22 Te Travel Guide Worldwide Travel
Promotional Content • Saturday 12th July 2025
Audio guides available in 12 different languages
Remembrance as a form of resistance IMAGE: DŽENAT DREKOVIĆ IMAGE: MIDHAT MUJKIĆ S
tep inside Gallery 11/07/95 and you’re greeted not by silence, but by presence.
Situated in Sarajevo’s historic
centre, this space blurs the line between gallery and memorial, inviting visitors to witness one of Europe’s most painful chapters: the Srebrenica massacre. But the gallery’s ambition reaches beyond remem- brance. Its mission is to preserve not just memory, but the urgency of the present — to confront the ideolo- gies and dynamics that enable such crimes. In doing so, it hopes to trans- form remembrance into resistance. Now marking the 30th anniver-
sary of the Srebrenica massacre, the gallery’s role takes on renewed signif- icance, as both a keeper of memory and a space for reflection. Trough temporary exhibitions, multimedia installations and curated program- ming, Gallery 11/07/95 addresses global themes of violence, justice and collective memory. Visitors are not passive observers, but participants in a culture of remembrance. Te gallery’s guiding phrase
— ‘you are my witness’ — is more than a tagline. Written in the entrance lift of the gallery, it subtly and intimately addresses each visitor, inviting them to active
reflection and a shared IMAGE: DŽENAT DREKOVIĆ commitment to remembrance.
Gallery 11/07/95 promotes the idea that memory is not an archive to be stored away, but a living process — one that demands attention, empathy and engagement. Te gallery’s narrative begins
with the monograph Srebrenica by Bosnian photographer Tarik Samarah, published in 2005 — a visual testimony that, in transitioning from book to exhibition, transformed both form and purpose. No longer confined between pages, it’s found a space where the viewer becomes an active witness. Tarik’s photographs were taken in
the aftermath of the massacre and depict locations still bearing the deep scars of past trauma. Some images reveal empty landscapes and faint traces of victims or survivors, while others show the present-day reality of that time: refugee settlements, the sorrow of those left behind and the excavation of mass graves, exposing the physical remains that had decom- posed but were still present. Alongside these poignant visuals,
the exhibition presents a long memo- rial wall engraved with the names and ages of thousands of victims; a collection of hundreds of personal photographs entrusted by the victims’ families; an interactive presentation
IMAGE: MIDHAT MUJKIĆ
that carefully traces the chronology of events; and a memorial film that invites deeper contemplation of the tragedy. Together,
these components
balance documentary accuracy with artistic expression, faithfully repre- senting the facts while conveying the emotional weight. Tis approach is tied to questions
on representing trauma in art — on the limits of portrayal and the need for new modes of expression. Trauma
resists traditional narratives and demands forms that do not speak on behalf of, but in solidarity with, what has endured. In this spirit, Gallery 11/07/95 uses photography not as an endpoint, but as a beginning — as a space of dialogue, a resist- ance to forgetting and a call for ongoing testimony. Here, remembrance is a form of
resistance and is not ornamental, but essential. Here, memory is not static but alive, present and watching.
E:
info@galerija110795.ba T: +387 33 953170
galerija110795.ba
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56
