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To make a fire, we need
a flammable substance,
air, that is, oxygen,
and a source of heat.
Making a fire goes like this.
Heat the flammable substance until the temperature reaches the level where a certain chemical reaction takes place.
The mixing of these gasses with oxygen
results in the burning of that substance.
Death, lust is dead,
death is dead, sorrow, dead,
God is dead...
In the dark times, will there also be singing? Yes, there will be singing. About the dark times. - Bertolt Brecht
Towards the end of the period of totalitarian control of East and Central Europe,
an art movement appeared in a country then still called Yugoslavia.
It was named "NSK".
Using the materials of music, theater, and the visual arts,
the NSK collective took on the role of catalyst,
revisiting the repressed traumas of European history
and exposing hidden mechanisms of ideological domination.
Tribes of Europe!
Democracy has destroyed order.
The ground is ready.
Now we can say:
no history has been decided,
no nation has ever won thanks to justice.
It won thanks to pure physical strength.
All civilizations are based on it,
all the powers of law will dance to the sound of arms.
Historiographers are gradually coming to the realization that history itself
is in fact a series of consensual myths.
It's not necessarily a nation's past that shapes its mythology,
but its mythology which shapes its past.
Taken apart, analyzed and then re-assembled, history's fragments reveal a cyclical structure.
Within this recurring pattern, the history of an entire people
is actually no more than a collective projection - an illusion shared by millions.
MariborchanX: I am sorry for the inconvenience.
As you may have noticed, there is a gap, an error in this video.
Fortunately I have a transcript of what is said during this missing period.
If you want it, click on this picture, that will take you to that video.
But what was the real motivation behind Laibach's early performances?
Was this a politicized art, or aestheticised politics?
Or were they simply a warning that if you repress history, it will eventually boil over?
According to homeopathic theory, you can only cure through the symptoms of an illness.
The immune system must be provoked.
How better, then, to trigger the defense mechanisms of the state than to hold a mirror up to that state?
You step forward as provocateurs, as, one could say,
the number one enemy of the state. Do you have many followers?
Art is a noble calling which requires fanaticism.
Laibach is an organism whose aims, life and means of activity of the group are higher
in strength and duration
than the aims, life and means of the individuals which compose it.
Aren't you afraid that someone might one day spank you because of all this?
Art is a noble calling which as such requires fanaticism.
The new art is a new era. It is a movement independent of other ideologies. - Kazimir Malevich.
By 1984, Laibach and several other Slovenian groups took one step further
in the fanaticism required of art.
They linked together in a larger collective body.
NSK, or Neue Slowenische Kunst, would encompass music,
theater, design, architecture, and the visual arts.
They said they were presenting art "in the image of the state."
But, like Laibach, they didn't seem to have any specific political agenda.
Manifestos issued by the new art movement said that their intention was to
"revive the trauma of early 20th century avant-garde movements
by identifying with them in the stage
of their assimilation into the systems of totalitarian states."
In 1927, Russian avant-gardist Kazimir Malevich was traveling from East to West.
He passed through central Europe, arriving finally in Berlin for a series of lectures.
Unfolding diagrams translated into German,
the founder of the school of abstract art known as Suprematism
explained some basic principles.
Art, he said, had always functioned merely as a "toiletry article" within society.
But the new art would have its own, independent ideology.
Although in the West Malevich is credited with being a godfather of abstraction,
from an Eastern viewpoint it seems clear that his main intention was
to be the author of a new mythology.
Two generations after the Soviet Utopian avant-garde
was destroyed by the revolution it had helped create,
many of its ideas came to life again
in the Westernmost city of socialist Yugoslavia.
It appeared, that the collectives, the members of the NSK movement
welded together into a simulation of a state bureaucracy,
and created an abstract Suprematist form.
Although for NSK, history and politics were
as the bricks and cement of their state structure,
NSK seemed to float free of any specific doctrine.
If the artists of NSK could be said to have a political goal,
it would be "the destruction of historical naivete."
Trbovlje. This town has built us, and we continue its revolutionary tradition. - Laibach
Nineteen seventeen.
Shock-waves of revolution spread outwards across Europe.
The best-known images of the upheaval in Russia
are already the product of a myth-making art
serving the direct interests of the new Soviet state.
In the beginning, the Utopian rhetoric of the revolutionaries and
the revolutionary ideas of the utopian artists marched together.
