PROGRAMME
16:00 – 16:30 Center for peace studies, Croatia
16:30 – 17:00 Inayat Jiskani, Croatia
17:00 – 17:45 Mohammad Numan, Refugee protest camp Vienna, Austria
17:45 – 18:30 dinner break
18:30 – 19:15 Rex Osa, The VOICE refugee forum Germany
19:15 – 20:00 No Border Movement, Serbia and Croatia
20:00 – 20:45 JD, MigSzol – Migrant Solidarity Group of Hungary
20:45 – 21:30 discussion, exchange of thought

On the following day, Saturday 18.4. after 5 pm, join us in Medika (Pierottijeva 11) for “Day against borders”, discussions, cooking and party organized by No Border Croatia.

partner: Center for Piece Studies
supported by:  Youth Center Dugave

“By painting a mural at ITAS Prvomajska factory in Ivanec, we primarily wanted to support the workers’ organization and struggle, which resists the logic of the market and the interests of gross capital. The aim has been to use our labour in order to join the workers’ struggle and to contribute to its development and empowerment. The intervention contradicts the today’s view of mural painting as a tool of aestheticization and decoration; it does not romanticize the struggle of ITAS’ workers, but becomes its integral part. The decision on positioning the mural within the factory resulted from our wish to address the workers by offering them something that places the workers’ collective and the workers’ self-management into the fore. It is supposed to send a clear message to all the visitors to the factory: “ITAS is its workers.” In order to describe how we see our position as artists, we will paraphrase Walter Benjamin: our task is to fight rather than to decorate; it is to become actively involved rather than to be mere observers. In a broader sense, the mural in ITAS’ factory represents the inevitability of struggle in developing the progressive models of management through workers’ collectives. That struggle does not take place in factories alone: it must spill over to other spheres of the society, to the fields of art and culture, and cannot build up a sustainable materials base without the industrial production and without reflecting on the new models of labour.” (KURS)

in collaboration with MA students of photography at the Academy of Dramatic Arts, University of Zagreb: Dario Belić, Nikola Šerventić, Dino Šertović & Ino Zeljak

The 70th anniversary of the liberation of Zagreb from fascism is also the 70th anniversary of a film recording known in the history of Yugoslav cinema as Newsreel no. 1. Using this material, both the montaged version and the “raw” shots, as well as the photographic documentation of Zagreb in the days around the Liberation, a group of authors has placed the given images into a new context, thus raising questions not only on the transformation of the city and the political circumstances that lead to it, but also on the transformation of the cinematic and photographic medium in itself.
The exhibition has therefore been mounted in a deserted urban space instead of a classical gallery display. It presents archival photo and video materials, as well as those resulting from the manipulation of (moving) images, sound, and text, obtained by collaging and montaging. For the time of its duration, the localities where the liberation army entered the city (the Vlaška-Draškovićeva-Jurišićeva-Frankopanska-Savska route) will be sites of various interventions and their documentation will return to the exhibition space in the form of film recordings, thus continuing to explore the contradiction in filming between (around) May 8, 1945 and May 8, 2015.

Case 1: Zagreb, early May 1945. The Nazi and Ustasha army is retreating from the city. Several filmmakers, mostly pioneers of the Croatian cinema, are securing the film materials and equipment, which the occupation army intends to take with them. A part of the equipment is transferred from the then building of the state production house to private houses, but it is impossible to hide everything. Therefore the filmmakers take their cameras, go out into the streets, and film the departure of Nazi and Ustasha soldiers from Zagreb. In order not to be noticed, they camouflage the cameras on windows or act as if they were fleeing themselves. Sometimes they even use the retreating soldiers to help them transfer the film equipment to the place where they intend to shoot. Film director Branko Marjanović, who is located in the city centre and decides about the shooting localities, is coordinating the entire action. On May 8, the partisan army enters the city and the filming continues. The mistrusting partisans occasionally stop the civilians carrying cameras, but the detained cameramen respond with the password: “Florian knows everything!” Even though there is no Florian and the password has been invented among the filmmakers, a name behind the action regulates the situation. The filmmakers are set free. This is how the historical document quoted in literature as the “Liberation of Zagreb” is created.

