• As a consequence of multiple social pressures and machinations in the academic and literary sphere I left Slovenia in October 2012 together with my husband Braco. We now live in Paris.


  • This VIDEO below is sadly the first and last public theatre rehersal recorded in July 2012 in Murska Sobota. The theatre performance is a product of a collective of students, teachers, poets and others … named GRITO, which was founded and calibrated through a struggle against opressions at the University of Primorska in 2010 (when a sudden and brutal purge of teachers and assistants occured). After the purge and (more or less corrupted and disfunctional) “legal” court “tortures” we all needed – at least I thought that – some creative work as a paralel line of activities  to help us reflect what actually happened.  I wrote a theatre piece “If the Singer is Silenced” during the winter 2010/2011. Its main stress is on various opressions against creative people of different profiles in the past, men and women, and their reactions to these oppressive strategies; music (taken from Latin American struggles against dictatorships and appropriated to the Slovene context in music and words), poetry (protest poetry from various world traditions in my translations) and dance function as upright mechanisms of defiance. It is a combination of music, dance, performance and protest poetry, and it came to me like a flesh through three pages of Robert Hirschfeld “Is the Torture in Austria abolished?” / “Ist die Folter in Oesterreich abgeschafft?” (in Slovene version/translation these three pages are wrongly atributed to Karl Kraus).
  • I wrote this “piece” trying to grasp an exclusive history of discontinuities and banning of the most creative, socially critical and humanly sensible people in Central European region (the title “Si se calla el cantor” – is from the song of Horacio Guarany).
  • It is a “drama for bodies and voices” that includes a small core text [3-pages] of Robert Hirschfeld as the initial idea (slightly transformed as well), but is, of course, supplemented with my original text, translations of political poetry, adapted to the music from Latin America, supplemented with dance and life stories of various artists and composers.
  • “If the Singer is Silenced” sketches miserable fates of socio-artistic and political dissidents in Central Europe in the 19th and 20th centuries (to the Hirschfeld’s composeres H. Wolf, A. Brückner and B. Smetana I added some Slovene intellectuals and writers V. Bartol, A. Vode and a woman-poet in the final part as a prototype of treatment of women-intellectuals and artists in the country; de facto this final figure became in a way anticipation of my fate in Slovenia – when I left, when I and Braco left, we were utterly alone and only a few firm friends remained), but it has – I believe – a good spirit and potential for overcoming the politically imposed bipolar ideological divisions and oppressive obstacles, and this potentiality is in the transformation of the atmosphere without prospects to the one which is different and open. Its final lightness as a contrapunct to the weariness of history is also present in the protest words of poetry and in performance’s soft melodiosity and rhythm.
  • Soon after the singular public rehearsal  which is shown below – when crazy intrigues and defamations against Braco, my husband, and me by the “united forces” of Slovenian “elites” were in its full blossom (it is a systematically prepared, sad and unsettlingly complex story of more than 15 years of gossip that “became reality”) in a small and consternated space of Slovenia, caused by the university purge a year and a half earlier, and most incredible slander that accompanied it – (socially induced) breakdown of a theatre-team followed.
  • It was obvious then and it is clear to me now that it was probably too much to demand of young, intellectually and subjectively half made people who lack a strong wish to become full and responsible subjects (I simply mean an upright human beings and not pasive obedient idiots), to stand up as integral personalities and courageous citizens. I demanded from them no less than this – to be responsible citizens; I thought that they were capable of that. During the purge and even before (when the Dean abolished the Collegium artium, a faculty team for intellectual and cultural events that I conducted and we executed – many students were the same as in GRITO) we went together through very hard times, I lectured at the university such events and methods of counter-currents, and we were debating them actively. However, sadly it turned up the other way around: some of my best students slowly sink and adapted to the overall context of corruption and conformism – to be able to live in the country which offers no other possibilities.
  • It was probably too much to expect from them to become subjects – as this should happen in a totally conformistic and perverted Slovenian milieu (socio-historical context) which certainly does not support neither a small dosage of critical thinking and emancipation. If they would be real and upright subjects-citizens, capable of normal subjectivation/objectivation processes in today’s social infrastructure, no further possibility of career or a job will open for them in Slovenian society which needs only people it can (mis)use or drastically supervise.
  • But, again, it is true that my very best students left the country because they want to remain upright subjects and real intellectuals. So, finally, my students had a choice. It’s only that it was connected with more effort. Most of them, as it is a usual pattern, chose the easiest way out.