The success of Marxist ideology in the East
inevitably impacts on the Slovenian mining town of Trbovlje.
Hunger, dismal working conditions, and blatant exploitation of labor
are the norm in the industrial heartlands of Royal Yugoslavia.
But the revolution brings a message of hope.
Strikes and street battles between fascist and socialist miners groups soon erupt.
Contemporary Trbovlje's huge coal-fired power plant has the largest smoke-stack in Europe.
Laibach emerged from this machinery in 1980,
producing a specifically industrial form of rock music.
Thirteen years later Irwin, NSK's collective of five painters,
return to the source of the movement's original motivating aesthetic.
Like Laibach, members of Irwin came from the factory and mining towns of socialist Yugoslavia.
The earliest Irwin works consciously reflect their proletarian origins,
using materials like coal, tar and blood.
Although their role would later evolve, in the early 80's Irwin
took on a specific mission within the NSK movement.
They would be the chroniclers, or mythologizers
artists willfully serving the interests of the state they themselves had helped design.
It's the cement factory!
Maybe these are old paintings, from the times
when Laibach started and they painted from here in Trbovlje.
Or they are connected with the miner's life here.
I don't like their style. They have a lot of... I don't like their boots.
What do we think of the paintings? Fuck 'em. We don't know what this is all about.
The painting as a painting?
It's unusual, because normally a simple person would expect
a painting to represent something nice, a landscape or something.
But these are... The painter who painted this wanted to say something.
He is practically the only one who could explain it. I can't get to the bottom of it.
Laibach as Laibach?
Laibach as a music group is very popular abroad, in Europe.
I saw on TV that they had a concert in Vienna, and in Prague they were sold out.
But here, in our town, they are not so well known.
We don't know they are only a music group or are they something more.
We think the paintings are beautiful, but look what the mine looks like.
Let's go!
Wait, we're having an interview!
Let's go! Good luck!
It's difficult to explain.
I think Laibach have a very special style,
a way of expressing themselves through music,
it's a kind of protest against society.
A kind of... reaction against society and the system, the whole European system.
All art is subject to political manipulation except that which speaks the language of the same manipulation. - NSK Statement
By the middle of the century, the machinery producing power from coal and steam
and the machinery producing mythology from images of power
are manufacturing each other.
The mass reproduction of images on strips of moving celluloid
prefigures the mass media which will follow -
the beginning of new, increasingly global, cycles of manipulation.
ARCHIVAL FILM TITLE: Visit of Marshal Tito to Trbovlje.
Cleanse / klenz/ /vt/ (formal or archaic) make thoroughly clean; make pure: ~/ of/from sin/. ~ /n/ [C,U] substance that ~ses (eg a synthetic detergent).
STOP THE PARAHUMAN!
Our mission is to make evil lose its nerves. - Laibach
Conditions of Burning and Methods of Extinguishing. (Films Zora, 1950)
I'm not going to translate this, it's basically a fire drill.
And double subtitles are annoying...
God's Kindergarten
The brutal civil war that has been raging across the Yugoslav republics
since the Axis invasion is finally extinguished in 1945, with the victory of the partisan armies.
For the next 50 years, European stability will be enforced by
an unprecedented dismemberment of Central Europe
and the rest of the continent between the two great Cold War blocs.
The immense world of violence has fallen!
Ljubljana has proved that it is the live heart, the live,
beating heart of an alive, proud, heroic Slovenian national organism!
A one-time Austro-Hungarian soldier from Belgrade speaks in Congress Square.
Although the Yugoslav state has risen intact from its own ashes,
its Western borders are disputed by the leader of the new Communist regime.
Ladies and Gentlemen! Comrades!
We want the entire world to know that Yugoslavia, which was fighting,
doesn't want anything but that one nation, of one blood,
shall live within the framework of one state!
Although Tito's demands are not backed by force,
the old Habsburg port of Trieste and part of Austria are claimed by Yugoslavia.
Trieste becomes the site of clashes between military police and Slovenian protesters.
But it soon becomes clear that the substantial Slovenian populations here and in the
Austrian province of Koroska, will remain west of what is now known as the Iron Curtain.
Who gave their lives for the freedom of Koroska?
The Partisans of Koroska gave their lives for the freedom of Koroska!
Where, then, is our northern frontier?
Our northern border is there where our victims fell!
