What has the project achieved?

Led by Drama Studio Prazan Prostor (Montenegro), Art for Peace combined documentary theatre with five three-day youth workshops in Ulcinj, Kotor–Herceg Novi, Bugojno, Tuzla, and Kragujevac. Eighty-eight young people used theatre, photography, video, and music to explore identity, prejudice, nationalism, gender equality, and divisions within their communities. Many reported confronting subjects they had never previously raised, even with friends or family.

Four performances of Death in Dubrovnik in Zagreb, Banja Luka, and Prishtina brought these questions before wider regional audiences, contributing to a total direct engagement of more than 400 people. The Zagreb performances, attended by approximately 200 people, resonated significantly in the local media and generated particularly powerful public discussions, including an audience challenge to Croatian institutions to undertake similarly self-critical remembrance. The response demonstrated how art can open space for empathy and honest engagement with responsibility where political discourse often cannot.

Youth Centre Kvart (Bosnia and Herzegovina) created a substantial new body of research, documentation, and public engagement addressing how dehumanising narratives enabled violence in Prijedor and continue to affect the present. The project produced two comprehensive research reports, the inaugural Prijedor Compendium: Anatomy of a Crime, containing five peer-reviewed papers, and a permanent digital Prijedor Crime Archive. Of 18,000 collected archival items, 2,208 were processed and made publicly accessible during the project.

The project also completed an international competition for a memorial to the killed children of Prijedor, selecting a concept that received support from expert jury and representative of victims’ families. Its landmark “Night in Keraterm” programme brought 74 survivors, victims’ families and local community members into the former Keraterm camp for the first community memorial event held inside the site in 34 years. Together with a regional conference involving 22 experts and activists, these achievements created new possibilities for evidence-based remembrance, recognition, and dialogue in a deeply divided local context.

Documenta (Croatia) transformed extensive archival and cultural material about the 1990s into lasting resources for education, research, and public engagement. The project launched the digitisation of the Anti-War Campaign Croatia archive through the new ARKweb platform, making the history of civil resistance and independent media more accessible to researchers, educators, students, and the wider public.

Documenta also completed a monograph featuring six authors’ reflections on nine Factum documentary films, produced two sets of didactic materials for primary and secondary schools, and organised the second No Oblivion Festival. The festival created space for discussion of civilian victims, human rights violations, anti-war activism, and the rarely addressed rehabilitation of convicted war criminals. Fifty-six documented participants took part in public activities, including Zagreb’s first memorial walk dedicated to the Anti-War Campaign Croatia. These outputs preserve an important civic legacy while providing practical tools for critical, plural, and democratic engagement with the past.

The Humanitarian Law Center Kosovo delivered a structured regional programme combining four interdisciplinary training modules, eight online sessions, and a study visit to institutions and memorial sites in Belgrade, Prishtina, Sarajevo, and Potočari. Seventeen professionals from Kosovo, Montenegro, Serbia, Albania, and Bosnia and Herzegovina completed the programme, representing museums, public institutions, civil society, media, research, and independent curatorial practice. The online lectures attracted more than 200 additional attendances.

Participants translated their learning into individual action plans and established a regional communication channel for continued professional exchange. Early follow-up included a memorialisation panel at the National Museum of Kosovo and discussions about further regional cooperation, demonstrating that the programme had already begun to influence professional practice and institutional connections.

ŠkArt (Montenegro) explored how contemporary art and technology can contribute to memorialisation grounded in feminist ethics of care, empathy, and solidarity. Two regional exhibitions in Podgorica and Belgrade presented work by 12 artists, nine women and three men, from Montenegro, Serbia, and Bosnia and Herzegovina, reaching approximately 900 visitors.

Public lectures, recorded conversations, and the ŠkArt Showroom extended engagement beyond the main exhibitions and created space for critical discussion of gender-based violence, digital technologies, and the representation of women’s experiences. The project also produced a 90-page bilingual catalogue, printed in 150 copies, which brings together commissioned essays, artists’ work, and documentation as a long-term educational and archival resource. By connecting artists and organisations across borders, Algorithm of Care demonstrated how experimental cultural practice can expand both the subjects and methods of inclusive memorialisation.

KROKODIL (Serbia) implemented a regional feminist memorialisation programme foregrounding women’s resistance, anti-war activism, solidarity, and moral courage. Through five multimedia storytelling campaigns, more than 20 individual stories, and five public events, the project challenged the prominence given to figures associated with violence while recovering people and movements largely excluded from dominant narratives.

More than 100 people participated directly in content production and public dialogue, while the multimedia campaign reached over 500,000 people organically across digital platforms. A substantial share of engagement came from people outside KROKODIL’s existing audience, demonstrating that feminist and anti-war narratives can reach well beyond established activist circles. The project’s consent-based approach, including consultation with protagonists over language and representation, also provided a strong ethical model for working with sensitive personal and political histories.

