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What knowledge, which stories do they have to share?\u003C\u002Fp>\u003Cp>One key lesson to be learned from the botanical world would be the ubiquity of queerness. No matter where you look in nature, it’s there. As part of an ongoing investigation into the diversity of gender expression and sexual behaviour in plants, Baumann brings together specimens, illustrations, pictures and stories.\u003C\u002Fp>\u003Cp>Yet the research she presents in her herbarium and video goes beyond the mere recognition that plants are often unisexual or bisexual, hermaphroditic or transitionally transgender, depending on their age, the time of day or environmental conditions.\u003C\u002Fp>\u003Cp>What she endeavours to convey, rather, is that such knowledge can be put to good use: to make the ground we live on – whether on a domestic, urban or national level – “porous and permeable” and “welcoming” for all.\u003C\u002Fp>",[1192],{"id":1193,"name":1194,"alternativeText":66,"caption":1195,"width":1196,"height":1197,"formats":1198,"hash":1219,"ext":947,"mime":950,"size":1220,"url":1221,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":1222,"updatedAt":1223,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1224,"documentId":1225,"publishedAt":998},170,"Celine Bauman .JPG","Queer Nature, 2017 – ongoing, © Céline Baumann. Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",1920,1280,{"small":1199,"medium":1204,"xsmall":1209,"thumbnail":1214},{"ext":947,"url":1200,"hash":1201,"mime":950,"name":1202,"path":66,"size":1203,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Celine_Bauman_1c68788e2f.JPG","small_Celine_Bauman_1c68788e2f","small_Celine Bauman .JPG",72.97,{"ext":947,"url":1205,"hash":1206,"mime":950,"name":1207,"path":66,"size":1208,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Celine_Bauman_1c68788e2f.JPG","medium_Celine_Bauman_1c68788e2f","medium_Celine Bauman .JPG",253.35,{"ext":947,"url":1210,"hash":1211,"mime":950,"name":1212,"path":66,"size":1213,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Celine_Bauman_1c68788e2f.JPG","xsmall_Celine_Bauman_1c68788e2f","xsmall_Celine Bauman .JPG",11.54,{"ext":947,"url":1215,"hash":1216,"mime":950,"name":1217,"path":66,"size":1218,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Celine_Bauman_1c68788e2f.JPG","thumbnail_Celine_Bauman_1c68788e2f","thumbnail_Celine Bauman .JPG",127.13,"Celine_Bauman_1c68788e2f",276.14,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FCeline_Bauman_1c68788e2f.JPG","2023-08-01T13:54:25.207Z","2023-11-15T11:57:13.486Z",{"en-US":1195},"bzt0qzat91g1rlxefcm509sa",[1227],{"id":1228,"nationality":233},1157,[],{"sortKey":1189,"id":411,"documentId":412,"names":413,"collectiveName":66,"annotation":66,"richText":1231,"locale":8,"images":1232,"nationalities":1265,"localizations":1270},"\u003Cp>“It doesn’t matter where you are from, Afghanistan, Turkey, Kurdistan”, says Elona Beqiraj. All the people who have had similar struggles are part of the social network the poet calls “home”, her “community”, a group “free from dominating normative identities” that “still stands for cultural richness and history”. \u003C\u002Fp>\u003Cp>This sense of belonging took Beqiraj, who grew up as part of the Kosovar diaspora in Germany, quite some time to achieve. Writing poetry has played a crucial role for her in grappling with the fractured identity that comes with living between two worlds, neither of which embraces you.\u003C\u002Fp>\u003Cp>Without condoning the structures of social exclusion that partially formed her, her writings locate a reservoir of creativity and agency within the “neither-nor” mode of “diasporic being”.\u003C\u002Fp>",[1233],{"id":1234,"name":1235,"alternativeText":66,"caption":1236,"width":1196,"height":1197,"formats":1237,"hash":1258,"ext":947,"mime":950,"size":1259,"url":1260,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":1261,"updatedAt":1262,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1263,"documentId":1264,"publishedAt":998},188,"Elona Beqiraj _3.JPG","Poems from: und wir kamen jeden sommer [and we came every summer], 2019, © Elona Beqiraj. Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",{"small":1238,"medium":1243,"xsmall":1248,"thumbnail":1253},{"ext":947,"url":1239,"hash":1240,"mime":950,"name":1241,"path":66,"size":1242,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Elona_Beqiraj_3_c74ec26b36.JPG","small_Elona_Beqiraj_3_c74ec26b36","small_Elona Beqiraj _3.JPG",18.49,{"ext":947,"url":1244,"hash":1245,"mime":950,"name":1246,"path":66,"size":1247,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Elona_Beqiraj_3_c74ec26b36.JPG","medium_Elona_Beqiraj_3_c74ec26b36","medium_Elona Beqiraj _3.JPG",65.91,{"ext":947,"url":1249,"hash":1250,"mime":950,"name":1251,"path":66,"size":1252,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Elona_Beqiraj_3_c74ec26b36.JPG","xsmall_Elona_Beqiraj_3_c74ec26b36","xsmall_Elona Beqiraj _3.JPG",3.77,{"ext":947,"url":1254,"hash":1255,"mime":950,"name":1256,"path":66,"size":1257,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Elona_Beqiraj_3_c74ec26b36.JPG","thumbnail_Elona_Beqiraj_3_c74ec26b36","thumbnail_Elona Beqiraj _3.JPG",32.09,"Elona_Beqiraj_3_c74ec26b36",70.7,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FElona_Beqiraj_3_c74ec26b36.JPG","2023-08-02T11:31:58.291Z","2023-11-15T12:00:01.590Z",{"en-US":1236},"lpaitjseyra5rnbcvicyv222",[1266,1268],{"id":1267,"nationality":219},1172,{"id":1269,"nationality":182},1173,[],{"sortKey":1189,"id":423,"documentId":424,"names":425,"collectiveName":66,"annotation":66,"richText":1272,"locale":8,"images":1273,"nationalities":1320,"localizations":1323},"\u003Cp>“Meet a local\u002Fvisitor. Swap a copy of your house key”. With this brief set of instructions, this suggestion, this invitation, Luz Broto continues a series of actions that she has carried out in different cities: Put oneself in the place of the other.\u003C\u002Fp>\u003Cp>The first took place in 2014. Returning to her former high school, the artist made a proposition to seventy school students: that every day, for seventy days, they go home from school to a different person’s life – to someone else’s parents, siblings, pets and pyjamas. In the context of Prishtina, where people still face insurmountable obstacles to travel, the swapping of keys between locals and visitors has many layers.\u003C\u002Fp>\u003Cp>While the exchange proposed by the artist reveals inequalities between citizens, it is nevertheless a sign of trust and future commitment. It affirms a mutual faith in the coming dismantling of the borders that isolate Kosovo. And in the meantime, it helps to open the invisible borders between strangers. The key is a radical souvenir to be kept forever.\u003C\u002Fp>",[1274],{"id":1275,"name":1276,"alternativeText":66,"caption":1277,"width":1278,"height":1279,"formats":1280,"hash":1313,"ext":1017,"mime":950,"size":1314,"url":1315,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":1316,"updatedAt":1317,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1318,"documentId":1319,"publishedAt":998},569,"IVER8372.jpg","Swap keys, 2022, © Luz Broto. Photo © Manifesta 14 Prishtina \u002F Ivan Erofeev",8057,5374,{"large":1281,"small":1287,"medium":1292,"xlarge":1297,"xsmall":1303,"thumbnail":1308},{"ext":1017,"url":1282,"hash":1283,"mime":950,"name":1284,"path":66,"size":1285,"width":953,"height":1286},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_IVER_8372_874c9028a9.jpg","large_IVER_8372_874c9028a9","large_IVER8372.jpg",1007.27,1614,{"ext":1017,"url":1288,"hash":1289,"mime":950,"name":1290,"path":66,"size":1291,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_IVER_8372_874c9028a9.jpg","small_IVER_8372_874c9028a9","small_IVER8372.jpg",169.79,{"ext":1017,"url":1293,"hash":1294,"mime":950,"name":1295,"path":66,"size":1296,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_IVER_8372_874c9028a9.jpg","medium_IVER_8372_874c9028a9","medium_IVER8372.jpg",620.81,{"ext":1017,"url":1298,"hash":1299,"mime":950,"name":1300,"path":66,"size":1301,"width":974,"height":1302},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_IVER_8372_874c9028a9.jpg","xlarge_IVER_8372_874c9028a9","xlarge_IVER8372.jpg",1718.17,2161,{"ext":1017,"url":1304,"hash":1305,"mime":950,"name":1306,"path":66,"size":1307,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_IVER_8372_874c9028a9.jpg","xsmall_IVER_8372_874c9028a9","xsmall_IVER8372.jpg",22.83,{"ext":1017,"url":1309,"hash":1310,"mime":950,"name":1311,"path":66,"size":1312,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_IVER_8372_874c9028a9.jpg","thumbnail_IVER_8372_874c9028a9","thumbnail_IVER8372.jpg",301.05,"IVER_8372_874c9028a9",8024.21,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FIVER_8372_874c9028a9.jpg","2023-08-15T14:06:58.902Z","2023-08-15T14:07:13.902Z",{"en-US":1277},"ahkrbja1hadnfjiu613xblpm",[1321],{"id":1322,"nationality":203},1184,[],{"sortKey":1189,"id":427,"documentId":428,"names":429,"collectiveName":66,"annotation":66,"richText":1325,"locale":8,"images":1326,"nationalities":1415,"localizations":1419},"\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>",[1327,1371],{"id":1328,"name":1329,"alternativeText":66,"caption":1330,"width":1331,"height":1332,"formats":1333,"hash":1364,"ext":1017,"mime":950,"size":1365,"url":1366,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":1367,"updatedAt":1368,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1369,"documentId":1370,"publishedAt":998},564,"IVER2239.jpg","Willing to Be Vulnerable – Metalized Balloon V4, 2015\u002F2020, © Lee Bul. Photo © Manifesta 14 Prishtina \u002F Ivan Erofeev",7522,5017,{"large":1334,"small":1339,"medium":1344,"xlarge":1349,"xsmall":1354,"thumbnail":1359},{"ext":1017,"url":1335,"hash":1336,"mime":950,"name":1337,"path":66,"size":1338,"width":953,"height":1286},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_IVER_2239_7a72c4c8bd.jpg","large_IVER_2239_7a72c4c8bd","large_IVER2239.jpg",641.26,{"ext":1017,"url":1340,"hash":1341,"mime":950,"name":1342,"path":66,"size":1343,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_IVER_2239_7a72c4c8bd.jpg","small_IVER_2239_7a72c4c8bd","small_IVER2239.jpg",100.29,{"ext":1017,"url":1345,"hash":1346,"mime":950,"name":1347,"path":66,"size":1348,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_IVER_2239_7a72c4c8bd.jpg","medium_IVER_2239_7a72c4c8bd","medium_IVER2239.jpg",381.32,{"ext":1017,"url":1350,"hash":1351,"mime":950,"name":1352,"path":66,"size":1353,"width":974,"height":1302},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_IVER_2239_7a72c4c8bd.jpg","xlarge_IVER_2239_7a72c4c8bd","xlarge_IVER2239.jpg",1180.96,{"ext":1017,"url":1355,"hash":1356,"mime":950,"name":1357,"path":66,"size":1358,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_IVER_2239_7a72c4c8bd.jpg","xsmall_IVER_2239_7a72c4c8bd","xsmall_IVER2239.jpg",14.08,{"ext":1017,"url":1360,"hash":1361,"mime":950,"name":1362,"path":66,"size":1363,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_IVER_2239_7a72c4c8bd.jpg","thumbnail_IVER_2239_7a72c4c8bd","thumbnail_IVER2239.jpg",180.05,"IVER_2239_7a72c4c8bd",7849.54,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FIVER_2239_7a72c4c8bd.jpg","2023-08-15T13:42:39.853Z","2023-11-15T12:01:06.873Z",{"en-US":1330},"xvkq6e3rdkgkag97o8luczct",{"id":1372,"name":1373,"alternativeText":66,"caption":1374,"width":1375,"height":1376,"formats":1377,"hash":1408,"ext":1017,"mime":950,"size":1409,"url":1410,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":1411,"updatedAt":1412,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1413,"documentId":1414,"publishedAt":998},563,"IVER7109.jpg","Willing to Be Vulnerable – Metalized Balloon V4 , 2015\u002F2020, © Lee Bul. 