Jasmin Brutus (Bosnia and Herzegovina)
“Bosnia Daily Telex”2006-2008.

Fotografi te cilat vijne dhe dokumetojne nje pjese te se vertetes, qe nuk humbet asnjehere.
Ne mes zhurmes se atyre reportazheve, qe kerkojne ne kohe lufte dhe pas lufte te ruajne ato qe pritet te shihen. Ne ndergjegjen e te gjitheve mbeten keto shenja te verteta, qe tregojne pertej cdo shenje dhune dhe agresioni, ate qe mbetet per te jetuar.

The flexibility of life or the imperative of existence is the very aspect we unavoidably read in the captured moments of the Bosnian post-war daily routine in the project "Bosnian Daily Telex" by Jasmin Brutus. Living in peace in every post-war and post-conflict society seemingly creates an impression of war postponed, with a compact mix of symbols and motifs of something in the past, something in the present, and what creates the uncertain something in the future.
The Bosnian case holds the particularity of a recent war experience, where transition is nothing else but a schizophrenic attempt to create an accurate reality of peace. To live in this effort almost certainly implies the hyper-emotion constantly seen on people's faces, and the entire emotional image is enhanced in correlation with the surrounding. When the scenes from a society's daily routine are randomly documented, it is quite clear that the overall image will contain a colourful variety of differences. However in the case of Bosnia, the seal of war deeply imprinted in this random everyday scene adds entirely new motifs to the mentioned variety, motifs that can easily be called a Bosnian specificity.
Next to the mines, the poverty, the ball, the arrow, the accordion, the cold, the begging, the mud, the hut, and under the same sky, the formal-statistical social and political fact moves through time, committed to overcoming the burden of past and present behind a political fence. And this feeling of being "behind a fence" is ever present, regardless of whether there is an actual fence, or a seemingly open meadow. The whole space radiates confinement, restricted by circumstances, the past and the escapism of the tormented people. We are presented with the image of life in the background as a paradigm of the entirety of life as such.