  • Of course, some superficial or malignant person might still think it that what had happened in GRITO was a personal conflict (or maybe it was just intended to look like that after the gossip was spread by a “couple” which initially started the attack, so the baseness of a core-gang which caused the conflict wouldn’t be seen). In fact it wasn’t a personal conflict, not even close to it: no social and therefore human conflict is only personal. And after all – no argumentative confrontation was ever made, though I’ve done everything to make this possible. The core assaulters’ team avoided the confrontations. It seems now that a few “colleagues” (our ex-students) totally misunderstood elementary university courses on social relations and faits sociaux, and I feel bad now that I and Braco ever gave them positive marks. But that’s done now, nothing can be changed.
  • We, Braco and I, experienced a repulsive generic matrix of the close-structured identity group which attacked the others instead of change themselves. A final Slovene experience – a camouflage of change (a group never believed in changes, but hypocritically acted as if it wanted changes) – now we understand much better why no changes ever occured in Slovenia. Nobody really wants any changes, members of different small identity groups warm and stipulate each other through every situation – be it in shared drinking or shared exclusion.
  • As a matter of fact: I don’t fight with people who work and think (or if I do, everything can be settled with a  few rational arguments and acceptance of difference, plurivocality and divergent points of view): I love to see young people empowered, growing in emancipation, argumentation in every aspect: it was a rewarding view when I saw my students becoming aware of their personal and social demands and rights and progressively realizing their own ideas to full potential. But this “apparition” was  or it turned out to be an illusion: Slovenians in power (a handful of people supervisiong the others) would not allow this to happen and students – after they started on a right way (they spoke up bravely during the purge!) later intuitively corrected their “normal digression” and followed the “official pathogenic line” with their gestures against the efforts of GRITO.
  • So, for those few of us, who know how social mechanisms in provincial space of Slovenia function on the interiorized and spontaneous level, GRITO’s collapse was just another spontaneous purge and demolition of a good working team by a very average local identity group which Braco and I have wrongly considered different, more open and heading towards emancipation – or at least in a good way to give an example of a new kind of social ties …
  • GRITO’s collapse was a strange and amazing repetition of the university purge in a small-scale dimensions. And that’s exactly why Slovenia remains such a hopeless case: in order to change anything, you first have to notice, to see and recognize the object of change, in order to correct it.
  • But in Slovenia nobody does any recognition or cognition whatsoever (only simulations of it) before he/she sets herself/himself in motion or action. The whole “society” just adapts all the time to the outerly postulated socio-political, cultural and economical currents with no intellectual compas, competences and contents. One day can be so, the other day totaly different – utterly contradictory to what has been said yesterday. Slovenes will just follow the outer line. No reflection done ever of this kind of servile oportunism. Everything in Slovenia just happens in a “spontaneous” way (c’est a dire it is totally sunk into doxa), no rationalization, no sanctions, no reflection, no responsibility, no argumentation.
  • Alegedly “cultural and intellectual elites” exist in Slovenia, but indeed, those people who took their positions are mostly political usurpators of social positions in a smoothly operative network (the only one! in a small country of 2 milion people which is totally mentally orchestrated and homogenized! so no real alternatives could be made) of utterly corrupted mutual favours. These same agents (P. Bourdieu), social actors, which/whom you probably love so much (I apologize and feel glad if you don’t trust them) – as they have a habit of a perfect adaptation to the interlocuter and are excellentely charming for five minutes or a few days when you meet them, they would offer you many exchange gifts – are de facto (in a structural mental network of society) most terrible opressors in their operationalizations in the inner social space of Slovenia. But for you, dear reader (especially if you’re not from Slovenia), they would play the role of former and today’s dissidents. They would play the role of the “critical and rational” ones – therefore taking away, stealing the social positions of the few precious ones whom they’re chasing and denigrating with this simple social mimicry. Small (not big) changes in their CV’s would be enough every few years to adjust to any situation. What they actually do is that they promote insidiousness and absolute-obsolete maliciousness (with their own lives and pop-media succes) as a good model of survival pattern. And many people abroad are buying it easily.
  • What can be the name of this particular type of invisible fascism – painting itself white and innocent – in the middle of Europe?