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Engaged with radical pedagogy, Bonizzi’s work has developed through a long-term friendship with communities in Albania, Palestine, Italy and Scotland.\u003C\u002Fp>",[1423],{"id":1424,"name":1425,"alternativeText":66,"caption":1426,"width":1427,"height":1428,"formats":1429,"hash":1460,"ext":1017,"mime":950,"size":1461,"url":1462,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":1463,"updatedAt":1464,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1465,"documentId":1466,"publishedAt":998},1487,"AM_Valentina Bonizzi-GKK-Instalation shots_001.jpg","Homage to Kafka, 2018, © Valentina Bonizzi. 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They recur, though they invariably shift and wander, forever altering their orientation and alliances. In her work, Bora Baboçi explores the elusive nature of memory through the process of embodied composition.\u003C\u002Fp>\u003Cp>She draws upon an imaginary of aquatic qualities, its depths becoming surfaces, transparencies fading into opacities amid seemingly infinite images of fragile narration. The work comprises an engulfing, dreamlike drawing – a composition in waiting – and footage of the artist’s collaborative enquiry with choreographer Gentian Doda.\u003C\u002Fp>\u003Cp>The two offer instructions to the visitors on ways to interact with the composition – and to thus participate in its becoming. 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How are value and charisma generated? How does the value of money relate to gold? Or, for that matter, to tulips and colonial expansion? What makes speculative bubbles burst and economies collapse?\u003C\u002Fp>\u003Cp>And why do only a privileged few seem to know the answer to such crucial questions? In her video narrative, Lúa Coderch reflects on concerns such as these. Filmed in a claustrophobic, enclosed space, her work interweaves theories, ideas and anecdotes on the “mythical and distant beast” that is capital with details from her own biography.\u003C\u002Fp>\u003Cp>Societal and monetary values bounce off one another. While the camera scans the surfaces of walls, floors, photographs and objects, scrutinising their structure and materiality, the speaker drifts and ponders\u003C\u002Fp>",[1569],{"id":1570,"name":1571,"alternativeText":66,"caption":1572,"width":1573,"height":944,"formats":1574,"hash":1605,"ext":947,"mime":950,"size":1606,"url":1607,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":1608,"updatedAt":1609,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1610,"documentId":1611,"publishedAt":998},566,"Lua Coderch HR_1.JPG","Gold, 2014, © Lúa Coderch. 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Each book they see as a new beginning with a new set of rules. While the properties and content of the books inevitably govern the point of departure, the rest of the process is intuitive, associative, subjective. Contrary to other more totalising visions of infinite or universal libraries – Jorge Luis Borges’s being among the most famous – the artists perceive their work as an “open conversation of fragments”, an endless reconfiguration of stories and ideas. For them, “it’s a liberating moment to open a book, written by an individual mind, and connect it with another, constructed by someone else”. 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It was designed by Georgi Konstantinovski and built in the 1970s to host Kosovo’s first publishing house, Rilindja Press Palace.\u003C\u002Fp>\u003Cp>It was here that Yugoslavia’s Albanian-language newspaper, Rilindja, was published. 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Answering her own question, she replies, “Only that it’s everywhere differently”. Precisely this unknowability has prompted her ongoing, transdisciplinary quest to come to terms with this shape-shifting substance, with this essential element that can give and sustain life, but also take it away.\u003C\u002Fp>\u003Cp>In \u003Ci>Saying Water\u003C\u002Fi>, a spoken word performance, the artist reads from her writings on the psychological, philosophical and lyrical qualities of water. For Horn, talking about water is always talking about oneself.\u003C\u002Fp>\u003Cp>She considers it both a backdrop and an agent, both a setting and a character, a transparent, reflective material that is wholly dependent on its neighbourhood and neighbours. Water, she points out, “can still be water and accommodate a lot of different presences”.   \u003C\u002Fp>\u003Cp>\u003Ci>Saying Water\u003C\u002Fi> was developed during a 2012 residency programme organised by Artangel in \u003Ci>A Room for London\u003C\u002Fi>, a riverboat installation on the roof of Queen Elizabeth Hall by the River Thames.  The score is adapted from the artist’s text from the 1999 photographic installation \u003Ci>Still Water (The River Thames, for Example)\u003C\u002Fi> and the 2000 artist’s book \u003Ci>Another Water (The River Thames, for Example)\u003C\u002Fi>.   \u003C\u002Fp>",[2299],{"id":2300,"name":2301,"alternativeText":66,"caption":2302,"width":2303,"height":2304,"formats":2305,"hash":2336,"ext":1017,"mime":950,"size":2337,"url":2338,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":2339,"updatedAt":2340,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2341,"documentId":2342,"publishedAt":998},1361,"AM_Roni Horn-Instalation shots_002.jpg","Saying Water, 2012, © Roni Horn. 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More often than not, these stories revolve around love and intimacy: between couples, parents and children, brothers and sisters, cousins and in-laws. Hajrullahu relives these micronarratives in small-format drawings depicting scenes from everyday life.\u003C\u002Fp>\u003Cp>Habitually executed on packing paper, his works cultivate a poetic simplicity and gentle irony, often showing whole families huddled together in one room. His portrayal of warmth and togetherness becomes more controversial when it coincides with nudity, still a social taboo in Kosovo, or when it makes fun of the conventions around marriage or gender division. \u003C\u002Fp>",[2351,2400],{"id":2352,"name":2353,"alternativeText":66,"caption":2354,"width":2355,"height":944,"formats":2356,"hash":2393,"ext":947,"mime":950,"size":2394,"url":2395,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":2396,"updatedAt":2397,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2398,"documentId":2399,"publishedAt":998},161,"Artan Hajrullahu HR_1.JPG","Installation view, various dates, © Artan Hajrullahu. 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A repository of her country’s history and a microcosm of its society, the hotel has become one of the artist’s central preoccupations.\u003C\u002Fp>\u003Cp>Over and over again, she has returned to the building. Drawn to its uncanny liminality, she has traversed its hallways and entered its rooms, speaking at length to the people who work there. She has delved into the archives, traced the vicissitudes of life inside and outside its walls and recorded some of its more recent shifts in state. For the first time, she is presenting the results of her research.\u003C\u002Fp>\u003Cp>In one cycle of photographs, Hoxha documents the hotel’s once illustrious collection of paintings, tapestries, prints and sculptures. Installed in the very places where the works once stood or hung, they serve as surrogates for the collection that was. Portraits of workers comprise the second cycle of photographs. Their stories can be heard throughout the hotel.\u003C\u002Fp>",[2438],{"id":2439,"name":2440,"alternativeText":66,"caption":2441,"width":943,"height":944,"formats":2442,"hash":2473,"ext":947,"mime":950,"size":2474,"url":2475,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":2476,"updatedAt":2477,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2478,"documentId":2479,"publishedAt":998},570,"Majlinda Hoxha HR_3.JPG"," Grand Hotel Prishtina, 2016 - 2022, © Majlinda Hoxha. Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",{"large":2443,"small":2448,"medium":2453,"xlarge":2458,"xsmall":2463,"thumbnail":2468},{"ext":947,"url":2444,"hash":2445,"mime":950,"name":2446,"path":66,"size":2447,"width":953,"height":954},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_Majlinda_Hoxha_HR_3_e7a0fd53db.JPG","large_Majlinda_Hoxha_HR_3_e7a0fd53db","large_Majlinda Hoxha HR_3.JPG",293.19,{"ext":947,"url":2449,"hash":2450,"mime":950,"name":2451,"path":66,"size":2452,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Majlinda_Hoxha_HR_3_e7a0fd53db.JPG","small_Majlinda_Hoxha_HR_3_e7a0fd53db","small_Majlinda Hoxha HR_3.JPG",50.17,{"ext":947,"url":2454,"hash":2455,"mime":950,"name":2456,"path":66,"size":2457,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Majlinda_Hoxha_HR_3_e7a0fd53db.JPG","medium_Majlinda_Hoxha_HR_3_e7a0fd53db","medium_Majlinda Hoxha HR_3.JPG",172.5,{"ext":947,"url":2459,"hash":2460,"mime":950,"name":2461,"path":66,"size":2462,"width":974,"height":975},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_Majlinda_Hoxha_HR_3_e7a0fd53db.JPG","xlarge_Majlinda_Hoxha_HR_3_e7a0fd53db","xlarge_Majlinda Hoxha HR_3.JPG",575.14,{"ext":947,"url":2464,"hash":2465,"mime":950,"name":2466,"path":66,"size":2467,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Majlinda_Hoxha_HR_3_e7a0fd53db.JPG","xsmall_Majlinda_Hoxha_HR_3_e7a0fd53db","xsmall_Majlinda Hoxha HR_3.JPG",8.64,{"ext":947,"url":2469,"hash":2470,"mime":950,"name":2471,"path":66,"size":2472,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Majlinda_Hoxha_HR_3_e7a0fd53db.JPG","thumbnail_Majlinda_Hoxha_HR_3_e7a0fd53db","thumbnail_Majlinda Hoxha HR_3.JPG",86.05,"Majlinda_Hoxha_HR_3_e7a0fd53db",4279.09,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FMajlinda_Hoxha_HR_3_e7a0fd53db.JPG","2023-08-15T14:15:56.861Z","2023-08-15T14:16:25.146Z",{"en-US":2441},"t65hgtwul6cy75txpg2g9nrv",[2481],{"id":2482,"nationality":219},1523,[],{"sortKey":2296,"id":471,"documentId":472,"names":473,"collectiveName":66,"annotation":66,"richText":2485,"locale":8,"images":2486,"nationalities":2533,"localizations":2536},"\u003Cp>When the Grand Hotel Prishtina opened its doors in 1978, it transformed what was once the end of the city into a vibrant new centre. Though its five stars have been taken down one by one over the years, and the lights on its iconic sign switched off, people in Prishtina still orbit the Grand like the Earth does the sun.\u003C\u002Fp>\u003Cp>For his contribution to Manifesta 14 Prishtina, Petrit Halilaj has temporarily transformed the darkened sign atop the hotel into a poetic call to his fellow residents: “when the sun goes away, we paint the sky”. Citing twelve-year-old Njomza Vitia, the new sign combines existing letters with additional ones – all of them lit. As the start of a bright blanket of stars spreading out to fill the city, the artist has also remounted and reconfigured the hotel’s original stars.\u003C\u002Fp>\u003Cp>People from Kosovo have been – and still are – invited to collectively create this new constellation by making and displaying stars of their own. No longer a symbol of luxury, the stars are free to signify other values, to embody new desires, to invoke different longings and becomings.   \u003C\u002Fp>\u003Cp>One of the stars in the project has been produced by Autostrada Biennale and can be found at the Hangar in Prizren. \u003C\u002Fp>",[2487],{"id":2488,"name":2489,"alternativeText":66,"caption":2490,"width":2491,"height":2492,"formats":2493,"hash":2526,"ext":2495,"mime":2498,"size":2527,"url":2528,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":2529,"updatedAt":2530,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2531,"documentId":2532,"publishedAt":998},993,"Kur dielli te ike... 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Petrit Halilaj_2.png",1888.47,"Kur_dielli_te_ike_Petrit_Halilaj_2_f8253fce29",9248.77,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FKur_dielli_te_ike_Petrit_Halilaj_2_f8253fce29.png","2023-08-16T08:22:57.688Z","2023-11-29T09:25:59.489Z",{"en-US":2490},"m2zw7j9fyk53chsciqf1k4l8",[2534],{"id":2535,"nationality":219},1525,[],{"sortKey":2296,"id":475,"documentId":476,"names":477,"collectiveName":66,"annotation":66,"richText":2538,"locale":8,"images":2539,"nationalities":2622,"localizations":2625},"\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>",[2540,2589],{"id":2541,"name":2542,"alternativeText":66,"caption":2543,"width":2544,"height":2545,"formats":2546,"hash":2582,"ext":1017,"mime":950,"size":2583,"url":2584,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":2585,"updatedAt":2586,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2587,"documentId":2588,"publishedAt":998},196,"AM_Flaka Haliti_installation Shots_001.jpg","Under the Sun – Explain What Happened, 2022, © Flaka Haliti. 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","Flaka Haliti's work was located above the Manifesta 14 offices, at the Palace of Youth and Sport in Prishtina. Under the Sun – Explain What Happened, 2022, © Flaka Haliti. Photo © Manifesta 14 Prishtina \u002F Ivan Erofeev",{"small":2595,"medium":2600,"xsmall":2605,"thumbnail":2610},{"ext":1017,"url":2596,"hash":2597,"mime":950,"name":2598,"path":66,"size":2599,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_IVER_1608_c35021cfba.jpg","small_IVER_1608_c35021cfba","small_IVER1608.jpg",84.5,{"ext":1017,"url":2601,"hash":2602,"mime":950,"name":2603,"path":66,"size":2604,"width":967,"height":1491},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_IVER_1608_c35021cfba.jpg","medium_IVER_1608_c35021cfba","medium_IVER1608.jpg",284.42,{"ext":1017,"url":2606,"hash":2607,"mime":950,"name":2608,"path":66,"size":2609,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_IVER_1608_c35021cfba.jpg","xsmall_IVER_1608_c35021cfba","xsmall_IVER1608.jpg",12.41,{"ext":1017,"url":2611,"hash":2612,"mime":950,"name":2613,"path":66,"size":2614,"width":988,"height":989},"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":2593},"lrs29lblnu5g4beslwoclp5u",[2623],{"id":2624,"nationality":219},1633,[],{"sortKey":2296,"id":799,"documentId":800,"names":801,"collectiveName":66,"annotation":66,"richText":2627,"locale":8,"images":2628,"nationalities":2681,"localizations":2685},"\u003Cp>Lawrence Abu Hamdan (1985, LB) is an artist and audio investigator. With audiovisual installations, lecture performances, photography and text, he translates in-depth research and investigative work into affective spatial experiences.\u003C\u002Fp>\u003Cp>Exploring the ‘politics of listening’ and the role of sound and voice within the law and human rights, he often works with human rights organisations and international prosecutors to help obtain aural testimonies for legal and historical investigations. His work stitches together civil, criminal, human, marital, theological and supernatural topics.\u003C\u002Fp>\u003Cp>He received his PhD in 2017 from Goldsmiths London and is a practitioner affiliated with Forensic Architecture. He was nominated for the 2019 Turner Prize, which he jointly won with Tai Shani, Oscar Murillo and Helen Cammock. 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Using digital media, the artist explores the psychogeography of connected isolation and isolated connection. It is a realm or state familiar to people all over the world, particularly of her generation.\u003C\u002Fp>\u003Cp>Laureta Hajrullahu’s (1997, RKS) artistic work explores privacy, gender, intimacy, digital ecosystems, video games and impossible futures. Through her digital media work, she presents diverse, critically informed views on ‘reality’. She does this by continuously deconstructing and re-evaluating the boundaries between the virtual and physical world.\u003C\u002Fp>\u003Cp>Hajrullahu’s work has been presented in many different institutions in Kosovo and across the Western Balkans. 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surface of the red planet.\u003C\u002Fp>\u003Cp>Yet upon entering her environment, populated only by grazing goat-like creatures and a lonely satellite dish, the crunch of rubble underfoot and the sight of the city through the windows swiftly return the viewer to some post-human version of our own planet.\u003C\u002Fp>\u003Cp>It is an “island of abandonment” not unlike many parts of Prishtina, the Grand Hotel itself being one of them. In her recent sculptures, installations, environments and films Kastrati has focused considerable attention on the transformation of the city. Her post-human environments in particular invite us to reflect on urban development and decay – and our complicity in the processes that drive them.  \u003C\u002Fp>",[3173],{"id":834,"name":3174,"alternativeText":66,"caption":3175,"width":943,"height":944,"formats":3176,"hash":3207,"ext":947,"mime":950,"size":3208,"url":3209,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":3210,"updatedAt":3211,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":3212,"documentId":3213,"publishedAt":998},"Doruntina Kastrati HR_1.JPG","Ring the bells my land, 2017\u002F22, © Doruntina Kastrati. Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",{"large":3177,"small":3182,"medium":3187,"xlarge":3192,"xsmall":3197,"thumbnail":3202},{"ext":947,"url":3178,"hash":3179,"mime":950,"name":3180,"path":66,"size":3181,"width":953,"height":954},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_Doruntina_Kastrati_HR_1_0698362975.JPG","large_Doruntina_Kastrati_HR_1_0698362975","large_Doruntina Kastrati HR_1.JPG",772.64,{"ext":947,"url":3183,"hash":3184,"mime":950,"name":3185,"path":66,"size":3186,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Doruntina_Kastrati_HR_1_0698362975.JPG","small_Doruntina_Kastrati_HR_1_0698362975","small_Doruntina Kastrati HR_1.JPG",124.91,{"ext":947,"url":3188,"hash":3189,"mime":950,"name":3190,"path":66,"size":3191,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Doruntina_Kastrati_HR_1_0698362975.JPG","medium_Doruntina_Kastrati_HR_1_0698362975","medium_Doruntina Kastrati HR_1.JPG",456.79,{"ext":947,"url":3193,"hash":3194,"mime":950,"name":3195,"path":66,"size":3196,"width":974,"height":975},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_Doruntina_Kastrati_HR_1_0698362975.JPG","xlarge_Doruntina_Kastrati_HR_1_0698362975","xlarge_Doruntina Kastrati HR_1.JPG",1441.56,{"ext":947,"url":3198,"hash":3199,"mime":950,"name":3200,"path":66,"size":3201,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Doruntina_Kastrati_HR_1_0698362975.JPG","xsmall_Doruntina_Kastrati_HR_1_0698362975","xsmall_Doruntina Kastrati HR_1.JPG",17.81,{"ext":947,"url":3203,"hash":3204,"mime":950,"name":3205,"path":66,"size":3206,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Doruntina_Kastrati_HR_1_0698362975.JPG","thumbnail_Doruntina_Kastrati_HR_1_0698362975","thumbnail_Doruntina Kastrati HR_1.JPG",219.99,"Doruntina_Kastrati_HR_1_0698362975",7267.76,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FDoruntina_Kastrati_HR_1_0698362975.JPG","2023-08-02T11:03:47.386Z","2023-11-15T12:18:53.161Z",{"en-US":3175},"mucnpvdbb46tvoo0mu5guoa1",[3215],{"id":567,"nationality":219},[],{"sortKey":3114,"id":503,"documentId":504,"names":505,"collectiveName":66,"annotation":66,"richText":3218,"locale":8,"images":3219,"nationalities":3251,"localizations":3254},"\u003Cp>Prishtina is full of abandoned buildings whose value has been lost. Some twenty years after the war with Serbia, most of these “leftovers” are in a state of such morbid disrepair that their very survival is threatened.