ABSTRACT
Introduction This chapter aims to reflect upon the contested process of rebuilding Mostar, a topic that has been widely discussed within the growing scholarship on divided cities and contested states. The ferocity of the war’s destruction has elicited much international attention and attracted large tranches of funding, which have been mainly deployed for the reconstruction of the built environment and political infrastructures. Underlying this internationally-led project was the idea that rebuilding a city in its materiality could support the recreation of an urban environment freed from the antagonisms brought about by the war. Thus, the fact that Mostar is – on many different levels – still divided and contested has been taken as evidence of the failure of such ideas. Thus, the chapter will offer a different perspective on the process of reconstruction, by looking at initiatives geared towards rebuilding the everyday of the city. In particular, it will critically engage with the idea of art as a tool of reconstruction (and reconciliation). By expanding on the design, development and results of ‘(Re)Collecting Mostar’, a project implemented by Abart in 2010-2012, the chapter will reflect upon the significance of grassroots initiatives – developed within the cultural sector – to draw out their political potential. It is divided into three inter-related sections; ‘Rubbers’ will explore Mostar’s destruction, taking in consideration the notion of urbicide, and will expand on the significance of erasing public spaces vis-à-vis the erasing of public memories. ‘Pens’ will engage with the process of physical reconstruction and the re-writing of antagonistic and conflicting urban histories, thereby showing how the recreation of public spaces is limited by the absence of a single, legitimised history of the city. Finally, ‘Crayons’ will reflect upon the possibility for art interventions to rebuild public spaces, where the re-writing of histories, and the negotiation of memories, could be made public. The chapter draws on the example of ‘(Re)collecting Mostar’ to critically engage with its main goals, and to discuss its potential (political) impact.