Case 2: The cameramen are preparing to leave for the liberated territory to help shoot the propaganda materials for ZAVNOH (State Antifascist Council for the People’s Liberation of Croatia). They collect cameras, photo-materials (chemicals and paper), winter equipment, and medicines. As soon as they receive the orders, they set off. It is the time when the leading Ustasha guard for “raising the morals” among the few followers is established. They take with them journalists, cameramen, and even a photo-reporter. A higher instance orders Milan Pavić to volunteer as an undercover agent, to observe and document everything he sees in order to submit a detailed report later on.
He is told that his group would then wait for him in order to take him to join the partisans in the liberated territory.

Production: [BLOK] in collaboration with Academy of Dramatic Art, University of Zagreb
The project uses photographs by Milan Pavić from the Collection of Photographs, Photographic Equipment, and Postacrds at the Zagreb Municipal Museum, as well as film material from the Croatian Film Archive.
Supervisors at the MA programme of Production (Department of Photography) at the Academy of Dramatic Arts, University of Zagreb: doc. art. Darije Petković, teaching assistant Jelena Blagović
Thanks: Muzej grada Zagreba, Hrvatski državni arhiv, Mreža anitfašistkinja Zagreba, Iva Prosoli, Josip Jagić, Mladen Burić, Carmen Lhotka, Filmske novosti, Amir Obhođaš, Juraj Kukoč, prof. Enes Midžić, Hrvatski filmskim ljetopis

Exhibition and intervention are part of the Heroes we Love 2014-2017 project With the support of the Creative Europe Programme of the European Union

Exploring the function of a polycentrically organized cultural production in the city, the Hood Cinema project, after Trešnjevka and Dubrava, has now come to Remetinec, to the National Defence Square. This public area, now crammed with disused cars, has completely lost the character of a meeting point that it once had. By temporarily transforming it into an open-air cinema theatre, we are suggesting a different use and experience of this space, affirming the square as a place of socialization. Thereby the format of a cinema theatre is an overt reference to the former Remetinec cinema, closed down only a few years after its inauguration. Although there is a cinema theatre in today’s Remetinec, it is part of a shopping mall and as such not really perceived as a “hood cinema.” Therefore, we have organized a free viewing, open for all, in cooperation with the Cultural Centre Novi Zagreb as the main agent of cultural production in and for the neighbourhood. It is not by chance that the film and the subsequent panel talk discuss the issues of neighbourhoods and housing: it is the feature film Živi bili pa vidjeli (That’s the Way the Cookie Crumbles, directed by B. Gamulin and M. Puhlovski, 1979), which speaks of the housing issues in the context of socialism, when the housing development Remetinec was built as the first district of Novi Zagreb. It is for this reason that we have chosen the locality to open a discussion on life in the privatized city of today and the possibility of choosing different housing policies. Iva Marčetić and Antun Sevšek from the initiative Right to the City will give an introduction to the film viewing.
The project has been realized in cooperation with Anita Zlomislić, curator at the Vladimir Bužančić Gallery, and sponsored by the Cultural Centre Novi Zagreb.

Thank you: Zagreb Film, MO Remetinec, and Srđan Kovačević.

