i komunikacijskim obradama the space of the island as parts of the exhibition
materijala: video, crtež, dokumentacija, zvuk… installation. This is not a mere transposal or pre-
Radi se o oblicima relacija i različitim materijal- sentation of the performances from the sites, but
nostima, izoštravanju i zamućivanju fokusa sad the creation of a heterogeneous place that creates
na prenošenju priče, sad na krhkosti sjećanja, multiple refractions of the concrete spaces and time
sad na tijelu kao mediju ili stvarnom tijelu segments. The space and time of the Goli Otok prison,
izmučenih žena i tako dalje. Svoje crteže ženskih the space and time of the performances, and the here
figura u pokretu u velikim formatima postavlja u and now of the audience draw into one another, and
prostor kao namjernu distrakciju koja drukčijom through one another, reflecting each other in their
prostornošću – dvodimenzionalnost u odnosu own dissipation. The author constructs the exhibition
na trodimenzionalnost, simultanost prikazanog as a site of a new imagination, establishing it upon
pokreta u odnosu na dijakroniju kretnje - preki- various forms of media and the communicative pro-
da prostorni i vremenski kontinuitet. Osim toga cessing of materials: video, drawing, documentation,
oni su materijalizacija njezinog osobnog odnosa sound… These are forms of relations and different
spram materijala, crtež rukom, prenošenje materialities, the sharpening and blurring of focus,
pokreta, pamćenje tijela. moving between the recounting of stories, the fra-
gility of memories, the body as a medium or the
Ako sve ove segmente sagledamo kao prošire- real body of the tormented women and so on. She
nje u smislu kako ga definira Jacques Derrida displays her large format drawings of female figures
patnje u druge kodove i vrijeme, pokušaju tijela Through the medium of movement, voice and sound, u Gramatologiji, na što nas upućuje Brandon in motion in the space as a deliberate distraction
da zapamti. To je strukturni zahvat. Služeći se the performances by the three artists, the modern LaBelle, onda ga možemo vidjeti kao kritički do- whose different spatiality – its two-dimensionality
sintaksom temeljenom na improvizaciji, svaka dancer, the instrumentalist and the vocalist, trans- datak. Ono dopunjuje „izvorni“ objekt, „izvornu“ in relation to three-dimensionality, the simultaneity
unutar svojeg umjetničkog jezika transformira, figure the simultaneous condensation and hyperboli- radnju ili pojavu nekom vrstom prekida kojom of the depicted movements in relation to the dia-
delocira i reteritorijalizira prostorno okruženje sation of the body in the Goli Otok camp. In both solo „prazni naizgled stabilnu prisutnost onoga što chrony of motion – interrupts the spatial and tem-
s obzirom na to da prostor i nije završen već and collective performances in situ, they recreate the zamišljamo potpunim, cijelim ili nepromjenji- poral continuity. In addition, the drawings are the
nastaje u ugibanju kretnji, u odnosu zvukova i gruelling daily life of the convicts, not in an effort to vim.“ LaBellovim riječima, dodatak „čini izvornik materialisation of her personal relation towards the
glasova, bivših i trenutnih postojanja. imitate or illustrate, to recreate suffering in full. On dostupnim sempliranju, prisvajanju, komenti- material, drawing by hand, transferring movement,
the contrary, this is a rite of passage, a translation ranju.“ 16 U tom kontekstu, izložba, ali i čitav rad the memory of the body.
Reteritorijalizacija of suffering into other codes and another time, an predstavlja rastvorenu strukturu koja sudjeluje
Pamćenju su potrebna mjesta, ono tendira attempt of the body to remember. It is a structural u novim/pojedinačnim/zajedničkim konstrukci- If we were to view all these segments, as Brandon
ka uprostorenju.14 intervention. Using the syntax based on improvisa- jama pamćenja i sama se u tome konstruira. To LaBelle instructs us,15 as an expansion in the sense
tion, each within their own artistic idiom, it trans- je deteritorijalizacija o kojoj govore Deleuze i defined by Jacques Derrida in Grammatology, then
Videosnimke izvedbi autorica postavlja u forms, de-locates and reterritorialises the spatial Guattari. we can see them as a critical addition.
izložbeni prostor gdje kao dijelovi izložbene surroundings, since space itself is unfinished, but
K adrovi iz videa / Video stills Goli otok, Sveti Grgur

