BIBLIOGRAPHY

books 

Introduction to Contemporary Art in B&H, Jonathan Blackwood    
Le silence et la parole au lendemain des guerres yougoslavesLauren Lydic and Bertrand Westphal (eds.)   
Performative Gestures Political Moves, Katja Kobolt and Lana Zdravković (eds.)   
Sexing the border – Gender, Art and New Media in Central and Eastern Europe, Katarzyna Kosmala (ed.)   
Shifting Corporealities in Contemporary Performance, Danger, Im/mobility and PoliticsMarina Gržinić and Aneta Stojnić (eds.)   
Transitland: Video Art from Central and Eastern Europe 1989-2009, Edit András (ed.)   
Sarajevo – l*a*tribu*t de l’art, Pierre Courtin, Pierre-Philippe Freymond and Christophe Solioz (eds.)   
Exhibitions’ inventory 2004 – 2011- Duplex/10m2, Molly Kleiman (ed.)   
Iz/van konteksta: Ogledi i kritike iz umjetnosti, arhitekture i mode, Irfan Hošić   
The Lost Revolution: Women’s Antifascist Front Between Myth and Forgetting, Andreja Dugandžić and Tijana Okić (eds.)   
Gender and Citizenship: Promises of Peace in Post-Dayton Bosnia-Herzegovina, Maria-Adriana Deiana   

 

catalogs

Resolution 827, Jelle Bouwhuis and Zoran Erić (eds.)   
The 51st Zagreb Salon of Visual Arts – Challenges to Humanism, Suzana Marjanić, Martina Miholić and Marijana Stanić (eds.)   
HERO MOTHER, Contemporary Art by Post-Communist Women Rethinking Heroism, Bojana Pejić and Rachel Rits-Volloch (eds.)   
Project D-0 ARK, Basak Senova and Sandra Miljević Hozić (eds.)   
Image counter image, Patrizia Dunder and Okwui Enwezor (eds.)   
OUT OF THE BLUE – a sense of public-mindedness, Corinne Diserens (ed.)   
MIG 21, Aleksandra Kostič and Petja Janžeković (eds.)   
SHARE – Too Much History, MORE Future, Annemarie Turk (ed.)   
Spaceship Yugoslavia – The Suspension of Time, NGBK (ed.)   
Frestas: trienal de artes, Josue Mattos (ed.)   
A time for dreams, 4th Moscow International Biennale for Young Art, David Elliot and Tatiana Manina (eds.)   
… Was ist Kunst? … Resuming Fragmented HistoriesSandro Droschl (ed.)   
Videonale 13 – Festival for Contemporary Video ArtGeorg Elben (ed.)   
Decolonial Aesthetics, Pedro Pablo Gómez and Walter D. Mignolo (eds.)   
Sarajevo-Zurich: Unlimited, Anita Hahn and Heidi Hahn (eds.)   
Art and terrorism: Bosnian Herzegovinian artwork post 9/11, Irfan Hošić (ed.)   
I will never talk about the war again, Psychosis, Part 1, Vladan Jeremić and Elsa Ekesiöö Thambert (eds.)   
GuestRoom Maribor 2015—2017, Lucija Smodiš (ed.)   
Intimacies, Jonathan Blackwood and Branka Vujanović (ed.)   
ŠTA IMA!? Literatur, Kunst und Kultur aus Sarajevo und Ex-Jugoslawien, Münchner Stadtbibliothek (ed.)   
The 5th Busan International Video Festival   
9. Pravo ljudski film festival, Jasmina Bajramović and Kumjana Novakova (eds.)   
State Abed, Mavena (ed.)   
A WAR E – Kostas Stasinopoulos (ed.)   
SPA PORT – International annual exhibition of contemporary art   
Secondary Witness, Maayan Shellef (ed.)   
Photonic Moments   
International Women’s Film Festival Israel, Natalie Braun (ed.)   
The Bring In Take Out Living Archive (la), Red Min(e)d – Danijela Dugandžić Živanović, Katja Kobolt, Dunja Kukovec, Jelena Petrović (eds.) 
Bone Performance Festival, Valerian Maly (ed.) 
Bedtime Stories, Adela Jušić and Lana Čmajčanin (eds.) 

