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Mächtig. It was marketed from the late 1960s onwards as “the right point of meeting”. Its popularity extends across eastern and central Europe all the way to New York, where it is part of the collection of the Museum of Modern Art.\u003C\u002Fp>\u003Cp>Inscribed in cultural memory, the once ubiquitous model has become a rare sight on the streets of Prishtina. To halt the tide of dereliction and disappearance, Ilir Dalipi has restored and repurposed one of the last remaining kiosks in town. Influenced by tactical urbanism, which proposes swift and small-scale solutions to larger problems, the architect and urbanist seeks to inspire others to follow his example.\u003C\u002Fp>\u003Cp>During Manifesta 14 Prishtina, the K67 will host Radio International, an intervention by sound artist Susan Philipsz in collaboration with a collective of students from Kosovo and abroad. Later on, Dalipi intends for the kiosk to become a museum for other everyday design objects, similarly rescued from oblivion.\u003C\u002Fp>",{"__type":1220,"id":627,"names":66,"collectiveName":629,"sortKey":1748,"annotation":66,"createdAt":1749,"updatedAt":1750,"publishedAt":1753,"richText":1751,"documentId":628,"locale":8},"2025-02-27T15:40:09.327Z",{"__type":954,"id":1643,"richText":1595},{"__type":954,"id":1594,"richText":1595},{"id":1757,"name":1758,"alternativeText":1759,"caption":1760,"width":1134,"height":451,"formats":1761,"hash":1782,"ext":966,"mime":969,"size":1783,"url":1784,"previewUrl":66,"provider":1012,"provider_metadata":66,"createdAt":1785,"updatedAt":1786,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1787,"documentId":1788,"publishedAt":1017,"related":1789},195,"IVER1608.jpg","Flaka Haliti's work was located above the Manifesta 14 offices, at the Palace of Youth and Sport in Prishtina. 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Photo © Manifesta 14 Prishtina \u002F Ivan Erofeev",{"small":1762,"medium":1767,"xsmall":1772,"thumbnail":1777},{"ext":966,"url":1763,"hash":1764,"mime":969,"name":1765,"path":66,"size":1766,"width":979,"height":980},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_IVER_1608_c35021cfba.jpg","small_IVER_1608_c35021cfba","small_IVER1608.jpg",84.5,{"ext":966,"url":1768,"hash":1769,"mime":969,"name":1770,"path":66,"size":1771,"width":986,"height":1525},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_IVER_1608_c35021cfba.jpg","medium_IVER_1608_c35021cfba","medium_IVER1608.jpg",284.42,{"ext":966,"url":1773,"hash":1774,"mime":969,"name":1775,"path":66,"size":1776,"width":1000,"height":1001},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_IVER_1608_c35021cfba.jpg","xsmall_IVER_1608_c35021cfba","xsmall_IVER1608.jpg",12.41,{"ext":966,"url":1778,"hash":1779,"mime":969,"name":1780,"path":66,"size":1781,"width":1007,"height":1008},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_IVER_1608_c35021cfba.jpg","thumbnail_IVER_1608_c35021cfba","thumbnail_IVER1608.jpg",147.59,"IVER_1608_c35021cfba",306,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FIVER_1608_c35021cfba.jpg","2023-08-02T13:41:40.278Z","2023-11-29T09:24:49.809Z",{"en-US":1760},"lrs29lblnu5g4beslwoclp5u",[1790,1795,1797,1798],{"__type":1220,"id":1791,"names":477,"collectiveName":66,"sortKey":1221,"annotation":66,"createdAt":1792,"updatedAt":1793,"publishedAt":66,"richText":1794,"documentId":476,"locale":8},829,"2023-07-24T07:36:44.202Z","2023-11-29T09:25:44.148Z","\u003Cp>If you have ever seen the sun set against a bushfire sky or the smouldering embers of war, Flaka Haliti’s uncanny horizon will doubtless cause your throat to tighten a little, your muscles to contract – all the more so if you recognise the pattern of clouds camouflaging the radiance at the edge of her constructed sky.\u003C\u002Fp>\u003Cp>In \u003Ci>Under the Sun – Explain What Happened\u003C\u002Fi>, as in many of her works, the artist took as her point of departure building material found in the military context.