Februar, marec 2011 - Adria Airways

V A Š B R E Z P L A Č N I I Z V O D / Y O U R P E R S O N A L C O P Y

Adria Airways In-Flight Magazine

februar, marec • February, March 2011

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Naših 50 let

Our First Fifty Years

Janez Pukšič – Puška

Priština • Prishtina

Planinske koče •

Mountain Lodges

Pokljuka

Biatlon • Biathlon

Film o Sfingi •

Filming the Sphinx

Circus Fantasticus •

Silent Sonata

Golota • Nudity

Pisarne • Offices

Ruanda • Rwanda

At At work work I I don’t At don’t work have have I don’t a a choice choice have of a of choice where where I of sit I sit where I sit

But But with with Star But Star with Alliance Star Upgrade Alliance Awards Upgrade Awards Awards

Across 20 20 Across member 20 member airlines worldwide

airlines worldwide

Now I I do. do. Now I do.

I’ve earned I’ve it. earned it. it.

Takuma Sato Sato Takuma Sato

International International racing driver and racing and Star Star driver Alliance and Gold Star Gold Status Alliance Status Gold Status

staralliance.com staralliance.com

{ Pismo }

Spoštovane potnice in potniki!

Prisrčno pozdravljeni in dobrodošli na našem letalu!

Z

Za nami je leto 2010, v katerem je Adria prepeljala s svojimi letali

1.170.235 potnikov. To je za 2 odstotka več kot v letu 2009, čeprav smo

imeli aprila močan izpad potnikov zaradi izbruha vulkanskega prahu na

Islandiji in zaradi prenove vzletno-pristajalne steze na Letališču Jožeta

Pučnika Ljubljana.

Leto 2011 prinaša svetovnemu gospodarstvu velike izzive in hkrati

mnoge priložnosti. Predvsem pa je to čas sprememb v širšem in tudi

v ožjem prostoru. Tako je prišlo v Adrii do prve večje spremembe že

v začetku januarja letos, ko je upravni odbor družbe imenoval novo

poslovodstvo.

20. 1. 2011 je Vlada Republike Slovenije jasno oblikovala svoje mnenje

o pomenu Adrie kot letalskem prevozniku za slovensko gospodarstvo,

državljane RS in za goste iz tujine. V svojem sklepu je podala namero,

naj Adria ostane slovenski letalski

prevoznik. Pri tem je poudarila

potrebo po upoštevanju svetovnih

gospodarskih gibanj in procesov

globalizacije, zato njen omenjeni

sklep predvideva za prihodnost

tudi vključitev strateškega

partnerja.

Adria kot evropski regionalni

prevoznik kljub neprijaznim

poslovnim razmeram in težkemu

položaju ohranja svojo standardno

mrežo letalskih prevozov po

Evropi. Poleg že uveljavljenih

odhodnih letališč v Ljubljani,

Prištini in na Dunaju nameravamo

v tem letu razširiti letenje še

z drugih letališč v regiji. Naša

prva in osnovna naloga pa ostaja

zagotavljanje najvišje stopnje varnosti letenja in skrb za dobro počutje

in udobje potnikov.

Vlogo izvršnih direktorjev sva prevzela, ker sva kljub zaostrenim

razmeram na trgu prepričana v nadaljevanje 50-letne tradicije

Adrie kot uspešnega in varnega prevoznika. Veseli naju, da se je

najin mandat pričel prav v tem letu, ko družba praznuje pol stoletja

svojega obstoja – obletnice so namreč tudi čas prelomnic, soočenja s

preteklostjo in kovanja načrtov za prihodnost. Pred nami se odpira

novo obdobje, naša naloga pa je, da pokažemo, kaj znamo narediti. V

Adrii ostajamo optimisti, saj vemo, da smo družba visoko tehnološko

usposobljenih ljudi, ki čutijo pripadnost svojemu podjetju. Trudili se

bomo, da bi izpolnili pričakovanja vseh, predvsem pa naših zvestih

potnikov.

Hvala vam, ker letite danes z nami, in kmalu spet na svidenje.

Dear Passenger,

Warm greetings and welcome on board!

I

In 2010, Adria Airways carried 1,170,235 passengers on its aircraft. That is

2% more than in 2009, despite the fact that there was a sharp decline in the

number of passengers in April due to the volcanic ash cloud in Iceland and

the renovation of the runway at the Ljubljana Jože Pučnik Airport.

This year has brought major challenges to the global economy, but also

many opportunities. Above all, this is a time of change in both the wider

and local environment. The first major change at Adria occurred at the

beginning of January, when the Management Board appointed a new management

team.

On 20 January 2011, the Slovenian Government drafted a clear stance and

defined the importance of Adria as the airline for the Slovenian economy,

Slovenian citizens and guests from abroad. In its decision, it made clear

its intention to ensure that Adria remains the airline of Slovenia. In this

regard, the Government emphasised

the need to take into account

global economic developments and

the processes of globalisation. Its

decision therefore envisages the

integration of a strategic partner in

the future.

As a regional European airline,

Adria maintains its standard network

of scheduled flights throughout

Europe, despite the challenging

business conditions and the difficult

position it faces. In addition

to previously established departure

airports in Ljubljana, Prishtina

and Vienna, the company intends

to expand to other airports in the

region this year. Our first and most

important task remains ensuring

the highest level of air safety and care for the well-being and comfort of our

passengers.

We have assumed the positions of CEO and Executive Director because,

despite the adverse market conditions, we believe in the continuation of

Adria’s 50-year tradition as a successful and safe airline. It gives us great

pleasure to begin our term at the company’s helm in the year in which it

will celebrate its 50th anniversary. Anniversaries also represent a turning

point, confronting issues from the past and making plans for the future. A

new era is opening before us; our task is to demonstrate what we are capable

of achieving. We remain optimistic at Adria, as we know that we are a

company of highly trained technological experts with a sense of belonging.

We will strive to fulfil the expectations of all stakeholders, in particular

those of our loyal passengers.

Thank you for flying with us today; we hope to see you again soon.

foto: Branko Čeak in Domen Pal

( 3 )

Robert Vuga,

izvršni direktor

Klemen Boštjančič,

glavni izvršni direktor

Klemen Boštjančič,

CEO

Robert Vuga,

Executive Director

Vsebina/Contents

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Adrijin potnik/Adria Passenger



Grega Bulc

Janez Pukšič

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Priština/Prishtina

Med kavarnami in umetnostjo

Art Comes to the Cafés

Meta Krese

Planinske koče

Mountain Lodges

Marjan Žiberna

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Adria Airways In-Flight Magazine

Revija Adria Airways In-Flight Magazine

je namenjena potnikom na poletih z Adrio Airways.

Adria In-flight Magazine is complimentary

on Adria Airways flights.

Izdajatelj/Published:

Adria Airways, Slovenski letalski prevoznik, d.d.

Adria Airways, The Airline of Slovenia

Zgornji Brnik 130h, 4210 Brnik - Aerodrom

Uredništvo / Editorial: Barbara Mihevc Bukovec

Tel. / Phone + 386 4 259 4541

E- mail: barbara.bukovec@adria.si

Urednica / Edited by: Meta Krese

Oglaševanje / Advertising: Alenka Dvoršak

Tel. / Phone + 386 4 259 4526

E- mail: alenka.dvorsak@adria.si

Oblikovanje in AD / Design and AD: LUKS Studio

Prevod / Translated by: Amidas

Lektorica/ Language editing: Vera Samohod

Fotoliti / Lithography: Schwarz d.o.o.

Tisk / Printed by: Schwarz d.o.o.

ISSN 1318-0789

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Pokljuka

Kjer ima zima mlade

Where Winter Really is Winter

Rafael Marn

Film o Sfingi

Filming the Sphinx

Urban Golob

Nastajanje filma/The Origin of the Film

Circus Fantasticus

Silent Sonata

Janez Burger

Golota/Nudity

Gole Maje na platnih in cestah

Naked Majas on Canvases and in the Streets

Darinka Kladnik

Mnenja, izražena v tej publikaciji, so zgolj mnenja

avtorjev ali intervjuvancev in ne odsevajo nujno

stališč Adrie Airways. Razmnoževanje brez pisnega

dovoljenja je prepovedano. Izdajatelj ne prevzema

nikakršne odgovornosti za nenaročeno gradivo.

The opinions expressed in this publication are those

of the authors or persons interviewed only and do

not necessarily reflect the views of Adria Airways.

Reproduction without written permission is

prohibited. The pub lish er accepts no responsibility

for unsolicit ed material.

Brezplačen izvod / Your personal copy

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Delovni prostori/Work Spaces

Pisarne – socialni mejniki novega stoletja

Offices – Social Landmarks of the New Century

Lora Power

Ruanda/Rwanda

Internet v Ruandi

Rwanda Internet

Matteo Fagotto

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Adria Airways Novosti/News

( 6 )

Zimski vozni red in napoved

poletnega voznega reda

Zimski vozni red je v veljavi le še do 26. marca 2011.

V njem vam nudimo 185 rednih tedenskih letov iz Ljubljane na 20

destinacij, večinoma po Evropi. Štirikrat dnevno leti Adria v Frankfurt,

trikrat dnevno na Dunaj, v Muenchen in v Zuerich, dvakrat dnevno

v Bruselj, deset letov na teden opravi v Pariz, osemkrat tedensko leti

v Moskvo, sedemkrat tedensko v Amsterdam, Istanbul, Prištino,

Skopje in Tirano, šestkrat v Beograd in Sarajevo, štirikrat v Banjaluko,

London in v Varšavo. Trikrat tedensko povezuje Ljubljano s Podgorico

in Koebenhavnom, dvakrat na teden pa leti v Marseille. Na progi med

Dunajem in Frankfurtom leti trinajstkrat na teden.

V decembru je Adria vzpostavila redne povezave iz Prištine v Muenchen,

Frankfurt in Duesseldorf.

Za vse, željne toplih krajev tudi pozimi, organiziramo v sodelovanju s

turističnimi agencijami čarterske polete v priljubljeni počitniški destinaciji

v Egiptu – Sharm el Sheikh in Hurgado.

V poletnem voznem redu, ki bo v veljavi od 27. marca do 29.oktobra 2011,

ponovno načrtujemo redne poletne povezave v Atene, Barcelono, Dublin,

Manchester in Stockholm in polete na prilubljene čarterske destinacije

v Grčiji (Zachintos, Samos, Miltilini, Kos, Rhodos, Karpathos, Santorini,

Heraklion, Chania, Kavala, Lefkas, Kefalonia, Chios, Skiatos), Španiji

(Palma de Mallorca, Menorca) in Turčiji (Antalya, Dalaman).

Winter timetable and what’s in store

for the summer timetable

The winter timetable will be operated only up until 26 March 2011.

With the winter timetable we offer 185 scheduled flights a week from

Ljubljana to 20 destinations, mostly in Europe. Adria flies four times a day to

Frankfurt, three times a day to Vienna, Munich and Zurich and twice a day to

Brussels, and operates ten flights a week to Paris, eight a week to Moscow,

seven flights a week to Amsterdam, Istanbul, Priština, Skopje and Tirana, six a

week to Belgrade and Sarajevo, and four flights a week to Banjaluka, London

and Warsaw. There are three flights a week from Ljubljana to Podgorica and

Copenhagen, and two a week to Marseille. Adria flies 13 times a week between

Vienna and Frankfurt.

In December Adria started up scheduled services from Prishtina to Munich,

Frankfurt and Düsseldorf.

Anyone in need of some winter warmth can book one of our charter flights,

operated in cooperation with travel agents, to the popular Egyptian holiday

destinations of Sharm el Sheikh and Hurghada.

For the summer timetable, which will be operated from 27 March to 29

October 2011, we are again planning scheduled services to Athens, Barcelona,

Dublin, Manchester and Stockholm, and flights to popular charter destinations

in Greece (Zakyinthos, Samos, Mytilene, Kos, Rhodes, Karpathos, Santorini,

Heraklion, Chania, Kavala, Lefkas, Kefalonia, Chios, Skiatos), Spain (Palma de

Mallorca, Menorca) and Turkey (Antalya, Dalaman).

Iščemo najstarejšo

letalsko vozovnico

Adrie Airways

Adria Airways je bila ustanovljena 14. marca 1961.

Svoje jubilejno leto bomo obeležili z vrsto aktivnosti.

Z Muzejem novejše zgodovine Slovenije ob

svoji 50-letnici pripravljamo razstavo, kjer se bomo

predstavili širši javnosti. Ob tej priložnosti želimo

poiskati najstarejšo adrijsko letalsko vozovnico, ki

jo bomo kot razstavni eksponat vključili v razstavo.

Adria Airways je julija 2009 Muzeju novejše

zgodovine Slovenije podarila zbirko uniform

kabinskega osebja in pilotov. Ob tej priložnosti se

je porodila zamisel o tem, da bi skupaj z Muzejem

ob 50. obletnici družbe pripravili razstavo posvečeno

Adrii Airways. Najstarejša letalska vozovnica

je dragocen dokument, ki ga želimo predstaviti v

okviru razstave.

Lastnik najstarejše letalske vozovnice bo za

nagrado lahko letos poletel na izbranem rednem

poletu Adrie Airways. Podatke o vozovnici do 31.

marca 2011 sprejemamo na elektronski naslov

info@adria.si ali na telefonsko številko 04 259 4506

in na elektronski naslov uprava@muzej-nz.si ali na

telefonsko številko 01 300 96 33.

Razstava bo svoja vrata odprla v drugi polovici

aprila.

Search is on for the oldest

Adria Airways ticket

Adria Airways was established on 14 March 1961.

We will be marking this jubilee year with a range of

activities. In cooperation with Slovenia's Museum

of Contemporary History, we will be staging an

exhibition to mark our 50 th anniversary, and this

will be designed for the general public. As part of

this exhibition we are hoping to find the oldest Adria

ticket, which we will include in the exhibition as a

special exhibit.

In July 2009 Adria Airways donated to the Museum

of Contemporary History a collection of cabin crew

and pilot uniforms. That occasion prompted the

idea of working with the Museum to set up an

exhibition devoted to Adria Airways, in honour of the

50 th anniversary. The oldest air ticket is a precious

document that we wish to showcase within the

exhibition.

The owner of the oldest air ticket will be rewarded

by being able to fly this year on a selected Adria

Airways scheduled flight. We will be accepting

information about the ticket up until 31 March 2011

at the e-mail address info@adria.si or by telephone

on 04 259 4506, as well as at the e-mail address

uprava@muzej-nz.si or by telephone on 01 300 96 33.

The exhibition will open in the second half of April.

Pridružite se nam na

Facebooku

Ljubitelji Facebooka lahko najdejo Adrijino

stran tudi na tem popularnem družbenem

omrežju.

Postanite naš prijatelj in delite z nami

svoja mnenja, občutke in doživetja, mi pa vas

bomo obveščali o zanimivih novostih, akcijah

in nagradnih igrah. Naš naslov je http://

www.facebook.com/AdriaAirways.

Join us on Facebook

Facebook users can find the Adria page on this

popular social-networking site.

Become our friend and share with us your

opinions, feelings and experiences, and we will

keep you informed of interesting new features,

special offers and prize games. Our address is

http://www.facebook.com/AdriaAirways.

Aktualne ponudbe/Latest Offers

V vsaki številki revije vas bomo seznanjali z najnovejšimi ugodnimi ponudbami, ki jih za vas

pripravljamo skozi vse leto. / We will keep you up to date with our latest special offers in each issue

of the magazine. Special offers are available throughout the year.

Ujemi ugoden polet!

Na vseh Adrijinih rednih linijah imamo ugodne ponudbe po načelu »Kupi prej,

potuj ceneje«. Da bi našo ponudbo še bolj približali vašim potrebam, imamo na

voljo znižane ponudbe tudi za potovanje med tednom.

Adria Airways Special Offers!

Special offers are available on all of Adria’s scheduled services on a “buy early, fly for

less” basis. To make our services even more attractive, reduced fares are available

for travel during the week.

Preživite hladne zimske dni v

toplih krajih!

Adria vas v sodelovanju z

našimi partnerji popelje tudi

v oddaljene tople kraje. Preko

našega rezervacijskega centra

lahko rezervirate in opravite

nakup tudi za destinacije,

kamor Adria ne leti direktno.

Za več informacij pokličite našo

brezplačno telefonsko številko

080 13 00 in skupaj z vami bomo poiskali najboljšo možno povezavo do željene

destinacije.

Try somewhere warm during these cold

winter days!

In cooperation with our partners, Adria can take you to far-off, warm locations.

Through our reservation centre you can book and purchase flights for destinations

that Adria does not fly to directly. For details, call our toll-free telephone

080 13 00 and we will work with you to find the best possible connection to the

destination you want.

Delujem ekonomično,

potujem poslovno!

Za nakup letalske vozovnice vsaj sedem dni pred začetkom vašega potovanja

vam za ceno potovanja v ekonomskem razredu nudimo polet v poslovnem.

Ponudba velja za nakup vozovnice v ekonomskem razredu po najvišji ceni.

Edina omejitev je nakup vozovnice najmanj sedem dni pred odhodom; spremembe

rezervacij so brezplačne.

Varčujem, a ne na račun kakovosti!

Več o ponudbi preberite na www.adria.si ali pa pokličite tel. št. 080 13 00.

Work economically, travel in business!

When you buy a ticket at least seven days in advance, you can travel in business class for

the price of an economy-class fare. This offer applies to economy-class tickets purchased

at the highest rate. The only restriction is that you must purchase your ticket at least

seven days before you travel. Changes to the reservation can be made free of charge.

Savings, no change in quality!

For more information visit www.adria.si or call us on 080 13 00.

Adrijine E-novice

Vabimo vas, da obiščete naše spletne strani www.adria.si in se prijavite na

Adrijine E-novice. S tem boste enkrat mesečno obveščeni o naših novostih in

posebnih ponudbah. E-novice bodo za vas vir dragocenih informacij in idej pri

načrtovanju potovanja ali počitnic.

Naj bo obveščenost vaša prednost!

Adria E-news

Why not visit our website www.adria.si and subscribe to Adria’s

E-news service? Once a month you will receive updates on new services and

special offers – straight to your inbox! This means that E-news will be a valuable

source of information and ideas when you are planning a journey or holiday.

Let information be to your advantage!

( 7 )

© Corbis/IPAK Images

LJUBLJANA–

PARIZ

OD

FROM

EUR 130

LJUBLJANA–

AMSTERDAM

OD

FROM

EUR 187

BEOGRAD–

LJUBLJANA–

FRANKFURT

OD

FROM

EUR 250

SARAJEVO–

LJUBLJANA–

PARIZ

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FROM

EUR 224

Zgoraj navedene cene so najnižje veljavne cene na Adrijinih poletih, vključujejo pa prevoz in vse ostale dajatve, razen stroška rezervacije. Število ponujenih sedežev po tej ceni je omejeno.

The prices given above are the lowest valid prices for Adria flights, and include flight and all other taxes and fees, except for booking fees. There are limited seats available at this price.

{ Adria Airways }

Naših 50 let

( 10 )

Adria Airways letos praznuje. 50 let bo, odkar

smo v Sloveniji dobili svojo prvo letalsko

družbo. Čeprav so bile sanje o letenju že

dolgo prisotne v teh krajih – vse od prvih poskusov

letenja bratov Rusjan pa do razmaha športnega letalstva

in projektiranja lahkih letal –, so razmere za bolj

profesionalen pristop k letalstvu dozorele šele v začetku

šestdesetih let prejšnjega stoletja.

Foto: arhiv Adria Airways


( 11 )

Foto: arhiv Adria Airways Foto: arhiv Adria Airways Foto: arhiv Adria Airways

Začetki

Zgodovina največje slovenske letalske družbe se je začela pisati 14. marca

1961, ko je Izvršni svet Ljudske republike Slovenije potrdil ustanovitev

podjetja ADRIA AVIOPROMET. 20. marca 1961 je bilo podjetje uradno

registrirano pri sodišču kot gospodarska organizacija. Od ustanovitve

družbe pa do prvih letov je preteklo še nekaj mesecev, ki je bilo vezanih

na nakup in sprejem letal ter pridobitev letalskega in tehničnega kadra.

Adria je pri nizozemski letalski druži KLM kupila štiri rabljena letala

tipa 6 B. Prvo letalo je priletelo iz Amsterdama 8. avgusta 1961, takrat še

z nizozemsko posadko. Še nekaj časa je bilo potrebnega do prvega leta z

domačo posadko, ki je bil opravljen v decembru istega leta.

Adrijina letala so v začetku poslovanja vzletala z zagrebškega letališča

Pleso, ki je bilo tedaj naše matično letališče. Šele v letu 1964 so se

naša letala preselila na novozgrajeno ljubljansko letališče.

Eni izmed prvih letov so bili namenjeni potrebam konference neuvrščenih

držav v Beogradu. V letih ki so sledila, je Adria postopoma

osvajala tržišča turističnih letov iz Nemčije, Anglije, Nizozemske in

skandinavskih dežel na letališča na jadranski obali. Adria je kot pretežno

čarterski prevoznik vpeljala svojo prvo redno linijo med Ljubljano

in Beogradom v letu 1968.


( 12 )


Adria danes

Adria Airways je danes zanesljiv evropski mrežni letalski prevoznik s sodobno

floto. Sedež družbe je na Letališču Jožeta Pučnika Ljubljana, predstavništva

so v Parizu, Moskvi, Frankfurtu, Zagrebu, Zürichu in Bruslju,

njena prodajna mesta pa skoraj v vseh evropskih državah.

Na rednih poletih z ljubljanskega letališča poleti 200-krat na teden.

Poleg obstoječih rednih povezav opravlja tudi čarterske lete, večinoma v

sredozemske letoviške kraje.

Z letalsko vozovnico Adrie Airways lahko potniki potujejo po celem

svetu. To omogočajo mednarodni sporazumi, sklenjeni z več kot sto svetovnimi

letalskimi prevozniki, ter letenje pod skupno oznako »code share«,

ki ga Adria opravlja z letalskimi družbami, kot so Lufhansa, Austrian

Airlines, SAS Skandinavian Airlines, Swiss, Aeroflot Russian Airlines,

Lot Polish Airlines, Montenegro Airlines, Ukraine International Airlines

in Jat Airways.

Adrijino sodobno, ekonomično in okolju prijazno floto sestavljajo letala

tipa Airbus in letala tipa Canadair Regional Jet CRJ. V operativni floti so:

dve letali tipa Airbus A-319, štiri letala tipa Canadair Regional Jet CRJ-900 in

šest letal tipa Canadair Regional Jet CRJ-200

.

Prav v letu svojega 50. rojstnega dneva pa se je Adria znašla na prelomnici.

Težak gospodarski položaj tako v svetu kot doma je postavil

celotno letalsko industrijo v nezavidljiv položaj. Spremenjene okoliščine

že ves čas krize najbolj občutijo srednje veliki regionalni prevozniki, od

katerih jih je kar nekaj v naši soseščini že klonilo.

Adria je bila v svoji polstoletni zgodovini bila že večkrat na prelomnici.

Pa vendar je vedno znova pokazala, da se zna prilagoditi spremembam

in uspeti tudi v spremenjenih okoliščinah. Verjamemo, da bo našla

pot, ki bo vzdržala tekmo s konkurenco.

Pa srečno, Adria!

Foto: D. Dubokovič

Kronologija razvoja

Chronology of development

• 1961 • Ustanovljena čarterska letalska družba Adria Aviopromet z

letali DC 6; konec šestdesetih nakup letal DC 9.

• 1970–1980 • Adria je eden izmed najzanesljivejših čarterskih

prevoznikov v Evropi.

• 1980–1990 • Domači redni poleti znotraj Jugoslavije, začetek

mednarodnih rednih prog; Adria postane članica IATA; flota: letala DC 9,

MD 80, Dash 7.

• 1989 • Nakup prvih letal tipa Airbus A-320.

• 1991 (25. junij) • Republika Slovenija razglasi neodvisnost, Adria je iz

političnih razlogov prizemljena za tri mesece.

• 1992 • Konec januarja ponovno vzpostavi operacijo na bistveno

zmanjšanem trgu; struktura poslovanja se občutno spremeni: iz

pretežno čarterskega prevoznika postane prevoznik večinoma na

rednih progah.

• 1995 • Začetek sodelovanja z Lufthanso, vključevanje v evropske

integracijske procese.

• 1998–2005 • Nakup petih novih letal tipa Canadair Regional Jet 200.

• 2000–2004 • Osredotočeni na opravljanje regionalnih rednih poletov

predvsem po Evropi, stalno dodajanje novih destinacij in frekvenc na

obstoječih linijah; intenziviranje sodelovanja z evropskimi letalskimi

prevozniki, še posebno z Lufthanso.

• 2001 (november) • Prva redna linija znotraj EU – med Dunajem in

Frankfurtom.

• 2002 • Adria izbrana kot prvi evropski pooblaščeni Bombardierjev

vzdrževalni center za letala CRJ.

• 2004 (december) • Adria se kot regionalna članica pridruži globalnemu

združenju letalskih prevoznikov Star Alliance.

• 2006 (december) • Adria prvič v samostojni Sloveniji prepelje več kot

milijon potnikov.

• 2007–2009 (junij) • V floto Adrie Airways se uspešno vpeljejo štiri nova

86-sedežna letala CRJ-900, s katerimi se povečajo oz. optimizirajo

kapacitete predvsem na linijah Bruselj, Moskva, Pariz, London, Skopje,

Dunaj, München in Frankfurt.

• 2007 (december) • Adria postane uradni prevoznik Vlade RS ob

predsedovanju EU.

• 2008–2009 • Adria širi svojo mrežo poletov: uvedene nove redne linije

v Atene, Bukarešto, Madrid, Stockholm in Oslo.

• 2009 (maj) • predstavniki vodstva Bombardier so Adrii že drugič

zapored podelili priznanje za najzanesljivejšega prevoznika v kategoriji

letal Canadair Regional Jet CRJ-100/200 (prvič za leto 2008).

• 2010 (januar) • Adria postane polnopravna članica globalnega

združenja letalskih prevoznikov Star Alliance.

• 2010 (marec) • Ponovno vzpostavljena redna letalska povezava med

Ljubljano in Beogradom; na tej liniji je Adria letela od leta 1968 vse do

začetka devetdesetih let prejšnjega stoletja.

• 2010 (april, maj) – Adrijini floti se pridružita dve novi sodobni letali

Airbus A-319, vsako s po 135 sedeži.

• 2010 (december) • Adria vzpostavi novo vozlišče v Prištini, od koder

začne z direktnimi poleti v München, Frankfurt in Duesseldorf.

• 1961 • founding of charter airline Adria Aviopromet with DC6 aircraft, at

the end of the 60s purchase of DC 9 aircraft.

• 1970 – 1980 • Adria one of the most reliable charter airlines in Europe.

• 1980 – 1990 • domestic scheduled flights within Yugoslavia, start of

international scheduled services; Adria becomes a member of IATA; fleet:

DC 9, MD 80 and Dash 7 aircraft.

• 1989 • purchase of first Airbus A-320.

• 1991 (25 June) • Republic of Slovenia declares independence; for

political reasons Adria is grounded for three months.

• 1992 • at the end of January operations re-start in a significantly

reduced market; the structure of operations is changed markedly from

primarily a charter carrier to mainly a scheduled service operator.

• 1995 • start of cooperation with Lufthansa, inclusion in European

integration processes.

• 1998 – 2005 • purchase of five new Canadair Regional Jet 200 aircraft.

• 2000 – 2004 • focus on providing regional scheduled flights, primarily

across Europe, continuous adding of new destinations and frequencies

on existing routes; enhancing of cooperation with European airlines,

especially Lufthansa.

• 2001 (November) • first scheduled service within the EU, between

Vienna and Frankfurt.

• 2002 • Adria selected as the first authorised European Bombardier

maintenance centre for CRJ aircraft.

• 2004 (December) • Adria joins Star Alliance, the global airline

association, as a regional member.

• 2006 (December) • Adria carries more than a million passengers for the

first time in independent Slovenia.

• 2007 – 2009 (June) • the Adria Airways fleet is successfully enhanced

with four new 86-seat CRJ-900 aircraft, increasing and optimising

capacities, especially on services to Brussels, Moscow, Paris, London,

Skopje, Vienna, Munich and Frankfurt.

• 2007 (December) • Adria becomes the official carrier of the Slovenian

Government during its Presidency of the EU.

• 2008 – 2009 • Adria expands its network of flights. New scheduled

services are introduced to Athens, Bucharest, Madrid, Stockholm and

Oslo.

• 2009 (May) • management representatives of the Bombardier company

recognise Adria for the second time running as the most reliable carrier

in the Canadair Regional Jet CRJ100/200 aircraft category (first time in

2008).

• 2010 (January) Adria becomes a full member of the global airline group,

Star Alliance

• 2010 (March) – scheduled air service between Ljubljana and Belgrade

is re-established; Adria served this route from 1968 right up until the

beginning of the 1990s.

• 2010 (April, May) – Adria’s fleet is joined by two new modern Airbus

A-319 aircraft, each with 135 seats.

• 2010 (December) – Adria establishes a new hub in Prishtina, from where

it starts flying directly to Munich, Frankfurt and Düsseldorf.

( 13 )


Our First

Fifty Years

( 14 )

This will be a year of celebration for Adria

Airways: it will be 50 years since Slovenia

acquired its first airline. Although people had

long dreamed of flying in this part of the world – from the

very first attempts at flight by the Rusjan brothers to the

blossoming of recreational flying and light-aircraft design

– the right conditions for a more professional approach to

aviation came only at the beginning of the 1960s.

