“Bosnian Girl” emerged in 2003 as a public project by Bosnian artist Šejla Kamerić (*1976), in collaboration with photographer Tarik Samarah. The artwork was displayed as postcards, posters, billboards, and magazine ads, often appearing as interventions in public spaces. Created in the aftermath of the Bosnian War (1992-1995), the project addresses war crimes committed against women during that period.
The artwork—a black-and-white photograph—features Šejla Kamerić’s steady gaze, overlaid by insulting phrases about Bosnian women. These words are taken from an original graffiti created by an unknown Dutch soldier during 1994–1995, who was a member of the Royal Netherlands Army deployed in Bosnia and Herzegovina. The graffiti was found at army barracks in Srebrenica.
In 1993, during the Bosnian War, Srebrenica had been declared a safe zone by UN Protection Forces. The town was heavily populated by Bosnian Muslims escaping persecution by Bosnian Serb forces. In 1995 the Bosnian Serb Army invaded the town. The resulting genocide and war crimes remain one of the largest failures of the United Nations to protect those under their care.1
Visual Impact
Originally introduced as posters commemorating the 1995 Srebrenica genocide anniversary, “Bosnian Girl” transformed into an iconic representation of post-war Bosnia and Herzegovina. Using stylised poses found in fashion photography, Kamerić both challenges and embodies the soldier’s words. In this act, she stands for all women who have experienced prejudice because of their gender or identity. She hints at how women become markers of national identity, their bodies politicised as a way to uphold territories and borders. In her gaze, she asks us as viewers to be accountable for our own ways of looking.2
“We live in a constant war where the female body is used as territory. Bosnian Girl is not me, but any girl or woman… anyone whose rights are denied. This work comes from Bosnia, but it tells a universal story of prejudice and bigotry.” she states.3
The artwork has since evolved into a symbol of resilience and the failings of the UN Protection Forces. It was carried on placards at marches and protests and is now displayed in permanent exhibitions, such as the Memorial Centre Potočari in Srebrenica, as well as in international institutions like Tate Modern in London. Furthermore, “Bosnian Girl” highlights the patriarchal structures that seek to define women and suggests the potential of art to contribute to their emancipation, sparking reflection, conversation, and a reckoning with the lasting impact of conflict on women’s lives.
Text by Luka Ahrens