\u003C\u002Fp>\u003Cp>In this instance, the material she appropriates and adapts stems from a former base of the KFOR, the NATO-led international peacekeeping force in Kosovo. Located near the Kosovar city of Prizren, it is now home to Autostrada Hangar, a new cultural institution to have grown out of the Autostrada Biennale.\u003C\u002Fp>\u003Cp>What captivated the artist about the material is what might equally intrigue us as viewers: some enigmatic process has inscribed itself on the material, has left behind a trace, a photo of sorts, a haunting piece of evidence, a historical narrative yet to be told.\u003C\u002Fp>",{"__type":1220,"id":475,"names":477,"collectiveName":66,"sortKey":1221,"annotation":66,"createdAt":1792,"updatedAt":1793,"publishedAt":1796,"richText":1794,"documentId":476,"locale":8},"2025-02-27T15:36:48.578Z",{"__type":954,"id":1643,"richText":1595},{"__type":954,"id":1594,"richText":1595},{"id":1800,"name":1801,"alternativeText":66,"caption":1802,"width":1134,"height":1803,"formats":1804,"hash":1825,"ext":1082,"mime":969,"size":1826,"url":1827,"previewUrl":66,"provider":1012,"provider_metadata":66,"createdAt":1828,"updatedAt":1829,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1830,"documentId":1831,"publishedAt":1017,"related":1832},175,"Chiharu Shiota _1.JPG","Tell me your Story , 2022 , © Chiharu Shiota. Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",1280,{"small":1805,"medium":1810,"xsmall":1815,"thumbnail":1820},{"ext":1082,"url":1806,"hash":1807,"mime":969,"name":1808,"path":66,"size":1809,"width":979,"height":980},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Chiharu_Shiota_1_462649891e.JPG","small_Chiharu_Shiota_1_462649891e","small_Chiharu Shiota _1.JPG",127.95,{"ext":1082,"url":1811,"hash":1812,"mime":969,"name":1813,"path":66,"size":1814,"width":986,"height":987},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Chiharu_Shiota_1_462649891e.JPG","medium_Chiharu_Shiota_1_462649891e","medium_Chiharu Shiota _1.JPG",476.98,{"ext":1082,"url":1816,"hash":1817,"mime":969,"name":1818,"path":66,"size":1819,"width":1000,"height":1001},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Chiharu_Shiota_1_462649891e.JPG","xsmall_Chiharu_Shiota_1_462649891e","xsmall_Chiharu Shiota _1.JPG",16.13,{"ext":1082,"url":1821,"hash":1822,"mime":969,"name":1823,"path":66,"size":1824,"width":1007,"height":1008},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Chiharu_Shiota_1_462649891e.JPG","thumbnail_Chiharu_Shiota_1_462649891e","thumbnail_Chiharu Shiota _1.JPG",233.82,"Chiharu_Shiota_1_462649891e",530.83,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FChiharu_Shiota_1_462649891e.JPG","2023-08-02T10:13:43.174Z","2023-08-02T10:14:20.789Z",{"en-US":1802},"klelgpuv68mtohgpjbtzu2wp",[1833,1838,1840,1841],{"__type":1220,"id":691,"names":693,"collectiveName":66,"sortKey":1748,"annotation":66,"createdAt":1834,"updatedAt":1835,"publishedAt":1836,"richText":1837,"documentId":692,"locale":8},"2023-07-24T08:05:58.150Z","2023-11-15T12:36:20.320Z","2025-02-27T15:40:29.447Z","\u003Cp>The Great Hammam of Prishtina dates back to the fifteenth century. Built as a “couple hammam”, it was used by people of different genders for cleansing, relaxation and socialising.\u003C\u002Fp>\u003Cp>One of the oldest and few remaining monuments in Prishtina’s cultural landscape, it has not been used as a hammam since 1960. Even in the absence of people, the building signifies connection for Chiharu Shiota. “Connection”, she says, “is part of our existence. We cannot exist without feeling connected to someone or something.”\u003C\u002Fp>\u003Cp>In Tell me your Story, the artist explores the threads that link us together, that bind us to other beings across space and time. Those same threads, as the wandering lines reveal, can also break, knot, twist and unravel.