\u003C\u002Fp>\u003Cp>One such building is “Marsi”. An exemplar of brutalist modernism, it was originally designed as a supermarket. Later it became a restaurant, then a nightclub before being abandoned in 2003 and privatised four years later. In 2019, Koja made it the subject of an in-depth research project as part of Foundation 17’s Metamorphosis II initiative.\u003C\u002Fp>\u003Cp>Together with a group of architecture and design students, she conducted fieldwork to gather material evidence and oral histories attesting to the sociocultural significance of the building and the importance of its recuperation.\u003C\u002Fp>\u003Cp>The results of their research were presented as part of a site-specific intervention comprising photographs, videos, interviews and other documents and artifacts. At the Grand Hotel Prishtina – another “leftover” worth flirting with – Koja reprises the intervention.\u003C\u002Fp>",[3220],{"id":856,"name":3221,"alternativeText":66,"caption":3222,"width":1196,"height":1197,"formats":3223,"hash":3244,"ext":947,"mime":950,"size":3245,"url":3246,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":3247,"updatedAt":3248,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":3249,"documentId":3250,"publishedAt":998},"Fitore Isufi SHukriu - Koja_5.JPG","Flirting with Leftovers, 2019, © Fitore Isufi Shukriu – Koja . Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",{"small":3224,"medium":3229,"xsmall":3234,"thumbnail":3239},{"ext":947,"url":3225,"hash":3226,"mime":950,"name":3227,"path":66,"size":3228,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Fitore_Isufi_S_Hukriu_Koja_5_f1b31e05bc.JPG","small_Fitore_Isufi_S_Hukriu_Koja_5_f1b31e05bc","small_Fitore Isufi SHukriu - Koja_5.JPG",71.87,{"ext":947,"url":3230,"hash":3231,"mime":950,"name":3232,"path":66,"size":3233,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Fitore_Isufi_S_Hukriu_Koja_5_f1b31e05bc.JPG","medium_Fitore_Isufi_S_Hukriu_Koja_5_f1b31e05bc","medium_Fitore Isufi SHukriu - Koja_5.JPG",225.56,{"ext":947,"url":3235,"hash":3236,"mime":950,"name":3237,"path":66,"size":3238,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Fitore_Isufi_S_Hukriu_Koja_5_f1b31e05bc.JPG","xsmall_Fitore_Isufi_S_Hukriu_Koja_5_f1b31e05bc","xsmall_Fitore Isufi SHukriu - Koja_5.JPG",12.74,{"ext":947,"url":3240,"hash":3241,"mime":950,"name":3242,"path":66,"size":3243,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Fitore_Isufi_S_Hukriu_Koja_5_f1b31e05bc.JPG","thumbnail_Fitore_Isufi_S_Hukriu_Koja_5_f1b31e05bc","thumbnail_Fitore Isufi SHukriu - Koja_5.JPG",119.9,"Fitore_Isufi_S_Hukriu_Koja_5_f1b31e05bc",241.91,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FFitore_Isufi_S_Hukriu_Koja_5_f1b31e05bc.JPG","2023-08-02T13:31:40.213Z","2023-11-15T12:20:18.478Z",{"en-US":3222},"gwcqajp659jcvfhvftugjoca",[3252],{"id":3253,"nationality":219},1591,[],{"sortKey":3114,"id":547,"documentId":548,"names":549,"collectiveName":66,"annotation":66,"richText":3256,"locale":8,"images":3257,"nationalities":3300,"localizations":3303},"\u003Cp>Edona Kryeziu’s transdisciplinary artistic practice revolves around storytelling through various methods including performative installations, photography and video. Working as a theatre and film maker, her practice sits at the intersections between archival research and mediation through blurring the real and the imaginary.\u003C\u002Fp>\u003Cp>Her works deal with questions of social and structural participation in postnational realities, diasporic narrations and spaces of resistance. Exploring the subtle boundaries between representation and the spectacle, Kryeziu stages the seemingly mundane and traces the way how the past, present and future reverberate within.\u003C\u002Fp>",[3258],{"id":3259,"name":3260,"alternativeText":66,"caption":3261,"width":1832,"height":1833,"formats":3262,"hash":3293,"ext":1017,"mime":950,"size":3294,"url":3295,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":3296,"updatedAt":3297,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":3298,"documentId":3299,"publishedAt":998},187,"AM_Grand Hotel Floors_Instalation Shots_023.jpg"," there are crossroads where ghostly signals flash from the traffic , 2022, © Edona Kryeziu. Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",{"large":3263,"small":3268,"medium":3273,"xlarge":3278,"xsmall":3283,"thumbnail":3288},{"ext":1017,"url":3264,"hash":3265,"mime":950,"name":3266,"path":66,"size":3267,"width":953,"height":954},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_AM_Grand_Hotel_Floors_Instalation_Shots_023_283f0e2af4.jpg","large_AM_Grand_Hotel_Floors_Instalation_Shots_023_283f0e2af4","large_AM_Grand Hotel Floors_Instalation Shots_023.jpg",486.26,{"ext":1017,"url":3269,"hash":3270,"mime":950,"name":3271,"path":66,"size":3272,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_AM_Grand_Hotel_Floors_Instalation_Shots_023_283f0e2af4.jpg","small_AM_Grand_Hotel_Floors_Instalation_Shots_023_283f0e2af4","small_AM_Grand Hotel Floors_Instalation Shots_023.jpg",88.47,{"ext":1017,"url":3274,"hash":3275,"mime":950,"name":3276,"path":66,"size":3277,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_AM_Grand_Hotel_Floors_Instalation_Shots_023_283f0e2af4.jpg","medium_AM_Grand_Hotel_Floors_Instalation_Shots_023_283f0e2af4","medium_AM_Grand Hotel Floors_Instalation Shots_023.jpg",302.26,{"ext":1017,"url":3279,"hash":3280,"mime":950,"name":3281,"path":66,"size":3282,"width":974,"height":975},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_AM_Grand_Hotel_Floors_Instalation_Shots_023_283f0e2af4.jpg","xlarge_AM_Grand_Hotel_Floors_Instalation_Shots_023_283f0e2af4","xlarge_AM_Grand Hotel Floors_Instalation Shots_023.jpg",791.86,{"ext":1017,"url":3284,"hash":3285,"mime":950,"name":3286,"path":66,"size":3287,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_AM_Grand_Hotel_Floors_Instalation_Shots_023_283f0e2af4.jpg","xsmall_AM_Grand_Hotel_Floors_Instalation_Shots_023_283f0e2af4","xsmall_AM_Grand Hotel Floors_Instalation Shots_023.jpg",13.81,{"ext":1017,"url":3289,"hash":3290,"mime":950,"name":3291,"path":66,"size":3292,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_AM_Grand_Hotel_Floors_Instalation_Shots_023_283f0e2af4.jpg","thumbnail_AM_Grand_Hotel_Floors_Instalation_Shots_023_283f0e2af4","thumbnail_AM_Grand Hotel Floors_Instalation Shots_023.jpg",155.12,"AM_Grand_Hotel_Floors_Instalation_Shots_023_283f0e2af4",2093.3,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FAM_Grand_Hotel_Floors_Instalation_Shots_023_283f0e2af4.jpg","2023-08-02T11:24:07.693Z","2023-08-02T11:24:44.067Z",{"en-US":3261},"byam4dn259v2eaj6vrzcgs2z",[3301],{"id":3302,"nationality":219},1592,[],{"sortKey":3114,"id":527,"documentId":528,"names":529,"collectiveName":66,"annotation":66,"richText":3305,"locale":8,"images":3306,"nationalities":3350,"localizations":3354},"\u003Cp>In her conceptual practice, Šejla Kamerić examines the politics of memory, the language of oppression and forms of resistance. The large-scale crocheted works from her ongoing Hooked series are characteristic of this approach.\u003C\u002Fp>\u003Cp>Resembling oversized doilies, they embody a chaste form of creativity and female servitude. Doilies are essential elements of traditional bridal dowries, whether from Bosnia, Kosovo, Albania or any number of countries across the region.\u003C\u002Fp>\u003Cp>Draped across the space like cobwebs, they equally invoke the many weavers of mythology, their stories and acts of resistance: from Minerva, the Roman goddess of history, to Philomela, a woman who, having been raped and mutilated, seeks justice for the crimes committed against her.\u003C\u002Fp>\u003Cp>As the classical poet Ovid describes in the Metamorphoses, although Philomela’s tongue is cut out to silence her, she denounces her torturer nonetheless: by weaving the letters of his name.\u003C\u002Fp>",[3307],{"id":3308,"name":3309,"alternativeText":66,"caption":3310,"width":3311,"height":944,"formats":3312,"hash":3343,"ext":947,"mime":950,"size":3344,"url":3345,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":3346,"updatedAt":3347,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":3348,"documentId":3349,"publishedAt":998},1366,"Sejla Kameric HR_3.JPG","Hooked, 2010 – ongoing, © Šejla Kamerić. Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",7651,{"large":3313,"small":3318,"medium":3323,"xlarge":3328,"xsmall":3333,"thumbnail":3338},{"ext":947,"url":3314,"hash":3315,"mime":950,"name":3316,"path":66,"size":3317,"width":953,"height":954},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_Sejla_Kameric_HR_3_64a0d94dd8.JPG","large_Sejla_Kameric_HR_3_64a0d94dd8","large_Sejla Kameric HR_3.JPG",702.27,{"ext":947,"url":3319,"hash":3320,"mime":950,"name":3321,"path":66,"size":3322,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Sejla_Kameric_HR_3_64a0d94dd8.JPG","small_Sejla_Kameric_HR_3_64a0d94dd8","small_Sejla Kameric HR_3.JPG",114.83,{"ext":947,"url":3324,"hash":3325,"mime":950,"name":3326,"path":66,"size":3327,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Sejla_Kameric_HR_3_64a0d94dd8.JPG","medium_Sejla_Kameric_HR_3_64a0d94dd8","medium_Sejla Kameric HR_3.JPG",425.56,{"ext":947,"url":3329,"hash":3330,"mime":950,"name":3331,"path":66,"size":3332,"width":974,"height":975},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_Sejla_Kameric_HR_3_64a0d94dd8.JPG","xlarge_Sejla_Kameric_HR_3_64a0d94dd8","xlarge_Sejla Kameric HR_3.JPG",1263.73,{"ext":947,"url":3334,"hash":3335,"mime":950,"name":3336,"path":66,"size":3337,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Sejla_Kameric_HR_3_64a0d94dd8.JPG","xsmall_Sejla_Kameric_HR_3_64a0d94dd8","xsmall_Sejla Kameric HR_3.JPG",12.95,{"ext":947,"url":3339,"hash":3340,"mime":950,"name":3341,"path":66,"size":3342,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Sejla_Kameric_HR_3_64a0d94dd8.JPG","thumbnail_Sejla_Kameric_HR_3_64a0d94dd8","thumbnail_Sejla Kameric HR_3.JPG",206.28,"Sejla_Kameric_HR_3_64a0d94dd8",6887.12,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FSejla_Kameric_HR_3_64a0d94dd8.JPG","2023-08-18T15:17:27.219Z","2023-11-15T12:22:48.079Z",{"en-US":3310},"sed1defaxb3f5dnogu0td570",[3351],{"id":3352,"nationality":3353},1595,"BA",[],{"sortKey":3114,"id":539,"documentId":540,"names":541,"collectiveName":66,"annotation":66,"richText":3356,"locale":8,"images":3357,"nationalities":3389,"localizations":3392},"\u003Cp>An artist and a critic wind their way around each other in a labyrinthine modernist ruin. Enmeshed in an intricate interrogation of modernism, strangely resonant of contemporary discourse, the two adversaries pit realism against abstraction and the socialist “new man” against “his” bourgeois degenerate counterpart. Their contrary lines of thought stem from the mind of one and the same person: the Albanian art historian Alfred Uçi.