How it began

The history of Slovenia’s biggest airline dates back to 14 March 1961,

when the Executive Council of the then People’s Republic of Slovenia

confirmed the founding of the company ADRIA AVIOPROMET. On 20

March 1961 the company was officially registered at the court as a commercial

undertaking. Then a few months passed from the founding of

the company to the first flights, as aircraft were purchased and received

and aviation and technical personnel were acquired.

Adria bought four used 6 B aircraft from the Dutch airline KLM. The

first aircraft flew in from Amsterdam on 8 August 1961, still with a

Dutch crew. Some more time was needed before the first flight with a

Slovenian crew, which took off in December of that year.

At the beginning of operations Adria’s aircraft took off from Zagreb’s

Pleso Airport, which was at that time our home airport. It was only in

1964 that our planes moved to the newly built Ljubljana Airport.

Some of the first flights were intended to serve the conference of

non-aligned states in Belgrade. In the years that followed, Adria gradually

captured markets for tourist flights from Germany, the UK, the

Netherlands and Scandinavian countries to airports on the Adriatic

coast. Adria was primarily a charter carrier, and its first scheduled service

was introduced in 1968 between Ljubljana and Belgrade.

Foto: arhiv Adria Airways Foto: arhiv Adria Airways

( 15 )

Foto: Ž. Intihar

Foto: B. Čeak

Foto: D. Dubokovič

Adria today

Today Adria Airways is a reliable European network airline with a modern

fleet. The company is based at Ljubljana Jože Pučnik Airport, with

representative offices in Paris, Moscow, Frankfurt, Zagreb, Zurich and

Brussels, and sales outlets in almost all European countries.

It operates approximately 200 scheduled flights each week from

Ljubljana Airport. In addition to the existing scheduled services, it also

operates charter flights, mostly to Mediterranean resorts.

Passengers can travel all over the world with an Adria Airways ticket.

This is made possible by international agreements with more than

a hundred world airlines, and by operating “code share” flights, which

Adria offers in cooperation with airlines such as Lufhansa, Austrian

Airlines, SAS Scandinavian Airlines, Swissair, Aeroflot Russian Airlines,

Lot Polish Airlines, Montenegro Airlines, Ukraine International

Airlines and Jat Airways.

Adria’s modern, economical and environment-friendly fleet comprises

Airbus and Canadair Regional Jet CRJ aircraft. The operational fleet

consists of: two Airbus A319, four Canadair Regional Jet CRJ900 and six Canadair

Regional Jet CRJ200.

Right now in its 50th anniversary year, Adria has reached a turning

point. The difficult economic situation both at home and around the

world has placed the entire aviation industry in an unenviable position.

Throughout the crisis, the changed circumstances have been felt

hardest by medium-sized regional carriers, of which a number in our

neighbourhood have already folded.

In its half-century of operations, Adria has been on the verge of extinction

several times. Yet ultimately it has always shown itself capable

of adapting to changes and of succeeding in altered circumstances.

This time, too, we trust that it will find a way to keep up with the competition.

Good luck, Adria!

{ Umetnost & kultura }

( 16 )

Ljubljana, Tango bar, Festivalna dvorana in Grand hotel Union,

od 24. do 27. marca

7. mednarodni

tango festival

Ljubljana

Vsa večja mesta imajo svoje milonge – odmaknjene kotičke, kjer se redno zbirajo

ljubitelji tanga, da preživijo nekaj radostnih ur. Četrtek je v Ljubljani dan za

tango, ko se gre na milongo v Tango bar – najbolj priljubljeno redno zbirališče

tangerjev (tangueros). In v četrtek se prične tudi vsakoletni Mednarodni tango

festival, ki v Ljubljano na pomlad privabi več sto ljubiteljev tanga z vsega sveta.

Ljubljanski tango festival je po svetu poznan po pisani mednarodni udeležbi,

vrhunskih nastopih plesnih parov, navdihujočih plesnih delavnicah, prijateljskem

vzdušju, dobri organizaciji, gostoljubnih domačinih in očarljivem

mestnem središču.

Janja Frank, vodja tega plesnega dogodka, je letos povabila v Ljubljano tudi

štiri slavne profesionalne plesalce iz Argentine: Ariadna Naveira, Fernanda

Sáncheza, Bruna Tombarija in Mariángelesa Caamaña.

Tango se je rodil pred stoletjem v času, ko je bilo težko zaslužiti za preživetje.

V Buenos Aires in Montevideo se je zgrnila množica priseljencev, ki niso govorili

skupnega jezika. Iščoč človeško bližino in iskrenost v odnosu, so se objeli

in prepustili glasbi. Nastal je tango, z vsako skladbo nov in neponovljiv ples.

Danes imajo vsa večja mesta svoje milonge …

Ljubljana, Tango Bar, Festival Hall and Grand Hotel Union, 24–27 March

7th International Tango Festival, Ljubljana

All large towns have milongas – hidden corners where tango lovers regularly

gather to have some fun. At the milonga at Tango Bar – the most popular regular

gathering spot for tangueros – Thursday is tango day in Ljubljana. And the annual

International Tango Festival also starts on a Thursday, when hundreds of tango

lovers from all over the world come to Ljubljana in the springtime.

The Ljubljana Tango Festival is known around the world for its colourful international

participants, top-quality performances by the dancing pairs, exciting dance

workshops, friendly atmosphere, good organisation, hospitable locals and the

charming town centre.

Event manager Janja Frank has also invited four famous professional dancers

from Argentina to the festival this year: Ariadna Naveira, Fernando Sánchez, Bruno

Tombari, and Mariángeles Caamaño.

The tango was born over a century ago, in times when it was difficult to make

enough money to survive. Throngs of immigrants with no common language came

to Buenos Aires and Montevideo. Seeking human company and sincerity, they took

each other in each other’s arms and gave themselves up to the music. Thus was

born the tango, a new and unique dance with every new composition.

Today, all larger towns have their own milongas…

{ Art & Culture }

Ljubljana, MAO (Muzej za arhitekturo in oblikovanje), do 20. marca

Odprti depoji:

predstavitev zbirk Muzeja za

arhitekturo in oblikovanje

V MAO je shranjenih skoraj 150.000 različnih predmetov, od načrtov, skic in modelov zgradb

do različnega pohištva, drobnih predmetov, aparatov, plakatov, različnih tiskovin in fotografij.

Zastopani so skoraj vsi vidni slovenski arhitekti in oblikovalci 20. stoletja ter številni fotografi;

skupaj več kot 1000 avtorjev. MAO kot državni muzej začenja program s predstavitvijo vseh svojih

zbirk ter široko odpira vrata in vabi obiskovalce, da si ogledajo, kaj hrani zanje.

V preprosto preoblikovanem razstavnem prostoru se obiskovalci preselijo v delovno okolje

kustosov, med depojske police, regale, zabojnike in arhivske škatle z imeni, ki jih beleži in obdeluje

muzej. Tako lahko na neposreden način spoznajo raznoliko gradivo, avtorje in zgodovinske

trende.

V depojih se nahajajo različni dokumenti o delu več kot 70 slovenskih arhitektov, tu so tudi

shranjeni načrti pomembnih in zanimivih slovenskih stavb, od slovenskega Parlamenta, NUK-a,

Moderne galerije pa do različnih stanovanjskih stavb, šol ter turističnih in infrastrukturnih

objektov.

Zbirka industrijskega oblikovanja obsega dela svetovnih avtorjev, zastopani pa so tudi staroste

slovenskega oblikovanja.

MAO je edina ustanova, ki v Sloveniji obdeluje vizualne komunikacije, od plakatov, celostnih

grafičnih podob, knjig, katalogov, koledarjev in znamk do drugih tiskovin.

Oddelek za fotografijo hrani bogato zbirko o zgodovini slovenske fotografije, v kateri je zastopano

preko 400 avtorjev in avtoric, katerih delo večinoma sega v obdobje od 1930. do 1980. leta.

( 17 )

Ljubljana, Museum of Architecture and Design (MAD), until 20 March

Open Storehouses: a presentation of the collections at the

Museum of Architecture and Design

Nearly 150,000 objects are kept at the Museum of Architecture and Design, from plans, sketches and

building models to various items of furniture, miscellaneous objects, devices, posters, various printed

materials and photographs. Nearly all of the notable Slovenian architects and designers of the 20 th

century are represented, as well as numerous photographers, a total of over 1,000 creators. As a national

museum, MAD is kicking off its programme with a presentation of all of its collections, throwing

its doors wide open and inviting all visitors to have a look at what is stored within.

In the straightforwardly redesigned exhibition area, visitors move into the curators’ work area, among

the storage cabinets, shelving units, containers and archive boxes with names that are kept and

processed by the museum. In this way they can learn about various materials, creators and historical

trends in a very direct manner.

The storage cabinets house various documents on the work of more than 70 Slovenian architects,

and the plans of important and interesting Slovenian buildings, from the Slovenian Parliament, the National

and University Library, and the Museum of Modern Art to various residential buildings, schools,

and tourism and infrastructure facilities.

The Industrial Design collection includes the work of international designers, as well as early Slovenian

designs.

MAD is the only institution in Slovenia that presents visual communication, from posters, corporate

graphic design, books, catalogues, calendars, stamps and other printed materials.

The Photography Department keeps a wide-ranging collection on the history of Slovenian photography,

representing over 400 photographers whose work mainly covers the period from 1930 to 1980.

www.aml.si


( 18 )

Kranj, Galerija v Mestni hiši, do 6. marca

Žarko Vrezec: Ilustracije

Akademski slikar Žarko Vrezec, avtor obsežnega opusa slikarskih kompozicij, se od

sredine osemdesetih let preteklega stoletja ljubiteljsko ukvarja z entomologijo (vedo o

žuželkah). Leta 1990 je začel metulje, hrošče in druge žuželke tudi upodabljati v tehniki

barvnega svinčnika in akrila. Sprva je v naravoslovni ilustraciji videl predvsem izziv,

sčasoma pa se je upodabljanje žuželk, ptic in drugih živali spremenilo v obsežno zastavljen

ilustratorski program. Likovni pristop Žarka Vrezca je natančen in hkrati likovno

mikaven. Njegova barvna risba je nazorna in prepričljiva, čeprav ne gre za naturalistične

upodobitve. Pri posameznem primerku so poudarjene bistvene značilnosti oblike in

zgradbe, ki opredeljujejo določeno živalsko vrsto.

Žarko Vrezec se je izpopolnjeval na študijskih potovanjih po Evropi, Aziji in ZDA. Od

leta 1977 je razstavljal na več kot 100 samostojnih razstavah doma in na tujem. Njegova

dela so v številnih javnih in zasebnih zbirkah.

Razstavo poljudnoznanstvenih oziroma naravoslovnih ilustracij je leta 2008 pripravila

Galerija Šivčeva hiša v Radovljici. Od takrat dalje razstava z uspehom gostuje po slovenskih

galerijah in razstaviščih.

Avtorica razstave je dr. Ksenija Rozman.

Kranj, Town Hall Gallery, until 6 March

Žarko Vrezec – Illustrations

Academically trained painter Žarko Vrezec, the creator of a wide-ranging oeuvre of paintings,

has been an amateur entomologist since the mid-1980s. In 1990 he began painting butterflies,

beetles and other insects using coloured pencil and acrylic. At first he saw nature

illustrations primarily as a challenge, but gradually his images of insects, birds and other animals

became an extensive focus. Vrezec’s artistic approach is precise but at the same time

aesthetically appealing. His colour drawing is controlled and convincing, although it is not

naturalistic depiction. The essential characteristics of form and construction which define

the particular species are emphasised in the individual examples.

Žarko Vrezec continued his studies in various places in Europe, Asia and the USA. Since

1977 he has held more than 100 solo exhibitions at home and abroad. His works are kept in

numerous public and private collections.

This exhibition of popular science or nature illustrations was put together in 2008 by the

Šivec House Gallery in Radovljica. Since then, the exhibition has travelled to several Slovenian

galleries and exhibition halls.

www.gorenjski-muzej.videofon.si

Žarko Vrezec, Alpski kozliček Rosaria alpina

Ljubljana, Jakopičevo sprehajališče v Tivoliju, konec marca

Marko Modic: Tla

Umetnik Marko Modic bo v Jakopičevem sprehajališču

razstavljal 125 fotografij, s katerimi na svojstven način

raziskuje primarni element: tla. Pri projektu, ki ga podpira

Biotehniška fakulteta v Ljubljani, sodeluje tudi pesnik

Iztok Osojnik. Gledalci lahko pričakujejo na fotografijah

skrivnostne, nepričakovane detajle, pa tudi panoramske

posnetke in Modičeve značilne montaže, skratka dela, ki

povzročijo, da se pred gledalčevimi očmi odslikavajo silovita,

globoka barvitost in raznolikost ter povsem nova realnost.

Razstava bo kasneje potovala še po drugih evropskih mestih,

Marko Modic pa bo projekt zaključil – kot že večkrat do zdaj – s

knjigo.

Marko Modic se to leto ne predstavlja le v ljubljanskem

Tivoliju, temveč tudi v Kanadi v Whyte Museum of the

Canadian Rockies. Do 4. aprila bo na ogled njegova

retrospektivna razstava, na kateri bo visela večina njegovih

del: aluminij, voda in abstraktne fotografije.

Ljubljana, Jakopič Promenade in Tivoli Park, end of March

Marko Modic: Earth

The artist Marko Modic will exhibit 125 photographs in the

Jakopič Promenade, taking a unique approach to the study

of a primary element: earth. The project, which is supported

by the Faculty of Biotechnology of the University of Ljubljana,

also includes the poet Iztok Osojnik. Visitors can expect to see

mysterious, unexpected details as well as panoramic views and

Modic’s characteristic collages, in short pieces that confront the

viewer with a powerful display of colour and diversity and, above

all, a new reality.

The exhibition will then travel to other European cities, and

Modic will conclude the project in his standard manner – with a

book.

This year, Modic is exhibiting not just in Tivoli Park in Ljubljana

but also in Canada at the Whyte Museum of the Canadian

Rockies, where a retrospective exhibition will take place until 4

April, including the majority of his works: aluminium, water and

abstract photography.

{ Art & Culture }

Ljubljana, Moderna galerija, od 25. marca do 8. maja

Marko Peljhan in sodelavci,

Kodirana utopija: od

Makrolaba do Iniciative

arktične perspektive

Projekt Makrolab (1994–2007) bo tokrat prvič celostno predstavljen v muzejskem

okvirju.

Predstavitev bo obsegala arhitekturo Makrolaba, dokumentacijo njegove

geneze in desetletnega delovanja ter teoretsko in umetnostno-zgodovinsko

artikulacijo tega kompleksnega projekta od njegovega nastanka preko prve materializacije

na Dokumenti X v Kasslu do prehoda v projekte Interpolar Transnational

Art Science Constellation ter Iniciative arktične perspektive (API) na obeh

zemeljskih polih.

Projekt Makrolab velja za enega izmed najpomembnejših projektov, ki so nastali

v slovenskem kontekstu v zadnjih dveh desetletjih. Pričujoča predstavitev ga bo

približala tudi širši javnosti, saj je bil projekt mednarodno dosti bolj prisoten kot

doma. Zadnja faza tega procesa bi bila postavitev delujoče arhietekture Makrolaba

v Sloveniji kot umetniškega dela in laboratorijskega pripomočka za študij umetnosti,

taktičnih medijev, ekologije, radijskih komunikacij in fizike atmosfere.

Razstava bo vključevala tudi predstavitev umetniških del in arhivov projekta

Iniciativa arktične perspektive (API), ki je bil premierno predstavljen v okviru

Evropske prestolnice kulture Ruhr 2010 v Dortmundu. API je mednarodna neprofitna

iniciativa posameznikov in organizacij, ki želi javnost opozoriti na globalni

kulturni in ekološki pomen cirkumpolarnih območij ter v teh regijah vzpostaviti

odprte sisteme ustvarjalnih, komunikacijskih in distribucijskih infrastruktur.

Eden izmed poglavitnih ciljev iniciative je ustvarjanje pogojev, preko katerih

bodo lahko severna arktična ljudstva s pomočjo odprtih tehnologij, sistemov

ustvarjanja, učenja in usposabljanja enakopravno in trajnostno sodelovala v pridobivanju

in izmenjavi informacij o okolju in spremembah v njem, ki so posledica

globalnih klimatskih sprememb.

Kustos razstave je Igor Španjol.

Ljubljana, Museum of Modern Art, 25 March – 8 May

Marko Peljhan et al., Coded Utopia: from Makrolab to the

Arctic Perspective Initiative

The Makrolab project (1994–2007) is being presented in its entirety in a museum

setting for the first time.

The exhibition will include the architecture of Makrolab, documentation of its

genesis and ten years of operation and an art-historical articulation of this complex

project, from its origin through its first materialisation at documenta X in Kassel to

its transition into the projects Interpolar Transnational Art Science Constellation

and the Arctic Perspective Initiative (API) at both of the Earth’s poles.

The Makrolab project is the one of the most significant projects to have originated

in a Slovenian context in the last two decades. This exhibition will present it to the

general public as well, since the project is much better known internationally than

it is at home. The final phase of this process will be the construction of Makrolab’s

working architecture in Slovenia, as a work of art and a laboratory instrument for

the study of art, tactile media, ecology, radio communications and atmospheric

physics.

The exhibition will also include a presentation of the artworks and archives of the

Arctic Perspectives Initiative (API) project, which was premiered as part of the European

Capital of Culture Ruhr 2010 in Dortmund. API is an international non-profit

initiative made up of individuals and organisations who are trying to raise public

awareness about the cultural and ecological importance of the circumpolar regions

and to establish open systems of creativity, communications and distribution infrastructures

in these regions. One of the main objectives of the initiative is to create

conditions through which the northern arctic peoples, with the help of open-source

technologies, systems of creativity, teaching and training, will be able to collaborate

equally and sustainably in the acquisition and exchange of information about the

environment and the changes to it that are the result of global climate change.

The exhibition curator is Igor Španjol.

www.mg-lj.si

( 19 )


( 20 )

Novo mesto, Galerija Simulaker, februar in marec

Goran Bertok,

fotografska razstava, od 17. februarja do 10. marca

Matija Lapuh,

intermedijska razstava, od 17. marca do 2. aprila

Fotograf Goran Bertok, po izobrazbi novinar, je svojstveno fotografsko estetiko oblikoval in razvijal od

devetdesetih let do danes. Njegov celotni opus zaznamujejo človeška telesa in problematika nasilja nad

njimi. Predstavlja se z deli iz serije Post mortem in Obiskovalci, pri katerih se osredotoča predvsem na ozke

izseke trupel, fotografiranih v mrtvašnici oziroma krematoriju; trupla pravzaprav nikoli ne ugledamo v

celoti, zanimali so ga predvsem detajli, kot so oči, roke, usta in njihove karakteristike – razbrazdana koža,

kožne gube, skrivenčeni prsti. Po eni strani so nastala dela v črno beli tehniki, po drugi strani pa je Bertok

v seriji Obiskovalci v fotografski objektiv ujel trenutek, ko v plamenih izgineva truplo, pri čemer je zaradi

učinka plamenov in osvežitve njegovega črnobelega opusa izbral barvno tehniko.

V marcu gostijo v galeriji razstavo del lokalnega umetnika Matije Lapuha. Gre za mladega kiparja iz Brežic,

ki se predstavlja z razstavo interaktivnih kipov/konzol, narejenih iz silikona, pri katerih so objekti

obenem tudi vir zvočnih signalov. Obiskovalci, ki se sprehajajo po galerijskem prostoru mimo postavljenih

objektov, s svojo prisotnostjo oziroma z lastnim gibanjem vplivajo na zvok in tako galerijski prostor

spreminjajo v specifično zvočno zaveso.

Novo mesto, Simulaker Gallery, February and March

Goran Bertok, photography exhibition, 17 February to 10 March

Matija Lapuh, mixed-media exhibition, 17 March to 2 April

Goran Bertok, iz serije "Obiskovalci", 2010

Photographer Goran Bertok, who holds a degree in journalism, has been forming and developing his photographic

aesthetic since the 90s. His entire oeuvre is characterised by the human body and the problem of violence

against it. The exhibition will feature works from his series Post Mortem and Obiskovalci (Visitors), in which he

focuses primarily on narrow sections of the human body photographed in morgues or crematoriums, in which the

entire body is never actually shown; he is interested primarily in details such as eyes, hands and mouths, and their

characteristics such as wrinkled skin, skin folds and curled fingers. In the first series Bertok uses black and white,

while in the series Visitors his lens captures the moment when the body is consumed by flames, and he uses colour

in order to highlight the effect of the flames and to provide some contrast to his black and white oeuvre.

In March the gallery hosts an exhibition by local artist Matija Lapuh. Lapuh is a young sculptor from Brežice,

whose exhibition features interactive sculptures/consoles made of silicon, which are also sources of sound

signals. Visitors walking around the exhibition space past the installations affect the sound by their presence

and/or movement, thus changing the exhibition space into a specific sound curtain.

www.simulaker.si

Maribor, Fotogalerija Stolp,

od 19. do do 27. februarja

Herman Pivk

in Dane Zajc:

V belino

bi zaplaval

Hermanu Pivku je obvladovanje fotografske tehnike

in posegov, s katerimi posnete prizore unikatno

prilagaja svojim predstavam, samoumeven

način, ki poslušno zasleduje in usmerja njegove

meditativne poti po svetu. Ta svet je zanj v temelju

skrivnosten in teman, a v svoji samoti estetsko

povzdignjen z lučjo. Tej luči občutljivi umetnik

spokorno sledi v znamenju verza »V belino bi zaplaval«,

ki ga je na eno izmed podob napisal pesnik

Dane Zajc (na njej se človek nad svetlo gladino,

povezan z lastnim odsevom, obredno potaplja in

mu s to modaliteto krsti celoten ciklus).

Prav sožitje z pesnikom Danetom Zajcem daje

Pivkovemu delu širšo optiko, skozi katero nam

postaja njegov odmaknjeni notranji svet še bolj

domač in razviden. Umetnik roma in išče v duhu

ugledane poetično simbolične prizore, kot bi lovil

in iskal lastne sanje. Ko jih ugleda in zrežira, pa jih

občutljivo fiksira v slike, ki so v resnici podobe bivanjskih

stanj duha, zajetega v likovni izraznosti

narave. Ta duhovna razsežnost razkriva Pivka kot

ustvarjalca, zazrtega v atmosfero samote in bolečine,

v spokojnost in tišino, v kateri sluti nedosegljiv

hlad večne lepote.

Razsežnostim tega razgleda se razumevajoče

pridružuje pesnik Zajc, ki z lastnoročno vpisanimi

verzi, porojenimi ob slikah, staplja s svetlobo Pivkovih

podob sorodne dimenzije svojega podobno

naravnanega notranjega pogleda in potrjuje avtorjevo

avtentičnost in svojo duhovno povezavo z

njegovim samotnim svetom z besedami, iz katerih

sijejo ista tišina, zima kot mrtvaški prt dokončnosti

in spomin na zamrlo življenje v antropomorfnih

oblikah narave.

Milček Komelj

Maribor, Stolp Photo Gallery, 19–27 February

Herman Pivk and Dane Zajc: I Want

to Dive Into the Whiteness

To Herman Pivk, the mastery of photographic techniques

and methods which he uses to uniquely

tailor his recorded images to his ideas is a natural

style, which harmonises with and gives direction

{ Art & Culture }

Novo mesto, Klub LokalPatriot, dogodki v februarju in marcu

Jazzodrom,

17. februar ob 20. uri

Vesna Zornik: Tango Apasionada,

17. marec ob 20. uri

to his meditative journeys around the world. For him

this world is essentially mysterious and dark, but in

its solitude aesthetically enhanced with light. The

acutely perceptive artist penitentially follows this

light as expressed in the line “I Want to Dive Into the

Whiteness”, which was written onto one of the images

by the poet Dane Zajc (the viewer, together with his or

her reflection, hovers above the bright surface and is

ritually submerged in it, and through this modality the

entire series is baptised).

The symbiosis with poet Dane Zajc gives Pivk’s

work a wider lens, through which his remote inner

world becomes more familiar and clear. The artist

wanders and searches and manipulates poetically

symbolic scenes beheld in the soul, as if he were trying

to search for and capture his own dreams. As he

beholds and manipulates them, he delicately sets

them into pictures, which are in fact images of the

abodes of the soul captured in the artistic expression

of nature. This spiritual breadth reveals Pivk as an

artist staring into a wilderness of solitude and pain,

into a tranquillity and silence, in which he discerns

the unattainable chill of eternal beauty.

The breadth of his outlook is shared by the poet

Zajc, whose handwritten verses born in juxtaposition

to the pictures combine with the light of Pivk’s images

the related dimensions of his similarly oriented inner

view and confirm the artist’s authenticity and spiritual

connection to his lonely world through words, which

radiate the same silence and winter like the death

shroud of eternity and a remembrance of frozen life in

the anthropomorphic forms of nature.

Milček Komelj

www.galerijastolp.si

Klub LokalPatriot pripravlja v februarju in marcu številne zanimive dogodke, med katerimi velja omeniti

predvsem četrtkova koncerta, ki se bosta odvila v okviru 8. Jazzinty abonmaja. Sredi februarja prihaja na

klubski oder avstrijska nu jazz zasedba Jazzodrom, prepoznavna predvsem po združevanju klasičnih jazz

melodij in drugih glasbenih slogov ter po spogledovanju z elektronskimi sampli in ritmi. V marcu pa bo

na odru kluba LokalPatriot ena izmed bolj izraznih slovenski pevk Vesna Zornik, sicer glavna vokalistka

skupine Katalena, in se predstavila s svojim prvim samostojnim albumom Tango Apasionada, posvečenem

strastnemu argentinskemu tangu.

VERSUS (Slovenija), 19. februar

PRIMOŽ TURK IN SKRAJNEŽI (Slovenija), 26. februar

NO RULES (Bosna in Hercegovina), 18. marec

S.A.R.S. (Srbija), 26. marec

Poleg jazz koncerta vključujejo v redni februarski program tudi dve slovenski rock skupini, Versus in Primoža

Turka s Skrajneži, marca pa še dve skupini z Balkana, rokenrol bend No Rules iz Bosne in Hercegovine

ter multi žanrsko skupino S.A.R.S. iz Srbije.

Jazzodrom

Vesna Zornik

Novo mesto, Klub LokalPatriot, events in February and March

Jazzodrom, 17 February at 8 pm

Vesna Zornik: Tango Apasionada, 17 March at 8 pm

In February and March, Klub LokalPatriot is hosting several interesting events, including two Thursday evening

concerts as part of the 8 th Jazzinty subscription. In the middle of February the Austrian “nu jazz” group Jazzodrom

will perform the stage. They are known for combining classical jazz melodies with other musical styles

and for flirting with electronic samples and rhythms. In March, Vesna Zornik, one of Slovenia’s most expressive

female vocalists and the lead singer of the popular band Katalena, will take the stage at the LokalPatriot. She

will be presenting her first solo album Tango Apasionada, devoted to passionate Argentine tango.

VERSUS (Slovenia), 19 February

PRIMOŽ TURK AND SKRAJNEŽI (SLO), 26 February

NO RULES (BIH), 18 March

S.A.R.S.(SRB), 26 March

In addition to the jazz concert, the regular February programme will include two Slovenian rock bands, Versus,

and Primož Turk and Skrajneži, and in March two Balkan groups, the rock ’n’ roll group No Rules from Bosnia

and Herzegovina, and the multi-genre group S.A.R.S. from Serbia.

www.lokalpatriot.si

( 21 )

{ Umetnost & kultura / Art & Culture }

( 22 )

Zürich, Kunsthaus Zürich

Izvirna kopija: fotografije kipov

od leta 1839 do danes

Od 25. februarja do 15. maja

Razstava predstavlja fotografije fotografov

in inovativnih umetnikov, ki so

ustvarjalno in izvirno uporabljali ta

medij pri svojem tridimenzionalnem

delu. Med njimi so: Eugène Atget, Hans

Bellmer, Herbert Beyer, Constantin

Brancusi, Brassaï, Manuel Alvarez Bravo,

Claude Cahun, Marcel Duchamp, Peter

Fischli in David Weiss, Robert Frank,

David Goldblatt, Hannah Höch, André

Kertész, Man Ray, Bruce Nauman,

Gillian Wearing, Hannah Wilke, Ivao Jamavaki

in mnogi drugi. S približno 300

izjemnimi fotografijami več kot stotih

umetnikov obsega ta razstava obdobje

od 19. stoletja do danes in se osredotoča

predvsem na načine, kako lahko

fotografija vpliva na naše dojemanje

kiparstva in mu hkrati oporeka.

Dunaj, MUMOK

Neposredna umetnost

Do 29. maja

Na dunajske akcioniste gledamo kot na

skupino umetnikov, ki so se odmaknili

od slikarskega stojala ali ga povsem

opustili ter začeli uprizarjati umetnost v

prostoru in času. Ob sopostavitvi s skrbno

izbranimi deli gibanj Gutai, Nouveau

Réalisme, Fluxus, Popart in Happening

razkriva ta razstava del dunajskega

akcionizma v galeriji MUMOK navzkrižne

povezave, analogije in strukturne

podobnosti med dunajskimi umetniki

in hkratnimi mednarodnimi gibanji. Ob

vsem tem postane jasno, da so ti umetniki,

čeprav so v svojem času glede na

mednarodni svet umetnosti delovali »v

zakulisju«, izražali vprašanja v skladu

s takrat prevladujočim dialogom, z

radikalno naravo svojih umetniških postopkov

in vztrajnostjo pa so včasih celo

prekašali svoje sodobnike.