Let's sing a partisan song!
Brothers, to the sun of freedom! Brothers, come up to the light,
the painful night is behind us, ahead lies a day of freedom!
The painful night is behind us, ahead lies a day of freedom!
People love parades.
The concept of politics as entertainment was one of the great inventions of mass propaganda.
Although the fascist states had been defeated,
the aestheticization of politics lived on in communist rituals.
As for the parades, they were an assembly line manufacturing the new history.
Traditions had to be invented and well documented.
In its own way, the ideology that had been planted in Europe's Eastern half
believed itself to be at the beginning of a thousand year Reich.
Europa Leben / Tot
There's a Balkan quality to European history.
Long before the springtime of nations
and the contemporary idea of the nation-state,
ethnic groups and rival religions and ideologies of Europa
fought for domination over populations and scraps of land.
If Slovenia was, as the Quisling propaganda minister proclaimed,
God's Kindergarten
then all of Europe was his playground,
dedicated to refining strategies of domination and manipulation
that was destined to rule the world.
Every new order pre-supposes the existence of disorder and is already infected with an inherent virus of future disorder. - Laibach
Although Tito had broken Yugoslavia free from Stalin's East Bloc in 1948,
creating the world's first non-aligned Communist state,
in the end his "soft totalitarianism"
was no more resilient than that of the other regimes of Eastern Europe.
The crash of a unifying ideology,
45 years after its greatest victory,
initially spilled more blood in the Balkans than anywhere else.
Less than a year after the implosion of the USSR,
and the disintegration of Yugoslavia,
the Irwin group flew to Moscow with the idea of facilitating communication
between the post-Communist states.
Group action: Irwin & Kinetikon Pictures, 7. June 1992
The evaporation of Soviet power had been characterized by what Robert Hughes called
"A migration of images into oblivion."
Previously, though, Communism had erased its own large share of history.
So it seemed appropriate to treat the vast stage of Red Square for what it is:
a symbolic zone, in which various competing myths are presented -
and sometimes "re-presented."
This is a Black Square on the Red Square.
NSK as a system was established in Slovenia in the 80's,
and this action is the first in which this system has begun to move,
where this body has moved to Moscow...
I would like to make a link.
In the 80's, NSK contemplated ideology in totalitarian states,
and that was a kind of answer to the position of Eastern Europe within art.
In the 90's, where totalitarian states are disappearing,
and national states emerging, NSK starts to think about its own state
in time, and not in space. That's why the embassy was our ideal space, our ideal form.
There's a new embassy in Moscow.
True, it was not announced in the newspapers, or mentioned on TV, or anywhere else.
The NSK Embassy is in a normal domestic apartment on Leninsky Prospect.
Still, it has attracted large crowds of people, including artists, intellectuals,
and punks. NSK Ambassador Miran Mohar says that NSK came to Moscow....
After they'd removed all our famous and majestic monuments,
such as this one of Dzerzinsky, the chief and organizer of the KGB,
and Kalinin, our first and most beloved president, who ruled in Stalin's time,
and Yakov Sverdlov, who played an unimportant role in Russian history,
after they'd removed all of these monuments,
they spent a long time contemplating what to do with them.
On the one hand, this was, of course, a vandalistic act,
it was quite obviously vandalism, since history may not be forgotten,
no matter what it may have been like, and on the other hand,
it was almost necessary to remove them, in this moment,
it meant an enormous emotional unburdening.
I think that if Irwin had been in Moscow at the time
it would have been an interesting and unusual experience for them,
since they experiment with the same principles:
to break down, to build, to break down, to build again,
and in such a way build their own system.
The experience of NSK in relation to the darkest and most tragic
and for this reason also the most interesting
moments in history is very important for us at this particular time,
as the dilemma of what to do with the past is what intellectuals are currently dealing with.
But NSK was the first to formulate precisely
what we can do with our experiences, that we need no fear them,
that we can harmonize them into an artistic system.
Fascism will not win!
Americans! Listen to the voice of working Russia!
Take your dirty hands off Yugoslavia!
Art and totalitarianism do not exclude each other. -NSK Statement
According to theory, the past itself is no more than an archive of collective memory.
By the 90's, the songs of the Great October Revolution
have become the property of an aging rear-guard.
But if history is in fact a sum total of re-writings through time,
what then to do with this cargo of conflicting myths?