Izlaganje rada Vi ste Partiju izdale onda kada It complements the “original” object, the “original” ga traži u stalno obnavljajućoj interferenciji os- Contemporary social theories have taught us that
je trebalo da joj pomognete također ima jasnu activity or phenomenon, with a sort of interruption, porenih sjećanja i publike koja posjećuje mjesto. repressed memories and their lacunae play a distinct
agendu u diseminaciji teme, što je dio umjetnič- with which it “empties the seemingly stable presence Antispomenik tako otvara proces decentralizira- role in establishing collective historical imaginaries.
ke strategije autorice. of what we imagine to be complete, whole, or un- nog kolektivnog pamćenja kao jednog od filtera “Working on memory”, writes Bojana Pejić, “depends
changeable”. In LaBelle’s words, the addition “makes prihvaćanja prošlosti. U tom smislu, aktivno on class, sex/gender and relations of power, which
Ona namjerno izabire Povijesni muzej kao mjesto the original available to sampling, appropriating, potiče rasprave oko toga kako se sjećamo, čega determine what is remembered (or forgotten), who
prvoga izlaganja ne bi li simbolički, ali i stvarno commenting”.16 In this context, the exhibition, as well se sjećamo i koja je uloga prošlosti u budućno- remembers and to what end”. “In other words”, she
unijela izostali ženski glas u instituciju domi- as the work itself, represent a dissolved structure that sti.18 Pamćenje traga za spašavanjem prošlog da says, “the work on constructing a collective memory/
nantne povijesti. Korištenje kulturnog kapitala participates in new/individual/collective construc- bi služilo sadašnjosti i budućnosti, kaže Jacques amnesia always involves a certain politics of mem-
izložbenih institucija, objavljivanje u javnim tions of memory and thus constructs itself in turn. Le Goff. „Činimo tako“, poručuje, „da kolektivno ory”.17 Therefore, Andreja Kulunčić embarks on a
medijima, razgovori, okrugli stol i publikacije This is the deterritorialisation of Deleuze and Guattari. pamćenje služi oslobođenju, a ne porobljavanju deconstruction of an amnesia in order to open a
dio su pomno osmišljene javne kampanje pri ljudi.“ 19 Stoga je i rad Andreje Kulunčić, Renate passage for remembrance. In so doing, she makes
čemu je autorica najprije „pripremila“ javni pro- Exhibiting the work, You Betrayed the Party Just Jambrešić Kirin i Dubravke Stijačić ne samo use of a subversive form of commemoration – the
stor objavom na javnim portalima o postavljanju When You Should Have Helped It, also has a clear korekcija kolektivnog pamćenja ili doprinos anti-monument, which does not impose a memory,
spomen-ploče. Ovo je važna sastavnica cijelog agenda in disseminating a topic, which is part of antispomeničkim praksama, već i aktivno na- but seeks it in a constantly renewing interference
projekta jer djeluje u smjeru unošenja teme koja the author’s artistic strategy. She has deliberately stojanje u transgresiji dobra. Pri tome pokazuju of contested memories and the audience visiting a
je bila u potpunosti potisnuta u javni prostor i chosen the History Museum as the site of its first da su solidarnost, izdržljivost i suosjećanje koje place. An anti-monument thus opens the process
otvaranje rasprave o njoj. Jednako tako, javna display, in order to symbolically, as well as effec- baštinimo iz ženske kulture sjećanja, one vrijed- of a decentralised collective memory as one of the
predavanja i radionice Andreje Kulunčić, Renate tively, introduce the missing women’s voice into an nosti koje to omogućuju. filters for the acceptance of the past. In this sense,
