FROM THURSDAY 16 JULY TO SATURDAY 10 OCTOBER 2015 FREE ISSUE

The National Museum of Con-temporary History is part of the European project EMEE – Euro-Vision: Museums Exhibiting Eu-rope. In March 2015, we invited 15 young adults and 15 museum experts from Slovenia and abroad to collaborate on the project. We turned the familiar roles of the public and the museum upside down and defined the new ones. We asked the museum workers to show their favourite museum objects and assigned the young the task of museum curators. In the manner of museum speed dating, the new museum curators selected objects from those that museum workers presented as the chief selection of national her-itage with European references and therefore worthy of becom-ing objects of the exhibition.

CONNECTING: MUSEUMS AND THE PUBLIC

Under the slogan “One Object – Many Visions – EuroVisions”, we focused on the challenges that museums face nowadays. What is their role in society? Are they recognizable – do they leave an impression? Are their objects pre-sented well?We reached several conclusions and found that the most pressing matter for museums to tackle is that of connecting – between mu-seums, museum experts, and the public. When we coupled young adults with museum experts, we took the best of both worlds: mu-seum treasures, heritage, knowl-edge, experience and combined it

It is 1990. You have entered the living room of a flat in Ljubljana. A young history student recently in-herited it from her grandparents. The room has hardly changed since her grandparents furnished their first flat many years ago. There are grandmother’s plants in the corner, and grandfather’s memorabilia is scattered all over the room. He used to tell interesting and un-usual stories of meksikajnerji on family reunions. He was inspired by one depicted on the beehive panel that he kept. Then there were the tales of his father, a sol-dier in the Great War. Her grand-mother was a softer person and whenever he started brooding, she wittily changed the course of the conversation. She would point to the vase made out of an artil-lery shell casing where she always kept a bouquet and start talking about the flowers. Sometimes she talked about how special and ex-citing it was to go to the cinema, shedding light to the importance of cinema projectors made by Isk-ra. The pair furnished the apartment to make it as cosy as possible and decorated it with their personal memorabilia. Some items were especially dear to them. The most cherished was an old plush ted-dy-bear that they bought their infant son. He loved the toy so

with youthful enthusiasm, excite-ment, and interest. Young adults were instructed in different museum tasks, while the museum experts extended their knowledge and contemplated the multi-layered meanings of the objects in their collections. The programme for both groups was based on our own experiences with the EMEE project. After sep-arate introductory sessions, we connected both groups.

MUSEUM SPEED DATING

While speed dating, museum ex-perts had to dazzle the young adults with stories of their objects as well as their multi-layered and transnational components. Both parties met one on one and had exactly three minutes to talk be-fore the bell rang, and announced to the young to change their seats. Young adults had to choose five objects that spoke to them. Thus, we concluded the workshops and the young adults started with preparations for the experimental exhibition. They tried their hand at a variety of roles: they were sce-nographers, curators, and editors, with the intention of creating an exhibition – a time capsule for vi- sitors to explore. The additional exhibition shows the rest of the objects that the young participants were able to choose from, as well as the pres-entation of our partners in EMEE project. At the EMEE, we are cu-rious to see which objects repre-sent Europe to you; that is why we would like to invite you to take

part in our exhibition. Lastly, we wish to introduce you to the multi-layered Europe through the eyes of participants of the EMEE Young Scenographer Contest. To present their points of view, we included a traveling exhibition where the best teams of scenographers are presented along with the catalogue.

Our diverse and experimental ex-hibition runs from 16 July to 10 October 2015.

Find out what activities we pre-pared for you.

We are confident we have pre-pared something for everyone!

EUROVISION LAB. EXPERIMENTAL ISSUE: »ONE OBJECT - MANY VISIONS - EUROVISIONS«

EUROVISION LAB.OUR VISION OF THE EUROVISION LAB.

TIME CAPSULE

URŠKA PURG AND JANJA ŠTEFANIČ

URŠKA PURG AND JANJA ŠTEFANIČ

EUROVISION LAB.ONE OBJECT – MANY VISIONS – EUROVISIONS

Opening times

OPENTuesday — Sunday 10 a.m. — 6 p.m.

Tuesday, Thursday and Saturday (July, August) 10 a.m. — 8 p.m.

