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BETWEEN FIXITY and ABSENCE Representation of the Bosnian War in Visual Art and Its Influence on the Art Scene

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BETWEEN FIXITY and ABSENCE Representation of the Bosnian War in Visual Art and Its Influence on the Art Scene BETWEEN FIXITY AND ABSENCE Representation of the Bosnian war in visual art and its influence on the art scene Laura Van Den Bosch Master thesis East-European Languages and Cultures 2013-2014 Promotor: prof. Rozita Dimova August 2014 Words of appreciation My initial interest in Bosnia was sparked following a visit to Sarajevo in 2012 with a group of students of the Bosnian/Croatian/Serbian language course. After yet another visit to Bosnia in 2013, it was clear that Bosnia had captured my attention provoking conflicting thoughts, dilemmas and most of all inspiration and mystery. Arguably, the recent war contributed to this attraction. But I was also captivated by the lively atmosphere and beauty of the country which mixed with its history, and the visible remnants of the turmoil during the war, made this country truly fascinating to me. Having developed profound interest in art for some time now, and having followed art courses at the university to broaden my knowledge about visual art, I approached the task of my MA thesis with a determination to combine these two sincere interests. I would not have been able to finish this intense work without the help of various people. In the first instance, I would like to express my sincere appreciation to professor Rozita Dimova for the invaluable advice, suggestions and inspiring discussions. Furthermore, I would like to thank the artists and curators who were more than willing to cooperate and share additional information. I really enjoyed catching a glimpse of their fascinating world. A special thank you to Šejla Holland, Anela Hakalović, Tarik Samarah, Radenko Milak, Milomir Kovačević, Dean Zulich, Damir Radović and Pierre Courtin. Last but not least, I would like to thank Frederik De Roeck, Mahbir Thukral, my parents and my friends for their continuous support. In difficult moments, they were the ones who encouraged and advised me. Thank you! Image on front page: Radenko Milak, 02. April 1992, Bijeljina, Bosnia and Herzegovina. I Summary in Dutch De Bosnische oorlog vond intussen bijna 20 jaar geleden plaats en had een enorme impact op het land en zijn inwoners. Ook de kunstwereld werd echter in sterke mate beïnvloed door deze tragische gebeurtenis. In deze thesis wordt dit laatste aspect verder uitgediept. Er zal in de eerste plaats gekeken worden naar hoe de oorlog tot nu weergegeven is in drie artistieke stromingen: schilderkunst, fotografie en grafische ontwerpen. Elk werk wordt op zich geanalyseerd: er zijn immers telkens andere invloeden te vinden. Later duiken er verscheidene andere vragen op die gekoppeld kunnen worden aan de weergave van de oorlog. Is kunst een manier om de oorlog te verteren? Kunnen artiesten zich losmaken van hun verleden door de kunst? Dit kunnen we proberen onderzoeken aan de hand van twee hedendaagse tentoonstellingen die recente werken tentoonstellen: Memory Lane en Bosnian Born. De thesis is concreet gestructureerd als volgt. Als inleiding op de analyse wordt er uitgezocht hoe het begrip ‘oorlogskunst’ kan opgevat worden. In de geschiedenis werd oorlog vooral weergegeven door middel van schilderkunst. Hier kunnen we een evolutie zien van een klassieke weergave over een meer realistischere tot een abstracte weergave. In latere, technisch meer geavanceerde tijden gaat fotografie aan belang winnen. Oorlogen zijn sindsdien veelvuldig vastgelegd door middel van fotografie. De eigenlijke analyse bestaat uit vier delen. In het eerste deel wordt de representatie van de Bosnische oorlog in de schilderkunst besproken. Aan de hand van drie schilders en vier werken wordt er aangetoond hoe de oorlog hier weergegeven wordt. In het volgende onderdeel wordt de oorlog de fotografie besproken. We stellen hier vast dat er niet één manier is om een oorlog vast te leggen via fotografie. Ook het onderwerp van de foto’s kan zeer uiteenlopend zijn. In het derde deel van de analyse komt de meer abstracte vormgeving aan de beurt. De oorlog is immers niet alleen weergegeven via rechtstreekse representatie. Door middel van abstracte beelden, woorden en ook graffiti worden ook betekenissen op een ander niveau overgebracht. Bij elk van deze drie weergavemogelijkheden worden er in de masterproef algemene tussentijdse conclusies gegeven die de kenmerken van de weergave identificeren. Het vierde deel van de analyse staat in contrast met de voorgaande delen. Hierin wordt duidelijk gemaakt hoe de oorlog aanwezig is in de institutionele Bosnische kunstwereld en hoe dit tot uiting komt in de hoofdstad Sarajevo. De kunstwereld is slachtoffer geworden van de politieke problemen. Hierdoor zien we dat er in het artistieke milieu bijna geen ontsnappen meer is aan