In an attempt of stratifying the population of city centres, sociological studies in Germany have identified the so-called S-groups as their residents before the 1980s. S-groups consisted of the poor, singles, foreigners, and elderly. However, in the 1970s and 1980s, changes in the lifestyle and professional orientation of the middle classes attracted the A-groups to the inner cities: lawyers, architects, and academics.* Borrowing this stratification, I would add along the same line that Zagreb has become occupied by the T-groups: tourists, shops (trgovine in Croatian), and terraces. As the city centre has been increasingly used for commercial activities and private apartments are sublet to the visitors, the original inhabitants have been gradually evicted. The T-groups consist of forms that generate capital rather than the genuine users of urban space.
Transformation of Zagreb’s city centre in the past few years has been going hand in hand with a rise in tourism. One can read that in 2014 the number of accommodations per diem has increased by 20%, and an ever growing number of hostels, private lodgings, souvenir shops, restaurants, and cafés in the city centre proves that the tourist season has been successful.
The fourth motif in the title of my UF project – squares – refers to places that combine the first three as footnotes in my reflections on the city. In this way, the project title Zagreb: shops, terraces, tourists, squares serves as a guideline along which my work evolves as well as a guideline for walks through the city centre.
My walks through Zagreb, intended for its citizens, focus on squares in the city centre. The fictitious tour through the squares, which tell the story of the relationship between tourism and the city on the empirical level, is summarized on leaflets that remind of tourist publications in terms of design. I distribute these leaflets on squares, using the motif of the promoters of mass tourism, and this action serves as a basis for research and an incentive for conversations with the passers-by, Zagreb’s citizens.
Walking through the narrow passages that remain between the terraces of cafés and restaurants, the squares that now barely exist, one may ask what has become of that public space in which everyone should be able to participate, regardless of one’s gender, age, or class; space that would offer room for various activities and various uses.
After all, whom does the city centre belong to? (KD)

performers:  Ana Kreitmeyer & Zrinka Užbinec

How should one move a particular space, especially one pregnant with historical and more recent inscriptions, by using one’s body?
From the history of political struggles, antagonisms, and direct conflicts that have taken place on St Mark’s Square, I have chosen an almost forgotten action by a group of women, one that has been erased from the dominant narrative, which happened there in spring 1903: ignoring the prohibition of gatherings, these women organized an antimonarchic protest. Various accounts of the event stem from a single author, Marija Jurić Zagorka, herself a participant. One of the sources directly linked to the protest is her dramatic text, a popular play in five acts titled “Evica Gubčeva”, which she wrote while in prison during that same year. Theoreticians have interpreted the play as a pamphlet on Zagorka’s socialist ideas and her specific understanding of feminism (N. Badurina, 2009). The link between “Evica Gubčeva” and the protest has been established by means of various  interpretations and records, rather different and even contradictory in nature, which is why the question of (in)credibility of performance in the processes of recording, transcribing, and inscribing has been used here as a choreographic basis for collective action and enactment. The (in)credible performance on St Mark’s Square has started as an action of transcription. Since the play was never published in print and was performed only once in Zagreb owing to censorship, the only remaining copy is a manuscript preserved at the Institute for the History of Croatian Theatre. A group of women has transcribed the text together during their organized visits to the Institute, part by part. Their visits to Opatička Street were taking them over St Mark’s Square, which meant that each act of traversing the square was a small action of inscribing the female body into a space that has been almost dominantly marked as a site of male political history.
The performance, consisting of individual performing interventions and a collective action, featured: Selma Banich, Andreja Gregorina, Lana Hosni, Ana Kreitmeyer, Mila Pavićević, Ivana Rončević, Natalija Škalić, and Jasna Žmak.
On Tuesday, September 1, at 7:55 a.m., two members of the group (Ana Kreitmeyer and myself) engaged in an act of re-transcription – we repeated the individual inscriptions and constructed a collective choreography as an attempted (in)credible performance on St Mark’s Square.

