Exhibition I want to speak about the war

adela jusic hocu da govorim o ratu

Voyage to Europe
I want to speak about the war

Otvaranje u četvrtak 4. septembra u 20 sati
Opening on Thursday, September 4 at 8pm
Galerija Klovićevi dvori, Jezuitski trg 4, Zagreb
4 – 26. 9. 2014.

Artists: Radoš Antonijević, Janko Baljak, Boogie , Ivan Grubanov, Uroš Djurić, Siniša Ilić, Aleksandar Jestrović Jamesdin, Dejan Kaludjerović, Srđan Keča, Marko Lulić, Vladimir Miladinović, Mladen Miljanović, Ana Nedeljković & Nikola Majdak Jr, Darinka Pop-Mitić, Reflektor-knjige za slušanje, Milica Tomić, Ibro Hasanović, Vlatka Horvat, Nemanja Cvijanović, Lana Čmajčanin i Adela Jušić
Curators: Mia David and Zorana Đaković
U organizaciji Kulturnog centra Beograda
Organized by the Cultural Centre of Belgrade
Projekat je posvećen obeležavanju stogodišnjice Prvog svetskog rata
The project is dedicated to 100th anniversary of the WWI

Posted in Uncategorized | Comments Off


crvena electronicgirls

Pussy Galore

Kundurdžiluk bb, 71000 Sarajevo, Bosnia and Herzegovina
Wednesday, August 6th at 9 pm

Live set: The Expanding Universe of Al-Joberal-Chirolechii
Electronic, Experimental Music from Venice, IT

This sonic event moves from Stockhausen’s Intuitive Music, general axiom assumed by the ensemble, and Meyer-Eppler’s Aleatoric process.
The idea of music as an expansion of our thoughts, as a language able to draw unseen worlds and feelings.

Dj set: LECRI, Venice IT
Electronic, Space disco, Cosmic, House music

Entry: 3 KM
(buy a ticket-support artists)


Posted in Uncategorized | Comments Off


adela jusic aware

Syros International Film Festival

26 of July – 1 August 2014
2nd Elementary School of Hermoupolis Syros, Greece

Preview: 26 July 2014,  6-8pm
Opening hours:  4-8pm

Exhibiting artists:
Mona Hatoum, Adela Jušić, Silvia Kolbowski, Paky Vlassopoulou

Curated by Kostas Stasinopoulos

A WAR E presents works by women artists in which wars of different kinds are examined and deployed. By tracing the war phenomenon to the unconscious, where the personal dimensions of war are no longer denied, these works complicate the frequently and authoritatively bordered territories of the personal and the political, the individual and the social, the psychic and the cultural, the public and the private.

A WAR E explores a state of being that is suspended yet actively charged. It recalls a moment in which the subject is faced with the influx of new information before it is processed, categorized and transformed to knowledge. The viewer in the exhibition is arrested between what can and cannot be attained as an object of knowledge, between conscious and unconscious and before responsibility towards critical thought and enquiry.

The exhibition takes place at the Second Elementary School of Hermoupolis, an active and vibrant centre of the community and a space that reflects personal experience and collective memory. The works of the exhibition create an immersive environment for the viewers, who are invited to explore multifaceted subject positions and identity politics. Situated at the intersection of art history, psychoanalysis, political and feminist theory, conflicts of times past are brought to the fore in an effort to create a historical image of the contemporary. Implicating the consequences of the conventional split between the psychic and the social, the works in the exhibition illuminate art as protest and intervention to dominant and patriarchic historical narratives, war discourse and political resistance.

Download catalog A WAR E

Posted in Uncategorized | Comments Off

Factory of Memories

We are very happy to announce that our project “Factory of Memories” has been selected by Balkans Arts and Culture Fund (BAC), 2014 Collaboration Projects in Arts and Culture (COLABs). The project is developed in partnership with Tirana Ekspres.

