Over the past 25 years, Sejla Kamerić (b. Sarajevo 1976; lives and works in Sarajevo, Berlin, and Istria) has produced a remarkable number of art works based on theself-presentational gestures. They reveal Kamerić's enduring allegiance to the subject of self-portraiture and her unconventional comprehension of this self-referential practice.

Mother is a bitch brings together texts and images that reflect on Kamerić's multifaceted practice following two main lines within her body of work: self-portraits and textile works. These artworks are based on Kamerić's own experiences, memories and dreams and take us to global spaces of displacement and discrimination. They are viewed through the lenses of gender,labor, migration, class, and care, imbued with interweaving temporalities--pastand present.

Inspired by Hélène Cixous' écriture feminine or "women's writing"--a theory of feminist philosophy that combines elements ofpsychoanalysis, literary theory, and deconstructivism, the authors of thepublication consider acts of writing as a subversion of patriarchal orders. Thecommissioned texts are juxtaposed with one another and with reproductions of Kamerić's works, negotiating themes such as witchcraft, feminism, self-reflection, self-exploration, and self-exploitation. With contributions byMilica Bezmarević, Hana Ćurak, Iskra Geshoska, Jana Kocevska, Edi Muka, Natalija Paunić, Linda Peitz, Bojana Pejić, Mathilde Sandlarz, Milica Trakilović, Adriana Tranca and Jasmina Tumbas, edited by Živa Kleindienst.