“From dusk till dawn” is a homage to amateur film production, past and present. The beginnings of cine-amateurism in Zagreb go back to the year 1928 when Maksimilijan Paspa founded a film section in the Zagreb photo club, a few years later the film section became a separate club, Kinoklub Zagreb.
Ever since the earliest period and its very beginnings, film was created with the enthusiasm of amateurs. Until today a place of prolific production Kinoklub Zagreb is one of the oldest still existing cine clubs in the world whose activity is strongly relying on the principle of democratization of the mans of (film)production. In its long history Kinoklub Zagreb was always a place for innovation and experiment, for example GEFF (Genre Expermental Film Festival), 1963–1970, came about from discussions held in Kinoklub Zagreb in the beginning of the sixties on the topic of “anti-film”.
On July 10 2015, Kinoklub Zagreb and UrbanFestival 13 will occupy one night long the Franjo Tuđman’s Square: “From dusk till dawn” will present a selection of films from several decades – all produced at Kinoklub Zagreb – dealing with the city and the public space as “a space always already populated by often conflicted feelings, imaginations, projections and projects.”*

*Anna Schober, “The Cinema Makers, Public Life and the Exhibition of Difference in South-Eastern and Central Europe since the 1960s”, Intellect Ltd. 2013

PROGRAM
selector: Vedran Šuvar (KKZ)

 21.30 – 23.00h
Introduction: Isa Rosenberger, Daria Blažević (KKZ)
“Site selection” 3′, Mare Šuljak (exp.)
“Najmanji”, 16′, Tomislav Šoban, (exp.)
“Komba”, 12′, Tin Žanić, (fic.)
“Machinae novae”, 8’33”, Darko Vidačković, (exp.)
“The runner”, 6′ Toma Zidić, Nataša Čića, Petar Cerovšek, (doc.)
“Scusa signorina”, 5’13”, Mihovil Pansini, (exp.)
”Trapezakt”, 5′, Miro Manojlović, (exp.)
“Hram”, 20′. Ivan Vuković, (doc.)

23.15 – 00.30h
“Arhitekt” 4’18”, Branka Valjin (music video)
“Rekao je da je jako umoran” 12′, Ivana Škrabalo, (fic.)
“+topia”, 5’19”, Petar Novak, (exp.)
“Manjača”, 12′. Tin Žanić, (fic.)
“Staklene oči”, 15′, Mario Papić, (doc.)
“Barefoot”, 4′, Vjeran Vukašinović (exp.)
“Prijepodne jednog fauna”, 7’50”, Tomislav Gotovac, (exp.)
“Zagreb – Ivanić grad- Zagreb”, 5′, Natko Stipaničev (exp.)

00.45 – 02.00
“722 032-2”, 5′, Mare Šuljak, (exp.)
“Skica za jedan oblak”, 14′, Tomislav Šoban
“Noć za dvoje”, 20′, Filip Mojzeš, (fic.)
“Začudnost kaosa”, 5′, Željko Radivoj, (exp.)
“Zastajkivanje”, 3′, Hrvoje Turković, (exp.)
“Višak popušim sam”, 9′, Zorko Sirotić, (doc.)
“Zubi”, 20′, Daria Blažević, (fic.)

02.15 – 03.30
“Buldings go round”, 4′, Daria Blažević (exp.)
“Granje i korijenje”, 13′, Nikica Zdunić, (doc.)
“Dota”, 6′, Petra Zlonoga, (exp.)
“Buj:room”, 7’3”, Alma Sarač, (doc.)
“When I’m five”, 7’52”, Fokus grupa, (exp.)
“Proljeće na baušteli”, 4′, Željko Radivoj, (doc.)
“Srećko Kramp – skica za portret”, 16′, Višnja Vukašinović, (fic.)
“Mali odmor”, 10′. Daria Blažević, (doc.)