The Project “Factory of Memories” is dedicated to reflect and rethink the Western Balkans’ regional collective memory cinematically and artistically.  It targets young filmmakers and video artists from non-EU Western Balkans countries in order to foster cross-border and interethnic dialogue and exchange. The main aim is to engage emerging artists to create and produce their own short-films/videos dealing with regional memories. After the international dissemination of the call for applications, 8 selected participants will enrich their practical skills in film and video making; they will gain knowledge and explore new perspectives on regional collective memories during two intensive workshops. Thereafter, the participating artists – inspired and guided by proven experts, film practitioners, video artists and professors – will create their own short-films and videos on common histories. At the end of the production phase (duration: 8 weeks) they will finalize their movies and videos together with the expert team during the second round of workshops. The produced short-films and videos will premiere in a public screening-event at Tirana Ekspres (Albania) in summer 2015. During the screening-weekend the participating artists will get in dialogue with a wider audience and invited international experts. Following that, a DVD comprising all contributed movies is produced and sent on a tour across borders- across the region.

Field, themes, approaches: Collective Memory, Short-Film and Video Art, Capacity Training, Research and Independent Artistic Production
Duration: 12 months, 1o.2014-10.2015

Posted in Uncategorized | Comments Off

Prezentacija – PLACEMENT

CRVENA vas poziva na prezentaciji dizajnersko-istraživačkog tima Placement u utorak 22. jula u 19h.

Danielle Aubert, Lana Cavar i Natasha Chandani su grafičke dizajnerice koje su se upoznale tokom magistarskog studija na Yale Univerzitetu. Žive na različitim mjestima, u Princetonu, Zagrebu i Booklynu. Grupu Placement su osnovale 2009. godine i bave se proučavanjem interakcije ljudi sa mjestom. Placement definiraju kao specifičnu lokaciju (Lafayette Park, Detroit), ali i šire, kao tip lokacije (plaža, centar grada, autobusna stanica). Njihov prvi projekt, Thanks for the View, Mr. Mies (Hvala na pogledu G. Mies), knjiga o Lafayette parku u Detroitu (Metropolis Books, 2012), izabrana je za jednu od 50 najbolje dizajniranih knjiga u 2012. Povjesničarka arhitekture Phyllis Lambert knjigu je opisala kao “izvrstan terenski vodič” po tom komšiluku.

Placementov novi projekt se bavi Holiday Innom u Sarajevu.
Prezentacija uz neformalni koktel i druženje će se održati u prostorijama CRVENE, Dolina 5, Sarajevo

Fotografije sa prezentacije

Posted in Uncategorized | Comments Off

Šta je nama naša borba dala? What has our struggle given us? – Crowdfunding campaign

Molimo podržite našu crowdfunding kampanju na KissKissBankBank!
Please support our crowdfunding campaign at KissKissBankBank!

Partisan women c


Official history offers limited evidence or data on the great contribution that women of Yugoslavia made in people’s liberation movement during the War World 2.  In fact, more than 100,000 women joined the struggle and actively participated, as soldiers, bombers, ambulance officers, nurses, cooks, couriers,  delegates, political commissars, commanders and party leaders. With war, women entered the public and political scene.

Great sacrifices made by women in 1941 and 1942 motivated the creation of Antifascist Front of Women (AFŽ), which was founded on December 6, 1942 in Bosanski Petrovac. At its founding, president Tito addressed the assembly and welcomed the establishment of the organisation, recognizing women’s bravery and resilient participation in liberation movement. Women have fought side by side with men, for freedom and against fascist occupiers and their domestic servants. Such sacrifices were to be rewarded, women were promised equality, one that they have well earned. Women constituted ten percent of all soldiers in war, 25,000 were killed or died, 40,000 were wounded.

And so it was, in 1945 women were granted with the right to vote and in 1946  rights of women  were inscribed in the new Constitution of the Socialist Federal Republic of Yugoslavia – guaranteeing  equal rights with men in all fields of state, economic and social-political life.

The organisation was at the beginning focused on partisan struggle and greater mobilization of women to join the struggle, but has later on extended its presence and involvement on the public scene. Post-war activities of AFŽ considered renewal of war devastated country, education of women and building loyalty to socialism.  Modernization of women’s lives corresponded to the overall socialist idea by which the degree of one’s civilisation is determined by the condition of women in one’s society.

However, in reality, socialist utopia was far from achieving. Women in rural areas who populated majority of households in Yugoslavia were still discriminated and exploited. Despite their significant contribution in war and post war socialist transformation, they were poor as they were, before the war. New socialist woman was actually very tired, juggling between work, family and housework, volunteering on construction of new roads, etc. She had little time left for political activity.

