Chronology of Efforts and Resistance

The work of female artists whose biographies carry the epithet “Bosnian-Herzegovinian” has mostly been discussed within the context of the (post)Yugoslav cultural space.12


Rarely have conditions been set (or utilized) for producing more comprehensive knowledge about the specificities inherent to the position of these artists. Besides the fact that written records on the conditions of Bosnian cultural sphere—compared to other republics of the former SFRY—are modest in volume, a systematic analysis of the women’s artistic production still significantly lags behind the scope and persistence of their activities.3

Therefore, the inclusion of Bosnian-Herzegovinian female artists in the Secondary Archive has multiple significance. This text aims not only to illuminate the specificities of these artistic practices but also to provide a brief overview of the circumstances in which they emerged.

Chronology of Efforts

Bosnia and Herzegovina’s position within the Socialist Federal Republic of Yugoslavia was often interpreted as marginal, both economically and culturally. Arguments for this claim can be found not only in analyses of the republic’s cultural budgets but also in reviews of the activities of cultural institutions—museums, city galleries, student cultural centers—which clearly show a significantly lower number of such spaces in BiH compared to other Yugoslav republics.

However, the slow development of the Bosnian-Herzegovinian cultural scene was accompanied by an equally slow production of knowledge about the art created during the Socialist Republic of BiH. Monographs providing an overview of contemporary Yugoslav art either briefly touch upon the Sarajevo or Banja Luka scenes (almost never mentioning the Mostar scene, for instance)4 or omit them entirely.

A significant contribution to the production of knowledge about the Bosnian-Herzegovinian cultural landscape of that period was made by art historians, primarily Azra Begić5, Nermina Zildžo6, and Aida Abadžić Hodžić7. Their overviews serve as further evidence of the extraordinary efforts that artists invested in recognition of BiH as a relevant Yugoslav cultural center.

Another position is added to the cultural margin — the position of the social margin from which, historically speaking, women artists have almost always operated. This double marginalization has marked the artistic production of Bosnian-Herzegovinian female artists not only during the period of SFRY but also in the war and post-war years.

Despite multiple marginalizations, some artists not only made the cultural space in which they operated more relevant during the 1950s, 1960s, and 1970s, but also actively contributed to establishing the institutional foundations that enabled its further development. Mica Todorović 8, one of the most significant artists of the region, was a co-founder of the Association of Fine Artists of Bosnia and Herzegovina and the School of Applied Arts in Sarajevo, as well as the first female artist to become a member of the Academy of Sciences and Arts of Bosnia and Herzegovina. Nada Pivac9 was a co-founder of the Academy of Fine Arts in Sarajevo and Široki Brijeg, and a long-time professor who shaped generations of artists through her pedagogical work.

Following in their footsteps—both artistically and, in some cases, pedagogically—were female artists of the 1980s and 90s, such as Biljana Gavranović, Amra Zulfikarpašić, Šemsa Gavrankapetanović, Gordana Anđelić-Galić, Milijana Lagumdžija, Bojana Mikulić, Alma Suljević, and others.

The efforts these women invested in building Bosnia and Herzegovina’s artistic scene were neither in vain nor erased by the circumstances of the 1990s war. The art produced during the war—especially in besieged Sarajevo—became the foundation of collective spiritual resistance. The intention to de-marginalize the Bosnian-Herzegovinian scene transformed into an effort to use art as a tool of anti-war propaganda. Some of the most significant contributions to this effort were made by Mirsada Baljić, Alma Suljević, and Ana Kovač10, along with curator and cultural worker Lejla Hodžić.11

Although many female artists spent the war years as refugees, their contributions to spiritual resistance outside Bosnia and Herzegovina marked the beginning of artistic practices that would later be recognized as “diaspora art”, which became a distinctive segment of Bosnian-Herzegovinian cultural production.

