Many strong proposals were submitted, with a rich diversity of approach in terms of discipline, knowledge and experience of artists. It shows that the subject is alive, and that there is a need to show other perspectives around Srebrenica that go beyond the image in the dominant Dutch collective memory. The process of selecting one winner was therefore very challenging. All proposals were reviewed and evaluated carefully and various aspects of the proposals were scrutinised with attention. To do justice to the diversity of proposals – each of which offered valuable perspectives – a runner-up was chosen in addition to the winner.
The selection committee consisted of Alma Mustafić (Hogeschool Utrecht), Cees Martens (Beeld & Geluid), Fay Breeman (Studio Camera), Olga Victorie (FOTODOK) and Peter Romijn (FOTODOK).
Over the coming months, Nicole Segers and Anita Karabašić, under the guidance of Studio Camera and FOTODOK, will create a work based on their research in the media archive of Beeld & Geluid. The final result will be exhibited by FOTODOK as part of The Eleven Voices of Srebrenica.
Nicole Segers
The winning proposal is Memorial for Srebrenica (working title) by Nicole Segers. Her idea of constructing a ‘kaleidoscopic whole’ of texts, images, and fragments through a cahier, breaking away from existing narratives and myths, ties in well with the overarching project The Eleven Voices of Srebrenica. Her proposal explicitly centres the Bosnian-Dutch perspective—similar to the planned podcast series—and focuses on making visible the mechanisms of genocide and how Bosnian-Dutch people relate to it.
The selection committee said: “In her proposal, Nicole Segers demonstrates a deep affinity with the subject, that she has a strong understanding of what genocide entails. She thoughtfully considers her approach and how she will include the missing voices of the Bosnian-Dutch community in her work. Her proposal also shows that she takes a step forward in her own practice by taking an experimental route regarding the formation of the final work. She is mindful of her own positionality and starts from the desire and need to make a meaningful connection to the past – and present – around the genocide and its aftermath through new frames of thought.’
Anita Karabašić
The runner-up is Anita Karabašić. Her practice shows an inventiveness in which she develops a creative concept from what is present in, for example, an archive or a place. Anita previously created a ceramic installation of 102 indigenous fruits Nema Nikog Da Ga Bere (There is no one to harvest them) as a concept for a memorial.
The selection committee: “In her proposal, Anita Karabašić shows a sharp mind. From unexpected angles, she visualises the ongoing impact of genocide and its effects on individuals, communities and society as a whole. She pushes back against dominant ‘curated’ narratives and creates work that makes space for emotion, empathy and conversation.”
beeld: Nicole Segers, View of the road from Srebrenica to Potočari. Over this road, many people fled to Dutchbat’s UN compound in 1995..