Antifascist Front of Women was led to self-dismantle in 1953; existence of a separate organisation was allegedly threatening to remove women from political life and lead to an idea that women have to fight against the rest of the society to achieve their rights. At its closure, Tito again addressed women pleading for their enthusiasm to return to those tasks that women are fit for, such as care for mothers and children, health care and education, or any other work that is allowed by women’s physical and other abilities.

Only 91 women were bestowed to national heroes for their merits in war, ten of them were from Bosnia and Herzegovina.

Antifascist Front of Women gave extraordinary contribution to struggles against fascism, women’s equality, but also to freedom and emancipation of Yugoslav society as a whole. What did we lose by its disbandment? How much do we know about it today and what does this knowledge mean to us? What do we do with it?

We want to collect, research, analyse and share information and evidence on the work of Antifascist Front of Women, and present it in a form of a growing online archive.The archive will be comprised of books, magazines, photographs, documents, testimonies, stories, art works and all other material that we come across and produce.

Suggested online archive  ( „W h o s g u?“)  is part of a CRVENA’s ongoing project organized around affirmation of AFŽ heritage. Project started in 2010 and involves series of activities and events, such as art exhibitions, panels, public discussions, artist talks, etc.


We have been cooperating with the Museum of History in Sarajevo who will grant us with access to library and share all available material. Our intention is to develop such partnerships with other institutions as well, such as are the National Archive, Historical Archives Sarajevo, etc. Likewise we will make special efforts in finding individuals who hold any knowledge or evidence on the achievements of AFŽ and women who stood behind it.


Our intention is to direct the collected amount towards digitalization of the material that exists in institutions, libraries and private collections (scanning, photographing of materials, creating and maintaining website). Majority of the archive is not digitalized and is even threatened to rot  or crumble, due to inadequate conditions it is kept in. Digitalization would enable preservation, but also considerably wider availability of the material for research and educational purposes.

Qu’avons-nous obtenu au moyen de notre combat ?

PARTICIPEZ À LA LUTTE ! Qu’avons-nous obtenu au moyen de notre combat ? Cette question n’est pas posée de manière ironique : elle en représente la réappropriation, elle en représente la continuité.

L’histoire officielle n’offre qu’un témoignage et des données limités en ce qui concerne le grand rôle joué par les femmes yougoslaves au sein du mouvement de libération nationale au cours de la Seconde Guerre mondiale. En effet, plus de 100 000 femmes rejoignirent ce combat pour y participer activement en tant que soldates, pilotes de bombardier, ambulancières, infirmières, cuisinières, coursières, déléguées, commissaires politiques, commandantes et dirigeantes de parti. Par le biais de la guerre, les femmes firent leur entrée sur la scène publique et politique.

Les grands sacrifices effectués par les femmes en 1941 et 1942 ont entraîné la formation du Front antifasciste des femmes yougoslaves (Antifašistička fronta žena ou AFŽ en bosniaque, croate, monténégrin et serbe), fondé le 6 décembre 1942 à Bosanski Petrovac, en Bosnie-Herzégovine. Lors de sa fondation, le président Tito s’est adressé à l’assemblée et a chaleureusement loué la création de l’organisation, reconnaissant le courage des femmes et leur infatigable participation au mouvement de libération. Aux côtés des hommes, les femmes ont combattu pour la liberté contre l’occupation fasciste et les gouvernements au service de cette dernière. De tels sacrifices devant être récompensés, on promit aux femmes l’égalité bien méritée. Les femmes représentaient 10 % de l’ensemble des soldats ayant participé à la guerre ; 25 000 d’entre elles ont été tuées ou sont décédées, tandis que 40 000 autres ont été blessées.

Sur cette lancée, le droit de vote fut accordé aux femmes en 1945, puis, en 1946, les droits des femmes furent inscrits dans la nouvelle Constitution de la République fédérative socialiste de Yougoslavie, leur garantissant une égalité de droits avec les hommes dans tous les domaines de l’État, de l’économie et de la vie sociale et politique.

Au début, l’organisation était axée sur la lutte antifasciste et l’intensification de la mobilisation des femmes dans ce combat, mais elle a par la suite étendu sa présence et son engagement à la scène publique. Après la guerre, les activités de l’AFŽ englobaient la reconstruction des pays dévastés par la guerre, l’éducation des femmes et le renforcement de la loyauté envers l’idéologie socialiste. La modernisation de la vie des femmes correspondait à l’idéal socialiste global qui voulait que la condition des femmes d’une société détermine le degré de civilisation de cette dernière.