  • The conflict in GRITO was triggered by a few participants/actors (initially 2, but from an orbit of 5 or 6 against the whole team of around 30 people, in fact  it was focused against me as a person who animated and wanted to put in life many social actions for a more just society, including a theatre performance; even smaller emotional and mental turbulences in a sensitive theater are enough to ruin the group and the theatre piece), lacking their self-reflection and education in democratic confrontation practices, and who from behind gradually divided a group and made it unfunctional in its main mission of good will and open resistance in the social space of Slovenia. But it wouldn’t work, firstly, in a heterogeneous and pluralistic society, no way, it wouldn’t cause the collapse of a good working team and a total denigration of people who invested all their forces into the performance, if a broader social context wasn’t there to support this base and loathful action, if it wasn’t as homogenized, as hypocritical and as opportunistic as it was. Secondly, it wouldn’t be so bad if the community/team would react immediately against the plotters. But here’s what happened: there was only a brutal attack on me and a long silence. Then a few very stupid mails of the plotters came. Only one of the participants reacted promptly as a citizen and as a human being and stood up in a way one expects from decent people in normal society – and I’ll remember this reaction against felony as an act of a free person for the rest of my life. By then – despite of shock caused by this insidious gesture I’ve not expected after what we’ve been through together – I still wanted to confront all of them/us in vivo and talk rationally with the attack-group which over night became an enemy of the project which we were making together openly for years. I wanted to know what are they doing to us and to themselves or better what are they (non)thinking when they’re doing what they are doing.
  • Some 10 people responded to my request and came to the debate and cry, the others came and wanted to speak only to me, saying they don’t want to see other members ever again, the third ones came and said they don’t understand anything. Only the main consiprators of a scheme, a small group which actually pulled the trigger, never came and confront with the others, never came to look in the eyes of others (including me – the principal target of their attack) and apologize or explain their acts in person (in fact one or two came in an ambiguous mission, probably to transmit to the plotters what they wanted to hear anyway). They never came to see the disaster they have left behind. But, I suppose, they’re in a way living it now and are condemned to live in the future in the form of mental consequences of their acts in summer 2012 (utill they make a rigorous reflection of their actions).
  • So, all after all: what we were – Braco and I and some few other upright local people – witnesses of just a few weeks before our already announced theatre “premiere” – was just the most common Slovenian accomodation of supposedly rebel but de facto conformistic youngsters to the overhelming conformistic surroundings around them. It was done when they – for a brief moment – came in touch with an unsupportable and dangerous reality (with the Real) and they realized, consciousnessly or unconsciousnessly (in the latter case the realization was made for them and instead of them by their Unbewustsein, their unconsciousness), that it is too hard to endure and that they should invest much much more into it to be able to stand it. And this irruption of the Real which appeared exactly at the moment (not to be forgotten) when we were approaching the premiere was certainly not a lethargic current. It seems to me more like an irrepressible wave comming from a dark continent of secret wishes. A constraint that could not be surpassed easily. But they – the whole group through a conflict – peeked for a short moment into the level of something else (real world, a plural, heterogeneous and demanding one), what it could be, could have been – even in Slovenia – if people would be more active, more corageous, less frustrated, less invidious and if they would take their responsibilities seriously. If they were not hirelings, born of hirelings, born for hirelings… as one of the writers (Ivan Cankar) from early 20th century would say.
  • Nothing really changed in a century. Slovenes live in a state of permanent and tempting oscillations towards the most regressive of human conditions on can imagine in this world. The vernacular, proto-totalitarian, e. i. cosy and rotten “representational reality” of a Slovene closed mental world (a ghetto like society) is only two short steps away of the cosmetic front fasade of a democratic one.
  • Indeed, a pitty for GRITO, but that’s a Slovenian parallel reality (special and hidden to the outer world). You surely have to be aware of it before you undertake any action there which has a goal of real transformation of social ties (for the better). This very particular Slovenian “reality” is made of never-ending layers of conforming schmock, amorphous and chameleonic identity groups ruling the social space without any pertinency, orientation and firm grounds. Pure laboratory of divide et impera. Almost no contra-currents, or if they’re – they’re surrogative with no intentions to change anything. And on the other side you have either a totaly apathy and pasivity among the people (mass) tired of this appalling game of apparitions, or more active communities (active strictly in a negative way against somebody!) prone to the demagogic leader of the worst kind – especially if the leader seems charming and financially well situated.
  • Don’t try to really (nor apparently) change it – ever! Or, Slovenes will try to murder you, stratch your eyes out even in your dead body, and shit theirselves on your cadaver, work and opus: Slovenians just adore and love this cosy evolutionary stage of theirs, although they pretend (in front of everybody) it’s the other way around.


