Razija Handžić is a poetess and a publicist, the editor of the first and second edition of the Antifascist Front of Women's magazine ''Nova žena'' (''New Woman''). She worked as a curator at the National Museum of B&H, Museum of Sarajevo City, Historical Museum and she is the founder and the first director of Museum of Literature and Theatre of B&H. She published her poems, stories and critiques in the period of Yugoslavian kingdom. She participated actively in antifascist defence of B&H and after the war she worked as a cultural worker and was engaged in various projects and programmes in Sarajevo, Republic of Yugoslavia and outside the homeland. Razija Handžić was born in 1909 in Banja Luka and grew up in Zavidovići. She completed her studies in Yugoslavian literature at Faculty of Philosophy in Belgrade. She died in Sarajevo in 1994. Handžić witnessed many social changes by her work and engagement, supremacies and ideological shifts in and outside of institutions of government, power and knowledge and their treatment of women and women's contributions to cultural and scientific institutions.

We would like to emphasize the significance of this poetess and cultural worker in literary-artistic and socially institutional context.
Literary-artistic context represents questioning of poetics and places which Handžić used in her poems and literary theoretical methods she used in her scientific and publicist texts. When it comes to socially institutional context we would like to tell how it was possible for women to open, found and manage cultural and scientific institutions and what were the conditions and contexts that enabled women to be engaged in those projects and programmes. This research and exhibition is a scientific intervention by which we would like to show the way in which the reconstruction process of literary canon, history of literature and collective memory begins and that will not be patriarchal and does not serve to monument and commemorate literature and to sharpen discourse limits among conflicted models of canonization, but to their regeneration and emancipatory articulation.