CLOSEDMondays, 1 January, 1 May, 1 November, 25 December

The participants in the process of creating the experimental exhibition EuroVision Lab., May 2015, photo: Sašo Kovačič

much he took it everywhere they went. The family travelled often and accumulated a collection of passports; they kept one in the nightstand – a reminder of the joy of their wedding and the bitter experience of the fascism that fol-lowed the Great War. These are the items their grand-daughter decided to keep. Not to damage or lose them during the renovation, she marked them with red tape. But she also kept one particular novelty, as her grand-parents called it, the noisy red telephone. They had many long conversations on it when they did not see each other for a long time. And there is grandfather’s old car fičo. Her grandfather would take her for a drive in his small car and then they would have ice-cream!

The aim of the exhibition is to draw attention to selected objects from people’s everyday lives using the concept of a time capsule. The newspaper presents the objects that inspired the young authors of this exhibition. This way we wanted to showcase, not history itself, but how the participants in our exper-imental exhibition wanted history presented to them. You are invited to explore the exhibition on your own, uncovering bits and pieces, putting them together and creat-ing your own puzzle of history.

REPUBLIC OF S LOVENIA MINISTRY OF CULTURE

Do you have a picture of your first car? Did you go to the seaside with it? Did it take you to the mountains or for a visit abroad?We invite you to send us scanned photos to urska.purg@muzej-nz.si until Sunday, 16 August 2015. We will post all of the sent photos in a Facebook album on our Museum Facebook page. The three most popular photos that will receive most likes will be rewarded.

PHOTO CONTEST

A Memoir of Anton Rahne who fought in Mexico from 1864 to 1867 supporting the regime of Emperor Maximilian.

The first thing that comes to my mind when I think of Mexico, is the unbearable heat we had to en-dure standing in straight lines in buttoned-up uniforms. We were soaked in sweat and yet prohibit-ed to remove any piece of clothing. The locals wore large wide-brimmed hats and some sort of light tunics reaching down to their knees. At midday, when it became too sultry, they retired into the shade while we marched like madmen. There were some sort of unusual thorny stems sprouting from the ground that re-minded me of leafless rosebushes. We were mocked for our ignorance, later we learnt that the plants are called cacti. They were everywhere in sight. Cacti and desert. As if Mexico was nothing but cacti and deserts. Such a vast country and yet, you could sum it up in just those two

words. The only animals we saw were coy-otes. We could hear them every night. And then there were the dead-ly snakes that claimed many lives. We often lost our way in the desert. Those that wandered off or lagged behind died and were eaten by the animals. I have never seen such things before, or since. People from my home village did not believe me, they claimed it was all just a figment of my imagination. They mocked me for telling them about the cacti, say-ing that I only saw large rosebushes.There we were not loved, we were despised. The people were convinced that we were wealthy white people coming to enslave them and claim their lands. We were but humble farmers trying to escape poverty only to find it mingled with misery in a distant land. Many did not return home. Franc died fighting, Jožef fell ill on the fourth day of our voyage across the sea and soon died, and Mihael went mad from fear and tales of Indians moving about si-

lently and murdering people with poisoned arrows. All that remains of Mexico is my leg injury. At home things only worsened in the years of my absence. I dream of Mexico often. I am haunted by it; that is why I decided to paint an execution scene on a beehive panel.

The exhibition shows a paint-ed beehive panel created after 1967 showing historical themes. The painted motive depicts the execution of Maximilian of Habsburg-Lorraine, young-er brother of Austrian emperor Franc Joseph I. Maximilian ruled in Mexico from 1864 to 1867 as the only monarch of the Second

Mexican Empire. He was execut-ed after suffering a defeat by the Republican forces led by Beni-to Juarez, who later became the president of Mexico. Maximilian’s execution was carried out on 19th July 1867.The beehive panel also depicts volunteers called meksikajnerji who accompanied the emperor on his quest. Many were forced to leave their homeland due to pov-erty, lack of land and poor farm-ing conditions. The emergence of meksikajnerji indicated poor living conditions of Slovene peasantry at the time. Among 6000 soldiers who left for Mexico from the Aus-tro-Hungarian Empire, were 420