\u003C\u002Fp>\u003Cp>For this installation, Shiota has chosen to work with red yarn, a colour she associates with blood, the body and human relationships. Into the vast entanglement of her “three-dimensional drawing”, the artist has woven personal stories of birth, childhood, family and country, religion, love and death. Each was written by someone from Kosovo.\u003C\u002Fp>",{"__type":1220,"id":1839,"names":693,"collectiveName":66,"sortKey":1748,"annotation":66,"createdAt":1834,"updatedAt":1835,"publishedAt":66,"richText":1837,"documentId":692,"locale":8},885,{"__type":954,"id":1594,"richText":1595},{"__type":954,"id":1643,"richText":1595},{"id":1843,"name":1844,"alternativeText":66,"caption":1845,"width":1846,"height":1847,"formats":1848,"hash":1879,"ext":966,"mime":969,"size":1880,"url":1881,"previewUrl":66,"provider":1012,"provider_metadata":66,"createdAt":1882,"updatedAt":1883,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1884,"documentId":1885,"publishedAt":1017,"related":1886},1959,"IVER8006.jpg","Above Everyone, 2022, © Alban Muja. 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Photo © Manifesta 14 Prishtina \u002F Ivan Erofeev",{"large":1894,"small":1899,"medium":1904,"xlarge":1909,"xsmall":1914,"thumbnail":1919},{"ext":966,"url":1895,"hash":1896,"mime":969,"name":1897,"path":66,"size":1898,"width":972,"height":1235},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_IVER_7109_1a889f1549.jpg","large_IVER_7109_1a889f1549","large_IVER7109.jpg",677.66,{"ext":966,"url":1900,"hash":1901,"mime":969,"name":1902,"path":66,"size":1903,"width":979,"height":980},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_IVER_7109_1a889f1549.jpg","small_IVER_7109_1a889f1549","small_IVER7109.jpg",115.44,{"ext":966,"url":1905,"hash":1906,"mime":969,"name":1907,"path":66,"size":1908,"width":986,"height":987},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_IVER_7109_1a889f1549.jpg","medium_IVER_7109_1a889f1549","medium_IVER7109.jpg",419.64,{"ext":966,"url":1910,"hash":1911,"mime":969,"name":1912,"path":66,"size":1913,"width":993,"height":1672},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_IVER_7109_1a889f1549.jpg","xlarge_IVER_7109_1a889f1549","xlarge_IVER7109.jpg",1158.78,{"ext":966,"url":1915,"hash":1916,"mime":969,"name":1917,"path":66,"size":1918,"width":1000,"height":1001},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_IVER_7109_1a889f1549.jpg","xsmall_IVER_7109_1a889f1549","xsmall_IVER7109.jpg",17.15,{"ext":966,"url":1920,"hash":1921,"mime":969,"name":1922,"path":66,"size":1923,"width":1007,"height":1008},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_IVER_7109_1a889f1549.jpg","thumbnail_IVER_7109_1a889f1549","thumbnail_IVER7109.jpg",208.77,"IVER_7109_1a889f1549",6169.91,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FIVER_7109_1a889f1549.jpg","2023-08-15T13:42:34.496Z","2023-08-15T13:43:46.944Z",{"en-US":1892},"n3ehc65c7p6dkssodmplpof8",[1932,1938,1940,1941],{"__type":1220,"id":427,"names":429,"collectiveName":66,"sortKey":1933,"annotation":66,"createdAt":1934,"updatedAt":1935,"publishedAt":1936,"richText":1937,"documentId":428,"locale":8},"b","2023-07-24T07:31:42.061Z","2023-11-15T12:01:08.052Z","2025-02-27T15:34:44.539Z","\u003Cp>Speaking of her seventeen-metre floating ellipsoid, Lee Bul formulated a series of questions central to her practice overall: “What did we dream in the past, and what did we try? What happened, and how can we use it still?”\u003C\u002Fp>\u003Cp>In her sculptures, installations, performances and videos, the artist explores the intoxication and pitfalls of utopian thought in various historical contexts, this time turning her gaze to the airship.\u003C\u002Fp>\u003Cp>Recalling the Hindenburg, which, flying under the National Socialist flag, famously burst into flames in 1937, her silver balloon embodies the vulnerability of dreams – not only to accidents, but also to political instrumentalisation and perversion.