The signing of the Dayton Peace Agreement resulted in administrative, territorial, and ethnic fragmentation, which also had repercussions on the artistic scene.12
The marginalization of state cultural institutions13 and minimal budgets for culture left artists at the mercy of foreign cultural policies and grant schemes. Post-war Bosnian-Herzegovinian female artists, therefore, had to engage not only in artistic activities but also in cultural production. The revitalization of the Bosnian-Herzegovinian art scene and the affirmation of female artistic voices, therefore, became key agendas of independent cultural institutions and initiatives.14

One of the most significant figures who, despite unfavorable circumstances, created conditions for active artistic production was Dunja Blažević—curator, founder, and director of the Center for Contemporary Art Sarajevo (SCCA)15. Through her work at SCCA, Blažević prioritized the defragmentation of the Bosnian-Herzegovinian contemporary art scene, producing traveling exhibitions and collaborative projects. Projects like De-Construction of the Monument16 and annual exhibitions17 provided space for female artists—both those who lived in Bosnia and Herzegovina and those who emigrated to various parts of the world—who have since become internationally recognized.

After the closure of SCCA18, the curatorial-production torch was, among others, taken up by the founders and leaders of the Association for Art and Culture CRVENA19, Danijela Dugandžić and Andreja Dugandžić, as well as the founders of the production house Abart, Anja Bogojević and Amila Puzić—whose work represents one of the most significant examples of feminist curatorial practices in BiH.

Chronology of Resistance

The individual and collective efforts invested in creating opportunities for the production of women’s art are accompanied by a specific discourse of resistance. Since the artists included in this archive belong to different generations and occupy various points on the media and narrative spectrum, we speak of resistance – as a common hallmark of their practices – in a broader and unconventional sense.

Resistance can be recognized in the unwavering commitment to artistic work, despite unfavorable conditions, especially in times when societal and patriarchal structures actively discouraged women from engaging in work outside the domestic sphere. Although the works of older generations of artists, such as Nada Pivac or Biljana Gavranović — whose practices are related through themes of landscape and saturated color palettes, does not present the ideas of resistance, the fact that they actively participated in institutional and phenomenological turning points of the development of the Bosnian-Herzegovinian art scene testifies to their resistance against patriarchal practices of exclusion and marginalization of women. Being present, working, and participating in collective (male-dominated) endeavors is one of the modalities of female artistic resistance and resilience.

The artistic practices of Grodana Anđelić Galić and Alma Suljević are an example of adopting the paradigm of resistance as a fundamental driving force. Resistance to militarism, violence, and segregation defined the narrative frameworks of many of their works2021and anticipated the preoccupations of later generations of artists.

However, for artists such as Maja Bajević, Šejla Kamerić, Adela Jušić, and Aida Šehović, resistance to violence and war evolved into a resistance against the collective amnesia of war’s consequences. Confronting collective trauma, as well as the social and economic wounds opened by the war, became one of the dominant “agendas” of Bosnian-Herzegovinian artists in the early 20s. While the implementation of such an “agenda” in some cases relied on the “exploitation” of personal experiences22, in others it implied the establishment of collaborative practices23and/or the surgical dissection of various rots of the post-war society24.

This dissection of social rots has gradually transformed into a resistance against the value systems shaped by (transitional) capitalism, patriarchy, and nationalism through their common tools. It is therefore no surprise that the phrase “resistance to social norms” appears in many statements included in the archive.

On one hand, such resistance is sometimes rooted in left-wing feminist theories, as is the case with the practices of artists Lala Raščić, Alma Gačanin, and Milena Ivić, who – through the use of performance, video, drawing, and installation – challenge oppressive patriarchal patterns of action and thought. 

On the other hand, resistance to the aforementioned trio, in some cases, stems from slightly broader discursive perspectives – those of postcolonial, linguistic, and ecological theories. Rooted in research-based artistic processes, the works of artists Adla Isanović, Iva Simčić, and Lamija Čehajić represent valuable contributions to contemporary reflections on ideologies, politics and the political, as well as understanding the relationship between the “local and global,” along with all the “micro and macro” phenomena they fabricate.

Regardless of where they fall on the media and narrative spectrum, Bosnian-Herzegovinian artists, much like electrical conductors, channel resistance in their work – sometimes deliberately, other times instinctively. Resistance against the forces that make the world around us harder to live in. Thanks to their efforts (and tensions), the possibility of new and different currents seems more attainable.