“THE EXECUTION OF MAXIMILIAN OF HABSBURG” BEEHIVE PANEL FILIP DRAŽENOVIĆ

The object before you had many different names through its histo-ry. Its shape was transformed and most significantly, its meaning has changed. It is important that you form your own judgement and understanding in regard to this object. That is why you are invited to observe it from various points of view. Try to ask yourself ques-tions about its cultural and po-litical meaning and answer them with your own narrative. When you do that and if you are still will-ing, do continue to read the story that was revealed to us. When the object was originally manufactured remains unknown. What we do know is that it was a 77-milimeter Italian grenade used on the Isonzo front during The First World War for desolation of enemy lines. On the 9th August 1919, Luigi Catanzani, an Italian, decided to transform this object of destruc-

tion by giving it a new form and meaning. Thus a brass shell casing became an artistically crafted vase that is before you. On the bot-tom of the vase a mountain range sprouting ivy leaves symbolizing peace is outlined in deep relief. By remaking the object, Catanza-ni did not dissolve the memory of the atrocities of war, but gave its remnant new life and meaning.

This miniature is testimony to hu-man ingenuity and the ability to move forward by accepting the object once feared and hated into their everyday lives. Many gre-nade shells became unusual dec-orative items like vases that have been placed in churches along the Isonzo front line; to this day, their unusual aesthetic enriches our lives. When crafting the vase, Catanzani used the Repoussé metalwork-ing technique, which has been known in the Mediterranean since prehistory. Remaking debris and by-products of warfare into dec-orative items is known as trench art. Making trench art was common among soldiers on both fighting sides on the Eastern and West-ern Front, as well as on the Ison-zo front. During and after the war, material hardship and gen-eral shortage were widespread.

Artists, craftsmen, and creative people that were involved in the war were looking for means of expression of their suffering. As there was little material available but war debris such as helmets, shells, bullet casings and thermos, these were transformed into vari-ous artistic objects. Trench art was made by those who found time to shift their fo-cus to something other than the desolation of war during the fight-ing. Many of the objects made were later given or sold to other soldiers, war widows, and then the fighting was done, to tourists and pilgrims visiting abandoned battlefields. This is testimony to people’s ability to spontaneously transform what was previously an object of de-struction into a symbol of peace and a reminder for the genera-tions to come. These objects were not transformed so that we may forget what they were intended for, but so that we may remember and strive for peace. This was one of the foundations for the forma-tion of the European Union and it should be one of current con-cerns.

1890 1900

JAROŠ KRIVEC

from Carniola. Their families could follow tales similar to one of An-ton Rahne in the press and thus experience some of the Mexican exotic.

1881 – WORLD’S FIRST REGULAR ELECTRIC TRAM LINE OPENSThe world’s first electric tram was invented by Fyodor Pirotsky in 1880. But it was in 1881, when the first regular electric tram line began to operate, and Germany wrote transport history. The tram line was opened by Werner von Siemens, the founder of the company Siemens, and connected the village of Groß-Lichterfelde with Berlin. Von Siemens made history even before opening the tram line, when he presented the world’s first electric lift.

1889 – THE EIFFEL TOWER OPENS TO PUBLICThe world-famous ten thousand ton iron tower at the centre of Paris, was opened for public on the 6th March 1889. The tower was completed in two years. It was named after Gustave Eiffel, whose company built the tower. It is one of the symbols of the 19th century Industrial Revolution. When it was built, it was 300 meters high. An aerial was added in 1954, raising its height to 324 meters. It is a timeless mon-ument that attracts millions each year and is one of the most visited landmarks in the world.

Beehive panels are painted panels that en-close the kranjič beehive. Several beehives together formed an apiary. Beehive panels have emerged in the middle of the 18th century. They were painted with a variety of colourful motifs.

HANDCRAFTED VASE MADE FROM AN ARTILLERY SHELL CASING

Held: Museum of Apiculture, Radovoljica, Slovenia

Held: Goriška Regional Museum, Gorica, Slovenia.