\u003C\u002Fp>\u003Cp>As it hovers between the soaring roof of Prishtina’s Palace of Youth and Sports – an icon of Yugoslavian socialist architecture – and the earthbound cars parked in the burnt-out sports arena below, Lee Bul’s silver balloon invites us to reflect on what we might salvage from the dreams of the past and what that might bring for the future.\u003C\u002Fp>",{"__type":1220,"id":1939,"names":429,"collectiveName":66,"sortKey":1933,"annotation":66,"createdAt":1934,"updatedAt":1935,"publishedAt":66,"richText":1937,"documentId":428,"locale":8},814,{"__type":954,"id":1643,"richText":1595},{"__type":954,"id":1594,"richText":1595},{"id":1943,"name":1944,"alternativeText":66,"caption":1945,"width":1946,"height":1947,"formats":1948,"hash":1974,"ext":966,"mime":969,"size":1975,"url":1976,"previewUrl":66,"provider":1012,"provider_metadata":66,"createdAt":1977,"updatedAt":1978,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1979,"documentId":1980,"publishedAt":1017,"related":1981},568,"Am_Lulzim Zeqiri Instalation Shots_001.jpg","The Lightness of the Weight, 2022, © Lulzim Zeqiri. Photo © Manifesta 14 Prishtina \u002F Atdhe Mulla",2738,1825,{"large":1949,"small":1954,"medium":1959,"xsmall":1964,"thumbnail":1969},{"ext":966,"url":1950,"hash":1951,"mime":969,"name":1952,"path":66,"size":1953,"width":972,"height":973},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_Am_Lulzim_Zeqiri_Instalation_Shots_001_0c4664dee9.jpg","large_Am_Lulzim_Zeqiri_Instalation_Shots_001_0c4664dee9","large_Am_Lulzim Zeqiri Instalation Shots_001.jpg",912.22,{"ext":966,"url":1955,"hash":1956,"mime":969,"name":1957,"path":66,"size":1958,"width":979,"height":980},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Am_Lulzim_Zeqiri_Instalation_Shots_001_0c4664dee9.jpg","small_Am_Lulzim_Zeqiri_Instalation_Shots_001_0c4664dee9","small_Am_Lulzim Zeqiri Instalation Shots_001.jpg",154.19,{"ext":966,"url":1960,"hash":1961,"mime":969,"name":1962,"path":66,"size":1963,"width":986,"height":1438},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Am_Lulzim_Zeqiri_Instalation_Shots_001_0c4664dee9.jpg","medium_Am_Lulzim_Zeqiri_Instalation_Shots_001_0c4664dee9","medium_Am_Lulzim Zeqiri Instalation Shots_001.jpg",574.66,{"ext":966,"url":1965,"hash":1966,"mime":969,"name":1967,"path":66,"size":1968,"width":1000,"height":1001},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Am_Lulzim_Zeqiri_Instalation_Shots_001_0c4664dee9.jpg","xsmall_Am_Lulzim_Zeqiri_Instalation_Shots_001_0c4664dee9","xsmall_Am_Lulzim Zeqiri Instalation Shots_001.jpg",19.91,{"ext":966,"url":1970,"hash":1971,"mime":969,"name":1972,"path":66,"size":1973,"width":1007,"height":1008},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Am_Lulzim_Zeqiri_Instalation_Shots_001_0c4664dee9.jpg","thumbnail_Am_Lulzim_Zeqiri_Instalation_Shots_001_0c4664dee9","thumbnail_Am_Lulzim Zeqiri Instalation Shots_001.jpg",283.51,"Am_Lulzim_Zeqiri_Instalation_Shots_001_0c4664dee9",1136.55,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FAm_Lulzim_Zeqiri_Instalation_Shots_001_0c4664dee9.jpg","2023-08-15T14:03:19.418Z","2023-12-04T16:44:30.351Z",{"en-US":1945},"v7b09t5i9qxwt0ogf37lplzc",[1982,1988,1990,1991],{"__type":1220,"id":1983,"names":765,"collectiveName":66,"sortKey":1984,"annotation":66,"createdAt":1985,"updatedAt":1986,"publishedAt":66,"richText":1987,"documentId":764,"locale":8},903,"z","2023-07-24T08:11:55.382Z","2023-11-15T12:46:56.617Z","\u003Cp>As anachronistic as they may seem, wheelbarrows have survived the victory march of motorised transport across the developed and developing worlds. Whether you visit the markets of Prishtina or Portsmouth, Madrid or Mumbai, you will inevitably still see porters pushing produce by barrow from the stalls to some loading point nearby.