Catalog Resolution 827
Museum of Contemporary Art, Belgrade
SMBA/Stedelijk Museum Amsterdam
Editors: Jelle Bouwhuis and Zoran Erić
Print run: 1000 copies
ISBN: 978-86-7101-331-4 (MoCAB)
978-3-943620-50-4 (Archive Books)
Exhibition Resolution 827 was set from 18.04. – 31.05. 2015. in Stedelijk Museum Amsterdam.
I Will Never Talk about the War Again – Jelena Petrović
The position of inability to talk about the war outside the given frameworks of nationalistic narratives and simultaneous rejection of the positions of power perhaps open up the space for the discussions with the aim to diagnose the present – the discussions that have occasionally been held in the past on certain margins of society. It also, however, overlooks the affective turn in which this state of abjection becomes pervasive and indicative of a need to politically articulate the demand to “banish” the war and its consequences from our everyday lives, in the most basic existential meaning of social relations and economic state of society on the whole (even if that may merely be a social utopia).
Link to full text
Free radicals – Adela Jušić
Text for Vox Feminae
Translation to Italian available here in PDF – Radicali liberi
and as ONLINE LINK thanks to Osservatorio Balcani e Caucaso
LINK to English text translated by Lauren Lydic
LINK to text in Swedish, with some reflections/quotes on my text written for Vox Feminae
The performances that the now-freed criminal gave your tribunal over the years perfectly embodied all the absurdity of your court, all the folly of your legal system, and all the senselessness of your existence.
During the trial, Šešelj claimed to have fewer rights than Hermann Goering, but—since your Haag is not like Nuremberg was back then—Vojislav won his freedom. He isn’t like Goering, who was sentenced to death by hanging, and—unfortunately for us all—he didn’t poison himself with cyanide the night before the hanging. Unfortunately, he didn’t die in a hunger strike either.
Vojislav is a free radical that your court did not neutralize. Now, the only question is to what electron will this free radical now bind? Could it be stabilized?What DNA will it permanently damage? What chain reaction will the free radical launch this time in the sick organism of ex-Yugoslavia? Which post-conflict cancer should we, the divided nations, fear the most, Your Honor of the United Nations? And what will we treat it with when it metastasizes? Reconciliation?
Jonathan Blackwood – Without Pity or Sentiment: Conflict in the art of Adela Jušić
Exhibition text, I did nothing wrong, curated by Joakim Hansson, Gallery GRO, Campus Allegro, Jakobstad, Finland
We are left with the impression of a fiercely determined and intelligent woman whose life was marked firstly by the National Liberation War in Yugoslavia (1941-45); broader memories offset by humdrum recollections, half-forgotten arguments, the joys and disappointments of children and grandchildren, the revelation of long-nurtured opinions on people and family property; the memories of two wartimes and a long, quiet struggle in a patriarchal peace. It is nothing less than a portrait from all angles; we see the old lady’s face in many different expressions as the artist herself colours her hair, and acts as a silent witness in the film.
Link to full text
Izložba ‘Hero Mother’: Žensko iskustvo političkih mijena – Tamara Zablocki
„Majka junakinja“ počasna je titula ustanovljena 1944, za staljinističkog doba u Rusiji, a zajedno s medaljom, novčanom pomoći, plaćenim režijama i brojnim drugim privilegijama dodjeljivana je sovjetskim ženama za odgajanje barem desetoro djece. Ugašeno uslijed raspada Sovjetskog saveza i finansijski neodrživo za vrijeme perestrojke, počasno zvanje kojim je država nagrađivala predano majčinstvo ponijelo je više od 430.000 žena, a njegova inačica postoji i u današnjoj Rusiji u obliku Roditeljskog ordena, koji nagrađuje trud oko podizanja već sedmoro djece, dok titulu sličnu ovoj dobijaju i majke u drugim postkomunističkim zemljama, poput Bjelorusije i Ukrajine.
