December 6 marks the 30th anniversary of the shelling of the Old City of Dubrovnik, a UNESCO World Heritage site, in 1991 during the Wars of Yugoslav Succession – one of the most notorious episodes of the intentional destruction of historic monuments in Europe since World War Two. SENSE Center for Transitional Justice in Pula has been running a five-day online campaign to mark the anniversary as part of its continuing programme to remember both the victims and the destruction of the wars. All the films and exhibitions in the campaign can be seen via the SENSE website, as can its seminal website Targeting History and Memory on the destruction of cultural property during the Yugoslav wars and how they featured in the prosecutions of the International Criminal Tribunal for the former Yugoslavia (ICTY).

During the campaign, running between 4–8 December (but all available online after that), SENSE will broadcast five short films on its YouTube channel, presenting the most important and relevant points from the ICTY trials of Slobodan Milošević, Pavle Strugar and Miodrag Jokić, all indicted for the destruction of cultural and historical heritage in Dubrovnik in 1991. The first explores the reasoning behind the ICTY's prosecutions (or lack of prosecutions) relating to the destruction of the Old Bridge (Stari Most) in Mostar and the National Library in Sarajevo in Bosnia-Herzegovina. 

The campaign includes two online exhibitions. The first shows the last photographs made by the young Dubrovnik photographer Pavo Urban, who was killed during the shelling of 6 December 1991 while documenting the heaviest artillery attack on the Old City. The other, Dubrovnik, the Day After, shows the damage caused by the shelling which were introduced as prosecution evidence at the ICTY trials dealing with the crimes against the unmilitarised UNESCO World Heritage site.

Around twenty civil society organizations from Serbia, Montenegro, Croatia and Bosnia-Herzegovina are participating in the campaign and will be transmitting the content prepared by SENSE on their websites and social media networks.

CPKU is also playing a role in focusing attention on one of the great unanswered questions of the 1992–1995 Bosnian War: that of the enormous amount of cultural property looted during the conflict. This has never been adequately addressed, either with regard to the detailed documentation of missing objects, or investigation of the movement, destination and whereabouts of looted cultural property. Nor (so far as the author is aware) have any formal claims for restitution of looted cultural property been made by governmental or institutional authorities. 

Since the centre was established in December 2014, CPKU has worked to establish a national system of coordination and cooperation on art crime between national and international agencies and owners of cultural property (both public and private). Yet despite being the only state-wide organisation working in the field, the centre is often told by international bodies that as an NGO it does not have the authority to deal with these issues. However, as CPKU’s founder-director Dženan Jusufović has pointed out, official bodies which should be dealing with such issues, simply aren’t. Nevertheless, CPKU is having a significant impact in creating a greater awareness of the issue in official bodies and continues to forge a growing number of links with law enforcement and judicial agencies in Bosnia-Herzegovina.

In October 2015 CPKU convened its first major event, a roundtable conference on the illicit traffic in art in Bosnia-Herzegovina, which brought together over 40 representatives from key stakeholders engaged in the fight against organised crime and war crimes, including international, national and entity agencies and law enforcement bodies, as well as from cultural institutions such as museums and galleries, alongside private collectors and NGOs.

Growing out of the conference were calls for the creation of a national database of missing works of art and other cultural property, for training in art crime for law enforcement officers, prosecutors and the judiciary, and for the formation of specialised art crimes units. Parallel with this, the holders of cultural goods (whether public or private) were urged to assist in the fight against the illicit traffic in cultural property by regularly updating their documentation of objects (including making good quality photographic documentation). 

Since then CPKU has produced guidelines for documenting works of art and reporting thefts, as well as providing detailed instructions on the best ways of photographing objects for documentation purposes (both downloadable from the CPKU website). Last year it published the first manual (also downloadable ) on the illicit art trade in Bosnia-Herzegovina which incorporates information on the legal international and national legal framework, how art is trafficked across the country and the region, and suggested preventive measures, as well as reproducing the sample documentation instructions.

A public awareness-raising event/performance, Giants of Art (Velikani Likovne Umjetnosti), was held in partnership with the National Gallery of Bosnia-Herzegovina and the Association of Artists of Bosnia-Herzegovina at the Sarajevo-based gallery in April 2016 to alert the wider public to the issue of missing works of art – some of which had no photographic documentation.

All these initiatives have been supported by CPKU’s principal partner, the French Embassy in Sarajevo. The embassy was also instrumental in bringing Corinne Chartrelle, Deputy Head of France’s L'Office Central de Lutte Contre le Trafic de Biens Culturels (OCBC), to speak at a recent CPKU seminar on the illicit art market at the headquarters of the Centre for Judicial and Prosecutorial Training of the Federation of Bosnia-Herzegovina (CEST).

By May 2017 CPKU hopes to release a database of artworks missing or stolen from Bosnia-Herzegovina. Dženan Jusufović has noted that only thirteen cases of stolen artwork from Bosnia are registered on Interpol’s database of stolen art, despite that thousands of items of cultural property disappeared during or in the aftermath of the 1992–1995 war.

In addition to ongoing support from the French Embassy, CPKU also has partnerships or cooperation with national and international bodies and institutions, including ICOM Observatory, Interpol, UNESCO, ICOM Bosnia-Herzegovina, the Centre for Judicial and Prosecutorial Training of the Federation of Bosnia-Herzegovina (CEST), the British Council, the National Gallery of Bosnia-Herzegovina, the Historical Museum of Bosnia-Herzegovina, the Association of Artists of Bosnia-Herzegovina, the Faculty of Law at University of Tuzla, the NGO Akcija, and other museums, galleries, heritage institutions and legal-judicial bodies. 

For further information contact:

Centar Protiv Krijumčarenja Umjetninama (CPKU)

Atelje Ismet Mujezinović

Klosterska 19

75000 Tuzla 

Bosnia-Herzegovina

Email: cpkubih [at] gmail [dot] com

Phone: +387 61 185 733

Website: www.cpku.org

Facebook: Centar-protiv-krijumčarenja-umjetninama