\u003C\u002Fp>\u003Cp>His excoriating critique of modernist aesthetics, \u003Ci>Labyrinths of Modernism\u003C\u002Fi>, published in 1978, helped enshrine the doctrine of socialist realism in socialist Albania. It assisted the persecution of countless artists perceived to deviate from its dictates. Genti Korini juxtaposes a neo-noir staging of Uçi’s interior dialogue with a secret service file that denounces an artist for his aesthetics.\u003C\u002Fp>\u003Cp>Korini draws on the modernist trope of the artist as spider, as a weaver of illusions, a creature as admired for its creativity as it is despised for its treachery. Yet who is the spider and who is the prey? And who entraps whom in which deceit?\u003C\u002Fp>",[3358],{"id":3359,"name":3360,"alternativeText":66,"caption":3361,"width":1196,"height":1197,"formats":3362,"hash":3382,"ext":947,"mime":950,"size":3383,"url":3384,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":3385,"updatedAt":3386,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":3387,"documentId":3388,"publishedAt":998},199,"Genti Korini _2.JPG","Spider’s Envy [Zilia e Merimangës], 2022, © Genti Korini. Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",{"small":3363,"medium":3368,"xsmall":3372,"thumbnail":3377},{"ext":947,"url":3364,"hash":3365,"mime":950,"name":3366,"path":66,"size":3367,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Genti_Korini_2_a08742e1b0.JPG","small_Genti_Korini_2_a08742e1b0","small_Genti Korini _2.JPG",42.17,{"ext":947,"url":3369,"hash":3370,"mime":950,"name":3371,"path":66,"size":2457,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Genti_Korini_2_a08742e1b0.JPG","medium_Genti_Korini_2_a08742e1b0","medium_Genti Korini _2.JPG",{"ext":947,"url":3373,"hash":3374,"mime":950,"name":3375,"path":66,"size":3376,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Genti_Korini_2_a08742e1b0.JPG","xsmall_Genti_Korini_2_a08742e1b0","xsmall_Genti Korini _2.JPG",7.33,{"ext":947,"url":3378,"hash":3379,"mime":950,"name":3380,"path":66,"size":3381,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Genti_Korini_2_a08742e1b0.JPG","thumbnail_Genti_Korini_2_a08742e1b0","thumbnail_Genti Korini _2.JPG",78.56,"Genti_Korini_2_a08742e1b0",191.45,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FGenti_Korini_2_a08742e1b0.JPG","2023-08-02T14:40:25.336Z","2023-11-15T12:22:17.339Z",{"en-US":3361},"u7n7l0i706hzjdsw6vcu3azr",[3390],{"id":3391,"nationality":1563},1597,[],{"sortKey":3114,"id":543,"documentId":544,"names":545,"collectiveName":66,"annotation":66,"richText":3394,"locale":8,"images":3395,"nationalities":3428,"localizations":3430},"\u003Cp>There is a multicultural town in Kosovo that bears the scars of armed conflict and economic crises like no other: Janjeva.\u003C\u002Fp>\u003Cp>The question of how to breathe new life into the town’s “warchitectures” is at the centre of this in-depth research-by-design project by architect Argjirë Krasniqi. She worked closely with adults and children living in Janjeva to make their memories, desires and imaginaries the basis of her recuperation strategy.\u003C\u002Fp>\u003Cp>A photographic atlas of vacancies documents the hundreds of abandoned buildings in the town, while hand-drawn sketches visualise various minimal interventions conceived to heal and recover the many empty schools, homes, cinemas and other work and gathering spaces. \u003C\u002Fp>\u003Cp>As Krasniqi’s research publication shows, the project is designed to foster multi-ethnic collective identity. It foresees community involvement all the way through to the physical reconstruction of the town.\u003C\u002Fp>",[3396],{"id":3397,"name":3398,"alternativeText":66,"caption":3399,"width":1196,"height":1197,"formats":3400,"hash":3421,"ext":947,"mime":950,"size":3422,"url":3423,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":3424,"updatedAt":3425,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":3426,"documentId":3427,"publishedAt":998},162,"Argjire Krasniqi _1.JPG","Ruin - carnating Janjeva in Kosovo, 2020 © Argjirë Krasniqi Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",{"small":3401,"medium":3406,"xsmall":3411,"thumbnail":3416},{"ext":947,"url":3402,"hash":3403,"mime":950,"name":3404,"path":66,"size":3405,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Argjire_Krasniqi_1_4326037b33.JPG","small_Argjire_Krasniqi_1_4326037b33","small_Argjire Krasniqi _1.JPG",66.9,{"ext":947,"url":3407,"hash":3408,"mime":950,"name":3409,"path":66,"size":3410,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Argjire_Krasniqi_1_4326037b33.JPG","medium_Argjire_Krasniqi_1_4326037b33","medium_Argjire Krasniqi _1.JPG",279.23,{"ext":947,"url":3412,"hash":3413,"mime":950,"name":3414,"path":66,"size":3415,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Argjire_Krasniqi_1_4326037b33.JPG","xsmall_Argjire_Krasniqi_1_4326037b33","xsmall_Argjire Krasniqi _1.JPG",9.35,{"ext":947,"url":3417,"hash":3418,"mime":950,"name":3419,"path":66,"size":3420,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Argjire_Krasniqi_1_4326037b33.JPG","thumbnail_Argjire_Krasniqi_1_4326037b33","thumbnail_Argjire Krasniqi _1.JPG",126.61,"Argjire_Krasniqi_1_4326037b33",306.38,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FArgjire_Krasniqi_1_4326037b33.JPG","2023-07-31T13:36:18.036Z","2023-11-29T09:27:23.716Z",{"en-US":3399},"xqigss9jv64xvwc723dk26bd",[3429],{"id":1286,"nationality":219},[],{"sortKey":3114,"id":519,"documentId":520,"names":521,"collectiveName":66,"annotation":66,"richText":3432,"locale":8,"images":3433,"nationalities":3475,"localizations":3481},"\u003Cp>Disaster narratives are one – rather common – way to address humanity’s fraught relationship with the environment. Yet Genc Kadriu, whose practice is poised between sound and sculpture, poetry and visual arts, wonders whether devotional genres might not be more conducive to planetary survival than dystopian ones.\u003C\u002Fp>\u003Cp>Inspired by Thomas Aquinas’s understanding of song as “the exultation of the mind dwelling on eternal things, bursting forth in the voice”, the artist composed four hymns to the classical elements – earth, air, fire and water – in the summer of 2021.\u003C\u002Fp>\u003Cp>To complete the cycle, he is now writing a fifth hymn dedicated to time and futurity. Based at the Centre for Narrative Practice for the duration of the biennial, Kadriu is researching the history and scope of the Byzantine chant as a form of collective philosophical and spiritual reflection.\u003C\u002Fp>",[3434],{"id":2386,"name":3435,"alternativeText":66,"caption":3436,"width":1375,"height":1376,"formats":3437,"hash":3468,"ext":1017,"mime":950,"size":3469,"url":3470,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":3471,"updatedAt":3472,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":3473,"documentId":3474,"publishedAt":998},"IVER9554.jpg","The Five Elements, 2022, © Genc Kadriu. Photo © Manifesta 14 Prishtina \u002F Ivan Erofeev",{"large":3438,"small":3443,"medium":3448,"xlarge":3453,"xsmall":3458,"thumbnail":3463},{"ext":1017,"url":3439,"hash":3440,"mime":950,"name":3441,"path":66,"size":3442,"width":953,"height":1286},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_IVER_9554_43c0416679.jpg","large_IVER_9554_43c0416679","large_IVER9554.jpg",209.11,{"ext":1017,"url":3444,"hash":3445,"mime":950,"name":3446,"path":66,"size":3447,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_IVER_9554_43c0416679.jpg","small_IVER_9554_43c0416679","small_IVER9554.jpg",40.87,{"ext":1017,"url":3449,"hash":3450,"mime":950,"name":3451,"path":66,"size":3452,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_IVER_9554_43c0416679.jpg","medium_IVER_9554_43c0416679","medium_IVER9554.jpg",127.58,{"ext":1017,"url":3454,"hash":3455,"mime":950,"name":3456,"path":66,"size":3457,"width":974,"height":1302},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_IVER_9554_43c0416679.jpg","xlarge_IVER_9554_43c0416679","xlarge_IVER9554.jpg",380.71,{"ext":1017,"url":3459,"hash":3460,"mime":950,"name":3461,"path":66,"size":3462,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_IVER_9554_43c0416679.jpg","xsmall_IVER_9554_43c0416679","xsmall_IVER9554.jpg",8.32,{"ext":1017,"url":3464,"hash":3465,"mime":950,"name":3466,"path":66,"size":3467,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_IVER_9554_43c0416679.jpg","thumbnail_IVER_9554_43c0416679","thumbnail_IVER9554.jpg",67.11,"IVER_9554_43c0416679",3039.97,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FIVER_9554_43c0416679.jpg","2023-08-02T14:32:08.052Z","2023-11-15T12:20:51.656Z",{"en-US":3436},"j5cy419i3ilb9t5c4yq3sq8i",[3476,3478],{"id":3477,"nationality":219},1617,{"id":3479,"nationality":3480},1618,"CK",[],{"sortKey":3483,"id":555,"documentId":556,"names":557,"collectiveName":66,"annotation":66,"richText":3484,"locale":8,"images":3485,"nationalities":3529,"localizations":3532},"l","\u003Cp>In her poetry, Luljeta Lleshanaku maps what she calls the “negative space” of transitional Albania, which she depicts as an eerie, troubled realm that is nevertheless “always fertile”.