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documenta 14 team speaks out about value production of the arts (Kassel, Germany)

September 16, 2017

Statement from the Artistic Director and Team of documenta 14

We read with astonishment the articles (here and here) that were published on September 12 in the HNA newspaper in Kassel. Presenting their opinions as objective facts, reiterating speculations and half-truths, the authors portrayed Adam Szymczyk, the Artistic Director of documenta 14, and Annette Kulenkampff, the CEO of documenta gGmbH, as responsible for what they described as the imminent bankruptcy of documenta. According to them, this was caused by a lack of managerial capacity and a failure of financial oversight on the part of the team of documenta gGmbH. None of the journalists took their responsibility to check their facts with the two protagonists nor seek to gain a more complex picture of the situation.

We acknowledge the responsibility that comes with organizing an exhibition that is partly financed with public funds. Furthermore, documenta 14 is made public in a collective and transnational way, beyond the mechanisms of local, regional and national identities and the funding systems associated with them. The argument of responsibility and accountability has to be understood in these terms. With this in mind, we wish to correct the misleading impressions given by this misguided journalism. The dimensions and planned content of the documenta 14 project were proposed by Adam Szymczyk in late 2013. His concept of two venues, in Athens and Kassel, was clearly communicated to all responsible parties at the time, namely all the stakeholders, the Supervisory Board of documenta gGmbH, and the international selection committee. Since the moment of his appointment, all these stakeholders have continually expressed their support for the project and stood behind all steps taken in the process of this two-venue documenta 14. Indeed, it is exactly this concept, with its inherent and predictable challenges, that convinced the independent selection committee to propose Adam Szymczyk as Artistic Director of documenta 14 in November 2013. The stakeholders of documenta 14 welcomed and authorized this nomination and committed themselves to its fulfillment. They understood at that time that this great arts event could no longer rely on bringing the world to Kassel, but had to displace itself and become the embodiment of change—in order to rediscover its rationale and legitimacy—as some of the past editions of documenta did.

Given the events of the last few days, however, we must conclude that this approval was much more contingent and limited than we were led to believe. The fact is that the budget and structural funding has not substantially changed from 2012, despite the fact that this new project would necessarily have major and obvious implications on the financial side. Save for one budget adjustment, which was discussed in summer of 2016 and implemented in winter of the same year (the cost of which would be shared between the stakeholders and documenta 14 ticket sales) no additional funds were considered necessary to cover the costs of staging the exhibition in two cities over a total of 163 days of the exhibition—one entire city and 63 days more than any previous documenta.

In a spirit of collective reflection, we believe it is time to question the value production regime of mega-exhibitions such as documenta. We would like to denounce the exploitative model under which the stakeholders of documenta wish the “most important exhibition of the world” to be produced. The expectations of ever-increasing success and economic growth not only generate exploitative working conditions but also jeopardize the possibility of the exhibition remaining a site of critical action and artistic experimentation. How can the value production of documenta be measured?

The money flowing into the city through the making of documenta greatly exceeds the amount the city and region spend on the exhibition.

We have decided at this moment to speak out, and collectively take agency to protect the independence of documenta as a cultural and artistic public institution from political interests. Unfortunately, politicians have prompted the media upheaval by disseminating an image of imminent bankruptcy of documenta and at the same time presented themselves as the “saviors” of a crisis they themselves allowed to develop.

We take a stance as cultural workers who have accomplished the realization of this (certainly controversial) undertaking, documenta 14. We want to stand up in solidarity with the work of Annette Kulenkampff and the administration of documenta gGmbH.

Having no political power as such, we, as organizers of the event, wish to cherish the vivid reception and animated debate that has flowed from our efforts. We will not have them ignored by political expediency. We call upon documenta stakeholders for a moment of reflection. We are living in a moment where time and peace are in short supply. Freedom, artistic and other, is something that we all need to sustain. It seems to us more urgent than ever in today’s world. Therefore, we ask everyone, whether involved in this controversy or not, to show solidarity with us in defending the values of a free, critical, and experimental documenta.

We send this statement to German and international media in the hope of generating thoughtful discussion and a new awareness of what is at stake.

