In my last post, I have touched upon this exhibition. Yes, I think that curators of the exhibition did a fantastic job by showing how media coverage of conflicts around the world forms our awareness and opinion, how different channels reflect those conflict events but also how we (or artists in the exhibition) react on media images and combine them with our encounters.
I will be biased here and spend more space for three Bosnian artists. Not only that they fascinated me with their way of showing events that we all in Bosnia went through (and is painful to remember them, no matter which time distance is there in the meantime), but these artists instantly raised interests of various art collectors and media in Germany and world. Cover page of tomorrow’s Süddeutsche Zeitung‘s ‘Feuilleton’ was devoted to a largest deal to them. And who are they? They are: Radenko Milek, young painter from Banja Luka, who amplifies the Ron Haviv‘s war photography that maybe in a most correct way describes what really happened in aggression on Bosnia and Herzegovina through series of black&white paintings. (Arkan’s soldier with cigarette in his hand and sunglasses hitting dead female bodies on the pavements: how would you feel painting this image over and over again?).
Another one is Adela Jusic, video and performance artist, who is showing a hand drawing a red circle on a white surface while listening her reading the diary entries. In the end, with ‘December 3, 1992’, it is clear: we see the photo of her father, a sniper, who has been killed by a sniper. Her demystified and unbiased approach to the conflict, trying to show no sentiments and heroic images to this personal story, is what artistically augments this complex situation.
Third one is Jasmila Zbanic, already established name in cinematography. In the film, “Was uns bleibt sind unsure Bilder (Images from the Corner)” from 2003, she is searching from her long lost friend and also discovers, through this visual and verbal journey, that image is never what it really happened but what a photographer chose to frame.
Other artists that bought my attention were Lebanese artist Roy Samaha with his depiction of Arab Spring, Alfredo Jaar with his raw and honest cry, Thomas Ruff, Trevor Paglen and scientific search for what is unknown, secret and hidden, just to name few. Two-day symposium has been organized to follow the exhibition and many of the artists and most prominent names and researchers in the field participated in the discussions. Haus der Kunst curators and Okwui Enwezor did fantastic job again.
The exhibition can be seen in Haus der Kunst until September 16.