contributions by artist

Protocollum 2016/17, Global Perspectives on Visual Vocabulary, Safia Dickersbach (ed.)   
Vacarme, Héroïnes inconnues, Vol 59: 59-73 
Shifting Corporealities in Contemporary Performance, Danger, Im/mobility and PoliticsMarina Gržinić and Aneta Stojnić (eds.)   
The Lost Revolution: Women’s Antifascist Front Between Myth and Forgetting, Andreja Dugandžić and Tijana Okić (eds.)   
Tellall (magazine eds. Ilari Valbonesi, Mak Hubjer, Bojan Stojčić, Damir Deljo, Smirna Kulenović, Đorđe Krajišnik)   
Vox Feminae, Free radicals, Adela Jušić   

 

journals, academic and curatorial texts, exhibition reviews

Manifesta 8 and the Problems of Sincerity, Louise O’Hare, Afterall Online, exhibition review
Nuevos pasados que habitamos, Branka Vujanović, Nierika Revista de Estudios de Arte
Ride the Recoil, Lichtungen
Performing Identity After Yugoslavia: Contemporary Art Beyond and Through the Ethno-National, Arielle M. Myers, Art History Theses & Dissertations
Real but not true, Alenka Trebušak, curatorial text, solo exhibition of Adela Jušić
Trade Routes / Conflicted Memory, Hauser & Wirth / Alan Cristea Gallery: A Spectrum Review, Daniella Rose King, exhibitions review


Without Pity or Sentiment: Conflict in the art of Adela Jušić, Jonathan Blackwood, exhibition text
Title Track “Memory Lane” by Adela Jušić, Jonathan Blackwood,
exhibition review
Memory Lane, Ekaterina Shcherbakova, exhibition review
Contemporary Refresh, Jonathan Blackwood, exhibition review
Longing to be close: Zymryte Hoxhaj and Adela Jušić at FEMART, Hana Marku, exhibition review
No One Belongs Here More Than You Do, Jonathan Blackwood, exhibition review


interviews and other texts

 

THE PAGE IS UNDER RE_CONSTRUCTION

 


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“Ending is better than mending”, book collage, 2017

 

Printed magazine
Tellall issue 0 “The Museum is closed”
English
Sarajevo
2018

The publication – named TELAL is designed to become a strategic, dynamic, and interactive process intended to make the different forms of art widely accessible. It aims at engaging artists, thinkers, individuals from notable Bosnian-Herzegovinian and regional writers and essayists, and communities in experiencing, enjoying, and assessing the arts through participation, from co-creation to partnerships.

An international think-tank which aims to conduct independent research and provide a meeting space for artists and policy-makers, activists, and intellectuals to share ideas with an art project-oriented transnational attitude.

Online magazine
Croatian

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
Reaction to ICTY trial judgment in the case of Vojislav Šešej
2016

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.

Excerpt 

Link to full text

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?

 

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
Spanish
June 2016

Download text



Protagonistkinja u borbi protiv eksploatacije
BONA – časopis za feminističku teoriju i umjetnost; Journal for feminist theory and art

Printed and online magazine
July 2017, Nr2
Bosnian language
Interview with artist by Tea Hadžiristić