The text was written by Adna Muslija (2025). 

1See: Tumbas, Jasmina. “I Am Jugoslavenka!": Feminist Performance Politics during and after Yugoslav Socialism. Manchester University Press, 2022.
2Female Voices in the Performing Arts of the Western Balkans 1990 - 2010, ed. Nataša Nelević, NOVA - Center for Feminist Culture, 2010.
3A rare example of such an analysis is that of the first generations of female artists in Bosnia and Herzegovina, prepared by art historian Azra Begić. See: Begić, Azra, “Prve likovne umjetnice Bosne i Hercegovine,” Časopis Izraz, Vol. VI, Issue VI, Nos. 24-25, P.E.N. Center Bosnia and Herzegovina, Sarajevo, 2004.
4See: Impossible Histories: Historical Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918-1991. Edited by Miško Šuvaković and Dubravka Djurić, The MIT Press, 2003.
5Azra Begić is one of the authors of four monographic catalogs on the art of Bosnia and Herzegovina. See: Begić, Azra; et al., Umjetnost Bosne i Hercegovine: 1894-1923; Umjetnost Bosne i Hercegovine:1924-1945; Umjetnost Bosne i Hercegovine:1945-1974;Umjetnost Bosne i Hercegovine: 1974 - 1984, Umjetnička galerija BiH.
6Zildžo, Nermina, et.al, Umjetnost Bosne i Hercegovine: 1974 - 1984,Umjetnička galerija BiH, 1984.
7See: Abadžić, Hodžić Aida, Bosanskohercegovačka grafika 20. stoljeća, Tugra, Sarajevo, 2011.
8Mica Todorović (Sarajevo 1900 - Sarajevo 1981) See: link.
9Nada Pivac (Čapljina, 1926 – Nova Bila, 2008) See: link.
10Artists Mirsada Baljić, Alma Suljević, and Ana Kovač were among the organizers of the exhibition within the project “Artists of Sarajevo for a Free BiH,” realized in 1992, which remains one of the significant examples of cultural resistance in besieged Sarajevo.
11Lejla Hodžić, as a graphic designer, curator, and worker at the Obala Art Center, participated in the production of numerous exhibitions from 1993 to 1994.
12The lack of a state-level ministry, and the establishment of twelve (two entity and ten cantonal) ministries for culture, led to the absence of clear cultural policies and long-term cultural development strategies.
13Seven museums and cultural institutions, established by the Federal Republic of Bosnia and Herzegovina, found themselves caught in the territorial and administrative divisions following the signing of the Dayton Peace Agreement. Deprived of regular public funding, they were given the status of "orphans" and have, on several occasions, been forced to close their doors. See: link.
14A significant contribution to the development of the contemporary art scene was made, among others, by Caffe Gallery Zvono, Gallery Charlama Depot, and Duplex 100m2.
15See: link.
16See: link.
17See: link.
18Although the Center formally still exists, its field of activity has been narrowed to film and TV production, which has developed under the umbrella of the pro.ba production department, established in 2000.
19See: link.
20Gordana Anđelić Galić realized an installation in public space in 2000 titled Sewing. By stretching a rope from one riverbank to the other along the downstream flow of the Neretva River in the center of Mostar, the artist symbolically and literally connected the two sides of this ethnically divided city.
21Alma Suljević performed a performative action titled 4th Entity in 2000, during which she sold soil on the green market “Markale” in Sarajevo, a place where many civilians had perished during the war. The soil was dug by her while working as a deminer in minefields. The collected money was donated to demining organizations in BiH. The performative action was organized by SCCA Sarajevo.
22An example of such practice is the work of artist Adela Jušić titled Snajper (Sniper) from 2007. See: link.
23Maja Bajević, Women at Work, collaborative performance, 1999. See: link.
24Šejla Kamerić, UNTITLED /DAYDREAMING/, SD video installation, color, sound, loop, 2004. See: link.