Like the ideologies which inspired them,
the early 20th century Utopian avant-garde were largely organized as collectives
experimental social structures.
The Eastern Modernists believed that the world could be completely transformed
according to principles of a new and unified aesthetic.
If the state was to wither away, as Marx predicted,
then the Soviet avant-garde would take on the job
of replacing it with a total art-form
something the Germans call a 'Gesampt-kunstwerk'.
At the close of the Modern era, with the wreckage of these utopian dreams
strewn across the landscape like pieces of a crashed airplane,
it made a certain sense to reassemble the mechanism
to try to determine what had happened.
Historical avant garde is a style, written at the beginning of the century
as a response to the mimetic art which dominated the world for 2000 years.
Retrogardism, of course, is like the avant garde a style formation in art.
Its method is the retro-method.
German Nazism, Italian Fascism and Soviet Communism
all first repressed, then took direct control of,
the ideas and energies of the early 20th century modernists.
Each in their own way transformed the Utopian premise
of the state as a work of art into an art at the direct service of the state.
Adolf Hitler, the art school reject, and Josef Stalin, engineer of human souls,
transformed their societies into vast ritualistic 'dystopias'.
If the state was an art-work, they were its artist;
If the state was a church, then their role was clear.
They were God.
The works of NSK's Irwin collective
revealed fascism and communism as two sides of the same totalitarian canvas.
But they went beyond that.
By deploying a variety world mythologies together within the same work,
the Irwin artists exposed a broad spectrum of domination codes.
Placing quotations from Western modernist art and consumer culture side by side
with symbols of both totalitarian and religious art,
they revealed their essential similarity within the world ideological constellation.
The works of Irwin, wrote Russian theorist Boris Groys,
"had already appeared, long before the end of the Cold War in political life,
as an artistic rendition of its end."
The people around here are either
scientists or ideologists or religious representatives or artists or philosophers.
They cover the global experience of the planet Earth.
Each has its own rituals:
religion has numerical rituals,
ideology fascinating ones,
science magical ones.
Art, of course, has to act through the ritual of obsessive neurosis.
Obsessive neurosis is the field where the sacred paradox becomes evident.
At this point, assuming numerical or fascinating rituals means
assuming the fields that either ideology or religion express...
Of course, for the artist, it is essential, that it speaks with its rituals.
The only truly aesthetic vision of the State is the vision of the impossible State. - Scipion Nasice Theater.
Within the cosmology of NSK's virtual state,
Laibach plays the role of the politicians or ideologists,
Irwin are the state artists,
and the theater group, now called the Cosmokinetic Theater Noordung,
functions as a kind of church -
a place where obsessive neurosis is transformed into ritual ceremony.
The ballet we are preparing
will first be shown on December 11, 1992.
It is dedicated to Herman Potocnik Noordung.
two, hop.. three, hop..
Prayer Machine Noordung
Capital of pain.
You are free.
No charge.
No sense.
You are totally alone.
One plus one, plus one....
Throughout history, art has served power -
be it political, religious, or economic.
Viewed in the light of Kazimir Malevich's observation,
the entire NSK project can be interpreted
as an attempt to 'reclaim' an aesthetic legacy.
If the ideas and artistic methods of the early avant gardes
were exploited by political forces,
creating a kind of ceremonial theater in the service of politics,
then NSK was reasserting aesthetic control over this work -
while accomplishing an even more subversive reversal.
Politics and religion would not only remain within the work.
It would now be they which would serve art.
This is the "hidden transgression" at the core of the Neue Slowenische Kunst art movement.
Call it politics in the service of theater.
And what is art? Art is the goal and the end of progress. - Irwin
Suspended as they are between East and West,
NSK seemingly made a determination:
no one side would ever be adequate.
A comprehensive world-view required that neither hemisphere be denied,
just as neither be wholly accepted.
No matter how intense the ideological pressure,
the truth of their specific historical condition could only include both sides of the story.
And suspicion of history must be matched by a profound ambivalence
about any single mythology, iconography or state system.
Only in this way could an artistic project
defined as a "state in time" chart an autonomous course.
The famous Slovenian architect Joze Plecnik,
active at the end of the Habsburg era, once said the following:
"Of course we have our own culture,
its just that we have to look for it in Germany, France and Italy."
At the end of a century in which the border
between East and West crossed Slovenia five times,
that list of influences has expanded considerably.