2 ONE OBJECT - MANY VISIONS - EUROVISIONSEUROVISION LAB.TIME CAPSULE

EUROVISION LAB.ONE OBJECT - MANY VISIONS - EUROVISIONS TIME CAPSULE 3

This political stance enabled Neva to marry and live in Yugoslavia, but also to return to Trieste, where her son’s teddy bear was bought. On the Yugoslav-Italian border, Free Territory of Trieste, an inde-pendent territory under the direct governance of the United Nations Security Council, was established to accommodate an ethnically and culturally mixed population. The agreement of between the neighbouring countries regarding the border was not ratified until the 1970’s. And even after that, Trieste remained the cultural centre of the region, unit-ing people of both coun-tries. In other parts of Europe, borders between capitalist and communist countries were impassable.The Zidarič family travelled often. Boris was a mem-ber of Chamber of Commerce and Industry of Slovenia and worked abroad. The family lived in Mexico, Spain and even in Trieste. Wherever they went, Bo-jan took his teddy-bear with him. Later in life, he continued to trav-el around the world, but leaving his belov-ed childhood friend behind.

OBJECTS

1910 1920 1930

The Zidarič family, along with their one year-old son Boris, moved from Trieste to Ljubljana in 1920. At the time many Slovene lands were under the rule of the King-dom of Italy. Slovenes who lived in the Kingdom of Serbs, Croats and Slovenes had more citizen rights than those that lived under the foreign rule. In the post-WWI Ita-ly the fascist party gained power and pursued the cultural unifica-tion of Italy, thus citizenship rights of the minorities were diminished. Italian authorities had a design to relocate Non-Italian peoples to re-mote parts of the country in order to separate and assimilate them. Many people fled the country, some, like the Zidarič family, left for the Kingdom of Serbs, Croats and Slovenes, others scattered around the world. The family settled in Ljubljana and Boris grew up there. After the end of WWII, the majority of Slo-vene lands, previously under the Italian rule, was returned to The Republic of Yugoslavia that came into existence in the aftermath of

WWII. Boris married Neva Lipovec in 1950. She was, like him, born in Trieste, but her family decided not to leave their hometown. With the rise of the nationalistic fas-cism in Italy, many Slovenes were forced to change their names to make them appear more Italian. Thus, Neva Lipovec became Nivea Tigiani, which is evident from her passport. Neva and Boris had a son, Bojan. They bought him a teddy bear in Trieste. The toy was dear to their son and he carried it everywhere with him. This teddy bear is now part of the exhibition. The post-war Europe was divided into the Eastern and the Western Bloc. The political and ideologi-cal division between the capital-ist countries of the West and the Eastern communist ones repre-sented a nigh impregnable physi-cal boundary that divided Europe. Yugoslavia, however, refused the Bloc politics. As it remained non-aligned, it maintained economic and political international rela-tions with both disputed parties.

THE TEDDY BEAR AND THE ITALIAN PASSPORT

VID SOSIČ

1924 – THE FIRST WINTER OLYMPICSOlympic Games were first celebrated in Ancient Greece. The first games are tradition-ally dated to the 8th century BC. They were celebrated even after Greece came under the Roman rule and were only supressed to promote Christianity as the state religion of Rome. The games were re-established in the 19th century and did not feature winter sports, except for figure skating. A winter sports week was held in 1924 Cham-onix, France, in connection to the Summer Games that were held in France the same year. This event marks the beginning of the Winter Olympics and was proclaimed the first Winter Olympics in 1926.

1903 – THE FIRST TOUR DE FRANCE IS STAGEDTour de France is a challenging annual multiple stage bicycle race held in France. The story of how the race was invented is an unusual one. The idea for the race came to the journalist Géo Lefèvre after reading Tour de France par Deux Enfants, a story about two boys who travelled around France. Lefèvre presented the idea for a bicycle race to the editor of the magazine where he worked. It was well-received as the editor believed it would increase magazine sales. Thus on the 1st June 1903, cyclists started what has become the most prestigious bicycle race in the world.

1912 – TITANIC SINKS IN NORTH ATLANTICIn the early morning of 15th April, RMS Titanic sank in the North Atlantic Ocean after colliding with an iceberg on her maiden voyage from Southampton to New York. The luxury British passenger liner was considered unsinkable. The sinking resulted in the loss of more than 1,500 passengers and crew, making it one of the worst maritime disasters in modern history.

Teddy Bear got its name after the Amer-ican president Theodor Roosevelt that once took pity of a bear during a hunt and did not want to finish him off. Somebody draw a caricature of this event that circled America. It was seen by a manufacturer of toys, who then made a first plush bear and asked the president if he can name it Teddy.

