The description or representation of individual and group identity is the central task of psychologists, sociologists and anthropologists and other disciplines that try to map or define “identity”. How to describe the identity of the other, how to encompass its idiosyncratic qualities, and group affiliation or identification, many of which are prone to change according to circumstances? The traditionally same group of artists on Mirabela tried to answer these questions, with the reinforcement from some nationally powerful names and new local authors.
Boris Šitum performed an activist campaign of placing a Palestinian flag on the Mirabela fortress, as a sign of solidarity with children who were killed in the bombing of a civilian hospital in Palestine in those days. Without discussing historical or ethical interpretations, the artist wanted to express his support for innocent victims. The Croatian flag at Mirabela is the symbol of us Croats—as the Omiš song claims—so this work has caused many controversies in the public media space, because it emphasizes the removal of the Croatian flag rather than the raising of the Palestinian. The Palestinian flag was taken down in less than half an hour due to alleged violations of the law, and Šitum was taken to the police station.
Željko Marović presented a 3,500$ check that he intended for financial support to the festival. It is a pity that none of the banks would like to take over the check and pay off the funds.
Vanja Pagar signed with the organizers a contract on taking over the concession over the festival, with the possibility of opening branches and franchises. The official signing of the contract was followed by the official protocol, and the document was never used by the artist.
Milan Brkić wore a T‑shirt saying: FEAR OF KNOWLEDGE.
Zlatan Dumanić invited the audience to a table tennis match (red vs. Blue team), trying to show what really happens while the Croatian people is dying out. The audience took part in a game in which, allegorically, the red Croats opposed the white Burgenland Croats.
Božidar Katić successfully deceived city shop-owners and caterers by placing a rumor that the new legal provision ordered all tourism workers to display tiles with their names, surnames and personal identification numbers that should be visible during working hours. People who were used to frequent changes in laws and the state laws’s aggression believed these rumors and legitimized themselves to the environment. There were several people on the fortress that looked like Božidar Katić, wearing tags with his name.
Ante Kuštre explained his own identity to the audience for a long time: Ante and Kuštre—head, sky, divine, and that in front—Ante, neck, link, conjunction—and—, and the earth, body, ancestors—Kuštre. In addition, he spoke of himself as a brand, and presented the audience with a wide range of T‑shirts with his interventions.
Vedran Urličić retreated a few days before the performance, while someone was sticking obituaries to the city walls, carrying his name and picture. On the performance eve, the artist appeared painted in black, and started the performance by slowly moving along with ambient music in the background. The audience was asked to hit him with water balloons in order to wash the black paint from his skin.
Julia Tomasović set up a ballot box with the question: “Will a referendum be held or not?” in Cyrillic and Chinese. Voters decided that they did not want a referendum.
Marijan Crtalić, listening to the music of Damir Avdić, gradually drank faster and danced more frenziedly until he eventually fell exhausted. The artist stood up and tripped several times, dancing to exhaustion.
As a typical tourist, Siniša Labrović sat down at a table prepared for him at Mirabela and ordered a glass of Coca-Cola and a glass of seawater. In a lasting performance, he poured liquids so that he would dip his right hand index finger in Coca-Cola, suckling on it later. He performed the same procedure with his left hand and a glass of sea. After more than half an hour, when he licked the last drop, the audience asked for a replay.
Petar Grimani and Efra Avila performed a complex shamanic spiritual operation that began with the opening speech by Avila, who, along with the sounds of the drums and Pan’s flute, centered the audience’s energy. Efra explained that he was an Indian from Bolivia, but that he had been living in Croatia for a long time, and that he had four liters of Dalmatian blood in his veins. He explained that in his native Bolivia there is one man from Brač — an island near Omiš, who bought half of Bolivia, which is why his Bolivia suffers. Explaining the ethical and moral principles and introducing the audience into the beliefs of the Indians, the artist took off his clothes, and Petar Grimani repeated Avila’s procedure. Claiming that the man is “conscious soil”, along with Grimani, he covered himself with the mud that they made on the spot, out of the soil from the holy place and water from Cetina. After that, they tried to turn on a fire, but Vanja Pagar prevented them, as the responsible holder of the festival concession.
The evening was closed by Gildo Bavčević and Vinko Barić as an acoustic punk duo – Agro Gentlemans. Transforming the art-punk band Ilija and Zrno Žita (which was born at the 2010 festival in the city square) into the acoustic duo formation, they brought the audience to delirium, and the sound from the high tower dominating the city resonated to the island of Brač.