03.45 – 05.00
“Maslačak”, 11’14” Lovro Čepelak, (doc.)
“Iz košmara”, 15’14”, Marko Majerski, (fic.)
“Sretanje”, 6’25”, Vladimir Petek (exp.)
“Odnos”, 6′, Mario Papić, (exp.)
“Roza – teološki film ceste”, 12, Višnja Vukašinović, (fic.)
“Slavoj Žižek – behind the scenes”, 13′, Zorko Sirotić, (doc.)
“8 x 8”, 10′. Mario Papić, (doc.)
“Little fishes”, 1’44”, Zorko Sirotić (exp.) 

support: Austrian cultural forum
thank you: Diana Nenadić (Croatian Film Association)

„We demand our rights“, „we’ll rise“, „stop deportations“, „we are here to stay“, samo su neki od slogana s demonstracija izbjeglica i migranata na ulicama europskih gradova. U Hamburgu, Berlinu, Amsterdamu, Calaisu, Ceuti, Melilli, Ateni, Beču i drugdje oni koji su uspjeli preći europske granice sve su vidljiviji i glasniji u obrani svojih prava.
Europa ima problem s izbjeglicama. Problem je njezina migrantska politika. Zajednički sustav azila, ustanovljen 1997., ima za cilj osigurati vanjske granice EU. Toplinske kamere, uzimanje otisaka prstiju po sistemima Dublin I, II i III, agencije za sigurnost poput Frontexa, masovne deportacije, rezolucije o “sigurnim državama”,sabirni centri zatvorskog tipa poput onih na sjeveru Afrike i u Ukrajini, nasilne push back operacije na granicama, izolirani prihvatni centri, izbjeglički logori, zabrana rada i kretanja, novi zakonski paragrafi koji služe kriminalizaciji migranata i izbjeglica – to je očajnička “vizija” te ksenofobne politike iza koje se krije rasizam. Međunarodne norme zaštite izbjeglica sve su manje efikasne. Ljudi traže sigurnost u EU, no ako je njihov zahtjev za azilom odbijen, ostaju bez ičega, bez doma, bez novaca, bez prava na boravak i rad.
Kakva je situacija u Hrvatskoj? Izbjeglice dolaze, i mnogi od njih ostaju. Koja prava i mogućnosti imaju? S kojim problemima se suočavaju i koje borbe vode? Koji akteri djeluju u polju? Što možemo naučiti o samoorganizaciji, otporu i solidarnosti od izbjegličkog pokreta u EU? Dobar život za sve u Europi – što bi to bilo?
Stoga sam inicirala projekt u okviru UrbanFestivala u cilju istraživanja formata i resursa kojima će se zajedno promišljati i spojiti umjetnost, aktivizam, politiku i civilno društvo. Projekt “Izbjeglice Europe o borbi, organiziranju i solidarnosti” obuhvaća dva dijela, plakatnu kampanju i socijalni forum na kojem sudjeluju aktivisti iz europskih zemalja s različitim iskustvima: Njemačke, Austrije, Srbije, Mađarske. Cilj je kroz prezentacije, diskusije i prikazivanje filmova razmijeniti iskustva i razvijati zajedničku strategiju, ali i artikulirti probleme izbjeglica u široj zajednici. (PD)

PROGRAM IZLAGANJA
16:00 – 16:30 Centar za mirovne studije, Hrvatska
16:30 – 17:00 Inayat Jiskani, Hrvatska
17:00 – 17:45 Mohammad Numan, Refugee protest camp Vienna, Austrija
17:45 – 18: 30 večera
18:30 – 19:15 Rex Osa, The VOICE refugee forum Germany
19:15 – 20:00 No Border Movement, Srbija i Hrvatska
20:00 – 20:45 JD, MigSzol – Migrant Solidarity Group of Hungary
20:45 – 21:30 diskusija

U subotu 18.4. iza 17 sati pozivamo vas da nam se pridružite u Medici (Pierottijeva 11) na manifestaciji “Day against borders” u organizaciji inicijative No Border Hrvatska.

partner: Centar za mirovne studije
podrška: Dom Dugave

Video prilog možete pogledati ovdje!