  • My performance as a nominee at the bestowal of the Veronika Award at the Celje’s Old Castle, 28th of August / Ma présentation en tant que nominée à l’occasion du Prix Veronika sur le Vieux château de Celje, le 28 août / Moj nastop (kot nominiranke) na podelitvi Veronikine nagrade na Starem gradu v Celju, 28. avgusta:







  • 29/02/2012 (20h): Contribution of the poets and musicians from Slovenia to the event Leap forward organized worldwide on 29 February 2012 by the The World Poetry Movement (WPM)/Movimiento Mundiale de Poesia (MMP). Read the Statement of the WPM & MM. We did our share (that is spoke up a poetic call for justice and real democracy) in KUD France Prešeren in Ljubljana and it felt great. / Contribution des poètes et les musiciens de Slovénie à l’événement poétique Bond en avant organisé par partout dans le monde le 29 février 2012 par The World Poetry Movement (WPM)/Movimiento Mundiale de Poesia (MMP). Ici vous pouvez lire Le communiqué des WPM & MM en anglais. /Prispevek pesnic/pesnikov in glasbenic/glasbenikov iz Slovenije k pesniškemu dogodku Skok naprej, ki ga je na različnih krajih po svetu organiziralo  Svetovno pesniško gibanje. Izjavo o tem dogodku lahko v angleščini preberete tukaj.
Photos by TK
  • Udeležba na irskem mednarodnem pesniškem srečanju Cork Spring  Poetry Festival  (15.-18. februar 2012) / Participation at the international Cork Spring  Poetry Festival  (15th-18th February 2012) / Participation au festival international de la poésie Cork Spring  Poetry Festival  (du 15 au 18 février 2012)

- Festival Brochure

Photos by TK
  • 12/02/2012 (14h-20h): Menza pri Koritu (Metelkova, Ljubljana) “Če utišate pevca”- gledališke vaje/”If the Singer is Silenced”- theater play rehearsal/”Si l’on fait taire le chanteur”- exercice de théâtre
Photos by TK, DBR, MB
  • Besede imajo silno moč [Words have immense power, in Slovene]: interview with Maja Pertič for the daily Primorske novice (1 February 2012)/Besede imajo silno moč [Les paroles ont une grande pouissance, en slovène]: entretien avec Maja Pertič pour le quotidien Primorske novice (le 1 février 2012)/Besede imajo silno moč: Intervju z Majo Pertič za dnevnik Primorske novice (1. februar 2012).