The Artistic Director and the team of documenta 14:

Adam Szymczyk, Artistic Director
Sepake Angiama, Head of Education
Pierre Bal-Blanc, Curator
Marina Fokidis, Curatorial Advisor
Hendrik Folkerts, Curator
Natasha Ginwala, Curatorial Advisor
Ayşe Güle, Community Liaison
Candice Hopkins, Curator
Salvatore Lacagnina, Studio 14
Quinn Latimer, Editor-in-Chief of Publications
Andrea Linnenkohl, Curatorial Advisor
Bonaventure Soh Bejeng Ndikung, Curator at Large
Hila Peleg, Curator
Paul B. Preciado, Curator of Public Programs
Dieter Roelstraete, Curator
Erzen Shkololli, Curatorial Advisor
Elena Sorokina, Curatorial Advisor
Monika Szewczyk, Curator
Paolo Thorsen-Nagel, Sound and Music Advisor
Katerina Tselou, Curatorial Advisor

Statement on our dismissal from the WIENER FESTWOCHEN (Vienna, Austria)

July 18, 2017

Eleven days after the end of the FESTWOCHEN festival, and one day before the start of our vacation, director Wolfgang Wais ordered us, the co-curators of the WIENER FESTWOCHEN under the artistic directorship of Tomas Zierhofer-Kin, on short notice into his office. Two work-councils were sitting at the table; two letters of termination were placed on our seats. “Please hand over the keys and your mobile phones and clear your office. From now on you are exempted.” One recognizes these kinds of scenes from films about investment bankers, who leave the office after an unexpected termination conversation, with a cardboard box under their arm, like beaten dogs. We were stunned to find that termination behavior characteristic of neoliberal economies is practiced at the WIENER FESTWOCHEN.

We joined the team of Tomas Zierhofer-Kin in 2015 with the task of supporting him in the content and structural adjustment of the WIENER FESTWOCHEN. Our goal was to generate a new and younger audience without losing the “old” audiences. Change is a process that can not be completed after one festival. And it was clear to all of us that a fundamental renewal of such a prestigious festival would be accompanied by critical voices – both from the audience and from the media.

To shape this transition process, we came together and tried to work with the city and the festival team by inspiring them with our program. With astonishment, we read that “on the basis of the experiences and insights” of our first festival edition consequences are drawn. An evaluation or a joint reflection of the festival a few days after the FESTWOCHEN had not yet taken place, at least not with us. We have planned our first edition at the curator’s round table, just as Tomas Zierhofer-Kin wished for the next issue. We were dismissed by the throne of the longtime CEO Wolfgang Wais. A personal conversation with Zierhofer-Kin, which we should mention at this point, has not taken place since then. A few days after the dismissal, he expressed his regret by email. Too bad: we were just about to analyze the past festival, and we reflected on critical voices from the traditional audience and from the media. But there are a lot of things, many of which have received good responses, that we are proud of, such as the “Academy of Unlearning” or the Performeum.

After our dismissal, we again looked at the open letter from Frie Leysen, in which she explained in detail why she did not want to continue working for the festivals despite her successful curation [Leysen left due her criticism that the most of the festival budget was spent on administration rather than on artists and artistic projects]. We could sign this letter today, three years later, or at any time. However, we were convinced that we could develop a vision for the FESTWOCHEN that we could implement in the long term.

We obviously counted our chicken before they were hatched.

The festival’s established power structures have made any renewal impossible. The dramaturgy’s round table, in which Tomas Zierhofer-Kin wants to sit with his new team this autumn, will not produce any dialogue at the eye-level. The newcomers should memorize exactly where the CEO sits, before getting into the WIENER FESTWOCHEN adventure. We wish you all the best. We, on the other hand, are looking forward to work again in the future, in a space where artistic visions are actually wanted and also implemented in a long-term, common learning process.

Nadine Jessen and Johannes Maile

June 29, 2017 

Censorship at the Collegium Hungaricum Vienna

July 12, 2017

On 27 June 2017, our work entitled [See no evil, hear no evil, speak no evil] was removed from the Real Hungary exhibition, arranged in the building of the Collegium Hungaricum Vienna, before it opened. The triptych in question was the latest element of our series entitled Flags. Three Hungarian flags are represented so that each has one colour of the tricolour painted over with black enamel paint. Our first flag in the series was displayed in 2010 at the exhibition of Esterházy Prize recipients also arranged at the Collegium Hungaricum Vienna. For the current occasion, according to our agreement with the curator, and alongside other works, we produced new flags. With our works, our objective was to offer a critical response to the concept of the exhibition*, and not to incite a political scandal. With our selection, to present formally abstract works at a show engaged in Realist traditions, we wanted to reflect upon the problematics of categorization.