Cependant, en réalité, l’utopie socialiste était loin d’être une réalité. Les femmes des zones rurales qui représentaient la majorité des foyers yougoslaves étaient toujours l’objet de discrimination et d’exploitation. En dépit de leur contribution substantielle lors de la guerre et de la mue socialiste d’après-guerre, elles étaient toujours aussi pauvres qu’elles ne l’étaient avant la guerre. La nouvelle femme socialiste était fatiguée, jonglant sans cesse entre son travail, sa famille, les tâches ménagères, le travail bénévole de construction de nouvelles routes, etc. Il ne lui restait que peu de temps à consacrer à ses activités politiques.

Le Front antifasciste des femmes yougoslaves a été amené à s’auto-dissoudre en 1953 : l’existence d’une organisation distincte présentait soi-disant un danger d’exclure les femmes de la vie politique et supposait la nécessité pour les femmes de combattre le reste de la société afin d’obtenir des droits égaux. Lors de la cérémonie de clôture, Tito s’est à nouveau adressé aux femmes, les priant de retourner avec enthousiasme aux tâches pour lesquelles elles sont compétentes, tel que s’occuper de leur mère ou de leurs enfants, les soins de santé et l’éducation, ou tout autre travail que leur capacités physiques et autres leur permettent d’effectuer.

Seules 91 femmes, dont dix originaires de Bosnie-Herzégovine, se sont vues accorder le statut d’héroïne nationale pour leurs exploits en temps de guerre.


Le Front antifasciste des femmes yougoslaves a effectué une contribution extraordinaire dans le cadre du combat contre le fascisme et pour l’égalité des sexes, mais également pour la liberté et l’émancipation de la société yougoslave dans son ensemble. Qu’avons-nous perdu lors de sa dissolution ? Que savons-nous de l’AFŽ aujourd’hui ? Qu’est-ce ce savoir signifie pour nous et qu’en faisons-nous ?

Nous voulons recueillir, analyser, effectuer des recherches sur et diffuser des informations et témoignages sur le travail effectué par le Front antifasciste des femmes yougoslaves, qui seront présentés sous la forme d’une archive en ligne en constante évolution. Cette archive comprendra des livres, des magazines, des photographies, des documents, des témoignages, des récits, des œuvres d’art et tout autre matériau que nous aurons recueilli ou produit.

L’archive en ligne prévue (nommée « W h o s g u? » pour « What has our struggle given us? », Qu’avons-nous obtenu au moyen de notre lutte ?) s’inscrit dans le projet en cours de l’association CRVENA visant à consolider l’héritage de l’AFŽ. Ce projet a commencé en 2010 et comprend une série d’activités et évènements, tels que des expositions, des tables rondes, des discussions publiques, des rencontres avec des artistes, etc.


Nous coopérons avec le Musée d’histoire de Sarajevo, qui nous donnera accès à sa bibliothèque et à tous les documents disponibles. Nous avons l’intention de développer des partenariats similaires avec d’autres institutions, telles que les Archives nationales, les Archives historiques de Sarajevo, etc. De la même manière, nous entendons effectuer des efforts particuliers afin de retrouver les individus pouvant contribuer, par leur savoir ou leurs documents, à notre archive sur le travail de l’AFŽ et des femmes qui en faisaient partie.

À quoi servira la collecte ?

Nous avons l’intention de consacrer le montant recueilli à la numérisation des documents existants dans les institutions, bibliothèques et collections privées (scannage et photographie des documents, création et maintenance d’un site Web). Non seulement une majorité de documents d’archives ne sont pas numérisés, mais ils sont même en danger de pourrir ou de s’effriter en raison des conditions inadaptées dans lesquelles ils sont conservés. La numérisation permettrait de préserver ces documents, mais également de les rendre considérablement plus accessibles à des fins de recherche et d’éducation.