  • 26/1/2012 (11h): Launching and press conference of my new poetry book entitled From the Edge of a Cliff, CSK, Ljubljana, 2011. Event took place at the The Slovene Writers’ Association in Ljubljana./La promotion de mon nouveau livre de poésie Du bord de la falaise et la conférence de presse correspondante. L’événement a eu lieu dans le local de l’Union des Écrivains slovènes. /Predstavitev moje nove knjige poezije Z roba klifa na tiskovni konferenci CSK, Ljubljana, 2011. Dogodek je bil na Društvu slovenskih pisateljev v Ljubljani.
Incident na tiskovni konferenci: ki ga je sprožila moja izjava o (mojem) počutju v družbi nekdanje univerzitetne “kolegice” (skupaj naj bi, ena za drugo, predstavili knjige, ki so izšle pri zbirki Aleph Centra za slovensko književnost). Ta “kolegica”, ga. Helena Motoh, je v ključnem trenutku na UP FHŠ – tik pred izpeljavo kadrovske čistke leta 2010 – glasovala proti sprejetju zapisnika izredne seje Oddelka za antropologijo UP FHŠ (sklicalo jo je nekaj kolegic in kolegov v skladu s Pravilnikom o delovanju UP FHŠ), ki je izražal nezaupnico dotedanjemu predstojniku Oddelka za antropologijo g. Lenartu Škofu in ga je z utemeljitvijo v več točkah odstavljal z mesta predstojnika, saj je svoje tri kolege do zadnjega zavajal, da bodo imeli zaposlitve tudi v letu 2010/2011, nato pa sodeloval z vodstvom fakultete pri njihovi eliminaciji. Negativno je glasovala skupaj še z nekaterimi “kolegi” in “kolegicami” (nekaj med njimi jih v vseh 6 letih moje zaposlitve na UP FHŠ niti enkrat ni bilo na oddelčnih sejah, so pa prišli v ključnem trenutku dvigniti roke zoper  “nevšečnike” vodstva fakultete, ki so v zadnjih letih opozarjali na nepravilnosti v delovanju fakultete in oddelka), se pravi, da je de facto glasovala za “odpisanje” treh kolegov (dveh kolegic in enega kolega) Oddelka za antropologijo, ki so/smo v nadaljevanju izgubili zaposlitev. Ga. Helena Motoh se je na tiskovni konferenci – tako je videti glede na reakcijo in grožnjo s pravnimi sankcijami – “prepoznala” v izrečeni metafori (če se ne bi, zapleta ne bi bilo). Izrečena aluzija, ki jo omenjam v opravičilu spodaj, je ponazarjala zgolj strukturno razmerje udeležencev na konferenci in moj pogled nanj (moje počutje in osebno mnenje, torej, ki sem ga zmerom in ga bom tudi v bodoče povedala javno, če bom presodila, da je potrebno, za nejavna govoričenja o ljudeh nimam ne volje in ne časa). Ker je gospa napovedala pravne sankcije zoper mene, če ne napišem opravičila, sem to storila (gl. Javno opravičilo ge. Heleni Motoh). Dovolj je bilo preganjanja tistih, ki smo na napake na fakulteti opozarjali, in nezadržnega zmagoslavja tistih, ki so jih delali.
  • 24/1/2012 (21h): On the Radio Slovenia I, Program Ars, there was a dramatized version of my text “Exhaling Flame” on political poetry with my translations of the poems of rebellion and exile from different poetic traditions around the world./Dans le cadre du programme Ars de la Radio Slovénie I, on diffusa l’emission sur la poésie politique intitulée “Expirer la flamme” des traditions variées. /Na RTV SLO I, Program Ars, je bila oddaja o politični poeziji z naslovom “Izdihniti plamen, ki je dramatizirana verzija mojega teksta o politični poeziji, skupaj z mojimi prevodi politične poezije upora in eksila iz različnih svetovnih tradicij.
  • 13.-15. 1. 2012: Working week-end with the whole team for the dramatic-poetic-musical performance If the Singer is silenced, a Life dies out [Si se calla el cantor calla la vida]/Le weekend de travail de l’équipe complète du performans dramatico-poético-musical Si l’on fait se taire le chanteur c’est la vie qui se tait/Delovni vikend s celotno ekipo za dramsko-pesniško-glasbeni performans Če utišate pevca, utihne življenje.


