Final exhibition of The Hartwig Art Production | Collection Fund: Special Project 2020/21, by artist Anna Dasović, opened at Stroom Den Haag , September 3 Anna Dasović: g rounds for denial 3 September 2022 – 16 October 2022, window display Public programme: Saturday 15 October Stroom Den Haag Hogewal 1 - 9, The Hague https://www.stroom.nl grounds for denial stems from fieldwork Dasović has carried out in the entity of Republika Srpska in Bosnia and Herzegovina and is part of her ongoing research in which she focuses on structures that make genocidal v iolence (in)visible and also on those structures deployed to obscure the politically inconvenient aspects of such conflicts. In Republika Srpska, the representation of Serbian nationalism is increasingly taking shape in the public space: graffiti, murals and daubed monuments represent the denial of the genocidal violence that took place in the 1990s; these visual landmarks also symbolise the mythologisation of the political ideal of a Greater Serbia. By presenting this new video work, Dasović raises the p aradoxical question of whether and how it is possible to sketch an image of something that is structurally denied and therefore invisible. Image: Anna Dasović, grounds for denial (2022), video still. Courstesy of the artist. ‘Grounds for denial' is a legal term and refers to the reasons for denying a claim. Dasović uses it as a metaphor for historical revisionism: that history — as it is usually told — is not accurate and can therefore be subject to revision. ‘Grounds for denial’ specifically refers to a g rowing historical revisionism of the systematic genocide of Bosniaks in Bosnia and Herzegovina - as established by the International Criminal Tribunal for the former Yugoslavia in The Hague. On 15 October, as part of g rounds for denial , Stroom Den Haag will present a public programme around the theme of 're - enactment', an artistic method of recreating historical events. The programme includes contributions from filmmaker Didem Pekun, artists Bassem Saad and Sanja Grozdanić and forensic researcher Ma ksym Rokmaniko. More information about the artist: With a background in photography, Dasović now uses an interdisciplinary approach including archival research, fieldwork, and interviews. Her work, often the result of long - term engagements, result in installations, video montages, photography, sound or text - based works. Through her work, Anna Dasović raises questions such as: What are representations of such extreme violence intended to communicate despite their original intentions? Or: What ideologic al narratives do such representations participate in on a structural level? Central to her work is an exploration into the figure of the bystander and the ways in which the unimaginable and the unrepresentable — categories produced by the discourse on geno cide — are evoked to reject the responsibility of witnessing through representation. Dasović is interested in that rejection and in the exclusion of knowledge that is held in the body but denied by society’s authorising structures. Her work has been exhib ited in the Van Abbemuseum in Eindhoven, Framer Framed, Stedelijk Museum and SMBA in Amsterdam, Survival Kit Latvia, Bergen Assembly, Württembergischer Kunstverein Stuttgart, Kunstverein Braunschweig, Museum for Modern and contemporary art (MAMA) Algiers a nd the Museum of Yugoslav History in Belgrade. She has previously been artist in residence or held fellowships at Künstlerhaus Büchsenhausen, Rijksakademie voor Beeldende Kunsten, MAMA Algiers, Celeia Centre for Contemporary Arts Celje, Casa Tres Patios in Medellín and Residencia en La Tierra in Montenegro Colombia. She is a member of Collection Collective, Template for a Future Model of Representation. Editors’ Notes ` The Hartwig Art Production | Collection Fund Encouraging experimentation and creativ ity at the highest level, the Hartwig Art Production | Collection Fund enables artists to realise ambitious production ideas. Each year, a series of newly produced artworks will be acquired by the Hartwig Art Foundation and then donated to the Dutch nation al art collection (the “Rijkscollectie”). The Hartwig Art Production | Collection Fund is managed and overseen by The Hartwig Art Foundation: www.hartwigartfoundation.nl The curatorial team for the Hartwig Art Production | Collection Fund special project 2020/2021 consists of Sharmyn Cruz Rivera, Iris Ferrer, Aude Christel Mgba, Jo - Lene Ong and Rita Ouédraogo. The artists chosen to participate in this projec t are Kent Chan, Mariana Castillo Deball, Anna Dasović, Em’Kal Eyongakpa, Family Connection (Jörgen Gario, Quinsy Gario, Caldron Lewis, Whitney Lewis, Gala Martinus, Glenda Martinus and Rudsel Martinus), Ana Guedes, Ola Hassanain, Neo Matloga, Kevin Osepa, Maria Pask, Joy Mariama Smith, Geo Wyeth, Mariëlle Videler, Saeeda Saeed and Sara Sejin Chang (Sara van der Heide). For the complete schedule of presentations, full artist biographies and further information, please visit the respective institutions webs ites and www.hartwigartfoundation.nl For press requests please contact: Rhiannon Pickles at Pickles PR rhiannon@picklespr.com | +31 (0)615 821202