Hronologija napora i otpora

O radu umjetnica, čije biografije sadrže epitet bosanskohercegovačka, mahom se pisalo u kontekstu (post)jugoslovenskog kulturnog prostora.12


Rijetko kada su se postavili (i iskoristili) uslovi za proizvodnju sveobuhvatnijeg znanja o specifičnostima koje podrazumijeva pozicija bosanskohercegovačke umjetnice. Osim što su pisani tragovi o prilikama ovog kulturnog kruga, u odnosu na druge republike bivše SFRJ, sami po sebi skromnoga obima, sistematična analiza umjetničke produkcije koju potpisuju žene još uvijek uveliko kaska za obimom i ustrajnosti njihovih djelovanja.3

Upravo zato, uključivanje umjetnica bosanskohercegovačkog porijekla u Sekundarnu Arhivu ima višestruki značaj, zbog čega i tekst koji stoji pred vama nastoji rasvijetliti ne samo specifičnosti ovih umjetničkih praksi, već i dati kratki pregled okolnosti u kojima su one nastajale. 

Hronologija napora 

Pozicija Bosne i Hercegovine u sastavu SFR Jugoslavije nerijetko je tumačena kao marginalna, kako u ekonomskom, tako i kulturološkom smislu. Argumenati za takvu tvrdnju, osim u analizama republičkih budžeta za kulturu, mogu se pronaći i u pregledu djelovanja institucija kulture – muzeja, gradskih galerija, studentskih kulturnih centara – a koji će jasno pokazati znantno manji broj takvih prostora u BiH u poređenju s drugim jugoslovenskim republikama. 

Međutim, tromi razvoj bh kulturne scene godinama bio je praćen sporom produkcijom znanja o umjetnosti koja nastaje za vrijeme SR BiH. Monografije koje nude pregled savremene jugoslovenske umjetnosti, ili se sporadično očešu o sarajevsku ili banjalučku scenu (gotovo nikada ne dotičući se one mostarske, naprimjer)4 ili ih izostavljaju u potpunosti.   

Veliki doprinos produkciji znanja o bosanskohercegovačkom kulturnom obzoru tog vremena napravile su historičarke umjetnosti, u prvom redu Azra Begić5, Nermina Zildžo6 i Aida Abadžić Hodžić7. Njihovi pregledi služe kao još jedan argument za tvrdnje o izuzetnim naporima koje su umjetnice i umjetnici uložili ne bi li BiH bila prepoznata kao relevantan jugoslovenski kulturni centar.

Poziciji kulturološke margine dodaje se još jedna – pozicija društvene margine s koje su, historijski gledano, žene umjetnice gotovo uvijek djelovale. Dupla margina kao polazište, obilježila je  umjetničku produkciju umjetnica BiH, ne samo za vrijeme SFRJ, nego i u ratnoj i postratnoj nezavisnoj državi. 

Unatoč višestrukoj marginalizaciji, pojedine umjetnice ne samo da su, 50-ih, 60-ih i 70-ih godina, kulturni prostor u kojem su djelovale činile relevantnijim, već su i aktivno doprinosile postavljanju institucionalnih temelja koji su omogućili njegov daljnji razvoj. Tako je Mica Todorović8, jedna od najznačajnijih umjetnica ovih prostora, bila suosnivačicom Udruženja likovnih umjetnika Bosne i Hercegovine i Škole primijenjenih umjetnosti u Sarajevu, te prva umjetnica koja je postala članicom Akademije nauka i umjetnosti Bosne i Hercegovine. Nada Pivac9 je pak bila jedna od suosnivačica Akademija likovnih umjetnosti u Sarajevu i Širokom Brijegu, te dugogodišnja profesorica koja je svojim pedagoškim radom oblikovala generacije umjetnica i umjetnika. 

Njihovim koracima, kako umjetničkim, tako u pojedinim slučajevima i pedagoškim, 80-ih i 90-ih godina nastavile su koračati umjetnice poput Biljane Gavranović, Amre Zulfikarpašić, Šemse Gavrankapetanović, Gordane Anđelić-Galić, Milijane Lagumdžije, Bojane Mikulić, Alme Suljević i drugih. 