1911 – SCANDAL! THE MONA LISA STOLEN!In 1503 Leonardo da Vinci painted what has become the most celebrated painting in the world – the Mona Lisa. The painting’s fame increased greatly when it was stolen from the Louvre in 1911. A Louvre employee hid it under his coat and simply walked out of the museum. Can you imagine walking out of the Louvre with the Mona Lisa hidden under your coat? After the painting was found in Italy, it was ex-hibited in various galleries and returned to the Louvre in 1913. It remains on display protected by a bulletproof glass enclosure safeguarding it from vandalism and theft. It is considered the most valuable artwork in the world.

Held: Slovene Ethnographic Museum, Ljubljana, Slovenia

EUROVISION LAB.ONE OBJECT - MANY VISIONS - EUROVISIONSTIME CAPSULE4

EUROVISION LAB.ONE OBJECT - MANY VISIONS - EUROVISIONS TIME CAPSULE 5

Photo: Aleksander Jesenovec, held National Museum of Contemporary History, Ljubljana, Slovenia.

EUROVISION LAB.ONE OBJECT - MANY VISIONS - EUROVISIONSTIME CAPSULE6

“What a car!” people still exclaim today when asked about fičo. What is the image of fičo when we look at it from different perspec-tives? Is it ours? Italian? Spanish?We asked ourselves what mean-ings people assign to the small car that remains dear to people not only in Slovenia or former Yu-goslavia but around the world.Let’s begin by saying that fičo was based on an Italian car Fiat 600. As the first family car to be launched in 1955 in Switzerland, it became a testimony to European modernization. It is an epitome of economic and demographic de-velopment of Europe after the Second World War despite its di-vision to the Eastern and Western Bloc.Fiat 600 was considered the sym-bol of economic development in Italy. Similar notions about the car and subsequent derivations can be traced in several parts of Eu-rope and around the world as the manufacturing licence was sold to other countries. Thus, Fiat 600 entered the Yugoslavian market. It was soon produced as Zastava 600 and later 750 in Kragujevac (present-day Serbia) and soon be-

came widespread in Slovenia.The car was every youth’s dream. It was valued and desired for its aesthetic and durability. It was intended for a family of four but people claim that it could easily sit eight people. It enabled people daily migrations to work, travelling abroad for work or visiting rela-tives, and most importantly, it was the car that took whole families to vacation spots at the seaside. Moreover, stories about its per-formance in winter conditions are always a joy to hear. By obtaining the manufacturing li-cence and studying with Italian ex-perts at Fiat, the car became avail-able in Spain and South America. There it was known as Seat 600. Without licencing either, a merged version of Fiat 600 and Volkswa-gen Beatle was manufactured in Ukraine under the name Zapor-ožets. The use of the automobile marked the post-war Europe. It became an integral part of people’s every-day lives as it meant greater mo-bility and accessibility of previ-ously distant places. Many types of cars are linked to post-war political regimes and economic

development; to name just a few icons beside the Fiat 600 and lat-er Zastavas in Yugoslavia, there is Seat 600 in Spain, Volkswagen Type 1 – the Beetle in West Ger-many, or Trabant in East Germa-ny, and the Mini in the UK and in Portugal, as well as ZAZ 965 in the Soviet Union. The story of the Fiat 600 mod-el started in March of 1955 and ended in 1969 in Italy. Elsewhere licenced (and adapted) versions

FIAT 600 – ZASTAVA 600 - ZASTAVA 750 – FIČO

URŠKA PURG

of the car were produced through the 1980’s. Amongst them was fičo manufactured at Zastava. What is likely most fascinating is that fičo was so beloved among the people that they formed fan clubs dedi-cated to the small car. Even today, when Fiat 600 and Fičo are con-sidered old-timers, there are still fan clubs in many European coun-tries as well as in South America, in Argentina, Chile, Mexico and Uruguay.

1940 1950

1973 – “THE DARK SIDE OD THE MOON” RELEASEDThe legendary English progressive rock band Pink Floyd released their eighth album The Dark Side of the Moon in 1973. The conceptual album, hailed as a milestone in music history, draws upon themes connected to people’s everyday lives, such as greed, conflict, the passage of time and mental illness. Its release is often seen as a pivotal point in the history of rock due to its influence on modern music. The crit-ically acclaimed album was a commercial success and still frequently appears on rankings of the greatest albums of all time.

