'Concerning: request for erased and ‘blurry’ photographs', still from the testimony of Witness F, pointing to a photograph in the courtroom of the International Criminal Tribunal for the Former Yugoslavia, 2015 - ongoing, installation, dimensions variable
Born Amsterdam (NL), 1982
In her practice Anna Dasović focuses on how visual traces, objects, documents or stories are used to frame people and their histories. She looks specifically at the role of documents and testaments that relate to wars, colonialism and violent conflicts in recent times.
The production and use of (visual) documents are examined in their quest for truth finding or the social and political perceptions they seek to form, while simultaneously expsosing their legislative and archival inability to cope with trauma caused by violence. Here, the archive serves both as a physical place for these documents and a metaphor of collective humiliation and remorse.
Her current research questions the role of representation around the genocide that occurred in Srebrenica during the wars in Bosnia and Herzegovina in 1995, arguing that most representations replicate the gaze of the perpetrator. The frame is revealed here as an essential part of the materiality of violence, rather than merely being its representation.
The historical and aesthetic figure of the erasure is invoked for its potential to represent the process of a double elimination: the elimination of the people in Srebrenica and the erasure of the traces of their elimination.
Anna reveals different levels of hesitation in the political and aesthetic representation of the genocide in Srebrenica itself, despite being the most thoroughly researched and documented genocide in the world to date.
She works without any fixed medium, rather most of her works finally materialize out of a long term engagement with existing materials that emerge as a constellation of installations, video montages, sound or text-based works and lectures.