Link na cijeli tekst
Branka Vujanović – Nuevos pasados que habitamos
La memoria antifascista y las metodologías críticas en el ámbito artístico del Estado español y la antigua Yugoslavia
Feminismo y políticas de memoria e imaginación – Nierika Revista de Estudios de Arte no9
Jonathan Blackwood – Introduction to Contemporary Art in B&H
Publisher Duplex 100m2
Tamara Zablocki – Žensko iskustvo političkih mijena
Urban Magazin, juni 2016
Link to text
Publisher: Kibla, Maribor, Slovenia
Edited by Snežana Stabl
Print run: 500
The 51st Zagreb Salon of Visual Arts – Challenges to Humanism
More about catalog here
Contemporary Art by Post-Communist Women Rethinking Heroism
Curated by Bojana Pejić & Rachel Rits-Volloch
Publisher: Momentum, Berlin, Germany
Editors: Bojana Pejić & Rachel Rits-Volloch
More about exhibition here
Born in Sarajevo and growing up during the Bosnian War (1992-1995), Adela Jušić’s rhetoric is predominantly entwined with issues surrounding memory, personal tragedy and the reality of conflict. Through processing her experiences mainly through the medium of video (The Sniper, 2007), Jušić’s work is at once cathartic and objective, looking at events from a distance in order to critique and reconsider the nature of war … Revealing how wartime memories are intertwined with family and childhood memories, Jušić reminds us of the power of autobiographical work in questioning history and conflict. What is called into question in The Sniper is the reality of war itself, in an attempt to go beyond nationalist, ethnic or religious issues, which have been the main point of discussion throughout the post-war period.
Curatorial text “HERO MOTHER / Contemporary Art by Post-Communist Women Rethinking Heroism”, curated by Bojana Pejić and Rachel Rits-Volloch, Studio 1 & MOMENTUM Gallery, Kunstquartier Bethanien, Berlin, 2016
Protocollum Art Journal
Global perspectives on visual vocabulary
For ordering copies please write to: firstname.lastname@example.org
Price 35 Euros
Publisher: Dickersbach Kunstverlag, Berlin, Germany
More about magazine here
Susan Hodara – Personal Ways of Untangling the Political
The New York Times article
November 8th, 2014
Morgan Meaker for Broadly Vice – Using Art to Move Forward After Bosnia’s Legacy of Mass Rape
Jušić, 33, also feels like an outsider because she does not fit Bosnia’s stereotypical idea of what a woman should be. “The majority of Bosnians value patriarchal traditions and stereotypical gender roles,” she says. “Therefore, any woman that does not fit inside such world views is socially condemned.
Link to full article on Broadly Vice
Project D-0 ARK – Association Biennial of Contemporary Art
Publisher: Association Biennial of Contemporary Art
Jonathan Blackwood – Variable Geometry: Contemporary Art in Bosnia and Herzegovina
Book Le silence et la parole au lendemain des guerres yougoslaves
Edited by Laren Lydic and Bertrand Westphal
Published by Limoges: Presses universitaires de Limoges
Performative Gestures Political Moves
Dunja Kukovec – USING MYSELF TO SHOW WHAT MATTERS MOST FOR EVERYONE
Interview with video performance artist Adela Jušić, in winter 2013/2014
Publisher: Red Athena University Press
Edited by: Katja Kobolt and Lana Zdravković
For orders and purchase contact: email@example.com/ Sandra Prlenda, Centre for Women’s Studies, Zagreb
Did you ever think of video performance as a medium in the socio- economic context? Would you choose some other medium or other way of expressing under different conditions? Do you think that socio-economic situations in some ways conditioned your work?
At the beginning, I didn’t think about it like that, but soon I realized it was all actually a direct result of socio-economic realities. Since I didn’t have any substantial means for production, I used one bad camera. I had no cameraperson or video editor, so I did everything myself. So at the beginning the camera and video editing were very simple, and it’s been like that till today, in spite of having better cameras today and a good knowledge of video editing. I like it that way. It’s not that I don’t ever want to try out a bit more expensive production – it just doesn’t make real sense for me. It is hard enough to earn money as an artist, even harder as a Bosnian artist and even more so as a Bosnian video artist, the hardest being a Bosnian female video artist.
