Page 11 - Dark Shades of Istria
P. 11
roduction 1
Good friend for Jesus sake forbeare,
to dig the dust enclosed here.
Blessed be the man that spares these stones,
and cursed be he that moves my bones.
William Shakespeare Epitaph
Death and human tragedy are traditionally very interesting to people –
see Dunkley et al. (2007), Stone and Sharpley (2008), and Šuligoj (2016).
They are not interesting only to ordinary people, scholars, or the me-
dia, but also to a number of world-class and less recognisable artists
whose creations attract the international public. In his series Recettes
d’immortalité, Salvador Dalí, for example, includes elements that sym-
bolise death or suffering, e.g. Le Piano Sous la Neige (The Piano in the
Snow, 1966), Les Moulins (The Mills, 1966), or Dix Recettes d’Immortalité
(Ten Recipes for Immortality, 1973) (Ciglenečki, 2017). In the Upper Adri-
atic area, the legacy of Hungarian war photographer and photo journalist
Robert Capa was exhibited in 2017 (a nsa, 2017) and the scenes of horror
from the Dachau concentration camp of the famous Slovenian painter,
printmaker, draughtsman, as well as concentration camp prisoner, Zo-
ran Mušič, were exhibited at Trieste’s Museo Revoltella in 2018 (Museo
Revoltella, Galleria d’Arte Moderna, 2018). Also of further interest is the
internationally known and award-winning novel Necropolis by the Slove-
nian novelist from Trieste, Boris Pahor (2010), about his holocaust expe-
rience. On the other hand, in the wider South-Eastern European area and
especially in Croatia, a ‘dark exhibition’ that echoed as a provocative one
was Jasenovac – The Right to Remembrance, at the United Nations in
New York, on the of horror of the Jasenovac concentration camp (h rt,
2018; United Nations, 2018). The multimedia exhibition Dubrovnik, a
Scarred City: The Damage and Restoration of Dubrovnik 1991–1992,
opened in February 2019 at the Embassy of the Republic of Croatia in
Washington, was to have a similar effect in Serbia (Radio Dubrovnik,
2019). Moving back to the Upper Adriatic, the Italian t v movies Il Cuore
nel Pozzo (The Heart in the Pit) in 2005 and Rosso Istria (Red Istria)
in 2019 also upset not only veteran/anti-fascist organizations in Slove-
nia and Croatia, but also the wider public in the region. These are only
11
Good friend for Jesus sake forbeare,
to dig the dust enclosed here.
Blessed be the man that spares these stones,
and cursed be he that moves my bones.
William Shakespeare Epitaph
Death and human tragedy are traditionally very interesting to people –
see Dunkley et al. (2007), Stone and Sharpley (2008), and Šuligoj (2016).
They are not interesting only to ordinary people, scholars, or the me-
dia, but also to a number of world-class and less recognisable artists
whose creations attract the international public. In his series Recettes
d’immortalité, Salvador Dalí, for example, includes elements that sym-
bolise death or suffering, e.g. Le Piano Sous la Neige (The Piano in the
Snow, 1966), Les Moulins (The Mills, 1966), or Dix Recettes d’Immortalité
(Ten Recipes for Immortality, 1973) (Ciglenečki, 2017). In the Upper Adri-
atic area, the legacy of Hungarian war photographer and photo journalist
Robert Capa was exhibited in 2017 (a nsa, 2017) and the scenes of horror
from the Dachau concentration camp of the famous Slovenian painter,
printmaker, draughtsman, as well as concentration camp prisoner, Zo-
ran Mušič, were exhibited at Trieste’s Museo Revoltella in 2018 (Museo
Revoltella, Galleria d’Arte Moderna, 2018). Also of further interest is the
internationally known and award-winning novel Necropolis by the Slove-
nian novelist from Trieste, Boris Pahor (2010), about his holocaust expe-
rience. On the other hand, in the wider South-Eastern European area and
especially in Croatia, a ‘dark exhibition’ that echoed as a provocative one
was Jasenovac – The Right to Remembrance, at the United Nations in
New York, on the of horror of the Jasenovac concentration camp (h rt,
2018; United Nations, 2018). The multimedia exhibition Dubrovnik, a
Scarred City: The Damage and Restoration of Dubrovnik 1991–1992,
opened in February 2019 at the Embassy of the Republic of Croatia in
Washington, was to have a similar effect in Serbia (Radio Dubrovnik,
2019). Moving back to the Upper Adriatic, the Italian t v movies Il Cuore
nel Pozzo (The Heart in the Pit) in 2005 and Rosso Istria (Red Istria)
in 2019 also upset not only veteran/anti-fascist organizations in Slove-
nia and Croatia, but also the wider public in the region. These are only
11
