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Adela Jušić

The video work "The Sniper" (2007) by the Bosnian artist Adela Jušić presents a personal view of themes such as war and violence, and relates something of the artist’s own experiences during the Bosnian War (1992–1995). Initially the autobiographical nature of the work is not apparent: a hand is seen drawing a red dot on a white surface, accompanied by a female voiceover reading a series of diary entries. As the image of a soldier’s face gradually emerges on screen, the accompanying voices start talking over each other and the entire work becomes increasingly abstract. The climax comes on the date of December 3, with the words, "My father, the sniper, was shot by a sniper into his right eye." This last statement not only draws all the different narrative strands together; it also defines the autobiographical nature of the work. From the onset of war in Bosnia and Herzegovina, the artist’s father was a sniper with the Bosnian army. On December 3, 1992, when he entered enemy territory, he was killed by a hostile sniper who shot him in his right eye. A shot that Jušić memorably replicates in "The Sniper" with a red dot in the eye of the figure on screen, which is now identifiable as her father. And now it also becomes clear that the voiceovers relate to the artist’s own life. Around the time of her father’s death, the ten-year-old Jušić came across a notebook belonging to her father, in which he had written down, month for month, how many enemy soldiers he had killed during the course of his duty. If "The Sniper" is viewed in light of the personal significance of its contents, one is immediately struck by its clear, neutral language of forms. It is neither a sentimental reminder of a father who died too young, nor is it an attempt to present his military service as heroic. The photograph that emerges is not the standard image of a proud hero, but rather a sobering image of a man in uniform. At the same time, this picture also confounds any tendency to depersonalize the victims of war, which was the case, as demonstrated in the video, with the emotionless and faceless list of victims reduced to mere numbers in a notebook. Despite this approach, Jušić does not evaluate the situation as such, but confines herself to communicating the reality of war – a distant view, also with regard to time, for a good fifteen years separate the actual events and the making of the video. In this account of her own personal experience, the artist does not succumb to emotionalism; she instead adopts a documentary approach, which nevertheless firmly resists turning war into a purely anonymous occurrence. This delicately calibrated balance is reflected in that simple but clear final sentence, which allows viewers to connect with what they have seen without presenting them with any conclusive resolution.

http://adelajusic.wordpress.com/

Adela Jušić

The video work "The Sniper" (2007) by the Bosnian artist Adela Jušić presents a personal view of themes such as war and violence, and relates something of the artist’s own experiences during the Bosnian War (1992–1995). Initially the autobiographical nature of the work is not apparent: a hand is seen drawing a red dot on a white surface, accompanied by a female voiceover reading a series of diary entries. As the image of a soldier’s face gradually emerges on screen, the accompanying voices start talking over each other and the entire work becomes increasingly abstract. The climax comes on the date of December 3, with the words, "My father, the sniper, was shot by a sniper into his right eye." This last statement not only draws all the different narrative strands together; it also defines the autobiographical nature of the work. From the onset of war in Bosnia and Herzegovina, the artist’s father was a sniper with the Bosnian army. On December 3, 1992, when he entered enemy territory, he was killed by a hostile sniper who shot him in his right eye. A shot that Jušić memorably replicates in "The Sniper" with a red dot in the eye of the figure on screen, which is now identifiable as her father. And now it also becomes clear that the voiceovers relate to the artist’s own life. Around the time of her father’s death, the ten-year-old Jušić came across a notebook belonging to her father, in which he had written down, month for month, how many enemy soldiers he had killed during the course of his duty. If "The Sniper" is viewed in light of the personal significance of its contents, one is immediately struck by its clear, neutral language of forms. It is neither a sentimental reminder of a father who died too young, nor is it an attempt to present his military service as heroic. The photograph that emerges is not the standard image of a proud hero, but rather a sobering image of a man in uniform. At the same time, this picture also confounds any tendency to depersonalize the victims of war, which was the case, as demonstrated in the video, with the emotionless and faceless list of victims reduced to mere numbers in a notebook. Despite this approach, Jušić does not evaluate the situation as such, but confines herself to communicating the reality of war – a distant view, also with regard to time, for a good fifteen years separate the actual events and the making of the video. In this account of her own personal experience, the artist does not succumb to emotionalism; she instead adopts a documentary approach, which nevertheless firmly resists turning war into a purely anonymous occurrence. This delicately calibrated balance is reflected in that simple but clear final sentence, which allows viewers to connect with what they have seen without presenting them with any conclusive resolution.