Varšava, Center za sodobno umetnost

Mirosław Bałka, FRAGMENT

Do 3. aprila

Bałkovo delo je dobro znano med zgodovinarji,

kustosi, kritiki in zbiratelji sodobne

umetnosti, čeprav gre večinoma za

fragmente. Razstava Fragment, ki jo je

pripravil Center za sodobno umetnost v

Varšavi, je prva celovita predstavitev video

del Mirosława Bałke na Poljskem in

v svetu. Glede na to, da je umetnik javno

izjavil, da se v prihodnje z videom ne

namerava več ukvarjati, je razstava torej

hkrati tudi retrospektiva celotnega umetnikovega

opusa. Razstava Fragment

predstavlja videe dvanajstih let Bałkovega

umetniškega ustvarjanja – od začetkov

leta 1998 do najnovejših del (2010)

–, ki so prvič predstavljena javnosti.

Pariz, Center Pompidou

Mondrian/De Stijl

Do 21. marca

Nova razstava preučuje prepletanje napredka

umetniškega gibanja De Stijl in

njegovega najvidnejšega predstavnika

Pieta Mondriana. Ta pomembna retrospektiva,

ki osvetljuje ključni trenutek v

zgodovini umetnosti 20. stoletja, je prva

tovrstna razstava v Franciji. Od konca

prvega desetletja 20. stoletja pa vse

do dvajsetih let je gibanje De Stijl kombiniralo

estetsko in socialno vizijo, se

pravi, da je ustvarjalo totalno umetnost,

kar je osnova za razumevanje virov

sodobne umetnosti. Med letoma 1912

in 1938 je Mondrian, osrednja osebnost

te avantgarde, na podlagi svojih

izkušenj v Parizu opredelil besednjak in

»nov abstraktni vizualni jezik«. Šlo je za

radikalen podvig, ki je sprožil revolucijo

v slikarstvu in umetnosti nasploh, lotil

pa se ga je s Theom Van Doesburgom in

Gerritom Rietveldom, prav tako utemeljiteljema

tega gibanja, ki je vplivalo na

slikarstvo, kiparstvo, urbanizem, arhitekturo,

oblikovanje pohištva in grafično

oblikovanje.

London, Tate Modern

Gabriel Orozco

Do 25. aprila

Ustvarjalen, igriv in domiseln ustvarja

Gabriel Orozco umetnost na ulicah, v

svojem stanovanju in povsod, kjer se

ga poloti navdih. Orozco, ki se je rodil

v Mehiki, delal pa po vsem svetu, slovi

po neskončnem eksperimentiranju z

najdenimi predmeti, ki jih prefinjeno

spreminja.

Njegove skulpture, pogosto narejene

iz vsakodnevnih stvari, ki so se umetniku

zazdele zanimive, razkrivajo nove načine

videnja znanih predmetov. Lobanja,

skrbno porisana z geometrijskimi vzorci,

klasičen avto Citroën DS, ki ga je avtor

razrezal na tretjine in odstranil osrednji

del, da bi poudaril njegovo aerodinamično

obliko, ali pa zvitek papirja, popisan

s številkami, izrezanimi iz telefonskega

imenika, so le nekateri primeri njegovih

edinstvenih skulptur.

Zurich, Kunsthaus Zurich

The Original Copy: Photography of

Sculpture, 1839 to Today

From 25 February to 15 May

The exhibition presents prints of famous

photographers and groundbreaking

artists who have used this medium

in a creative and original way for their

three-dimensional works: Eugène Atget,

Hans Bellmer, Herbert Beyer, Constantin

Brancusi, Brassaï, Manuel Alvarez

Bravo, Claude Cahun, Marcel Duchamp,

Peter Fischli and David Weiss, Robert

Frank, David Goldblatt, Hannah Höch,

André Kertész, Man Ray, Bruce Nauman,

Gillian Wearing, Hannah Wilke,

IwaoYamawaki and many others. With

approximately 300 exceptional photographs

by more than 100 artists, this

exhibition spans the period from the

19th century to the present and focuses

mainly on showcasing the possibilities

of photography to influence our understanding

of sculpture whilst simultaneously

challenging it.

Vienna, MUMOK

Direct Art

Until 29 May

The Viennese Actionists are regarded as

among those who moved away from or

abandoned the easel picture in favour

of staging activities in space and time.

Through a confrontation with carefully

selected works related to Gutai, Nouveau

Réalisme, Fluxus, Pop Art and Happenings,

this reassessment of MUMOK's

holdings of Viennese Actionism draws

attention to the cross-references, analogies

and structural similarities of the

work of Viennese artists to simultaneous

international developments. In the process,

it becomes evident that, despite the

fact that at the time these artists were

acting "off stage" as far as the international

art world was concerned, their formulation

of the questions was not only

abreast of contemporary discourse, but,

because of the radical nature of their

artistic steps and their perseverance, occasionally

even allowed them to outstrip

their contemporaries.

Warsaw, Centre for Contemporary Art

Mirosław Bałka, FRAGMENT

Until 3 April

Bałka’s work is renowned among historians,

curators, critics and collectors of

contemporary art. Yet it is known mainly

in fragments. The Fragment exhibition,

presented by the Centre for Contemporary

Art Ujazdowski Castle in Warsaw, is

the first comprehensive presentation of

the video works of Mirosław Bałka to be

held in Poland and in the world. Given

the artist’s stated intent to abandon

further work in video, the exhibition also

represents a retrospective of a complete

body of work. The Fragment exhibition

presents works that span the last twelve

years of Bałka’s creativity in video: from

the beginnings, including the very first

work, created in 1998, through to his

most recent work (2010), which are on

public view for the first time.

Paris, Centre Pompidou

Mondrian/De Stijl

Until March 21

A new exhibition studies the interwoven

progress of the artistic movement De

Stijl and of Piet Mondrian, its leading

figure. This important retrospective is

the first in France to shed light on this

key period in the history of 20th century

art. Beginning towards the end of the

century's first decade and continuing

through the 1920s, De Stijl combined

an aesthetic and social vision, total art,

which provides a basis for understanding

the sources of modern art. In Paris

between 1912 and 1938, Mondrian, a

central figure of this avant-garde who

drew from its experience, laid down a

vocabulary and a "new abstract visual

language", a radical undertaking which

was to revolutionise painting and art. In

this, his work was joined by that of Theo

Van Doesburg and Gerrit Rietveld, the

other founders of this cross-disciplinary

movement, which influenced painting,

sculpture, city planning, architecture,

furniture design and graphic design.

London, Tate Modern

Gabriel Orozco

Until 25 April

Creative, playful and inventive, Gabriel

Orozco creates art in the streets, his

apartment or wherever he is inspired.

Born in Mexico but working across

the globe, Orozco is renowned for his

endless experimentation with found

objects, which he subtly alters.

His sculptures, often made of everyday

things that have interested him, reveal

new ways of looking at the familiar.

A skull with a geometric pattern carefully

drawn onto it, a classic Citroën DS

car that the artist has sliced into thirds,

removing the central part to exaggerate

its streamlined design, and a scroll filled

with numbers cut out of a phone book

are just some of his unique sculptures.

{ Adrijin potnik }

Janez Pukšič –

Puška

Fotograf

Besedilo: Grega Bulc Fotografije: Igor Škafar

( 32 )

Nikakor ni napet kot puška. Čeprav stalno pod

pritiskom rokov, deluje s tistim svojim nasmehom

in belo brado bolj kot kak zgovoren dedek Mraz

na dopustu. Dvanajst let je bil fotoreporter pri Delu. Nekoč

je moral s fotomontažo dodati nekega politika na častno

tribuno štadiona, ker je bil ubogi partijec za časa tekme pač na

počitnicah. Fotografiral je številne jugoslovanske progresivne

rock skupine in popularne popevkarje ter s fotografijami

opremil pa tudi oblikoval znamenito prvo dvojno vinilno

ploščo v socialistični Jugoslaviji, Pop festival Ljubljana '72.

Vseeno pa Puška doma najraje prisluhne jazzu. Čeprav me

osebno najbolj navdušuje njegov intrigantni opus mističnih

ženskih aktov v transferni tehniki, se je v zadnjem desetletju

širom sveta proslavil s fotografiranjem hrane. »Njegove«

kuharice prejemajo mednarodne nagrade kot po tekočem

traku. Tako so njegove fotografije že šestkrat ozaljšale najboljšo

gurmansko knjigo na svetu. Ob vsem tem pa že več kot dvajset

let s fotografijami opremlja tudi naslovnice magazina, ki ga

držite v rokah. Puška nima spletne strani, ne boste ga našli na

Facebooku, ima pa mobilca »za 25 evrov«. Strokovna besedila

o fotografiji in tehniki bere v italijanščini in angleščini. Ampak

v kratkem se bo vpisal na tečaj nemščine, ker mu, čeprav jo

razume, manjka besedni zaklad, pravi. Poslušal sem ga ure

in ure in še bi ga lahko. Pila sva vrhunski cviček iz ene izmed

številnih buteljk, ki se kot nemočne žrtve blagovne menjave

znajdejo v Puškinem gnezdu.

( 33 )

{ Adria Passenger }

( 34 )

Dvakrat sva se slišala po telefonu in obakrat ste za novejšo tehnologijo

uporabili besedo »disgustabile«: prvič, ko ste govorili o digitalnih fotoaparatih,

drugič pa o računalniku. Zakaj »šimfate« tehniko?

Bom povedal, zakaj. Pri Photoshopu in podobnih programih si lahko

zelo površen in marsikaj lahko zgoljufaš, pri čemer večina ljudi potem

misli, da so, recimo, barve v resnici tako žive in močne, dejansko pa seveda

ni tako. Tehniko moraš obvladati. Sam imam vrhunsko tehniko: ’špica’

aparat, ’špica’ luči, ’špica’ vse! In tudi tehnologijo poznam. Montaže

sem delal, ko računalnikov sploh še ni bilo. Kaj pomaga človeku najboljši

pisalni stroj, če ne zna pisati!

Zdi se, da ne delate veliko pri naravni svetlobi, temveč bolj v studiu.

Oh, ne, veliko delam pri naravni svetlobi. Ko delam zase, vedno.

Ampak ko fotografirate hrano, jo pa umetno osvetlite?

Ja, vso hrano pa delam v studiu, saj lahko na ta način kontroliram

formo, barvo itd. Le tako zgleda hrana perfektno. Vseeno pa delam luč

zelo intuitivno. Poznam tehniko in, kot rečeno, zelo jo obvladam. Vidite,

tamle v kotu me čakajo tri nove tehnične knjige, ki jih moram prebrati.

Ampak ko delam, delam zelo enostavno. Vedno po principu »Sonce je

eno«. Priti mora pač z ene strani, to se mora čutiti in konec – ne glede

na to, kaj delaš in kako delaš. Sonce je idealna luč. No, najbolje je, če sije

skozi mikro rahle oblake, da ni toliko kontrasta. Ampak to je to, prima

svetloba. Če gledaš proti soncu in imaš pred seboj »zmigane« prave stvari,

je to čista pravljica. Zame brez kontra svetlobe enostavno ni dobre

fotografije.

Kakšnega jedilnika se držite takrat, ko ne obedujete ravno v prestižnih

restavracijah v družbi kuharjev svetovnega slovesa?

Z ženo Jano se prehranjujeva zelo asketsko. Jaz sem pretežno vegetarijanec.

Ampak tudi pri restavracijah ni vse enoznačno. Veliko je odvisno

od tega, kakšna je hrana. Recimo Heinz Beck, ki ima 5 Michelinovih

zvezdic in je med desetimi najboljšimi kuharji sveta, kuha po principu

»Pametni gurmani živijo dlje«. Zelo pazi, katero hrano ponudi gostu,

kaj sodi skupaj in kako deluje v želodcu. Najprej vpraša gosta: »Ali ste na

kaj alergični?« in temu prilagodi ponudbo. Koliko gostiln ali restavracij

pri nas poznate, kjer vas to na začetku vprašajo? No, kakorkoli, z Beckom

ravno zdaj pripravljava knjigo o pametnem gurmanstvu.

Ste avtor vseh fotografij na naslovnicah Adria In-Flight Magazina. Pa ga

tudi berete?

Za Adria magazin sem delal od prve številke dalje. Do pred kratkim

tudi sam nisem vedel, da sem avtor prav vseh fotografij na naslovnicah.

Veste, včasih je bilo težko v tako kratkem času najti idejo za fotografijo,

ki bi ustrezala aktualni temi magazina. Le z redkimi fotografijami

sem bil takoj zadovoljen. Trudim se, da bi bila fotografija vedno nekaj

posebnega. Zelo pazim, da se ideje ne bi ponavljale. Adria magazin

seveda redno berem. Bolj počasi sicer, saj imam v ’ruzaku’ vedno veliko

knjig (smeh). Knjige berem vsepovsod. Tudi v avtu. Jaz berem, Jana

pa vozi. Če ni nič drugega, se pa učim iz tehničnih knjig. Najraje sicer

ne bi bral tehnike, a jo seveda moram, ne gre drugače. Mnogo knjig

preberem na dušek. Trenutno me navdušuje Umetnost preprostosti

Dominique Loreau, ki živi že vrsto let na Japonskem. Knjigo začne s

kratkim haikujem: »V moji sobi ni ničesar. Torej imam vse.« To je prvi

stavek iz knjige. Tako dobro je to napisala! Že včasih, ko sem še mislil, da

bom v življenju oblikoval pohištvo, sem govoril, da človek nikoli ne bo

vedel, kaj se skriva na koncu njegovih predalov ali omar, če so globoki 60

centimetrov. Vseh tistih reči, ki jih v sobi nimaš pred očmi, ne boš nikoli

več pogrešal, torej jih lahko vržeš proč.

Janez Pukšič –

Puška

Photographer

Text: Grega Bulc Photography: Igor Škafar

Despite his name (Puška means rifle), he is not actually locked,

loaded and ready to go off. Even though he is constantly under

pressure of deadlines, his smile and white beard give him more the

persona of some garrulous Santa Claus on holiday. He worked for 12

years as a photojournalist for the Delo newspaper. Once he had to

photomontage some politician onto the VIP podium of a stadium,

because the hapless apparatchik was actually on holiday at the time

of the game. He photographed many of Yugoslavia’s progressive rock

groups and pop singers, and he also provided the photos and design

for the famed first vinyl double-album in socialist Yugoslavia, Pop

Festival Ljubljana ‘72. But at home, Puška prefers listening to jazz.

Although my personal favourites are his intriguing and mystical

female nudes using the transfer technique, in the past decade he

has won fame throughout the world for his photographs of food.

“His” cookbooks have been winning international prizes one after

the other. So his photographs have embellished the best gourmet

book in the world six times now. Meanwhile, for more than 20 years

his photographs have adorned the cover page of the magazine you

are now reading. Puška has no website or Facebook page, but he

does have a “25 euro” mobile phone. He reads technical material

on photography in Italian and English. Soon, however, he will be

enrolling on a German course, since although he understands it, he

doesn’t have the vocabulary, he says. I listened to him for hours and

hours, and could have listened longer. We drank some outstanding

cviček wine from one of the many bottles that end up in Puška’s

nest like some powerless victims of trade.

But when you photograph food, don’t you use artificial light?

Yes, I do all the food in the studio, because that means I can control

the form, colour and so on. Only then does the food come out perfectly.

All the same, I do the lighting very intuitively. I’m familiar with the

technical side and, as I’ve said, I really know how to use it. You can see,

over there in the corner there are three new technical books that I need

to read. But when I work, I work very simply. Always under the principle

of “one sun”. The point is, it needs to come from one side, and you have

to sense that, end of story – no matter what you are doing and how you

are working. The sun is the ideal light. And the best thing is if it is shining

through minutely soft clouds, so there is not so much contrast. But

that is it, the best light. If you look towards the sun and you have the

right things “animated” in front of you, it’s truly magical. For me, without

a counter-light it is simply not a good photograph.

What menu do you stick to when you’re not dining in some fancy restaurant

in the company of world-famous chefs?

My wife Jana and I eat very ascetically. I am mainly a vegetarian. But

in restaurants, too, it’s not that simple. A lot depends on what kind

of food it is. For instance Heinz Beck, who has five Michelin stars and

is one of the top ten chefs in the world, cooks by the principle “Smart

gourmets live longer”. He is very careful about what food to offer guests,

what goes together and what happens to it in the stomach. The first

thing he asks a guest is whether they are allergic to anything, and then

he adapts his menu to that. How many restaurants do you know where

they ask you that to begin with? Well, whatever, right now I’m working

with Beck on a book about being a smart gourmet.

We talked twice on the phone, and both times you used the word “disgustabile”

for the latest technology, first when you were talking about

digital cameras, and then about computers. Why do you “scorn” technology?

I’ll tell you why. With Photoshop and similar programmes, you can

be really superficial and you can falsify a lot of things, so most people

think that, for instance, the colours are truly that vivid and strong,

but that’s actually not the case. You have to master the technical side. I

have the very top technical equipment: top camera, top lights, top everything!

And I’m also familiar with the technology. I did my own montages

before we even had computers. What good is the best typewriter,

if a person doesn’t know how to write?

It seems that you don’t work much with natural light, but more in the

studio.

Oh no, I use natural light a lot. When I work for myself, always.

You have taken all the photographs on the covers of Adria In-Flight Magazine.

Do you also read it?

I’ve worked for the Adria magazine since its first issue. Until recently,

I myself didn’t know that I took every single cover photo. You know,

sometimes it was hard in such a short time to find an idea for a photograph

that would match the current theme of the magazine. There have

only been a few photographs that instantly satisfied me. I strive to make

the photograph always something special. I’m very careful not to repeat

ideas. And of course I read the Adria magazine regularly. Quite slowly,

though, since I always have a lot of books in my satchel (laughs). I read

books everywhere. Even in the car. I read, and Jana drives. If nothing

else, I learn from the technical books. I would prefer not to read technical

things, but of course I have to, there’s no choice. I read a lot of books

in one sitting. I’m currently inspired by The Art of Simplicity by Dominique

Loreau, who has lived for many years in Japan. The book begins

with a short haiku: “In my room there is nothing. So I have everything.”

That’s the first sentence in the book. She wrote that so well! And back

at one time when I thought I was going to have a career designing furniture,

I said that a person will never know what’s hidden at the back

of his shelves or cupboards, if they are 60 centimetres deep. All those

things that you can’t actually see in a room, you’ll never miss, so you

can throw them away.

A

( 35 )

( 36 )

Priština

Med

kavarnami in

umetnostjo

T

o be a künstler, you have to arbeiten,

je trditev kosovskega umetnika Drena

Maliqija. In če hoče umetnik delati,

potrebuje prostor, bi lahko dodali. Z Drenom

se spoznam v kavarni Dit’ e Nat’ (Dan in noč).

Prav tako z oblikovalcem Bardhijem Halitijem,

fotografinjo Majlindo Hoxho, galeristom

Jetonom Rushitijem … V kavarno, pravzaprav

knjigarno, me je pripeljal akademski profesor

in slikar Mehmet Behluli. V kavarni Stripdepot

se srečam z umetniškim kritikom Shkëlzenom

Maliqijem. Pod plakatom Roya Lichtensteina.

Z umetnico Nurhan Qehajo poklepetam v

kavarni Tingël Tangëll.

Umetniki, ki delajo, umetniki, ki ustvarjajo tudi

v kavarni. To be a künstler, you have to arbeiten.

( 37 )

Besedilo: Meta Krese Fotografije: Arne Hodalič

Dren Maliqi

{ Priština }

( 38 )

Umetnost se seli v kavarne

Vsi vemo, kako grozno je bilo na Kosovu v devetdesetih letih prejšnjega

stoletja. Umetniki niso molčali. Na težko stanje so odgovorili odkrito in

jasno.

»Umetnost je bila v tem času angažirana, mladi umetniki so reagirali

na posamezne dogodke in tudi na celotno situacijo. S svojimi deli so se

uprli srbskemu režimu, hkrati pa tudi kosovski akademski sferi, ki je

bila provincialna in ni sprejemala novih oblik izražanja,« meni Shkëlzen

Maliqi.

M'vyn ndrim radikal (Potrebujem radikalno spremembo) govori delo Drena

Maliqija. Ikonografija upora, besa, jeze ni ostala zgolj na ravni šokiranja

lokalne skupnosti: umetniki so s svojo neposrednostjo sicer rušili železna

akademska pravila, a hkrati tudi zaradi svoje čustvene poštenosti

vzpostavili komunikacijo s sodobnimi umetniškimi trendi v svetu.

Kavarne, restavracije in druge neodvisne institucije, kjer so se pogovori

začeli s politiko in končali s kulturo in umetnostjo, so prevzele

vlogo umetniških galerij.

Umetniki so eksperimentirali: sprejeli so video, performanse, instalacije.

Mnogi med njimi so zaključili likovno akademijo, ampak s slikanjem

se enostavno niso mogli izraziti. Video dela so po mnenju Shkëlzena

Maliqija nekaj najboljšega, kar ima sodobna kosovska umetnost.

Postali so zanimivi za Evropo.

»Še najbolj v kontekstu Balkana,« razloži Shkëlzen Maliqi. »Jugoslavija

je razpadala, umetniki, kuratorji pa smo se združevali na razstavah. V

stikih smo bili s predstavniki sodobne umetnosti v Beogradu, Zagrebu,

Sarajevu … V Ljubljani smo že leta 1998 sodelovali z Barbaro Borčič iz

zavoda SCCA.«

Zdaj se umetniki počasi oddaljujejo od politike, njihova dela ostajajo

vpeta v težave družbe in so vse bolj ironičen protest proti situaciji, v kateri

so se znašli.

Ustvarjalni hrup

Z zavidanjem začutim ustvarjalnost kavarniškega hrupa. Od kod že poznam

to? Za hip se spomnim dunajskih pa berlinskih kavarn. Ne, ne gre

za isto stvar. Tam se poskušam zgolj spogledati z nekim časom, ki ga ni

več. Tu gre zares.

»Ne morem si privoščiti studia. Zato delam doma in še več v Dit’ e

Nat’,« pravi oblikovalec Bardhi Haliti, ki je končal študij grafičnega

oblikovanja v New Yorku, se naveličal ameriške birokracije, s katero se

je spopadal vsako leto, ko si je podaljševal delovno vizo, in se po več kot

desetih letih vrnil v Prištino. Pred seboj ima odprt prenosni računalnik,

na mizi kavo in obvezno cigareto.

»Komercialno oglaševanje me ne zanima, želim se osredotočiti na

umetnost in arhitekturo«, zatrdi. Projektov mu ne manjka; odkar je spet

v Prištini, je v tem letu oblikoval več knjig predvsem za manjše založbe.

»Moje delo je slabo plačano, honorar za oblikovanje knjige je, recimo,

okrog 50 evrov. Ampak raje se ukvarjam s stvarmi, na katere sem ponosen,«

doda Bardhi.

Mehmet Behluli

( 39 )

Bardhi Haliti

Bitko z denarjem bije večina mlajših pripadnikov sodobne umetnosti.

Shkëlzen Maliqi se spomni švicarskega profesorja, ki se je navduševal

nad video deli kosovskih umetnikov in se čudil, kako lahko naredijo

tako rekoč zastonj dela, za katera bi njegovi študentje porabili na desettisoče

frankov. Izjemno cenjena umetnica, pa čeprav komaj dvaindvajsetletna

Deda Qëndresë, ki se izraža z avtoportreti v slikarski in fotografski

tehniki, je že kar nekaj časa brez fotoaparata.

»Delam pač fotomontažo s starimi fotografijami,« razloži.

»To gre, dokler je entuziazem, potem pa … Mi jim ne moremo dati ničesar,«

zaključi pogovor Shkëlzen Maliqi.

Pa to ni čisto res. S prof. Mehmetom Behlulijem vodita že več let

delavnice za vse tiste, ki jih zanima umetnost (in teh je bilo do sedaj že

nekaj sto), v posebni čitalnici Narodne knjižnice z več kot 10.000 knjigami

o moderni umetnosti. Knjige je ‘alternativni akademiji’ podaril

frankfurtski etnografski muzej. Ko se je namreč direktor upokojil, niso

vedeli, kaj naj počno z vso to prečudovito zbirko, ki si jo je nakupil za

svoje veselje v času vodenja muzeja. In pravzaprav bi težko našli bolj

pošteno rešitev.

Kosovo resnično zaprto in so nam lahko prodali katerokoli zgodbo in mi

smo ji verjeli,« meni prof. Mehmet Behluli.

»Zdaj se mladim težko proda neresnica ali samo ena ideologija. Razvijamo

se od popolnoma zaprte v odprto družbo. Seveda še ni tako, kot bi

si želeli. Težko je biti umetnik na Kosovu. Oziroma takole gre: na Kosovu

smo fizično prisotni, a delujemo virtualno na globalni sceni. Kar ni

narobe: problemi so tako in tako globalni.«

Čeprav je globalizacija že pred leti segla v sfero kosovske kulture in

oslabila moč tradicije v umetnosti, ostajajo vrata državnih institucij še

vedno zaprta, no, mogoče priprta, za sodobno umetnost. Pa kaj potem,

si reče marsikdo. Jeton Rushiti je s prijatelji najel podrtijo sredi Prištine.

Skupaj so jo prenovili, odprli za pol leta klub z barom, med tem časom

z zaslužkom odplačali investicije in uredili razstavni prostor. Tetris

manipulative space se imenuje. Skoraj na 14 dni menjajo razstave, gostijo

najrazličnejše festivale, predvsem pa se tu srečujejo vsi, ki želijo ali celo

morajo debatirati o umetnosti, prihodnosti …

»Vsak je dobrodošel,« pravi Jeton Rushiti. Pred vrati pa leži napis Drena

Maliqija: Potrebujem radikalno spremembo.

Sreča v nesreči

»Na vso srečo naša družba ne more biti več zaprta. To se je začelo spreminjati

leta 1999. S tem, ko so prišle k nam številne vladne in nevladne

organizacije, smo morali postati komunikativni, drugače ne bi bilo

nobenega smisla, da so tu. To je sreča v nesreči. Ko sem bil mlad, je bilo

{ Priština }

{ Prishtina }

Art

Comes to the

Cafés

Text: Meta Krese Photography: Arne Hodalič

Shkëlzen Maliqi

( 40 )

To be a künstler, you have to arbeiten, asserts the Kosovan

artist Dren Maliqi. And if an artist wants to work, he needs

a space, we might add. I’ve come to know Dren at the Dit’ e

Nat’ (Day and Night) cafe. And also designer Bardhi Haliti,

photographer Majlinda Haxha and gallery manager Jeton Rushiti … I

was taken to this café – in fact a bookshop – by the Academy professor

and painter Mehmet Behluli. At the Stripdepot café I meet art critic

Shkëlzen Maliqi. under a Roy Lichtenstein poster. I chat with artist Nurhan

Qehajo in the café Tingël Tangëll.

Artists who are working, artists who are doing creative work in a café.

To be a künstler, you have to arbeiten.

believes that the video work is some of the best of Kosovo’s contemporary

art. They have attracted the interest of the rest of Europe.

“Particularly in the Balkan context,” explains Shkëlzen Maliqi. “Yugoslavia

broke up, but artists and curators mingled at exhibitions. We had

contacts with contemporary art representatives in Belgrade, Zagreb and

Sarajevo … In Ljubljana we collaborated with Barbara Borčič of the SCCA

institute back in 1998.”

Deda Qëndresë

Art moves to the café

We all know how dreadful it was in Kosovo in the 1990s. The artists did not

stay silent. They responded openly and clearly to the difficult situation.

“At that time art was committed, with young artists reacting to specific

events and also to the whole situation. Through their work they

resisted the Serbian regime, and at the same time they resisted the Kosovan

academic circles, which were provincial and would not accept new

forms of expression,” says Shkëlzen Maliqi.

M’vyn ndrim radikal (I need radical change) says the work of Dren Maliqi.

And the iconography of resistance, rage and anger was not confined to

just shocking the local community: through their directness, the artists

were breaking the iron rules of academia, but at the same time, given

their emotional honesty they were also establishing communication

with contemporary artistic trends in the world.

The cafes, restaurants and other independent establishments, where

conversation started with politics and ended with culture and art, took

on the role of art galleries.

The artists experimented: they took on video, performance and installations.

Many of them had graduated from the art academy, but they

simply could not express themselves through painting. Shkëlzen Maliqi

( 41 )

Majlinda Haxha

Now the artists are gradually distancing themselves from politics,

but their work remains bound up in the difficulties of society and is

increasingly an ironic protest at the situation in which they have found

themselves.

Creative hubbub

With some envy I sense the creativity of the café hubbub. Where do I

know this from? For a moment I recall the cafés of Vienna and Berlin.

No, it’s not the same thing. There I am just trying to flirt with an age

that has gone. This is for real.

“I can’t afford a studio. So I work at home and even more at Dit’ e Nat”,

says designer Bardhi Haliti, who studied graphic design in New York,

got fed up with the American bureaucracy he had to contend with every

year when he extended his work visa, and after more than ten years

returned to Prishtina. He has a laptop computer open in front of him,

along with a coffee and the obligatory cigarette.