1980 – DEATH OF JOHN LENNONOn Monday, 8th December 1980, John Lennon was shot at the doorway of his apart-ment building in New York. Singer and co-founder of the legendary Beatles, which rose to fame in the 1960’s, launched his solo career after the band had broken-up. Famous for his political activism and pacifism, the Nixon administration saw him as a threat and attempted to deport him. His music is still played on radio stations spreading the message of peace around the world.

1946 – A CATWALK SCANDAL: THE BIKINITwo-piece swimsuits were not unknown in the fashion world, when French designer Louis Réard presented his new revealing model called the bikini in 1946. Presented as “smaller than the smallest swimsuit”, the Bikini was almost as revealing as the emperor’s new clothes. The new swimsuit model topped its predecessors in brevity as it did not cover the wearer’s navel. The panties were piece of cloth connected with a string on each side. Unable to find a model, Rèard hired a nude dancer to showcase his swimsuit. The Bikini was a sensation but it was a long time before the controver-sial swimsuit became a part of the popular beach culture.

Firstly, we need to make the dough, since it needs time to chill. Sift flour and a pinch of salt into a large mixing bowl. Add but-ter and rub lightly into flour with your fingertips. It is important to have all the ingredients cooled. When getting almost a fine bread-crumbs look-a-like lightly beat one egg then drizzle over the flour mixture. If necessary slowly add chilled water. The dough needs to be kneaded a few times and left in the fridge for at least half an hour to chill. After that, roll out the pastry ball on a floured workbench, place it into the baking tray and put it back to the fridge. Save some for the dec-oration on the top side of the pie.To make the filling, peel and core the apples and pears, and cut

into small pieces. Place them in a skillet over medium-low heat, together with a glass of water, a pinch of sugar, lemon zest and all above-mentioned spices. Do not exaggerate with the sugar, because the fruit itself will release some of its natural sweetness dur-ing cooking. The quantity of sugar you need to add mostly depends on the variety of apples you used. Cook, stirring occasionally, for 10 minutes or until apples have sof-tened. Set aside to cool and pre-heat the oven to 180°C.Pure the filling into the dough you just took out of the fridge. If you wish, you can decorate the top of the pie. Bake for 45 minutes at 180°C or until golden brown.

ENJOY!

INGREDIENTS FOR THE FILLING:8 apples2 pearsLemon zest100 grams sugarCinnamon

A pinch of saltVanilla extractNutmegCardamom

INGREDIENTS FOR THE DOUGH:300 grams flour150 grams butter1 eggWaterA pinch of salt

SCRUMPTIOUS APPLE PIEGRANDMA

Photo: Tomo Mišic and his grandmother in front of the Cekin mansion. Tomo got his first fičo for his 6th birthday, February 1960.

1953 – THE SUMMIT OF EVEREST CONQUEREDFirst recorded efforts to reach the summit of Mount Everest were made in 1921. The first official ascent was made by the members of the British expedition’s climb-ing pair, the New Zealander Edmund Hillary and Tenzing Norgay, a Nepali sherpa climber in 1953. Hillary took a photo of Norgay on the summit, but was deprived of his own portrait as Norgay could not use a camera.

EUROVISION LAB.ONE OBJECT - MANY VISIONS - EUROVISIONS TIME CAPSULE 7

price of the original. ETA 80 was awarded seven pres-tigious awards, among them the Japanese Good Design Award. Model ETA 80 is also one of the items in the collection of best-pre-served items at places of note like Museum of Modern Art in New York and the National Museum in Munich. Undoubtedly the ETA 80 model is one of the most notice-able, recognizable and iconic ob-jects of modern time.

Today it is hard to imagine that films, the most influential media of the 20th century, could only be seen at the cinema. Watching a film was a special social occasion that, unlike theatre or opera, con-nected people of all social classes. Motion picture films were project-ed onto screens with film projec-tors.Company Iskra at Kranj greatly contributed to the development of Slovene and Yugoslavian cine-matography. After the end of the Second World War, they begun to develop film projectors and sup-porting equipment. The poster, designed by Janez Trpin, depicts the NP-21 projector that was re-leased in 1955. It was designed for large theatres, it had many additional equipment, and could project films in widescreen for-mat. Production first began in 1948, when ten prototypes were made (one of which is part of museum’s permanent exhibition), and grew to 185 projectors the following year. Later the production line was improved so that new, higher quality items were manufactured as well as other cinematogra- phic equipment. Development of sound equipment begun in 1952, making Iskra the first manufactur-er of audio equipment in Yugosla-via, and it soon became the lead-ing company in the market. Iskra manufactured stereo amplifiers, cinema amplifiers, and hi-fi ampli-fiers among other things.