Napori koje su ove umjetnice ulagale u izgradnju umjetničke scene BiH, nisu bili niti uzaludni, niti poništeni okolnostima rata 90-ih. Umjetnost producirana za vrijeme rata, a posebice u opkoljenom Sarajevu, bila je fundament kolektivnog duhovnog otpora, pa nakana da se bh scena demarginalizira biva pretvorena u napor da se umjetnost koristi kao relevantan alat antiratne propagande. Doprinos takvim naporima možda i ponajviše su dale umjetnice Mirsada Baljić, Alma Suljević i Ana Kovač10, te kustosica i radnica u kulturi Lejla Hodžić11. 

Iako mnoge umjetnice ratne godine provode u izbjeglištvu, njihov doprinos duhovnom otporu izvan teritorije BiH, označava početak umjetničkih praksi koje će vremenom dobiti oznaku “umjetnosti dijaspore”, te postati specifičnim segmentom produkcije bh kulturnog konteksta.  

Potpisivanje Daytonskog mirovnog sporazuma rezultiralo je administrativnom, teritorijalnom i etničkom fragmentiranošću, koja je reperkusije imala i na umjetničkoj sceni.12 Kako su marginalizacija državnih institucija kulture13, te minorni budžeti za kulturu, umjetnice i umjetnike, ostavili na milost i nemilost inostranih kulturnih politika i grantovskih shema, napori koje su umjetnice poslijeratne BiH ulagale nisu se samo ticali umjetničkog djelovanja, već i rada u domenu produkcije. Revitalizacija bh umjetničke scene i afirmacija ženskih umjetničkih glasova tako dobrim dijelom postaje agendom nezavisnih kulturnih institucija i incijativa.14

Jedna od najznačajnijih figura, koja je svojim naporima, uprkos nepogodnim okolnostima, kreirala uslove za aktivnu umjetničku produkciju, jeste Dunja Blažević, kustosica, inicijatorica osnivanja i direktorica SCCA (Centra za savremenu umjetnost Sarajevo)15. Povrh toga,  Blažević je kroz rad SCCA prioritizirala defragmentaciju bh savremene umjetničke scene, producirajući putujuće izložbe i kolaborativne projekte. Projektima poput De-Construction of the Monument16 i godišnjim izložbama17, SCCA je osigurao prostor za rad umjetnica – kako onih koje su živjele u BiH, tako i onih koje se emigrirale na razne strane svijeta – a koje su do danas stekle međunarodno priznanje.  

Nakon svojevrsnog gašenja SCCA18, štafetu kustosica-producentica, između ostalih, preuzele su osnivačice i voditeljice Udruženja za umjetnost i kulturu CRVENA19, Danijela Dugandžić i Andreja Dugandžić, te voditeljice produkcijske kuće Abart, Anja Bogojević i Amila Puzić, a čiji rad istovremeno predstavlja najznačajniji primjer feminističkih kustoskih praksi u BiH. 

Hronologija otpora 

Individualne i kolektivne napore koji su uloženi u kreiranje mogućnosti za produkciju umjetnosti žena prati specifičan diskurs otpora. Obzirom da umjetnice uvrštene u ovu arhivu pripadaju različitim generacijama, zauzimajući različite tačke na medijskom i narativnom spektru, o otporu – kao zajedničkom predznaku njihovih praksi – govorimo u širem i nekonvencionalnom smislu. 

Otpor se, tako, može prepoznati u samom neprikosnovenom ustrajavanju u umjetničkom radu, uprkos nepovoljnim prilikama, a posebno u vremenima kada su opće društvene i patrijarhalne okolnosti još uvijek obeshrabrivale ženski rad koji je izlazio iz okvira domicijelnog. Iako se pojam otpora na sadržajnom nivou ne prepoznaje u radovim umjetnica starijih generacija, kao što su Nada Pivac ili Biljana Gavranović – a čije su prakse srodne po motivima pejzaža i saturiranim koloritima, činjenica da one aktivno učestvuju u institucionalnim i fenomenološkim prekratnicama razvoja bh umjetničke scene svjedoči o njihovom otporu na patrijarhalne prakse izostavljanja i marginaliziranja žena. Biti prisutna, raditi i učestvovati u kolektivnim (muškim) poduhvatima jedan je od modaliteta ženskog umjetničkog otpora i otpornosti. 