“Commercial advertising doesn’t interest me, I want to focus on art

and architecture,” he adds. He has no shortage of projects. In the year

that he has been back in Prishtina, he has designed several books,

mainly for smaller publishers.

“My work is badly paid. The fee for designing a book, for instance, is

around 50 euros. But I do things that I’m proud of”, adds Bardhi.

{ Prishtina }

{ Prishtina }

( 42 )

Jeton Rushiti

Nurhan Qehaja

( 43 )

Most of the younger people involved in contemporary art are struggling

for money. Shkëlzen Maliqi remembers a Swiss professor who was

enthusiastic about the video work of Kosovan artists, and was amazed

that they could make them in effect for nothing, while his students

would have needed tens of thousands of francs to make them. A very

highly regarded artist, the barely 22-year-old Deda Qëndresë, who creates

self-portraits using painting and photography, has not had her own

camera for some time now.

“I do photomontages with old photographs”, she explains.

“This works for as long as there is some enthusiasm, but then… We can’t

give them anything”, says Shkëlzen Maliqi, winding up our conversation.

But that is not altogether true. For several years he and Prof. Mehmet

Behluli have been running workshops for everyone interested in art

(and to date this has involved several hundred people), in a special reading

room of the National Library, which has more than 10,000 books on

modern art. These books were donated to the ‘alternative academy’ by

the Frankfurt Ethnographic Museum. When the director retired, they

did not know what to do with the whole magnificent collection, which

he acquired for his delight during his tenure at the museum. And in actual

fact it would be hard to find a more decent solution.

Fortune in misfortune

“Very fortunately our society can no longer be closed. This started to

change in 1999. When a range of governmental and non-governmental

organisations came here, we had to become communicative, otherwise

there would have been no sense in them being here. That is fortune in

misfortune. When I was young, Kosovo was truly closed, and they could

sell us any story they wanted to, and we believed it”, says Prof. Mehmet

Behluli.

“Now it’s hard to sell young people lies or just one ideology. We are

evolving from a completely closed to an open society. Of course it’s still

not like we would want it. It’s hard being an artist in Kosovo. Or rather

it’s like this: we are physically present in Kosovo, but we are working

virtually on the global scene. And there’s nothing wrong with this: the

problems are pretty much global.”

Although several years ago globalisation extended into Kosovo’s cultural

arena, weakening the power of tradition in art, the doors of state

institutions remain shut – or possibly just slightly open – to contemporary

art. So what, many people say. Jeton Rushiti and his friends rented

a ruin in the middle of Prishtina. Together they renovated it, opened a

club and bar for half a year, and in that time, with their earnings they

paid off the investment and arranged an exhibition space. Tetris manipulative

space is its name. They change exhibitions almost every 14 days,

they host a wide variety of festivals, and above all this is a meeting

place for everyone who wants or even has to debate art, the future and

so forth.

“Everyone is welcome”, says Jeton Rushiti. In front of the door lies

Dren Maliqi’s inscription: I need radical change.

A

Adria Airways leti na liniji Ljubljana–Priština vsak dan.

Adria Airways flies between Ljubljana and Prishtina daily.

( 44 )

Planinske

koče

( 45 )

Besedilo: Marjan Žiberna Fotografije: Rafael Marn

Človek, ki sicer rad pravi ali vsaj namigne, da mu je najljubše hoditi svoja pota, daleč stran

od množic, ne prizna prav rad, da so mu bile gorske koče od nekdaj dokaj ljube. Ampak

tako pač je. V gnečo, kakršna je v njih poleti ali ob še zadnjih toplih jesenskih vikendih,

nisem nikoli ravno silil, a če sem se vendarle znašel v njej, me ni motila niti približno tako, kot me

moti gneča mestnih nakupovalnih središč. Med potikanjem po hribih, bodisi sam bodisi v družbi,

sem pravzaprav vedno rad zavil v planinsko kočo. ’Flaše’ s ’šnopsom’, ki jo tudi mnogi novodobni

gorski popotniki uvrščajo med obvezno opremo, nisem nikoli nosil s seboj, zato pa je pivo v koči vedno

leglo natančno na pravo mesto. In vselej mi je bilo v veselje poklepetati z ljudmi, ki so se, dovolj

daleč od mest in bližje bogu, podobno kot jaz, za nekaj časa rešili dolinskih skrbi in z

njimi povezane čemernosti.

{ Planinske koče }

( 46 )

Najlepši čas za obisk hribov je, vsaj za moj okus, med

delovnim tednom. Če si tako razkošje seveda lahko privoščite.

Ker si ga sam zadnja leta le težko, je stvar še toliko

bolj vabljiva, saj ima skoraj vse lastnosti nedosegljivega. A

če se vam vendarle uspe izmuzniti, si med potepanjem veselje še dodatno

povečate z mislijo na one, ki se ta čas s takimi in drugačnimi sitnimi

opravili ubijajo doli v dolini, vi pa medtem tu gori, na svežem zraku,

stran od vsakdanjih neprijetnosti ... In z mislijo na tečnega šefa, ki mu

strgate korenček, »šlek, šlek, šlek …« Med tednom v gorah običajno tudi

ni kaj prida ljudi, v kočah prevladujejo prijazni, zgovorni upokojenci. Od

hoje ste prijetno utrujeni, greje vas ravno prav toplo sonce, naokrog se

dvigajo prijazni hribi, po nebu plujejo dekorativni oblački, vi pa sproščeno

klepetate s poskočnimi upokojenkami in zraven mislite še na njihove

hčerke ali vnukinje. Kaj bi si lahko človek, če dobro premisli, želel še

več od življenja?!

Prav nič, že tako imate obilje vsakovrstnih radosti. Ena od njih je gotovo

tudi raznolikost narečij, ki jih je mogoče slišati v vsaki malo bolje

obiskani koči. Slovenska narečja so me vedno navduševala in zlasti pri

starejših ljudeh so se ohranila takšna, kot so bila nekoč. In tako so Ribničani,

s katerimi sem nazdravljal v hribih, malo povlajkli pu ribnšku, z Gorenjci

smo se mau zguvarjal, oni s ’totega’ konca so rekli Čuj, ti, jaz pa sem

med drugim prispeval prideste, greste, se smejeste … Pa tudi svoj primorski

g, s katerim se kontinetalci ubijajo tako, kot se ubijam sam, ko mislim,

da güčim po prekmursko. Saj veste: Hozd hori, hasilc ha hasi in hovori …

No, lagal bi, če bi trdil, da je bila ta idila vedno tako neskaljena. Nekoč,

denimo, sem v družbi še treh ali štirih mladičev, kot smo takrat bili, prikolovratil

v kočo na Prehodavcih. Za sabo smo imeli že dolgo pot, malo

po markiranih poteh in veliko po raznih brezpotjih, zlezli smo na Kanjavec,

Malo Špičje in še na katerega od okoliških vrhov, se malo zgubljali,

pa potem spet znašli … Tako smo pozno popoldan pristali v Zasavski

koči in se hitro strinjali, da tam prespimo. Bil je delovni dan, ljudi ne

prav veliko, v glavnem prijazno razpoloženi starejši, pivo hladno. Sedeli

smo tam, klepetali in se šalili z drugimi obiskovalci, se navduševali

sami nad sabo, saj smo tistega dne prehodili in po malem pretekli res

spodobno pot. In pridno naročali pivo.

Potem, ko so nam čez čas namignili, da bodo šank zaprli, smo naročili

še izdatno zalogo steklenic. Ceno smo zaokrožili močno navzgor, saj

sicer sila prijazna gospa za šankom ni več kazala takega navdušenja nad

nami kot poprej. Da bo treba iti spat, je namigovala, pogasiti luči, utišati

glasove … Sonce je že pred časom ugasnilo, luči čez čas tudi, obiskovalci

so se porazgubili spat. Napoved »za jutri« je dobra, so rekli, a ker se zna

popoldne vreme sfižiti, bo najbolje zapreči že zgodaj. Tudi mi smo vedeli,

da so najlepša jutra res zjutraj, kot je povedal pokojni Ivan Volarič

– Feo (naj počiva v miru). A kaj je lepota jutrišnjega jutra, ki se mora iz

{ Planinske koče }

( 47 )

{ Planinske koče }

( 48 )

noči šele izcimiti, ko pa je lepo že tu in sedaj, ko je noč šele dobro legla?!

Saj še vedno velja: Bolje drži ga, nego lovi ga. In smo veselo srkali pivo,

ognjevito razpravljali o tem in onem, potihem malce zabavljali na račun

onih, ki so šli spat, da bi lahko že zgodaj vstali, in se glasno krohotali

lastnim domislicam.

Enkrat je sicer oskrbnica koče pomolila glavo skozi vrata in strogo, a

vljudno pripomnila, da naj bomo tišji, in smo rekli, da bomo, a že čez

minuto, kvečjemu dve, pozabili nanjo in na svoje dobre namene. Dokler

se ni iz koče nenadoma gromoglasno zaslišalo: »A bo mir tam zunaj al'

ne bo? A bom moral prit' v'n, al' kaj?« Spogledali smo se in hkrati kolektivno

zmrznili. V trenutku smo vsi vedeli, čigav je tisti glas. Brez dvoma

je bil to možakar, ’brko’, okoli meter devetdeset in vsaj sto dvajset kil,

bržkone mlajši upokojenec, za katerega pa si ni bilo težko predstavljati,

da še vedno sam dvigne sveže odrtega junca in ga obesi na kavelj visoko

pod strop v mesnici ter si potem zadovoljno obriše roke v okrvavljen

predpasnik in se pomenljivo razgleda po strankah … Ko smo klepetali

z igrivimi upokojenkami, je bilo očitno, da ga grize, ker so kazale več

zanimanja za naše otroške norčije kot za njegove namige, kakšen kerlc

da je še vedno.

Nekdo je polglasno zagodel: »Ja, ja, saj gremo spat …« Potem ko smo

se spet malo opogumili, smo se še nekaj polglasno hehetali na račun

starega, a dovolj tiho, da nas ni nihče slišal. Še najmanj on. Res ni dajal

videza človeka, s katerim bi radi zobali češnje, (še manj pa bi si, jasno,

želeli »zobat« upokojenke). Medtem ko smo se spravljali spat, je nekdo

predlagal, da bi bilo pametno iti na pot že zgodaj. Račun za nočitev smo

že plačali, vreme se bo morda popoldne skvarilo, mi pa bi lahko izkoristili

lep dopoldan in obleteli, preden se vrnemo v dolino, še lepo število

vrhov. Tako smo vstali, vsi zmačkani in zbegani, še veliko pred ostalimi.

Celo precej pred tistimi, na račun katerih smo še nekaj kratkih ur prej

zabavljali, da vstajajo silno zgodaj, ker jih muči starostna nespečnost,

in da morajo res pohiteti, če hočejo s svojimi betežnimi udi kam priti …

Tiho smo brez reda tlačili stvari v svoje nahrbtnike, se v tišini previdno

obuvali, tipali ob stenah in posteljah do vrat. Oddahnili smo si šele, ko

smo stopili ven še v temno noč, samozavest prejšnjega večera pa sem

nam še dolgo ni povrnila.

Po tistem nisem v kočah, če sem slučajno v njih prespal, nikoli več

uganjal kakšnega hrupa in mislim, da moji tovariši tudi ne. Človek pač

ne bi brez razloga spet tvegal, da ga, mladega in glasnega, takole utiša

upokojen mesar. Že res, da pravzaprav ni posebna sramota, če se pustite

utišati možu takih razsežnosti, pa vendar ... No, ampak to je le droban,

že davno obledel madež na mojem siceršnjem navdušenju nad gorskimi

kočami ...

Danes je zlepa ni stvari, ki bi jo v hribih sam bolj cenil, kot je mir, tišina.

Ob dveh otrocih, ki vreščita huje od cele jate srak, to ni nič čudnega.

Ko mi vsake kvatre enkrat uspe iti v gore, bi bili glasni mladci, ki se pred

kočo dolgo v noč divje krohotajo svojim trapastim domislicam, natančno

zadnja stvar, ki bi si jo želel. Zato pa ostaja moje veselje z nekaterimi

rečmi neskaljeno. S hladnim pivom, ki po dolgih urah znojenja tako zelo

prija, nič manj pa tudi s prisluškovanjem narečni govorici obiskovalcev

gora; gorla u hribih se je, rajtam, zmeri fletn zguvarjat …

Ena od radosti je gotovo tudi

raznolikost narečij, ki jih je

mogoče slišati v vsaki malo bolje

obiskani koči.

{ Mountain lodges }

( 49 )

{ Mountain lodges }

( 50 )

Mountain

Lodges

Text: Marjan Žiberna Photography: Rafael Marn

For a person who likes to say or at least hint that his

favourite thing is to follow his own path, far from the crowds, it

does not really fit this image to admit that he has, in fact, always

been quite fond of mountain lodges. But that’s the way it is.

I didn’t exactly seek out the kind of crowds that you get in summer or

still on the last warm weekends of autumn, but if I do happen to end up

among them, they don’t bother me nearly as much as the crowds in city

shopping centres. While poking around the hills, either alone or in com-

pany, I always liked to stop in at the lodges. Flasks with schnapps, which

many modern-day mountain hikers regard as an essential piece of equipment,

were never part of my kit, so the beer in the lodge always hit the

spot. And I have always been happy to chat with people who, far enough

away from the cities and closer to God, like me, had for a while extricated

themselves from the cares of the lowlands and their associated gloom.

The nicest time to go into the mountains – at least for my tastes – is

during the week. If, of course, you can afford such a luxury. Since I have

had a hard time doing so in recent years, it’s even more alluring, for it

has almost all the features of the unattainable. If, on the other hand, you

do actually manage to slip away, you can further intensify the pleasure

of rambling by thinking of those that are killing themselves down in the

lowlands with this or that piffling task, while you are up there, in the

fresh air, far from everyday cares. And by thinking about your overbearing

boss, to whom you offer some choice hand gestures. Mid-week in the

mountains there are usually not that many people, and the lodges are inhabited

for the most part by friendly, talkative retirees. You’re pleasantly

tired after hiking, and you’re being warmed by the sun’s perfect heat, all

around you rise the lovely hills, a few decorative clouds float through the

sky, and you’re having an easy chat with some spirited pensioner ladies,

as you idly speculate about their daughters or granddaughters. On careful

consideration, what more could you want in life?

( 51 )

Absolutely nothing; you already have an abundance of myriad joys.

One joy is without doubt the diversity of dialects you can hear in any

of the more popular lodges. I have always been fascinated by Slovenian

dialects, and they have been preserved in their original form especially

among the older people. Thus the folk from Ribnica that I hailed in

the mountains povlajkli pu ribnšku, or spoke their Ribnica brogue, in response;

the Gorenci and I se mau zguvarjal, or chatted a little; people from

Štajerska greeted me with Čuj, ti, (Hey, you); and I contributed my own

prideste, greste, se smejeste (instead of pridete, etc.)… I also have my Primorska

dialect “g” – or lack of – that befuddles the continental types, just as

I befuddle myself when I think I’m speaking, or güčim, in the Prekmurje

dialect. It’s the “g” that sounds like: Hozd hor, hasilc ha hasi in hovori …or

perhaps: Het hoing before the hrowling hrizzly hets you!

OK, I would be lying if I claimed that this idyll was always so unadulterated.

Once, for instance, in the company of three or four other young

guys, as we were then, I wandered into the lodge on Prehodavci. We had

already hiked a long way, partly by the marked trails but largely off-trail,

we clambered up Kanjavec, Malo Špičje and some other of the surrounding

peaks, got a little lost, then found our way again. Thus we arrived in

the late afternoon at the Zasavska koča lodge, and quickly agreed that

we would spend the night there. It was a weekday, with just a few people

around, for the most part kindly older folk, and the beer was cold. We

sat there, chatted and joked with the other visitors, and were generally

thrilled with ourselves for hiking and in places running a pretty good

stretch of trail. And we dutifully ordered our beers.

Later, when it was clear that the bar would soon be closing, we ordered

up another big round of bottles. We rounded up the price and

bumped it up a lot, since the extremely pleasant lady at the bar didn’t

seem to be showing as much enthusiasm for us as earlier. She hinted

that it was time to get some sleep, to turn out the lights, to quieten

down … the sun had gone down long ago, the lights would soon, too,

and all the guests had wandered off to bed. The forecast for the morning

was good, they said, and since the afternoons can turn nasty, it would

be best to saddle up early. We also knew that the nicest mornings are

indeed in the morning, as the late Ivan Volarič-Feo said (may he rest in

peace). But who cares about the beauty of tomorrow morning, which

has yet to extricate itself from the night, when it’s wonderful here and

now, with the night still young? After all, it is still true: a bird in the

hand is worth two in the bush. So we merrily chugged our beer, pas-

{ Mountain lodges }

{ Mountain lodges }

( 52 )

sionately debating this or that, having a sly laugh at the expense of

those that had gone to bed so they could get up early, and roaring with

laughter at our own conceits.

Once the lodge caretaker did poke her head around the door and

sternly, but politely, warned us to be quieter, and we said we would, but

in a minute or two we had forgotten about her and our good intentions.

Until from inside the lodge a voice suddenly thundered out: “Are you

going to be quiet out there or what? Do I have to come out there, eh?” We

looked at each other and instantly, collectively, froze. We immediately

all knew whose voice that was. Without doubt it was the moustached

man 1 metre 90 tall and at least 120 kilos, probably a young retiree whom

it was not hard to imagine still lifting up a whole freshly skinned calf by

himself and hanging it on the hook high up on the ceiling in a butcher’s

shop, then contentedly wiping his hands on his bloodied apron and

impassively looking over the customers. When we were chatting to the

jolly retired ladies, it was clear that he was stung by them showing more

interest in our childish nonsense than in his hints that he still had

what it takes.

One of us managed to murmur: “Yes, of course, we’re going to bed…”

Then, when we had regained a little courage, we chuckled a little under

our breath at the old guy, but not loudly enough for anyone to hear

us. Least of all him. He really didn’t give the impression of a man you

would want to have any issues with, to say nothing of the pensioner

ladies. As we were heading off to sleep, someone suggested it might

be good to get going early in the morning. We had already paid for our

lodging, the weather in the afternoon might turn bad, and we could

take advantage of the fine morning and scamper over a nice set of peaks

before returning to the valley. So we got up, all hung over and befuddled,

long before the others. Even before those we had been joking

about just a few short hours earlier, joking that they got up so early because

they had old-age insomnia, and they really had to hurry up if they

wanted to get anywhere on their creaky limbs. We only got our breath

back when we stepped out into the still dark night, and our self-confidence

of the previous evening took a long time coming back.

After that, if I ever happened to sleep in a mountain lodge again, I

never made any kind of noise, nor do I think my pals did either. A person

would need a good reason to run the risk again, when young and

loud, of being silenced by a retired butcher, especially someone of the

dimensions of the man in our case. Anyway, that is just a tiny, longfaded

stain on my otherwise total enthusiasm for mountain lodges.

Today there is pretty much nothing I would value more in the mountains

than peace and quiet. Now with two children who shriek worse

than a whole flock of jays, it’s no wonder. When I get the chance every

month or so to go into the mountains, noisy youths guffawing at their

own inanities long into the night outside the lodge is the very last thing

I would want. However, my joy at certain things does remain unadulterated.

At the cold beer, after long hours of sweating, that hits the spot

far better than it ever could down in the valley, and certainly no less at

listening to the dialects of those wandering the mountains; gorla u hribih

se je, rajtam, zmeri fletn zguvarjat …up in the hills, I’ve noticed, it’s always

nice to talk.

A

One joy is without doubt the

diversity of dialects

you can hear in any of the more

popular lodges.

( 53 )

Pokljuka

( 54 )

Kjer ima zima mlade

Where Winter Really is Winter

Pokljuka ima več obrazov: poletni je prijazen do krav,

ki se pasejo na planinah, zimski pa do športnikov, saj

postreže s snegom v izdatnih količinah in včasih že s

prav prislovičnim pokljuškim mrazom. Planoto spoštljivih

razsežnosti, saj meri približno 20-krat 20 kilometrov in se

gozdovi, gozdne jase in močvirja raztezajo na višini 1000 do

1400 m nadmorske višine, pozimi prekrije tudi do meter in

pol debela snežna odeja.

Pokljuka has several faces: the summer one is friendly

to the cows that graze on the Alpine pastures,

and the winter one to sports people, offering

up abundant snow and sometimes the truly proverbial

Pokljuka chill. This is an upland of respectable dimensions,

measuring approximately 20 by 20 kilometres, and the

forests, glades and bogs extend from 1,000 to 1,400 m above

sea level, with winters seeing snow cover up to a metre and

a half deep.

( 55 )

Besedilo in fotografije/Text and photography: Rafael Marn

{ Pokljuka }

Kraška planota živi

pozimi svoje življenje

( 56 )

Tek na smučeh

Pokljuko sem kot smučarski tekač prvih deset let spoznaval

pozimi, šele mnogo kasneje sem njeno zimsko podobo dopolnil

z zeleno sliko. V moji otroški glavi je obveljala kot sinonim zime

in mraza. Ker imam zimo rad in šele pozimi »oživim«, se še

danes poti na Pokljuko prav otroško veselim. V dobi zelenih zim na prelomu

iz osemdesetih v devetdeseta leta je gozdna cesta pod planino Klek

ponujala vadbeni poligon skoraj vsem tekmovalkam in tekmovalcem, ki

smo jih takrat premogli. V časih, ko si je zdajšnja šampionka Petra Majdič

prvič nataknila na noge tekaške smuči, je bil smučarski tek pri nas umeščen

v gozdove, daleč od gledalcev. Takrat smo se šalili, da nas vidi več

medvedov kot ljudi.

Smučarski tek se je na Pokljuki začel na Goreljku, kjer se je proga vila

ob robovih jas, in dokler je bilo dovoljeno, tudi na hribu Macesnovec.

Teh prog se spominjamo z nostalgijo, saj zaradi gnezdišč divjih petelinov

v ta del Pokljuke današnje motorne sani in snežni teptalci ne sodijo

več. Ko postane spomladi sneg dovolj »nosilen« in se nam ne udira

(pre)več, se na pot okrog Macesnovca podamo kar po celcu.

V zadnjih letih se je uveljavilo prepričanje, da so proge na Goreljku

primernejše za klasično tehniko smučarskega teka, na Rudnem polju pa

prevladuje drsalni način tekaškega gibanja.

Ampak roko na srce: povsod je mogoče teči na način, ki nam ustreza.

Najlepše je, kadar so proge med seboj povezane in se lahko na smučeh

podamo že na Mrzlem studencu. Po progi, ki se vije po smrekovem

gozdu, prismučamo na Planino Javornik in tam odtečemo krog ali dva

na progi, ki je zavito speljana med lesenimi stanovi. Tek nadaljujemo po

cesti, ki se pod Viševnikom prevesi proti Rudnemu polju. Tako se dobri

dve uri zabavamo, nato pa si omislimo in osmislimo »drugi polčas«.

Tega lahko razume vsak po svoje.

Na Goreljku, Javorniški planini, Kranjski dolini in spet nazaj na Goreljek

je dolga leta potekal znameniti »YASSA« maraton. Kasneje se je preimenoval

v Pokljuški maraton in se preselil na Rudno polje. Pokljuški

maraton velja med rekreativnimi smučarji tekači za vsega spoštovanja

vredno preizkušnjo. Nekdaj maratonsko razdaljo (42 km) so v zadnjih

letih nadomestila dvajset kilometrov dolga tekmovanja, lani pa smo

v sklopu »Svetovnih veteranskih iger« (World Master Games) tekli na 30

kilometrov.

{ Pokljuka }

( 57 )

{ Pokljuka }

This Karstic

Plateau

Comes Alive

in Winter

Cross-country skiing

( 58 )

For the first ten years I got to know Pokljuka as a

cross-country skier in winter, and only much later did I supplement

that winter image with a green one. In my childhood

head it was a synonym for winter and cold. Since I love winter,

and only in the winter time do I “come alive”, I still get a proper childish

delight at the prospect of going to Pokljuka. In the period of green winters

at the end of the eighties and beginning of the nineties, the forest

road below the pasture of Klek served as a training area for almost all the

competitors we could muster. At the time when the current champion

Petra Majdič was first clipping cross-country skis onto her feet, crosscountry

skiing in Slovenia was hidden away in the forests, far from

spectators. At that time we joked that there were more bears watching

us than people.

Cross-country skiing on Pokljuka started at Goreljek, where the route

wound along the edges of clearings, and for as long as it was permitted,

on the hill of Macesnovec. We remember these trails with nostalgia,

since now in order to protect capercaillie nesting areas, snowmobiles

and snow compactors are no longer allowed in this part of Pokljuka. In

the spring, when the snow becomes sufficiently “bearing” and does not

get into us (too) much, we get out onto the fresh snow crust on the road

around Macesnovec.

In recent years there has been a belief that the trails on Goreljek are

more suited to the classical technique of cross-country skiing, while on

Rudno polje the skating method of motion predominates.

But hand on heart: everywhere you go, you can cross-country in the

way that suits you. The best thing is when the trails are linked to each

other, and you can even go skiing at Mrzli studenec. Along a trail that

winds through the spruce forest, you ski up to Planina Javornik, and

there you do a circuit or two on the trail that winds past the wooden

( 59 )

dwellings. The cross-country trail continues along a road that heads

down towards Rudno polje below Viševnik. This provides a good two

hours of entertainment, then you ponder and work out the “second

half”. You can interpret this any way you want.

Goreljek, Javorniška planina, Kranjska dolina and back again to Goreljek

was for many years the route of the famous “YASSA” marathon.

Later it was renamed the Pokljuka Marathon, and was moved to Rudno

polje. The Pokljuka Marathon is regarded by recreational cross-country

skiers as a seriously respectable experience. The one-time marathon

distance (42 km) has in recent years been replaced by a 20 kilometre

competition, and last year as part of the World Master Games we covered

30 kilometres.

{ Pokljuka }

{ Pokljuka }

Biatlon

( 60 )

Na Rudnem polju je v kotanji poleg vojašnice nastalo

biatlonsko strelišče, kar ne preseneča, saj biatlon še danes

velja za »vojaški« šport. Prvo tekmovanje, ki je združilo smučanje

in streljanje, je bilo že l. 1767, ko sta se pomerili švedska

in norveška patrulja. Biatlon moderne dobe se je začel 1958. na tekmovanju

v Saltfeldnu. Že čez dve leti je popestril zimske olimpijske igre v

Squaw Valleyju.

Biatlonci od leta 1978 med tekom ne streljajo več z vojaškimi puškami

na tarče iz stekla, pač pa z orožjem malega kalibra (5,6 mm) na kovinske

tarče, ki se ob zadetku prekucnejo in se črni krog spremeni v belega.

V sodobnem biatlonu streljajo tekmovalke in tekmovalci z malokalibrskim

orožjem na razdalji 50 metrov na tarče, ki so črno obarvane in merijo

v premeru 115 mm. V ležečem položaju za streljanje morajo za uspešen

strel zadeti sredinski del tarče, ki meri v premeru 45 mm; ko streljajo stoje,

pa zadošča zadetek v večji krog.

Biatlonsko streljanje ni mačji kašelj, saj imajo biatlonke in biatlonci ob

prihodu na strelišče visok srčni utrip, tam nekje med 160 in 170 udarcev na

minuto. Ko se ustavijo vsak pred svojo tarčo, napolnijo orožje in izstrelijo

pet nabojev, mine pri najboljših od 22 do 25 sekund. Na večini preizkušenj

so za zgrešen strel kaznovani z dodatnim 150 metrov dolgim tekom, ki ga

ravno tako opravijo v približno 25 sekundah. Le na najdaljši preizkušnji,

»individualni« razdalji na 20 km za fante in 15 km za dekleta, se pretečenemu

času za vsako strelsko napako prišteje kazenska minuta.

( 61 )

Biathlon

At Rudno polje, a biathlon shooting range was set up

next to the army barracks, and this is no surprise, since the

biathlon is still regarded today as a “military” sport. The

first competition to combine skiing and shooting was back

in 1767, when Swedish and Norwegian patrols competed against each

other. But the biathlons of the modern age started in 1958 in the competition

at Saaltfelden. Then just two years later, the biathlon enhanced

the Winter Olympics in Squaw Valley.

Since 1978 the biathlon has no longer involved stopping to shoot a

military rifle at a target of glass, but a small-calibre weapon (5.6 mm)

at a metal target, which when hit topples over and the previously black

circle turns white.

In the modern sport, biathletes shoot the small-calibre weapon at a

distance of 50 metres from the target, which are black and have a diameter

of 115 mm. To take a successful shot, from a prone position they must hit

the middle part of the target, which has a diameter of 45 mm, while from a

standing position it is enough for them to hit the bigger circle.

Biathlon shooting is no laughing matter, since when competitors get

to the shooting range their heartbeat is racing at around 160 to 170 beats

a minute. When the biathletes stop at their individual targets, load their

weapons and fire off five rounds, even the best of them take 22 to 25 seconds.

In most events, a missed shot is punished by an additional 150 metres

to cover on skis, and this too is performed in around 25 seconds. Only

on the longest trials, the “individual” distances of 20 km for men and 15

km for women, does each missed shot incur a penalty of an extra minute.