http://adelajusic.wordpress.com/

Adela Jušić

The video work "The Sniper" (2007) by the Bosnian artist Adela Jušić presents a personal view of themes such as war and violence, and relates something of the artist’s own experiences during the Bosnian War (1992–1995). Initially the autobiographical nature of the work is not apparent: a hand is seen drawing a red dot on a white surface, accompanied by a female voiceover reading a series of diary entries. As the image of a soldier’s face gradually emerges on screen, the accompanying voices start talking over each other and the entire work becomes increasingly abstract. The climax comes on the date of December 3, with the words, "My father, the sniper, was shot by a sniper into his right eye." This last statement not only draws all the different narrative strands together; it also defines the autobiographical nature of the work. From the onset of war in Bosnia and Herzegovina, the artist’s father was a sniper with the Bosnian army. On December 3, 1992, when he entered enemy territory, he was killed by a hostile sniper who shot him in his right eye. A shot that Jušić memorably replicates in "The Sniper" with a red dot in the eye of the figure on screen, which is now identifiable as her father. And now it also becomes clear that the voiceovers relate to the artist’s own life. Around the time of her father’s death, the ten-year-old Jušić came across a notebook belonging to her father, in which he had written down, month for month, how many enemy soldiers he had killed during the course of his duty. If "The Sniper" is viewed in light of the personal significance of its contents, one is immediately struck by its clear, neutral language of forms. It is neither a sentimental reminder of a father who died too young, nor is it an attempt to present his military service as heroic. The photograph that emerges is not the standard image of a proud hero, but rather a sobering image of a man in uniform. At the same time, this picture also confounds any tendency to depersonalize the victims of war, which was the case, as demonstrated in the video, with the emotionless and faceless list of victims reduced to mere numbers in a notebook. Despite this approach, Jušić does not evaluate the situation as such, but confines herself to communicating the reality of war – a distant view, also with regard to time, for a good fifteen years separate the actual events and the making of the video. In this account of her own personal experience, the artist does not succumb to emotionalism; she instead adopts a documentary approach, which nevertheless firmly resists turning war into a purely anonymous occurrence. This delicately calibrated balance is reflected in that simple but clear final sentence, which allows viewers to connect with what they have seen without presenting them with any conclusive resolution.

http://adelajusic.wordpress.com/

Adela Jušić

The video work "The Sniper" (2007) by the Bosnian artist Adela Jušić presents a personal view of themes such as war and violence, and relates something of the artist’s own experiences during the Bosnian War (1992–1995). Initially the autobiographical nature of the work is not apparent: a hand is seen drawing a red dot on a white surface, accompanied by a female voiceover reading a series of diary entries. As the image of a soldier’s face gradually emerges on screen, the accompanying voices start talking over each other and the entire work becomes increasingly abstract. The climax comes on the date of December 3, with the words, "My father, the sniper, was shot by a sniper into his right eye." This last statement not only draws all the different narrative strands together; it also defines the autobiographical nature of the work. From the onset of war in Bosnia and Herzegovina, the artist’s father was a sniper with the Bosnian army. On December 3, 1992, when he entered enemy territory, he was killed by a hostile sniper who shot him in his right eye. A shot that Jušić memorably replicates in "The Sniper" with a red dot in the eye of the figure on screen, which is now identifiable as her father. And now it also becomes clear that the voiceovers relate to the artist’s own life. Around the time of her father’s death, the ten-year-old Jušić came across a notebook belonging to her father, in which he had written down, month for month, how many enemy soldiers he had killed during the course of his duty. If "The Sniper" is viewed in light of the personal significance of its contents, one is immediately struck by its clear, neutral language of forms. It is neither a sentimental reminder of a father who died too young, nor is it an attempt to present his military service as heroic. The photograph that emerges is not the standard image of a proud hero, but rather a sobering image of a man in uniform. At the same time, this picture also confounds any tendency to depersonalize the victims of war, which was the case, as demonstrated in the video, with the emotionless and faceless list of victims reduced to mere numbers in a notebook. Despite this approach, Jušić does not evaluate the situation as such, but confines herself to communicating the reality of war – a distant view, also with regard to time, for a good fifteen years separate the actual events and the making of the video. In this account of her own personal experience, the artist does not succumb to emotionalism; she instead adopts a documentary approach, which nevertheless firmly resists turning war into a purely anonymous occurrence. This delicately calibrated balance is reflected in that simple but clear final sentence, which allows viewers to connect with what they have seen without presenting them with any conclusive resolution.