Integra (Kosovo) documented examples of peaceful civic resistance, solidarity, and cooperation that are largely absent from dominant accounts of the 1990s. Its trilingual publication package contains an editorial preface and four feature articles examining Women in Black and solidarity with Kosovo Albanian women, Kosovo–Serbia artistic cooperation, Serbian anti-nationalist intellectuals, and Albanian student resistance and the parallel education system.

Developed through oral-history interviews, archival research, and conflict-sensitive editorial work, the publication involved 18 contributors and project participants, including authors, researchers, interviewees, editors, designers, and translators. By preserving stories of people who resisted repression, nationalism, and ethnic separation, Memories of Resistance offers alternative reference points based on moral courage, nonviolence, and shared humanity. The project demonstrates that remembrance need not be organised solely around conflict and victimhood, but can also make visible the civic choices that sustained solidarity across political and ethnic divides.

This project establishes the first permanent memorial space dedicated to women’s experiences of the Srebrenica genocide within the Srebrenica Memorial Centre (Bosnia and Herzegovina). Building on the successful Ona, Srebrenica awareness campaign, it integrates women’s testimonies, archival materials, and artistic interpretation into a dedicated exhibition that foregrounds women not only as victims, but as agents of resilience, justice, and community rebuilding.

Alongside the memorial room, the project develops educational materials and participatory activities with women survivors and educators. By institutionalising women’s voices within one of the region’s most significant memorial sites, the project addresses a long-standing gap in genocide remembrance and contributes to a more inclusive and truthful culture of memory.

Youth Initiative for Human Rights Kosovo expanded the reach and inclusivity of its Children of War Museum and Virtual Museum of Refugees. Thirty-seven new interviews were collected across all seven regions of Kosovo, representing the experiences of people from all ethnic communities who lived in Kosovo during the war. A new virtual tour made the museum’s collections accessible to international audiences, researchers, educators, and people unable to visit the physical space.

A series of Post-Memory Talks connected personal experience with artistic, educational, and civic perspectives, while a public mural brought remembrance of missing persons into an accessible public space. Fifteen participants completed specialist training in ethical reporting on memorialisation and subsequently produced 15 published articles. Two roundtables brought together institutions, civil society, academia, media, and victims’ representatives to identify challenges and formulate practical principles for a more inclusive national approach to memorialisation.

Post-Conflict Research Center (Bosnia and Herzegovina) placed young people at the centre of examining how memory is preserved, contested, and politically instrumentalised. Twenty-one youth fellows, including participants from Croatia and Serbia, received training and mentoring in storytelling, citizen journalism, and civic activism. They produced 12 published articles, with further pieces in development, and contributed research to a bilingual, youth-led memory guide.

The project also organised a three-day Peace and Memory Festival in Vitez involving 40 young people and ten facilitators. Pre- and post-event surveys recorded a tangible shift: agreement that remembrance and recognition of suffering are important for peacebuilding and the belief that young people can contribute to peace and trust increased significantly among the participants. Across all activities, the project reached 129 direct beneficiaries and helped young participants move from learning about memory politics to acting as researchers, storytellers, and public advocates.

The Centre for Peace, Nonviolence and Human Rights – Osijek (Croatia) documented wartime experiences and peacebuilding roles of women whose stories have remained largely absent from public remembrance. Using a trauma-informed and gender-sensitive methodology, the project conducted 11 in-depth interviews with women whose experiences included survival, humanitarian action, journalism, peace activism, and other forms of community support.

The resulting testimonies were presented through a travelling multimedia exhibition in Osijek, Vukovar, and Požega, alongside a Dialogue Forum and public discussions. These events attracted significant local audiences, while a digital archive and travelling exhibition will keep the collected material accessible beyond the project. By providing women with agency over how their experiences were recorded and presented, the project demonstrated how ethical documentation can restore visibility and dignity while broadening public understanding of women’s many roles during and after conflict.

The Institute for Philosophy and Social Theory, University of Belgrade, engaged young people in researching and presenting diverse memories of the wars of the 1990s and their aftermath. Through an online Spring School, a regional study visit, a Summer School in Novi Pazar, mentorship, field research, public lectures, and an exhibition, participants developed practical skills in oral history, ethical research, digital storytelling, and inclusive memorialisation. Eighty people took part across the project’s activities.

Its principal legacy is the bilingual digital database Remembering through Inclusion and Dialogue, which preserves more than 55 hours of multilingual oral histories collected from over 25 interlocutors across Bosnia and Herzegovina, Serbia, Croatia, Turkey, and the United Kingdom. Students’ photographs, posters, videos, and research were also presented in Novi Pazar and prepared for longer-term publication. The project created a sustainable resource for education and research while enabling young people from different backgrounds to examine contested histories through dialogue rather than national isolation.