Marina Gržinić and Aneta Stojnić – From feminism to transfeminism: from sexually queer to politically queer
Sexing the boarder – Gender, Art and New Media in Central and Eastern Europe – Katarzyna Kosmala (ed.), book
Published by Newcastle Upon Tyne: Cambridge Scholars Publishing
Actually politically queer is a stance that opens the possibility to rewrite a new genealogy from socialism to post-socialism from the perspective of the re-politicization of the space of performance, video and new media art and its history. The passage from socialism toward post-socialism ends in a turbo neoliberal global capitalism. This means that we encounter not only post-socialism but also the turbo capitalist neoliberal Europe of today. In such context, this chapter argues what politically queer position mean today and forms an analysis of the political power of the passage from feminism towards post-feminism (in relation to performance, video and media arts) as well as the passage from socialism toward post-socialism.
Bild Gelegen Bild / Image counter image
Editors Patrizia Dunder and Okwui Enwezor
Published by Verlag der Buchhandlung Walther Konig, Cologne
OUT OF THE BLUE – a sense of public-mindednes
Muslim Mulluqi Prize
Exhibition catalog, curated by Corinne Diserens
Texts by Corinne Diserens, Sven Augustijnen, Genc Kadriu, Santu Mofokeng
Published by National Gallery of Kosovo
English and Albanian
Magazine article, June 06, 2014, Paris
Haris Sahačić – When I die, you can do what you want
Text about video When I die, you can do what you want
More about this work HERE
LINK to full text
Text written for the catalog of exhibition SHARE Too Much History MORE Future
Publisher: The Federal Chancellary of Austria
Editor and curator Annemarie Turk
The grandmother not only knows the context of her own life, she also follows the lives of the people surrounding her. The spectrum of the source, as well as the quantity of information which stems from her head, makes it clear that grandma is the sovereign ruler of the sum of the whole, someone who enters into the sphere of relations between people around her, i.e. the love of her life, acquaintances, colleagues, close friends, family.
Jonathan Blackwood – Contemporary Refresh at Gallery Brodac, Sarajevo
Text written for the exhibition, Oslobođenje newspapers, Sarajevo
English and Bosnian
This particular work focuses on Radojka Lakić, who was imprisoned in this building when it was run by the Ustaše; it records the fate of many who were murdered or tortured in this place during that dark period in Sarajevo’s history, and their individual names. Fascist occupiers murdered Lakić herself in September 1941, after a period of severe torture.
The basis of this work was found in Mila Beoković’s 1967 book “Women Heroes”, which features Lakić’s story. This is a complicated and multi-layered installation, featuring a replica of a handkerchief (maramica) belonging to the partisan Rada Nikolić from Bijeljina. On this handkerchief, Nikolić embroidered the surnames and initials of her friends and comrades who were executed in the Banjica concentration camp.
Read the full text here
Hana Marku – Longing to be close: Zymryte Hoxhaj and Adela Jušić at FEMART
The entire video is a single shot of Jusic gently applying die to her grandmother’s hair while narrating stories from her life. In a whisper, Jusic speaks in her grandmother’s voice, talking about war, poverty, corruption, hatred – but also love for her children, her husband and her neighbors. The all too ordinary difficulties of her life are made intimate and immediate. Jusic’s grandmother serves a stand-in for all the grandmothers of this world who witness war, death and their families growing apart. Their wisdom is quiet and seldom asked for, and we feel that wisdom here, while watching an old woman get her hair dyed. Jusic’s position is that of an oral historian of sorts, sifting through forgotten stories of subjects that are usually ignored in official historical narratives and reproducing them as best as possible.
… Was ist Kunst? … Resuming Fragmented Histories
Catalog, Kunstlerhaus, Halle fur Kunst and Medien
Publisher: Verlag fur moderne Kunst
Videonale 13 – Festival for Contemporary Video Art
Publisher: Kerber Verlag, Germany
Transitland – video art from cCntral and Eastern Europe 1989-2009
Edited by Edit Andras
Publisher:Ludwig Museum – Museum of Contemporary Art, Budapest
Branka Vujanović – Dekodiranja. Aspekti umjetničkog djelovanja u naježenoj stvarnosti
Online article about exhibition Dekodiranje, National Museum of Monte Negro, Cetinje, August, 2014
“Memory lane” Adele Jušić je djelo koje nastaje i razvija se u procesu traganja za porodičnim fotografijama koje su bile izgubljene tokom rata. Posvećeno je baki koja je ‘uvijek znala kako da okupi cijelu porodicu’ i ocu koji je izgubio život kao vojnik u bosansko-hercegovačkoj vojsci.
