{"id":2201,"date":"2022-07-07T11:29:20","date_gmt":"2022-07-07T11:29:20","guid":{"rendered":"https:\/\/tariksamarah.com\/?p=2201\/"},"modified":"2023-01-14T12:38:54","modified_gmt":"2023-01-14T12:38:54","slug":"monography-srebrenica-by-tarik-samarah-and-the-artwork-bosnian-girl-by-sejla-kameric-are-displayed-in-londons-tate-modern-gallery","status":"publish","type":"post","link":"https:\/\/tariksamarah.com\/en\/monography-srebrenica-by-tarik-samarah-and-the-artwork-bosnian-girl-by-sejla-kameric-are-displayed-in-londons-tate-modern-gallery\/","title":{"rendered":"Monography \u201cSrebrenica\u201d by Tarik Samarah and the artwork \u201cBosnian Girl\u201d by \u0160ejla Kameri\u0107 are displayed in London\u2019s Tate Modern gallery"},"content":{"rendered":"

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Monography\u00a0\u201cSrebrenica\u201d<\/strong>\u00a0by Tarik Samarah and the artwork\u00a0\u201cBosnian Girl\u201d<\/strong>\u00a0by \u0160ejla Kameri\u0107 are currently displayed in London\u2019s Tate Modern gallery. The exhibited works are located in the central exhibition space, on the second floor, as part of the cycle \u201cArtist and Society\u201d, which represents a story about the ways in which artists and art deal with the social reality.<\/p>\n

Graffiti written by UN soldiers on the walls of the compound in which they were stationed reveal the prejudices, misconceptions, and dehumanization of the local population. Diversion, inability\u00a0 to empathize, and misunderstanding the victim\u2019s position are part of the narrative that determined the fate of the Srebrenica victims. Photos of the graffiti were recorded, shortly after the war, by\u00a0 Tarik Samarah. They form an integral part of his artistic story about Srebrenica, which is the basis of the permanent exhibition of the Gallery 11\/07\/95.<\/p>\n

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Excerpt from the Tate Modern website (\u201cSrebrenica\u201d by Tarik Samarah\u201d)<\/strong><\/em><\/p>\n

\u201cTarik Samarah first visited Srebrenica in 2001 and his book Srebrenica documents the aftermath of the genocide. In different sections, he focuses on the mass grave sites, the identification of bodies, the graffiti found in army barracks and portraits of survivors. Together, his photographs relay the failures that led to the death of over 8000 Bosnian Muslims, mainly men and boys. The photograph of graffiti quoted by Kameric was taken from Samarah\u2019s book. Samarah notes that such images provide an important type of remembrance but should also impact the future too, a way of ensuring such events are not repeated.\u201d<\/em><\/p>\n

Excerpt from the Tate Modern website (\u201cBosnian Girl\u201d by \u0160ejla Kameri\u0107)<\/strong><\/em><\/p>\n

\u201cIn Bosnian Girl artist \u0160ejla Kameri\u0107 stares directly at the camera, holding our gaze. The overlaid text quotes graffiti by an unknown Dutch UN soldier found at an army barracks in Srebrenica during the Bosnian war (1992\u201395). Using the stylised poses found in fashion photography, Kameri\u0107 both challenges and embodies the soldier\u2019s words. In this act, she stands for all women who have experienced prejudice because of their gender or identity. She hints at how women become markers of national identity, their bodies politicised as a way to uphold territories and borders. In her gaze, she asks us as viewers to be accountable for our own ways of looking.\u201d<\/em><\/p>\n