Last night, the promotion of the monograph “Mother is a Bitch” by renowned artist Šejla Kamerić was held at The House of The King’s Guard, accompanied by a conversation with curator Milica Bezmarević. 

 The monograph brings together texts and images that reflect the multilayered artistic practice of Kamerić, emphasizing her self-portraits and textile works.

  “Mother is a Bitch” touches on key themes from Kamerić’s life and work, including experiences of displacement, discrimination, and gender roles, which the artist explores through the lens of personal memories and dreams. 

By intertwining the past and present, her works illuminate universal themes of gender, migration, labor, and care. Curator Milica Bezmarević emphasized that “Mother is a Bitch” is not just a collection of images and texts, but a deeper insight into Kamerić’s artistic process. 

 “The monograph, in a way, represents a form of Šejla Kamerić’s self-portrait. The texts by various authors provide a theoretical and historical perspective on her work, adding an extra dimension to her art,” Bezmarević added. 

 Special attention was given to the piece “Bosnian Girl”, which marked an important period in Kamerić’s early career. However, the artist pointed out that the significance of this work was just the beginning. 

 “While ‘Bosnian Girl’ was a recognizable point in my work, I never wanted to be confined to that one story. Each of my works carries a new dimension, a new challenge, and opens space for exploring deeper themes.” 

 Kamerić also emphasized that her artistic practice is not limited to one medium. “I’m always seeking new ways to communicate through art. The series ‘Hooked’ allowed me to explore a different approach and use textiles as a powerful medium to express themes close to me.” 

 The monograph was published by the prestigious German publishing house Distanz, with the Museum of Contemporary Art of Montenegro (MCAM) as one of the partners on this significant project. 

 Bezmarević highlighted the importance of this publication as an example of interdisciplinary dialogue between art and theory, and as a way of opening new perspectives in understanding contemporary artistic practice.