In Šejla Kameric (*1967 in Sarajevo, lives in Berlin and Sarajevo) the dream and the trauma seem to be causally connected. She channels the pain in two quite different directions: into a biting, almost cynical criticism of political conditions and, at the same time, into a longing escapism (…) Kameric works against current clichés about victims (poor, desperate, submissively seeking help, etc.), because they only serve to produce a permanent condition of dependency, so that the ‘helpers’ can extend their position of power. At the same time, however, Kameric does not pose in the heroic role of an angry member of the resistance (which is just another cliché, even if it comes from a difference political direction). Rather, she insists on being permitted to be a dreamer, who is sometimes happy to shut her eyes to reality, who is vulnerable, who is sad, who is homesick for a Sarajevo that is more than merely a synonym for ‘breaking news’ and for a murderous war against civilians. (Anselm Wagner, Spike Art Quarterly #3, 2005)
[Quelle: Einladung]
