{"id":7174,"date":"2022-11-07T14:46:27","date_gmt":"2022-11-07T14:46:27","guid":{"rendered":"https:\/\/dwp-balkan.org\/staging\/?p=7174"},"modified":"2022-11-07T14:46:33","modified_gmt":"2022-11-07T14:46:33","slug":"politike-secanja-novi-muzeji-i-nove-istorije","status":"publish","type":"post","link":"https:\/\/dwp-balkan.org\/staging\/bs\/politike-secanja-novi-muzeji-i-nove-istorije\/","title":{"rendered":"POLITIKE SE\u0106ANJA: novi muzeji i nove istorije"},"content":{"rendered":"
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Govore\u0107i u jednom televizijskom intervjuu u februaru ove godine, direktor Muzeja \u017ertava genocida istori\u010dar Dejan Risti\u0107 najavio je po\u010detak radova na rekonstrukciji Centralne kule i italijanskog paviljona kompleksa na Starom sajmi\u0161tu. Ovi radovi bi zapravo bili nastavak procesa koji je institucionalno zapo\u010det jo\u0161 pre dve godine, kada je Skup\u0161tina Republike Srbije donela Zakon o Memorijalnom centru \u201eStaro sajmi\u0161te\u201c. Tim zakonom osnovana je jedna nova ustanova kulture \u2013 Memorijalni centar \u201eStaro sajmi\u0161te\u201c. Ona treba da obavlja poslove u oblasti muzeolo\u0161ke, obrazovno-vaspitne i nau\u010dnoistra\u017eiva\u010dke delatnosti, kako je u \u010dlanu 2. tog zakona navedeno, \u201es ciljem negovanja se\u0107anja na \u017ertve nacisti\u010dkog koncentracionog logora Jevrejskog prolaznog logora Beograd \u2013 Topovske \u0161upe i na nekada\u0161njem Beogradskom sajmi\u0161tu, Jevrejskog logora Zemun i Prihvatnog logora Zemun\u201c.<\/p>\n\n\n\n

Po\u010detkom novembra 2021. godine, vi\u0161e od godinu i po dana nakon dono\u0161enja Zakona o Memorijalnom centru \u201eStaro sajmi\u0161te\u201c, za vr\u0161ioca du\u017enosti direktora te ustanove imenovana je dr Krinka Vidakovi\u0107 Petrov. Nau\u010dnica vrhunske karijere u oblastima hispanistike, judaistike, komparatistike i knji\u017eevnog prevo\u0111enja, dr Vidakovi\u0107 Petrov tako\u0111e je slu\u017ebovala i kao ambasadorka SR Jugoslavije (odnosno Srbije i Crne Gore) u Izraelu u periodu od 2001. do 2006. godine. Uz v. d. direktorke imenovani su Upravni i Nadzorni odbor Memorijalnog centra \u201eStaro sajmi\u0161te\u201c, te je ustanova dobila svoje prve upravlja\u010dke organe.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Kona\u010dno, 27. jula ove godine ceremonijalno je zapo\u010deta rekonstrukcija Centralne kule \u2013 ona je simboli\u010dna i amblematska ta\u010dka nekada\u0161njeg logora na Starom sajmi\u0161tu, u kojoj je predvi\u0111eno da bude sme\u0161ten izlo\u017ebeni, edukativni i kancelarijski deo novog muzeja. Tom prilikom govor je odr\u017eao predsednik Srbije Aleksandar Vu\u010di\u0107 koji se izvinio \u0161to je Centralna kula u toliko lo\u0161em stanju, \u201e\u0161to gotovo osamdeset godina nismo vodili ra\u010duna o svojoj pro\u0161losti i nismo brinuli ni o svojoj budu\u0107nosti\u201c.<\/p>\n\n\n\n

Me\u0111utim, vi\u0161edecenijsko traganje za odgovaraju\u0107im na\u010dinom obele\u017eavanja stradanja i mesta zlo\u010dina koji su po\u010dinjeni na Starom sajmi\u0161tu, kao i \u010ditav jedan dru\u0161tveni i istorijski narativ konstruisan krajem osamdesetih i po\u010detkom devedesetih godina dvadesetog veka, ipak govori o odre\u0111enom stepenu \u201ebrige\u201c kako o pro\u0161losti tako i o njenom uticaju na budu\u0107nost. Ta \u201ebriga\u201c se u tim godinama pretvarala u poku\u0161aj da se ratne strahote Drugog svetskog rata, pa tako i postojanje nacisti\u010dkog logora, dovedu u vezu sa ve\u0107 poreme\u0107enim nacionalnim odnosima u SFR Jugoslaviji i da se pro\u0161lost aktivno uklju\u010di u tinjaju\u0107i novi ratni sukob.<\/p>\n\n\n\n

