Sejla kameric biography

Home / Celebrity Biographies / Sejla kameric biography

111-112

  • Mladina, 28 / 2003
  • DANI, BH news magazine, July 11, 2003, br. Taking up subjects that arise from non-linear historical narratives, as well as personal histories, Kamerić focuses on the politics of memory, modes of resistance in human life, and the consequential idiosyncrasies of women’s struggle.

    The repetition of the vulgar sign from the UNPROFOR barracks in Srebrenica heightens the absurdity of ethnic violence (Bosnian Girl, 2003). Berlin. She has received widespread acclaim for the poignant intimacy and social commentary that have become the main elements of her work. Her strategy in the forming of the artefact in some respects recalls the process of making a diagnosis.

    Baltic Biennial of Contemporary Art, Muzeum Narodowe w Szczecinie,Szczecin, Poland
    Tri Postal: SCÈNES CENTRALES, Lille3000, Lille, France
    Who killed the painting? Mon amour, in: Spike, 03/2005

  • Sabina Sabolović: Šejla Kamerić , Bosnian Girl in: Elle, 06/2004
  • Shinya Watanabe: Another Expo – Beyond the Nation-State, in: 10+1, Issue 36, October 2004
  • The Financial Times Magazine, Special Issue No.

    48, March 27, 2004

  • Kunstforum International, Bd. 169, March/April 2004
  • Der Standard, December 11, 2003
  • Zarez, September 11, 2003, g.V, br. Her films were screened in more than 40 international film festivals including the Venice International Film Festival, International Film Festival Rotterdam and Sarajevo Film Festival.

     

    List of selected exhibitions

     

    Extended biography
    Šejla Kamerić is a versatile visual artist known for her multi-disciplinary approach, including film, photography, objects, drawings, and installations.

    She has also exhibited at the Sharjah Art Foundation in Sharjah, Manchester International Festival MFI, and various other art platforms worldwide.

    In 2011, Kamerić received The ECF Routes Princess Margriet Award for Cultural Diversity and in 2007, a DAAD-Berlin Artist Residency Fellowship. 317

  • Start, BH magazine, July 15, 2003, br.

    Ural Industrial Biennial of Contemporary Art, Yekaterinburg; Diversity United / Contemporary art from Europe, Berlin New Tertyakov Gallery, Moscow (2021); Conflicts (We are here: Future Ecologies), with British Council for Western Balkans, Belgrade (2021); The Warmth of Other Suns: Stories of Global Displacement, The Phillips Collection in partnership with the New museum, Washington, D.C (2019), 2nd Coventry Biennial of Contemporary Art, Coventry (2019); 4th Berliner Herbstsalon, Maxim Gorki Theater, Berlin (2019); The Restless Earth, Nicola Trussardi Foundation and La Triennale di Milano (2017); Hannah Ryggen Triennale, National Museum of Decorative Arts and Design, Trondheim (2016); Tokyo Metropolitan Museum of Photography (2013); Gwangju Biennale (2012); Gender Check: Femininity and Masculinity in the Art of Eastern Europe, MOMOK in Vienna and Zachęta National Gallery of Art, Warszaw (2010).

    She lives on a relation between Sarajevo, Istria and Berlin.

     

    • Šejla Kamerić

    Skip to content

    Monographs

    • Mother Is a Bitch, DISTANZ, Berlin 2024
    • Šejla Kamerić, Bim Bam Bom Çarpınca Kalp / When the Heart Goes Bing Bam Boom, ARTER, Istanbul 2015
    • Šejla Kamerić, Galerie Tanja Wagner, Meral Agish (Ed.), text by Edi Murka, Berlin 2011
    • Two Words / Deux Mots, La Baconnière, Arts, Geneva 2009
    • Šejla Kamerić, Galerija Moria, Stari Grad 2008
    • Šejla Kamerić WHAT DO I KNOW, OK Center for Contemporary Art, Linz 2007
    • Šejla Kamerić – Bratislava, Gandy Gallery, text by Michal Kolecek, Bratislava 2005

    Artist Books

    • Is it Rain or is it a Hurrican, Ústí nad Labem 2010
    • Others and Dreams, Portikus, Frankfurt am Main 2004

    Catalogues

    • PUBLIC DIARY, Yebisu International Festival for Art & Alternative Visions, Japan 2013
    • LALALA HUMAN STEPS, Istanbul Modern, Istanbul 2012
    • Art Brusseles, Brussel 2012
    • ROUNDTABLE, Gwangju Biennal 2012
    • ACT – Art Collection Telekom, 2012
    • RAY Filmmagazin, Filmfestival Linz , 2012
    • Quatro venti, 2012
    • CPH:DOX, International documentary film festival, Coppenhagen, 2012
    • Dreams of Power, Zamek Culture Centre, Poznan 2011
    • Šejla Kamerić / Tatiana Lecomte, Camera Austria, Graz 2011
    • Clothing as a Symbol of Identity, Gradska Galerija, Bihac 2011
    • Festival D’Automne a Paris, 2011
    • Time machine “No Network”, 2011
    • CODE COULEUR, Toute L’actualite du Centre Pompidou, 2011
    • Squatting.

