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International Festival on contemporary conflicts.
July 6-12, 2026

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UPRISINGS: GLOBAL - The Exhibition

An uprising comes from below, from the roots of society. It begins when people will no longer accept what is given. When discontent becomes disobedience.

The past decade has brought an extraordinary wave of uprisings. Across continents, protesters watch one another. From Kathmandu to Belgrade, Santiago de Chile to Dhaka, Hong Kong to Tehran, images, symbols and tactics travel, mutate, reappear. From one movement to the next, a global language of revolt emerges.
Anger is ancient. So is rebellion against power, injustice, corruption and inequality.

Revolt begins with an act. An image escapes and transforms that act into the spark of another uprising.

You can visit the exhibit during Bayeux festival for war correspondents.

Authors: Adam Ferguson, Jon Lee Anderson, Fabio Bucciarelli, Chemi Dorje Lama, Emeric Lhuisset, Stéphane Siohan, Nemanja Podraščić, Marija Nikolić, Cristóbal Olivares, Damir Šagolj, Susan Meiselas and Thomas Dworzak.
Myanmar: Photographs by anonymous photographers
Iran: Social media images from January 2026, from the Thomas Dworzak Collection, edited by Alice Gabriner
Text editor: Carol Isoux
Photo editor: Alice Gabriner
Exhibition designer: Lejla Hodžić
Graphic design: Lela Begić Vuletić

Produced by @warm.foundation in partnership with @prixbayeux

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If you happen to be in Normandy these days, come and see the exhibition UPRISINGS:GLOBAL, a new @warm.festival project made possible by our network and continuing collaboration with our longtime friends and partners at the @prixbayeux. The link to UPRISING web page is in bio.

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Ratko Mladić, dubbed the “Butcher of Bosnia”, died last week in prison in The Hague, still serving his life sentence for the Srebrenica genocide: eight thousand men and boys, the worst massacre in Europe since 1945. He was 84. He never expressed remorse.

This series was shot in East Sarajevo, Bosnia and Herzegovina, where some openly idolise the perpetrators of such massacres.

The still visible scars of war are accompanied by reminders of contemporary ruptures: a graffiti line reading “The Earth will tremble with the screams of the Serbian eagles” sprayed under a window… and a mural of Mladić, watching over an amphitheatre in East Sarajevo’s main park.

[FROM THE PROJECT “FATHERLAND”, JULY 2026]

@thevisualfactory_academy

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During the 32nd Sarajevo Film Festival, WARM is reopening the Red Cross Building, the former Sutjeska Cinema, to present the exhibition “GAZA: The Chronicle of a Genocide.” First shown at WARM Festival in July, it returns for those who missed it and those who wish to see it again.

The exhibition features the work of Palestinian photographer Ali Jadallah for Anadolu Agency, documenting Gaza from 8 October 2023 to the present. Curated by Damir Šagolj, with exhibition design by Lejla Hodžić, and produced by the WARM Foundation in partnership with Gallery 11/07/95 and the Prix Bayeux Calvados-Normandy for War Correspondents.

Open until Saturday, August 22, from 12 PM to 8 PM. 💛

#32ndSFF @warm.festival

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We continue with Emerging Voices Behind the Lens, a series showcasing the work of the photographers who joined our mentorship program in Sarajevo.

Over the past few days, we had the privilege of sharing time, ideas, and experiences with a remarkable group of visual storytellers. Through their curiosity, dedication, and willingness to challenge themselves, they created deeply personal and meaningful projects.

We are proud to continue sharing their stories with you.
Today, it’s @__augenblick_ turn to present his project: “Meeting in Sarajevo.

@costanza_rossi_photography @max_lelijour @__augenblick_ @lucieringue @valentinarubbi @lisa.asking.questions @alejosabugo @marcodigianvito @mattia.wanders @nacho_vilaplana @annette.monheim @bernakupeli @llorenzomariani @bclmin @davies_freddy @alejosabugo @mattia.wanders @marcodigianvito @annette.monheim

@thevisualfactory_academy @manubrabo @fabio_bucciarelli @diego.ibarra.sanchez @kilicbil @heytherebelma @warm.festival @warm.academy

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We continue with Emerging Voices Behind the Lens, a series showcasing the work of the photographers who joined our mentorship program in Sarajevo.

Over the past few days, we had the privilege of sharing time, ideas, and experiences with a remarkable group of visual storytellers. Through their curiosity, dedication, and willingness to challenge themselves, they created deeply personal and meaningful projects.

We are proud to continue sharing their stories with you.
Today, it’s @annette.monheim’s turn to present her project: “Patchwork.”

Sulejman is a patchwork of the city that shaped him.
Born in Sarajevo in 1985, he learned the ancient craft of coppersmithing at sixteen. That same year, he stepped onto a skateboard. Both became essential parts of his identity.

He searches for materials in Romani flea markets, has broken almost every bone in his body, and in 2004 helped create the world’s largest copper pot, earning a Guinness World Record alongside six other craftsmen.
He speaks three languages, practices his faith, and returns home to his wife and his three-year-old daughter, Dunia.

Every piece of Sulejman carries a fragment of Sarajevo: its traditions, contradictions, resilience, and creativity.
A portrait of contemporary Bosnia through one man’s story.

@costanza_rossi_photography @max_lelijour @__augenblick_ @lucieringue @valentinarubbi @lisa.asking.questions @alejosabugo @marcodigianvito @mattia.wanders @nacho_vilaplana @annette.monheim @bernakupeli @llorenzomariani @bclmin @davies_freddy @alejosabugo @mattia.wanders @marcodigianvito

@thevisualfactory_academy @manubrabo @fabio_bucciarelli @diego.ibarra.sanchez @kilicbil @heytherebelma @warm.festival @warm.academy

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Some snippets from my master class at the WARM festival in Sarajevo!