Online link, Bosnian
Jonathan Blackwood – Title Track “Memory Lane” by Adela Jušić
Online article about exhibition in Galerie du Jour, Agnes B, Paris, June 2014
Amidst the intense trauma of the 1992-95 war in Bosnia and Herzegovina, the loss of small personal items seems almost trivial by comparison with the human suffering and the colossal damage to the built environment and infrastructure. However, the near-total destruction of a family’s photographs, the loss of the physical evidence of collective experience and memory, built up over several decades, is in a micro-parallel to the attempted erasure of the collective memory of BiH (…)
Kako su nam oteli Osmi mart
Interview: Tamara Zablocki
Photography: Almin Zrno
Sarajevo, March, 2016
Nažalost, već godinama je ovaj praznik među većinom percipiran kao “dan majki”. To je samo još jedna od brojnih prevara koju nam je patrijarhat uspio servirati, potencirajući tako samo ono što odgovara tom opresivnom sistemu, a to je ženska reproduktivna moć, uloga žene prvenstveno kao majke, njegovateljice i domaćice. Tako su našu istoriju borbe za ravnopravnost učinili skoro pa nevidljivom, te nas od malih nogu učili neku drugu, pažljivo kreiranu i patrijarhatu pogodniju verziju. Sjećam se, kao djeca smo u osnovnoj školi za ovaj dan pravili majkama čestitke, uvjereni da je to dan majki, znajući malo ili ne znajući ništa o istoriji ovog praznika i borbe za ženska prava. Godinama poslije, nakon mnogih čestitki na kojima sam mami crtala cvjetiće i zahvaljivala joj što me je rodila, od majke sam zahtijevala da i ona meni čestita praznik, objašnjavajući joj zašto je to praznik svih žena, pa tako i praznik onih koje ne mogu imati ili nemaju, niti ikada žele imati djecu, muža ili porodicu. Nadalje, svakako, u skladu s politikama i potrebama vječito gladnog, konzumerističkog društva u kojem živimo, ovaj praznik je na još jedan način zloupotrijebljen, pa tako možemo vidjeti, naprimjer, kampanje kao što je Mjesec žene u Konzumu, koji je, je l’, nimalo slučajno baš mjesec mart, gdje nam se nude informacije o sniženjima domaće piletine, paradajza i baby vlažnih maramica. “Drage dame”, obraća nam se Konzum i poziva nas da kao prave dame, ali domaćice prije svega, požurimo na sniženju kupiti, te zatim možda, baš za Osmi mart, spremiti za ručak pile s paradajz salatom mužu koji će doći s posla, dići sve četiri uvis, djeci koja su iz škole stigla ponosna jer su sama na času likovnog odgoja mami napravila čestitku za Osmi mart, dan majki. Prava majka, žena, domaćica će od pileta sniženog s 5,55 KM na samo 4 i 45 KM napraviti i supu, ne bi li ručak bio bogatiji, a ona ekonomičnija, jer nije svaki mjesec Mjesec žene u Konzumu, već samo mart. Nakon osmomartovskog ručka, muž će još malo prileć’, dok ona opere suđe i baby vlažnim maramica, koje je umjesto za marku i 95 kupila za samo marku i 55, obriše nahranjena dječija usta, te s ponosom i u znak zahvalnosti ostavi čestitke koje su joj djeca napravila na frižider, u koji je spremila ostatke ručka za sutra, ili na televizor, koji je muž nakon ručka upalio, a na kojem se upravo prikazuje neka emisija čija je tema Osmi mart, dan majki.