Jambrešić Kirin i Dubravke Stijačić – od kojih je institution of dominant history. Using the cultural it actively encourages discussions about how we
svaka usmjerena specifičnoj publici, a govore o capital of the institutions whose primary function is remember, what we remember and what is the role
društvenom angažmanu u umjetnosti i komemo- to exhibit, publishing in public media, discussions, a of the past in the future.18 Memory seeks to salvage
racijskoj formi antispomenika, poziciji ženskih round-table and publications are part of a carefully the past, in order for the past to serve the present and
narativa u represivnim politikama i dominantnim conceived public campaign, for which the author the future, according to Jacques Le Goff. “We must
povijesnim narativima te nošenju s traumatskim first laid the groundwork in the public space by an- work”, he urges, “so that collective memory may be
naslijeđem – zagovaraju pronađeni humani- nouncing the installation of the memorial plaque on in the service of liberation and not the servitude of
zam, solidarnost i skrbnost u svjedočenjima public websites. This is an important component of men”.19 For this reason, Andreja Kulunčić’s, Renata
golootočnih kažnjenica kao nužne vrijednosti u the entire project, as it works to introduce a topic Jambrešić Kirin’s and Dubravka Stijačić’s work is not
prevladavanju zla i održavanju boljeg svijeta. that used to be entirely suppressed into the public merely a correction to collective memory or a con-
space and open a discussion about it. Equally, the tribution to anti-monument practice, but an active
Suvremene društvene teorije naučile su nas da public lectures and workshops by Andreja Kulunčić, effort on the transgression of the good. With it they
potisnuta sjećanja i njihova prazna mjesta imaju Renata Jambrešić Kirin i Dubravka Stijačić – each of show that the solidarity, resilience and compassion
distinktivnu ulogu u uspostavljanju kolektiv- which is focussed on a specific audience, and which we inherit from women’s culture of memory are the
nih povijesnih imaginarija. „Rad na memoriji“, all discuss the social engagement in the arts and the values that allow it.
piše Bojana Pejić, „ovisi od klase, spola/roda commemorative form of an anti-monument, the
i odnosa moći, koji određuje šta se pamti position of women’s narratives in repressive policies
(ili zaboravlja), tko pamti, i s kojom namje- and dominant historical narratives, and dealing with
rom. Drugim riječima, posao oko konstrukcije the legacy of trauma – champion the humanism, sol-
kolektivne memorije/amnezije uvijek uključuje idarity, and care found in the testimonies of the Goli
određenu politiku sjećanja“.17 Stoga Andreja Otok convicts as the essential values in overcoming
Kulunčić kreće u dekonstrukciju jedne amnezije evil and maintaining a better world.
da bi otvorila prolaz pamćenju. Pri tome poseže
za subverzivnom komemoracijskom formom –
antispomenikom koji ne nameće sjećanje, već
1 — Les Lieux de memorie (1984. – 1993.) 1 — Les Lieux de memorie (1984 – 1993)
2 — Jan Assman, Kulturno pamćenje. Pismo, sjećanje i politički 2 — Jan Assman, Cultural Memory and Early Civilization: Writing,
identitet u ranim visokim kulturama, Zenica, 2005. str. 298. Remembrance, and Political Imagination, Cambridge University
Press, 2011, p. 233
3 — Prema: Shoshana Felman, Pravno nesvjesno: Suđenja i traume
u dvadesetom stoljeću, Zagreb, 2007. 3 — According to: Shoshana Felman, The Juridical Unconscious:
Trials and Traumas in the Twentieth Century, Cambridge, Massac-
4 — Ibid. hussets, 2002.
5 — J. Assman, Kulturno pamćenje. Pismo, sjećanje i politički 4 — Ibid.

