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(scroll down for English) točke susreta.:.:.arhiv u nastajanju | dokument #2:
3, 2, 1…BRIŠI! ALTERNATIVNA TELEVIZIJA U NEW YORKU
/ gosti arhiva: Dejan Kršić i Zlatko Galić
Kroz seriju istraživačkih susreta i razgovora, program točke susreta:.:.arhiv u nastajanju okuplja zainteresiranu publiku i pozvane sugovornice/ke oko pojedinih predmeta i dokumenata iz arhiva Instituta Sanja Iveković. Račun iz 1981. godine, koji su Sanja Iveković i Dalibor Martinis izdali Radioteleviziji Zagreb za realizaciju jedne od epizoda kultne emisije 3,2,1…kreni!, poslužit će kao polazište za istraživački susret s grafičkim dizajnerom i publicistom Dejanom Kršićem i povjesničarem umjetnosti i istraživačem Zlatkom Galićem.
Tijekom 1980. i 1981. Iveković i Martinis borave u New Yorku, gdje u galerijama i na alternativnim kanalima kabelske televizije predstavljaju svoju selekciju video radova zagrebačkih umjetnika. Istovremeno za RTV Zagreb rade istraživanje i reportažu o alternativnoj televiziji u New Yorku te o potencijalima medijske demokratizacije koje nudi nekomercijalna kabelska televizija. Osim što pruža uvid u produkciju televizijske reportaže, račun je jedan od rijetkih preživjelih tragova ove emisije, emitirane 15. listopada 1981., čiji zapis danas nije moguće pronaći u arhivu Hrvatske radiotelevizije.
Isječak zvučnog zapisa emisije sačuvan je na jednoj od eksperimentalnih audio-kazeta koje je Dejan Kršić objavio u sklopu svog djelovanja unutar intermedijskog kolektiva Nova Evropa i vlastite etikete Cheshire (1981–1984). Tako se jedan drugi osobni i umjetnički arhiv susreće s arhivom Instituta, otvarajući prostor za istraživanje ne samo onoga što je sačuvano, već i onoga što je – bilo namjernim brisanjem ili nebrigom – nestalo iz institucionalnih arhiva i preživjelo u neočekivanim oblicima. Cilj susreta je otvoriti pitanja odnosa institucionalnih i alternativnih praksi arhiviranja, ali i samih uvjeta pod kojima nešto postaje arhivski dokument i izvor za istraživanje povijesti alternativne kulture.
Dejan Kršić je grafički dizajner i publicist. Do 2026. radio je kao redovni profesor na Odsjeku dizajna vizualnih komunikacija Umjetničke akademije u Splitu. Djelovao je kao grafički urednik u nizu novina i časopisa, kao što su Polet, Quorum, Start, Danas, i dr. Pokretač je i član intermedijskog projekta i kolektiva Nova Evropa (NEP), koji od ranih 1980-ih do početka 1990-ih djeluje na razmeđu grafičkog dizajna, medijske umjetnosti, teorije, nezavisnog izdavaštva, eksperimentalne glazbe i videa. Devedesetih godina jedan od pokretača i grafički urednik a kasnije i glavni urednik magazina Arkzin i Biblioteke Bastard. Od 2000. kao član udruge za vizualnu kulturu Što, kako i za koga/WHW surađuje na izložbenim projektima te u realizaciji programa Galerije Nova. Prvenstveno se bavi grafičkim oblikovanjem za projekte u kulturi i na nezavisnoj kulturnoj/aktivističkoj sceni. Autor je i ko-autor niza izložbi i publikacija o povijesti grafičkog dizajna, te autor knjige Zaludni neimar i slijepa mrlja ideologije: Povodom partizanskih nekropola Bogdana Bogdanovića (Bijeli val, 2025).
Zlatko Galić diplomirani je povjesničar umjetnosti i samostalni istraživač. Diplomski rad na temu teorije i kritike videoumjetnosti od 1960-ih do 1990-ih u Hrvatskoj obranio je 2026. na Odsjeku za povijest umjetnosti Filozofskog fakulteta u Zagrebu, u okviru znanstveno-istraživačkog projekta Identiteti u vizualnim umjetnostima od moderne do suvremenosti. Proveo je više arhivskih istraživanja za publikacije iz područja suvremene umjetnosti i umjetničke kritike, sudjelovao u izradi konzervatorskih podloga za područje grada Labina te vodio diskurzivni program posvećen eksperimentalnoj filmskoj produkciji u Kino klubu Split. Nagrađen je za uspješnost u nastavnim i izvannastavnim aktivnostima na prijediplomskom studiju (Filozofski fakultet u Splitu, 2024.) te je dobitnik stipendije Sveučilišta u Zagrebu za izvrsnost (2025.). Trenutno je angažiran kao istraživač i suradnik u Institutu Sanja Iveković.
