The festival’s 2nd edition was an attempt to revitalize the city community with a new look at the concept of art itself — as a sensationally perceived and mediated order. It was based on the basic premise that sensory perception can be both physical and cultural, and that sight, hearing, touch, taste and smell are not just the means of cognition but also the means of transferring cultural values. We tried to awaken the fact that we culturally accept a certain hierarchy of senses, in which visual stimulation dominates other senses. In some societies, this dominance of sight would imply that separation and objectivity were the predominant social values, while the dominance of some other sense would imply another system of values (e.g., closeness and more subjective approach).
The program began with an exhibition of ready-made objects, which were produced by local artists through appropriation and re-contextualization. The exhibition was the result of a workshop by academic artists and amateurs, because many local artists had no prior attempts at accessing art through a conceptual pathway.
The second evening of the festival took place at the city beach. There was a concert with great alternative bands, with little audience. The last evening and the peak of the program took place at the Mirabela fortress and that very night marked the birth of the Almissa Festival, because—the performers at Mirabela—became a synonym for all subsequent editions of the festival.
Željko Marović performed a live installation in a World War II concrete bunker, within the fortress complex. For a couple of hours, the artist exposed his own bare feet, peeking through a crack in the ceiling. Expensive alcohol was pouring down his legs, dripping slowly on the bunker floors.
Marko Marković, accompanied by an army drum, hung a Homeland’s Gratitude medal, a real Homeland war artifact, on his bare chest.
Milan Brkić held an informal art performance, giving matchboxes to visitors. Matches of the brand Europa displayed the EU flag, and the artist intervened into the design, replacing the ‘Europa’ title with the word “Breivik”, the name of a Norwegian mass murderer who was convicted that year, and sentenced to serving only 21 year of jail time, for murdering 77 people.
Božidar Katić has signed a contract with the organizers, which orders him to discontinue his art activity. With this document, Katić has given up his author’s rights to his future works, which he claims to be non-artist a priori, ridding himself from his ‘artist’ title.
Vice Tomasović set up an art situation with pre-pubescent identical twins that played chess for a couple of hours.
Julija Tomasović cooked her family’s gold in saltwater, offering the so-called soup to the audience. The mass selling of family jewelry in Croatia came in a year after this performance.
Marin Baučić placed warning signs at the area where the event was taking place, marking restricted access to the main tower of the Mirabela complex.
Marija Ančić challenged the audience to a portrait-drawing duel, expecting that the majority of the audience would be other artists, which is the usual practice in Croatia’s contemporary art exhibitions.
Milan Stanić used a dark room in a closed part of Mirabela’s main tower, to display hundreds of origami cranes.
Marko Mandić wore an expensive suit with a cylinder, keeping a half-naked masked slave on a chained leash, physically molesting him the whole evening.
Vedran Urličić used a broom and a dustpan to sweep the entire fort complex, explaining to the visitors that he didn’t wish to evoke economical references, but to symbolically clean and renew the relationship between art and society.