Šejla Kamerić
Position Absolute
Exhibition: September 16 - November 7, 2015
Opening: September 16, 2015

Installation Views

Works

Press Release

Personal belongings. We possess, we buy, collect, inherit. What is the meaning of all material objects that surround us and which lost their practical use? Security… Memory… Fashion… Obsession… Evidence. – Šejla Kamerić

 

 

Galerie Tanja Wagner is pleased to present new works by Šejla Kamerić in her solo exhibition Position Absolute.

 

The central work of the exhibition Existence is a series of color photographs, which depict everyday objects marked with numbers in the style of crime scene photographs or fashion blog product placement. The photograph itself is mounted on the left side of a paper spread – resembling old photo albums – and complemented by a description of the objects on the spread’s right side. The descriptions are written in manner of verses, creating a poem but following the strict order of the object’s numbering. The work brings together a rather scientific imagery with a poetic language; it interlinks fact and fiction, documentary and storytelling. It raises the question of how to measure the value of everyday objects, charged with personal as well as collective memories. How much are we as human beings dependent on personal belongings, memories and a ‘story‘ of ourselves, in which way do they contribute to our individual identity?

 

The second body of work in the exhibition Position Absolute are four stone spheres with engraved grid coordinates, designating the sites of Balkan war atrocities. The work refers to the mystic stone spheres that can be found worldwide, and especially in Bosnia. Although the myth says, their position is essential for the earth’s spiritual balance and should never be changed, most of them have been moved from their original location over time. By merging the mythic dimension of the story with the cold facts of the war, Kamerić creates a powerful symbol of remembrance.

 

Three cardboard boxes placed in the gallery space are titled Care 1, 2 & 3. One contains candles, some are new and others half burnt, the second box is filled with expired food cans, and the third with newspapers and magazines. They are a remake of the packages that the artist received as humanitarian aid during the war in Bosnia. The work is a direct response to the state of power between different socioeconomic groups in a time of crises. It questions one’s understanding of his or her own “absolute” position.

 

The proceeds from the sales of artwork Care 1, 2 & 3 will be donated to UNHCR humanitarian aid for refugees.

 

 

Šejla Kamerić, born 1976 in Sarajevo, lives and works in Berlin and Sarajevo.

 

Solo exhibitions (selected): 2015: ARTER Space for Art, Istanbul, National Gallery of Kosovo, Prishtina; 2014: War Theater, Sarajevo; 2012: Contemporary Art Center, Vilnius, Museum of Contemporary Art, Belgrade, MSUM Museum of Modern Art, Ljubljana, Sharjah Art Foundation, Sharjah Art Museum – March Meeting, Sharjah; 2010: MACBA, Barcelona, Röda Sten, Göteborg, Prospectif Cinema, Centre Pompidou, Paris.
Group exhibitions (selected): 2015: P21, London, Wellcome Collection, London; 2014: Kunstverein Hamburg, Hamburg, Austrian Cultural Forum New York (ACFNY), New York; 2013: Tokyo Metropolitan Museum of Photography, Tokyo; 2012: Gwangju Biennale, Gwangju, Istanbul Modern Art Museum, Istanbul, Moderna Museet, Stockholm, Marrakech Biennale, Marrakech.

Persönliche Besitztümer. Wir besitzen, wir kaufen, sammeln, erben. Was ist die Bedeutung der Objekte, die uns umgeben und die ihren praktischen Nutzen verloren haben? Sicherheit…Erinnerung…Fashion…Obsession…Beweis.  – Šejla Kamerić

 

 

Galerie Tanja Wagner freut sich neue Arbeiten von Šejla Kamerić mit ihrer Einzelausstellung Position Absolute zu zeigen.

 

Im Mittelpunkt der Ausstellung steht Existence, eine Serie von Farbfotografien, die Alltagsgegenstände zeigt, markiert mit Zahlen im Stil von Tatort-Fotografien oder Produktplatzierung von Fashion Blogs. Das Foto selbst ist auf der linken Seite eines Blatt Papiers eingelegt – ähnlich wie bei alten Fotoalben – und wird durch eine Beschreibung der Objekte auf der rechten Seite ergänzt. Die Beschreibungen muten poetisch an und folgen gleichzeitig streng formal der Ordnung der nummerierten Objekte. Die Arbeit vereint wissenschaftlich wirkende Bilder mit dichterischer Sprache; sie vereint Realität und Fiktion, Dokumentarisches und Erzählkunst. Es stellt sich die Frage, wie sich der Wert von Alltagsgegenständen messen lässt, die mit persönlichen ebenso wie kollektiven Erinnerungen beladen sind. Wie sehr sind wir als menschliche Wesen abhängig von persönlichen Gegenständen, Erinnerungen und einer “Geschichte” von uns selbst, in welcher Art und Weise tragen sie zu unserer individuellen Identität bei?

 

Das zweite Werk in der Ausstellung, Position Absolute, besteht aus vier Steinkugeln mit eingravierten Koordinatensystemen, die Orte balkanischer Kriegsgräuel bestimmen. Die Arbeit bezieht sich auf mystische Steinkugeln, die auf der ganzen Welt zu finden sind, vor allem in Bosnien. Obwohl der Mythos besagt, das deren Position essentiell für das spirituelle Gleichgewicht der Erde ist und niemals verändert werden sollte, wurden die meisten von ihnen im Laufe der Zeit verschoben. Durch die Zusammenführung der mythischen Dimension der Geschichte mit den kalten Tatsachen des Krieges schafft Kamerić ein mächtiges Symbol der Erinnerung.

 

Die drei Kartons in den Räumlichkeiten der Galerie tragen den Titel Care 1, 2 & 3. Eine enthält Kerzen, einige neu, andere halb abgebrannt, die zweite ist mit abgelaufenen Dosenkonserven gefüllt, und die dritte mit Zeitungen und Magazinen. Diese sind eine Neuauflage der Hilfspakete welche die Künstlerin als humanitäre Hilfe während dem Krieg in Bosnien erhalten hat. Die Arbeit ist eine direkte Resonanz auf den Zustand zwischen verschiedenen sozioökonomischen Gruppen in den Krisenzeiten. Die Arbeit hinterfragt das Verständnis der “absoluten“ Position eines Jeden.

 

Die Einnahmen der Verkäufe von Care 1, 2 & 3 werden an das Flüchtlingshilfswerk UNHCR gespendet.

 

 

Šejla Kamerić, geboren 1976 in Sarajevo, lebt und arbeitet in Berlin und Sarajevo.

 

Einzelausstellungen (Auswahl): 2015: ARTER Space for Art, Istanbul, National Gallery of Kosovo, Prishtina; 2014: War Theater, Sarajevo; 2012: Contemporary Art Center, Vilnius, Museum of Contemporary Art, Belgrade, MSUM Museum of Modern Art, Ljubljana, Sharjah Art Foundation, Sharjah Art Museum – March Meeting, Sharjah; 2010: MACBA, Barcelona, Röda Sten, Göteborg, Prospectif Cinema, Centre Pompidou, Paris.
Gruppenausstellungen (Auswahl): 2015: P21, London, Wellcome Collection, London; 2014: Kunstverein Hamburg, Hamburg, Austrian Cultural Forum New York (ACFNY), New York; 2013: Tokyo Metropolitan Museum of Photography, Tokyo; 2012: Gwangju Biennale, Gwangju, Istanbul Modern Art Museum, Istanbul, Moderna Museet, Stockholm, Marrakech Biennale, Marrakech.

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