Link to online magazine

Žene Jugoslavije su u do tad najvećem broju ušle na tržište rada u nove fabrike nove Jugoslavije. Trend povlačenja žena iz javne sfere  počinje 1950. ih, te se kao glavni uzrok ovome navodi uvođenje dječijeg dodatka, radi kojeg žene postaju demotivisane za rad u privredi. Bilo je nekih pokušaja podruštvljavanja poslova koji se obavljaju u domaćinstvu, te je  krajem pedesetih godina bilo sve više uslužnih servisa, Ipak, ove usluge koristio je mali broj žena. Osnivani su i restorani društvene ishrane,ali su njih uglavnom koristili muškarci samci.  Donesena je uredba da fabrike i ustanove koje zapošljavaju više od 20 žena majki imaju dužnost osnovati dječije jaslice i vrtić, ali se ova uredba nije poštovala. Dvostruka opterećenost žena radnica i majki bila je jedna od tema Titovog govora 1950. na Trećem kongresu AFŽa Jugoslavije, gdje on govori o ženi koja se trga na dvije strane,  “jer ne bi željela da izgubi obraz napredne žene Jugoslavije, a istovremeno ne bi htjela da njena djeca stradaju ili se unesreće kod kuće.”  Ovaj govor nam potvrđuje kako je vladalo vjerovanje da brigu o djeci treba da vodi i dalje samo žena, čak i ako je zaposlena.

 

Susan Hodara – Personal Ways of Untangling the Political
The New York Times article
November 8th, 2014
English

100_1394 (Copy)



Ride the Recoil – Lichtungen

Magazine, Vol 137
Graz
2014

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,
Sarajevo, 2014
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



Morgan Meaker for Broadly Vice – Using Art to Move Forward After Bosnia’s Legacy of Mass Rape

Online article
English
2015

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



Jonathan Blackwood – Contemporary Refresh

Text written for the exhibition, Oslobođenje newspapers, Sarajevo
English and Bosnian
2016

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



Izložba ‘Hero Mother’: Žensko iskustvo političkih mijena – Tamara Zablocki

Urban Magazin, printed and online text
Decembar 2016

„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



Tamara Zablocki – Žensko iskustvo političkih mijena
Urban Magazin, juni 2016, printed and online
Bosnian
Link to text


 

Memory Lane
Magazine article
June 06, 2014, Paris

adela-jusic-le-monde



Kako su nam oteli Osmi mart


Interview: Tamara Zablocki
Photography: Almin Zrno
Urban Magazine, printed and online
Sarajevo, March, 2016
Bosnian

adela jusic

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

 



Vox Feminae – Antonela Marušić

Online interview
2015


 

MUSTRA, Supervizualna – Interview with Boba Mirjana Stojadinović
Online interview
June 2015
Bosnian
Link


 

Petter Sandelin
Online interview
January, 2016
Link to online interview in Swedish language

 



O sveopćoj entropiji značenja 

Online article about Almissa Open Art Festival, 2018
Croatian
August, 2018

Umjetnica Adela Jušić na dvosatnom performansu Čitanje: Oslobođenje (Reading: Liberation) čitala je bosansko-hercegovačke dnevne novine Oslobođenje, iz razdoblja 04. – 08. kolovoza 2005., odnosno perioda vojne akcije Oluja, u kojoj je sudjelovala i Armija BiH. 
Nedavna godišnjica ove vojne akcije bila je polazište za istraživanje teme, te je umjetnica došla u posjed originalnih primjeraka ovih novina i selektirala dijelove koji govore o hrvatskoj vojnoj akciji, ali i o već tad poodmakloj opsadi Sarajeva, najdužoj opsadi jednog  grada u modernoj povijesti, te ratnoj svakodnevici, stavljajući naglasak na goli život u glavnom gradu koji se odvija pod ekstremnim uvjetima gladi, beznađa, te neizvjesnosti. Koncept “post truth” te “fake news” su važni i u ovom performansu, jer umjetnica čita vijesti nakon 23 godine, te se ne bavi niti hrvatskom, niti srpskom perspektivom iz koje se danas uglavnom promatra, slavi ili kritizira Oluja, već iz perspektive BiH koja se nakon Oluje nalazi između upravo ove dvije vojne sile, te se mediji ratne BiH bave idejama podjele zemlje između Hrvatske i Srbije, Miloševića i Tuđmana i istovremeno se plaše nastanka islamske države, odnosno ne vide kraj ratu i sarajevskoj opsadi. Tijekom performansa umjetnica čita i one dijelove novina koji nas za čas izvuku iz svakodnevne internacionalne, etničke i religijske politike  i vrate u ono što je najstrašnija ratna zbilja, čitajući osmrtnice ili dajući nam podatke o humanitarnoj pomoći, broju ljudi koji se hrane u javnim kuhinjama, broju granata koje su pogodile civilna područja zemlje i slično.