Muzej \u017ertava genocida upravo je i nastao iz ideje o kona\u010dnom utvr\u0111ivanju broja stradalih u Nezavisnoj Dr\u017eavi Hrvatskoj, \u0161to je \u201eprojekat\u201c koji je u osvit jugoslovenskih gra\u0111anskih ratova zagovarao istori\u010dar Milan Bulaji\u0107. Njegova inicijativa da se osnuje muzejska ustanova koja bi \u010duvala baze podataka o \u017ertvama, kako ga je on nazivao, \u201ejugoslovenskog holokausta\u201c, odnosno zlo\u010dinima po\u010dinjenim u NDH, realizovana je 1992. godine, kada je formiran Muzej \u017ertava genocida, \u010diji je prvi direktor postao Bulaji\u0107. No, sedi\u0161te ustanove nije bilo sme\u0161teno u Beogradu, odnosno na Starom sajmi\u0161tu \u2013 \u0161to je bio Bulaji\u0107ev predlog \u2013 ve\u0107 u Kragujevcu, gradu u kojem je u jesen 1941. godine po\u010dinjen zlo\u010din masovnog streljanja civila. Tek nekoliko godina nakon osnivanja muzeja njegov rad je preseljen u Beograd, no ni tada na Staro sajmi\u0161te. Ipak, \u010dinjenica da je Staro sajmi\u0161te razmatrano kao odgovaraju\u0107i prostor za rad nove muzejske ustanove govori dovoljno o njegovom \u201ememorijalizatorskom potencijalu\u201c.<\/p>\n\n\n\n

Ostaci logora u srcu jednog glavnog grada bili su poput nikad zale\u010dene rane, prepune novih slojeva posleratnih zbivanja \u2013 od umetni\u010dkih ateljea koji su se tamo nalazili do potpuno neprimerenih zabavnih sadr\u017eaja koji su naru\u0161avali ionako krhko, prete\u017eno neinstitucionalizovano i \u0161irem dru\u0161tvu gotovo nepoznato se\u0107anje na strati\u0161te i na one koji su u njemu stradali. Od devedesetih godina, me\u0111utim, se\u0107anje na stradale razvija se uporedo sa porastom nacionalizma koji je zemlju gurnuo u krvavi gra\u0111anski rat. Tada istorijski narativ i politika se\u0107anja bivaju usmereni, pre svega, na ozna\u010davanje Starog sajmi\u0161ta kao \u201esrpskog Jad Va\u0161ema\u201c, u prvi plan isti\u010du\u0107i tezu da je Staro sajmi\u0161te bilo deo \u201e\u0161ireg sistema\u201c logora Jasenovac u tada\u0161njoj NDH \u2013 mesta najve\u0107eg stradanja srpskih \u017ertava u Drugom svetskom ratu. Stvaranje ovakvih veza i \u201eotkrivanje pre\u0107utanih istina\u201c odvijalo se u atmosferi u\u017earene debate izme\u0111u pojedinih istori\u010dara iz Hrvatske i Srbije, u kojoj je svaka strana optu\u017eivala onu drugu za \u201egenocidnost\u201c i iznosila razne \u201edokaze\u201c koji su, navodno, morali biti zata\u0161kani u SFR Jugoslaviji kako bi se odr\u017eao prividni mir izme\u0111u razli\u010ditih naroda. Otprilike u to vreme, tokom devedesetih godina, Staro sajmi\u0161te biva prepoznato kao mu\u010dili\u0161te Srba, Jevreja i Roma, \u0161to je poredak koji \u0107e se odr\u017eati u delovima dru\u0161tvene svesti sve do danas.<\/p>\n\n\n\n

Svakako, potreba za Memorijalnim kompleksom \u201eStaro sajmi\u0161te\u201c nije umanjena \u010dinjenicom da je u jednom periodu i samo postojanje ovog logora na teritoriji Beograda u Drugom svetskom ratu tada, gotovo pedeset godina kasnije, poslu\u017eilo nacionalisti\u010dkim ciljevima dr\u017eavnog vrha u periodu ratnog raspada nekada\u0161nje zajedni\u010dke zemlje. Nakon politi\u010dkih promena i demokratizacije Srbije 2000. godine u jednom trenutku je \u010dak bilo predloga da se na mestu kompleksa ustanovi Muzej tolerancije, koji bi, svedo\u010de\u0107i istoriju, bio edukativna alatka za u\u010denje empatije i mira. Me\u0111utim, iako antiteza poku\u0161ajima da se od Starog sajmi\u0161ta na\u010dini etni\u010dki martirijum, Muzej tolerancije tako\u0111e ne bi bio adekvatan odgovor na pitanja o stradanju i smrti u okupiranom Beogradu. Naime, toleranciju je va\u017eno zasnovati na principima razumevanja, saose\u0107avanja i brige o dostojanstvu \u201eonog drugog\u201c, \u0161to sve nije mogu\u0107e bez potpunog znanja o osetljivim i bolnim mestima istorije, a postojanje logora smrti u glavnom gradu jedne zemlje to nesumnjivo jeste.<\/p>\n\n\n\n