In 1952, Iskra’s products were launched on foreign markets sup-ported with a well thought-out advertising campaign, a part of which was the poster designed by Trpina depicting people of differ-ent races and nationalities looking at the film projector model NP-21. People in it are shown very stere-otypically. This is one of the rea-sons why this poster is an impor-tant testimony of understanding and knowing other cultures in the

35-MM ISKRA NP-21 FILM PROJECTORTAJDA BLAZINŠEK

KALINKA, KALINKA, KALIN-KA, MOYA!

Kalinka is not only a famous Rus-sian folk song, its melody suppos-edly contributed to the wide suc-cess of the telephone model ETA 80 manufactured by Iskra Kranj. Model ETA 80 became the official telephone of the 1980 Moscow Summer Olympics. Unlike other candidates, representatives of Iskra came well-prepared. The then head of department of de-sign Davorin Savnik, who studied design at home as well as abroad – in Europe and in United States, played the melody of Kalinka on his accordion. The sound was re-corded and set as the ringtone. When the committee was select-ing the official telephone for the Olympics games, Iskra’s present-ers called the phone and it was

immediately decided upon as its ringtone was the melody of Kalin-ka. The Iskra ETA 80 was first present-ed two years before at Ljubljana’s Electronics Fair under the name Olimpik. The model was an impor-tant evolutionary element in the age of electronic telecommunica-tions and became an integral part of every office and household. In 1970’s Iskra was already es-tablished as a manufacturer of quality products accessible to the majority of people. It was founded soon after the end of the Second World War. Then mostly copies of successful German products such as the Siemens telephone OB 33 and cinema projectors were pro-duced. At Iskra, policies of close cooperation between manufac-turers and designers during pro-duction and that of manufacturing

ETA 80 TELEPHONE, ISKRAGAL PAVLIHA

the same objects for foreign and domestic markets were followed to great success of the compa-ny. Success soon followed as the ETA 80 was selling by the millions worldwide and thus paved the way of other worthy products to foreign markets.ETA 80 was the first entirely elec-tronic telephone model made in Slovenia. First models of ETA 80 still had a rotary dial, but this was soon replaced with the wide-ly known set of 12 keys. The tele-phone’s durability and distinctive tear-shape contributed to its suc-cess as well. Because of the sim-ple flat shape it got the nicknames

such as ‘Pancake’ and ‘Fitipaldi’ (called so for the famous automo-bile and Formula 1 racing driver Emerson Fittipaldi, who competed in the eighties).The phone acquired its cult status because it was available in more than one colour, which was con-sidered a novel thing in the 1980’s Yugoslavia. ETA 80 was the most duplicated phone in the world. Many countries made their own version of ETA 80’s. The original idea was duplicated in 16 coun-tries and 160 million copies were sold worldwide. In the USA for ex-ample, the price of an ETA 80 copy was seven times higher than the

1970 19801960

1950’s Slovenian culture. The advertising campaign was very successful, making the pro-jector one of the company’s most noteworthy exports. Manufacture of film projectors and other cin-ematographic equipment com-prised about eighty percent of Iskra’s entire output.The film projector manufacture was cancelled in 1966. From 3200 projectors that were made, 950 were exported to Turkey, Iran,

Brazil, Bolivia, Chile, Belgium, Aus-tria, Hungary, as well as to some African countries of the Non-Aligned Movement. Iskra’s film projectors are still well-known around the world. Just a few years ago, a group of Slovene film enthusiasts visited a film festi-val at Ouagadougou, Burkina Faso to find out that the films were pro-jected with Iskra’s projector. They are still used in cinemas in Turkey; at Slovenska Kinoteka they were

in use untill 1998. Research pro-ject Kino na Slovenskem lead by the museum department of Slo- venska Kinoteka found that Isk-ra’s film projectors are displayed in many cinemas in Slovenia even though now mostly modern digital devices are used. The most com-mon model among them is NP-21.