Umjetničke prakse Grodane Anđelić Galić i Alme Suljević primjer su preuzimanja paradigme otpora kao temeljne pokretačke snage. Otpor militarizmu, nasilju i segregaciji_ama odredio je narativne okvire nekolicine radova ovih umjetnica2021, ali i nagovijestio preokupacije umjetnica koje su profesionalno stasale u godinama poslije. 

Ipak, otpor nasilju i ratu u radovima umjetnica kao što su Maja Bajević, Šejla Kamerić, Adela Jušić i Aida Šehović preoblikovan je u otpor prema zatvaranju očiju pred posljedicama rata. Suočavanje sa kolektivnim traumama, te društvenim i ekonomskim ambsima koje je rat otvorio postalo je jednom od dominantnih “agendi” bh umjetnica početkom 20-ih. Dok se sprovođenje takve “agende” u pojedinim slučajevima zasnivalo na “eksploataciji” ličnih iskustava22, u drugima je bilo podrazumijevalo uspostavljanje kolaborativnih praksi23, i/ili hirurško seciranje raznoraznih trulosti postratnog društva24. 

Upravo takvo seciranje društvenih trulosti vremenom se profirilaro u otpor sistemima vrijednosti koje su zajedničkim alatima izrodili (tranzicijski) kapitalizam, patrijarhat i nacionalizam. Zato i ne čudi što se u mnogim izjavama umjetnica uvrštenih u arhivu pronalazi sintagma “otpor društvenim normama”. 

S jedne strane, takav otpor je nekada utemeljen u lijevo orijentisanim feminističkim teorijama, kakav je slučaj s praksama umjetnica Lale Raščić, Alme Gačanin i Milene Ivić, koje se – koristeći medije performansa, videa, crteža i instalacije – suprotstavljaju opresivnim patrijarhalnim obrascima djelovanja i mišljenja. 

S druge strane, otpor gore navedenom trojstvu u pojedinim slučajevima proizilazi iz nešto širih diskurzivnih perspektiva – onih postkolonijalnih, lingvističkih i ekoloških. Utemeljeni u istraživačko-umjetničkim procesima, radovi umjetnica Adle Isanović, Ive Simčić i Lamije Čehajić označavaju vrijedne doprinose savremenim promišljanjima ideologija, političkog i političnog, te razumijevanja odnosa “lokalno-globalno”, kao i svih onih “mikro i makro” pojava koje oni fabrikuju. 

Bez obzira na kojoj tački medijskog i narativnog spektra da se nalaze, bosanskohercegovačke umjetnice, baš poput strujnih provodnika, u svojim praksama – nekada promišljeno, a nekada intuitivno – manifestuju otpor prema svim onim strujama koje svijet oko nas čine manje ugodnim za život. Zahvaljujući njihovim naporima (i naponima), te otporima, mogućnost nekih novih i drugačijih struja čini se izglednijom. 

Tekst je napisala Adna Muslija (2025). 