Danas, kada predsednik republike prilikom po\u010detka radova na prostornom uspostavljanju funkcije Memorijalnog kompleksa govori o \u201e\u017ertvama koje nisu bile mnogo va\u017ene ili su ostavljane po strani, zarad dnevnopoliti\u010dkih ciljeva, ili da se negde nekome ne bismo zamerili\u201c, iz njegovih re\u010di progovara te\u0161ko nasle\u0111e devedesetih godina u kojima se podrazumevalo da su pre\u0107utane \u017ertve srpske i da je o njima bilo zabranjeno govoriti decenijama. Manipulacije istorijskom naukom kako bi se dokazalo da je bilo koji narod, pa tako i srpski, bio prava \u017ertva ugnjetavanja sve vreme postojanja SFR Jugoslavije naj\u010de\u0161\u0107e su se oslanjale upravo na period Drugog svetskog rata kako bi ukazale na kontinuitet stradanja. Preno\u0161enje tih modela u narativ koji tek treba da se konstrui\u0161e u jednom sasvim novom i, za Srbiju, jedinstvenom muzeju \u010diji je na\u010delni institucionalni cilj \u201eda radi i komunicira eti\u010dki, profesionalno i uz u\u010de\u0161\u0107e zajednica\u201c, predstavljalo bi lo\u0161u praksu i nikako ne bi bilo u saglasju sa proklamovanom misijom. Prihvatanje stavova formiranih pod sna\u017enim uticajem nacionalisti\u010dkih ciljeva i njihovo nekriti\u010dko prosle\u0111ivanje u sada\u0161njost bio bi ogroman balast za novu ustanovu i njeno poslanje osujetilo ve\u0107 na samom po\u010detku delovanja.<\/p>\n\n\n\n

Napokon, muzeji i jesu mesta koja istra\u017euju, saznaju, komuniciraju i u tim procesima rade sa nau\u010dno i nepristrasno zasnovanim znanjima. Nisu i ne smeju da budu mesta politi\u010dke propagande, koliko god pritisak da se koriguje kolektivno se\u0107anje bio jak.<\/p>\n\n\n\n

Nela Tonkovi\u0107 <\/strong>je istori\u010darka umetnosti, sa master diplomom kulturne politike i menad\u017ementa. U periodu od 2010. do 2013. radila je kao kustoskinja Savremene galerije Subotica, a od 2013. do 2018. bila je direktorka te galerije. Od februara 2019. do decembra 2020. godine rukovodila je radom Narodnog muzeja \u0160abac. Aktivno se bavi istra\u017eivanjem politike kolekcionisanja i izlaganja savremene umetnosti u javnim ustanovama u Srbiji, dok je njena profesionalna praksa usmerena ka strate\u0161kom menad\u017ementu institucija za\u0161tite i odr\u017eivog kori\u0161\u0107enja ba\u0161tine, upravljanju u polju produkcije vizuelne umetnosti i medijaciji savremene umetnosti.<\/p>\n\n\n\n

 <\/h1>\n","protected":false},"excerpt":{"rendered":"

Govore\u0107i u jednom televizijskom intervjuu u februaru ove godine, direktor Muzeja \u017ertava genocida istori\u010dar Dejan Risti\u0107 najavio je po\u010detak radova na rekonstrukciji Centralne kule i italijanskog paviljona kompleksa na Starom sajmi\u0161tu. Ovi radovi bi zapravo bili nastavak procesa koji je institucionalno zapo\u010det jo\u0161 pre dve godine, kada je Skup\u0161tina Republike Srbije donela Zakon o Memorijalnom centru \u201eStaro sajmi\u0161te\u201c. Tim zakonom […]<\/p>\n","protected":false},"author":5,"featured_media":7175,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_editorskit_title_hidden":false,"_editorskit_reading_time":0,"_editorskit_is_block_options_detached":false,"_editorskit_block_options_position":"{}","footnotes":""},"categories":[1039,1037],"tags":[],"class_list":["post-7174","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-balkan-perspectives-21-bhcs-balkan-perspectives-bhcs","category-balkan-perspectives-bhcs"],"acf":[],"yoast_head":"\nPOLITIKE SE\u0106ANJA: novi muzeji i nove istorije - DWP-BALKAN<\/title>\n<meta name=\"description\" content=\"Aktivna upotreba pro\u0161losti u slu\u010daju ratnih sukoba devedesetih, nije zaobi\u0161la ni muzeje. 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