\u003C\u002Fp>\u003Cp>It is an uneven terrain defined by “unsaid gestures”, a fractured domain imbued with traumatic memories that are strangely entangled with everyday objects and experiences.\u003C\u002Fp>\u003Cp>The poet, who grew up under house arrest during the repressive regime of dictator Enver Hoxha and now works for the Institute for the Studies of Communist Crimes and Consequences in Albania, finds a regenerative force in language itself.\u003C\u002Fp>\u003Cp>Although language “arrived fragmentary \u002F split in syllables \u002F spasmodic \u002F like code in times of war”, there are, as Lleshanaku points out, other languages to be looked for “after dusk … outside the window”.\u003C\u002Fp>",[3486],{"id":3487,"name":3488,"alternativeText":66,"caption":3489,"width":944,"height":3490,"formats":3491,"hash":3522,"ext":947,"mime":950,"size":3523,"url":3524,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":3525,"updatedAt":3526,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":3527,"documentId":3528,"publishedAt":998},567,"Luljeta Lleshanaku HR_3.JPG"," Negative Space, 2018, © Luljeta Lleshanaku. Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",3400,{"large":3492,"small":3497,"medium":3502,"xlarge":3507,"xsmall":3512,"thumbnail":3517},{"ext":947,"url":3493,"hash":3494,"mime":950,"name":3495,"path":66,"size":3496,"width":953,"height":954},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_Luljeta_Lleshanaku_HR_3_ec74080e83.JPG","large_Luljeta_Lleshanaku_HR_3_ec74080e83","large_Luljeta Lleshanaku HR_3.JPG",559.62,{"ext":947,"url":3498,"hash":3499,"mime":950,"name":3500,"path":66,"size":3501,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Luljeta_Lleshanaku_HR_3_ec74080e83.JPG","small_Luljeta_Lleshanaku_HR_3_ec74080e83","small_Luljeta Lleshanaku HR_3.JPG",85.7,{"ext":947,"url":3503,"hash":3504,"mime":950,"name":3505,"path":66,"size":3506,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Luljeta_Lleshanaku_HR_3_ec74080e83.JPG","medium_Luljeta_Lleshanaku_HR_3_ec74080e83","medium_Luljeta Lleshanaku HR_3.JPG",337.29,{"ext":947,"url":3508,"hash":3509,"mime":950,"name":3510,"path":66,"size":3511,"width":974,"height":975},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_Luljeta_Lleshanaku_HR_3_ec74080e83.JPG","xlarge_Luljeta_Lleshanaku_HR_3_ec74080e83","xlarge_Luljeta Lleshanaku HR_3.JPG",985.5,{"ext":947,"url":3513,"hash":3514,"mime":950,"name":3515,"path":66,"size":3516,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Luljeta_Lleshanaku_HR_3_ec74080e83.JPG","xsmall_Luljeta_Lleshanaku_HR_3_ec74080e83","xsmall_Luljeta Lleshanaku HR_3.JPG",10.78,{"ext":947,"url":3518,"hash":3519,"mime":950,"name":3520,"path":66,"size":3521,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Luljeta_Lleshanaku_HR_3_ec74080e83.JPG","thumbnail_Luljeta_Lleshanaku_HR_3_ec74080e83","thumbnail_Luljeta Lleshanaku HR_3.JPG",160.73,"Luljeta_Lleshanaku_HR_3_ec74080e83",2434.78,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FLuljeta_Lleshanaku_HR_3_ec74080e83.JPG","2023-08-15T13:58:54.184Z","2023-08-15T13:59:01.309Z",{"en-US":3489},"e0d6fkquogcmhykc6dq7maft",[3530],{"id":3531,"nationality":1563},1644,[],{"sortKey":3483,"id":551,"documentId":552,"names":553,"collectiveName":66,"annotation":66,"richText":3534,"locale":8,"images":3535,"nationalities":3578,"localizations":3582},"\u003Cp>When asked to situate her artistic practice, Katalin Ladik’s answer is clear: “First, and above all, I am a poet. I constantly try to expand the boundaries of poetry.” In so doing, the pioneer sound and performance artist has frequently found herself equally pushing against other boundaries, whether of music, language, corporeality or perception. Phonopoetica is one of her best-known journeys to another realm of sound and signification. Released in 1976, the record contains phonetic interpretations of experimental visual poetry. Ladik combined ritual vocal and linguistic elements with groans, sighs, screams and other bodily forms of expression, adding in fragments of discarded jazz recordings on tape she had found in the bin at the sound studio. Taking communication to the edge – as Ladik’s record makes plain – engenders new speculative forms of vocal expression and countless imaginative possibilities.   \u003C\u002Fp>",[3536],{"id":3537,"name":3538,"alternativeText":66,"caption":3539,"width":2147,"height":2148,"formats":3540,"hash":3571,"ext":1017,"mime":950,"size":3572,"url":3573,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":3574,"updatedAt":3575,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":3576,"documentId":3577,"publishedAt":998},211,"AM_Katalin Ldik_001.jpg","Phonopoetica, 1976, © Katalin Ladik. Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",{"large":3541,"small":3546,"medium":3551,"xlarge":3556,"xsmall":3561,"thumbnail":3566},{"ext":1017,"url":3542,"hash":3543,"mime":950,"name":3544,"path":66,"size":3545,"width":953,"height":954},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_AM_Katalin_Ldik_001_a8b7ad3b6a.jpg","large_AM_Katalin_Ldik_001_a8b7ad3b6a","large_AM_Katalin Ldik_001.jpg",584.93,{"ext":1017,"url":3547,"hash":3548,"mime":950,"name":3549,"path":66,"size":3550,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_AM_Katalin_Ldik_001_a8b7ad3b6a.jpg","small_AM_Katalin_Ldik_001_a8b7ad3b6a","small_AM_Katalin Ldik_001.jpg",94.5,{"ext":1017,"url":3552,"hash":3553,"mime":950,"name":3554,"path":66,"size":3555,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_AM_Katalin_Ldik_001_a8b7ad3b6a.jpg","medium_AM_Katalin_Ldik_001_a8b7ad3b6a","medium_AM_Katalin Ldik_001.jpg",361.2,{"ext":1017,"url":3557,"hash":3558,"mime":950,"name":3559,"path":66,"size":3560,"width":974,"height":975},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_AM_Katalin_Ldik_001_a8b7ad3b6a.jpg","xlarge_AM_Katalin_Ldik_001_a8b7ad3b6a","xlarge_AM_Katalin Ldik_001.jpg",976.89,{"ext":1017,"url":3562,"hash":3563,"mime":950,"name":3564,"path":66,"size":3565,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_AM_Katalin_Ldik_001_a8b7ad3b6a.jpg","xsmall_AM_Katalin_Ldik_001_a8b7ad3b6a","xsmall_AM_Katalin Ldik_001.jpg",13.21,{"ext":1017,"url":3567,"hash":3568,"mime":950,"name":3569,"path":66,"size":3570,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_AM_Katalin_Ldik_001_a8b7ad3b6a.jpg","thumbnail_AM_Katalin_Ldik_001_a8b7ad3b6a","thumbnail_AM_Katalin Ldik_001.jpg",175.64,"AM_Katalin_Ldik_001_a8b7ad3b6a",4334.83,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FAM_Katalin_Ldik_001_a8b7ad3b6a.jpg","2023-08-04T13:27:46.620Z","2025-02-27T10:20:42.215Z",{"en-US":3539},"xxuyid03ayvp60lbojyqzsrl",[3579],{"id":3580,"nationality":3581},1664,"HU",[],{"sortKey":3483,"id":559,"documentId":560,"names":561,"collectiveName":66,"annotation":66,"richText":3584,"locale":8,"images":3585,"nationalities":3628,"localizations":3631},"\u003Cp>Nimon Lokaj appears in Robert Elsie’s authoritative Historical Dictionary of Kosovo. The entry is rather brief. A graduate of the Academy of Figurative Arts in Belgrade, Lokaj, we learn, was widely exhibited in Kosovo and Yugoslavia in the 1970s and in Europe in the 1980s.\u003C\u002Fp>\u003Cp>He is associated, so Elsie continues, with pointillism and a “fondness for nature”. Neither here nor elsewhere is much mention to be found on the overt surrealism of Lokaj’s landscapes.\u003C\u002Fp>\u003Cp>Was his ecological thinking influenced by Gregory Bateson’s Ecology of Mind, widely read at the time in many parts of the world? Or perhaps by André Breton’s earlier proto-ecological critiques of “scientific man” and “economic man” in his various surrealist manifestos?\u003C\u002Fp>\u003Cp>The dearth of literature on Lokaj’s practice not only makes it difficult to answer such questions, but also shows that he was peripheral, somehow out of step with his contemporaries. Today, however, his eco-surrealist explorations of “entangled life” and “becoming forest” are finding a renewed resonance. \u003C\u002Fp>",[3586],{"id":3587,"name":3588,"alternativeText":66,"caption":3589,"width":943,"height":944,"formats":3590,"hash":3621,"ext":947,"mime":950,"size":3622,"url":3623,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":3624,"updatedAt":3625,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":3626,"documentId":3627,"publishedAt":998},989,"Nimon Lokaj HR_2.JPG","Untitled, ca. 1970s, © Nimon Lokaj. Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",{"large":3591,"small":3596,"medium":3601,"xlarge":3606,"xsmall":3611,"thumbnail":3616},{"ext":947,"url":3592,"hash":3593,"mime":950,"name":3594,"path":66,"size":3595,"width":953,"height":954},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_Nimon_Lokaj_HR_2_d08264049e.JPG","large_Nimon_Lokaj_HR_2_d08264049e","large_Nimon Lokaj HR_2.JPG",232.15,{"ext":947,"url":3597,"hash":3598,"mime":950,"name":3599,"path":66,"size":3600,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Nimon_Lokaj_HR_2_d08264049e.JPG","small_Nimon_Lokaj_HR_2_d08264049e","small_Nimon Lokaj HR_2.JPG",32.18,{"ext":947,"url":3602,"hash":3603,"mime":950,"name":3604,"path":66,"size":3605,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Nimon_Lokaj_HR_2_d08264049e.JPG","medium_Nimon_Lokaj_HR_2_d08264049e","medium_Nimon Lokaj HR_2.JPG",128.24,{"ext":947,"url":3607,"hash":3608,"mime":950,"name":3609,"path":66,"size":3610,"width":974,"height":975},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_Nimon_Lokaj_HR_2_d08264049e.JPG","xlarge_Nimon_Lokaj_HR_2_d08264049e","xlarge_Nimon Lokaj HR_2.JPG",484.17,{"ext":947,"url":3612,"hash":3613,"mime":950,"name":3614,"path":66,"size":3615,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Nimon_Lokaj_HR_2_d08264049e.JPG","xsmall_Nimon_Lokaj_HR_2_d08264049e","xsmall_Nimon Lokaj HR_2.JPG",5.1,{"ext":947,"url":3617,"hash":3618,"mime":950,"name":3619,"path":66,"size":3620,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Nimon_Lokaj_HR_2_d08264049e.JPG","thumbnail_Nimon_Lokaj_HR_2_d08264049e","thumbnail_Nimon Lokaj HR_2.JPG",58.88,"Nimon_Lokaj_HR_2_d08264049e",3914.3,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FNimon_Lokaj_HR_2_d08264049e.JPG","2023-08-16T08:10:10.698Z","2023-11-15T12:24:19.200Z",{"en-US":3589},"seukx5j3hb8txsymceo590gy",[3629],{"id":3630,"nationality":219},1673,[],{"sortKey":3633,"id":563,"documentId":564,"names":565,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":66,"nationalities":3634,"localizations":3636},"m",[3635],{"id":639,"nationality":3060},[],{"sortKey":3633,"id":579,"documentId":580,"names":581,"collectiveName":66,"annotation":66,"richText":3638,"locale":8,"images":3639,"nationalities":3671,"localizations":3674},"\u003Cp>The last worldly act people traditionally perform for those they love is to bathe their body before burial.