They served as the basis for our further thinking through and discovering the realms in which our local heritage resides. Over the two and a half years of research and writing, the collected stories and photographs have accompanied us through our everyday activities, and have travelled with us through the cities in which we lived, worked and studied. Hence, the book emerges as an alternative testimonial which, were it not compiled, would forever remain on the margins of memory. Dani prije nesrece, nazad kroz dogadjaje vezane za moju djecu. The material world and experiences resulting from these everyday interactions are precisely the focus of our research. Moguca objasnjenja idu od Australije, koja jeste okruzena okeanima i velicine je Evrope. When the emphasis is placed on such exclusive interpretations, the complexity of everyday encounters of people and this public space remains neglected, rendering it outside the dominant discourse. The monument’s meaning has been narrowed down further, as a consequence of being portrayed as either an idealised symbol of Yugoslav concept of Brotherhood and Unity, or as architectural heritage of "yet another totalitarian regime". Although under the legal guardianship of the state, the monument is nowadays exposed to frequent vandalism and it is a pretext for political clashes. The monument, which fluctuates between architecture, land-art and sculpture, was built in 1965 in Mostar and in 2006 it was added to the list of national monuments of Bosnia and Herzegovina as an architectural ensemble. Its creator, the Yugoslav architect Bogdan Bogdanović, has referred to it in his essays as the drifting city – Hurqalya. The book Mostar’s Hurqualya: The (Un)forgotten City – envisioned by a group of young activists from Mostar, the region, and various parts of the world, deals with one of the most well-known memorial sites of the twentieth century in Herzegovina – the Partisan Memorial Cemetery.
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