Maybe this is why post-modernism, with its endless appropriations,
came along as something the Slovenes were already at home with.
More importantly, in a culture marked by
successive periods of denial of one or another side of history,
Irwin's work represents a voluntary endorsement of "outside" influences.
In New York, these influences are once again visible
as building blocks of the recombinant Slovene identity.
Not surprisingly, NSK's authorless sublimations
of an East-West cultural schizophrenia
have not always been well understood or liked at home.
And the prevailing political climate has inevitably played a role in this.
Before Slovenia's first democratic elections,
a perception existed that NSK was producing a fascistic, or right-wing art.
Later, their use of Eastern modernist images resulted in their being
directly accused of working for the discredited Communists.
Fascism under the guise of democracy is the rule of financial capital itself. - Laibach
The End of History.
Slovenia entered the age of the electronic camera
at around the same time Josip Broz Tito died in a Ljubljana hospital in 1980.
Adopting a Yugocentric view, the global decline of Communism began
not with the rise of Mikhail Gorbachev to the East,
but with the fall of the founder of Socialist Yugoslavia
in the Westernmost republic of his domain.
Everything else was just details - including Gorby's visit to Ljubljana in 1988.
Another type of communist was on the way.
The decline of the ideology of 1917
paved the way for a one-time Belgrade banker
preaching nationalist fundamentalism.
Miloševic: Comrades! There is no price, and there is no force,
which could shake the leadership of Serbia, and the citizens of Serbia,
in the struggle for just aims!
We want weapons! We want weapons!
I can't hear you!
I can't hear you,
but I want to give you the answer that what you require
soon all the names will be published!
And I want to tell you that those who used people
in order to manipulate them, to realize the aims against Yugoslavia,
that they will be punished and they will be arrested!
This I guarentee you!
Elias Canetti has said that each war starts with pictures.
Ex-Yugoslavia's contemporary horror was started consciously,
on Serbian state-controlled TV.
Years before fighting erupted,
a relentless tape-loop of fifty-year-old war crimes
flickered in millions of Serbian living rooms every night.
Among them the forced baptism of Orthodox Serbs
by a Catholic priest in Croatia's notorious Jesenovac death camp.
It was in Serbia that Communism made its first
but not last
post-modern transition to a televisual fascism.
It began as a return of the repressed.
The century had vanished into the archives, but the archives came to life again,
releasing stored demons that started appearing in prime time.
Slovenia reacted to events in the South with a kind of pragmatic rebirth of national feeling.
Slovenian secessionists were given a massive boost by the Yugoslav National Army's
clumsy political trial of four Ljubljana journalists in 1988.
A rally in Congress Square pounded some final nails into the coffin of Yugoslav unity.
The proceedings bore an eerie resemblance to those of 70 years before,
in which the first Yugoslav state was announced, in a shower of hope and goodwill.
Mr. President!
The troop of the Territorial Defense is lined up in honor
of the Republic of Slovenia as an independent state,
and it is prepared for your review.
Our history is honorable and clean.
Until now, history didn't give us anything for free;
we had to work hard for everything. That is why we still exist.
Slovenia's secession from the bankrupt Yugoslav federation
recycled a time-worn dramaturgy,
bringing a familiar cast of characters and costumes back into the limelight of history.
But there was a difference.
This time, for the first time, the rituals of the state endorsed autonomy from,
rather than subservience to, an external capital power.
If art can declare independence, why not the state itself?
Ideology relies on rhetoric because it constructs subjects who subscribe to their own freedom. - Bill Nichols
In March of 1989, the year in which Slovenia took
it's first legislative steps towards full separation,
Laibach made a risky decision:
to play a concert in the center of Serbian nationalism:
Belgrade, the Yugoslav capital.
part of the performance was a speech,
delivered in a politically explosive mixture of Serbian and German.
Brothers Serbs!
You are here the alpha and omega!
You rule this land, and we will not let you be raped.
This I guarentee you!
You believe in God's penalties and rewards!
Your holy towns will remain holy.
Saint Sava says that this land has to be Serbian!
Profaned graves
we've thought about it as well.
But He believes in attack and honor!
Reality has a way of taking its revenge.
The speech, which started by appropriating two statements by
Serbian President Slobodan Milosevic,
would end by directly quoting British Prime Minister Neville Chamberlain,
the key architect of European pre-war appeasement of Adolf Hitler.