Translation to French by our supporter Clémentine Choubrac,

Posted in Uncategorized | Comments Off

Damir Imamović Sevdah Takht and Amir Gwirtzman koncert


Posted in Uncategorized | Comments Off

Quality summer reading: Performative Gestures Political Moves

Association for Promotion of Women in Culture – City of Women and the Red Athena University Press (a collaborative publishing project by the Centre for Women’s Studies Zagreb and prominent post-Yugoslav feminist scholars) published a book in English language entitled Performative Gestures Political Moves. Homonymous symposium was held at ZRC SAZU in 2010 (organised by City of Women) and this book represents its follow-up.

Editors Katja Kobolt and Lana Zdravković invited 12 different authors to share their thoughts about the »performativity«. Authors Angela Dimitrakaki, Ana Peraica, Barbara Orel, Dunja Kukovec, Grupa Spomenik and DeLVe, Marija Ratković, Marina Gržinić, Martina Pachmanová, Milijana Babić, Suzana Milevska, Tea Hvala and Waldemar Tatarczuk focused on the aforementioned concept and its »echo in the research focused on what should thus also be considered as an effect of the performance of power – on the art and theory production in so-called “Eastern Europe”.«

Publication aims to foster a reflection on performative and performance forms by women artists but and upon current research positions and theoretical considerations of performativity, performance art, feminism, historisation and, above all, their political implications in/and/for the “continental Post-Socialist” condition.

You can order this book at City of Women (via e-mail info@cityofwomen.org) for 16 EUR (you can pick it up at the City of Women office or receive it by mail).

Posted in Uncategorized | Comments Off

OUT OF THE BLUE a sense of public-mindedness

The International Exhibition Muslim Mulliqi / 10th edition

Curated by Corinne Diserens
09.07.2014– 03.09.2014
National Gallery  Kosovo

The National Gallery of Kosovo invites you to attend the opening ceremony of tenth edition of the International Exhibition Muslim Mulliqi Prize on Wednesday 9th of July 2014. The opening ceremony will take place at the National Gallery of Kosovo at 20:00h.

The exhibition and accompanying film program include works by / Ekspozita dhe programi i filmave do të përfshijë punë nga:

Masao Adachi and Eric Baudelaire, Sven Augustijnen, Rossella Biscotti, Thea Djordjadze, Willie Doherty, Zgjim Elshani, Jakup Ferri, Peter Friedl, Yervant Gianikian and Angela Ricci Lucchi, Uran Hajdari, Flaka Haliti, Ibro Hasanovic, Pierre Huyghe, Astrit Ismaili, Adela Jusic, Genc Kadriu, Bahman Kiarostami, Faik Krasniqi, Sharon Lockart, Gordon Matta-Clark, Santu Mofokeng, Alban Muja, Anri Sala, Hannah Ryggen, Kimiavi Parviz, Melanie Smith, Nasrin Tabatabai and Babak Afrassiabi, Rosemarie Trockel, Paola Yacoub.


Photos opening


Posted in Uncategorized | Comments Off

MEMORY LANE Sjećanje je rezervna domovina

Članak preuzet sa http://dnevni-list.ba

Izložba suvremene umjetnosti Bosne i Hercegovine, pod nazivom Memory Lane, otvorena je od jučer u galeriji Galerie du jour – agnès b. u Parizu, Francuska, a autorski postav potpisuje Pierre Courtin. Izlažu Gordana Anđelić-Galić, Maja Bajević, Igor Bošnjak, Lana Čmajčanin, Andrej Ðerković, Jusuf Hadžifejzović, Nela Hasanbegović, Ibro Hasanović, Adela Jušić, Šejla Kamerić, Milomir Kovačević, Nina Knežević, Radenko Milak, Mladen Miljanović, Damir Radović, Lala Raščić, Nebojša Šerić-Shoba, Irena Sladoje, Alma Suljević i Edo Vejselović. Tekst povodom ove izložbe Pierre Courtin i Alexis Argyroglo počinju citatom Paula Gardea: “Narod bez sjećanja je narod bez budućnosti”. U tekstu objašnjavaju da je ovo izložba koja okuplja umjetnike koji žive ili su živjeli u Bosni i Hercegovini. Većina njih živi u Sarajevu, neki od njih su iz Banje Luke, Trebinja, Prištine, New Yorka, Pariza, Berlina i New Orleansa.