identitet u ranim visokim kulturama, str. 70.
5 — J. Assman, Cultural Memory and Early Civilization: Writing,
6 — Renata Jambrešić Kirin, Izdajice su uvijek ženskog roda, 231- Remembrance, and Political Imagination, p. 44
242, u: Up&Underground, 17-18 (2010.), str. 232.
6 — Renata Jambrešić Kirin, Traitors are Always of the Feminine
7 — R. Jambrešić Kirin, Dom i svijet: o ženskoj kulturi pamćenja, Gender [Izdajice su uvijek ženskog roda], in: Up&Underground,
Zagreb, 2008., str. 81. 17-18 (2010) p. 232. [Translator’s note: the Croatian language has
gendered nouns; „traitor“ is coded as feminine]
8 — R. Jambrešić Kirin, Izdajice su uvijek ženskog roda, 231-242, u:
Up&Underground, 17-18 (2010), str. 237. 7 — Renata Jambrešić Kirin, Dom i svijet: o ženskoj kulturi
pamćenja [The Home and the World: of the Female Culture of
9 — Sjećanje Rose Dragović-Gašpar Remembrance], Zagreb, 2008. p. 81
10 — http://www.zene-arhipelag-goli.info/ 8 — Renata Jambrešić Kirin, Traitors are Always of the Feminine

