The exhibition is part of the commemorations for the thirtieth anniversary of the end of the war in Bosnia and Herzegovina, the siege of Sarajevo (December 14, 1995), and the genocide of Srebrenica (July 11, 1995). The exhibition goes beyond a historical reinterpretation of those conflicts, but aims to be a broad and deeply current reflection on the post-war present.

Interweaving art and memory, Spaces of Resistance is conceived as a poetic and political journey that traverses trauma and healing, through the artistic practices of six artists from different cultural, geographical, and generational backgrounds: Simona Barzaghi, Gea Casolaro, Romina De Novellis, Šejla Kamerić, Smirna Kulenović, and Mila Panić. The works - ranging from video, photography, installation, and performance - address themes that span from geopolitical analysis to generative ritual, placing the connection with the Earth as a living, political, and spiritual body at the center.

The artistic path of Simona Barzaghi is based on listening and relationship in the constant tension between body and territory. Through the act of walking along the Drina River, the artist activates a process capable of transforming the landscape into a shared narrative. An opposite and complementary practice is that of Romina De Novellis, who, kneeling on the ground through a persistent and repetitive cleaning action of a part of the exhibition space, evokes the impossibility of erasing the memory of past wounds. Šejla Kamerić, a Bosnian artist whose work stems from the experience of conflict, initiates a reflection on memory and power dynamics, restoring to the body the strength of a political and subversive action.

Smirna Kulenović entrusts nature with an active role in collective healing processes through the use of organic elements capable of preserving and reworking the wounds of history. Gea Casolaro constructs, through the image of grass, an emotional geography of Sarajevo: a symbol of rebirth and fertility, the grass also alludes to the minefields left by the war, thus evoking a dual tension between life and threat. Similarly, Mila Panić leads us into an intimate and autobiographical landscape, where the archaic gesture of burning an agricultural field - part of her future inheritance - becomes a reflection on destruction and the possibility of transformation.