Pitanje sjećanja

Izložba pod imenom rada Adele Jušić okuplja umjetnike koji se na različite načine bave pitanjem individualnog ili kolektivnog sjećanja. Memory Lane nas poziva da uronimo u sjećanja Balkana, a posebno BiH, zemlje izgrađene i rekonstruirane na ruševinama zajedničke povijesti i odvojenim sjećanjima, da citiramo Borgesa, idemo po razgranatim stazama. To je izložba sjećanja, kontradiktornih staza i putova, stvarnih mjesta i pasaža između fikcije i dokumentarnog; kolektivna izložba koja predstavlja neobične putanje značajnih umjetnika “bosanske scene”, umjetničke postscene čije se samo postojanje dovodi u pitanje. Ovo pitanje okuplja umjetnike čija pripadnost jednoj zemlji, Bosni, predstavlja drugo pitanje – emigracija za njih predstavlja uspjeh (u fizičkom i mentalnom smislu), a Bosna kao nacija za njih ostaje još uvijek neriješeno pitanje. Sjećanje, individualno ili kolektivno, mjesto je na kojem se postavljaju ova pitanja, gdje se nalaze neki odgovori, gdje se rađaju neke riječi i neke slike, neke ideje, gdje se pročišćava smisao sjećanja, gdje se manifestira smisao materijalnih dokumenata, i preuzima oblik trenutačnog stanja. Sjećanje je rezervna domovina, ono multiplicira stvarnu domovinu i reflektira ju na više načina.

Sjećanje i sadašnjost

U tekstu također navode kako je rat koji je poharao Bosnu i Hercegovinu od ’92. do ’95. godine zatekao umjetnike ove izložbe u njihovom djetinjstvu ili mladosti. Njemu se vraćaju putem rememorijalizacije i projekcije: sjećanje daje smjernice
sadašnjosti, a ujedno uvjetuje budućnost, kako to i Paul Garde navodi u rečenici koja je citirana u uvodu. Radi se, dakle, o višestrukom i heterogenom “radu na sjećanju”, koje proizvodi djela u poslijeratnom vremenu u kojem državne institucije nisu u mogućnosti stvarati povijest, provesti pravdu, pomiriti sjećanja i na taj način kreirati zajedničku budućnost. Kada umjetnici sudjeluju u ovoj avangardi civilnog društva, koje je odlučno u svom djelovanju i nadmašuje upravljačke i izvršne strukture vlasti, oni to čine sredstvima koja nadilaze politiku. Oni predlažu nove percepcije stvarnosti istražujući ono što ju nagriza: sjećanja, slike koje se iznova vraćaju, a i one potisnute. U jednom drugom ratnom kontekstu, a svi su oni različiti, umjetnici koji imaju malo toga zajedničkog su se okupili i izjavili: “Novi realisti postali su
svjesni svoje kolektivne neobičnosti. Novi realizam = novi pristupi u percepciji stvarnosti”. Rad na sjećanju koji se izložbom želi prikazati dolazi od iste kolektivne neobičnosti i istog mozaičkog “realizma”. Izloženi radovi ne predstavljaju ni osuđivanja, ni spomenike mrtvima niti ustaljene diskurse o sjećanju. Oni svjedoče svojim jasnim oblicima, udruživanjem značajnih i osjetljivih elemenata, od procesa stvaranja do djela. Ovi radovi istražuju mjesta sjećanja koja su ujedno i mjesta projekcije: javne i privatne prostore, arhetipske i medijske slike, tijela umjetnika, pronađene predmete te fantome i simbole bliske prošlosti. Na ovoj izložbi bit će i djelo iz zbirke Muzeja suvremene umjetnosti Republike Srpske iz Banje Luke “Služim umjetnosti”, dio izložbenog postava IZ/UZETNOSTI – Suvremene vizure kulturne baštine/Nove smjernice buduće stalne postavke, autora Mladena Miljanovića.
Ove 274 crno-bijele fotografije, nastale 2006./2007. godine kao fotodokumentacija istoimene performanse ovog autora, jednog od najznačajnijih predstavnika bh. suvremene scene, za izložbu Memory Lane, autorski postav Pierrea Courtina, odabrane su kao važan primjer suvremene umjetničke produkcije nastale u Bosni i Hercegovini u prethodnih deset godina.