\u003C\u002Fp>\u003Cp>And you will also see the same porters using their barrows as a seat. Often assembled in circles, the barrows form improvised gathering sites, places to rest and share stories in between loads.\u003C\u002Fp>\u003Cp>Lulzim Zeqiri is captivated by this interplay between commerce and comfort, coexistence and conviviality. His site-specific installation is based on a long-term research project looking into market porters’ customs and concerns.\u003C\u002Fp>\u003Cp>Located on one of Prishtina’s few shady lawns, a stone’s throw away from the old market, Zeqiri’s work consists of an assembly of weathered market barrows. 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However important their narrative might once have been, their significance tends to blur and fade. The Partisan Martyrs’ Monument in Prishtina’s Velania neighbourhood is a case in point.\u003C\u002Fp>\u003Cp>Designed to help establish the mythology around partisan resistance in the second world war, the monument consists of a star-shaped complex with a globe in its middle. Like the triangular obelisk in the centre of town, it stands for universal “brotherhood and unity”. Since the Kosovo War in 1999, the monument has been overshadowed by the addition of a cemetery for Kosovo Liberation Army soldiers and a grave for former president Ibrahim Rugova.\u003C\u002Fp>\u003Cp>Now more of a playground than a site of remembrance, its status is widely contested. 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A gay man with a disability and a transgender woman of Ashkali ethnicity, they have lived together and taken care of each other for many years. Their home in Fushë Kosove, located on the outskirts of Prishtina, has long been a cherished gathering place and shelter for the LGBTQI* community.\u003C\u002Fp>\u003Cp>The mural by Ermira Murati, who goes by the name of Orange Girl, lends visibility to their story. It publicly challenges the marginalisation and erasure of gender, sexual and ethnic minorities in Kosovo and elsewhere. Having previously depicted the intimacy between two Albanian rhapsodists, which fomented much public debate, Murati feels compelled as an artist “to create what needs to be created”.\u003C\u002Fp>\u003Cp>What needs to be created right now, she and the collective argue, is a more humane and open way of thinking about families. 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North of the river Ibar lives an ethnic Serb majority. To the south, the population is largely ethnic Albanian. Though a bridge connects the two sides, it is seldom crossed.\u003C\u002Fp>\u003Cp>Still heavily patrolled by representatives of the international peacekeeping force, it embodies the endemic disunity of post-conflict Kosovo and the political instability with which it goes hand in hand. Petrit Abazi, a Mitrovica-born curator, joins forces with artists Stanislava Pinchuk and Piers Greville to explore modes of reconciliation, repair and healing, placing two individual artworks inside the fluid and ambiguous political boundary of the river itself.\u003C\u002Fp>\u003Cp>Pinchuk’s installation \u003Ci>Europe Without Monuments\u003C\u002Fi> presents an urban beach and playground in a city profoundly under-resourced for civic and recreational public space. Built from scaffolding, her structure echoes the forms of Bogdan Bogdanović’s \u003Ci>Monument to Fallen Miners\u003C\u002Fi> of both ethnicities, which towers over the city. Built in its inverse, the work considers the loaded legacy, tension and resonance of monuments in not only Kosovo, but also in Ukraine – the artist’s home country.\u003C\u002Fp>\u003Cp>Greville’s \u003Ci>What Is Here\u003C\u002Fi> is a bridge embodied by the people themselves. Installing a frame in the middle of the river, the artist invites citizens from both sides of the city to swim in a relay of solidarity, together against the current. 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