Gender, 231-242, in: Up&Underground, 17-18 (2010), p. 237
11 — U knjizi Invencije svakodnevice francuski teoretičar Michel de
Certeau razlikuje mjesto od prostora. Mjesto je “trenutni raspored 9 — Rosa Dragović-Gašpar’s recollection
položaja” i podrazumijeva stabilnost, a prostor je učinak proizve-
den radnjama koje ga određuju, tj. prakticirano mjesto. Prostor je 10 — http://www.zene-arhipelag-goli.info/
prema mjestu kao govor naspram jeziku.
Vidi: Michel de Certeau, Invencija svakodnevice, Zagreb, 2003., 11 — In his The Practice of Everyday Life, the French theorist Michel
str. 183. – 185. de Certeau distinguishes place from space. A place is a “an in-
stantaneous configuration of positions” and implies stability, while
12 — Jedna od svjedokinja kaže: „Neko sa strane rekao bi da ovde “space is the effect produced by the operations that orient it”, that
niko ne stanuje ili su stanari nemi, ili bez jezika.“ is, a practiced place. Space is related to place much like speech is
to language. See: Michel de Certeau, The Practice of Everyday Life,
13 — I izdaja je pritom uvećana jer se dogodila baš onda kada je University of California Press, 1988, pp. 183-185
Partija – majka, zaštitnica, sestra – najviše trebala pomoć.
12 — One of the witnesses says: “Someone on the sidelines might
14 — J. Assman. Kulturno pamćenje. Pismo, sjećanje i politički say that nobody lived here, or that the residents are mute, or
identitet u ranim visokim kulturama, str. 45. tongueless”.
15 — Brandon LaBelle, Predavanje o prostoru koji dijelimo, u: Eve- 13 — The betrayal itself is too thus magnified, as it happened
lina Turković, Slika od zvuka: zvuk u vizualnoj umjetnosti, Zagreb, just when the party – the mother, the protector, the sister – most
2018., str. 55. needed help.
16 — Ibid. 14 — J. Assman. Cultural Memory and Early Civilization: Writing,

Remembrance, and Political Imagination, Cambridge University
17 — Bojana Pejić, Spomenik Zoranu Đinđiću: Kultura sećanja i Press, 2011, p. 25
politika zaborava, VREME 866, 9. 8. 2007.
15 — Brandon LaBelle, Lecture on our shared space, in: Evelina
18 — Todor Kuljić, Antispomenik, str. 333.-365., u: Tanatopolitika, Turković, Slika od zvuka: zvuk u vizualnoj umjetnosti [Image of
Beograd, 2014. Sound: Sound in Visual Art], Zagreb, 2018, p. 55
19 — Žak Le Gof (Jacques Le Goff) Pamćenje, u: Kolektivno sećanje 16 — Ibid.

