Some stories of women are frequently excluded from discussions regarding wartime experiences, with pregnant women and new mothers being particularly overlooked. Their stories often remain confined to private conversations among women or as insignificant subplots within the war narratives. This unfortunate neglect obscures the well-deserved recognition and significance of their experiences in discussions of the impact of war. 

This idea sparked the need to potentiate these stories. For us, the “Mothers of War” project began with the personal stories of our mothers and the stories we grew up hearing in our homes. The concept of growing up as “children of war” had become so ingrained that it required a moment of reflection to grasp its meaning. Thus, we felt compelled to delve deeper into women's experiences in similar circumstances. In ten interviews we conducted as part of our research process with women from different regions and backgrounds of Kosova who had experienced pregnancy, childbirth, and motherhood during the period 1997-2000, it became clear how these experiences were profoundly affected by the conflict. The stories of the women in this booklet are only excerpts from the interviews we conducted with them.

It's important to recognize that each person's experience is distinctly individual. In these cases, pregnancy itself, usually accompanied by its own set of physical and psychological changes, seems to take on an alien and uncontrollable nature. Through these conversations with these women, many questions emerged regarding layered concepts such as motherhood, family, community, home, space, identity, body, survival, future, and self. Importantly, these themes emerged organically as the women attempted to recall these moments. 

Moreover, these women carry another life in their bodies - a life that signifies the birth of a generation not before or after war, but precisely through war and all that it entails. Thus, we can perceive the sacrifices made by previous generations and the burdens placed on their families as they confront their predicament. They did their best to protect life when survival was the main concern and hoped for a better future for their children, even when it seemed unreachable. This project aims to serve as a form of remembrance and initiator of new discussions, not only for others but also for the individuals who shared their stories and the generation of children affected by the war. The work in the project seeks to highlight the power and importance of their narratives, emphasizing their role, especially in discussions about war and transitional justice. 

We understand that this project does not encompass all women's experiences, yet we hope it sheds light on their recognition and significance. During the interviews, the women shared their experiences and demonstrated that even in challenging times, they remained connected with other women by sharing their own stories or relating to those they had heard before. As a woman in a time of war, one can only sense the weight of motherhood and the changes it brings to one's physical and mental state.

The installation takes on a fluid form with images of the world that many remember from their homes or along roads that led to places that offered brief safety. The semi-transparency of the fabric and the shadows created by the projections reflect on the layers of this discussion. The audio recordings are the actual testimonies that began as conversations between individuals. The voices from time to time stand by themselves, and from time to time join together, paralleling the idea of individuality and collectivity of this particular experience.

“Say to remember me, So we won't forget” emphasizes the importance of encouraging the communication of memories, whether through verbal communication, writing, or in this case, through both research and artistic work, to highlight these experiences at all levels they inherently contain. Mutual communication, both as children of war and as protagonists of these events, aims to ensure that these memories do not fade over time and that they become part of a broader narrative of the war in Kosova.

Lastly, in addition to these ten women, we consider it important to mention the perspectives of the women we have talked with, who due to various circumstances, were prevented from sharing their stories beyond their homes. These circumstances underline the position of women in society and the navigation of their right to share personal stories. Personal, but crucial to the discourse on conflict and war. 

Luiza Thaqi & Renea Begolli