NSK's "retrogardism" had reached its closest encounter
with the very phenomenon it had anticipated.
In both form and content, Laibach's provocation in Belgrade that day
was as precise as a chemical formula.
It seemed to crystallize the exact moment of transition
between Yugoslav socialist speech and Serbia's emerging ethnic nationalist rhetoric.
The first had always stressed brotherhood and unity among the Southern Slavs.
The cadences of the second had not been heard in Europe
since the dark day of the thirties.
Listen!
The violence, the war, the love, and eternal holiness...
Upon these premises we guarantee you your borders,
and that means peace in our time.
Language is a system of orders, not a medium of information. - Gilles Deleuze
Details of the past, transposed as metaphors to the present,
are sometimes capable of anticipating the future.
For the remainder of European history, Chamberlain's voice will be synonymous
with the weakness of democracy when confronted with fascism.
The carnage in the East came via the Kum and Krvavec TV towers,
cross the ridges of mountains that had protected Central Europe
from the Ottoman Empire for 500 years.
These images of horror were relayed across the new Slovenian state
to the great democracies of the West,
where they were surrounded by late-night pornography and ultra-violent movies.
The autumn of the century had become the season of the channel changer.
Atrocity was replaced by entertainment, or simulated atrocity as entertainment.
The Heaven Over Trbovlje
The Heaven Over Ljubljana
When Slovenia became the first target of the Yugoslav Army in 1991,
its network of TV tower were a top priority.
If history increasingly consists of images,
those who control the images control history.
By the end of the century, the mass rallies of the 30's were largely unnecessary.
With the precision of a guillotine, film sliced history
into 24 frames per second, transporting it into the future.
In 1983, the so-called "interview" of Laibach by TV Slovenia defined an early landmark
in what critics of mass media have termed "culture jamming."
Conducted more by the group than by unwitting journalist Jure Pengov,
Laibach revealed the way state-controlled media work
by externalizing both its methods and its codes.
Although interpretable now as a kind of failed inoculation,
Laibach's action anticipated both the visual appearance and the televisual method
that would later be used to trigger dormant nationalism within the Balkans.
Television. Within the industry of consciousness the television medium is,
besides the school system, the leading molder of uniform thinking.
Television programs are basically centralized,
with one transmitter and many receivers.
No communication is possible between them.
We use mainly tools with a manipulative possibility
and repressively use the power of information.
These tools are used for collective consumption,
and are the best for deterring the masses from critical thinking.
for instance film as the most powerful weapon with the longest strength
and the most powerful influence on the human spirit.
If I got it right, you use television to challenge us.
Fine, so do we.
Maybe, maybe now somebody will act and repress
these horrifying ideas and declarations here in the middle of Ljubljana.
We are the children of the spirit, brothers of might,
whose promises are still nowhere in sight,
we are the black specters of this world below,
we are singing of this mad picture of woe,
we are the first TV generation.
Yugoslavia / Force
There's a European quality to Balkan history.
When Europe falls out of balance, it is visible here before anywhere else.
At the end of the bloodiest century in history,
and with the finest armies and weapons in the world,
a complacent Europe grows accustomed to watching its own primitive past
play like a violent film safely on the other side of the old East-West boundary.
The warning of a group of artist from one of Central Europe's
forgotten cities still resounds, more than a decade after its founding.
Look at the past, NSK said, and you will see the future.
Look at the Balkans, Europe. You are looking into a mirror.
Epilogue
In the middle of the nineties,
the most successful pop-cultural export from the old East
performs for the first time in the cradle of democracy.
As usual in Athens, reminders of history don't have to announce themselves.
They are visible everywhere
like the signs reflecting an irrational Greek fury
at the tiny ex-Yugoslav republic of Macedonia, just to the north.
At the close of the millennium, Slovenia remains an independent and democratic nation. It is visible on the map, within a Central Europe uneasily balanced between the East and West.
As for NSK, the art movement organized "as a state without territory, a state in time" recently started issuing its own passports. They have been used successfully to cross international frontiers - including by a number of citizens of the besieged Republic of Bosnia Herzegovina, who otherwise have great difficulty crossing state borders.
Remember, this movie was made 12 years ago. How much of it does still hold? Could it be said, that some parts even are more true than they were then? I apologise for any problems with the subtitles. I made them from the transcript myself. - Mariborchan
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