*Abstract Hungary (Künstlerhaus, Graz, 2017) / Real Hungary (Collegium Hungaricum, Vienna, 2017).

The facts, in brief:

  1. The exhibition of Esterházy Prize winners, entitled Real Hungary, was arranged in the Hungarian Institute on the invitation of the director of the Collegium Hungaricum Vienna, i.e., Mária Molnár
  2. The curator of the exhibition was Vitus Weh, contemporary art advisor to the Esterházy private foundation, and the works on view appeared with his approval, the ominous work in question, among others.
  3. While our work was meant to be installed on the wall on the day before the opening, we were in fact unable to arrive to the Institute during opening hours due to reasons outside our control. We notified the staff of the Institute, who did not indicate any problems in connection with this, and they arranged for our installation to take place the following day (the day of the opening); the staff was very helpful. Mária Molnár did not make any contact with us personally, nor did she advise either the artists or the curator that she would like to inspect the displayed works before the opening, nor did she ask for any further information about the new pictures, though we would have been more than happy to oblige. The place for the triptych was waiting empty on the wall when we arrived.
  4. The week before the opening, we had provided the information about the new work upon the request of the staff at the Institute, so that it could be included in the list of works and on the list for insurance, and no photos were requested beforehand.
  5. As we found out that day, when we installed the pictures, Mária Molnár was not even in Vienna; thus, she most likely was informed by telephone that the pictures had been installed, and that they were flags.
  6. The triptych was installed on the wall 6 hours before the opening, in the knowledge that (since this was what we had agreed upon) this would not be a problem. Nevertheless, during lunch, the staff member of the foundation and the curator received the directive from Mária Molnár to remove the work from the exhibition immediately. All of this likewise occurred by telephone, as Mária Molnár was still not in the building; i.e., she decided without seeing it, in an insupportable tone, referring to the fact that political work could not be shown in the Hungarian Institute, especially not when it concerned the desecration of national symbols. There was no mention of any sort of bureaucratic reasons or rules.
  7. For our part, after this, the best solution seemed to be to retract all of our works, but in consultation with the curator, and in consideration of the foundation, the exhibition, and all the other artists, we made a compromise and we accepted the removal of the triptych. By the time we returned to the exhibition space, the pictures had already been removed, but we insisted on documenting the event, and so we re-installed and then removed the pictures once again. Five minutes later, the place for the nails was already filled.
  8. After the opening, we were finally able to speak with the director of the Institute in person, who continued to refer to the desecration of national symbols as her reason, as well as mentioning its tastelessness. She did say, however, that now she would be willing to look at the work with her own eyes. This, however, has still not happened yet.
  9. The exhibition is now closed because of technical reasons. According to the contract between the Esterhazy Foundation and The Collegium Hungaricum Vienna it should be on view until the 10th of October.


Lőrinc Borsos

(Lilla Lőrinc, János Borsos)

Budapest, 07.05.2017


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Lőrinc Borsos

See No Evil, Hear No Evil, Speak No Evil

2017, triptychon, acrilyc, enamel on wood, 20x30x5 cm each

about flag series:

Uncleared Invoices Statement

July 2, 2017

As curators, theorists, artists and contributors in other capacities, we all accepted the invitation of Franco Marinotti, artistic director and president of Fondazione La Fabbrica del Cioccolato (Blenio Valley, Canton Ticino, Switzerland) to work, show, or lecture at the newly founded institution.

The activity of the foundation began in 2016. As is customary in the field of art, we worked on the assumption of mutual trust, contributing to the program on the basis of emails assuring us of an honorarium. But now, several months after our work was completed, our invoices are still uncleared.

Parallel to his involvement in La Fabbrica del Cioccolato, Franco Marinotti is an entrepreneur and also a politician affiliated to Verdi Liberali Tessin ( He divides his time between Castagnola (Switzerland), Italy and Barcelona, where he prefers to ignore our messages and reminders of payments owed.