  • Interview with Marko Gavriloski for the student journal Kažin (December 2011)/Entretien avec Marko Gavriloski pour le journal des étudiants Kažin (decembre 2011)/Intervju z Markom Gavriloskim za študentsko revijo Kažin (december 2011), ki je bil objavljen znotraj besedila “Kriza ali le prepih v DSP”, je v skrčeni obliki dostopen tukaj, daljša verzija pa tule.
  • Literarna turneja po Franciji je končana. V njej je bilo toliko lepih in ganljivih trenutkov (in ne bi jih doživela brez odlične organizacije v režiji Mateje Bizjak-Petit in s pomočjo Žive Čebulj, Mete Klinar in Pauline Fournier, pa Fabienne Swiatly, učiteljice Catherine, otrok osnovne šole v Tinqueuxu, Jeana Foucaulta, starejših občank in občanov v Chantillyju in številnih drugih), da potrebujem nekaj časa, da se vsi razvrstijo v bolj umirjen red memorije. Predstavljajte si, če si lahko, branje poezije za “živali zore” v živalskem vrtu v Amiensu, poezijo, ki nastane v živahnem laboratoriju osnovnošolskih otrok na podlagi vaših pesmi s tehniko brisanke, branje v domu za ostarele, kjer berete pesem o kamenčku in se gospa, ki živo, rahločutno in intenzivno doživlja branje poezije, piše Kamenček (Caillou)… Spodaj je nekaj vizualnih aides-mémoire. // Literary Tour in France is over. It contained so many beautiful and touching moments (which wouldn’t be possible if it was not for the excellent organization taken care of by Mateja Bizjak-Petit with a help of Živa Čebulj, Meta Klinar and Pauline Fournier, but also Fabienne Swiatly, a teacher Catherine, school children of the primary school in Tinqueux, Jean Foucault, old people in Chantilly, and many others), that I need some time to sort them out in a calmer order of memory. Imagine, if you can, a reading of poetry for the crepuscular animals in the zoo of Amiens; poetry, that is produced by the kids of primary school with the blackout thechnique on the basis of your own poems; a reading for the old men and women in the house for the retired people, where you read a poem about a pebble, and an old lady who enjoyes poetry a great deal with a visible delicacy just happens to have surname Pebble … Downthere there are a few visual aides-mémoire. // Tournée littéraire en France est terminée. Elle comportait tant des moments beaux et touchants (et ils n’auraient pas lieu sans l’organisation excellente menée par Mateja Bizjak-Petit elle même aidée par Živa Čebulj, Meta Klinar et Pauline Fournier, mais aussi par Fabienne Swiatly, la maîtresse d’école Catherine, les enfants de sa classe a l’école primairre de Tinqueux, Jean Foucault, les gens agés à Chantilly et beaucoup autres) que j’aie besoin d’un certain temps pour les passer en revue et les inserrer dans l’ordre plus calme de ma mémoire. Représentez vous si vous le pouvez une lecture de poésie à l’audience des “animaux crépusculaires” dans le jardin zoologique d’Amiens, la poésie produite, dans le laboratoire vivace des écoliers de la primaire, à partir de vos poèmes moyennant la technique d’effacement, la lecture dans une maison de vieillesse où vous lissez un poème sur le caillou et vous trouvez dans l’audience une dame écoutant la poésie avec un vif intérêt subtil et intense et dont de famille est bien le Caillou … En bas de page se trouve une poignée des aides-mémoire visuels. 
  • Branja / Readings / Lectures:

9. 12. 2011: Tinqueux (Reims), v osnovni šoli / à l’école primaire


Photos by DBR

Ura poezije v osnovnošolskem razredu, specializiranem za poezijo, ki ga vodi učiteljica Catherine.            Nepozabno.

Inoubliable.                          Tiho ploskanje sredi glasne debate o poeziji.