http://adelajusic.wordpress.com/

Adela Jušić

The video work "The Sniper" (2007) by the Bosnian artist Adela Jušić presents a personal view of themes such as war and violence, and relates something of the artist’s own experiences during the Bosnian War (1992–1995). Initially the autobiographical nature of the work is not apparent: a hand is seen drawing a red dot on a white surface, accompanied by a female voiceover reading a series of diary entries. As the image of a soldier’s face gradually emerges on screen, the accompanying voices start talking over each other and the entire work becomes increasingly abstract. The climax comes on the date of December 3, with the words, "My father, the sniper, was shot by a sniper into his right eye." This last statement not only draws all the different narrative strands together; it also defines the autobiographical nature of the work. From the onset of war in Bosnia and Herzegovina, the artist’s father was a sniper with the Bosnian army. On December 3, 1992, when he entered enemy territory, he was killed by a hostile sniper who shot him in his right eye. A shot that Jušić memorably replicates in "The Sniper" with a red dot in the eye of the figure on screen, which is now identifiable as her father. And now it also becomes clear that the voiceovers relate to the artist’s own life. Around the time of her father’s death, the ten-year-old Jušić came across a notebook belonging to her father, in which he had written down, month for month, how many enemy soldiers he had killed during the course of his duty. If "The Sniper" is viewed in light of the personal significance of its contents, one is immediately struck by its clear, neutral language of forms. It is neither a sentimental reminder of a father who died too young, nor is it an attempt to present his military service as heroic. The photograph that emerges is not the standard image of a proud hero, but rather a sobering image of a man in uniform. At the same time, this picture also confounds any tendency to depersonalize the victims of war, which was the case, as demonstrated in the video, with the emotionless and faceless list of victims reduced to mere numbers in a notebook. Despite this approach, Jušić does not evaluate the situation as such, but confines herself to communicating the reality of war – a distant view, also with regard to time, for a good fifteen years separate the actual events and the making of the video. In this account of her own personal experience, the artist does not succumb to emotionalism; she instead adopts a documentary approach, which nevertheless firmly resists turning war into a purely anonymous occurrence. This delicately calibrated balance is reflected in that simple but clear final sentence, which allows viewers to connect with what they have seen without presenting them with any conclusive resolution.

http://adelajusic.wordpress.com/

Adela Jušić

The video work "The Sniper" (2007) by the Bosnian artist Adela Jušić presents a personal view of themes such as war and violence, and relates something of the artist’s own experiences during the Bosnian War (1992–1995). Initially the autobiographical nature of the work is not apparent: a hand is seen drawing a red dot on a white surface, accompanied by a female voiceover reading a series of diary entries. As the image of a soldier’s face gradually emerges on screen, the accompanying voices start talking over each other and the entire work becomes increasingly abstract. The climax comes on the date of December 3, with the words, "My father, the sniper, was shot by a sniper into his right eye." This last statement not only draws all the different narrative strands together; it also defines the autobiographical nature of the work. From the onset of war in Bosnia and Herzegovina, the artist’s father was a sniper with the Bosnian army. On December 3, 1992, when he entered enemy territory, he was killed by a hostile sniper who shot him in his right eye. A shot that Jušić memorably replicates in "The Sniper" with a red dot in the eye of the figure on screen, which is now identifiable as her father. And now it also becomes clear that the voiceovers relate to the artist’s own life. Around the time of her father’s death, the ten-year-old Jušić came across a notebook belonging to her father, in which he had written down, month for month, how many enemy soldiers he had killed during the course of his duty. If "The Sniper" is viewed in light of the personal significance of its contents, one is immediately struck by its clear, neutral language of forms. It is neither a sentimental reminder of a father who died too young, nor is it an attempt to present his military service as heroic. The photograph that emerges is not the standard image of a proud hero, but rather a sobering image of a man in uniform. At the same time, this picture also confounds any tendency to depersonalize the victims of war, which was the case, as demonstrated in the video, with the emotionless and faceless list of victims reduced to mere numbers in a notebook. Despite this approach, Jušić does not evaluate the situation as such, but confines herself to communicating the reality of war – a distant view, also with regard to time, for a good fifteen years separate the actual events and the making of the video. In this account of her own personal experience, the artist does not succumb to emotionalism; she instead adopts a documentary approach, which nevertheless firmly resists turning war into a purely anonymous occurrence. This delicately calibrated balance is reflected in that simple but clear final sentence, which allows viewers to connect with what they have seen without presenting them with any conclusive resolution.