#warmfestival #documentaryfilmmaking #filmmakerlife #misfit

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'OPASNOST!' (Danger! [History is Crumbling]) uses art as a public intervention, borrowing and reformulating warnings found on signs throughout Sarajevo alerting passersby to the danger of crumbling facades (or rooftops, or walls.) Red letters are sewn onto a flag borrowed from 'La Place des Drapeaux' (Daniel Buren, 1996), a large-scale installation that, for thirty years, marked the site where the Ars Aevi Museum of Contemporary Art Sarajevo, an idea born on the same night that the Museum of the XIV Winter Olympic Games was shelled and destroyed in 1992, is now finally being constructed.
The work, created in 2024-2025, is intended to be placed next to culturally and historically significant, yet neglected and often decaying buildings, attempting to raise awareness - and potentially funding - for our cultural heritage, the preservation of architectural artifacts, and the erasure of (recent) history.

Despite the cultural enrichment that the long-awaited realization of the Ars Aevi Museum represents, simultaneously witnessing the literal crumbling of the Historical Museum of Bosnia and Herzegovina’s facade, facing the construction site and further affected by its close proximity due to long-standing issues related to its deteriorating state, is saddening and unacceptable. Protective measures for this national monument should be of the highest priority, if not its full restoration and preservation. The repairs should be incorporated as an integral part of the overall project, as the official architectural mock-ups suggest. Beyond the ethical responsibility of protecting the museum, its collection, and its depot, tiles crashing down in the middle of a working day also undeniably pose a danger to the staff and public.
In the face of this all, the message of this work now is also relating to a new and unfortunately rather literal context.
Support for the realisation of @arsaevi - but only in full solidarity & support for @historijski.muzejbih ⛓️ @vladakantonasa

1-2: Jul 26, Historijski
3: Apr 25, Ars Aevi site
4-5: Apr 25, Kula Kozarac
6: Jul 26, Sacrifice Zones exhibit
7-9: Jul 26, Historijski

[ ◉°] 1: @selmacatovichughes 3-5: @the_wandering_ninja 9: @bjelosha Photo by anita karabašić on July 29, 2026. Ist möglicherweise ein Bild von Haustürmatte, Hausmüll, Reklameschild, Zeitung, Teppich und Text.

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L'esperienza del WARM Festival e della Warm Academy é passata ormai da qualche giorno, lasciando tanti spunti, riflessioni e ispirazione che sono sicuro daranno frutti a tutti i partecipanti. Grazie a chi ha curato, organizzato e fatto funzionare un evento davvero speciale, in particolare a Damir Sagolj, da cui penso di aver preso tanti nel mio percorso foto-giornalistico.
Grazie a tutti i partecipanti che mi hanno ispirato e accompagnano in questo viaggio.

Nel primo video mostro un articolo sul mio progetto fotografico riguardante i campi profughi in giro per il mondo, pubblicato sulla zine del festival grazie alla supervisione di Luca Tesei Li Bassi.

Nell'altro video un estratto dell'intervento in videoconferenza della relatrice ONU per la palestina Francesca Albanese.

Ci vediamo l'anno prossimo Sarajevo! ❤️

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Emerging Voices Behind the Lens is a new series highlighting the work of the photographers who took part in our mentorship program in Sarajevo.

Over the past few days, we had the privilege of working alongside a remarkable group of storytellers. Their commitment, curiosity, and willingness to challenge themselves resulted in thoughtful and deeply personal projects. We are proud to share their work with you.

Today, it’s @alejosabugo´s turn to share his project “Smoke, Bread and Memory”

High in the hills above Sarajevo, Memnuna’s family home carries generations of history, from the First World War to the Bosnian War.

Here, traditions survived conflict. Bread is still baked and shared around the table. And after decades of silence, her son Ahmed revived the family’s tradition of smoking dry-cured meat, passed down through generations.

When he restored the old smoking oven, he found a pistol hidden inside, a relic of the war that had once brought the tradition to an end.

Today, the oven preserves food. The pistol preserves a memory.

@costanza_rossi_photography @max_lelijour @__augenblick_ @lucieringue @valentinarubbi @lisa.asking.questions @alejosabugo @marcodigianvito @mattia.wanders @nacho_vilaplana @annette.monheim @bernakupeli @llorenzomariani @bclmin @davies_freddy’s

@thevisualfactory_academy @manubrabo @fabio_bucciarelli @diego.ibarra.sanchez @kilicbil @heytherebelma @warm.festival @warm.academy

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Emerging Voices Behind the Lens is a new series highlighting the work of the photographers who took part in our mentorship program in Sarajevo.

Over the past few days, we had the privilege of working alongside a remarkable group of storytellers. Their commitment, curiosity, and willingness to challenge themselves resulted in thoughtful and deeply personal projects. We are proud to share their work with you.

Today, it’s @bclmin´s turn to share his vision and storytelling

On Sarajevo’s Gorica hillside, surrounded by luxury developments, nine members of the Hašimović family live in a 30-square-metre prefabricated house. Sead Hašimović returned from exile after the war to find his family home destroyed. Decades later, as the value of the land around him has soared, he has refused to sell the only property inherited from his great-grandfather.

This photo essay explores displacement, poverty and belonging—and one man’s determination to remain.

@costanza_rossi_photography @max_lelijour @__augenblick_ @lucieringue @valentinarubbi @lisa.asking.questions @alejosabugo @marcodigianvito @mattia.wanders @nacho_vilaplana @annette.monheim @bernakupeli @llorenzomariani @bclmin @fabio_bucciarelli @manubrabo @diego.ibarra.sanchez @kilicbil @heytherebelma @warm.festival

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