In collaboration with Lana Čmajčanin
Original title: Ja više nikada neću pričati o ratu V
ideo performance, HD, color/sound
Camera: Ervin Prašljivić
Special thanks to: Sloven Anzulović
Collaborative video performance that is drawing to attention the postwar situation in the frame of speaking about the past war. From our personal experiences we discover that it is impossible not to talk about the war in every day life.
In this performance we are trying to expose all the possible emotions we have about the fact that we speak about war constantly, but also to point on different aspects of talking about the war like for example, how nationalistic parties use constant reminders of the war in the media to hold on to power and foment nationalism among the people of the former Yugoslavia. Is it possible not to talk about the war? Why do we do it and when will it stop? Will we stop? Should we stop?
Private view of group exhibition “two mothsful of silence”, Balkan Artist Guild, London, 2015, photo by Besim Greguri
Link to all photos og private view by Besim Gerguri
“…This exhibition takes its title from Adela Jušić’s and Lana Čmajčanin’s video performance I Will Never Talk About the War Again, which refers to the post-war situation in Bosnia and Herzegovina. 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….”
Text by Vladan Jeremić, from the exhibition catalog I WILL NEVER TALK ABOUT THE WAR AGAIN, Fargfabriken, Stockholm
Download catalog here
“It is an obsessive performative statement that exposes the circularity conditioning the social, economic and political texture of Bosnia and Herzegovina today. After almost 20 years of the Dayton Peace Agreement, Bosnia and Herzegovina is still necropolitically subjugated to the war, as the specter that re/constructs the whole territory again and again, with its unwritten histories and forgotten atrocities, constantly pushing Bosnia and Herzegovina into oblivion and poverty; even now Bosnians are prevented from entering the EU freely and the country is divided (torn apart) by post-ultranationalist enclaves that again always incapacitate all those living there. Čmajčanin and Jušić expose all the possible emotions that result from constantly speaking about the war that is used by nationalistic parties in Bosnia and Herzegovina to hold on to power.”
Marina Gržinić, Politicizing and rewriting counter histories: for a new politics of empowerment and interventions Text written for Film mutations: The Festival of Invisible Cinema, 2014
Download full text HERE
“The work is a video piece in which the two artists continually repeat the phrase ‘I will never talk about the war again’, growing gradually more irritated at their inability to avoid the subject. The point is that in reality Bosnian artists have no choice. Not only does everyday conversation in Bosnia continually return to the war, but even attempts to escape this are doomed to failure. Such is the ubiquity of images of the war, in documentaries, magazines, and art, that they are caught in a double bind. Mention the war, and they are accused of playing the victim; make art about something else, and this is a positive decision to ignore the carnage. There is no escape – not talking about the war is, by omission, talking about the war.”
https://picasaweb.google.com/jeremic.vladan/OpeningFargfabriken https://picasaweb.google.com/renaraedle/Fargfabriken_exhibit_170911 http://www.fargfabriken.se/index.php?sit=arkiv&id=299 http://www.jutarnji.hr/mrznja-na-balkanu-kad-nema-hrvata-i-srba--dobri-su-i-pederi/1050676/ Reolution 827, Stedelijk Museum Bureau photos on Google+
This work is part of October salon collection of Cultural Center Belgrade.
It is shown at:
two mouthsful of silence, curated by Bea de Sousa, BAG, London, UK
Film Mutations: Festival Of Invisible Cinema 08 Parallel Film, Selected by Marina Gržinić, Kino Tuškanac, Zagreb (HR), screening, 2014.
Voyage to Europe – I Want To Speak About The War, Curated by Zorana Đaković and Mia David, The gallery Klović’s Courts, Zagreb (HR), exhibition, 2014.
A Time for Dreams, IV Moscow International Biennale for Young Art, artistic director David Elliott, Museum of Moscow (RU), exhibition, 2014.
Video in Progress 5: Reflections of the Past, curated by Vesna Bukovec and Metka Zupanič, CUK Kino Šiška, Ljubljana (SI), screening, 2014.
…Was ist Kunst?… Resuming a Fragmented History, curated by Sandro Droschl and Christian Egger, Künstlerhaus Halle für Kunst & Mdien, Graz (AT), exhibition 2013
I Will Never Talk About The War Again, curated by Vladan Jeremić, MMC KIBELA, Maribor (SI), exhibition, 2012.
I Will Never Talk About The War Again, psychosis, part I, curated by Vladan Jeremić, Färgfabriken – Centre for contemporary Art, Architecture, Society, Stockholm (SE), exhibition, 2011.
The Perspectives, Part 1 – The scope of the political practices of moving images today, TULCA – Festival of Visual Art, Curated by Vladan Jeremić, Galway (IE), sreening, 2011.
Performative Gestures Political Moves. edited by Katja Kobolt and Lana Zdravković. Red Athena University Press. 2014. (book)
Politicizing and rewriting counter histories: for a new politics of empowerment and interventions. Marina Gržinić. text written for Film mutations: The Festival of Invisible Cinema. 2014. (web)
Sexing the Border: Gender, Art and New Media in Central and Eastern Europe. edited by Katarzyna Kosmala. From feminism to transfeminism: from sexually queer to politically queer, Marina Gržinić and Aneta Stojnić. Cambridge Scholars Publishing. 2014. (book)
PSYCHOSIS, PART 1 – I Will Never Talk About the War Again. edited by Vladan Jeremić & Elsa Ekesiöö Thambert. Färgfabriken. 2011. (catalog)
4th Moscow International Biennale for young art. edited by David Elliott and Tatiana Manina. National Centre for Contemporary Arts (NCCA), Moscow Museum of Modern Art (MMOMA) 2014. (catalog)
Don’t Mention the War – Mathew Webber , 2014 (online article)