{ Pokljuka }

{ Pokljuka }

Svetovni

pokal

v biatlonu

na Rudnem

polju

( 62 )

Na Rudnem polju so tekmovanje za svetovni pokal prvič

organizirali v sezoni 1992/93. Seveda biatlonski stadion

takrat ni kazal takšne podobe kot danes. Za službe, ki so

potrebne za izvedbo tekmovanj, je najprej zrasel montažni

objekt, oktobra 2009 pa je vrata odprl hotel, v katerem najdejo svoj prostor

tudi vse tehnično osebje, vodstvo tekmovanja, novinarji in »zelo

pomembne osebe«.

Do sedaj največje tekmovanje je Pokljuka gostila pozimi 2000/2001.

Čeprav so morali tekmovanje za svetovni pokal na začetku zime preseliti

na Južno Tirolsko v Antholz/Anterselvo, je Rudno polje za svetovno

prvenstvo ponudilo pravo zimsko kuliso. Prvenstva se spomnimo po

uspehih Magdalene Forsberg, Pavla Rostovceva, zakoncev Poirre in popolnem

polomu favorizirane nemške moške štafete.

Naše biatlonke in biatlonci so nastopili zelo suvereno. V analih so

zapisani rezultati Andreje Koblar, Tomasa Globočnika, Janeza Ožbolta

in Saša Grajfa.

Biatlon je bil že takrat močno »televizijski« šport. V naslednjem desetletju

je postal v srednji Evropi (beri: v nemškem govornem področju)

po gledanosti zimski šport številka ena. Nepredvidljivost in igra živcev

vrhunsko treniranih športnic in športnikov je dodatna draž, ki animira

milijone gledalcev, saj so na tekmovanjih v biatlonu rezultatni pomiki

iz kroga v krog večji kot v ostalih podobnih športih.

Dekleta so na prvem uradnem tekmovanju nastopila šele 1981. Na

olimpijske igre pa so se prebila šele po razdružitvi zveze za moderni

peteroboj in biatlon. Tako so doživela olimpijski krst na zimski olimpijadi

v francoskem Albertvillu. Pomisleke o spretnosti pri ravnanju z

orožjem so hitro ovrgla, saj po strelski statistiki prav nič ne zaostajajo

za fanti.

{ Pokljuka }

( 63 )

{ Pokljuka }

( 64 )

Športni center na Rudnem polju je drugi dom slovenskih reprezentantov

v biatlonu. Sodobno strelišče in asfaltirana rolkarska proga omogočata

vadbo čez vso sezono, za popestritev vadbe pa so »pri roki« še desetine

gozdnih cest za kolesarjenje, pa tudi gora v bližini ne manjka.

Za manj tekmovalno usmerjene športnike je na Pokljuki obilo možnosti

za pohodništvo, nordijsko hojo, gorsko kolesarjenje; ko zapade

sneg, pa hoja in tek na smučeh, krpljanje in zimski pohodi na Viševnik,

Draška vrhova, Debelo peč … Ti vrhovi so seveda dosegljivi tudi s turnimi

ali »back country« smučmi, ljubitelji deskanja pa navežejo »bord« na

nahrbtnik in se na izhodišče povzpnejo kar peš.

{ Pokljuka }

( 65 )

{ Pokljuka }

( 66 )

Biathlon

World Cup at

Rudno polje

The World Cup was first held at Rudno polje in the

1992/93 season. Of course the biathlon stadium did not

quite have the look then that it does today. To accommodate

the services needed to hold the competition, a prefabricated

building was first erected, then in October 2009 a hotel was opened,

complete with space for technical personnel, competition management,

journalists and of course VIPs.

To date the biggest competition hosted by Pokljuka was in the winter

of 2000/2001. The calendar for that season at Pokljuka had two competi-

( 67 )

tions scheduled: the World Cup (a series of races stretched out over the

whole winter, with competitors accumulating points for their ranking)

and the World Championship (one each winter for the biathlon), which

involves one deciding event. Although the World Cup events at the beginning

of winter (December) had to be moved to Antholz/Anterselva

in the South Tyrol, by the end of winter (March) Rudno polje offered

the proper winter backdrop for the World Championship. We remember

the Championship for the success of Magdalena Forsberg, Pavel Rostovtsev,

the Poirees, (husband and wife) and for the total collapse of

the favourites, the German relay team.

Slovenia’s biathletes made a very solid showing. Andreja Koblar, Tomas

Globočnik, Janez Ožbolt and Sašo Grajf all secured results that put

them in the annals of this sport.

By then the biathlon had already become a major “television” sport.

In the decade that followed, in Central Europe (read: the Germanspeaking

area) it became the number one winter sport in viewer numbers.

The unpredictability and the nerves factor for these supremely

trained sports men and women are additional bait to thrill millions of

viewers, since the result swings from round to round of competitions

are bigger for the biathlon than for other similar sports.

Women appeared in the first official competition only in 1981. They

only got into the Olympic Games after the association for the modern

pentathlon and biathlon split up. So their Olympic baptism came at

the Winter Games in the French city of Albertville. Any reservations

about their skills in handling weapons were quickly quashed, since the

shooting statistics show that the women are right up there with the

men.

The Rudno polje sports centre is a home from home for Slovenia’s biathlon

team. The modernised shooting range and the asphalt roller ski

track allow training in all seasons, and to spice up the training there

are dozens of forest roads “to hand”, with no shortage of cycle paths in

the nearby mountains.

For those sports enthusiasts who are not quite so competitive, Pokljuka

offers abundant scope for hiking, Nordic hiking and mountain

biking. And when the snow starts falling, there is cross-country and

ski touring, snowshoeing and winter hiking to Viševnik, Mali and

Veliki Draški vrh, Debela peč and more. These peaks are of course also

accessible using touring or “back country” skis, while boarding enthusiasts

can strap their boards to their backpacks and just hike out to the

starting point.

A

{ Pokljuka }

{ Pokljuka }

Biatlon

Biathlon

( 68 )

Biatlonke in biatlonci streljajo z malokalibrskimi puškami (kaliber 5,6

mm) minimalne teže 3,5 kilogramov. Sila proženja mora bit najmanj

50 N.

Streljajo na razdalji 50 metrov v tarče, ki merijo v premeru 115 mm.

V ležečem položaju morajo zadeti notranji del črnega kroga, ki meri v

premeru 45 mm.

V stoječem položaju »velja« cel krog. Če je zadetek uspešen, se tarča

»pokrije« in prej črni krog postane bel.

Dekleta tekmujejo v sprintu na 7,5 km (streljanje leže in stoje ), zasledovalnem

teku na 10 km (dve streljanji leže in dve stoje), individualni preizkušnji

na 15 km (dve streljanji leže in dve stoje), tekmi s skupinskim

startom na 12,5 km (4 streljanja) in štafeti 4-krat 6 km (streljanje leže

in stoje).

Fantje imajo naslednje možnosti za dokazovanje: sprint na 10 km (streljanje

leže in stoje), individualno na 20 km (streljanje 2-krat leže, 2-krat

stoje), zasledovalnem teku na 12,5 km (streljanje 2+2), tekmi s skupinskim

startom na 15 km (streljanje 2+2) in štafetnem teku 4-krat 7,5 km

(streljanje leže in stoje).

Na najdaljših preizkušnjah so za zgrešen strel kaznovani s pribitkom

kazenske minute za vsak zgrešen strel. Na vseh ostalih preizkušnjah

morajo za vsak zgrešen strel v kazenski krog. Dolg je 150 metrov in ga

pretečejo v približno 25 sekundah (odvisno od tega, kako hiter je sneg).

Na štafetnih tekmah imajo na vsakem streljanju za popravo na voljo tri

dodatne naboje.

V sodobnem biatlonu porabijo tekmovalke in tekmovalci na vsakem

streljanju za pripravo na streljanje, merjenje, proženje petih strelov od

22 do 25 sekund (podobno kot za tek v kazenskem krogu).

Med našimi je v svetovnem pokalu osvojila največ zmag Andreja Koblar

(dekliško Grašič). Tri njene zmage še čakajo na ponovitev. Poleg tega se

je skupaj devetkrat uvrstila na zmagovalne stopničke.

Med fanti ima do sedaj edino zmago Janez Marič. Uspeh na tekmi v Oestersundu

2003) je s tretjim mestom dopolnil še Marko Dolenc.

Med prve tri so se uvrstili še Tadeja Brankovič, Tomas Globočnik, Matjaž

Poklukar, Jakov Fak in Teja Gregorin.

Med prve tri so se po dvakrat uvrstile tudi štafete naših fantov in deklet.

Uspeh Teje Gregorin na svetovnem prvenstvu v Pjoengčangu v Južni Koreji

je največji uspeh doslej. Na 15-kilometrski razdalji je osvojila drugo

mesto.

Biathlon competitors shoot small-calibre rifles (5.6 mm calibre), with a

minimum weight of 3.5 kilograms. The trigger compression must be at

least 50 N.

Biathletes shoot from a distance of 50 metres at targets measuring

115 mm in diameter. In the prone position they must hit the inner part

of the black circle, which has a diameter of 45 mm.

In the standing position they can hit the entire circle. If the shot is successful,

the target is “covered” and the black circle turns white.

Women compete in the 7.5 km sprint (shooting prone and standing),

the 10 km pursuit (two rounds of prone shooting and two standing), individual

trial over 15 km (two rounds of prone shooting and two standing),

mass start races over 12.5 km (four rounds of shooting) and a 4 x

6 km relay (shooting prone and standing).

The men can test their mettle in the following events: the 10 km sprint

(shooting prone and standing), the 20 km individual race (two rounds of

prone shooting and two standing), pursuit over 12.5 km (2 + 2 rounds

of shooting), mass start races over 15 km (2+2 rounds of shooting) and

a 4 x 7.5 km relay (shooting prone and standing).

In the longest races, competitors are penalised with a minute added to

their time for each missed shot. In all other events, for each missed shot

they must complete one penalty circuit. This is 150 metres long and is covered

in approximately 25 seconds (depending on how fast the snow is).

In the relay races, in each shooting session competitors can use three

additional rounds to correct their shots.

In the modern biathlon, competitors need between 22 and 25 seconds

each time to prepare for their shot, take aim and fire five rounds (similar

to the time taken to complete the penalty circuit).

Of the Slovenian biathletes, the most successful World Cup competitor

has been Andreja Koblar (nee Grašič). Three of her victories have yet to

be matched. Apart from that, she has been on the winners’ podium a

total of nine times.

Of the men, the only winner so far has been Janez Marič. His success at

Oestersund in 2003 was also enhanced by Marko Dolenc coming in third.

Meanwhile Tadeja Brankovič, Tomas Globočnik, Matjaž Poklukar, Jakov

Fak and Teja Gregorin have all finished in the top three.

The Slovenian men’s and women’s relay teams have also finished in the

top three two times each.

Teja Gregorin’s success at the World Championship in Pyeongchang, in

South Korea, is the biggest success to date. She came in second in the

15 kilometre competition.

( 69 )

Turistični objekti na Pokljuki:

Tourist facilities at Pokljuka:

Športni center Pokljuka • Pokljuka Sports Centre

(Rudno polje/Pokljuka)

Srednja vas v Bohinju 165/a

4267 Srednja vas v Bohinju

E-pošta/E-mail: info@center-pokljuka.si

Šport hotel

Goreljek 103

4247 Zgornje Gorje

E-pošta/E-mail: info@sporthotel.si

Vila Triglav

Goreljek 104

4247 Zgornje Gorje

E-pošta/E-mail: vilatriglav@pokljuka.eu

( 70 )

Film o

Sfingi

Besedilo in fotografije: Urban Golob

( 71 )

{ Sfinga }

( 72 )

Navpična in gladka ter mestoma previsna Sfinga, najbolj

strm del severne stene Triglava, naše največje alpske stene,

se je dolgo časa upirala alpinistom, da bi jo preplezali. Še

posebej njen desni in najbolj previsni del oziroma »Sfingin obraz«, kot

ga alpinisti imenujejo, ni pred plezalskimi osvajalci popustil skoraj

desetletje. Končno sta ga leta 1966 preplezala slovenska alpinista Ante

Mahkota in Peter Ščetinin. Pravo obleganje Sfinge pred tem vzponom

in potem še mnogi zanimivi vzponi (solo, pozimi, prosti vzponi in

nove smeri v Sfingi) so v kasnejših letih povzdignili ta del triglavske

stene med najbolj zaželene cilje slovenskih plezalcev. Za širšo

prepoznavnost Sfinginega obličja pa je poskrbela tudi knjiga – seveda

z naslovom »Sfinga« – Anteja Mahkote, ki je niso brali le alpinisti in

gorniki, temveč tudi marsikakšen povsem 'nižinski' človek.

Tako razvpit in za slovenski alpinizem ter za vse gorništvo pomemben

del naših sten seveda kar kliče po dokumentarnem filmu, ki bi

prikazal zgodovino ekstremnega alpinizma, ki se je kalil v Sfinginih

previsih. In prava zamisel za takšen film se je porodila pred tremi leti.

Pravzaprav je nastala v dveh glavah: pri Gregorju Kresalu, ki je skupaj

z Mihom Kajzerjem leta 1995 prvi prosto preplezal smer Obraz Sfinge,

in pri Tinetu Marenčetu, ki je takrat pripravljal televizijsko serijo z

naslovom Gorske sledi in je eno izmed nadaljevanj posvetil ravno zgodovini

plezanja v Sfingi. Ideja je začela zoreti, nastal je projekt, ki pa

je bil za ta dva nadobudna ustvarjalca le nekoliko prevelik. Potem pa

sta navdušila filmsko ekipo produkcijske skupine Mangart, in ko je

film podprlo še Ministrstvo za kulturo Republike Slovenije, je stvar

stekla. Režiser Vojko Anzeljc, ki ima že bogate izkušnje s snemanji v

težkih okoliščinah, je sodeloval tudi pri pisanju končnega scenarija in

navaden dokumentarec je prerasel v igrani dokumentarni film, ki so

ga začeli snemati v avgustu na vrhu Sfingine stene.

Organizacija takšnega filmskega projekta je velikanska. Ne samo,

da je bilo treba na vrh triglavske stene spraviti veliko snemalne in plezalne

opreme, šotorov in hrane za 20-člansko ekipo, potrebno je bilo

tudi zagotoviti varnost za vse ljudi, ki so sodelovali pri snemanju, da

samih filmskih priprav, kot je zbiranje ustreznih rekvizitov, plezalne

opreme izpred 50 let, niti ne omenjam. Pripraviti je bilo treba tudi tisti

del ekipe (snemalec, njegova asistentka), ki je snemal v steni. Pustimo

vnemar vremenske okoliščine, ki za časa snemanja na Sfingi zaradi

nestabilnega vremena in večernih neviht niso bile ravno najboljše,

neizprosna je predvsem vertikala. In če je pod človekom, nevajenim

plezanja, še 1000 metrov zraka vse do vznožja stene, je občutek še toliko

bolj »poseben«. Vsi člani moštva so na Sfingi v nekaj dneh postali

pravi gamsi in so se povsem varno sprehajali čisto po robu 1000-metrskega

prepada severne triglavske stene.

Ker gre pri projektu Sfinga za igrani dokumentarec, je bil v snemalni

knjigi izpisan prav vsak snemalni kader. Tudi vreme ni najbolj tvorno

sodelovalo, zato so morali filmarji in plezalci-igralci (Gregor Kresal,

Miha Kajzelj ter Miha in Anže Marenče) izkoristiti vsak trenutek za

vajo dialogov in seveda za snemanje. Ni čudno, da se je delovni dan

na vrhu Sfinge začel z zoro in končal pozno ponoči, vmes pa je bilo

eno samo garanje, ki pa je potekalo v precej sproščenem vzdušju. Prav

tako sproščeno je bilo kasneje tudi na Vršiču, kjer so filmarji snemali

bližnje posnetke plezanja, ki bi jih bilo v Sfingini steni zaradi izjemne

nedostopnosti tako rekoč nemogoče posneti.

Čeprav je glavnina snemanja v gorskem svetu že opravljena in so

na vrsti snemalni dnevi v dolinah, se bo manjša ekipa snemalcev še

enkrat vrnila na vrh Sfinge, da bi posnela še nekaj drugih manjkajočih

kadrov. Glavni namen snemalcev seveda je, da bi tja pred kamero stopila

tudi oba »originalna« plezalca – Peter Ščetinin in Ante Mahkota,

ki sta prva uspešno opravila s Sfinginimi previsi.

( 73 )

{ Sfinga }

{ Sphinx }

Filming the Sphinx

Text and photography: Urban Golob

( 74 )

The vertical, smooth, and in places overhanging Sphinx

(Slovene: Sfinga), the steepest part of the north face of Mt.

Triglav, Slovenia’s highest Alpine wall, long resisted the

Alpinists seeking to climb it. Particularly its right-hand and most

overhanging section, or the “Sphinx’s face”, as climbers call it, held

out against would-be conquerors for almost a decade. It was finally

climbed in 1966 by the Slovenian Alpinists Ante Mahkota and Peter

Ščetinin. A veritable siege of the Sphinx prior to that ascent and then

many other noteworthy ascents (solo, in winter, free climbing and new

routes) in later years placed this part of the Triglav Wall among the

most sought-after objectives of Slovenian climbers. Wider recognition

for the Sphinx’s features was of course provided by a book – naturally

entitled Sfinga – by Ante Mahkota, which was not read just by Alpinists

and mountaineers, but also by sundry entirely ‘lowland’ types.

Such a notorious and, for Slovenian Alpinism and mountaineering

in general, important component of Slovenia’s mountain faces of

course demands a documentary film that would show the history of

extreme Alpinism, as germinated in the Sphinx’s overhangs. And a real

concept for this kind of film was hatched three years ago. It was in fact

hatched in two minds, by Gregor Kresal, who together with Miha Kajzer

was the first to free-climb the Face of the Sphinx route, in 1995, and by

Tine Marenče, who was then working on a television series entitled

Gorske sledi [Mountain Tracks], devoting one instalment of the series to

the history of climbing on the Sphinx. The idea started taking shape,

and the project was created, although it was just a little too much for

the budding producers. Then they managed to inspire the film team

of the Mangart production group, and when the Slovenian Ministry

of Culture stepped up to support the film, the project got going. The

director Vojko Anzeljc, who has a wealth of experience filming in difficult

conditions, collaborated on the final screenplay, and an ordinary

documentary film metamorphosed into a kind of drama-documentary,

which started shooting in August on the top of the Sphinx wall.

Organising this kind of film project is a mammoth task. It was not

just that a lot of filming and climbing equipment, tents and food for

a 20-member team had to be hauled to the top of the Triglav North

Face, safety had to be ensured for everyone working on the shoot, not

to mention the actual film preparations such as assembling the right

props and climbing equipment from 50 years ago. The team members

(camera operator and assistant) actually filming on the wall also had to

be prepared. Disregarding the weather, which was unstable and stormy

in the evening, and so not exactly favourable during the filming on the

Sphinx, the most unforgiving thing is the vertical drop. And if there

are 1,000 metres of air between a person unused to climbing and the

foot of the wall, the sensation is all the more “special”. All the members

of the Sphinx team became proper mountain goats in a few days,

and strolled completely safely along the edge of the 1,000-metre precipice

of the Triglav North Face.

Since the Sphinx project is a live-action documentary, the storyboard

contains every single frame. The weather was not that cooperative in

the creative process, so the production team and the climber-actors

(Gregor Kresal, Miha Kajzelj and Miha and Anže Marenče) used every

spare moment to rehearse for their dialogues and of course for actual

filming. It was no surprise that the working day on top of the Sphinx

started at sunrise and ended late at night, and in between there was

a lot of hard work, albeit in a very relaxed atmosphere. There was also

plenty of relaxation later on at Vršič, where the film crew shot closeups

of climbing, which would have been well-nigh impossible on the

Sphinx owing to its extraordinary inaccessibility.

Although the main work of filming up in the high mountain areas

has been done, and next on the agenda is days of filming in the valleys,

a smaller film crew will return to the top of the Sphinx to shoot a few

more missing frames. The main objective of the film crew, of course, is

to get the on-camera appearance of the two “original” climbers – Peter

Ščetinin and Ante Mahkota – who were the first to make it past the

Sphinx’s overhangs. A

( 75 )

Nastajanje filma

CIRCUS

FANTASTIC

Janez Burger, scenarist in režiser

( 76 )

Fotografije: Branko Čeak

US

( 77 )

{ Nastajanje filma }

( 78 )

Treba je imeti zadosten izziv, da se splača vanj investirati

nekaj let svojega življenja. In film Circus Fantasticus je tak

izziv nedvomno bil. Gre za film, v katerem se ne izgovori niti

ena beseda. Vojni film, v katerem ni vojakov. Film, ki govori o tem, da

smrti ni in da je življenje večno. Precej ambiciozno zastavljen projekt

v vseh pogledih. V filmskem, človeškem, duhovnem in finančnem.

Ampak drugače niti ne znam početi tega, kar počnem. Precej vode je

že preteklo, odkar sem odkril, da je delanje filmov zame glavni način

duhovnega in človeškega razvoja. Ekstremni alpinisti se ne podajajo

na Himalajo zato, da bi se nadihali svežega zraka. Tudi Martin Strel

ni preplaval Amazonke, ker plavanje blagodejno vpliva na bolečine

v hrbtenici. Film predstavlja v mojem življenju preveč pomembno

kategorijo, da bi si lahko privoščil to početje zaradi slave, denarja,

odličnih kritik ali polnih kinodvoran. Film zame ni produkt. Film

je strast. Film je droga. Zelo nevarna droga. Ko jo enkrat poskusiš,

ostaneš zasvojen za vedno. In hočeš z njo zasvojiti tudi druge. Moji

filmi niso za tiste, ki hodijo v kino žvečit popcorn, ampak za tiste,

ki se hodijo tja zadevat. Odpirat svoja obzorja. Razmišljat o različnih

dimenzijah življenja.

Film Circus Fantasticus se je od ideje do realizacije razvijal zelo počasi.

Prvi impulz zanj sem dobil, ko sem se jeseni 2001 sveže zaljubljen

prvič vozil s kolesom po neskončni beli peščeni plaži Baltskega morja.

Odprtost prostora in nepopisna svoboda tistega trenutka sta me tako

zadeli, da sem si rekel: Ta občutek moram nujno spraviti na filmsko

platno. Naslednji dan se je zgodil 11. september. To je bil drugi impulz

za ta film. Scenarij sem napisal šele dve leti kasneje, ker sem imel vmes

preveč dela z drugimi filmi, vendar sta se ves čas obe temi – svoboda in

vojna – kvasili v meni in se pripravljali na to, da ju bom končno izrazil.

Med pripravami na afganistansko in iraško vojno je postalo vsakomur

jasno, da so besede izgubile svoj pomen in namen. Postale so orodje

manipulacije in laži. Zato sem se odločil, da naredim vojni film o svobodi

popolnoma brez besed. V vojni besede ne delujejo. Če bi delovale,

ne bi bilo vojn. Poleg tega sem se odločil, da ne bom delal filma o neki

konkretni vojni, ampak o vojni, ki je vseskozi prisotna na našem planetu.

Odkar je opica zlezla z drevesa in postala človek, ni minil niti en

dan brez vojne. Niti en dan popolnega vseobsegajočega miru. Niti en

dan ni celega planeta zajel tisti čudoviti občutek, ki me je prevzel, ko

sem se s kolesom vozil po peščeni baltski plaži. Nastal je zelo poseben,

Zdaj pa nagradno vprašanje:

zakaj se filmi sploh delajo?


( 79 )


( 80 )

drugačen in univerzalen scenarij o soočanju s smrtjo v času vojne. Scenarij

za film o preseganju smrti. Ker v njem ni bilo dialogov, je obsegal

samo 20 strani. Tudi v tem smislu je bil drugačen in poseben. Začelo se

je zbiranje denarja. S producentom Jožkom Rutarjem iz produkcijske

hiše STARAGARA nama je bilo jasno, da je film predrag, da bi ga lahko

pokrili samo s slovenskim denarjem, zato sva ga začela iskati tudi drugje.

Univerzalnost in posebnost filma je relativno hitro pritegnila tuje

producente in financerje, zataknilo pa se je doma. Za domače bralce in

odločevalce je bil film pač preveč univerzalen in poseben. To je trajalo

nekaj let. V tem času sem razvil svojo potrpežljivost do neslutenih razsežnosti.

S trdoglavostjo se rodiš, potrpežljivosti pa se moraš naučiti

in teh nekaj let je trajala moja ultimativna lekcija potrpežljivosti. Pri

tem je pomagalo, da si kljub vsej svoji domišljiji nisem bil sposoben

predstavljati, da ta film ne bi bil posnet zaradi tako banalnega razloga,

kot je denar. Stvari so se končno uredile in lahko smo začeli s pripravami.

Ker v filmu večinoma nastopajo vrhunski cirkuški artisti, ki jih

v Sloveniji ni, smo naredili dve obsežni avdiciji v Berlinu in Parizu.

Sledile so dolgotrajne vaje, kjer so se morali cirkusantje spremeniti v

filmske igralce. Tudi ostali sodelavci so bili nabrani z vseh vetrov, tako

da je na snemanju, ki se je začelo spomladi 2009, delala filmska ekipa

iz šestnajstih držav. Snemanje je potekalo katastrofično. Za potrebe

snemanja smo na nepristopni planjavi postavili hišo, ki bi nam že pred

snemanjem skoraj zgorela, večkrat jo je zalila voda, orkanski vetrovi,

ki so uničevali tako hišo kot tudi spremljevalne objekte, so se dogajali

dan za dnem, za nameček pa so v laboratoriju še uničili posneti material.

Težko si je predstavljati, kaj se dogaja v glavi režiserja, ki snema zelo

subtilen film, ko ima za snemanje ključnega prizora v filmu, kjer naj bi

tank plesal, na razpolago en snemalni dan. In potem ta 40-tonska zverina

zažge planjavo ob hiši, da se mora cela filmska ekipa spremeniti v

gasilsko brigado in polovico tega edinega snemalnega dneva reševati,

kar se rešiti da. Kako potem posneti prizor do konca, da se katastrofa

in pomanjkanje časa ne bosta poznala na filmskem platnu? Kako ostati

zvest svoji viziji? Za to so potrebni dobri živci, fizična pripravljenost,

skoncentriranost na končni cilj in železna filmska ekipa. Na srečo sem

vse to imel in film smo spravili pod streho. Zdaj pa nagradno vprašanje:

zakaj se filmi sploh delajo? Eden izmed odgovorov je: da bi se filmski

avtor izrazil. Vendar če njegovega izražanja nihče ne vidi, težko rečemo,

da se je zares izrazil. Filmski avtor, tako kot vsak drug umetnik,

potrebuje gledalce. Čim več gledalcev. Če slovenski film v kinu vidi več

kot 100.000 gledalcev, skupaj s predvajanjem na televiziji in prodajo

na DVD-jih pa 300.000, je to za domači trg, ki obsega 2 milijona ljudi,

ogromen uspeh. Doslej se je to posrečilo trem filmom. Vsi trije so komedije.

Circus Fantasticus ni komedija, se pa prebivalcev tega planeta

bistveno bolj tiče kot katerakoli slovenska komedija. Če se ne bo zgodil

čudež, lahko Circus Fantasticus v slovenskih kinih vidi 5000, maksimalno

10.000 gledalcev. Zato smo ubrali drugačno pot. Film je dobil,

še predno je bil dokončan, zaradi svoje posebnosti in univerzalnosti

kino distribucijo v Italiji, Irski, Finski in Švedski, kar skupaj s Slovenijo

predstavlja 75-milijonski trg. Iz istih razlogov ga je vzela v svojo prodajo

svetovno znana filmska prodajna agencija Fortissimo Films iz Amsterdama,

ki ima svoje podružnice tudi v Londonu, New Yorku, Hong

Kongu in Sidneyu. Če jim uspe prodati film samo v deželah, kjer imajo

svoje podružnice, in če od Kitajske upoštevamo samo Hong Kong, se

trg razširi na skoraj pol milijarde ljudi. To pa za slovenski film in zame,

ki ne delam filmov zaradi slave, denarja, odličnih kritik in polnih kinodvoran,

sploh ni tako slabo.

{ The origin of the film }

( 81 )


SILENT

SONATA

Janez Burger, writer and director

Photography: Branko Čeak

( 82 )

A

challenge needs to be big enough, for it to be worth

investing years of your life in it. Silent Sonata was undoubtedly

such a challenge. It is a film in which not a single word is spoken.

A war film in which there are no soldiers. A film which tells us that

there is no death and that life is eternal. An ambitious project, in every

sense: cinematically, humanly, spiritually and financially. But there

is no other way for me to do what I do. A lot of water has passed under

the bridge since I discovered that making films is, for me, the principle

mode of spiritual and human development. Extreme alpinists do not

head off to the Himalayas to breathe the fresh air. Martin Strel did not

swim the length of the Amazon because swimming helps take away

back pain. Film represents too important a category in my life for me

to allow myself to do this for the sake of fame, money, glowing reviews

or full cinemas. Film is not a product for me. Film is a passion. Film is a

drug. A very dangerous drug. Once you taste it, you are hooked forever.

And you want others to get hooked on it too. My films are not for people

who go to the cinema to munch popcorn but for those who go there to

get a fix. To open their horizons. To think about the different dimensions

of life. The development of Silent Sonata from idea to realisation

was very slow. I got the first impulse for this film in the autumn of 2001

when, in the first flush of a new romance, I rode a bicycle for the first

time along an endless white sandy beach on the Baltic coast. The openness

of the space and the indescribable freedom of that moment hit me

so strongly that I told myself I simply had to bring this feeling to the

cinema screen. The next day was 11 September. That was the second

impulse for this film. It was not until two years later that I wrote the

script, because I had too much work in the meantime with other films,

but both themes – freedom and war – were constantly simmering away

inside me and getting ready for me to finally give them expression.