Giovanni Casella Piazza, the foundation’s vice-president and founder, a film producer and resident of La Fabbrica del Cioccolato, pretends to know nothing whatsoever about uncleared invoices.

Cultural producers are not alone in awaiting outstanding payments. The former assistant of the artistic director, who was employed under formal contract, has likewise been forced to wait for arrears. This single mother of a young child has already instructed a lawyer to take all necessary steps to recover the income owed for several months’ work.

For a few of us the money owed should supplement income from some kind of day job. For all of us, however – especially but not only those with no such regular employment – it is a matter of economic necessity: in other words, of survival. In writing this letter together we intend to enforce the claims of everyone who depends on the payments agreed.

It appears that Franco Marinotti offered payment for our work on behalf of La Fabbrica del Cioccolato at a moment when the foundation clearly lacked the necessary funds.

For a person who declares on the website of La Fabbrica del Cioccolato ( and again on his personal site ( that he “inherited his father’s talent and sensitivity for the world of art”, no solution should be thinkable except that of immediately paying all uncleared invoices. As artistic director and president of the foundation, he is personally responsible for this breach of trust and the resulting economic distress.

Elena Bari, communication manager, Berlin and Milan

Federica Martini, art historian and curator, Lausanne

Gerald Raunig, philosopher and art theorist, Málaga and Zurich

Oliver Ressler, artist and filmmaker, Vienna

Noah Stolz, curator, Geneva

An Open Letter to Sting from the Cc Group

June 18, 2017

BALTIC Banish Book 1

An Open Letter to Sting,

As an Honorary Patron of BALTIC Centre for Contemporary Art and also as someone who was familiar with the Buddle Arts Centre in Wallsend we feel that you will share our concern that BALTIC has recently removed the only example of a Buddle AdHOC Gallery book from it’s archive.

The removal of this book from the BALTIC archive at this time is linked to a larger disputed archival narrative about how BALTIC acquired control of 39 High

Below is the back cover of the book with the Waygood 39 High Bridge
Studio floor plan:
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BALTIC Banish Book.jpg

– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
“Wall” is a Buddle exhibition catalogue that contains colour images by twentyfive Waygood artists who had studios in 39 High Bridge in the centre of Newcastle in 2001.

Ever since then, as part of the B4B programme, this book has been publicly available via the BALTIC Plus Archive.

Below is a screen shot of the BALTIC archive website site earlier this year…

– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

BALTIC Plus archive with Waygood Gallery Wall catalogue.jpg

– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

However this year, without warning, the book has been removed from the BALTIC archive.

The Cc group are keen to open an exchange with the BALTIC Trustees but have been  unable to secure any response from them. Hence this letter.

We would like to thank you in advance, as an Honorary Patron of BALTIC, for showing this letter to BALTIC Chairman, Peter Buchan.

With your prompting we are confident that Mr Buchan will raise the matter of BALTIC 39’s High Bridge revisionist archival narrative with his Trustees.

This is the outcome we hope to achieve with this letter.

We are asking that the BALTIC Trustees contact Cc so we can resume this dialogue about the BALTIC archive in a more conventional manner.

The Cc group email is:

Thank you for your time and your interest in this matter.

Yours sincerely

on behalf of the Cc group, June 2017

Cc consists of a group of changing people

ICE FLOE. The institutional issue. Crossroads between Eastern Europe and the River Plate region (Montevideo, Uruguay)

May 19, 2017

Crossroads between Eastern Europe and the River Plate region

ArtLeaks, Azra Akšamija, Aldo Baroffio y Soledad Bettoni, Carlos Capelán, Graciela Carnevale, Andreas Fogarasi, Liljana Gjuzelova y Sašo Stanojkovik, Hungry Artists Foundation, Jusuf Hadžifejzović, Lea Lublin, Dalibor Martinis, Paula Massarutti, Ivan Moudov, Dan Perjovschi, Lia Perjovschi, Tadej Pogačar, Mariana Tellería, Pablo Uribe y Leonello Zambon.