Excerpt from interview
Adela Jušić – Slobodni radikali
Reaction to ICTY trial judgment in the case of Vojislav Šešej
Text written for Vox Feminae online portal
Pustite i Ratka Mladića, molim Vas časni sude. Biljana Plavšić je lično za njega rekla da je dobar čovjek i da ju je uvijek podsjećao na Ljutka iz bajke ‘Snježana i 7 patuljaka’, a njoj valjda vjerujete na riječ, jer ona je istinoljubiva i iskrena. Pa ona je jedina priznala svoje zločine. Njoj ste dali čak 11 godina u švedskom zatvoru sa 5 zvjezdica i pustili ste je nakon samo 8, radi dobrog vladanja.
Doktorica Plavšić bi stavila ruku u vatru za doktora Šešelja. Odriješite kesu i dajte Šešelju 15 miliona dolara odštete koliko vam jetražio kao kompenzaciju za nanešenu bol tokom godina suđenja, za narušeno zdravlje, za povišen holesterol. Dajte mu. Nek mu se nađe! Dajte mu da finansira ovogodišnju kampanju svoje Srpske radikalne stranke. Dajte mu novac da upiše postdoktorske studije, jer on je onomad bio najmlađi doktor u SFRJ, a tema njegove disertacije Politička suština militarizma i fašizma sad, nakon iskustva na Vašem sudu, ima potencijal da se lijepo razvija.
Adela Jušić, perhaps the most successful artist of the new generation, made her name with an intensely personal video work entitled The Sniper (2007). The piece directly addresses the death of her father, who was a sniper himself until killed in December 1992. Are these young women legitimately reacting to personal loss and political provocation, or capitalising on Bosnia’s trauma? Does such work lock Bosnia in past, continually revisiting the same painful memories? Shouldn’t they ‘move on’, already?
Kostas Stasinopoulos – AWARE
Jušić repetitively draws a red mark, reminiscent of children’s drawings, yet goes beyond personal traumatic circumstances in a deathly identification with the aggressor, repeatedly counting his victims. She explores the danger of “yield[ing] to the compulsion to repeat, which [can] replace the impulsion to remember”.5 The counting and listing of war casualties become prominent and Jušić turns our attention to the uniformity of loss beyond ethnic, religious and sociopolitical issues.
Download catalog A WAR E
pages 5, 27, 31
Download Zoom Sarajevo – Šta Ima, German
Ride the Recoil – Lichtungen
Magazine, Vol 137
Jušićeva Ride the Recoil – instalacija slike i sounda – s jedne strane se putem video igrica bavi slijedom stvarnih zbivanja. Nevjerovatno “kuliranje” protagonista ispred nas djeluje kao formalna transformacija a istovremeno i kao odraz nemilosrdnih ratnih mehanizama. S druge strane posebnu zaoštrenost rad doživljava uvodom druge medijalne razine: figure za igru i stvarne figure, kao što su likovi snajperiste i djevojčice, izmjenjuju se da bi prekrili različite stupnjeve stvarnosti. Na ovaj način se predočava brutalnost prisjećanog i recepcija dvaju formata realnosti, kako onog fotografije tako i po uzoru izgrađenog mjesta radnje (…) Werner Fenz
Ride the Recoil von Adela Jušić – eine Bild- und Soundinstallation – setzt sich auf der einen Seite über ein Video Game mit den Abfolgen des realen Geschehens auseinander. Die unglaubliche „coolness“ der Protagonisten steht als formale Transformation und zugleich als Abbild der schonungslosen Kriegsmechanismen vor uns. Die besondere Zuspitzung erfährt die Arbeit auf der zweiten Seite durch die Einführung einer zweiten medialen Ebene: Die Spielfiguren und die realen, etwa in der Person des Snipers und des Mädchens, wechseln einander ab, um die unterschiedlichen Wirklichkeitsgrade zu überlagern. Auf diese Weise wird die Brutalität des Erinnerten und die Rezeption zweier Realitätsformate, der Fotos wie des nachgebauten Handlungsraums, vor Augen geführt. Werner Fenz
Download full text, German/Bosnian
Adisa Bašić – Šta je nama naša borba dala
Magazine Slobodna Bosna, Vol. 906: 50-52,
Text about exhibition Share – Too Much History, MORE Future
Autorica ironično ukazuje na (ne)pouzdanost historiografije i na mogućnost ideološkog manipulisanja prošlošću: službeni vlasnici narativa kroje istinu, a ona je krhka, nerijetko zamućena, teško dokučiva.