During the preparations for the wars in Afghanistan and Iraq it became

clear to everyone that words had lost their meaning and purpose. They

had become the tool of manipulation and lies. And so I decided to make

a war film about freedom that would be entirely without words. Words

do not work in war. If they worked, there would be no wars. I also decided

that I was not going to make a film about one specific war, but about

the war that is always present on our planet. Ever since the apes crept

down from the trees and became human beings, not a day has passed


( 83 )


( 84 )

without war. Not a single day of total, all-embracing peace. Not a single

day on which the whole planet has been seized by the wonderful feeling

that I felt as I cycled along that sandy Baltic beach. The result was a

very special, different and universal script about confronting death in

wartime. The script for a film about transcending death. Because there

was no dialogue in it, it was only 20 pages long. This was another way

in which it was different and special. It was time to start getting the

money together. It was evident to me and to Jožko Rutar of production

company Staragara that the film was too expensive for us to be able to

finance it merely with money from Slovenia, so we started looking for

funding elsewhere. The universality and uniqueness of the film relatively

quickly attracted foreign producers and foreign funding, but we

ran into problems at home. For domestic readers and decision-makers,

the film was too universal and unique. This situation lasted a number

of years. During that time, I developed my patience to an unimaginable

degree. Stubbornness is something you are born with, but patience

has to be learnt, and those years were the ultimate lesson in patience.

It helped that despite my active imagination I was incapable of imagining

that the film was not going to be made for such a banal reason as

money. Eventually things were sorted out and we were able to begin our

preparations. Because most of the performers in the film are top circus

artistes, and there are none of these in Slovenia, we held two major

auditions in Berlin and Paris. These were followed by lengthy rehearsals,

where the circus performers had to become film actors. The other

people involved in the production also came from all over the place,

with the result that the crew that gathered on the set in the spring of

2009 ready to start filming was drawn from 16 different countries. The

filming process was one disaster after another. The script required us

to build a house on an inaccessible plain. This almost burnt down even

before filming began. It was then flooded several times, and hurricaneforce

winds that destroyed both the house and the other structures

were an almost daily occurrence. To cap it all, the processing laboratory

managed to ruin some of the material we had filmed. It is hard to

imagine the thoughts that pass through the head of a director who is

making an extremely subtle film, when he has just one shooting day

available to film a key scene in which a tank is supposed to dance. And

then this 40-tonne brute sets fire to the grassy plain by the house and

the entire film crew has to transform itself into a fire brigade and spend

half of the only available shooting day salvaging what can be salvaged.

How to complete the scene without the catastrophe and the lack of time

being apparent in the cinema? How to remain faithful to my vision?

This is something that requires good nerves, physical fitness, a focus on

the final goal and a film crew made of iron. Fortunately I had all of this,

and filming wrapped without further incident. And now for the prize

question: why do people make films? One possible answer is: so that the

filmmaker can express himself. Yet if no one sees his self-expression, it

is difficult to say that he has really expressed himself. The cinematic auteur,

like every other artist, needs viewers. As many viewers as possible.

If a Slovene film is seen at the cinema by more than 100,000 viewers, rising

to 300,000 with TV broadcasts and DVD sales, this is a huge success

for a domestic market of just two million people. To date, this feat has

And now for the prize question:

why do people make films?

been achieved by three films. All three of them are comedies. Silent Sonata

is not a comedy, but it relates far more closely to the inhabitants of

this planet than any Slovenian comedy does. Unless a miracle happens,

Silent Sonata might be seen by between 5,000 and 10,000 cinemagoers

in Slovenia. So we have taken a different route. By virtue of its uniqueness

and universality, the film obtained cinema distribution in Italy,

Ireland, Finland and Sweden even before it was complete. Together with

Slovenia, these countries represent a market of 75 million. For the same

reasons, the film was picked up by the world-famous film sales agency

Fortissimo Films of Amsterdam, which also has offices in London, New

York, Hong Kong and Sydney. If they succeed in selling the film merely

in the countries where they have offices, and if we only include Hong

Kong and ignore the rest of China, this market expands to almost half

a billion people. For a Slovenian film and for me, as someone who does

not make films for the sake of fame, money, glowing reviews and full

cinemas, this is not bad at all.

A

( 85 )

( 86 )

Golota

Gole Maje

na platnih

in cestah

( 87 )

V

umetnosti je veliko golote, vse več jo

je tudi v realnosti, kjer sproža različna

vprašanja: smo postali voajerji, ki

oprezamo za razgaljenimi lepoticami na

računalniku, na cesti, na plaži, ali trgovci z novci,

ki jim golota kuje dobičke? Gre za šoke drznih, ki

se slačijo, da bi se pokrili s plaščem slave, ali za

klic narave, ki vabi naturiste, da ovržejo še zadnje

kose oblačil? Gre za mistifikacijo telesa ali za

osvoboditev duha vseh predsodkov? Kje je meja, ki

je ne kaže prestopiti, ko gre za gole Maje na cesti,

in do kod sme erotika v umetnosti, da ne postane

pornografija?

Besedilo: Darinka Kladnik Fotografije: Igor Škafar

{ Golota }

( 88 )

Odgovori so individualno obarvani glede na lastno mnenje o

morali, etiki, estetiki ... Dejstvo pa je, da gledajo umetniki na

goloto drugače kot ostali. Kipar Jirži Bezlaj pravi: »Ne poznam

umetnika, ki bi ga golota vznemirila. Na model, ki ga riše, gleda kot na

vrečo krompirja, zanima ga vse prej kot erotika. Erotiko sprožajo druge

stvari: duhovna bližina, toplina, glas, vonj, karkoli, golota sama ne.« K

temu še dodaja: »Omejitve, ki jih postavlja družba, je umetnik dolžan

preseči, prav tako omejitve, ki si jih postavlja sam. Ne sme pa preseči

omejitev, ki jih postavlja sama narava umetnosti. Teh se mora držati, če

naj ostane umetnost to, kar umetnost je, in ne kaj banalnega. Ustvarjanje

je skok na glavo v brezno v sebi, v njem naletiš na marsikaj, tudi na

ogromno erotike.«

Zgodovina umetnosti se ni sramovala golega telesa kot simbola vedno

drugačnega koncepta lepote, kot merila, s katerim je človek vrednotil svet

okoli sebe, in kot predmeta samospoznavanj. Zato se akt pojavlja v najrazličnejših

videnjih, glede na to, kako je kipar ali slikar doživljal sebe in

svet okoli sebe, kako je goloto razumela in sprejela družba v času nastanka

umetniškega dela. Še v poznem devetnajstem in zgodnjem dvajsetem

stoletju je bilo na Slovenskem upodabljanje akta drzno in pregrešno, saj

ni bilo povsem jasno, kdaj je golota še spodobna in dopustna in kje se

začneta nemoralnost in pohujšljivost.

Golota je vaba za tiste, ki

računajo na njene učinke.

( 89 )

Eden od likovnih kritikov je opozoril slikarko Ivano Kobilco pri portretu

sestre Fani, naj kot slikarka deluje moralno na občestvo in ne slika

golih rok, ker da to vabi v zanke vsega hudega. Opozorilo so upoštevali

tudi drugi slovenski umetniki in se ga otresli šele na tujem. Anton Ažbe

je imel v Muenchnu slovito slikarsko šolo. Obiskoval jo je tudi Matej

Sternen. Morda se je tam navdušil za slikanje golega telesa. Kot impresionistu

mu ne bi prisodili naziva najbolj razgledanega slovenskega

raziskovalca akta in drugih erotičnih motivov. Prislužil si ga je s slikami

pomanjkljivo oblečenih žensk in z domnevno prvo upodobitvijo spolnega

akta na Slovenskem. Ta njegova dela niso bila namenjena javnosti,

ampak le izbrancem.

Nasprotno pa je bil spomenik Franceta Prešerna namenjen vsesplošnemu

občudovanju prvega med slovenskimi poeti, a je njegovo odkritje v

Ljubljani leta 1905 spravilo v jezo nadškofa Antona Bonaventuro Jegliča

in številne dame. Pesnikova muza – polakt – naj bi žalila čut ženstva, zlasti

nedolžno mladino. Žene klerikalnih veljakov so muzi spletle bluzo, da

bi z njo zakrile sramoto. A je muza ostala razgaljena.

Kipar France Gorše je ustvaril prva portretna akta v slovenski umetnosti,

za model sta mu bila baletnika Pia in Pino Mlakar. Z erotiko je prežet

izjemno bogat opus slikarja in kiparja Franceta Kralja. Zasledimo jo tudi

v delih številnih drugih slovenskih umetnikov. Avtor golega dečka, ki se

je dolgo pojavljal na napovedni špici slovenske televizije, je Zdenko Kalin.

Skupaj s Karlom Putrihom sta ustvarila plastike na vhodnem pročelju

slovenskega parlamenta. Vse figure, teh je več kot petdeset, so gole. Predstavljajo

najbolj reprezentančno skupino aktov v slovenski umetnosti.

Renesančni človek je pojmoval goloto drugače kot meščan ob koncu 19.

stoletja ali kot jo pojmuje predstavnik nove generacije virtualnih svetov.

Da se časi spreminjajo, je pokazalo tudi slikanje ženskega akta pred Magistratom

v Ljubljani, ki ga je pripravila slikarska šola Zmaga Modica. Ni

zbujalo nespodobnih komentarjev in zgražanja. Marsikdo je videl v tem

le obogatitev poletnega dogajanja v prestolnici. Golota je vaba za tiste, ki

računajo na njene učinke. Postala je medijsko zanimiva. Spremenila se je

v dobro prodajano blago. Tudi upodabljanje golote, ki vključuje najbolj

drzne eksperimente, ne sproža več toliko zgražanja in komentarjev kot

nekdaj. Večina je neobčutljiva za umetniške šoke.

In tako akt v umetnosti ostaja, umetnost pa vztraja v svojih iskanjih.

Zato je vse več golih Maj na platnih in cestah.

{ Nudity }

( 90 )

{ Nudity }

Naked

Majas

on Canvases and

in the Streets

Text: Darinka Kladnik

Photography: Igor Škafar

There is a lot of nudity in art, and an increasing amount

of it in real life, where it raises various questions: have we become

voyeurs, spying on naked beauties on the computer, in

the street, on the beach, or moneymen making a profit out of nudity? Is

it about the shocks of those daring souls who remove their clothes in

order to cover themselves with the cloak of fame, or the call of nature

that entices naturists to cast off even their last garments? The mystification

of the body or the liberation of the soul from all prejudices? Where

is the boundary that must not be crossed when it comes to Naked Majas

by the roadside, and how far can eroticism in art go without becoming

pornography?

The answers will be different for every individual, depending on our

own opinions about morals, ethics, aesthetics, etc. The fact is, however,

that artists see nudity differently from other people. The sculptor Jirži

Bezlaj says: “I do not know any artist who would be excited by nudity.

The artist looks at the model he is drawing in the same way he would

look at a sack of potatoes; he is interested in anything but eroticism.

Eroticism is triggered by other factors: spiritual proximity, warmth, a

voice, a smell, whatever, but not merely nakedness.” To this he adds the

following: “The artist is obliged to transcend the restrictions placed by

society, and also the restrictions he himself places. But he cannot transcend

the restrictions placed by the very nature of art. He has to abide

by these, if art is to remain what it is: art, and not something banal. Creation

is a headlong plunge into the abyss in the self. In it, you encounter

many things, including a great deal of eroticism.”

The history of art is not ashamed of the naked body as a symbol of an

eternally different concept of beauty, as a measure by means of which

the human being evaluated the world around him, and as a subject of

self-knowledge. And so the nude appears in a great variety of guises,

depending on how the sculptor or painter experienced himself and

the world around him, how society understood and accepted nudity in

the period in which the work was created. Even in the late nineteenth

and early twentieth centuries, the depiction of a nude was, in Slovenia,

something daring and transgressive, since it was not entirely clear

when nudity was seemly and permissible, and where immorality and

scandal began.

One art critic warned the painter Ivana Kobilca, with regard to her

portrait of her sister Fani, that as an artist she should have a moral effect on

the community and not paint bare arms, since this can lure people into the snares

of everything wicked. This warning was also taken to heart by other Slovenian

artists, and they only managed to shake it off abroad. Anton Ažbe

had a famous school of painting in Munich, where Matej Sternen was

among his pupils. Perhaps it was there that Sternen got his enthusiasm

for painting the naked body. As an impressionist he was not a natural

candidate for the title of most knowledgeable Slovenian researcher of

the nude and other erotic motifs. He earned it, however, through his

paintings of scantily clad women and what is allegedly the first depiction

of the sexual act in Slovenia. These works of his were not intended

for the public, but merely for a select few.

The statue of France Prešeren, by contrast, was intended as a mark

of the universal admiration for the prince of Slovene poets, but its unveiling,

in Ljubljana in 1905, provoked the wrath of Archbishop Anton

Bonaventura Jeglič and numerous ladies. The poet’s muse – a semi-nude

– apparently offended the sensibility of womankind, in particular innocent

youth. The wives of church dignitaries knitted a blouse for the

muse in order to cover her shame. But the muse remained unclothed.

The sculptor France Gorše created the first portrait nudes in Slovenian

art. His models were the ballet dancers Pia and Pino Mlakar. The

extraordinarily rich oeuvre of the painter and sculptor France Kralj is

pervaded with eroticism. We also find it in the works of many other

Slovenian artists. The artist responsible for the naked boy who for many

years appeared in the station identification of Slovenia’s national television

broadcaster is Zdenko Karlin. Together with Karl Putrih, he created

the sculptures on the façade of the national parliament building. All the

figures, and there are more than 50 of them, are naked. They represent

the most magnificent group of nudes in Slovene art.

The man of the Renaissance had a different conception of nudity from

the late 19th-century burgher or the representative of the new generation

of virtual worlds. A further demonstration of how times change

was the painting of a female nude outside the Town Hall in Ljubljana,

a project organised by the painting school of Zmago Modic. It did not

provoke indecent comments or indignation. Many people saw it merely

as another element adding variety to life in the capital during the summer

season. Nudity is an enticement for those who count on its effects.

It has become interesting in a media sense. It has been transformed

into a commodity well sold. Even a depiction of nudity that includes

the boldest experiments no longer causes the amount of indignation or

comment that it would once have done. The majority of people are indifferent

to artistic shocks.

And thus the nude remains in art, and art persists in its searching.

And that is why there are ever more Naked Majas on canvases and in the

streets.

A

Nudity is an enticement for

those who count on its effects.

( 91 )

Delovni prostori

( 92 )

GZS, Gospodarska zbornica Slovenije

Pisarne –

socialni mejniki

( 93 )

novega stoletja

Industrijska revolucija – doba Nikole Tesle, Jamesa Watta, Rudolpha Diesla, Thomasa Alve Edisona, elektrike,

železnic, parnikov, avtomobilov, prvih letal in še mnogočesa – je imela je velikanski vpliv tako

na ekonomski razvoj kot na kulturo, življenjski stil, okolje in mestno krajino, pišeta Jeremy Myerson in

Philip Ross v knjigi The 21st Century Office, saj je spodbudila številne iznajdbe (na primer žarnico, telefon,

tipkalni stroj ali dvigalo) ter porodila še eno novost – poslovne soseske. Nastala pa je tudi pisarna; temeljni

socialni mejnik 20. stoletja, kot ji pravita avtorja, fizično okolje za vsa potrebna opravila, ki so

bila v podporo industriji, podjetjem in vladam.

Besedilo: Lora Power Fotografije: Luka Cjuha

{ Delovni prostori }

( 94 )

Stanovanje in delovni prostor umetnika Romana Uranjeka (IRWIN)

Prvi, ki se jim je začel resno posvečati, je bil ameriški inženir

Frederick Taylor (1856–1915), ki si je zadal za glavno nalogo

izboljšanje delovne učinkovitosti ter posedel bele ovratnike v

velikanske prostore. V sedemdesetih letih prejšnjega stoletja je

v taylorističnem duhu spremenil pisarne tudi Herman Miller, avtor kockastega

sistema – ta z nizkimi pregradnimi stenami in prilagodljivimi

delovnimi površinami omogoča veliko majhnih in neosebnih delovnih

mest, ki so si med seboj podobna kot jajce jajcu. O tem, kako jih poosebiti

in narediti bolj prijazne, se ukvarjajo prenekateri filmi – od Delovnega

dekleta (Working Girl) z Melanie Griffith do Pisarne (Office Space) Mikea

Judgea ali britanske serije The Office, s katero je zaslovel Ricky Gervais.

In kakšne so videti pisarne dandanes, ko so

se radikalno spremenili ekonomski pogoji ter

kulturno, tehnološko in fizično okolje, z njimi pa

tudi družbeni odnosi?

Po podatkih Comission for Architecture and the Built Environment predstavlja

njihova zasnova, pogojena z mobilnim načinom življenja, prenosnimi

telefoni, računalniki in e-pošto, kar petindvajset odstotkov zadovoljstva

zaposlenih, odgovorna pa je tudi za pet odstotkov delovnega učinka.

Toda kakšna naj bi bila pravzaprav pisarna nove

dobe?

Arhitektka Tina Gregorič pravi, da je smernic nešteto. Stremi se k

temu, da je delovni prostor zanimiv, primerno osvetljen, in če je le možno,

obogaten z lepim razgledom. »Spodbuja naj tudi druženje z večjim

večnamenskim skupnim prostorom, kot so denimo knjižnice, sobe za

sprostitev ali športni prostori, namenjeni jogi, fitnesu, košarki in celo

varovanju otrok. V kolikor je le mogoče, naj poslovni prostor vključuje

tudi atrij, balkon ali teraso, torej zunanji odprti prostor.« Ali vsaj veliko

zelenja, če že ne pogleda na reko ali gozd.

»Na voljo so majhne in velike, stare in nove, tiste v urbanih središčih

in one na periferijah, tako individualne kot mnogoštevilne enote, načrtno

grajene ali one predelane,« pojasnjujeta Alexi Marmot in Joanna

Eley v delu Office Space Planning.

Lahko bi jih razdelili tudi na klasične, mobilne, nomadske, virtualne

ali začasne, na tiste, ki so vezane na podjetje, in one, ki si jih posamezniki

urejajo na domu.

»Prostor mora omogočati dobro fizično komunikacijo med sodelavci,«

je prepričana njena kolegica Špela Videčnik, še kako pomembni pa so

estetika, prijazna svetloba in funkcionalni detajli.

Takšno je recimo delovno okolje oglaševalske agencije Futura, ki so ga

domislili v arhitekturnem biroju Sadar Vuga. Kot je pojasnil Jurij Sadar,

omogoča njegova odprta prostorska zasnova brez predelnih sten maksi-

( 95 )

Poslovalnica Nove KBM v Ljubljani

malno integracijo med zaposlenimi in hkrati širok pogled v krošnje dreves

ob Ljubljanici. »Posamezni programski sklopi, kot so knjižnica, bar,

sprejemnica, družabni kot in prostor za predstavitve, so zamejeni s tako

imenovanimi sekvenčnimi lupinami, ki zamejijo podprostore, vendar

ne od celotnega odprtega prostora.«

Novodobnega videza je tudi nedavno odprta bančna poslovalnica na

Mestnem trgu v Ljubljani, ki jo je za Novo KBM zasnovala arhitektka

Mojca Zavasnik. Prostor je želela približati sodobnemu življenjskemu

stilu, ga narediti odprtega, funkcionalnega ter tako strankam in zaposlenim

zagotoviti dobro počutje. Drugačnost, inovativnost, osebni pristop

in sodobnost – to je filozofija, ki so jo skušali implementirati tudi v

vizualno podobo delovnega okolja.

Slednje je za uspešnost podjetja in zadovoljstvo delavcev še kako pomembno,

zagotavlja vodja arhitekturnega oblikovanja v Gorenje Design

Studiu. Oblikovanje kakovostne arhitekture je po mnenju Saše Hribernik

eno izmed osnovnih elementov korporacijske identitete, ki ne vpliva

le na fizično in psihično ugodje posameznikov, ampak tudi veča popularnost

podjetja, pripadnost zaposlenih in interes kakovostnega kadra.

Kaj pa, če je vaša pisarna kar domača izba?

Erica Johnson Debeljak dela od doma in velikokrat fantazira o tem,

da bi si v hiši uredila pravo pisarno, a še vedno najraje piše ali prevaja za

kuhinjsko mizo. »Tudi mobilna pisarna ima prednosti,« trdi. »Spomladi,

denimo, ko na vrtu cvetijo rododendroni, postavim mizo tako, da jih

vidim.«

Pa se ji nič ne toži po pisarniškem vrvežu, pogovorih s sodelavci, kavicah

in tračih?

»Ja, najtežji del je odsotnost kolektiva, socialnega stika. V elektronski

dobi je pač tako, da lahko delo opravim, ga oddam, prejmem plačilo, ne

da bi pri tem videla eno samo osebo.«

In prednosti? Teh je, pravi, obilo. »Glavna pa je ta, da nimam šefa ne

fiksnega urnika in da sem neodvisna. Ko se teh reči navadiš, se jim je

zelo težko odpovedati.«

Brez urnika, sodelavcev in šefa je tudi slikar Roman Uranjek (IRWIN),

ki je svoj minimalistično urejeni dom razdelil na dva dela – bivalni

in delovni. Staro meščansko stanovanje je v celoti prenovljeno po Romanovi

zamisli, tudi pohištvo in kuhinjske elemente je domislil sam.

»Preprosto,« pravi, »nisem našel pohištva, ki bi bilo po mojem okusu, pa

sem ga zrisal kar sam.« Kljub belini, ki jo razbijajo razobešene sodobne

umetnine predvsem slovenskih oziroma jugoslovanskih avtorjev, izreka

Romanovo domovanje toplo dobrodošlico. Ker je zanj svetloba izjemnega

pomena, nudijo svetlobna telesa, skrita pod spuščeni strop, dnevno

luč. »Dnevna svetloba je edina svetloba, ki iz arhitekture naredi arhitekturo,«

je dejal arhitekt Louis I. Kahn. In tista predstava o umetniku, ki

ustvarja v temni, neogrevani podstrešni sobici? Stvar preteklosti.

{ Work spaces }

{ Work spaces }

So what do offices look like nowadays, after

radical changes to our economic conditions

and to the cultural, technological and physical

environment, and with it to our social attitudes?

( 96 )

Offices –

Social Landmarks

of the New Century

Text: Lora Power Photography: Luka Cjuha

“Small and large, old and new, those in urban centres and those on

the periphery, both individual and multiple units, purpose-built or

adapted are all available”, explain Alexi Marmot and Joanna Eley in

their work Office Space Planning.

They could also be divided into classical, mobile, nomadic, virtual or

temporary, into those tied to a company and those set up by individuals

at home.

According to data from the Comission for Architecture and the Built

Environment, their design, dictated by the mobile way of life, mobile

telephones, computers and e-mail, accounts for as much as 25 percent

of employee satisfaction, and it is also responsible for 5 percent of productivity.

But what, in fact, should the office of the new era

look like?

The industrial revolution – the age of Nikola Tesla, James

Watt, Rudolph Diesel, Thomas Alva Edison, electricity, railways,

steamboats, cars, the first aircraft and much more

– had a huge impact both on economic development and on

culture, lifestyle, the environment and the urban landscape, write Jeremy

Myerson and Philip Ross in their book The 21st Century Office, since it

spurred numerous inventions (such as the light bulb, telephone, typewriter

and lift) and gave rise to another new feature – business districts.

Another thing that was created was the office – the fundamental social

landmark of the 20th century, as the authors call it, a physical environment

for all the tasks necessary to support industry, companies and

governments.

The first person to start devoting serious attention to it was the

American engineer Frederick Taylor (1856–1915), who set himself the

main task of improving work efficiency, and he placed white-collar

workers in gigantic spaces. In the 1970s, in the spirit of Taylor, offices

were further modified by Herman Miller, who came up with the cubicle

system – with low partitions and adjustable work areas this allowed a

multitude of small and impersonal work spaces that resembled each

other like peas in a pod. The task of making them more personal and

user-friendly has been the subject of quite a few films, from Working Girl

with Melanie Griffith to Mike Judge’s Office Space and the British series

The Office, which shot Ricky Gervais to fame.

Architect Tina Gregorič says that there are countless guidelines. She

favours making the work space interesting, appropriately lit, and if at

all possible, enhanced by a fine view. “It should also encourage an association

with a large, multi-purpose common space, such as a library

or relaxation or sports premises, intended for yoga, fitness, basketball

and even childcare. If possible, business premises should also include a

lobby and a balcony or terrace, in other words outside open space.” Or at

least a lot of greenery, if not a view of a river or forest.

“The space should allow good physical communication among coworkers”,

says her colleague Špela Videčnik, with conviction, and it

is highly important to consider aesthetics, pleasant lighting and functional

details.

This would apply, for instance, to the working environment of the

advertising agency Futura, conceived at the architecture offices of Sadar

Vuga. As explained by Jurij Sadar, the open plan without dividing partitions

allows the maximum integration among employees and at the

same time an expansive view of tree crowns along the River Ljubljanica.

“Individual conceptual sections, such as the library, bar, reception

room, social corner and presentation room are delineated by what are

called sequential shells, which delineate sub-spaces, but do not remove

them from the overall open space.”

( 97 )

Pisarna Turistične zveze Slovenije

DA! Fotohiša

{ Work spaces }

{ Work spaces }

( 98 )

Delovni prostori agencije Futura DDB

There is also something of a new era appearance to the recently

opened bank branch in Ljubljana’s Mestni trg, designed for Nova KBM

by architect Mojca Zavasnik. She wanted to approximate the premises

to the modern lifestyle, to make it open and functional, and in that way

provide customers and employees with a sense of wellbeing. A different,

innovative and personal approach, as well as modernity – this is

the philosophy they tried to apply, including in the visual appearance of

the working environment.

This is enormously important for company performance and employee

satisfaction, the head of architectural design at Gorenje Design

Studio assures us. In the opinion of Saša Hribernik, designing highquality

architecture is one of the basic elements of the corporate identity,

one that affects not just the physical and psychological wellbeing

of individuals, but also increases the popularity of the company, the

sense of belonging among employees, and the interest of high-quality

personnel.

What then, if your office is just a room at home?

Erica Johnson Debeljak works from home and often fantasises

about arranging a proper office for herself in her house, but she still prefers

to write or translate at the kitchen table. “A mobile office also has its

advantages”, she says. “In spring, for instance, when the rhododendrons

are blooming outside, I position the table so I can see them.”

But doesn’t she long for the office hubbub, chats with co-workers, coffee

and gossip?

“Yes, the hardest part is the absence of colleagues and social contact.

In the electronic age, the fact is I can do my work, send it out and receive

payment, without seeing a single person.”

And the advantages? There are plenty, she says. “The main one is that

I have no boss or fixed hours, and I’m independent. When you get used

to these things, it’s very hard to give them up.”

There are no hours, co-workers or boss for painter Roman Uranjek

(IRWIN) either, and he has divided his minimalistically arranged home

into two parts – living and working. The old burgher apartment has

been entirely renovated to Roman’s concept, and he even thought up

the furniture and cooking elements himself. “Simply put,” he says,

“I didn’t find furniture to my taste, so I sketched it myself.” Despite

the whiteness put out by the modern artworks, mainly by Slovenian

or Yugoslav artists, hanging on his walls, Roman’s dwelling exudes a

warm welcome. Since light is extremely important for him, the sources

of light (hidden under a lowered ceiling) offer daylight. “Daylight is the

only light that makes architecture out of architecture”, said architect

Louis I. Kahn. And that image of an artist working away in a dark, unheated

garret? A thing of the past.

A

( 99 )

Ruanda

( 100 )

Internet

v Ruandi

Besedilo: Matteo Fagotto Fotografije: Tadej Žnidarčič

( 101 )

»Prvič uporabljam ta prekleti program in ga že sovražim!«

“It's the first time I've used this damned program, and I already hate it!”

{ Ruanda }

( 102 )

Živčni Fulgence Ndikubvimana sedi za pisalno mizo pred

popolnoma novim prenosnikom in se jezi, ko poskuša opraviti

nalogo, ki mu jo je učitelj zadal za danes: ustvariti delovni list v

excelu.

Po dvajsetih minutah trpljenja in kričanja 42-letni kmetijski svetovalec

končno »premaga« računalnik. Na zaslonu je datoteka v excelu, popolna

in pravilna. Možakar jo modro shrani, in preden začne pomagati svojim

tovarišem, si zadovoljno ogleda svojo »stvaritev«. Poleg njega se še dvajset

moških in žensk ubada z enako nalogo; pred avtobusom, v kakršnih

poteka pouk, pa se je zbrala skupina radovednežev, ki jih je pritegnil zeleni

napis na njem: »Premostimo digitalno vrzel.«

Ndikubvimana je med dvajsetimi lokalnimi voditelji, ki so bili izbrani

za štirinajstdnevni računalniški tečaj v enem od treh informacijskih avtobusov,

ki potujejo po Ruandi ter prebivalcem kmetijskih območij ponujajo

brezplačen dostop do interneta in intenzivne računalniške tečaje. Avtobuse,

ki naj bi nove tehnologije ponesli v najbolj oddaljene kotičke države,

upravljata ruandski urad za informacijsko tehnologijo (RITA) in e-Ruanda,

vladni program pod pokroviteljstvom Svetovne banke, ki želi Ruando pretvoriti

v novo tehnološko središče vzhodne Afrike. Avtobus, ki ga upravlja

Patrick Aime Kigenza, je danes v mestecu Kabaja – nizu blatnih koč 140 km

severozahodno od glavnega mesta Kigali. V kraju, kjer večina hiš nima niti

elektrike, bi bil v vsakdanjih okoliščinah računalniški tečaj nepredstavljivo

razkošje.