Link to full article



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

2016
English

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

 



Hana Marku – Longing to be close: Zymryte Hoxhaj and Adela Jušić at FEMART

Online text
2016
English

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.

Link to full text



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 (…)

Online link

 



Matthew Webber – Don’t Mention the War
Online article, 2015
Read full article in English HERE

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?


Kosovo 2.0
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

Exhibition text,
London
2013
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
Exhibition text

(…) 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
Afterall online
2010
English

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
March-April, 2013

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



Aida Salketić – A vi, kad umrem, radite šta hoćete

Online article
2011

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
Bosnian/Croatian
2015

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
Online article
Croatian
2013

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



Glas i muzika, narativ i historija – Maja Abadžija

Daily newspapers Oslobođenje, printed and online article
Sarajevo 16.08.2018.
Bosnian language

Ženska historija je kao i svuda često ostala i ostaje nenapisana. Ona se zato prenosi oralno, kroz priče naših majki, nana, baka, na nas našu djecu i buduće generacije. Neki historičari smatraju da u Jugoslaviji neprijatelj ne bi bio pobijeđen da nije bilo tako masovnog učešća žena u antifašističkoj borbi, u NOB-u. Tako se oni moji radovi koji se bave AFŽ-om, ulogom žena u odbrani Jugoslavije i u poslijeratnoj izgradnji zemlje neminovno oslanjaju na arhivske dokumente i intervjue, vodeći se, kako individualnim iskustvima žena u burnim godinama rata i postratnim gladnim godinama, tako i kolektivnim iskustvom jugoslovenskih žena u djelovanju dvomilionske organizacije AFŽ-a. Tu spadaju i masovne akcije opismenjavanja, političkog agitiranja, jednom riječju, emancipiranja miliona naših žena, što je bio prvi korak ka političkoj, ekonomskoj i socijalnoj jednakosti što je konačno doprinijelo i tome da sam ja danas kao žena u mogućnosti da se bavim političkom umjetnošću, govorim za novine i da me se uopšte išta pita, ističe Jušić, inače jedna od autorica arhiva Antifašističkog fronta žena BiH u okviru Udruženja Crvena.

Read full article HERE
LINK to Oslobođenje



Wikipedia article – Azra Čaušević

Created and published as part of the larger project of NGO “Okvir” from Sarajevo
2018

As a main element of the performance, the artist uses ICTY trial transcripts, the memoirs of Biljana Plavšić, her statements to the media, and other relevant materials. Biljana Plavšić, the former President of the Republic of Srpska, was indicted in 2001 by the International Criminal Tribunal for the former Yugoslavia for genocide, crimes against humanity and war crimes during Bosnian war. After pleading guilty and statement of repentance, the prosecutors dropped genocide charges against her, and sentenced her to 11 years. She served two thirds of her sentence in prison in Sweden and was released earlier.[44] During her stay in prison in 2005, she published a voluminous memoirs in which she denied her previous confession.[45] The idea of the performance was to point out to the contrast present in representation of Biljana Plavsic, her false repentance and light sentence she had received, disproportionate to the crimes she had committed. The title of the work was inspired by the quote about Biljana Plavšić of a prominent writer Slavenka DrakulićPale green, lavender, fuchsia, and dark blue seem to be her favorite colors; a silk shirt under her jacket part of her uniform.[46][47]

Link to full article
Wikipedia link

 

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