Download Slobodna Bosna article, 906, Bosnian
SPA PORT -International anuall exhibition of contemporary art
Publisher: Centar za vizualne komunikacije PROTOK
Online magazine, Priština, 2013
Moreover, the visual representation of their actions had also been defined by a context of patriarchal values. “I realized that they are represented with too much mystification, [and that this overshadowed] qualification of their bravery,” adds Jušić, “which is also a way to dehumanize women.
About Unknown Heroins project
Link to online magazine, English
Dr Gwendolyn Sasse – Conflicted Memories
Alan Christea Gallery, London, curated by Dr Gwendolyn Sasse
The work is at once very intimate – the artist maps her own painful realisation of the reality of conflict – and invites the viewer to go through a similar process of gradual understanding.
Download Conflicted Memories, English
Igor Bošnjak – Savremena BH umjetnost u borbi protiv mrtvih zečeva
(…) svojim „narativom“ u videu i znakom pitanja u nazivu istog, objašanjava i prikazuje sav besmisao, paradox i ludilo jednog latentnog militarističkog sistema u kome je totalitarizam i interes određenih jedinki doveo do kolektivne paranoje.” (o radu Kome treba DRNČ?)
Download full text, Bosnian
Jonathan Blackwood – No One Belongs Here More Than You Do
Online text, 2013
Adela Jušić‘s Ride the Recoil sound installation is perhaps the best sited work in the whole exhibition. For over a year now, the artist has been working up a research and criticism of the video game Sniper : Ghost Warrior 2, which is set in Sarajevo. Relating programmatically to her earlier work The Sniper, this piece moves beyond the deeply personal narrative of that video piece, towards a critique of those who would concrete over such memories with commodified falsehoods. In a cold, bare, abandoned side room, its windows with a claustrophobic view of a tight courtyard, this is an incredibly powerful work.
Link to full text, English
Louise O’Hare – Manifesta 8 and the Problems of Sincerity
Synced footage of Jusic, projected against opposing walls, showed her reading instructions on how to write a convincing artist’s statement: her imperious, Eastern European-inflected voice firm and persistent, each iteration of herself concurring with the other and adding to the demands of this apparently innocuous piece of career advice. This work – an aspect of an exhibition, a part of a biennial, a response by a collective to the aims of an umbrella organisation, which is itself within a network of supporting partners – is a good place to begin upon the questions raised by Manifesta 8, addressing as it does the authenticity or sincerity of the artistic persona and the limits of artistic freedom.
Link to full text
Art Guide East – Art Fair Paris
Magazine, Vol 3
At the international Art Paris Art Fair 2013 Duplex100m2 and its partner L’Agence will showcase works by three Bosnian artists – Adela Jušić, Milomir Kovačević and Radenko Milak – with the support of the agnès b. fund. Using distinctive media (photography, video, painting), all three artists explore the multifaceted notion of memory.
Download full magazine Art Guide East, English
Unknown Heroines – Vacarme
Magazine, Vol 59: 59-73, Paris, 2012
Redmined – Bring in Take out
Download Bring in Take out-Sarajevo, Bosnian, 2012
Download Bring in Take out-Sarajevo, English, 2012
Download Bring in Take out-Zagreb, English, 2011
Download Bring in Take out-Ljubljana, English, 2010
Jonathan Blackwood and Branka Vujanović- Intimacies
Women took a full part in the military battles of the “National Liberation War”, in the full belief that emancipation did not just consist of ending the Axis occupation of Yugoslavia, but also in the belief that, in a post-war utopia, opportunities for education, training, work and liberation from patriarchy and gendered domestic roles would also be forthcoming. The reality- a re-enforcement of patriarchal values in peacetime- is made all the more bitter by these images. (Jonathan Blackwood – Disposition of intimacy)
Download catalog Intimacies, English/Bosnian
Bone Performance Festival
Download Bone 16 English/German
Vladan Jeremić – I will never talk about the war again
pages 24-25, 28-31, 68
In the video, the two artists promise each other not to talk about the war anymore, repeating the same sentence over and over. The work is an emotional statement on the fact that more than fifteen years after the Dayton Peace Agreement the war remains a central experience in the divided country.