Uronimo u sjećanje

Postav autora koncepcije izložbe Pierrea Courtina zamišljena je kao presjek suvremene scene u Bosni i Hercegovini i okuplja umjetnike koji žive ili su živjeli u Bosni i Hercegovini i na različite načine se bave pitanjem individualnog ili kolektivnog sjećanja. Memory Lane nas poziva da uronimo u sjećanja Balkana, a posebno Bosne, zemlje izgrađene i rekonstruirane na ruševinama zajedničke povijesti i odvojenim sjećanjima. Izložba će biti otvorena do 26. srpnja.

Piše: Andrijana Copf


adela jusic le monde////////////////////////////////////////////////////////////////////////////////

Title Track “Memory Lane” by Adela Jušić

Article written by Jonathan Blackwood about exhibition Memory Lane, curated by Pierre Courtin, Galerie du Jour, Agnes B, Paris 06th of June

So, after all the months of preparation, opening day of “Memory Lane” is finally upon us. The artists who are coming tonight have all arrived, and I am writing this article against the whine of an industrial vaccuum cleaner, preparing the space for the opening.

Adela Jušić, Memory Lane (detail)

Today, for the final article before the opening, I decided to concentrate on what we might call the “title track” of the whole exhibition; Adela Jušić’s photographic installation Memory Lane. Longstanding observers of Adela’s work will recognise the biographical theme as one of her signatures, but these four photographic prints, together with a rather moving text written by her sister, responding to the images, marks a new departure.

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 (for example, with the shelling and destruction of Vijećnica in 1992). The four photographic prints, therefore, act as documentation of a vanished pre-war world, an attempt to re-enagage with the past and to re-construct it, having survived that trauma. They mark a similar painstaking and slow process of re-construction and re-evaluation; the frustration of broken links and black holes in the records; the photographs had to be gathered where they had survived, from relatives and friends.

In this show, the prints are cleverly placed next to Adela’s video When I Die, You Can Do What You Want of 2011. As such, the viewer can see the life of her grandmother bookended; a beautiful young woman, about to marry a handsome soldier; a daughter and mother with a growing brood of small children; her son, and Adela’s father, posing with his sniper’s rifle (an image seared onto the viewer’s memory by Adela’s The Sniper of 2007- shown elsewhere in this exhibition); a group of kids standing together in a group of six, staring with the fierce curiosity of small children at the camera, an image made poignant by our fragmentary knowledge of their subsequent transition into adulthood. In this sense the video marks a full stop at the end of these life events; an old lady looking back on her rich and complicated life story which we can see like the fragments of a broken mirror, in these photographs.

Memory Lane holds together, in confessional tension, the main animating forces in Adela’s work from the last three or four years. The impact of the war on her childhood and development; the role and contribution of women in the history of war in the former Yugoslavia, and contemporary Bosnia-Herzegovina; an evolving personal evaluation of gender and the role of women in contemporary society; an engagement with family and family narratives, as validating of personal experience and development; and, a desire to work in series, to expand and develop this material in new formats and new presentations. All of these factors come together in an intimate revelation of the roots of the artist’s personality and set of interests, in a frank self-revelation which avoids much of the narcissism and trivia of contemporary artistic “biographical” and “confessional” strategies.


Between the grey-silver tones of a past long faded, and the pixelated life story of Adela’s grandmother, lies a handwritten testament by her sister, a verbal link between the two works. Part of the extract from the text reads:

I know very little about my father, and the little I know, I am not sure whether it is my own memory or a memory created based on other people’s stories. I know that thanks to him I am left handed and I am glad. My mother wanted to convert me to being right handed, but he wouldn’t allow that. I know I have only three photographs of him. This one is my favorite. I also know that to a great extent I amnow a soldier, because he was one too, and that I have the same name on the uniform as he did – „A Jušić”

It will be interesting to see where Adela’s work goes next. She has been developing a new body of work in a residency in Tirana on the experiences of women in the Hoxha period in Albania. It may be that Memory Lane will continue to develop as new stories are uncovered, or it could be that this powerful piece will draw a line under the work of the last few years, and clear the ground for new pieces in different but related discourses. Whatever the outcome will be, the gripping tension between candour and intimacy, the scrupulous avoidance of sentimentality and nostalgia, in this work, will keep visitors to this show coming back to look again.

Posted in Uncategorized | Comments Off