Program točke susreta.:.:.arhiv u nastajanju dio je dugoročnog istraživanja osobnog i umjetničkog arhiva Sanje Iveković, započetog izložbom Točke susreta: Dokumenti u nastajanju, 1968.–1982. u Muzeju suvremene umjetnosti u Zagrebu 2023. i u Nacionalnoj galeriji Kosova u Prištini 2024. godine. Susret pozvanih sugovornika i publike s odabranim dokumentom iz arhiva Instituta Sanja Iveković polazišna je točka istraživačkog procesa, čiji tijek vode vode pozvani istraživači, a preusmjeravaju ga pitanja, odgovori, digresije i asocijativne veze koje se pritom pojavljuju. Cilj takvog zajedničkog istraživanja dokumenta – koje potencijalno upućuje i na druge sadržaje arhiva, kao i na njegove praznine i tišine – nije tek stvoriti novo znanje, već i deprivatizirati i učiniti javnim sam rad dokumentiranja, organiziranja i izlaganja umjetničkog arhiva, koji se tako otvara novim značenjima i potencijalima. Program uređuje i vodi Ivana Bago.
Program su podržali:
Grad Zagreb, Gradski ured za kulturu i civilno društvo
Zaklada Kultura nova
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meeting points.:.:.archive in becoming | document #2:
3, 2, 1…ERASE! ALTERNATIVE TELEVISION IN NEW YORK
/ guest archivists: Dejan Kršić and Zlatko Galić
Unfolding as a series of research encounters and conversations, meeting points.:.:.archive in becoming brings together the interested public and invited interlocutors around individual artifacts and documents from the archive of the Sanja Iveković Institute. An invoice issued in 1981 by Sanja Iveković and Dalibor Martinis to Radiotelevision Zagreb for the production of an episode of the program "3,2,1…go!"—a television series dedicated to film that has since attained cult status locally—will serve as the starting point for a research encounter with graphic designer and writer Dejan Kršić and art historian and researcher Zlatko Galić.
During 1980 and 1981, Iveković and Martinis were in New York, where they presented their selection of video works by Zagreb artists in galleries and on alternative cable television channels. At the same time, they researched alternative television in New York, and produced a feature for RTV Zagreb, exploring the potentials of non-commercial cable television as a tool for democratizing media and art. In addition to providing insight into the production of the television feature, the invoice is one of the few surviving traces of the episode, broadcast on October 15, 1981, whose recording can no longer be found in the archives of Croatian Radiotelevision.
An excerpt from the audio recording of the program has been preserved as a track on one of the experimental audio cassettes published by Dejan Kršić as part of his work with the intermedia collective Nova Evropa and his own label Cheshire (1981–1984). Another personal and artistic archive thus becomes entangled with the archive of the Institute, opening up a space for investigating not only what has been preserved, but also what has—whether through deliberate erasure or neglect—disappeared from institutional archives, and what has survived in unexpected forms. The meeting aims to address the relation between institutional and alternative archival practices, as well as the conditions under which something becomes an archival document and a source for researching the history of alternative culture.
Dejan Kršić is a graphic designer and writer. Until 2026, he was a full professor at the Department of Visual Communications Design at the Arts Academy in Split. He has worked as a graphic editor for a number of newspapers and magazines, including Polet, Quorum, Start, and Danas, among others. He is a founder and member of the intermedia project and collective Nova Evropa (NEP), active from the early 1980s to the early 1990s and working at the intersection of graphic design, media art, theory, independent publishing, experimental music, and video. In the 1990s, he was among the founders of the Arkzin magazine, where he worked as graphic editor and later editor-in-chief, as well as of the Bastard book series. Since 2000, as a member of the organization What, How and for Whom/WHW, he has collaborated on exhibition projects and on the program of Galerija Nova. His graphic design works are made primarily for cultural projects and for the independent cultural and activist scene. He is the author and co-author of numerous exhibitions and publications on the history of graphic design, as well as the author of the book Zaludni neimar i slijepa mrlja ideologije: Povodom partizanskih nekropola Bogdana Bogdanovića (Bijeli val, 2025).
Zlatko Galić is an art historian and independent researcher. In 2026, he completed his MA thesis on the theory and criticism of video art in Croatia from the 1960s to the 1990s at the Department of Art History, Faculty of Humanities and Social Sciences, University of Zagreb, as part of the research project “Identities in the Visual Arts from Modernity to the Contemporary.” He has conducted archival research for a number of publications on contemporary art and art criticism, contributed to the preparation of conservation studies for the city of Labin, and led a discursive program dedicated to experimental film production at Kino Klub Split. He received an award for excellence in curricular and extracurricular activities during his undergraduate studies (Faculty of Humanities and Social Sciences, University of Split, 2024) and was awarded a University of Zagreb Excellence Scholarship (2025). He is currently a research assistant at the Sanja Iveković Institute.
meeting points.:.:.archive in becoming is part of a long-term research project on Sanja Iveković’s personal and artistic archive, initiated with the exhibition "Meeting Points: Documents in the Making," 1968–1982 at the Museum of Contemporary Art in Zagreb (2023) and the National Gallery of Kosovo in Pristina (2024). Each research encounter brings invited interlocutors and the public together around a selected document from the archive of the Sanja Iveković Institute, which serves as the starting point for a collaborative investigative process led by the invited researchers and modulated by the questions, digressions, and associative links generated in the process. The aim of this collective inquiry of a document—which may open onto other materials in the archive as well as point to its gaps and silences—is not simply to produce new knowledge, but to deprivatize and make public the very work of documenting, organizing, and exhibiting an artist’s archive, opening it to new meanings and potentials. The program is curated and led by Ivana Bago.
The program is supported by:
City of Zagreb, City Office for Culture and Civil Society
Kultura Nova Foundation
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