The opening of the sixtieth edition of the oldest international art exhibition, the “Venice Biennale” marks a cornerstone event that attracts people from all over the globe, and not solely art enthusiasts. It also represents a valuable opportunity to unite peoples that are historically interconnected by cultural and geographical bonds spanning the Adriatic region and beyond.
In the first part of this coverage of the presence of the Mediterranean Balkan countries in Venice, we will start with the presence of Bosnia-Herzegovina, which not only returns as one of the 90 countries officially present in the lagoon city, with pavilions inside and outside the spaces of the “Biennale”, but also maintains its strong plural soul thanks to the presence of several prominent artists displaying their works on the main island.
The official representation of the Balkan country, which has only participated in the Biennale six times throughout its history, has been absent since 2019, and on this occasion, the scenario has changed radically from the previous times. Indeed, the choice of the curators is mainly linked to the lesser-known vision of the country’s Mediterranean affinities, in particular through the intrinsic geographical characteristics of the Herzegovinian component artistically embodied in the work of Stjepan Skoko.
His project, entitled “The Measure of the Sea” – or “Mjera mora” in the creator’s original language – has been chosen to represent the Bosnia-Herzegovina Pavilion during the 60th Biennale inside UNESCO’s headquarters in Venice. The work also aims to be an ideal accompaniment to the country’s accession process to the European Union by exalting its Mediterranean soul. One of the emblematic routes that expresses closeness with the rest of the continent is precisely the maritime route that winds along the Adriatic Sea to the Venice Lagoon, which highlights the strong historical connection of the Serenissima, the old Venetian Republic, with the Slavic world. This bond is recalled, for instance, in Larry Wolff’s classic textbook “Venice and the Slavs” (Stanford University Press, 2001) as well as in the most recent historical study, “History of the Adriatic: A Sea and Its Civilization” (John Wiley and Sons Ltd, 2022) by Egidio Ivetic.
The Measure of the Sea at Palazzo Zorzi Galeoni
After arriving in Venice a few weeks ago, the works created by Stjepan Skoko for the art exhibition were previewed on April 18th at the UNESCO headquarters of Palazzo Zorzi Galeoni in San Severo, located in the Castello district (Castello 4930), where they will be exhibited until November 24, 2024. Palazzo Zorzi Galeoni also served as the venue for the first Bosnia-Herzegovinian pavilion in 1993, in the midst of the full-blown conflict. At that time, it symbolized the embryo of a potential institution that would have embodied the pioneering idea of a future centered on the preservation of art, as conceived in besieged Sarajevo by its visionary creator, Enver Hadžiomerspahić, under the anagrammatic name of Ars Aevi. The 1993 Pavilion was made possible by the will of artistic director at the time, Achille Bonito Oliva, who invited a collective of artists to further endorse the courageous initiative. Such a groundbreaking cultural exchange initiative during a time of war represented the revelation to the world of the potential of Ars Aevi to preserve and expand the power of art to overcome the destruction, shedding light on the vibrant creative reality that persisted amidst the war taking place a few hundred kilometers away from the lagoon during the Balkan conflicts of the 1990s.
Thirty years later, the project chosen for the current exhibition delves into the interactions and relationships between humanity and the sea, employing marine elements to reconsider the boundaries and dimensions of human coexistence with the natural environment. His approach resonates with the broader theme of the “Biennale” under the comprehensive title “Foreigners Everywhere” by accentuating concepts of connection, separation, belonging, and alienation in the contemporary world. To convey these concepts, the sculptor Stjepan Skoko proposed and produced 25 square-shaped blocks designed to evoke nautical charts. Most of them are colored blue and are also associated with the surface of the sea illuminated by sunlight. The second part of the art installation consists of the so-called “mussels”, sculptures reminiscent of the submarine world of the Adriatic Sea, which were forged in Kreševo, a mountainous city located in a narrow valley of the Kreševka river, an area which is known for its centuries-old tradition of blacksmiths. During the inauguration of the exhibition, Skoko, along with institutional representatives from Bosnia-Herzegovina (including President of the Council of Ministers, Borjana Krišto and the Rector of the Mostar University, Zoran Tomić), emphasized the importance of regional cooperation behind the exhibition by highlighting the synergy between similar cultural institutions located in Mostar, Banja Luka, Sarajevo, and Zagreb.
The maritime and natural heritage of Bosnia-Herzegovina
Bosnia-Herzegovina boasts the smallest coastal stretch of the Adriatic, measuring just 22 kilometers, which corresponds to the Neum corridor. This has been the country’s sole outlet to the sea since the Peace Treaty of Carlowitz in 1699, when it became part of the Ottoman possessions, later serving as a buffer zone between Venice and Dubrovnik. Even today, it remains entirely enclosed by Croatia on both sides.
In recent years, this narrow strip was further concealed from view, even from those arriving by sea, due to several reasons and coincidences of events. The most significant one was the completion of the Pelješac bridge, a massive infrastructure project largely financed (85%) by the European Union through its Cohesion Policy. It opened for traffic on July 26, 2022, thus contributing to the compression and difficult accessibility of the already limited coastal area.