http://adelajusic.wordpress.com/

Adela Jušić

The video work "The Sniper" (2007) by the Bosnian artist Adela Jušić presents a personal view of themes such as war and violence, and relates something of the artist’s own experiences during the Bosnian War (1992–1995). Initially the autobiographical nature of the work is not apparent: a hand is seen drawing a red dot on a white surface, accompanied by a female voiceover reading a series of diary entries. As the image of a soldier’s face gradually emerges on screen, the accompanying voices start talking over each other and the entire work becomes increasingly abstract. The climax comes on the date of December 3, with the words, "My father, the sniper, was shot by a sniper into his right eye." This last statement not only draws all the different narrative strands together; it also defines the autobiographical nature of the work. From the onset of war in Bosnia and Herzegovina, the artist’s father was a sniper with the Bosnian army. On December 3, 1992, when he entered enemy territory, he was killed by a hostile sniper who shot him in his right eye. A shot that Jušić memorably replicates in "The Sniper" with a red dot in the eye of the figure on screen, which is now identifiable as her father. And now it also becomes clear that the voiceovers relate to the artist’s own life. Around the time of her father’s death, the ten-year-old Jušić came across a notebook belonging to her father, in which he had written down, month for month, how many enemy soldiers he had killed during the course of his duty. If "The Sniper" is viewed in light of the personal significance of its contents, one is immediately struck by its clear, neutral language of forms. It is neither a sentimental reminder of a father who died too young, nor is it an attempt to present his military service as heroic. The photograph that emerges is not the standard image of a proud hero, but rather a sobering image of a man in uniform. At the same time, this picture also confounds any tendency to depersonalize the victims of war, which was the case, as demonstrated in the video, with the emotionless and faceless list of victims reduced to mere numbers in a notebook. Despite this approach, Jušić does not evaluate the situation as such, but confines herself to communicating the reality of war – a distant view, also with regard to time, for a good fifteen years separate the actual events and the making of the video. In this account of her own personal experience, the artist does not succumb to emotionalism; she instead adopts a documentary approach, which nevertheless firmly resists turning war into a purely anonymous occurrence. This delicately calibrated balance is reflected in that simple but clear final sentence, which allows viewers to connect with what they have seen without presenting them with any conclusive resolution.

http://adelajusic.wordpress.com/

Adela Jušić

The video work "The Sniper" (2007) by the Bosnian artist Adela Jušić presents a personal view of themes such as war and violence, and relates something of the artist’s own experiences during the Bosnian War (1992–1995). Initially the autobiographical nature of the work is not apparent: a hand is seen drawing a red dot on a white surface, accompanied by a female voiceover reading a series of diary entries. As the image of a soldier’s face gradually emerges on screen, the accompanying voices start talking over each other and the entire work becomes increasingly abstract. The climax comes on the date of December 3, with the words, "My father, the sniper, was shot by a sniper into his right eye." This last statement not only draws all the different narrative strands together; it also defines the autobiographical nature of the work. From the onset of war in Bosnia and Herzegovina, the artist’s father was a sniper with the Bosnian army. On December 3, 1992, when he entered enemy territory, he was killed by a hostile sniper who shot him in his right eye. A shot that Jušić memorably replicates in "The Sniper" with a red dot in the eye of the figure on screen, which is now identifiable as her father. And now it also becomes clear that the voiceovers relate to the artist’s own life. Around the time of her father’s death, the ten-year-old Jušić came across a notebook belonging to her father, in which he had written down, month for month, how many enemy soldiers he had killed during the course of his duty. If "The Sniper" is viewed in light of the personal significance of its contents, one is immediately struck by its clear, neutral language of forms. It is neither a sentimental reminder of a father who died too young, nor is it an attempt to present his military service as heroic. The photograph that emerges is not the standard image of a proud hero, but rather a sobering image of a man in uniform. At the same time, this picture also confounds any tendency to depersonalize the victims of war, which was the case, as demonstrated in the video, with the emotionless and faceless list of victims reduced to mere numbers in a notebook. Despite this approach, Jušić does not evaluate the situation as such, but confines herself to communicating the reality of war – a distant view, also with regard to time, for a good fifteen years separate the actual events and the making of the video. In this account of her own personal experience, the artist does not succumb to emotionalism; she instead adopts a documentary approach, which nevertheless firmly resists turning war into a purely anonymous occurrence. This delicately calibrated balance is reflected in that simple but clear final sentence, which allows viewers to connect with what they have seen without presenting them with any conclusive resolution.

http://adelajusic.wordpress.com/

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