Avtobus, opremljen s plazemskimi zasloni, tiskalniki, optičnimi bralniki,

satelitsko internetno povezavo in velikim generatorjem, je začel krožiti

po Ruandi poleti 2009. Pobuda je bila velik uspeh in vlada trenutno opremlja

še tri vozila, ki naj bi začela delovati v prihodnjih mesecih.

»V Ruandi živi 75 odstotkov prebivalstva na podeželju brez slehernega

dostopa do interneta,« razloži direktor e-Ruande Jahja Hasani. »Edina rešitev

je, da splet dobesedno pripeljemo v njihove domove.«

Cilj projekta je računalniško opismeniti zadostno število ljudi in ustvariti

kontinuiteto, tako da bi lahko današnji tečajniki v prihodnje svojim

»Edina rešitev je, da splet

dobesedno pripeljemo v njihove

domove.«

skupnostim predstavili računalnike. Ruandska vlada se je odločila za resna

vlaganja v nove tehnologije, da bi pritegnila več investicij in spodbudila

gospodarstvo, katerega letna rast znaša od leta 1994 v povprečju več

kot šest odstotkov.

»Nove tehnologije bodo pomagale pospešiti naše gospodarstvo in

trdno smo odločeni, da jih bomo še naprej razvijali,« potrdi minister za

gospodarsko načrtovanje John Ruangombva.

( 103 )

Prava glasba za ušesa Kigenze, ki je projektu posvetil svoje življenje.

28-letni šef informacijskega avtobusa je globoko prepričan, da zahteva

gradnja nove Ruande osebne žrtve. »Upravljanje avtobusa je izjemno naporno,«

razloži. »Poleg tega, da pomagam tečajnikom, moram skrbeti za

vzdrževanje in logistiko, naročati rezervne dele in pripravljati naloge za

naslednji dan. To pomeni, da lahko odidem domov le enkrat mesečno.«

Stroški nastanitve niso vključeni v njegov proračun, in če Kigenza in

njegov voznik ne najdeta nikogar, ki bi ju brezplačno vzel pod streho, spita

na dveh prenosnih žimnicah v prtljažniku avtobusa.

»A vse to je v redu, če le koristi tečajnikom,« še pristavi. »Ti ljudje še

nikoli prej niso videli računalnika in v velikansko veselje mi je, ko jih opazujem

pri učenju.«

Po celodnevnem napornem delu se izčrpani tečajniki toplo poslovijo od

Kigenze. Nekateri so se naučili osnov worda, drugi so dojeli le, kako ustvariti

novo mapo na namizju. Vsi pa so srečni in ponosni, da sodelujejo pri

ustvarjanju nove Ruande.

{ Ruanda }

{ Rwanda }

Rwanda

Internet

Text: Matteo Fagotto Photography: Tadej Žnidarčič

( 104 )

Sitting at his desk with a brand new laptop in front of him,

a nervous Fulgence Ndikubwimana fumes while trying to perform

the task the instructor assigned to him today: creating an

Excel sheet.

After twenty minutes of suffering and shouting, the 42 years old

agrarian consultant finally manages to “overcome” the computer: the

Excel file is on the screen, complete and correct. After wisely saving the

file and before starting to help his colleagues, he takes a few minutes

to look with satisfaction at his “creation”. Beside him, twenty men and

women are struggling to cope with the same task, while outside the bus

they are in, a group of curious people have gathered, attracted by the

green motto written on its side: “Bridging the digital divide”.

Ndikubwimana is one of the twenty local leaders selected for a twoweek

computer training course on board one of the three IT buses

touring Rwanda and offering free Internet connection and intensive PC

courses to rural areas residents. Conceived to bring new technologies

to the most remote areas of the country, the buses are managed by the

Rwanda Information Technology Authority (RITA) and e-Rwanda, a

government programme supported by the World Bank, which aims to

turn Rwanda into the new technological hub of Eastern Africa. Managed

by Patrick Aime Kigenza, the bus is today in the small town of Kabaya,

a series of mud houses 140 km north-west of the capital, Kigali. In a part

of the world where the majority of houses do not have electricity, a computer

course would usually be an inconceivable luxury.

{ Rwanda }

( 105 )

{ Rwanda }

( 106 )

Equipped with plasma screens, printers, scanners, a satellite Internet

connection and a powerful generator, the buses started touring Rwanda

in the summer of 2009. The initiative has been a success and the government

is currently equipping three more vehicles, which should commence

operation within the next few months.

“In Rwanda, 75 percent of the population still lives in the countryside,

without any access to the Internet,” explains e-Rwanda manager

Yahya Hassani. “The only solution was to literally bring the web to their

homes”.

The goal of the project is to train a steady number of people and then

create a cascade effect by using the trainees of today to introduce computers

to their respective communities. The Rwandan government has

decided to invest heavily in new technologies to attract more investment

and stimulate an economy that has been growing at an annual

average of over 6 percent since 1994.

“New technologies will help to boost our economy and we are determined

to keep on developing them,” confirms Minister of Economic

Planning John Rwangombwa.

This is music to the ears of Kigenza, who has dedicated his life to the

project. The twenty-eight-year-old IT bus manager is deeply convinced

that the building of a new Rwanda requires personal sacrifices to be

made. “Managing the bus is extremely tiring”, he explains. “Apart from

assisting the students, I have to look at maintenance and logistics, order

spare parts, prepare lessons for the following day... this means I can

only go back home once a month”.

“The only solution was to literally

bring the web to their homes”.

Accommodation expenses are not included in his budget and if Kigenza

and his driver cannot find someone to host them for free, then they

have to sleep on two portable mattresses located in the boot of the bus.

“But that’s fine, as long as it’s for the benefit of the students,” he

says. “These people have never seen a computer before in their life, and

watching them learning here is extremely satisfying”.

After one day of hard work, the exhausted students greet Kigenza

warmly. Some have learnt the basics of Word, while some others have

just managed to understand how to create a new folder on the desktop.

But all are happy and proud to be taking part in the creation of a new

Rwanda.

A

( 107 )

S L O V E N I J A

Nekaj osnovnih podatkov

površina (v km 2 ) 20 273

gozdovi 10 124

travniki 5 593

polja in vrtovi 2 471

sadovnjaki 363

vinogradi 216

dolžina meje (v km)

s Hrvaško 546

z Avstijo 324

z Italijo 235

z Madžarsko 102

obala (v km) 46,6

A few facts

territory area (in sq. km) 20 273

forests 10 124

grassland 5 593

fields and gardens 2 471

orchards 363

vineyards 216

border length (in km)

with Croatia 546

with Austria 324

with Italy 235

with Hungary 102

coastline (in km) 46.6

najvišja točka

Triglav

2864 m

highest point

Triglav

2864 m

gostota naseljenosti

(prebivalcev/km) 98

prebivalstvo

glavno mesto

2 milijona

Ljubljana

večja mesta: Maribor, Celje, Kranj, Velenje

podnebje: alpsko, celinsko, sredozemsko

jezik: Uradni jezik je slovenščina, na območjih z mešanim prebivalstvom

pa madžarščina in italijanščina. Pri stiku s tujci uporabljajo

prebivalci Slovenije največkrat angleščino, nemščino, italijanščino

in francoščino.

denarna valuta: Denarna valuta je evro (EUR). Tuje valute lahko

zamenjate na mejnih prehodih, v bankah, menjalnicah in hotelih.

population density

(inhabitants/km) 98

population

capital

2 million

Ljubljana

major towns: Maribor, Celje, Kranj, Velenje

climate: Alpine, Continental, Mediterranean

language: The official language is Slovene, as well as Hungarian and

Italian in areas of mixed population. People who live in Slovenia most

commonly use English to communicate with foreigners, then German,

Italian and French.

currency: The currency is the euro (EUR). Foreign currency may be

exchanged at border crossings, in banks, exchange offices and hotels.

prazniki

1. in 2. januar novo leto

8. februar Prešernov dan,

slovenski kulturni praznik

8. april velika noč

27. april dan upora proti okupatorju

(druga svetovna vojna)

1. in 2. maj praznik dela

25. junij dan državnosti

15. avgust Marijino vnebovzetje

31. oktober dan reformacije

1. november dan spomina na mrtve

25. december božič

26. december dan samostojnosti

holidays

January 1 & 2

February 8

April 8

April 27

May 1 & 2

June 25

August 15

October 31

November 1

December 25

December 26

New Year’s Holiday

Prešeren Day,

Slovene Day of Culture

Easter Sunday and Monday

Day of Uprising Against the Occupation (WW2)

Labour Day

Pentecost

Statehood Day

Assumption Day

Reformation Day

All Saints’ Day

Christmas Day

Independence Day

Duesseldorf

Marseille

Banjaluka

EVROPA

EUROPE

Redni poleti / Scheduled Flights

Zimski in poletni vozni red

Iz/from LJUBLJANA/Brnik Nm/km Čas poleta/

Flight time

(A320/CRJ)

Čarterski poleti / Charter Flights

Winter and summer timetables

Iz/from LJUBLJANA/Brnik Nm/km Čas poleta/

Flight time

(A320/CRJ)

Amsterdam 606/1122 1.35 h

Athens 761/1409 2.05 h

Banjaluka 157/291 0.45 h

Barcelona 686/1270 1.46 h

Belgrade 267/494 0.65 h

Brussels 559/1035 1.26 h

Copenhagen 641/1187 1.39 h

Dublin 1026/1900 2.38 h

Frankfurt 420/778 1.07 h

Istanbul 781/1446 1.53 h

Kiev 730/1352 2.05 h

London (Gatwick) 757/1402 1.56 h

Manchester 868/1608 2.11 h

Marseille 510/945 1.40 h

Moscow (Sheremetyevo) 1120/2074 2.35 h

Munich 224/415 0.41 h

Paris (C. de Gaulle) 616/1141 1.36 h

Pristina 622/1150 1.50 h

Podgorica 365/676 1.25 h

Sarajevo 222/411 0.41 h

Skopje 413/765 1.07 h

Stockholm 910/1685 2.35 h

Tirana 474/878 1.14 h

Vienna 153/283 0.30 h

Zürich 334/619 0.56 h

Warsaw 463/859 1.35 h

Antalya 966/1789 2.35 h

Aqaba 1454/2692 3.18 h

Cairo 1276/2363 3.25 h

Chios 738/1367 2.10 h

Constanca 654/1211 1.55 h

Djerba 796/1474 2.20 h

Dubrovnik 292/541 1.05 h

Heraklion 832/1540 2.15 h

Hurghada 1533/2839 3.45 h

Ibiza 799/1480 2.20 h

Karpathos 996/1844 2.35 h

Kefalonija 585/1083 1.45 h

Kerkira (Corfu) 523/968 1.35 h

Kos 873/1616 2.20 h

Larnaca 1197/2216 3.00 h

Lefkas (Preveza) 567/1050 1.40 h

Lesbos (Mitiline) 746/1381 2.10 h

Malta 670/1241 2.00 h

Menorca 646/1196 1.55 h

Mykonos 793/1468 1.56 h

Palma de Mallorca 723/1339 2.10 h

Rhodos 947/1753 2.30 h

Samos 823/1524 2.10 h

Santorini 836/1548 2.15 h

Sharm el Sheikh 1505/2787 3.45 h

Skiatos 632/1170 1.50 h

Split 207/383 0.50 h

Vienna - Frankfurt 358/663 1.10 h

Thassos (Kavala) 563/1043 1.45 h

Tel Aviv 1286/2382 2.57 h

Iz/from PRIŠTINA

Munich 646/1196 2.00 h

Thessaloniki 571/1057 1.24 h

Zakinthos 632/1170 1.50h

Duesseldorf 924/1711 2.40 h

Frankfurt 930/1722 2.50 h

Adria Airways has used the map of Europe exclusively as an illustration of its flight connections and without any political or other implications.

Adria Airways


Flota/Fleet

Airbus A319

Število/Total 2

Dolžina/Length

33.84 m

Višina/Height

11.76 m

Razpon kril/Wingspan

34.10 m

Hitrost/Cruising speed

900 km/h

Višina poleta/Max. altitude

11 700 m

Dolet/Range

6 650 km

Št. potnikov/Passenger capacity 135

( 118 )

Canadair Regional Jet 900

Število/Total 4

Dolžina/Length

32.50 m

Višina/Height

7.57 m


23.20 m


882 km/h


12 496 m

Dolet/Range

3 600 km

Št. potnikov/Passenger capacity 86

Canadair Regional Jet 200 LR

Število/Total 6

Dolžina/Length

26.77 m

Višina/Height

6.22 m


21.21 m


860 km/h


12 496 m

Dolet/Range

3 285 km

Št. potnikov/Passenger capacity 48/50

Ilustracije: Miha Žnidar

( 119 )


Dobrodošli v letalu Adrie Airways

Spoštovani potniki, vaše zadovoljstvo je naš uspeh. Da bi bilo potovanje z nami čim bolj prijetno, nam

dovolite, da vas opozorimo na nekaj napotkov, ki so pomembni za vaše udobje in varnost pred letom, med

poletom in po pristanku.

( 120 )

Pred letom

Ekonomski in poslovni razred

Na večini Adrijinih prog izmenično letijo letala tipa Airbus A-319, Canadair

Regional Jet CRJ-100/200LR in CRJ-900.

Vozovnica za potovanje v poslovnem razredu je izdana po veljavni tarifi za

poslovni razred in velja eno leto z možnostjo rezervacije, plačila in prevzema

kadarkoli, omogoča pa tudi druge ugodnosti, kot so: sprememba datumov

potovanja brez doplačila, večja količina brezplačne prtljage, uporaba poslovnih

salonov na letališčih idr.

V ekonomskem razredu potujejo potniki z vozovnicami po ekonomskih

tarifah, ki so nižje in vsebujejo določene omejitve.

Nakup vozovnice prek spleta

Letalsko vozovnico lahko najceneje in hitro rezervirate in kupite na Adrijinih

spletnih straneh www.adria.si. To velja le za polete na Adrijinih letih. Nakup

prek interneta je zaščiten z varnostnim certifikatom. Elektronske vozovnice

prejme potnik po elektronski pošti.

V primeru, da potrebujete letalsko vozovnico, kjer bodo vključeni tudi

drugi prevozniki, vas prosimo, da pokličete naš Klicni center za rezervacije in

prodajo letalskih vozovnic na telefonski številki: 386 1 369 10 10 ali 080 13 00.

Potujte z elektronsko vozovnico

Na vseh rednih poletih slovenskega letalskega prevoznika je možno leteti z

elektronsko vozovnico.

Potnik dobi ob nakupu potniški kupon, ki velja kot račun, in načrt poti

(itinerar) v ovitku Adrie Airways. Dokument lahko prejme tudi na svoj elektronski

naslov in ga natisne sam. To dokumentacijo mora imeti s seboj ves

čas potovanja. Pri okencu za prijavo na let se identificira s potnim listom ali

osebno izkaznico. Uslužbenec izda potniku vstopni kupon za let, s katerim ta

vstopi v letalo. Elektronski način dokumentiranja prodaje zagotavlja sproten

vpogled v dogajanje z vozovico, hiter prenos podatkov in manjše možnosti

zlorab. Najpomembnejše pri tem pa je, da so potnikovi kuponi za let shranjeni

v elektronski obliki in tako varni pred izgubo.

Web Check-in

V Adrii Airways se zavedamo, da je pri potovanju pogosto dragocena vsaka

minuta. Še posebej takrat, kadar nas na poti na letališče ovira gost promet.

Web check-in je naša novost, s katero boste prihranili čas pri okencu za prijavo

na let, saj se nanj lahko prijavite že od doma, z delovnega mesta oziroma

povsod, kjer je vzpostavljena internetna povezava. Svoj planirani let lahko

prijavite največ 24 ur in najmanj 60 minut pred poletom. Storitev web checkin

je trenutno možna le za določene lete Adrie Airways. V prihodnjih mesecih

bomo obstoječim destinacijam postopoma dodajali še nove.

Omejitve pri vnosu živil v EU

Potnikom svetujemo, da pred potovanjem preverijo seznam artiklov, ki jih

je mogoče vnesti na območje Evropske skupnosti. Strog nadzor nad uvozom

mesa, mleka, rib, lupinarjev ter njihovih izdelkov je nujen za zaščito ljudi in

živali pred boleznimi, ki se s temi živili lahko prenašajo.

V primeru, da carinska služba pri rutinskem pregledu osebne prtljage ugotovi

prisotnost nedovoljenih živil živalskega izvora, le-ta zaseže. Informativni

letak “Kaj prinesti domov?” vam je na voljo na naši spletni strani.

Več informacij lahko dobite na Glavnem uradu VURS-a ali na njihovi spletni

strani www.vurs.gov.si pod poglavjem Javne objave/Uvoz živil za osebno

rabo.

Ročna prtljaga

Zaradi vaše varnosti in udobja vas vljudno prosimo, da upoštevate mednarodna

pravila, ki potniku dovoljujejo imeti pri sebi en kos ročne prtljage v

velikosti 55 x 40 x 20 cm in z največjo težo osem kilogramov.

Ročno prtljago namestite v za to namenjeni predal nad sedežem, težje

kose pa, če je le mogoče, shranite pod sedež pred sabo. Priporočamo vam, da

predal s prtljago pazljivo odpirate, saj se lahko med poletom predmeti v njem

premaknejo.

Na letalih CRJ oddajte večjo ročno prtljago pred letalom. Tam jo takoj po

izstopu iz letala tudi prevzemite.

Varnostna pravila

Evropska unija (EU) je v letu 2006 sprejela nova varnostna pravila. Ta omejujejo

količino tekočin, ki jo lahko vzamete s seboj na letalo.

V svoji ročni prtljagi lahko prenašate samo majhne količine tekočin, ki

morajo biti shranjene v posamičnih posodah z največjo prostornino 100

mililitrov. Te posode morate zapakirati v prozorno plastično vrečko, ki jo je

mogoče znova zatesniti; prostornina vrečke posameznega potnika ne sme

biti večja od enega litra. Med tekočine spadajo: voda in druge pijače; juhe in

sirupi; kreme, losjoni in olja; parfumi; razpršilci; geli, vključno z geli za lase

in tuširanje; posode z vsebinami pod pritiskom, vključno s peno za britje ter

drugimi penami in dezodoranti; kreme, vključno z zobno kremo; mešanice

tekočih in trdnih snovi; črtalo za veke in tuš za trepalnice; ter katerekoli

druge snovi s podobno vsebnostjo.

Še vedno lahko tekočine prenašate v oddani prtljagi – nova pravila se nanašajo

samo na ročno prtljago. V svoji ročni prtljagi lahko prenašate:

• zdravila in nujno potrebna živila, (vključno z otroško hrano), ki jih boste

uporabljali med potovanjem; morda boste morali dokazati, da jih nujno

potrebujete;

• tekočine, kot so pijače in parfumi, (kupite jih lahko bodisi v prodajalni na

letališču EU, ki je za točko, na kateri pokažete svoj vstopni kupon, ali pa na

letalu, ki ga upravlja prevoznik EU).


Če ste jih kupili zapakirane v posebni zatesnjeni vrečki, te vrečke pred pregledom

ne odpirajte, sicer lahko varnostno osebje na kontrolni točki njeno

vsebino zaseže. (Če na letališču EU presedate na drug let, vrečke ne odpiraj-te

pred varnostnim pregledom na transfernem letališču ali na zadnjem letališču,

če presedate več kot enkrat.)

Če imate kakršnekoli dvome ali vprašanja, se pred potovanjem obrnite na

svojega letalskega prevoznika ali potovalno agencijo.

Med letom

Napotki za varnost

Z najpomembnejšimi varnostnimi napotki vas bo pred poletom seznanilo

naše kabinsko osebje, poleg tega pa boste v žepu sedeža pred sabo našli navodila

za postopke v sili. Ker se glede na tip letala ta navodila razlikujejo, vas

prosimo, da jih pred vsakim poletom pazljivo preučite.

Med vzletanjem in pristajanjem si morate pripeti varnostni pas, zaradi varnosti

in udobja pa vam priporočamo, da ostanete pripeti tudi med poletom.

Po pristanku počakajte na svojem sedežu, dokler se letalo popolnoma ne

ustavi oziroma dokler ne ugasne znak za obvezno uporabo varnostnih pasov.

Kapitan letala lahko podeli potniku, ki se v letalu neprimerno vede, takoimenovani

RDEČI KARTON. Ta je namenjen vsem, ki s svojim vedenjem ovirajo

delo kabinskega osebja, ne spoštujejo varnostnih pravil ali pa ogrožajo

varnost in udobje sopotnikov. Napad na varnost zračnega prometa je kaznivo

dejanje po 330. členu Kazenskega zakonika RS (KZ-1), ki za tovrstna dejanja

predpisuje zaporno kazen.

Uporaba elektronskih naprav

V letalu ni dovoljeno uporabljati prenosnih telefonov (biti morajo popolnoma

izključeni!), radijskih in televizijskih sprejemnikov, videoiger z daljinskim

upravljanjem, računalniških tiskalnikov in drugih naprav, ki bi z elektromagnetnimi

valovi lahko motile delovanje občutljivih letalskih instrumentov.

Druge elektronske naprave, kot so prenosni računalniki, CD in DVD predvajalniki

ter žepni kalkulatorji, je dovoljeno uporabljati le med poletom (če ne

povzročajo motenj), med vzletanjem in pristajanjem pa ne. Prosimo vas, da se

pred uporabo elektronskih naprav posvetujete s kabinskim osebjem in dosledno

upoštevate njihove napotke.

Nevarni predmeti

Po mednarodnih varnostnih predpisih potnikom v letalu ni dovoljeno imeti

(ne pri sebi ne v prtljagi) orožja in drugih nevarnih predmetov, kot so: vnetljive

tekočine, pločevinke s stisnjenim ali utekočinjenim plinom, lahko vnetljive

snovi, vžigalice, ki niso označene kot varne, in podobno.

Počutje in zdravje

Vašemu dobremu počutju sta namenjena ventil za uravnavanje dotoka zraka

in lučka za branje, ki sta nameščena nad sedežem. Tam je tudi pozivni gumb,

s katerim lahko po potrebi pokličete stevardeso.

V letalu je na voljo priročna lekarna, opremljena s sredstvi za nudenje prve

pomoči. Med poletom lahko včasih v ušesih občutite neprijeten pritisk, do katerega

prihaja zaradi sprememb višine in zračnega pritiska v letalu; težavo boste

zlahka odpravili s poudarjenim požiranjem sline ali z nakazanim zehanjem.

Da bi se izognili težavam z ožiljem, ko gre za dolg polet, vam svetujemo,

da se večkrat sprehodite po potniški kabini, med sedenjem pa delate vaje za

raztezanje celega telesa.

Alkohol na letalu

V letalu ni dovoljeno uživanje alkoholnih pijač, ki jih prinesete s sabo.

Kabinsko osebje ne sme streči alkoholnih pijač osebam, ki kažejo znake

vinjenosti, in osebam, mlajšim od 18 let. Dobronamerno vas opozarjamo, da

alkohol zaradi nekoliko nižjega zračnega pritiska med poletom deluje na telo

hitreje in bolj intenzivno kot na tleh.

Po pristanku

Zamujena, izgubljena ali poškodovana prtljaga

Če bi med vašim potovanjem prišlo do nepravilnega ravnanja z vašo registrirano

prtljago (velja tudi za prtljago, oddano pred letalom), zadevo takoj

po prihodu prijavite na letališču pri ustrezni službi (Izgubljeno/Najdeno,

Lost&Found, Arrival Service). Telefonska številka + 386 (0 ) 25 94 339.

Center za stike s potniki

V Adrijinem Centru za stike s potniki lahko dobite vse informacije o naši

ponudbi in novostih, pa tudi pomoč ali nasvet.

Sem lahko potniki posredujete pritožbo ali odškodninski zahtevek, veseli pa

bomo tudi pohvale. Na naš center se lahko obrnete osebno, pisno, po elektronski

pošti prc@adria.si ali po telefonu na brezplačno številko 080 13 03 za klice

znotraj Slovenije oziroma kot doslej na telefonsko številko +386 (0)1 369 11 33.

Najemi avtomobilov in hoteli

Na Adrijini spletni strani smo pred kratkim dodali zavihka Rent-a-car in

Hoteli, ki vam omogočata najugodnejše najeme vozil in rezervacije hotelskih

namestitev. Zelo enostavno: obiščite www.adria.si in poiščite željeni zavihek.

Na voljo je nekaj deset tisoč hotelskih objektov na vseh kontinentih, od tistih

z eno zvezdico do prestižnih mednarodnih verig ter najemi vozil na več kot

3.400 lokacijah v 128 državah po celem svetu.

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Adria Airways Welcomes You Aboard

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Dear passengers, your satisfaction is our success. In order to ensure that your Adria flight is as pleasant

as possible, allow us to draw your attention to certain points that are important for your comfort and safety

before take-off, during the flight and after landing.

Before take-off

Economy and business class

The majority of Adria routes are served by the following aircraft: Airbus A319,

Canadair Regional Jet CRJ-100/200LR and CRJ-900.

A business class ticket is issued according to the current business class

tariff and is valid for one year. The ticket can be booked, paid for and picked

up at any time and includes other advantages such as changing the date of

travel without additional charge, a larger free luggage allowance, the use of

business lounges at airports, etc.

Economy class is for passengers with economy class tickets, which are

cheaper and carry certain restrictions.

Online ticketing

The cheapest and quickest way to book a flight and buy a ticket is to visit

Adria's website at www.adria.si. This only applies to flights operated by

Adria. Online purchases are protected by a security certificate. Passengers

receive their electronic tickets via e-mail.

If you require a ticket that will also include other carriers, please contact

our Call Centre for Reservations and Ticket Sales on: 386 1 369 10 10 or 080 13 00.

Republic of Slovenia or on its website http://www.vurs.gov.si/ under the section

Public Announcements/Import of Foodstuffs for Personal Use.

Carry-on luggage

For your safety and comfort, we ask you to observe international rules that

permit passengers to have one piece of carry-on luggage of a maximum size

of 55 x 40 x 20 cm and a maximum weight of 8 kg.

Carry-on luggage should be placed in the overhead bins. Heavier items may

be stored under the seat in front of you if possible.

We recommend that you take care when opening the overhead bins as

items may have moved during the flight and may fall out.

If your flight is on a CRJ aircraft, larger items of carry-on luggage must be

surrendered on boarding. They will be returned to you when you leave the

aircraft.

EU airport security rules

Travel with an electronic ticket

You can travel with an electronic ticket on all Adria Airways scheduled

flights.

On purchasing a ticket, passengers receive a passenger coupon and itinerary

in an Adria Airways cover. You can also receive the document via e-mail

and print it yourself. You must keep this document with you throughout the

journey. At the check-in, present your passport or identity card. The check-in

personnel will issue you with your boarding pass. Electronic documentation

of the ticket sale means that the ticket status can be verified at any time. It

also facilitates rapid transfer of data and reduces the chance of abuse. Most

importantly, there is no danger of losing the boarding pass, since it is stored

in electronic form.

Web Check-in

At Adria we are aware that every minute is precious when you are travelling.

Especially when heavy traffic holds you up on the way to the airport. The web

check-in service is a new service that lets you save time at the check-in desk:

because you can check in from home or office – or anywhere with an Internet

connection. You can check in as early as 24 hours and up to 60 minutes before

your scheduled departure time. Web check-in is currently only available on

selected Adria flights. In the coming months new destinations will gradually

be added.

Restrictions on bringing food into the EU

We advise passengers to check the list of articles that may be brought into

the EU before travelling. Strict controls of the import of meat, milk, fish,

shellfish and products derived from them is necessary to protect people and

animals from the diseases that they can transmit.

If customs officials discover prohibited foodstuffs of animal origin during

routine luggage checks, they will be confiscated. The informative leaflet

“What to bring home” is available on our website.

More information is available from the Veterinary Administration of the

In 2006 the European Union adopted new security rules that restrict the

amount of liquids that passengers can take aboard aircraft.

You are only allowed to take small quantities of liquids in your hand luggage.

These liquids must be in individual containers with a maximum capacity

of 100 millilitres each. These containers must be packed in one transparent

re-sealable plastic bag of not more than one litre capacity per passenger.

Liquids include: water and other drinks, soups, syrups; creams, lotions and

oils; perfumes; sprays; gels, including hair and shower gels; contents of pressurised

containers, including shaving foam, other foams and deodorants;

pastes, including toothpaste; liquid-solid mixtures; mascara; any other item

of similar consistency.

You can still:

• pack liquids in bags that you check in – the new rules only affect hand luggage;

• carry in your hand luggage medicines and dietary requirements, including

baby foods, for use during the trip. You may be asked for proof that they are

needed;

• buy liquids such as drinks and perfumes in an EU airport shop when

located beyond the point where you show your boarding pass or on board

an aircraft operated by an EU airline. If they are sold in a special sealed bag,

do not open it before you are screened – otherwise the contents may be


confiscated at the checkpoint. (If you transfer at an EU airport, do not open

the bag before screening at your airport of transfer, or at the last one if you

transfer more than once).