de oorlogsthematiek. Als contrast hiertegenover wordt de tentoonstelling Bosnian Born geplaatst. In tegenstelling tot het overheersende oorlogsthema, wordt hier een positiever beeld geschetst. Hoewel de tentoonstelling enkel Bosnische artiesten exposeert, kunnen we hier een grote afwezigheid van het oorlogsthema opmerken. Door enkele werken te analyseren, tonen we aan op welke manier het mogelijk is voor Bosnische kunstenaars om hun aandacht op andere zaken te richten. II Als conclusie kunnen we stellen dat de Bosnische oorlog op zeer verschillende manieren is weergegeven. Invloeden van vroegere kunststromingen zijn in elk onderdeel van dit onderzoek te vinden geweest. Ondanks deze verschillende weergaven en stromingen kunnen we een algemene typologie geven van de representatie tot nu toe. sluiten elkaar echter niet uit. Zo is het mogelijk dat één werk in verschillende categorieën kan worden geplaatst of dat twee categorieën versmelten in één werk. De eerste mogelijkheid is expliciete weergave. Hierin vinden we de werken die de oorlog rechtstreeks tonen, zoals de foto’s die genomen zijn tijdens de oorlog. Niet alleen foto’s zijn hier te plaatsen. Ook schilderijen hebben de mogelijkheid om de oorlog rechtstreeks weer te geven. De tweede mogelijke weergave is niet- expliciete weergave. Hierin zijn de grafische werken en de graffiti te vinden. Dit toont ons dat er, buiten de directe weergaves, ook een andere weg mogelijk is om de oorlog weer te geven. Dit vaak door betekenissen die verborgen zijn achter een abstracte weergave die vraagt om meer informatie. Een derde manier om om te gaan met de oorlog is de niet-weergave ervan. Door zich ertegen af te zetten, zijn deze artiesten er toch nog mee verbonden. Ze maken echter de keuze om zich te concentreren op andere onderwerpen in hun kunst. De vraag hoe artiesten 20 jaar later omgaan met de oorlog kan bijgevolg op verschillende manieren beantwoord worden. De tentoonstellingen Memory Lane en Bosnian Born, die beiden nog dit jaar plaatsvonden, tonen dat er verschillende mogelijkheden zijn. Enerzijds zijn er artiesten die de oorlog nog steeds weergeven. Anderzijds zijn er deze die focussen op andere onderwerpen. De redenen voor deze keuze kunnen zeer verschillend zijn en afhangen van persoon tot persoon. Hoe de Bosnische kunstwereld zich verder zal ontwikkelen is niet duidelijk. Enerzijds valt het af te wachten hoe het op institutioneel vlak zal evolueren en hoe kunstenaars nog zullen omgaan met hun situatie. Anderzijds weten we niet of het oorlogsthema nog steeds een onderwerp zal blijven in de kunst. III Table of contents Words of appreciation .............................................................................................................................. I Summary in Dutch ................................................................................................................................... II 1. Introduction ..................................................................................................................................... 1 2. War art ................................................................................................................................................. 6 2.1 War art: what does it look like? .................................................................................................... 6 2.1.1 Classical depiction: evolution of the war theme in paintings ................................................ 7 2.1.2 The 19th century: Goya .......................................................................................................... 9 2.1.3 The twentieth century: Picasso ........................................................................................... 11 2.2 What is war painting? ................................................................................................................. 13 2.3 Different forms of expression in later times ............................................................................... 14 2.3.1 The rise of photography........................................................................................................ 14 2.3.1.2 Photography to capture wars ............................................................................................. 15 2.3.2 The use of other media ......................................................................................................... 16 2.4 Starting the analysis .................................................................................................................... 16 3. The Bosnian war represented in painting ...................................................................................... 18 3.1 War painting from a distance and yet close: Peter Howson ...................................................... 18 3.2 Painting the suffering homeland: Safet Zec ...............................................................................
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