A mistake can be seen as a potential for progress due to the unspecified functions of the defect itself, and thus become the highest value in a work of art. In biology, a DNA reproduction error causes a mutation, and sometimes the mutation can have a positive impact on the individual, becoming the main driver of evolution. Errors with a positive effect are the motors of the development of science and art, and especially in performing arts due to the nature of the art media, usually occurring in front of a live audience. People’s reactions, external factors, accidents and mistakes are threats, but also opportunities for upgrading the planned performance. The ‘mistake-themed’ performances that took place in Mirabela in 2013 have often dealt with the wrong topic, as many have considered that giving any theme to performances on Mirabela was the first and basic error.
Ante Kuštre spent 20 minutes quietly looking into the eyes of the viewers a few meters away – at least the audience was experiencing it – because both Ante and Kuštre are short-sighted. Investigating the possibilities of non-verbal communication and questioning one’s own ability to convey an imaginary message, this long-lasting performance ended with applause when one visitor, irritated to boredom, decided to end his agony.
Božidar Katić over-exposed his body to sunlight that day, and decided to present body art as a performance at Mirabela. Using the pale skin’s reaction to strong sunlight as an art medium, the artist covered certain parts of his body with plastic squares that blocked UV light, thus achieving the effect of a chessboard, in which the red fields were actually first-degree burns.
Gildo Bavčević wore an official police suit and played the Croatian national anthem, which went in a hypnotic loop at “…da svoj narod Hrvat ljubi/…that a Croat loves his people”. The artist took off his pants, put some lipstick one and kissed a 100€ note. He then held the note against his chest until the anthem was over.
Milan Brkić apologized to the organizers for not being able to complete his planned work. He said that he had the intention to use ultrasound to demolish the Omiš Mountains and the city itself, and asked the electrical engineering students to produce the frequency and find equipment for the production of avalanche. Apparently, the students refused to hand over equipment to Brkić when he finally told them why he really needed the required frequency.
Vanja Pagar set up a map of Europe used in geography class upon the wall of the World War II bunker. He intervened in the map, adding twelve rocks composed in a circular formation, thus creating an interpretation of the European flag. The performance consisted of the swinging of the stones, creating tension and warning of the dangers threatening Croatia in the European nations’ community.
Zlatan Dumanić gave an inspirational and exhaustive lecture in which he expressed obscure theses about reality, the nature of the universe, and shared the truth about his own life and intimate memories with the audience. Although he suffered an injury in an accident several months before this performance (when he fell from a high wall while trying to impress the younger members of the opposite sex) that left him hardly mobile, during this performance he was fresh like a young man, which provoked rumors that the story of the injury was just deception, just as that the prosthesis he had on his back in the past few months was only elaborated preparation for this performance in Omiš.
Željko Marović poured flour, salt and sugar on three steps of the Mirabela. It was impossible to bypass or skip the mentioned steps, and visitors were forced to step on the installation in order to get in and out of the space.
Petar Grimani and Marijan Crtalić were in an portrait-drawing duel. Although the emphasis was on the artistic process and production errors, and not the result itself, as explained by Grimani, who conversed with the audience throughout the performance, the result was more successful for Crtalić who had not drawn a portrait for decades.
Antej Jelenić performed the ritual of spiritual cleansing of the space and visitors, by singing a secret shamanic song with burning sacred plants. The performance was accompanied by a session of improvisational music, with the participation of some artists and the audience. Music was played late into the night, until all the visitors left the event.