This desire for clarity, which must precisely define where Europe ends, is the construction of symbolic geography, which separates it from Europeans from “others” and “Europeanized Westerners.” Implicitly in these words is the proposal that the next iron curtain will divide Europe and again isolate it against the Other one.
The aim was to highlight the consequences of nationalism and armed conflicts on war victims of rape. An example of rape in Bosnia has become a horrific act of violence against women in the conflict area. The Bosnian government, along with all 50,000 sexually abused women, has been referring to the public to encourage NATO’s military intervention. Since then, a public discussion on rape has led to the conclusion that sexual violence against Bosnian women is massively planned by the military leadership as a mechanism for humiliating the entire Bosnian nation. Shame and possible rejection of families and society have become part of everyday life and the theme of a cultural taboo. The end of the Bosnian war brought a veil of silence over this socially sensitive issue. The return of the patriarchy over gender equality was insisting on maintaining the issue of rape in the public space unacceptable, as the visibility of the victims alerted to the inability of Bosnian men to defend their women/people. The dominant discourse of Bosnian society leaves women, their stories and the consequences of war crimes as part of the private spheres of suffering.
Performance is followed by an audio storyline.
(Supported and produced by KulturKontakt and Austrian Chancellery)
Credit: Vitya Glushchenko
It’s a video performance conducted as a monologue confession of a woman in early 30s and obstacles she is dealing with. Content is touching problematic such as gender, identity, migration, and ethnicity. Biographical thoughts are exposed to the audience only with audio recording while performer in the video is slightly visible. It gives a notion of a classical portray while the mind is the main source of happening. Artist is addressing the audience with world’s issues that are still current and in meanwhile trying to escape from inner conflicts and is asking herself if she – as an individual did enough for society and if it is even possible to do so regarding personal confusion. Performance is not only personal; it is sharing common threads of today’s world and is appealing public to identify with the performer and vice versa.
ZAHIDA IS A FEMINIST
This work involves the presentation of women with an “artistic language”, which is supposed to create images so that the viewer refutes the confirmation of patriarchal patterns and the binarity of the existence of sexual dichotomy and forcible female identities. I wanted to emphasize that, despite the life problems that women have, I can point to the presence of their individuality and independence – economically and intellectually. The red thread of the project is the question of feminism in the Balkans or how it is shaped through the occidental dominant white feminism. The issue I deal with is if we can talk about emancipatory women’s practices in the Balkans, without the implications of the western category of ideological and cultural practices. The task or message I pose is that a feminist discourse and the presentation of a woman can be re-established without the influence of dominant feminist practices and the wider academic Western context. If I simplify, I give voice to women who are historically completely neglected from this point of view and presented through a single prism, the prism of the patriarchy, to which they are otherwise completely inferior, without the legitimacy of being able to speak in their own name. Since the importance of their lives is pushed to the margins of anonymity and without value, I decided to do the opposite. The fact that the Balkans is described by the West and its intellectuals as patriarchal, traditional, rural, backward, mystical and scary is just one side of the story that has completely taken hold of our perception. The Balkans portrays the otherness from the inside of Europe itself or as an unfinished Europe that needs an enlightened white Europeans to show us the right path to true civilization. The problem that arises is that the inhabitants of this area internalized this same image or labels that were pasted by others.
BEHIND THE VEIL
In the discourses of geopolitics, the appearance of the veil is an emblem of many things, one of which is the rejection of the West. The veil received its re-attention, ironically because of the West – as a specific discourse of colonial domination, which first defined the importance of the veil, and thus set the conditions for its appearance as a symbol of resistance. The question I asked who can decide in what way the individual is covering his body and which parts of the body will cover it relates to the historical moment of 1950 when Đemal Bjedić introduced the policy of banning the veil “Feređa”. This desire for clarity, which must precisely define where Europe ends, is the construction of symbolic geography, which separates it from Europeans from “others” and “Europeanized Westerners.” Implicitly in these words is the proposal that the next iron curtain will divide Europe and again isolate it against the Islamic one.
Credits: Alja Ferjan, Daniel Fischer.
ALL ABOUT THE VEIL
Art students have been asked questions and their body language was observed. The main purpose of the idea was to film an experimental interview about the object so-called veil. They had to wear it in order to tell how it feels like. My personal aim of this art project was to dismantle the semantics of the veil itself and give it a new meaning. I have chosen art students because they are the specific social group that is well known for “looking outside of the box” principle. It turned out that no matter how hot topic veil on our lips is, in nowadays, we somehow tend to be oblivious toward “the Other”
Credits: Andrej Uduč
This video art deals with breaking the stereotypes of perception of Muslims. It is playing with social constructions of Islamic fundamentalism and gives a chance to another aspect of cultural manifestation. Work itself is trying to demolish the conventions and norms that society created.
The purpose of video installation is to show both sides of the ritual of clitoral circumcision, roughly speaking, the Western and Eastern world. There is a typical anthropocentric attitude toward foreign sociocultural manifestations in our society. Therefore we decided to put both on the scale image. When cutting the clitoris on the Southern hemisphere we speak of a primitive process of female genital mutilation. The “developed” West talks about the medicalization of sexuality, medical intervention in the form of new technologies. Sexuality is a construct of beauty ideals, dictating the aestheticization of cosmetic surgery. On both sides, there is a presence of male domination, to which female members are subordinated. Superior countries, which are considered the peak of civilization, are drawing ideas from the primitive world. But unlike them, do so with technologically advanced equipment. Technological progress, however, does not also mean the mental development of mankind. Therefore, no significant difference, a foundation is unchanged in both cultural circles.
Being a woman and dealing with this social responsibility is always a questionable matter. In this piece, I am trying to depict through which stages I am going through to figure out what I want regarding our already constructed social roles. In one hand there is a sexual drive that manipulates my decisions, on the other hand, there is a mother’s instinct that tries to achieve its goals but no matter what, nature is always unpredictable.