National Museum for the Visual Arts, Montevideo (MNAV)
Tomas Giribaldi Av. 2283
Opening: 25th May, 2017

TÉMPANO. El problema de lo institucional. Cruces entre Europa del Este y el Río de la Plata [ICE FLOE. The institutional issue. Crossroads between Eastern Europe and the River Plate region] is a research project produced by Museum of Contemporary Art of Montevideo (MACMO). Its primary objective is to replicate, producing cross-regional dialogues and correspondences, the research and exhibition program Inside Out. Not So White Cube, a project focused on artists and artworks related to the institutional issue (institutional critique, art and institutions, instituent practices, institutionalisms) in Central and South-Eastern Europe led by Alenka Gregorič (artistic director of the City Art Gallery of Ljubljana, Slovenia) and Suzana Milevska (independent curator and theorist based in Macedonia, principle researcher at the Politecnico di Milano, Italy). Inside Out. Not so white cube was presented to the public through exhibitions, publications and open activities in Ljubljana (Slovenia) and Belgrade (Serbia) in 2015 and 2016.

ICE FLOE. The institutional issue. Crossroads between Eastern Europe and the River Plate region builds bridges between some of those art practices analyzed by Gregorič and Milevska and similar ones (in their aims, methods or spirit) from the River Plate region of South America. MACMO’s research team (which also integrated students from the National School of Fine Arts from Montevideo) selected 10 artists and collectives from the Inside Out. Not so white cube show held at the City Art Gallery of Ljubljana (September-November, 2015) to be joined by 9 study cases addressing art works and art projects produced by artists from Uruguay and Argentina since the end of the sixties to the present day. Through this corpus, dialogues are established, similar symptoms are distinguished, and absences and differences are discerned, between two contexts of production which are very different in many aspects while sharing a series of common characteristics. The comparative analysis of this repertoire of artistic positions offers us some tools to put exotisms and isolations into question, to produce critical readings, and to construct contexts of interpretation that surpass local and national positions and terminologies.

It is well known that only a small fraction of the mass of an ice floe is visible over the surface of the water: most of it is hidden below. The art works and projects studied by MACMO’s research team deal with artistic institutions focusing on what they hide and conceal. These practices try to demonstrate, through a variety of strategies and methods, the contingency, historicity and calculated nature of what is taken for granted, immutable and non-ideological in art institutions and their behaviors.

Work team:
Curatorship and production: Francisco Tomsich, Eugenia González, Agustina Rodríguez
Montage design: Eugenia González, Agustina Rodríguez, Leonello Zambon
Translations: Francisco Tomsich
Collaboration: Laura Outeda, Mauricio Rodríguez, May Puchet, Cecilia Sánchez


ArtLeaks has prepared specially for the exhibition Ice Floe. The Institutional Issue, a new edition of the ArtLeaks Wall Newspaper where you can read a selection of ArtLeaks cases in ArtLeaks Wall Newspaper #3 (Spanish) and ArtLeaks Wall Newspaper #3 (English). You can also download ArtLeaks Wall Newspaper #2 (English) in PDF format.

Photographs of the installation:

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Join the action ‘Countdown’ for a more socially responsible dance centre (Zagreb, Croatia)

May 8, 2017

Long-term attempts of the Zagreb dance scene to organise a public dance centre which would be managed transparently and responsibly once again became relevant a year ago. That was the moment when Milan Bandić, the mayor of Zagreb, put the Zagreb Dance Centre under the management of the Zagreb Youth Theatre “behind the closed doors”, based on political eligibility. With this decision, the city government privatised the only spatial and production resource for dance in Zagreb for the second time (the first time being in 2009), this time allegedly because of expense rationalisation.

Owing to this decision, today the management, staffing, programming and financing of dance in the Zagreb Dance Centre is carried out by a single person – the director of the Zagreb Youth Theatre – who runs both functions based on Mayor’s politics.

This politics favours corruption, clientelism and nepotism instead of transparent and responsible division of public resources. Unfortunately, the Zagreb Dance Centre is one of many examples of how the public resources in Zagreb are used to employ the politically eligible instead of using those resources for wider social interests based on the principle of equal opportunities.

It is our artistic and civic duty to point at socially irresponsible processes of managing public goods. In other words, it is our right and duty to defend the field of dance and artistic labour from this kind of politics by advocating different and more righteous relationships and means of governance. The more we keep silent, close our eyes and censor ourselves before this harmful policy, the more we destroy the future of dance, this city and this country.