      The confrontation between dreams and the difficulty of meeting basic existential needs during the war evokes sensations of a direct physical threat (Basics, 2001). Typical of this generation of post-war artists, who have been gradually making a name on the international scene since the mid 1990s, is the accentuation of the conflict between local cultural traditions and elements of the global lifestyle.

      A Further Surface, Guangdong Times Museum, Guangzhou
      What Do I Know, (14th) Filmmor Kadın Filmleri Festivali, Istanbul
      The Big Other, Galerie Tanja Wagner, Berlin
      Remember Lidice, Edition Block and Lidice Museum, Berlin / Lidice

      2015
      Forensics: The Anatomy of Crime Forensics: The Anatomy of Crime, Wellcome Collection, London, UK
      SHARE – Too Much History, MORE Future, Banja Luka Museum of Contemporary Art Republika Srpska, Bosnia and Herzegovina
      SHARE – Too Much History, MORE Future, National museum of Montenegro in Cetinje, Montenegro

      2014

      EGO EDITION, Galerie Tanja Wagner, Berlin, Germany
      Something in Space Escapes Our Attempts at Surveying,Württembergischer Kunstverein Stuttgart, Germany
      Exhibition at the State Parliament of Bosnia and Herzegovina, Sarajevo, Bosnia and Herzegovina

      Memory Lane – Contemporary Art Scene from Bosnia and Herzegovina, Galerie du Jour-agnés b., Paris, France

      Decoding – Contemporary Art in Bosnia and Herzegovina, The National Museum of Montenegro, Montenegrin Art Gallery Miodrag Dado Đurić, Cetinje, Montenegro

      SHARE – Too Much History, MORE Future, Presentation of the video edition and exhibition opening at the National Gallery Sarajevo, Bosnia and Herzegovina
      SHARE – Too Much History, MORE Future, Presentation of the video edition + artist´s talk at Moderna Galerija/Metelkova, Ljubljana, Slovenia
      SHARE – Too Much History, MORE Future, Presentation of the video edition at Cultural City Center Belgrade, Serbia
      SHARE – Too Much History, MORE Future, Presentation of the video edition+ artist´s talk at MSU, Zagreb, Croatia
      SHARE – Too Much History, MORE Future, Austrian Gallery Belvedere/21-Haus, Vienna, Austria2012

      9th Gwangju Biennale, Gwangju, South Korea
      The common which no longer exists, Künstlerhaus, k/haus Galerie, Vienna
      It doesn’t always have to be beautiful, unless it’s beautiful.Art Gallery of Kosovo.

      Un jeu de correpondances, in: Libération

    • Manuela Gandini: Nozze etniche, passaporto per l’Ue, in: Il Sole 24 Ore, June 30, 2002
    • Uban Bug, Issue 7, 2002
    • Nebojša Jovanović:Šejla Kamerić, or Filling the Unfillable, in: Umelec, 02/2001
    • Review by Zivot Umjetnosti in: Camera Austria, 73/2001
    • Nebojša Jovanović: Umelec, Contemporary Art and Culture, No.4, 2001
    • Nebojša Jovanović: Šejla Kamerić, ili ispunjavanje neispunjivog
    • Lejla Hodžić: Just Pass, in: annual, 2000
    • Josephine Schmidh:A Roving Show Fixates on Europe’s Border Obsession, in: The New York Times, July 27, 2000
    • Susan Snodgrass:Manifesta 3: Diagnosing Europe, in: Art in America, No.11, November 2000
    • Review by Heather Felty in: Flash Art, Vol.

      XXXIII, No. 214, October 2000

    • Herwig Holler:Perspektivische Erweiterung, in: Kleine Zeitung, September 6, 2000
    • Alain Dreyfus: Manifesta, passeport pour Ljubljana in: Libération, September 11, 2000
    • NEW MOMENT, Magazine for art & advertising, No.32
    © SejlaKameric.com 2026 | Login

    The Bosnian artist Sejla Kameric is one of a circle of young Balkan artists who reflect in their work the dramatic processes of the disintegration of the local communist regimes and the subsequent painful search for a new national and social identity.

    Fashion, the cult of the body and the perfection of the advertising spot are metaphors for the emptiness of the political clich’s cited (Untitled/daydreaming/, 2004), or they intensify the devastating message about the basic manifestations of social and economic inequality (Imagine, 2004). These seemingly trivial events often have amoeboid features, but they always function as kick-starters and, at the same time, indicators of social defects.

    The fragment of the airport information system thus represents the hopelessness of social stratification (EU/Others, 2000). Paris., New Tretyakov Gallery, Moscow
    See Me Moving Placeless, Museum of Contemporary Art, Skopje
    Traces of Humanity | Bayeux Award Calvados – Normandy, Hotel du Doyen, Bayeux Cedex
    A Time to Embrace and to Refrain | The 6th Ural Industrial Biennial of Contemporary Art, Ural Branch of the National Center for Contemporary Art, Ekaterinburg
    ARCO Madrid Art Fair, Eugster || Belgrade, Madrid
    CONFLICTS, group exhibition, curated by Natalija Paunić, Eugster || Belgrade / Drugstore Belgrade, Belgrade
    Diversity United.

    Contemporary European Art.

    sejla kameric biography