Promotional poster for Iskra NP- 21 film projector, designed by one of the first Slovenian professional graphic designers, Janez Trpin (held at the National and University Library, 1958).Held: Slovenian Cinematheque, Ljubljana, Slovenia

Held: Technical Museum of Slovenia, Bistra, Slovenia

EUROVISION LAB.ONE OBJECT - MANY VISIONS - EUROVISIONS8 GAMES & LEISURE

T F L B P J W U Y T A I F A R O B U K K E B X C I R F X V A M A C K I Y C G A O R R G I C I B X A S J C O N C A Z J L P G Y X L K V Q C W E E G R M A R B V I R W U O B P U U D P V A O D N A R A Y U G R E P R A T O C K T L D R N G O N T O T I M C A S D S N D R V O R J S O D I E E W G B C E I H O E A N N V T B E Z W Z N S P P C Z W K V I T B X D Y A I E S T X V L G A M F C P W D O L S O A F H I Y S X Z L O E N E A R Y X H L H W E W O U O Y T P C E

EUROVISION LAB.ONE OBJECT – MANY VISIONS – EUROVISIONS

Published by the National Mu-seum of Contemporary History (on behalf of the publisher: Kaja Širok, Ph.D.)

Editors: Urška Purg and Janja Štefanič

Design and layout: Gilberto Mazzoli

Contributing authors: Tajda Blazinšek, Filip Draženo-vić, Veronika Koren, Jaroš Krivec, Marija Kutnar, Gal Pav-liha, Urška Purg, Vid Sosič, Janja Štefanič

Translation: Boljebo s.p.

Photographs and museumobjects: Goriška Regional Museum, Museum of Apiculture, Na-tional Museum of Contem-porary History, National and University Library, Slovenian Cinematheque, Slovene Eth-nographic Museum, Technical Museum of Slovenia

Photographs of museum ob-jects, editing and scanning:Sašo Kovačič, Sarah Poženel

Print: AERO PRINT d.o.o.Copies: 600

Thanks goes to all the col-leagues who have helped in the preparation of the exhibi-tion and the brochure:Tajda Blazinšek, Renata Čeh, Metka Dariš, Filip Draženović, Katarina Kogoj, David Kožuh, Jaroš Krivec, Veronika Koren, Ana Martinčič, Anja Moric, Gal Pavliha, Tita Porenta, Nika Ros-man, Mojca Slapar, Vid Sosič, Katarina Sučič, Janja Štefanič, Tjaša Zidarič

Printing of the brochure has been made possible by the Eu-ropean Union and the Ministry of Culture of the Republic of Slovenia.

This project has been funded with support from the Europe-an Commission. This publica-tion reflects the views only of the author, and the Commis-sion cannot be held responsi-ble for any use which may be made of the information con-tained therein.

PROJECTORKALINKATELEPHONECARGRENADEVASETEDDY BEARPASSPORT

ISKRAWARFIATBABY BOOMIRON CURTAINEUROVISIONMIGRATIONZASTAVA

REPUBLIC OF S LOVENIA MINISTRY OF CULTURE

MARIJA KUTNAR GILBERTO MAZZOLI

HELP FIČO FIND THE WAY TO THE MUSEUM

EMEE WORD PUZZLE EMEE LABIRYNTH

JANJA ŠTEFANIČEMEE SUDOKU Sudoku

Id: 158176

Level: Moderate

Set Numbers: 25

6 8 2 52 4 6 8

1 41 3 6

7 5 13 2 4

25 3 8 14

Solution4 6 8 2 9 3 5 1 7

2 1 9 5 4 7 6 3 8

5 3 7 1 6 8 9 4 2

1 9 2 3 7 4 8 5 6

6 7 4 9 8 5 1 2 3

3 8 5 6 1 2 7 9 4

8 2 3 7 5 1 4 6 9

7 5 6 4 3 9 2 8 1

9 4 1 8 2 6 3 7 5

© 2011 Becher-Sundström

The cover in the collage technique is based on the covers of Kurirček magazine, issues 63-64. Cited illustrations are the work of Jože Ciuha.

Design: Teja Ideja