i politike pamćenja (ur. Michal Sladeček et al.), Beograd: 2015.,
str. 125. 17 — Bojana Pejić, Spomenik Zoranu Đinđiću: Kultura sećanja i po-
litika zaborava [Monument to Zoran Đinđić: the Culture of Memory
and the Policy of Forgetfulness], VREME 866, 9 August 2007
18 — Todor Kuljić, Antispomenik, pp. 333-365, in: Tanatopolitika,

Belgrade, 2014
19 — Jacques Le Goff Pamćenje, u: Kolektivno sećanje i politike

pamćenja (ur. Michal Sladeček et al.), Beograd: 2015. Str. 125
“
Bilo je dana kada There were days
smo dobijale po četiri when we got just
gutljaja vode pred four sips of water
spavanje. Brojiš: jedan, before going to sleep
dva, tri, četiri… kada You count: one, two,
pijem vodu ja i sada three, four… even
brojim. now I count when I’m
drinking water.
J EL K A ZR N I Ć
”
Biografije Andreja Kulunčić
autorica projekta project author
Andreja Kulunčić, vizualna umjetnica, u svojim In her work, Andreja Kulunčić, visual artist, interro-
radovima propituje aspekte društvenih odnosa gates various aspects of social relations and prac-
i društvene prakse zanimajući se za društveno tice. Her interests lie in socially engaged topics,
angažirane teme, suočavanje s različitim pu- confronting various audiences and cooperation
blikama i suradnju na kolektivnim projektima. on collective projects. Setting up her own inter-
Uspostavlja vlastite interdisciplinarne mreže disciplinary network, viewing artistic practice as
doživljavajući umjetnički rad kao istraživanje, research, a process of cooperation, co-creation
proces suradnje, sukreiranja i samoorganizacije. and self-organisation. She often demands active
Često zahtijeva od publike aktivnu suradnju i cooperation on the part of her audience, asking
“dovršavanje” djela. Dio procesa u nastajanju it to “complete” the work. Part of the process of
rada često je multidisciplinarnost, u kojoj se creating the work is often multidisciplinary, with
specifične umjetničke vještine nadopunjuju artistic skills complemented by skills from other
komplementarnim vještinama iz drugih pod- fields. She lives in Zagreb, where she lectures at
ručja. Živi u Zagrebu, gdje predaje na Akademiji the Academy of Fine Arts, in the Department of
likovnih umjetnosti na smjeru Novi mediji. Njezin New Media. Her work has been shown in interna-
je rad predstavljen na međunarodnim izložbama tional exhibitions, including: Documenta11 (Kassel),
uključujući Documenta11 (Kassel), Manifesta4 Manifesta4 (Frankfurt/Main), 8th Istanbul Biennial
(Frankfurt/Main), 8. Istanbul Biennial (Istanbul), (Istanbul), Liverpool Biennial04 (Liverpool), 3.Tirana
Liverpool Biennial04 (Liverpool), 3. Tirana Biennial (Tirana), 10. Triennale-India (New Delhi),
Biennial (Tirana), 10. Trijenale Indije (New Delhi) and in collective exhibitions in museums including:
te na skupnim izložbama u muzejima uključu- Whitney Museum of American Art (New York), PS1
jući Whitney Museum of American Art (New (New York), Museum MUAC (Mexico City), Palais
York), PS1 (New York), Museum MUAC (Mexico de Tokyo (Pariz), Garage Museum (Moskva), Kumu
City), Palais de Tokyo (Pariz), Garage Museum Art Museum (Tallin), MSU (Zagreb), MMSU (Rijeka),
(Moskva), Kumu Art Museum (Tallin), MSU Lentos Kunstmuseum (Linz), Museum of Modern
(Zagreb), MMSU (Rijeka), Lentos Kunstmuseum Art (Saint-Etienne), MSU (Ljubljana), MSUV (Novi
(Linz), Museum of Modern Art (Saint-Etienne), Sad), MSU (Beograd), Ludwig Museum (Budimpešta).
MSU (Ljubljana), MSUV (Novi Sad), MSU (Beo- —
Biographies
grad), Ludwig Museum (Budimpešta). E-mail: andreja.kuluncic@zg.t-com.hr
— Website: www.andreja.org
E-mail: andreja.kuluncic@zg.t-com.hr
Website: www.andreja.org
Dubravka Stijačić Renata Jambrešić Kirin
suradnica na projektu collaborator on the project suradnica na projektu collaborator on the project
Dubravka Stijačić, prof. defektolog-socijalni Dubravka Stijačić is a professor of defectology and Renata Jambrešić Kirin djelatnica je Instituta Renata Jambrešić Kirin works at the Institute of Eth-
pedagog i psihoterapeut realitetne terapije. Dugi social pedagogy and reality therapy, and a trained za etnologiju i folkloristiku te suradnica Centra nology and Folklore Research and is an associate of
niz godina radila je u Klinici za psihijatriju Vrapče psychotherapist. She has worked in the Vrapče za ženske studije u Zagrebu. Radove s temom the Centre for Women’s Studies in Zagreb. She has
kao voditeljica Odjela za psihosocijalne metode Psychiatric Hospital for many years, as head of the ženske ratne književnosti, diskursa svjedočenja, published papers on women’s wartime literature,
liječenja i radnu terapiju koji je zadužen za pro- Psychosocial Treatment Methods and Occupational socijalističke kulture pamćenja i rodne povijesti testimonial discourse, the socialist culture of mem-
vođenje psihijatrijske rehabilitacije / psihosoci- Therapy Department, charged with carrying out psy- u Hrvatskoj objavljivala je u hrvatskim i me- ory and gender history in Croatia, both in Croatian
jalnog tretmana za sve pacijente Klinike Vrapče. chiatric rehabilitation / psychosocial treatment for đunarodnim znanstvenim časopisima. Kritike, and international academic journals. She has also
Trenutačno vodi grupnu i individualnu psihote- all patients at the Vrapče Hospital. She is currently eseje i kratke proze objavljivala je u časopisima published reviews, essays and short prose pieces
rapiju i treninge socijalnih vještina te radi kao in charge of group and individual psychotherapy Quorum, Riječi, Treća, Tema, Forum i Književna in literary journals (Quorum, Riječi, Treća, Tema,
edukatorica i supervizorica realitetne terapije. and social skills training, and is also active as an republika te na Trećem programu Hrvatskog Forum and Književna republika), and the Croatian
educator and reality therapy supervisor. radija. Autorica je knjige Dom i svijet: o ženskoj Radio Three. She is the author of a book, Dom i
kulturi pamćenja (2008.) i kourednica mnogih svijet: o ženskoj kulturi pamćenja (The Home and
zbornika radova. U Koricama od kamfora (2015.) the World: of the Female Culture of Remembrance,
kritički promišlja današnje društvo, miješa žan- 2008), and co-editor of numerous collections of
rove i stilove, dokumentarne izvore i fikciju. papers. In her Korice od Kamfora (Camphor Covers,
2015), she critically reflects on contemporary society,
combining genres and styles, documentary sources
and fiction.
Produkcija istraživačko- Production of artistic postav izložbe exhibition set-up

