croatian in Mars & Medak 2017

ct Lead of the Creative Commons Croatia (Creative
Commons, 2016). He works as coordinator of theory and publishing activities at
the Multimedia Institute/MaMa (Zagreb, Croatia) (Net.culture club MaMa, 2016a).
Tomislav is an active contributor to the Croatian Right to the City movement
(Pravo na grad, 2016). He interpreted to numerous books into Croatian language,
including Multitude (Hardt & Negri, 2009) and A Hacker Manifesto (Wark,
2006c). He is an author and performer with the internationally acclaimed Zagrebbased performance collective BADco (BADco, 2016). Tomislav writes and talks
about politic

Ana Kuzmanic is an artist based in Zagreb and Associate Professor at the
Faculty of Civil Engineering, Architecture and Geodesy at the University in Split
(Croatia), lecturing in drawing, design and architectural presentation. She is a
member of the Croatian Association of Visual Artists. Since 2007 she held more
than a dozen individual exhibitions and took part in numerous collective
exhibitions in Croatia, the UK, Italy, Egypt, the Netherlands, the USA, Lithuania
and Slovenia. In 2011 she co-founded th

ological, LBGTQ, ethnic, feminist and



others) or critically questioning established social norms. (Net.culture club
MaMa, 2016a)
Please describe the main challenges and opportunities from the dawn of Croatian
civil society. Why did you decide to establish the Multimedia Institute – mi2 and
the Net.culture club MaMa? How did you go about it?
Marcell Mars & Tomislav Medak (MM & TM): The formative context for
our work had been marked by the process of dissolution of Yugoslavia, ensuing
civil wars, and the rise of authoritarian nationalisms in the early 1990s. Amidst the
general turmoil and internecine bloodshed, three factors would come to define
what we consider today as civil society in the Croatian context. First, the newly
created Croatian state – in its pursuit of ethnic, religious and social homogeneity –
was premised on the radical exclusion of minorities. Second, the newly created
state dismantled the broad institutional basis of social and cultural diversity that
existed under

alternative and
oppositional activities during the 1990s, had started to wind down its operations
towards end of the millennium. As the Open Society Institute started to spin off its
diverse activities into separate organizations, giving rise to the Croatian Law
Center, the Center for Contemporary Art and the Center for Drama Art, activities
related to Internet development ended up with the Multimedia Institute. The first
factor shaped us as activists and early adopters of critical digital culture, and t

but not limited to digital technology and
information freedoms, political theory and philosophy, contemporary digital art,
music and cinema. Simultaneously, it has been strongly focused to social and
institutional transformation.
The moment zero of Croatian independence in 1991, which was marked by war,
ethnic cleansing and forceful imposition of contrived mono-national identity, saw
the progressive and modernist culture embracing the political alternative of antiwar movement. It is within these conditions, which entailed exclusion from access
to public resources, that the Croatian civil society had developed throughout the
1990s. To address this denial of access to financial and spatial resources to civil
society, since 2000 we have been organizing collective actions with a number of
cultural actors across the country to creat

tion of public services that coalesced
around the Right to the City movement (2007 till present) (Pravo na grad, 2016)
and the 2015 Campaign against the monetization of the national highway network.
In early 2016, with the arrival of the short-lived Croatian government formed by
a coalition of inane technocracy and rabid right wing radicals, many institutional
achievements of the last fifteen years seemed likely to be dismantled in a matter of
months. At the time of writing this text, the collapse of broader social and
institutional context is (again) an imminent threat. In a way, our current situation
echoes the atmosphere of Yugoslav civil wars in 1990s. Yet, the Croatian turn to
the right is structurally parallel to recent turn to the right that takes place in most
parts of Europe and the world at large. In the aftermath of the global neoliberal
race to the bottom and the War on Terror, the disenfranchised working cl

d developed a series of book scanners
and used them to digitize hundreds of books focused to Yugoslav humanities such
as the Digital Archive of Praxis and the Korčula Summer School (2016), Catalogue
of Liberated Books (2013), books thrown away from Croatian public libraries
during ideological cleansing of the 1990s Written-off (2015), and the collection of
books selected by the Black Panther Herman Wallace as his dream library for
political education (Memory of the World, 2016b).
In our view, amateur li


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