Catalog Resolution 827

Museum of Contemporary Art, Belgrade
SMBA/Stedelijk Museum Amsterdam
Archive Books
Editors: Jelle Bouwhuis and Zoran Erić
Print run: 1000 copies
ISBN: 978-86-7101-331-4 (MoCAB)
           978-3-943620-50-4 (Archive Books)
Pages 150

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

Protagonistkinja u borbi protiv eksploatacije

BONA – časopis za feminističku teoriju i umjetnost
Printed and online magazine
July 2017, Nr2
Interview with artist by TeaHadžiristić
Bosnian language
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.

Magazine contribution by artist
“Ending is better than mending”, book collage, 2017


Printed magazine
Editorial board: Ilari Valbonesi, Mak Hubjer, Bojan Stojčić, Damir Deljo, Smirna Kulenović, Đorđe Krajišnik
Tellall issue 0 “The Museum is closed”
Printed in Sarajevo
Run 1000

With the support of Balkanology
English language

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.

Free radicals – Adela Jušić
Text for  Vox Feminae
Bosnian language
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?


“Sarajevo – l*a*tribu*t de l’art”

Edited by Pierre Courtin, Pierre-Philippe Freymond & Christophe Solioz
Publisher: Riveneuve Editions (Paris) and Duplex 100m2 
160 pages


“Sarajevo – l*a*tribu*t de l’art”, edited by Pierre Courtin, Pierre-Philippe Freymond & Christophe Solioz presents a set of 19 exclusive interviews of Sarajevo-based artists belonging to different generations: Edo Numankadić, Nardina Zubanović, Emina Kujundžić, Edin Zubčević, Almir Kurt, Daniel Premec, Nela Hasanbegović, Asim Ðelilović, Gordana Anđelić-Galić, Adela Jušić, Pierre Courtin, Nenad Dizdarević, Danis Tanović, Damir Imamović, Aleksandra Nina Knežević, Mak Hubjer, Paul Lowe, Dante Buu, Andrej Ðerković.

The interviews were realized in Sarajevo by students from the “Collège de Genève” during their “Art Study Trip” which took place end of March 2017 in the framework of the “Philosophy of the City” lecture given by their philosophy professor Christophe Solioz. This project was done in partnership with the Gallery Duplex 100 m2 (Sarajevo).


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

Urban Magazin
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

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
June 2016

Download magazine

Jonathan Blackwood – Introduction to Contemporary Art in B&H

Publisher Duplex 100m2
Sarajevo, 2015


Tamara Zablocki – Žensko iskustvo političkih mijena
Urban Magazin, juni 2016
Link to text

MIG 21

Exhibition catalog
Publisher: Kibla, Maribor, Slovenia
Edited by Snežana Stabl
Print run: 500
English, Slovenian
ISBN: 978-961-6304-40-5
Pages 120


The 51st Zagreb Salon of Visual Arts – Challenges to Humanism
Exhibition catalog
More about catalog here

Hero Mother
Contemporary Art by Post-Communist Women Rethinking Heroism
Exhibition catalog

Curated by Bojana Pejić & Rachel Rits-Volloch
Language: English
Pages: 191
Year: 2016
ISBN: 978-3-9817801-1-6
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

More about this exhibition HERE
Photos of exhibition on Google +

Hero Mother - Webposter_final 2



Protocollum Art Journal
Global perspectives on visual vocabulary

For ordering copies please write to: order@protocollum.org
Price 35 Euros
Publisher: Dickersbach Kunstverlag, Berlin, Germany
ISBN: 978-3-9816206-4-1
Pages: 321

More about magazine here

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

100_1394 (Copy)


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

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


Download text

Performative Gestures Political Moves
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: izdavastvo@zenstud.hr/ 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
Exhibition catalog
Editors Patrizia Dunder and Okwui Enwezor

Published by Verlag der Buchhandlung Walther Konig, Cologne



Muslim Muliqi Catalog mali

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
286 pages


Memory Lane
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
Online text

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



… 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
Exhibition catalog
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 (…)

Online link

Kako su nam oteli Osmi mart
Interview: Tamara Zablocki
Photography: Almin Zrno
Urban Magazine
Sarajevo, March, 2016

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

Adela Jušić – Slobodni radikali
Reaction to ICTY trial judgment in the case of Vojislav Šešej
Text written for Vox Feminae online portal
April, 2016
Bosnian language

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.


Link to full text

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?

Kostas Stasinopoulos – AWARE
Exhibition catalog

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

Zoom Sarajevo
Festival catalog
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,
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


SPA PORT -International anuall exhibition of contemporary art
Exhibition catalog
Publisher: Centar za vizualne komunikacije PROTOK

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,
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

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


Unknown Heroines – Vacarme
Magazine, Vol 59: 59-73, Paris, 2012

Download Vacarme Bosnian
Download Vacarme French


Redmined – Bring in Take out
Exhibition Catalogs

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
Exhibition catalog
Sarajevo, 2012

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
Festival Catalog
Bern, 2013

Download Bone 16 English/German

Vladan Jeremić – I will never talk about the war again
Exhibition catalog
pages 24-25, 28-31, 68
Stockholm, 2011
Publisher: Fargfabriken

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
Exhibition catalog
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


alma poster

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



State Abed
Exhibition catalog
Publisher: Mavena, Split


International Women’s Film Festival Israel
Exhibition catalog edited by Natalie Braun
Publisher: Festival


Photonic Moments
Publisher: Photon – Center for Contemporary Photography


Pedro Pablo Gómez and Walter D. Mignolo – Decolonial Aesthetics
Exhibition catalog
pages 76-77

Download Decolonial Aesthetics, English/Spanish


Maayan Shellef – Secondary Witness
Exhibition catalog
pages 7, 9
New York

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
Online article

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
Online article

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 Hosic Izvan konteksta

Irfan Hošić – Izvan konteksta

Publisher Connectum, Sarajevo
Editors: Ješa Denegri and Sarita Vujković


A time for dreams, 4th Moscow International Biennale for Young Art
Exhibition catalog

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
Publisher: DADADA
Sarajevo, 2012

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


Vox Feminae – Antonela Marušić
Online interview


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


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