Download I will never talk about the war again
NGBK – Spaceship Yugoslavia
pages 154, 155, 179
The project by Adela Jušić and Lana Čmajčanin reflects the current status and use of the Skenderija complex, opening up questions of public space and collective memory. Skenderija is among the very few remaining commercial centers still under state control. (…) Skenderija, once built as a symbol of modern society, turns into a screen for memory, criticism of present socio-political conditions, and future projections.
Download Spaceship Yogoslavia
Irfan Hošić – Art and Terrorism
Exhibition catalog, page 60
By usurping models of the artistic avant-garde through the spectacular and terrifying effects terrorists use, the artist transforms a personal tragedy into a perfect performance.
Download Art and Terrorism
Publisher: Mavena, Split
International Women’s Film Festival Israel
Exhibition catalog edited by Natalie Braun
Publisher: Photon – Center for Contemporary Photography
Pedro Pablo Gómez and Walter D. Mignolo – Decolonial Aesthetics
Download Decolonial Aesthetics, English/Spanish
Maayan Shellef – Secondary Witness
pages 7, 9
The stories are heard through the voice of artist itself like a stream of consciousness . They reflect the grandmother s strong connection to the family and her country through a life of struggle and loss.
Download Secondary Witness, English
Aida Salketić – A vi, kad umrem, radite šta hoćete
Priče koje slušamo nisu hronološki poredane i tematski variraju od sjećanja na ‘ovaj’ i ‘onaj’ rat, sjećanja na umrlog muža, govora o djeci, unucima, te razmišljanja o trenutnim ekonomskim, društvenim i političkim problemima iz perspektive starice.
Link to online text, Bosnian
Iva Zelić – Trebamo uporno nametati svoje politike patrijarhalnom opresivnom sistemu
Online interview for LIBELA
Ne moramo se osjećati kao da živimo u pravom ratu, ali u nekoj vrsti rata živimo i čim prije to shvatimo, drugačije ćemo promatrati svoju realnost. Živimo u svijetu u kojem se svaki dan negdje ponovo postavljaju granice, dižu ograde. Berlinski zidovi se nalaze svuda i bit će ih sve više. Rat je. Stalno. Htjeli se mi baviti njime ili ne.
Link to online interview
Petra Novak – Zalog za miran san
Za laku noć u POGON-u možemo čuti priču o dvoje osmogodišnjaka koji su uspješno organizirali podrumsku stripoteku koja je, osim djece, od dosade spašavala cijelu podrumsku zajednicu. Naoko veselu priču, presjeći će detalj o susjedu koji je za zlatno izdanje Zagora djeci dao vrećicu makarona. Tu je i priča o nesanici, “priča koja nije nikakva priča” kako kaže jedna od sugovornica umjetnica koja s posjetiteljima dijeli tek album metafora. Ili ona posve drugačija o “tri i pol godine u podrumu, pola djetinjstva otprilike” propovijedana kroz lica susjeda okupljenih u skloništu.
Link to online text, Croatian
Irfan Hošić – Izvan konteksta
Publisher Connectum, Sarajevo
Editors: Ješa Denegri and Sarita Vujković
A time for dreams, 4th Moscow International Biennale for Young Art
Artistic director and editor David Elliot and editor Tatiana Manina
Published by National Centre for Contemporary Art and Moscow Museum of Modern Art
Exhibitions’ inventory 2004-2011 – Duplex/10m2
Editor: Molly Kleiman
Download PDF book HERE
9. Pravo ljudski film festival
Publisher: Pravo ljudski film festival
English and Bosnian
The 5th Busan International Video Festival
Publisher: Space Bundee
MUSTRA, Supervizualna – Interview with Boba Mirjana Stojadinović
Link to online interview in Swedish language