Sudjelovanjem KURS-a, festivalska produkcija naglašeno privremenih intervencija u javni prostor ustupa mjesto naoko regresivnoj formi – zidnom slikarstvu. Suvremeni je mural dio strategije uljepšavanja i jedan od uspješnijih mehanizama „oživljavanja oronulih pročelja“ kojima se brendira grad, dok je u nekim drugim političkim okolnostima bio način opismenjavanja masa, prevođenja politički i socijalno angažirane poruke u vizualni jezik dostupan i čitak svima. Možemo li u aktualnom društveno-politčkom kontekstu zamisliti murale koji reinterpretiraju ovu tradiciju ali i zaobilaze klopku uklapanja estetike otpora u procese komodifikacije javnog prostora? Može li danas mural izaći iz sfere umjetničkog i estetskog i biti dio širih društvenih borbi? KURS za UF na ovo pitanje odgovara intevencijom na unutarnje zidove tvorničke hale, zamišljenom da bude dio, a ne ukras, radničke borbe. Naime, riječ je o Ivanečkoj tvornici alatnih strojeva (ITAS), ostatku nekadašnjeg metalurškog diva Prvomajska, koja je radničkom borbom uspjela zaustaviti procese rastakanja proizvodnje i zauzeti pogone. Kroz model radničkog dioničarstva, koji i dalje razvijaju, radnici i danas brane tvornicu iznutra.

Oslikavanjem murala u fabrici ITAS Prvomajska u Ivancu želimo pre svega da pružimo podršku radničkom organizovanju i borbi koja se odupire tržišnoj logici i interesima krupnog kapitala. Ovom  intervencijom nastojimo se sa svojim radom uključiti u radničku borbu i doprineti njenom širenju i jačanju.  Ova intervencija se suprostavlja savremenoj precepciji murala kao sredstvu estetizacije i ukrašavanja, ona nije romantizacija borbe radnika ITAS-a, već postaje njen sastavni deo. Odluka o pozicioniranju murala unutar fabrike je proistekla iz želje da se obratimo radnicima, sadržajem koji u prvi plan stavlja radnički kolektiv i radničko upravljanje. Svim posetiocima fabrike mural treba jasno da govori: „ITAS to su radnici“. Da bi opisali kako vidimo svoju poziciju kao umetnika, parafraziraćemo Benjamina: naš zadatak nije da ukrašavamo, nego da se borimo, nije da igramo ulogu posmatrača, nego da se aktivno uplićemo. U širem smislu mural u fabrici ITAS, reprezentuje neminovnost borbe za razvoj  progresivnih modela upravljanja od strane radničkih kolektiva, i ta borba nije samo u fabrikama, ona mora preći i na druge sfere društva, pa tako i na polje kulture i umetnosti, koje ne može graditi održivu materijalnu bazu bez industrijske proizvodnje i promišljanja novih modela rada. (Kurs)

u suradnji sa studentima 2. godine Diplomskog studija snimanja – usmjerenje fotografija, Akademije dramske umjetnosti Sveučilišta u Zagrebu: Dario Belić, Nikola Šerventić, Dino Šertović i Ino Zeljak

70-godišnjica oslobođenja Zagreba od fašizma ujedno je i 70-godišnjica snimanja filmskog zapisa zabilježenog u povijesti jugoslavenskog filma kao Filmske novosti br.1. Vraćajući se tom materijalu, montiranoj verziji kao i “sirovim” snimkama, ali i fotografskom bilježenju Zagreba u danima oko Oslobođenja, grupa autora postavlja nađene slike u novi kontekst, otvarajući tako pitanja o transformaciji grada i političkih uvjeta koji ga proizvode  s jedne te o transformaciji samog filmskog i fotografskog medija s druge strane.
Izložba je stoga umjesto u klasični galerijski, smještena u napušteni gradski prostor, a predstavlja arhivske foto- i video-materijale, kao i materijale nastale manipulacijom (pokretne) slike, zvuka i teksta, kolažiranjem i montiranjem. Za njezinog trajanja na lokacijama kojima su osloboditeljske trupe ulazile u Zagreb (trasa Vlaška, Draškovićeva, Jurišićeva, Frankopanska, Savska) intervenira se obilježavanjem, a dokumentacija tih intervencija se ponovo kao filmski zapis vraća u izložbeni prostor nastavljajući propitivati opreku između snimanja (oko) 8. 5. 1945. i 8. 5. 2015.

