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Bosnia and Herzegovina / The NetherlandsArtists

Biography

Selma Selman (b. 1991) is a visual and performance artist from Bosnia and Herzegovina of Romani origin. Her multidisciplinary practice includes performance, video, painting, and installation, often rooted in autobiographical narratives that confront social injustice, gender-based violence, and systemic discrimination. Her works have been exhibited at documenta fifteen, the Venice Biennale, Autostrada Biennale, Manifesta 14, Gropius Bau, Stedelijk Museum, Schirn Kunsthalle, MoMA PS1, Istanbul Biennial. Selman is also the founder of the foundation Get the Heck to School, which supports Roma girls facing poverty and marginalisation.

Archive records · BUNA vol. 4 / 2026

Crossing the Blue Bridge, 2024, 16mm film transposed into digital video, 27’15’’ (28’19” incl the title and credits) Director and Writer: Selma Selman Producers: Amra Bakšić Camo, Ishak Jalimam Director of Photography: Almir Đikoli First Assistant Director: Luka Vlaho Production Manager: Haris Kamenčić Production Coordinator: Kristina Jeličanin First Camera Assistant: Edib Ahmetasević Second Camera Assistant: Skender Đikoli Third Camera Assistant: Darko Vučić Sound Recorder: Nirvan Imamović Production Assistants: Amar Teskeredžić, Adi Zulović Driver: Mirza Imamović Production Design and Editing: Jon Perez, Chongha Peter Lee Sound Design: Jon Perez, Dauwd Al Hilali, Chongha Peter Lee Thank you: Center for Contemporary Art Sarajevo, K Light Sarajevo, Eho Doo, Adis Đapo, Nedim Branković, Safet Kutlovac, Sejdalija Kutlovac, Béla Tarr, Amila Ramovic, Radmila Petrovic, Sasha Tatic, Muhamed Selman, Sasha from USK TV The biggest thank you to my family and of course to my mother and sister! Production: Realstage, Antifragile agency Commissioned by: Röda Sten Konsthall, Schirn Kunsthalle, Kulturhauptstadt Bad Ischl, Salzkammergut 2024 Gmbh, European Capital of Culture Bad Ischl Filmed in Bihać (BA) Spoken: English, English subtitles encrypted into video

Artists

The film is a site-specific performance in which I walk through the “blue bridge” on which my mother and sister walked in 1994 trying to reach home in their traumatised experience due to the bombing. At the same time, the film is an experience of walking—I walk where my mother walked, and the audience walks where I am walking, following the image.