1Pogledati: Tumbas, Jasmina. “I Am Jugoslovenka!": Feminist Performance Politics during and after Yugoslav Socialism. Manchester University Press, 2022.
2Ženski glasovi u izvedbenim umjetnostima Zapadnog Balkana 1990 - 2010., ed. Nataša Nelević, NOVA - Centar za feminističku kulturu, 2010.
3Usamljen primjer takve analize jeste onaj o prvim generacijama umjetnica na prostoru BiH, a koji je priredila historičarka umjetnosti Azra Begić. Pogledati: Begić, Azra, “Prve likovne umjetnice Bosne i Hercegovine”, Časopis Izraz, god.VI, knjiga VI, br. 24-25, P.E.N. Centar Bosne i Hercegovine, Sarajevo, 2004.
4Pogledati: Impossible Histories : Historical Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918-1991. Edited by Miško Šuvaković and Dubravka Djurić, The MIT Press, 2003.
5Azra Begić jedna je od autorica četiri monografskih kataloga o umjetnosti Bosne i Hercegovine Pogledati: Begić,Azra; et.al, Umjetnost Bosne i Hercegovine: 1894-1923; Umjetnost Bosne i Hercegovine:1924-1945; Umjetnost Bosne i Hercegovine:1945-1974;Umjetnost Bosne i Hercegovine: 1974 - 1984, Umjetnička galerija BiH.
6Zildžo, Nermina, et.al, Umjetnost Bosne i Hercegovine: 1974 - 1984,Umjetnička galerija BiH, 1984.
7Pogledati: Abadžić, Hodžić Aida, Bosanskohercegovačka grafika 20. stoljeća, Tugra, Sarajevo, 2011.
8Mica Todorović (Sarajevo 1900 - Sarajevo 1981) Pogledati: link.
9Nada Pivac (Čapljina, 1926 – Nova Bila, 2008) Pogledat: link.
10Umjetnice Mirsada Baljić, Alma Suljević i Ana Kovač bile su jedne od organizatorica izložbe u okviru projekta „Umjetnici Sarajeva za slobodnu BiH“, koji je realiziran 1992. godine, te ostao upisan kao jedan od značajnijih primjera kulturnog otpora opkoljenog Sarajeva.
11Lejla Hodžić je kao grafička dizajnerica i kustosica, te radnica Obala Art Centra učestvovala u produkciji većeg broja izložbi u periodu od 1993. do 1994. godine.
12Nepostojanje državnog, te uspostavljanje čak dvanaest (dva entitetska i deset kantonalnih) ministarstava za kulturu rezultiralo je nepostojanjem jasnih kulturnih politika i dugoročnih strategija kulturnog razvoja. 
13Sedam muzeja i institucije kulture, a koje je osnovala Savezna Republika Bosna i Hercegovina, nakon potpisivanja Daytonskog mirovnog sporazuma, našli su se u procjepu teritorijalnih i administrativnih podjela. Uskraćeni za stalne prihode javnog novca, dobili su status “siročadi”, te do sada u više navrata bili primorani da zatvore svoja vrata. Pogledati: link. 
14Značajan doprinos u izgradnji savremene umjetničke scene, između ostalog, dale su Caffe Galerija Zvono, Galerija Charlama Depot, Duplex 100m2. 
15Pogledati: link. 
16Pogledati: link. 
17Pogledati: link. 
18Iako formalno-pravno Centar još uvijek postoji, polje njegovog djelovanja suženo je na filmsku i TV produkciju, koja se razvija pod okriljem pordukcijskog odjela pro.ba, osnovanog 2000. godine. 
19Pogledati: link. 
20Gordana Anđelić Galić je 2000. godine realizirala instalaciju u javnom prostoru pod nazivom Sewing. Postavljajući konopac s jedne obale na drugu duž nizvodnog toka rijeke Neretve u centru Mostara, umjetnica je doslovno i simbolično spojila dvije strane ovog etnički podijeljenog grada. 
21Alma Suljević je 2000. godine izvela performativnu akciju pod nazivom 4. entitet u okviru koje je na zelenoj pijaci „Markale“ u Sarajevu, mjestu stradanja velikog broja civila za vrijeme rata, prodavala zemlju koju je sama iskopala radeći kao deminerka na minskim poljima. Prikupljeni novac doniran je organizacijama za deminiranje u BiH. Performativnu akciju organizovao je SCCA Sarajevo.
22Primjer takve prakse je rad umjetnice Adele Jušić pod nazivom Snajper iz 2007. Godine. Pogledati: link.
23Maja Bajević, Žene na radu, kolaborativni performans, 1999. Pogledati: link.
24Šejla Kamerić, UNTITLED /DAYDREAMING/, SD video instalacija, boja, zvuk, loop, 2004. Pogledati: link.