Programme

This workshop combines artistic expression with the exploration of Mediterranean flora. Participants discover local aromatic and medicinal plants such as lavender, immortelle, rosemary, and sage, which they then press using a contemporary technique combining a botanical press and a microwave. The resulting botanical prints are used to create personal postcards, bookmarks, or small visual compositions. This process invites reflection on impermanence, the beauty of detail, and nature as the living memory of the Mediterranean.

A textured painting workshop on round canvases symbolizing boat portholes. Using paper, water, glue, and acrylic paint, participants create relief artworks inspired by the Mediterranean—its sea, coasts, and towns. The workshop encourages sensory exploration, creativity, and personal reflection. Suitable for 8+.

Based on Janko Polić Kamov’s Aphorism No. 6: On one foot life wears a cothurnus, whilst on the other a clown’s slipper. wears a cothurnus on one foot, and a jester’s slipper on the other. (La vita calza da un piede il coturno e dall’altro il socco.) Workshop Leaders: Damir Bartol Indoš & Tanja Vrvilo Performance artists Damir Bartol Indoš and Tanja Vrvilo lead the children’s workshop Schachtophonia for Two Shoes on eight small sound instruments, schacthophones, inspired by Aphorism No. 6 by the precursor of Croatian literary avant-garde Janko Polić Kamov: On one foot life wears a cothurnus, whilst on the other a clown’s slipper. Kamov’s 24 Aphorisms (Accenni) were published in the Futurist-Papinist literary journal Lacerba in 1913, three years after his death, under the pseudonym Gian Paolo. The workshop is performed using authentic instruments – eight sound boxes with springs, known as schachtophones, and graphic colour scores created by Damir Bartol Indoš.

Performance artists Damir Bartol Indoš and Tanja Vrvilo are organizing a children's workshop entitled "Shachtophony for 2 Shoes on 8 Little Shachtophony Players." The idea is inspired by "Note 6" by the pioneer of the Croatian literary avant-garde, Janko Polić Kamov: "Life wears a buskin on one foot and a jester's sock on the other."

Ephemeral Garden evokes the spirit of convivial gatherings by the sea. It is an immersive audiovisual contemplation on the perpetual conversations of life talking amongst itself. The multitude of voices intermingle in an ambience that is thick and alive, filled with liminal whispers. Afterimages of a planet-centred perception combine with field recordings and synthetic sounds to create a continuously changing atmosphere. From the space between the cells to the space between the stars.

Overwhelmed, performance with Black Mediterranean (large image on textile), participatory performance of variable duration) and installation in public space, created by Siniša Ilić and Bojan Đorđev in collaboration with local participants.

This propulsion system is not merely a propeller that converts engine power into thrust, propelling the ship forward. It is also the force that allows this ship to navigate diachronically from the Ligurian Sea to the Adriatic Sea, the Ionian Sea, or the Suez Canal. The propulsion system is the ship's dead time at the bottom of the sea; the propulsion system is the ship's body, symbolizing simultaneous peace, rupture, and riveting, its sinking and its resurfacing. The propulsion system is the propeller immobilized at the heart of a service economy. The propulsion system is a future attraction.

Sara Renar is a recording and live artist from Zagreb, Croatia. She is considered one of the best and bravest singer-songwriters of the new Balkan generation. Her musical style can be described as experimental/indie/pop, blending subtle melodies with electronic and theatrical elements.

Collection in dialogue will bring two video works from the collection of MMSU The Museum of Modern and Contemporary Art in Rijeka, Gorgo by Lala Raščić and Yet Another Departure by Renata Poljak with the spaces and the permanent display of the Museum of the City of Rijeka, to shape new meanings and knowledge framing the contexts that surrounds them.

Rising Levels, a sketch of a ready-made object resembling a totem. A proposal for a new temporary public sculpture by Tina Gverović exploring the interaction between materials, social practices, and intercultural contexts. Inspired by Constantin Brancusi's Endless Column, it consists of a stack of found objects that have found their place in the city and the port, and prefabricated or purchased objects.

Foragers depicts the dramas around the practice of foraging for wild edible plants in Palestine/Israel with wry humor and a meditative pace. Shot in the Golan Heights, the Galilee and Jerusalem, it employs fiction, documentary and archival footage to portray the impact of Israeli nature protection laws on these customs.

As part of the Ringside project, the Croatian Cultural Centre (HKD) presents the dance performance Body Monologue by Greek choreographer Anastasia Valsamaki, filmed and translated into virtual reality in an impressive abandoned quarry near Athens.

In her lecture-performance ARCHAEOBOTANY & THE APOCALYPSE, via narrative and media content, Raščić presents ongoing artistic research begun in 2023 for her new project and lifelong endeavor. With the aim of covering the entirety of her Sarajevo studio with paintings in the 'buon fresco' technique, the project was inspired by the artist's encounter with two historical figures. One is the Roman empress Sabina Poppaea and the other is Wilhemina Jashemski, an archaeobotanist who revolutionized this discipline in the 1970s with work on the excavation site of Sabina Poppaea’s villa in Oplontis near Pompeii.

The transnational project FURY SEA OF CARBON links the marginal exaltation of matter in the Mediterranean by Ivan Martinac and Damir Očko, through the volcanic song of Cape Verde, to the mosaic of the Sahel where The Otolith Group condenses the saturation of Ousmane Sembène and Djibril Diop Mambéty.

No, this is not about tourists, even though it is connected to tourism. Luckily, this is not about drones, either, but we may say it has something to do with fighting off attacks. Every day, we see reports and sightings of numerous little-known or entirely unknown marine animal and plant species being shared on social and other media. This is not a recent phenomenon but a consequence of a process that has been ongoing for years, and the trend is accelerating.