Povijesni i pomorski muzej Istre, Pula, 2021. The Historical and Maritime Museum of Istria, Pula, 2021
aktivističkog umjetničkog activist-research project Muzej Moderne i suvremene umjetnosti, Rijeka, 2021. The Museum of Modern and Contemporary Art, Rijeka, 2021
projekta “Vi ste Partiju “You Betrayed the Party kustosica

Irena Bekić
curator
Irena Bekić
izdale onda kada je trebalo Just When You Should postav exhibition design
da joj pomognete“ Have Helped It” Andreja Kulunčić

asistentica postava
Andreja Kulunčić
assistant exhibition designer
Negra Nigoević Negra Nigoević
grafički dizajn graphic design
autorica author obrada zvuka i tehnički postav sound design and technical set-up
Andreja Kulunčić, vizualna umjetnica Andreja Kulunčić, visual artist Hrvoje Nikšić Hrvoje Nikšić
u suradnji s in collaboration with Zahvaljujemo Ivanu Marušiću Klifu We are grateful to Ivan Marušić Klif for
Renata Jambrešić Kirin, antropologinja Renata Jambrešić Kirin, anthropologist na pomoći oko tehničkog postava his assistance on the technical set-up
Dubravka Stijačić, psihoterapeutica Dubravka Stijačić, psychotherapist
performativni dijelovi projekta performative parts of the project produkcija projekta production
u suradnji s in collaboration with udruga Goli otok „Ante Zemljar“ / Darko Bavoljak udruga Goli otok „Ante Zemljar“ / Darko Bavoljak
Zrinka Užbinec, plesna umjetnica i koreografkinja Zrinka Užbinec, dance artist and choreographer udruga MAPA / Maja Marković udruga MAPA / Maja Marković
Jasna Jovićević, saksofonistica i kompozitorica Jasna Jovićević, saxophonist and composer organizacija projekta project organizer
Annette Giesriegl, vokalistica i improvizatorica Annette Giesriegl, vocalist and improviser Darko Bavoljak Darko Bavoljak
fotografija photo koordinatorica projekta project coordination
Darko Bavoljak, Ivo Martinović, Andreja Kulunčić Darko Bavoljak, Ivo Martinović, Andreja Kulunčić Maja Marković Maja Marković
snimanje video
Darko Bavoljak, Ivo Martinović Darko Bavoljak, Ivo Martinović Goli otok, Sveti Grgur, 2019. – 2021. Goli otok, Sveti Grgur, 2019 – 2021
montaža video editing www.zene-arhipelag-goli.info www.zene-arhipelag-goli.info
Maida Srabović Maida Srabović
tehnička izvedba postavljanja tabli technical work on setting up the informative
na lokalitetima signs on the sites
Silvester Ninić, Darko Bavoljak, Ivo Martinović, Silvester Ninić, Darko Bavoljak, Ivo Martinović, projekt sufinancira the project is supported by
Andreja Kulunčić Andreja Kulunčić
Grafički dizajn table Signs graphically designed by
Igor Kuduz Igor Kuduz
klesanje svjedočanstva na lokalitetu Carving the testimonies on the site
Silvester Ninić Silvester Ninić
Zaklada Kultura nova EPK Rijeka2020 Ministarstvo kulture Grad Zagreb
web stranice projekta project web-site
urednice editors
Maja Marković, Renata Jambrešić Kirin, Maja Marković, Renata Jambrešić Kirin,
Na ustupljenim materijalima, podršci i sudjelovanju We wish to thank Vesna Domany Hardy, the daughter
web dizajn design
na projektu zahvaljujemo Vesni Domany Hardy, kćeri of Eva Grlić, Darko Winter and Nina Winter, the son
Ana Labudović Ana Labudović Eve Grlić, Darku Winteru i Nini Winter, sinu i unuci and granddaughter of Vera Winter, and Ana Lebl, Ženi
razvoj web stranice web development Vere Winter te Ani Lebl, nećakinji Ženi Lebl. Lebl's niece, for the materials provided, their support
Ana Labudović, Dejan Kutić Ana Labudović, Dejan Kutić and participation in the project.
Impresum Impressum
Publikacija „Vi ste Partiju izdale onda kada je trebalo The publication “You Betrayed the Party Just When
da joj pomognete“ dio je istoimenog istraživačko-akti- You Should Have Helped It“, is a part of Andreja Kulun-
vističkog umjetničkog projekta Andreje Kulunčić u su- čić's artistic activist-research project in collaboration
radnji s Renatom Jambrešić Kirin i Dubravkom Stijačić with Renata Jambrešić Kirin and Dubravka Stijačić
za izdavača publisher
Andreja Kulunčić za MAPU Andreja Kulunčić, MAPA
Türkan Karakurt za Friedrich-Ebert-Stiftung, Türkan Karakurt, Friedrich-Ebert-Stiftung,
regionalni ured za Hrvatsku i Sloveniju regional office for Croatia and Slovenia
autorica author
urednice editors
Irena Bekić, Renata Jambrešić Kirin, Andreja Kulunčić Irena Bekić, Renata Jambrešić Kirin, Andreja Kulunčić
tekstovi texts
Renata Jambrešić Kirin, Irena Bekić Renata Jambrešić Kirin, Irena Bekić
Lektura i korektura hrvatskog teksta Croatian copy editing and proofreading
Marija Bošnjak, Živa Škrgulja Marija Bošnjak, Živa Škrgulja
Prijevod translation
Hana Dvornik, Graham McMaster Hana Dvornik, Graham McMaster
Lektura i korektura engleskog teksta English copy editing and proofreading
Cody McClain Brown Cody McClain Brown
fotografije Photo credits
Darko Bavoljak (str. 52, 57, 60) Darko Bavoljak (page: 52, 57, 60)
Ivo Martinović (str. 26, 27, 29, 30, 31) Ivo Martinović (page: 26, 27, 29, 30, 31)
Andreja Kulunčić (str. 6, 17, 24-25, 27, 28, 34-35, 67) Andreja Kulunčić (page: 6, 17, 24-25, 27, 28, 34-35, 67)
Crteži illustrations
Dizajn design
tisak print
Kerschoffset, Zagreb Kerschoffset, Zagreb
naklada print order
300 300
isbn 978-953-57788-6-8 isbn 978-953-57 788-6-8
CIP zapis je dostupan u računalnome katalogu Nacio- The CIP record is available at the digital catalogue of
nalne i sveučilišne knjižnice u Zagrebu pod brojem the National and University Library in Zagreb, under
001085495 the number 001085495
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Vi ste

