The Bosnian civil war witnessed massacres on all sides because outside of the mass simplicity of political leaders and major media agencies you have a different reality which is hidden. After all, despite the reality that America, Iran, al-Qaeda, Saudi Arabia and many others were all on the same side; it didn’t suit the image of the alleged “underdog” against a powerful “enemy.” Therefore, thousands of Orthodox Christians were slaughtered in Bratunac and in the Srebrenica region but of course this had to be kept quiet because it didn’t suit the agenda.
In the adorable art work of Alyse Radenovic (http://www.alyseradenovic.com/) related to this article you have no political words, no military images, no propaganda within her art and so forth. These images in this article are focused on the natural flow of Bratunac, Banja Luka, Banja Luka, Srebrenica and other parts of Bosnia like Sarajevo in relationship to the Serbs of the Balkans. However, Alyse Radenovic cares deeply about the Balkans and how the Serbs were demonized and expelled from various parts of Bosnia, Croatia and Kosovo.
Like previously mentioned, no one-side is ever angelic in war and during civil wars the hatred is even higher. Therefore, while leading Western universities can hide and lie about history in order to suit their respective political agendas. On the ground, you can’t hide Croatian fascism which supported Nazi Germany; Ottoman Muslim enslavement and dhimmitude of Orthodox Christians in the Balkans; Muslim SS Units supporting Nazism; the geopolitical reality that Serbs were forced out from the seats of power by Muslim overlords during the Ottoman period; the mass atrocities against the Serbs by the Austro-Hungarian Empire; and a plethora of other realities.
This may appear to be very distant from the art pieces of Alyse Radenovic in relationship to her adorable images of Bratunac. Yet, it the stillness of her art you have no words and this is the point. After all, during the countless massacres of Serbian Orthodox Christians in Bratunac and other parts of Bosnia, Croatia, and Kosovo, you also mainly had the same silence. Given this reality, and knowing the passion of Alyse Radenovic towards the embattled Serbs of the Balkans; then within each image I can envisage the ghosts of history – and the written out ghosts of the past – which doesn’t suit the simplistic story of the mass media.
French General Philippe Morillon, the UNPROFOR commander who first called international attention to the Srebrenica enclave, is adamant that the crimes were quite “extraordinary in the region committed by those Muslim soldiers made the Serbs’ desire for revenge inevitable. He testified at The Hague Tribunal on February 12, 2004, that the Muslim commander in Srebrenica, Naser Oric, “engaged in attacks during Orthodox (Christian) holidays and destroyed villages, massacring all the inhabitants. This created a degree of hatred that was quite extraordinary in the region.”
Morillon also recounts how “the Serbs took me to a village to show me the evacuation of the bodies of the inhabitants that had been thrown into a hole, a village close to Bratunac. And this made me understand the degree to which this infernal situation of blood and vengeance [...] led to a situation when I personally feared that the worst would happen if the Serbs of Bosnia managed to enter the enclaves and Srebrenica…I feared that the Serbs, the local Serbs, the Serbs of Bratunac, these militiamen, they wanted to take their revenge for everything that they attributed to Naser Oric. It wasn’t just Naser Oric that they wanted to revenge, take their revenge on; they wanted to revenge their dead on Orthodox Christmas.”
In the above art piece by Alyse Radenovic you can visualize the mountains in the backdrop which often rescued the fleeing Serbs throughout history. The bright yellow image of the side of a rural homestead and the natural flow of nature can be seen. However, not so long ago innocent Serbian Orthodox Christians were slaughtered like animals in places like this by forces under Naser Oric in Bratunac and in the surrounding region. It mattered not if they were little children, women, elderly men and so forth; for all would be tortured and killed in brutal ways.
Like Morillon confirms, Naser Oric stated that “One can’t be bothered with prisoners” but what is left out by this simplistic comment by this Muslim warlord is that this even applied to little Serbian Orthodox Christian children. It is known that some CIA and American special forces were sickened by the role of Bill Clinton because they had to standby and witness many massacres of innocent Orthodox Christians while remaining silent. However, the stark reality is that Bill Clinton set in motion not only the massacres of Serbians but he also enabled al-Qaeda Islamists to use Bosnia in their next major power play during the barbaric events of September 11. However, just like the massacres against Serbian Orthodox Christians remain mainly ignored in many parts of the world; the same applies to the Bosnian connection with Madrid, September 11 and other terrorist attacks.
Turning back to the art work of Alyse Radenovic then her art provides a silent dignity whereby words are not needed. After all, while wealthy politicians, major universities (many supplied with Gulf petrodollars) and the mass media need to use words for propaganda and then to enhance the myth during peacetime. The reality is that for local people they know the real facts. Therefore, despite their voices being small in comparison to the enemies of truth; it is clear that the next generation will learn history at first hand in local areas because the Serbs were too numerous to crush. Sadly, for the Serbs of Kosovo then even their graveyards in many areas of their Jerusalem have become desecrated therefore the remaining Orthodox Christians reside in ghettos.
Alyse Radenovic produces stunning art related to a vast array of subjects and the words in this article belong to the author. However, her passion towards the embattled Serbs of the Balkans does remain within her heart. Therefore, the stunning art of Alyse Radenovic in relation to Bratunac, Banja Luka, Sarajevo and Srebrenica conjures up many words despite the reality of no words being expressed. More alarmingly, in the mass media which relies on words to communicate then very few words were ushered about the brutal massacres against the Orthodox Christian Serbs. In this sense, the art work of Alsye Radenovic speaks a million times more than the closed books of the mantra of major world powers, famous university institutions and the mass media which all collectively help to whitewash the truth.