That is why we have decided to organise the action Countdown before the upcoming local elections. With this action we wish to point to failures in the city governance once more, and at the same time continue to advocate the autonomy of dance by establishing a public dance institution which will be governed in a transparent and socially responsible way.

The action Countdown will begin with Tjelovanje (eng. Bodying), a 24-hour long protest action in St. Mark’s Square and continue with a workshop for the dance community and everybody interested, while for the final event we will have a round table focusing on the topics of the Zagreb Dance Centre and managing public spaces in the city.

We invite yout to join us and actively participate in all these events.

The dance community and citizens boycotting the Zagreb Dance Centre




02/05/2017 @ 10AM – 03/05/2017 @ 10h St. Mark’s Square

Tjelovanje, 24-hour long action

You think you’re not a dancer? Don’t worry, everybody is welcome and everybody’s dance is equally important!

+++ directions +++

We invite all dancers and those who wish to participate in any way to sign up in the calendar. Signing up for shifts (the time you can spend on the square) enables us to have an overview of the 24-hour rotation, or rather, the attempt to perform a 24-hour long, uninterrupted protest dance at the St. Mark’s Square.

One day before the action takes place we will define the exact rotation (the proposal is to be in the rotation for 60 minutes). You can perform the rotation alone, in pair or in a group, or you can join someone spontaneously. Count on the possibility of others joining you too. Also, keep in mind that you can sign up to be on duty for those who are performing. This means you are keeping an eye on those who are performing  and you are ready to react in case reporters or the police show up. If you wish to document the action, please bring your own devices.

Before the action begins, we will address the reporters with a press release. In case the reporters ask for a statement during the action, those on duty will repeat the same press release.

09/05/2017 @ 5PM-8PM Ilica 10, courtyard of the Zagreb Dance Centre

What kind of dance centre do we want?

A workshop for the dance community and everybody interested.

11/05/2017 @ 11AM Tuškanac 1, Cinema Tuškanac

Round table with candidates for the mayor’s office and their representatives, moderated by Nataša Govedić and Zdravko Popović.


Press about the events (in Serbo-Croatian)

Prosvjedni ples ili plesni prosvjed na Markovom trgu:
24 sata plesa za javni plesni centar

Ništa bez repertoara: Umjetnost kazališta počinje od autorskog, a ne komercijalnog programa

Plesom protiv neodgovornog upravljanja javnim gradskim resursima

‘Oni koji danas upravljaju plesnim centrom ne odgovaraju nikome osim politici’

Za društveno odgovorniji centar

Počeo 24-satni prosvjed plesnih umjetnika na Gornjem gradu

Protestna akcija „Tjelovanje”

GORNJI GRAD Počeo 24-satni prosvjed plesnih umjetnika

Plesni prosvjed ispred Gradske skupštine

Tjelovanje – akcija za Zagrebački plesni centar

RTL Vijesti

Tjelovanje: Protiv neodgovornog upravljanja javnim gradskim resursima

Sustavno zanemarivanje plesa



HTV Vijesti iz kulture (2./3.5.) – snimka na linku

HTV1, Hrvatska uživo (2.5.) – snimka na linku

RTL vijesti (2.5.) – snimka na linku

Z1 televizija, Vijesti (5.5.) – snimka na linku (gledati od 3:57)

Jabuka TV, Serbus Zagreb (2.5.) – snimka na linku



Hrvatski radio 3, Na kraju tjedna s Anom Kreitmeyer, ZPC tema od 0:26:50, ali poslušajte sve, lijep je razgovor

Antena Zagreb, Antena 60 minuta (2.5.) – snimka na linku

Antena Zagreb, Zagrebačke vijesti (2.5.) – snimka na linku

Radio Sljeme, Zagrebački dnevnik (2.5.) – snimka na linku

Hrvatski radio, Dnevne novosti (2.5.) – snimka na linku

Prvi radio, Zg vijesti (2.5.) – snimka na linku

Enter Zagreb, Vijesti (2.5.) – snimka na linku

Radio Martin, Zagrebačke vijesti (2.5.) – snimka na linku

Radio Yammat, Selo moje mało (3.5.) – snimka na linku

Hrvatski radio 1, Katapultura (5.5.) – snimka na link


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