Istraživačko-aktivistički umjetnički projekt

Renata Preodgoj žena na The Reeducation of

13 — Shoshana Felman, The Juridical Unconscious, Cambridge – Lon-

„U ovoj uvali i na obližnjem otoku “Alternating between this bay and

Ženi Lebl Na ustupljenoj fotografiji i

Vera Winter Zahvaljujemo na fotografiji

Đina Markuš Na pomoći i poslanim

Eva Grlić Na fotografiji Eve Grlić,

Miljuša Jovanović Zahvaljujemo Dragoslavu

Branka Weil Zahvaljujemo Miri Furlan,

Irena Vi ste Partiju izdale You Betrayed the Party

K adrovi iz videa / Video stills Goli otok, Sveti Grgur

5 — J. Assman, Kulturno pamćenje. Pismo, sjećanje i politički 4 — Ibid.

10 — http://www.zene-arhipelag-goli.info/ 8 — Renata Jambrešić Kirin, Traitors are Always of the Feminine

16 — Ibid. 14 — J. Assman. Cultural Memory and Early Civilization: Writing,

19 — Žak Le Gof (Jacques Le Goff) Pamćenje, u: Kolektivno sećanje 16 — Ibid.

18 — Todor Kuljić, Antispomenik, pp. 333-365, in: Tanatopolitika,

19 — Jacques Le Goff Pamćenje, u: Kolektivno sećanje i politike

Biografije Andreja Kulunčić

autorica projekta project author

Dubravka Stijačić Renata Jambrešić Kirin

Produkcija istraživačko- Production of artistic postav izložbe exhibition set-up

projekta “Vi ste Partiju “You Betrayed the Party kustosica

da joj pomognete“ Have Helped It” Andreja Kulunčić

isbn 978-953-57788-6-8 isbn 978-953-57 788-6-8

Publikacija sufinancirana Ova publikacija nastala je uz potporu

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