If you have any doubts, please ask your airline or travel agent in advance of

travel.

During the flight

items such as flammable liquids, compressed or liquefied gas cylinders, highly

inflammable materials, matches (except safety matches), and so on.

Comfort and health

For your comfort, an adjustable air vent and a reading light are located above

your seat. There is also a button which you can use to call a member of the

cabin crew if necessary.

The aircraft is equipped with a first aid kit. During the flight you may feel

an uncomfortable pressure in your ears. This is caused by changes in altitude

and the air pressure in the aircraft; swallowing or yawning will help relieve

the discomfort.

In order to avoid vein problems associated with long flights, we advise you

to take frequent walks up and down the cabin and to do stretching exercises

for the whole body while seated.

Alcohol on board

Consuming alcoholic beverages that you have brought on board the aircraft

yourself is not permitted. The cabin crew is not allowed to serve alcohol to

passengers who show signs of intoxication or to passengers under 18 years

old. Please bear in mind that because of the lower air pressure during flight,

alcohol has a faster and stronger effect than on the ground.

Safety information

Our cabin crew will give you important safety information before take-off.

You will find instructions for emergency procedures in the pocket of the seat

in front of you. Since these procedures differ depending on the type of aircraft,

we ask you to read the instructions carefully before every flight.

During take-off and landing you must fasten your seatbelt. For your own

safety and comfort we also recommend that you leave it fastened during the

flight. After landing, wait in your seat until the aircraft comes to a complete

stop or until the seatbelt sign is switched off.

The captain can issue a passenger who acts inappropriately on the aircraft

with what is called a RED CARD. The red card is intended for anyone

whose behaviour obstructs the work of the cabin crew, who does not observe

safety instructions or who threatens the safety and comfort of passengers.

Unacceptable behaviour on board an aircraft is a violation of the law. Placing

air traffic in jeopardy is a criminal offence in accordance with Article 330 of

the Criminal Code of the Republic of Slovenia (KZ-1), carrying with it the penalty

of imprisonment.

Use of electronic devices

Use of the following devices is not permitted aboard the aircraft: mobile

phones (they must be switched off!), radios and televisions, video games

with remote control, computer printers and other devices emitting electromagnetic

waves which could interfere with sensitive aircraft systems.

Other electronic devices such as portable computers, CD and DVD players

and pocket calculators may only be used during the flight (if they do not

cause a disturbance). They may not be used during take-off and landing.

Please check with the cabin crew before using electronic devices and be sure

to follow their instructions.

Hazardous items

Under international safety regulations air passengers may not transport,

either on their person or in their luggage, weapons and other hazardous

After landing

Delayed, lost and damaged luggage

If problems occur with your checked luggage during your journey (also applies

to luggage surrendered on boarding), contact the appropriate service as

soon as you arrive at the airport (Lost & Found, Arrival Service, etc.)

Passenger Relations Centre

Adria's Passenger Relations Centre provides you with news and information

about our services and can also offer assistance and advice.

Passengers can submit complaints or compensation claims, and praise is

always welcome. You can contact the Centre in person, in writing, by e-mail

to prc@adria.si, by phoning the free telephone number 080 13 03 if calling

from Slovenia, +386 1 369 11 33 if calling from outside Slovenia.

Rent-a-cars and hotels

We have recently added two tabs to Adria's website that enables you to book

a rent-a-car or hotel accomodation throughout the world at favourable rates.

Simply visit www.adria.si, click on the desired tab. Choose from among tens

of thousands of hotels on every continent, ranging from one-star hotels to

prestigious international hotel chains.

Budget Rent-a-Car Slovenia offers Adria Airways customers the best deals

on car rental in more than 3,400 destinations in 128 countries!

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Ostale storitve/Other services

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Prevoz tovora

Blagovna služba Adrie Airways odpremi vse pošiljke hitro in kakovostno do

vseh letališč po svetu. V sodelovanju z drugimi prevozniki in s pomočjo računalniško

podprtega rezervacijskega sistema spremljamo vsako pošiljko od

sprejema do predaje naslovniku.

Naša blagovna služba in prodajna zastopništva v tujini vam bodo z veseljem

pomagala odpremiti oz. dostaviti blago po najhitrejši in cenovno najugodnejši

poti.

ADRIA CARGO, Letališče Jožeta Pučnika Ljubljana – Prevoz tovora,

telefon: 04 259 43 40, faks: 04 202 30 30,

e-pošta: jp.cargo@adria.si

Cargo

The Adria Airways cargo service provides fast, high quality goods transport

to every airport in the world. In conjunction with other carriers, and with the

help of a computerised booking system, we monitor every item from reception

to delivery.

Our goods service and sales offices abroad will be happy to help you dispatch

or deliver goods by the fastest and most competitively priced route.

ADRIA CARGO, Ljubljana Jože Pučnik Airport – Cargo Transport,

Telephone: + 386 (04) 259 43 40, Fax: + 386 (04) 202 30 30,

e-mail: jp.cargo@adria.si

Zaposlene v družbi Adria Tehnika odlikuje vrhunsko tehnično znanje,

ki temelji na več kot 40-letnih izkušnjah vzdrževanja letal proizvajalcev

McDonnel Douglas, Airbus in Bombardier.

Več informacij na spletni strani www.adriatehnika.com.

Adria Tehnika maintenance staff have superlative technical know-how deriving

from more than 40 years' experience in maintaining McDonnell Douglas,

Airbus and Bombardier aircraft.

For more information visit www.adriatehnika.com.

Čarterski prevozi

Adria Airways ponuja potnikom, agencijam, podjetjem in drugim letalskim

prevoznikom poleg svojih rednih linij tudi čarterske polete iz Ljubljane in z

vseh drugih (predvsem evropskih) letališč. Z vstopom v Evropsko unijo ponujamo

agencijam, podjetjem in drugim letalskim prevoznikom tudi polete z

vseh drugih evropskih letališč.

Odlikujejo nas zlasti prilagodljivost, ažurnost, visoka kakovost in točnost

poletov.

E-pošta: charter@adria.si

Charters

In addition to its scheduled services, Adria Airways offers charter flights

from Ljubljana and other (mainly European) airports to passengers, agencies,

companies and other carriers. Now that Slovenia is part of the European

Union, we can also offer flights from all other European airports to agencies,

companies and other carriers.

Adria charters offer flexibility, up-to-the-minute services, high quality and

punctuality.

E-mail: charter@adria.si

katerega postane več članov združenja uradni prevoznik dogodka. Za vse nadaljnje

informacije smo dosegljivi po elektronski pošti: events@adria.si.

Spoznajte letenje v virtualnem svetu z našimi odličnimi inštruktorji.

V simulatorju letenja – v 30 minutah za samo 39 EUR (DDV je vključen v ceno)

– boste spoznali osnove letenja.

Za rezervacijo termina in dodatne informacije o obisku simulatorja pošljite

email na naslov: ales.bobnar@adria.si; GSM: +386 (0)41 604 116. Letenje je

možno po plačilu vnaprej in predhodni rezervaciji termina.

Več o ponudbi preberite na spletni strani www.adrialetalskasola.si.

Flight School

Learn to fly in a virtual world with our excellent instructors.

In our flight simulator you can learn the basics of flying in just 30 minutes

for a mere 39 euros (VAT included).

To book a session and for more information about a visit to the simulator,

e-mail us at the following address: ales.bobnar@adria.si; GSM: +386 (0)41 604

116. Booking essential. Payment in advance.

For more information visit www.adrialetalskasola.si.

Uradni prevoznik dogodkov

Kot sodobna družba razumemo potrebe poslovnega vsakdanjika, ki se vse pogosteje

odvija v globalnem prostoru. Zato stopamo naproti tistim, ki organizirajo

konference, kongrese, sejme ali druge mednarodne dogodke tako, da postanemo

njihov uradni ekskluzivni prevoznik, udeležencem ter organizatorju pa nudimo

posebne ugodnosti. Preprosto, učinkovito in prilagojeno potrebam svojih uporabnikov

poskrbimo za to, da dogodek poteka uspešno, udeleženci pa prispejo na

cilj pravočasno, varno in zanesljivo. Kot članica združenja Star Alliancea lahko za

večje mednarodne kongrese zagotovimo produkt »Conventions Plus«, v sklopu

Official events carrier

As a modern company we understand the needs of modern business, which

increasingly takes place in the global arena. For this reason we are ideally

positioned to work with organisers of conferences, congresses, fairs and

other international events by becoming their official exclusive carrier and

offering discounted fares and other advantages to participants and organisers.

With a simple, efficient approach adapted to the needs of our customers,

we make sure that the event runs smoothly, with participants arriving at

their destination on time, safely and reliably. As a Star Alliance member we

offer the Conventions Plus service for major international conferences, which

effectively makes all Star Alliance members the official carrier for the event.

For more information write to us at: events@adria.si.

Avio taxi - Panoramski leti

Z letalom Piper Turbo Arrow PA-28R-201T s tremi sedeži za potnike lahko

poletite do vseh večjih mest s špotnimi letališči v Sloveniji in do bližnjih letališč

sosednjih držav.

Za lete se lahko naročite po telefonu: 04 23 63 460 (Adria Airways Aviotaxi)

ali 041 636 420 (tel. pilota).

Aviotaxi – Panoramic flights

Our Piper Turbo Arrow PA-28R-201T, with its three passenger seats, can fly

you to all major towns with sports airfields in Slovenia and to nearby airports

in neighbouring countries.

To book flights, call us on: 04 23 63 460 (Adria Airways Aviotaxi)

or 041 636 420 (pilot)


Klubi zvestobe/Loyalty Clubs

Partnerska kartica Diners Club-Adria

Potniki s stalnim prebivališčem v Republiki Sloveniji se lahko odločite za skupno

plačilno kartico Diners Cluba in Adrie Airways. Z uporabo partnerske plačilne

kartice Diners Club-Adria lahko zbirate milje in koristite nagradne vozovnice

in druge ugodnosti v programu Miles & More. Vsak

porabljen evro vam bo prinesel 1 miljo. Dogovor, sklenjen

med Adrio in klubom Miles & More, prinaša imetnikom

partnerske kartice pomembno dodatno ugodnost: milje,

zbrane z nakupi s plačilno kartico Diners Club-Adria, ne

zapadejo, če ste vsaj tri mesece član, opravite z njo vsak

mesec vsaj en nakup in račune poravnavate v roku. Kartica

pa vam odpira vrata in nudi brezplačne storitve tudi v več

kot 130 letaliških salonih po vsem svetu, kjer boste lahko v

miru počakali na odhod svojega letala, brezplačno prelistali

časopis, se osvežili z napitki, telefonirali ali poslali faks.

Informacije: telefon 080 13 45, www.dinersclub.si, info@dinersclub.si

Diners Club-Adria Partner Card

Passengers with permanent residence in Slovenia can obtain the joint Diners Club

and Adria Airways charge card. By using the Diners Club – Adria Airways charge

card, you can collect miles and enjoy bonus tickets and other

privileges in the Miles & More programme. Every euro spent

will give you one mile. The agreement between Adria and

Miles & More brings partner card holders an important additional

benefit: miles collected through purchases using the

Diners Club-Adria payment card will not lapse if you have

been a member for at least three months, you use the card

for at least one purchase each month and you settle your

account balance on time. At the same time, the card opens

the door to free services in more than 130 airport lounges

around the world, where you can await your departure in tranquillity, browse

through newspapers, enjoy a refreshing drink, make phone calls or send faxes.

Information: Telephone: 080 13 45, www.dinersclub.si, info@dinersclub.si

( 126 )

Star Alliance

Star Alliance partnerstvo

Adria Airways je letalski prevoznik z več kot 49-letnimi izkušnjami v čarterskem in

rednem prometu. Uspešno sodeluje v evropskih integracijskih tokovih in se partnersko

povezuje z drugimi letalskimi prevozniki. Decembra 2004 se je Adria kot regionalna

članica pridružila največjemu globalnemu združenju letalskih prevoznikov Star

Allianceu, z januarjem 2010 pa je napredovala v polnopravno članico združenja.

Potnikom tako zagotavljamo vse prednosti, ki jih prinaša izboljšan dostop do

svetovnega omrežja prevoznikov, združenih v Star Allianceu. V povezavi s partnerji

vam omogočamo dostop do svetovne mreže poletov 27 letalskih prevoznikov, ki

z več kot 21.000 leti dnevno povezujejo 1160 destinacij v 181 državah.

Poleg tega so vam na voljo ugodnosti, ki jih ponujajo prevozniki člani Star

Alliancea, kot so: prijava na let do končne destinacije, priznavanje statusa, vstop

v letališke salone ter zbiranje in uveljavljanje točk ali milj v okviru programov za

pogoste potnike. Za številne destinacije po svetu so vam na voljo potovanja po

ugodnejših cenah in posebna ponudba Star Alliancea Round the World – potovanje

okoli sveta. Za več informacij smo vam na voljo na naših prodajnih mestih.

Nagradne prestope v višji razred potovanja omogoča

20 prevoznikov, članov združenja Star Alliance.

Največja nagrada, ki jo lahko dobite, ko zberete milje ali točke, je to, da jih lahko

uporabite svobodno, kjer koli in kadar koli želite. V okviru združenja Star Alliance

lahko sedaj svoje točke ali milje uporabite za prestov v višji razred potovanja pri

20 prevoznikih, članih združenja, za potovanja po vsem svetu.

S samodejnim sistemom za prestop v višji razred potovanja v našem združenju

lahko sedaj svoj prestop v višji razred uredite po telefonu ali v spletu do 24 ur

pred potovanjem, če je v višjem razredu prosto mesto, pri tem pa ne potrebujete

nove vozovnice ali kupona za prestop v višji razred.

Več informacij o prestopu v višji razred potovanja in drugih ugodnostih, ki jih

ponuja združenje Star Alliance, najdete na spletni strani staralliance.com.

Zaslužili ste si!

Adria Airways zaenkrat še ne nudi teh storitev na svojih letih.

Star Alliance partnership

Adria Airways has more than 49 years of experience in operating both charter and

scheduled flights. We are successfully participating in the process of European

integration and have established partnership arrangements with other air carriers.

In December 2004 Adria joined the Star Alliance, the world's largest airline

alliance, as a regional member and she became a full member in January 2010.

Our customers now benefit from improved access to the world-wide Star

Alliance network. In connection with our partners, we offer access to a global network

of flights on 27 airlines, which offer more than 21,000 flights daily serving

1,160 destinations in 181 countries.

Moreover, our passengers enjoy customer benefits offered by Star Alliance

member carriers, such as through check-in, status recognition, lounge access,

frequent flyer accrual and redemption. Reduced-price flights are available for

numerous destinations throughout the world, along with the Star Alliance

Round-the-World special offer. We will be glad to provide details at any Adria

sales outlet.

Upgrade across 20 of our member airlines,

with Star Alliance Upgrade Awards.

After accumulating miles or points, the biggest reward is the freedom to use

them, wherever you are, whenever you want. So with the Star Alliance network,

you can now use your points or miles to upgrade to a more comfortable seat,

across 20 of our member airlines to destinations around the globe.

With the network’s automated upgrade system you can now arrange your

upgrade over the phone or online up to 24 hours before the flight, depending

on availability. And there’s no need for a new ticket or an upgrade voucher.

To find out more about upgrading your travel experience and other benefits

of the Star Alliance network, visit staralliance.com.

You’ve earned it.

For the moment, Adria Airways is not yet offering this service on flights.

Dobrodošli v Miles & More

Razlog več, da poletite z Adrio Airways

Adria Airways nudi svojim pogostim potnikom program Miles & More in jim

s tem omogoča pestrost zbiranja in uporabljanja milj v celotni mreži poletov

članic Star Alliancea. Sem spadajo tudi vse redne proge Adrie Airways.

Welcome to Miles & More

One more reason for flying Adria Airways

Adria Airways is offering its frequent flyers the Miles & More programme,

which makes available a variety of ways to collect and use miles on the entire

flight network of Star Alliance members. All Adria Airways scheduled routes

are included in this network.

Prijava v klub

V klub se lahko prijavite s prijavnico, ki jo dobite na vseh prodajnih mestih

in v letalih Adrie Airways, ali pa to storite na naslovu www.adria.si na naših

spletnih straneh.

Zbiranje milj

Milje lahko zbirate na celotni mreži poletov članic Star Alliancea. Dodatne

milje lahko zbirate z bivanjem v hotelih, z najemom vozil, telefoniranjem,

nakupi v določenih trgovinah in z uporabo kreditnih kartic.

Člani Miles & More v Sloveniji bodo milje pridobili tudi s plačilno kartico

Diners Club-Adria. Vsak nakup v vrednosti 1 EUR vam bo prinesel eno miljo.

Milje, zbrane z nakupi s plačilno kartico Diners Club - Adria, ne zapadejo, če

ste vsaj tri mesece član, opravite z njo vsak mesec vsaj en nakup in račune

poravnavate v roku.

Poleg zbiranja milj imajo člani Miles & More še dodatne ugodnosti, kot so

prednost na čakalnih listah, prevoz večje količine prtljage idr.

Veljavnost zbranih milj je tri leta.

Koriščenje milj

Zbrane milje lahko uporabite za številne nagrade: brezplačne vozovnice

na progah članic Star Alliancea, potovanje v višjem razredu, počitniška

potovanja, nakup različnih artiklov.

Članske kartice

Z včlanitvijo postanete član kluba in imetnik osnovne kartice. Doseženo

število zahtevanih milj, zbranih v koledarskem letu, zagotavlja višje nivoje

članstva, kot so: srebrni član ali Frequent Traveller, zlati član ali Senator in

HON Circle Member. Višji nivo članstva vam prinese posebne ugodnosti.

Člansko kartico imejte vedno pri roki, potrebujete jo za beleženje milj,

uveljavljanje ugodnosti in naročanje nagrad.

Dobrodošli na poletih Adrie Airways, članice združenja Star Alliance!

Informacije o zbranih miljah, novostih v klubu, naročila nagradnih vozovnic

in drugih nagrad v klicnem centru Miles & More dobite na tel. št. (0)40 747

440 ali na naslovu www.adria.si. Navesti morate člansko številko in PIN

številko. V delovnem času od 8. do 18. ure vam bodo informacije na voljo v

slovenskem jeziku, kasneje v angleškem ali nemškem.

Club registration

You can join the club by filling in the registration form available at all sales

offices and on board Adria Airways aircraft, or by registering on-line at our

website, www.adria.si.

Collecting miles

You can collect miles within the entire Star Alliance network. You can also

collect additional miles through hotel stays, car rental, telephone calls,

purchases at selected shops and using your credit cards.

Miles & More members in Slovenia also receive miles when you use the

Diners Club-Adria charge card. Every euro charged earns you 1 mile. Miles

collected through purchases using the Diners Club-Adria payment card will

not lapse if you have been a member for at least three months, you use the

card for at least one purchase each month and you settle your account balance

on time.

In addition to collecting miles, Miles & More members enjoy additional

benefits such as priority on waiting lists, excess baggage allowance and so on.

Miles are valid for three years.

Using miles

You can use the miles you have accumulated for various benefits: free tickets

on Star Alliance member routes, upgrades to business class, holiday travel

and various purchases.

Membership cards

You become a club member as soon as you join. Accumulating the required

number of miles in a calendar year leads to higher levels of membership:

silver member or Frequent Traveller, or gold member or Senator, or HON

Circle Member. A higher level of membership offers you special benefits.

Always have your membership card on hand, because you’ll need it to

register miles, claim benefits and request awards.

Welcome aboard Adria Airways, a Star Alliance member!

For information on miles, Club news, to order free tickets or other benefits,

call the Miles & More call centre at +386 40 747 440 or visit our website at

www.adria.si. You’ll be asked for your membership number and PIN. We’ll

be happy to take your calls in Slovene from 8 am to 6 pm, and service is also

available in English and German outside these hours.

( 127 )

Prodaja vozovnic in rezervacije

Ticket Offices and Booking

Klicni center: telefon 00386 (0)1 36 91 010

Brezplačna številka v Sloveniji: 080 13 00

www.adria.si

( 128 )


Zgornji Brnik 130h

4210 Brnik - Aerodrom

Tel.: +386 (0)1 36 91 010

E-mail: booking@adria.si

Poslovalnice / Sales offices:

LJUBLJANA

Gosposvetska 6

1000 Ljubljana

Klicni center: 36 91 010, 080 13 00

Tel.: +386 (0)1 23 91 910

Fax: +386 (0)1 23 21 668

E-mail: adr.gosposvetska@adria.si

Letališče Jožeta Pučnika LJUBLJANA

LJUBLJANA Jože Pučnik Airport

Adria Airways Sales Office

Klicni center: 36 91 010, 080 13 00

Tel.: +386 (0)4 25 94 245

Fax: +386 (0)4 23 63 461

E-mail: adr.prodaja@adria.si

AMSTERDAM

Adria Airways, Netherlands

P.O. Box 75644

1118 ZR Schiphol Triport

Tel.: +31 20 625 11 22

Fax: +32 2 753 23 37

E-mail: adr.amstown@adria.si

Airport Ticketing Desk

Amsterdam Schiphol Airport

Globeground Ticketing Desk

Terminal 3, opposite check-in row 20

Tel.: +31 20 79 52 600

Fax: +31 20 79 52 601

E-mail: adr.amsariport@adria.si

ATHENS

Adria Airways, General Sales Agent

K.G. KOMPAS GREECE, 572 Vouliagmenis

Ave & Karaiskaki, 164 51 Athina

Argiroupoli

Tel.: + 30 21 09 94 7263,

Fax: + 30 21 09 94 7288,

E-mail: adr.athens@adria.si

BANJALUKA

Bosnia and Herzegovina

SKY SRPSKA

Tel.: +397 (0)51 220 330

Mobile: +387 (0)65 321 817

E-mail: office@sky srpska.aero

BARCELONA


Kompas Spain

C/ Paris, 162-164 Entlo 2a

08036 Barcelona

Tel.: + 34 93 246 67 77

Fax: +34 93 245 41 88

E-mail: adr.barcelona@adria.si

BELGRADE

Adria Airways Representative Office

OKI AIR INTERNATIONAL

Airport “Nikola Tesla”

11180 Belgrade 59

Tel/Fax: +381 11 2286457,

2286458, 2097457

E-mail: okiairbeg@oki.me,

adr.belgrade@adria.si

BRUSSELS


Brussels Airport – Box 4

1930 Zaventem

Tel.: +32 (0)2 75 32 336

Fax: +32 (0)2 75 32 337

E-mail: adr.brussels@adria.si

Adria Airways Ticket Desk

Airport Zaventem / Brussels

Tel.: +32 (0)2 75 32 337

COPENHAGEN


Representative and Information

Antello AB, Tings Gatan 2

256 56 Helsingborg, SWEDEN

Tel.: +46 (0)42 28 47 78

Fax: +46 (0)42 14 47 78

Mobil: +46 708 28 47 78

E-mail: adr.copenhagen@adria.si

Adria Airways Airport Ticket Desk

Copenhagen Airport

Terminal 2, Floor 2, Office 230

2770 Kastrup, Denmark

Tel. & Fax: +45 (0)32 51 59 59

Mobil: +46 708 28 47 78

E-mail: adr.copenhagen@adria.si

FRANKFURT


Frankfurt Airport

Terminal 1, Building 201

Room 201. 4043/4044

P.O.Box 039, 60549 Frankfurt am Main

Tel.: +49 (0)69 269 56 720, 269 56 721

Fax: +49 (0)69 269 56 730

E-mail: adr.frankfurt@adria.si


Frankfurt Airport, Terminal 1, Hall B

Sales Desk 307

P.O.Box 039, 60549 Frankfurt am Main

Tel. +49 (0)69 269 56 722

ISTANBUL


General Sales Agent

Ordu Cad No. 206/1

34470 Laleli, Istanbul

Tel.: +90 (0)212 51 24 232

Fax: +90 (0)212 51 24 234, 51 25 436

E-mail: adr.istanbul@adria.si

KIEV

General Sales Agent: AVIAREPS -

town office

Chervonoarmijska st. 9/2

Office number 2

01004 Kiev, Ukraine

Tel.: +38 044 287 07 47

Fax: +38 044 490 65 04

E-mail: jp.ukraine@aviareps.com


Borispol International Airport

Ticketing agent: Aquavita

Tel.: +38 044 230 00 49, 230 00 50

Fax: +38 044 230 00 48

E-mail: adr.kievairport@adria.si

LONDON, MANCHESTER,

DUBLIN

Adria Airways - London Gatwick Airport

Ticketing Agent: Skybreak

North Terminal, Zone A, Ticket Desk

Tel.: +44 (0) 1293 507 182

Fax: +44 (0) 1293 507 144

Reservations: Tel: +44 (0) 1293 555 707

E-mail: info@adria.si

MOSCOW


Derbenevskaja 4

113 114 Moscow

Tel.: +7 495 727 08 85

Fax: +7 495 727 08 88

E-mail: adr.moscow@adria.si


Sheremetyevo Airport

6 th Floor, Room Nr. 42 (6.42)

Tel.: +7 495 578 80 24

MUNICH

Prosimo, obrnite se na predstavništvo

v Frankfurtu.

Please contact our office in Frankfurt.

PARIS


94 rue Saint Lazare

75009 Paris

Stopnišče A, II. nadstropje

Staircase A, 2nd floor

Tel.: +33 (0)1 47 42 95 00

Fax: +33 (0)1 47 42 00 67

E-mail: adr.paris@adria.si

PODGORICA


Oki Air International

Ivana Vujoševića 46

81000 Podgorica

Tel.: +382 (0) 20 201 201

Tel. & Fax: +382 (0) 20 241 154

Mobil: +382 (0)67 24 11 54

E-mail: adr.podgorica@adria.si

Adria Airways Ticket Office

Podgorica Airport

OKI AIR INTERNATIONAL

Tel. & Fax: +382 (0) 20 623 232

Mobil: +382 (0)67 24 11 54

E-mail: adr.podgorica@adria.si

PRISTINA

Adria representative office – town office

Pal Palucij 3, 38000 Pristina

Tel.: +381 (0)38 54 34 11

Tel. & Fax: +381 (0)38 54 32 85

E-mail: adr.pristina@adria.si

Ticket issue at the airport

Tel.: +381 (0) 38 548 437

Fax: +381 (0) 38 548 437

Mobile: +377 44 501 241

SARAJEVO



Ferhadija 23

71000 Sarajevo

Tel.: +387 (0)33 23 21 25, 23 21 26

Fax: +387 (0)33 23 36 92

E-mail: adria@bih.net.ba


Sarajevo International Airport

Tel. & Fax: +387 33 464 331

E-mail: adr.sarajevo@adria.si

SKOPJE


General Sales Agent AAM dooel

Ulica Dame Gruev, Gradski Zid, blok 4/8

1000 Skopje

Tel.: +389 (0)2 31 17 009, 32 29 975

Fax: +389 (0)2 31 65 531

E-mail: adr.skopje@adria.si

Adria Airways Airport Ticket Office

Skopje Airport

Tel. +389 (0)2 25 50 133

STOCKHOLM



Antello AB, Tings Gatan 2

256 56 Helsingborg, Sweden

Tel.: +46 (0)42 28 4778

Fax: +46 0)42 14 4778

Mobil.: +46 708 28 4778

E-mail: adr.stockholm@adria.si

TEL AVIV


Mirus Services (1996) Ltd.

General Sales Agent

8 Mendele Str.

Tel Aviv 63432

Tel.: +972 (0)3 52 23 161

Fax: +972 (0)3 52 40 895

Adria Airways Ticket Desk

Ben Gurion Airport

Laufer Aviation Ltd.

Tel.: +972 (0)3 97 74 300

Fax: +972 (0)3 97 12 022

TIRANA

Adria Airways Albania

Europian Trade Center

Street bajram Curri No. 19

Town Office

Tel.: +355 4 227 4666

Tel. & Fax: +355 4 227 2666

Mobil Off.: +355 6 94076614

Airport

Tel. & Fax: +355 4 238 1911

Mobil in Rinas Apt.: +355 6 94076611

E-mail: adr.tirana@adria.si

VIENNA

Reservations and purchase

Adria Airways Station

A-1300 Vienna Airport

Tel.: +43 (1) 700 736 913

Fax: +43 (1) 700 736 914

E-mail: adr.vienna@adria.si

WARSAW


GLOBAIR Polska Sp z o.o.

Marszalkowska St. 28,

office number 1U-35

Warsaw 00-576

Tel: +48 (022) 696 85 20

Fax: +48 ( 022) 696 85 24

Mobile: +48 696 49 14 77

E-mail: adr.warsaw@adria.si

www.globairgroup.com

ZAGREB


Praška 9

10000 Zagreb

Tel.: +385 (0)1 48 10 011, 48 10 016

Fax: +385 (0)1 48 10 008

E-mail: adr.zagreb@adria.si

ZÜRICH


Loewenstrasse 54/II.

8001 Zürich

Tel.: +41 (0)44 212 63 93

Fax: +41 (0)44 212 52 66

E-mail: adr.zurich@adria.si

Adria Airways Airport Ticket Office

Zürich Airport

Terminal B-2-521

Tel.: +41 (0)43 81 64 437

Februar, marec 2011 - Adria Airways

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