Branje pesniških izdelkov otrok na podlagi brisank mojih pesmi.


noire    noire

Živela laična šola! *Vive l’école laïque!*

in še spominček na Kimberly / et un souvenir à Kimberly

9. 12. 2011: Tinqueux (Reims), v kulturnem centru / au centre culturel

Fabienne Swiatly, Živa Čebulj, Taja K. & publika (photos by DBR)

10. 12. 2011: Amiens, v kulturnem centru / au centre culturel

Na fotografijah so Françoise Coulmin, Anne-Marie Soulier, Taja K., Meta Klinar, Jean Foucault idr. (photo by DRB)

10. 12. 2011: Amiens, v živalskem vrtu / dans le jardin zooligique

Photos by DBR

Les poètes n’hibernet pas        parc zoologique

nočno                            branje

med                živalmi                                       mraka

parmi les animaux                 crepusculaires

peep — volk/loup — fructivora

11. 12. 2011: Chantilly, pesnice in pesniki v domu za stare občane / Chantilly, melting poètes à la maison de retraite Arc en ciel

Photos by DBT, TK

Chantilly -

v sobi generala Joffra …

dans la chambre de général Joffre …

Jean                              Anne-Marie

attentive audience


Živa & Taja

… et madame Caillou

12. 12. 2011: INALCO, Pariz (65 rue des Grands Moulins – CS21351 – 75214 PARIS cedex 13), pogovor s Pauline Fournier, predstojnico sekcije za slovenski jezik in literaturo / entretien avec Pauline Fournier, la supérieure de la section de langue et littérature slovènes

Taja K. & Pauline Fournier (© desno foto: Lado Jelen; druge fotografije s turneje DBR, TK)


  • V okviru zasedbe/osvoboditve FF UL sem imela 29. 11. 2011 predavanje o politični poeziji z naslovom “Mi smo tisti, na katere smo čakali” (to je verz June Jordan iz pesmi z naslovom A Poem for South African Women/Pesem za južnoafriške ženske). Video posnetek predavanja je tule. / On 29 November 2011 I had a lecture on political poetry (entitled “We are the ones we have been waiting for”) in the frames of the occupation/liberation of the Faculty of Arts (University of Ljubljana). Lecture was video-recorded, link to the video is here (only in Slovenian). / Dans le cadre de l’occupation/libération de la Faculté des Arts (Université de Ljubljana) j’ai eu la conférence sur la poésie politique “Nous sommes ceux-mêmes à qui nous attendions”. Pour vidéo-enregistrement cliquez ici (en slovène seulement).
  • V soorganizaciji Kulturnega kluba Koper in Skupnosti Italijanov “Santorio Santorio” je v ponedeljek, 28. 11. 2011 ob 18.30, v palači Gravisi v Kopru gostovala pesnica in performerka ANTONELLA BUKOVAZ


Photos by TK (Antonella, Mario, Antonella & Hanna)


  • Interview for the weekly Mladina/Entretien pour l’hebdomadaire Mladina/Intervju za tednik Mladina (5. 8. 2011):

Full Version-Version intégralle-Integralna verzija

Published Version/Version publiée/Objavljena verzija


  • A new children’s book of mine has come out in Topolo (Italy)/Mon livre d’enfants nouveau est paru à Topolo (Italie)/V Topolovem v Italiji je izšla moja nova otroška knjiga:

Refugij Tapù/Rifugio Tapù (dvojezično: slovensko-italijansko/bilingual: Slovenian-Italian/bilingue: slovène-italien, ilustracije/illustrated by/illustrations par Taja Kramberger & Serena Obit Gonzalez), urednik in prevajalec/editor and translator/éditeur et traducteur Michele Obit, prelom in oblikovanje/design/composition Donatella Ruttar, Projekt/Project/Projet “Koderjana”, Topolo/Topolove (Italija), 2011.

Knjigo je mogoče naročiti na tem naslovu/Book can be ordered at this address/Livre peut être commendé à l’adresse suivante: kdivantrinko(at)

Here are a few fragments/Voici quelques fragments/Tule je nekaj odlomkov:

Slovensko: Kako izboljšati zgodovino… // Šolski pravilnik // Gnida in Gvido

Italiano: Come migliorare la storia… // Regolamento scolastico // Gnida e Guido

Launching a book in Topolo (Italy)/Présentation du livre à Topolo (Italie)/Predstavitev knjige v Topolovem (16. 8. 2011), to the left/à gauche/levo: Taja Kramberger & Michele Obit, to the right/à droite/desno: Taja Kramberger, © Photos by Lado Jelen, 2011.

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