Husino’s miner, the symbol of the 1920 workers’ rebellion, is reincarnated in the form of disco culture and delivers us a speech on past morality, solidarity, readiness to fight for human and workers’ rights; but also on lostness in the post-socialist transition, the emigration of the young workforce to the west and the arrival of large capitalist corporations in the east; and lastly the power of theatre and the power of art as the only possibility and the only constant of the 21st century. Nostalgia for “better times” or a “better version” of us all is a “disease” suffered by most of those who surround us. Postmodernism and deconstructivism have challenged the hierarchy, symbols and established values, including bunt. However, those of us who believe in the power of art will not be discouraged. That is how we decided to combine the two symbols and thus announce the future of optimism, prosperity and entry into a new fight for basic workers’ and human rights, but this time with arguments, creativity, pop art and in general: the power of art and artwork. The first symbol is the monument of Husino’s miner — monolithic and exalted with a rifle in his hand, he is obvious even to those who do not know in whose name he was built. The second is a disco ball that refers to past simpler and undisturbed times. Merged, the two represent a new symbol that differs from the others because it faces the future.


video and audio installation

prodution JU Muzej Istočne Bosne Tuzla & KRASS Kultur Crash Festival Hamburg & Kampnagel Hamburg

author Branko Šimić
statue Marc Einsiedel
music Mirza Rahmanović-Indigo
actor Dražen Pavlović
assistant author Alen Šimic
producer Ljubiša Veljković
marketing Darko Marković
technical realisation Dalibor Brkić
photo and video Mario Ilić & Mario Stjepić

duration 25’

performance in Bosnian with surtitles by Alessia Andreoli, Annalisa Betti, Ginevra Bianchin, Aurora Cacciatori, Federica Canino, Verdiana Crociani, Chiara Dalla Pozza, Michela Lavezzini, Alessia Martucci, Arianna Paradisi, Gianlorenzo Pastore, Adele Persegati, Marcella Puca, Elisa Pugi, Manjinder Thind, under the supervision of Prof.ssa Adele D’Arcangelo, Università di Bologna – Dipartimento di Interpretazione e Traduzione


Branko Šimić, born in Tuzla, grew up in Bosnia and Herzegovina, studied acting in Sarajevo and directing in Hamburg. In 2002 he received the Hamburg Prize for Theatre Direction. His productions have been shown in German-speaking countries as well as throughout Europe. His significant works include plays such as: Kwiskotheka: How the Smile Disappeared from Beate Zschäpe’s Face (2016) and Protest Portraits (2018). In 2015 he staged the documentary theatre project Srebrenica – I counted my remaining life in seconds… at the Thalia Gaußstraße in Hamburg. The play is still in repertoire today. At Kampnagel Hamburg, he has curated the Krass – Kultur Crash Festival since 2012. Šimić has also dedicated himself to other art forms since 2020, realising film works, installations and radio plays.