Predložak 1. Zagreb, početak svibnja 1945. Iz grada se povlače njemačke i ustaške vojne snage. Nekolicina filmaša, uglavnom pionira hrvatskog filma, sudjeluje u akciji spašavanja filmske opreme i materijala koje okupacijske snage imaju namjeru odnijeti sa sobom. Jedan dio opreme se premješta iz tadašnje zgrade državne produkcijske kuće u privatne kuće, ali nemoguće je sakriti sve. Stoga snimatelji uzimaju kamere u ruke, izlaze na ulice i snimaju odlazak njemačko-ustaških kolona iz Zagreba. Kako ne bi bili sumnjivi, snimatelji kamufliraju kamere na prozorima ili se ponašaju kao da su i sami u bijegu. Ponekad čak koriste vojnike koji bježe da im pomognu u premještanju filmske opreme do mjesta određenog za snimanje. Akciju koordinira filmski redatelj Branko Marjanović koji je smješten u centru grada i planira lokacije na kojima će se snimati. Osmog svibnja partizanske snage ulaze u grad, a snimanje i dalje traje. Nepovjerljivi partizani ponekad zaustavljaju civile s kamerama, a zadržani snimatelj izgovara dogovorenu lozinku: „Florijan zna sve!“ Iako Florijan ne postoji i lozinka je dogovorena samo među snimateljima, ime iza akcije regulira situaciju. Snimatelji su pušteni na miru. Tako nastaje povijesni dokument u literaturi citiran kao „Oslobođenje Zagreba“.

Predložak 2. Snimatelji se pripremaju za odlazak na oslobođeni teritorij kao pojačanje na propagandom radu pri ZAVNOH-u. Nabavljali su fotokamere, foto-materijal (kemikalije i papir), zimsku opremu i lijekove. Čim su dobili naredbu odlaze na teren. U to vrijeme spremala se vodeća ustaška garda za »dizanje morala« među svojim malobrojnim istomišljenicima. Poveli su i novinare, filmske snimatelje, pa je s njima trebao poći i jedan foto-reporter. Viša veza je Milanu Paviću naredila da se ponudi i pođe kao foto-reporter, ilegalac u promičbi, da sve pažljivo prati i snima, pa da o tome kasnije podnese opširan referat.
Rečeno mu je da će poslije izvršenog zadatka čekati njegova grupa s kojom treba da krene u partizanske akcije na oslobođeni teritorij.

Produkcija: [BLOK] u suradnji s Akademijom dramske umjetnosti Sveučilišta u Zagrebu
Kustosice: Ivana Hanaček, Ana Kutleša, Vesna Vuković
U projektu su korištene fotografije Milana Pavića iz Zbirke fotografija, fotografskog pribora i razglednica Muzeja Grada Zagreba te filmski materijali iz Hrvatskog filmskog arhiva.
Mentori na  Diplomskom studiju snimanja – usmjerenje fotografija, Akademije dramske umjetnosti Sveučilišta u Zagrebu: doc. art. Darije Petković, asist. Jelena Blagović
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Muzeju grada Zagreba, Hrvatskom državnom arhivu, Mladim anitfašistkinjama Zagreba, Ivi Prosoli, Josipu Jagiću, Mladenu Buriću, Carmen Lhotka, Filmskim novostima, Amiru Obhođašu, Jurju Kukoču, prof. Enesu Midžiću, Hrvatskom filmskom ljetopisu

Izložba i intervencija su dio projekta Heroes we love / Naši Heroji 2014.-2017. uz podršku programa Europske Unije Kreativna Evropa.