Beyond this short coastal stretch lies another natural treasure that flows into the Adriatic: the Neretva River. Originating from the Lebršnik hydrographic node in eastern Herzegovina at an elevation of 1859 meters above sea level, the Neretva flows into a vast delta just 25 kilometers away from Neum. This area is both restricted and fragile, embodying a natural sense of limits that enriches its inherent value and need of protection.
In this fragile yet fascinating context, the containment of space embodied by the “Measure of the Sea” serves as a poignant message for a broader audience, resonating not only with the case of Venice – which steadily transitioned from the capital of a global empire to an overexposed island facing depopulation, environmental risks, and gentrification – but also with Bosnia-Herzegovina’s perspective on the Mediterranean Sea. The country’s relationship with the sea is shaped by redefined borders and is characterized by a predominantly local, thus still small, influx of tourists and the challenges of its lack of maritime and land connections.
Šejla Kamerić and the fragility of peace amidst conflict
The artistic contribution from Bosnia-Herzegovina in this newly inaugurated edition of the Biennale extends beyond the confines of the institutional pavilion, resonating and expanding internationally through the work of Šejla Kamerić. Commissioned by the Ars Aevi Museum of Contemporary Art, Kamerić’s striking sculpture, entitled “Cease”, features a torn white flag crafted from fiberglass, symbolizing defiance beyond ceasefire, negotiation, or surrender.
Positioned in the middle of Campo Santo Stefano, surrounded by the Veneto Institute and the “Benedetto Marcello” Conservatory of Music housed in Palazzo Pisani, Kamerić’s work commands attention as a powerful statement on the fragility of peace amidst conflict. A multimedia artist who survived the Siege of Sarajevo (1992 – 1996), Šejla Kamerić has dedicated the past 25 years to exploring themes of war, peace, identity, and otherness in her work. With “Cease”, she brings to the Venice art scene a poignant representation of fractured and incomplete peace, laid bare to the winds of war.
Safet Zec at the Venice Pavilion named “The Home Sextant”
The connection with Bosnia-Herzegovina also extends prominently into the heart of the “Giardini Biennale”, where the works the esteemed academic painter and graphic artist Safet Zec, whose life and artistic practice spans Sarajevo, Venice, Počitelj, and Paris, are currently showcased. His talent earned him an invitation to be part of the Venice Pavilion named “The Home Sextant”, curated by Giovanna Zabotti and commissioned by Maurizio Carlin, along with two fellow painters, Pietro Ruffo and Vittorio Marella (young artists at the Academy of Fine Arts of Venice), poet Franco Arminio, and the work of conceptual artist Koen Vanmechelen, which is located just outside.
During the opening of the Venice Pavilion, Zec acknowledged his status as a “foreigner” by expressing gratitude to Udine, where he found refuge for six years following his exile from Sarajevo, before extending the highest appreciation to Venice in connection with his artwork and life experience. Inside the Pavillon he also offers visitors a glimpse into the atmosphere of his daily work, and is showcasing some of his most significant works, including a large and unfinished canvas portraying a female figure who is inspired by the masterpiece of Greek sculpture, that of Niké of Samothrace from the Hellenistic era.
The 11th CEI Venice Forum for Contemporary Art Curators from Central and Eastern Europe
Bosnia-Herzegovina was also invited as a participating country during the 11th CEI Venice Forum for Contemporary Art Curators from Central and Eastern Europe, an event promoted by the Central European Initiative. Held under the 2024 theme “The Agencies We Need”, this forum took place at the Venice Academy of Fine Arts on the eve of the official opening of the 60th Biennale. The event, a biennial gathering closely linked with the pre-opening days of the Biennale Arte Venezia, was organized by Trieste Contemporanea with the patronage of several institutions and local authorities, including the Italian Ministry of Foreign Affairs and International Cooperation, the Italian Ministry of Culture, the Central European Initiative, the Italian National Commission for UNESCO, the Veneto Region, the Municipality of Venice, the Municipality of Trieste, Ca’ Foscari University of Venice, and the University of Trieste.
Since its inception in 2001, the CEI Venice Forum for Contemporary Art Curators has been dedicated to promoting art and contemporary culture, as well as facilitating the exchange of curatorial practices. Over the years, it has evolved into a thematic transregional initiative, serving as a platform for art curators and professionals from Central and Eastern Europe alongside the commissioners of the Venice Biennale responsible for the national pavilions of the CEE countries, and standing as a cornerstone of international activities within Trieste Contemporanea’s “Dialogues with the Art of Central and Eastern Europe” program, which was established in 1995.
Marin Ivanović, the curator of the Bosnia and Herzegovina Pavilion and director of the Museum of Modern Art in Mostar, was among the distinguished attendees, underscoring the deep connection between the Balkan country and Venice throughout history. It is worth mentioning that this bond was further strengthened through an official Town Twinning protocol signed by the Mayor of Venice and the Mayor of Sarajevo May 15, 1994. This agreement formalized a commitment to enhance friendly exchanges and foster collaboration, particularly in the cultural sector. This milestone is approaching its 30th anniversary, which might also present a favorable moment for revitalizing and commemorating this significant partnership between Sarajevo and Venice.
Cover Image: Padiglione Venezia Safet Zec
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