\u003C\u002Fp>\u003Cp>Such ritual washing, known as ablution, is common to many faiths, among them Judaism, Hinduism, Buddhism and Islam. Specific to Islam is that the cleansing and purification are conducted by close family members.\u003C\u002Fp>\u003Cp>Typically, women wash women’s bodies and men wash those of men, except in the case of husbands and wives. In her minimalistic video In the Name of the Father, Alketa Xhafa Mripa adapts this ritual, first by performing it while her father is alive – and thus still able to sense the love conveyed by her touch – and second by crossing the gender divide.\u003C\u002Fp>\u003Cp>At the same time, this simple act of intimacy and care explores patriarchal power relations by exposing the frailty and vulnerability of the father, one of Kosovo’s most accomplished artists. What is striking – and moving – is the father’s consent to the exposure: in the name of his daughter.    \u003C\u002Fp>",[3640],{"id":3641,"name":3642,"alternativeText":66,"caption":3643,"width":1196,"height":1197,"formats":3644,"hash":3665,"ext":947,"mime":950,"size":157,"url":3666,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":3667,"updatedAt":3668,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":3669,"documentId":3670,"publishedAt":998},164,"Alketa Xhafa Mripa _1.JPG","In the Name of the Father, 2015, © Alketa Xhafa Mripa. Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",{"small":3645,"medium":3650,"xsmall":3655,"thumbnail":3660},{"ext":947,"url":3646,"hash":3647,"mime":950,"name":3648,"path":66,"size":3649,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Alketa_Xhafa_Mripa_1_22a84caade.JPG","small_Alketa_Xhafa_Mripa_1_22a84caade","small_Alketa Xhafa Mripa _1.JPG",41.93,{"ext":947,"url":3651,"hash":3652,"mime":950,"name":3653,"path":66,"size":3654,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Alketa_Xhafa_Mripa_1_22a84caade.JPG","medium_Alketa_Xhafa_Mripa_1_22a84caade","medium_Alketa Xhafa Mripa _1.JPG",146.62,{"ext":947,"url":3656,"hash":3657,"mime":950,"name":3658,"path":66,"size":3659,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Alketa_Xhafa_Mripa_1_22a84caade.JPG","xsmall_Alketa_Xhafa_Mripa_1_22a84caade","xsmall_Alketa Xhafa Mripa _1.JPG",6.13,{"ext":947,"url":3661,"hash":3662,"mime":950,"name":3663,"path":66,"size":3664,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Alketa_Xhafa_Mripa_1_22a84caade.JPG","thumbnail_Alketa_Xhafa_Mripa_1_22a84caade","thumbnail_Alketa Xhafa Mripa _1.JPG",74.87,"Alketa_Xhafa_Mripa_1_22a84caade","https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FAlketa_Xhafa_Mripa_1_22a84caade.JPG","2023-07-31T13:48:12.301Z","2023-07-31T13:50:47.950Z",{"en-US":3643},"n8ywimp7qkt6f0a4jqhb7uyl",[3672],{"id":3673,"nationality":219},1689,[],{"sortKey":3633,"id":583,"documentId":584,"names":585,"collectiveName":66,"annotation":66,"richText":3676,"locale":8,"images":3677,"nationalities":3709,"localizations":3712},"\u003Cp>If you look up when you walk the streets of Prishtina, sooner rather than later you will catch sight of vernacular houses resting atop all manner of buildings, from residential to commercial, from modernist to turbo-capitalist. Such parasitic architectures, to which Alban Muja alludes with his intervention \u003Ci>Above Everyone\u003C\u002Fi>, appear in cities all over the world. Yet to Muja, these quirky embodiments of imaginative resilience have a particular resonance in former Yugoslavian cities like Prishtina. Here, their anarchic presence signals not only the collapse of the socialist housing system, which, at least in theory, guaranteed everyone an affordable home, but also the disintegration of trust in and regard for public institutions, property and space. The artist’s decision to intervene at the former Gërmia department store–a much-loved site of collective memory, recently saved from demolition by public resistance–underscores both the urgency of open debate about the future of public buildings and the appeal of creative resistance.\u003C\u002Fp>",[3678],{"id":3679,"name":585,"alternativeText":66,"caption":3680,"width":1196,"height":451,"formats":3681,"hash":3702,"ext":1017,"mime":950,"size":3703,"url":3704,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":3705,"updatedAt":3706,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":3707,"documentId":3708,"publishedAt":998},150,"Above Everyone, 2022, © Alban Muja. Photo © Manifesta 14 Prishtina \u002F Ivan Erofeev",{"small":3682,"medium":3687,"xsmall":3692,"thumbnail":3697},{"ext":1017,"url":3683,"hash":3684,"mime":950,"name":3685,"path":66,"size":3686,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_IVER_7972_2_065cf21ef5.jpg","small_IVER_7972_2_065cf21ef5","small_IVER7972 (2).jpg",100.64,{"ext":1017,"url":3688,"hash":3689,"mime":950,"name":3690,"path":66,"size":3691,"width":967,"height":1491},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_IVER_7972_2_065cf21ef5.jpg","medium_IVER_7972_2_065cf21ef5","medium_IVER7972 (2).jpg",352.04,{"ext":1017,"url":3693,"hash":3694,"mime":950,"name":3695,"path":66,"size":3696,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_IVER_7972_2_065cf21ef5.jpg","xsmall_IVER_7972_2_065cf21ef5","xsmall_IVER7972 (2).jpg",13.12,{"ext":1017,"url":3698,"hash":3699,"mime":950,"name":3700,"path":66,"size":3701,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_IVER_7972_2_065cf21ef5.jpg","thumbnail_IVER_7972_2_065cf21ef5","thumbnail_IVER7972 (2).jpg",179.68,"IVER_7972_2_065cf21ef5",382.03,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FIVER_7972_2_065cf21ef5.jpg","2023-07-31T10:13:05.429Z","2023-11-29T14:36:13.001Z",{"en-US":3680},"qmtok8cx4r35j13demnt068g",[3710],{"id":3711,"nationality":219},1696,[],{"sortKey":3633,"id":567,"documentId":568,"names":569,"collectiveName":66,"annotation":66,"richText":3714,"locale":8,"images":3715,"nationalities":3800,"localizations":3803},"\u003Cp>The long, long limbs of Brilant Milazimi’s figures lend themselves well to social entanglement. Suspended somewhere between childhood and adulthood, his disarmingly creepy cast of characters hold hands, lock arms, lock legs, their toothy grins far surpassing the boundaries of their faces.\u003C\u002Fp>\u003Cp>Captured in reddish-pinkish hues, they seem alien, otherworldly, at times sinister, at times benign. What is certain is that they are always already in relation to one another. However ambivalent their entanglement might appear, they are forever moving with or towards their fellow beings.\u003C\u002Fp>\u003Cp>In composing his paintings, Milazimi draws on memory as it blurs with everyday experience, whether collective or individual. Ever and again courting abstraction, his figurations are striking for their subtle suggestion of stories – and for all that they leave out.  \u003C\u002Fp>",[3716,3758],{"id":3717,"name":3718,"alternativeText":3719,"caption":3719,"width":943,"height":944,"formats":3720,"hash":3751,"ext":947,"mime":950,"size":3752,"url":3753,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":3754,"updatedAt":3755,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":3756,"documentId":3757,"publishedAt":998},168,"Brilant Milazimi HR_1.JPG","Does beauty come from ugliness, or conversely, 2020, © Brilant Milazimi. Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",{"large":3721,"small":3726,"medium":3731,"xlarge":3736,"xsmall":3741,"thumbnail":3746},{"ext":947,"url":3722,"hash":3723,"mime":950,"name":3724,"path":66,"size":3725,"width":953,"height":954},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_Brilant_Milazimi_HR_1_c3f04f235c.JPG","large_Brilant_Milazimi_HR_1_c3f04f235c","large_Brilant Milazimi HR_1.JPG",371.13,{"ext":947,"url":3727,"hash":3728,"mime":950,"name":3729,"path":66,"size":3730,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Brilant_Milazimi_HR_1_c3f04f235c.JPG","small_Brilant_Milazimi_HR_1_c3f04f235c","small_Brilant Milazimi HR_1.JPG",55.81,{"ext":947,"url":3732,"hash":3733,"mime":950,"name":3734,"path":66,"size":3735,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Brilant_Milazimi_HR_1_c3f04f235c.JPG","medium_Brilant_Milazimi_HR_1_c3f04f235c","medium_Brilant Milazimi HR_1.JPG",214.52,{"ext":947,"url":3737,"hash":3738,"mime":950,"name":3739,"path":66,"size":3740,"width":974,"height":975},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_Brilant_Milazimi_HR_1_c3f04f235c.JPG","xlarge_Brilant_Milazimi_HR_1_c3f04f235c","xlarge_Brilant Milazimi HR_1.JPG",705.08,{"ext":947,"url":3742,"hash":3743,"mime":950,"name":3744,"path":66,"size":3745,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Brilant_Milazimi_HR_1_c3f04f235c.JPG","xsmall_Brilant_Milazimi_HR_1_c3f04f235c","xsmall_Brilant Milazimi HR_1.JPG",8.44,{"ext":947,"url":3747,"hash":3748,"mime":950,"name":3749,"path":66,"size":3750,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Brilant_Milazimi_HR_1_c3f04f235c.JPG","thumbnail_Brilant_Milazimi_HR_1_c3f04f235c","thumbnail_Brilant Milazimi HR_1.JPG",99.81,"Brilant_Milazimi_HR_1_c3f04f235c",4464.36,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FBrilant_Milazimi_HR_1_c3f04f235c.JPG","2023-07-31T14:37:24.524Z","2023-11-15T12:25:27.031Z",{"en-US":3719},"s7vye9gpeo7x8kbdtt8ayatl",{"id":3759,"name":3760,"alternativeText":66,"caption":3761,"width":943,"height":944,"formats":3762,"hash":3793,"ext":947,"mime":950,"size":3794,"url":3795,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":3796,"updatedAt":3797,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":3798,"documentId":3799,"publishedAt":998},169,"Brilant Milazimi HR_3.JPG","Should we recycle our emotions or will new emotions arise? , 2022, © Brilant Milazimi. Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",{"large":3763,"small":3768,"medium":3773,"xlarge":3778,"xsmall":3783,"thumbnail":3788},{"ext":947,"url":3764,"hash":3765,"mime":950,"name":3766,"path":66,"size":3767,"width":953,"height":954},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_Brilant_Milazimi_HR_3_69756043a1.JPG","large_Brilant_Milazimi_HR_3_69756043a1","large_Brilant Milazimi HR_3.JPG",614.13,{"ext":947,"url":3769,"hash":3770,"mime":950,"name":3771,"path":66,"size":3772,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Brilant_Milazimi_HR_3_69756043a1.JPG","small_Brilant_Milazimi_HR_3_69756043a1","small_Brilant Milazimi HR_3.JPG",86.21,{"ext":947,"url":3774,"hash":3775,"mime":950,"name":3776,"path":66,"size":3777,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Brilant_Milazimi_HR_3_69756043a1.JPG","medium_Brilant_Milazimi_HR_3_69756043a1","medium_Brilant Milazimi HR_3.JPG",349.96,{"ext":947,"url":3779,"hash":3780,"mime":950,"name":3781,"path":66,"size":3782,"width":974,"height":975},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_Brilant_Milazimi_HR_3_69756043a1.JPG","xlarge_Brilant_Milazimi_HR_3_69756043a1","xlarge_Brilant Milazimi HR_3.JPG",1189.8,{"ext":947,"url":3784,"hash":3785,"mime":950,"name":3786,"path":66,"size":3787,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Brilant_Milazimi_HR_3_69756043a1.JPG","xsmall_Brilant_Milazimi_HR_3_69756043a1","xsmall_Brilant Milazimi HR_3.JPG",11.82,{"ext":947,"url":3789,"hash":3790,"mime":950,"name":3791,"path":66,"size":3792,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Brilant_Milazimi_HR_3_69756043a1.JPG","thumbnail_Brilant_Milazimi_HR_3_69756043a1","thumbnail_Brilant Milazimi HR_3.JPG",158.46,"Brilant_Milazimi_HR_3_69756043a1",6564.21,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FBrilant_Milazimi_HR_3_69756043a1.JPG","2023-07-31T14:37:35.949Z","2023-07-31T14:38:50.898Z",{"en-US":3761},"vwui02i1bvx83c11cx6nezy7",[3801],{"id":3802,"nationality":219},1712,[],{"sortKey":3633,"id":631,"documentId":632,"names":66,"collectiveName":633,"annotation":66,"richText":3805,"locale":8,"images":3806,"nationalities":3837,"localizations":3840},"\u003Cp>Presenting a portrait of political, cultural and social life in nineteenth-century Albania, Luçjan Bedeni curates an exhibition that looks at the story of luminary photographer Pietro Marubi and his eponymous studio through the lens of migration.\u003C\u002Fp>",[3807],{"id":3808,"name":3809,"alternativeText":66,"caption":3810,"width":3811,"height":3812,"formats":3813,"hash":3830,"ext":947,"mime":950,"size":3831,"url":3832,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":3833,"updatedAt":3834,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":3835,"documentId":3836,"publishedAt":998},572,"Marubi National Photography Museum_10.JPG"," Pietro Marubbi, a photographer in Ottoman - era Albania (exhibition view), 2022, © Marubi National Museum of Photography. Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",1000,667,{"small":3814,"xsmall":3819,"thumbnail":3824},{"ext":947,"url":3815,"hash":3816,"mime":950,"name":3817,"path":66,"size":3818,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Marubi_National_Photography_Museum_10_4f69bc42a9.JPG","small_Marubi_National_Photography_Museum_10_4f69bc42a9","small_Marubi National Photography Museum_10.JPG",94.09,{"ext":947,"url":3820,"hash":3821,"mime":950,"name":3822,"path":66,"size":3823,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Marubi_National_Photography_Museum_10_4f69bc42a9.JPG","xsmall_Marubi_National_Photography_Museum_10_4f69bc42a9","xsmall_Marubi National Photography Museum_10.JPG",14.13,{"ext":947,"url":3825,"hash":3826,"mime":950,"name":3827,"path":66,"size":3828,"width":3829,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Marubi_National_Photography_Museum_10_4f69bc42a9.JPG","thumbnail_Marubi_National_Photography_Museum_10_4f69bc42a9","thumbnail_Marubi National Photography Museum_10.JPG",9.64,234,"Marubi_National_Photography_Museum_10_4f69bc42a9",113.56,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FMarubi_National_Photography_Museum_10_4f69bc42a9.JPG","2023-08-15T14:30:08.195Z","2023-08-15T14:30:38.015Z",{"en-US":3810},"c3qqg8txqmt5hh2kgu1dn2ci",[3838],{"id":3839,"nationality":1563},1713,[],{"sortKey":3633,"id":587,"documentId":588,"names":589,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":66,"nationalities":3842,"localizations":3844},[3843],{"id":655,"nationality":219},[],{"sortKey":3633,"id":571,"documentId":572,"names":573,"collectiveName":66,"annotation":66,"richText":3846,"locale":8,"images":3847,"nationalities":3879,"localizations":3883},"\u003Cp>Hana Miletić has been working on her Materials series since 2015. With the colourful handwoven textiles comprising this body of work, the artist responds to sites of transformation and makeshift repair she encounters in urban cityscapes.\u003C\u002Fp>\u003Cp>The works shown here refer to Prishtina and incorporate local unprocessed wool. Her most common points of reference are broken architectural elements and dented infrastructure, patched up in a manner equally pragmatic and poetic. Miletić begins by photographing these restorative interventions.\u003C\u002Fp>\u003Cp>The resulting images she treats as “cartoons” or blueprints for weavings that reproduce the form and colour of their source. Their apparent allusion to artistic abstractionism belies their commonplace origins and their shared authorship.\u003C\u002Fp>\u003Cp>In reproducing such everyday acts of care, Miletić lends these gestures the attention they would not otherwise have. At the same time, she underscores their innate artistic value – both in terms of their formal vocabulary and their embodiment of social sculpture whereby people shape their environment.\u003C\u002Fp>",[3848],{"id":982,"name":3849,"alternativeText":66,"caption":3850,"width":1196,"height":1197,"formats":3851,"hash":3872,"ext":947,"mime":950,"size":3873,"url":3874,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":3875,"updatedAt":3876,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":3877,"documentId":3878,"publishedAt":998},"Hana Miletic_1.JPG","Materials (installation view), 2018 - 2021, © Hana Miletić. Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",{"small":3852,"medium":3857,"xsmall":3862,"thumbnail":3867},{"ext":947,"url":3853,"hash":3854,"mime":950,"name":3855,"path":66,"size":3856,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Hana_Miletic_1_58e7c811ae.JPG","small_Hana_Miletic_1_58e7c811ae","small_Hana Miletic_1.JPG",47.18,{"ext":947,"url":3858,"hash":3859,"mime":950,"name":3860,"path":66,"size":3861,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Hana_Miletic_1_58e7c811ae.JPG","medium_Hana_Miletic_1_58e7c811ae","medium_Hana Miletic_1.JPG",178.67,{"ext":947,"url":3863,"hash":3864,"mime":950,"name":3865,"path":66,"size":3866,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Hana_Miletic_1_58e7c811ae.JPG","xsmall_Hana_Miletic_1_58e7c811ae","xsmall_Hana Miletic_1.JPG",7.43,{"ext":947,"url":3868,"hash":3869,"mime":950,"name":3870,"path":66,"size":3871,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Hana_Miletic_1_58e7c811ae.JPG","thumbnail_Hana_Miletic_1_58e7c811ae","thumbnail_Hana Miletic_1.JPG",86.27,"Hana_Miletic_1_58e7c811ae",193.93,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FHana_Miletic_1_58e7c811ae.JPG","2023-08-02T14:46:16.587Z","2023-11-15T12:25:59.796Z",{"en-US":3850},"oh4q55d5qg4ae71j5gb5e7hj",[3880],{"id":3881,"nationality":3882},1738,"HR",[],{"sortKey":3633,"id":575,"documentId":576,"names":577,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":66,"nationalities":3885,"localizations":3887},[3886],{"id":1011,"nationality":2806},[],{"sortKey":3889,"id":591,"documentId":592,"names":593,"collectiveName":66,"annotation":66,"richText":3890,"locale":8,"images":3891,"nationalities":3934,"localizations":3936},"n","\u003Cp> At first glance, Silvi Naçi’s minimalistic film on hands appears reminiscent of iconic works from the 1960s. Yvonne Rainer’s \u003Ci>Hand Movie\u003C\u002Fi> (1966), Richard Serra’s \u003Ci>Hand Catching Lead \u003C\u002Fi>and Joseph Beuys’s \u003Ci>Hand Action\u003C\u002Fi> (1968) all seem likely references.\u003C\u002Fp>\u003Cp>Yet while the figure in Naçi’s film, the artist themself, performs many gestures associated with artmaking, such as moulding, forming and cutting, these are interspersed with other gestures more evocative of a playful, sexual or violent interaction. What becomes apparent is that this highly personal work is less focused on creation than debilitation: every single thing the protagonist’s hands do hurt.\u003C\u002Fp>\u003Cp>By cutting off the head of the figure, Naçi visibly disrupts the nexus between thinking and making that many philosophers, such as Friedrich Engels or Hannah Arendt, view as the basis of labour – and a precondition of humanity. In so doing, the artist challenges the viewer to question and reimagine the relationship between work, capital and social engagement – and the role of pain in shaping all that we are and do. \u003C\u002Fp>",[3892],{"id":3893,"name":3894,"alternativeText":66,"caption":3895,"width":3311,"height":944,"formats":3896,"hash":3927,"ext":947,"mime":950,"size":3928,"url":3929,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":3930,"updatedAt":3931,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":3932,"documentId":3933,"publishedAt":998},1479,"Silvi Naci HR_1.JPG","actions that make my hands hurt (hand film), 2019, © Silvi Naçi. 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Whether the face is that of the speaker – a person born into a post-Yugoslavian transitional society – or that of her hometown Skopje – a once modernist city now masked by neo-classical façades with nationalist aspirations – the sentiment is the same.\u003C\u002Fp>\u003Cp>An identity built upon cumbersome distortions and clumsy concealments is inevitably fraught – however necessary masks might sometimes be, and however much transformative potential they might appear to offer.   \u003C\u002Fp>",[3940],{"id":3941,"name":3942,"alternativeText":66,"caption":3943,"width":1573,"height":944,"formats":3944,"hash":3975,"ext":947,"mime":950,"size":3976,"url":3977,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":3978,"updatedAt":3979,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":3980,"documentId":3981,"publishedAt":998},987,"Natasha Nedelkova HR_2 (1).JPG","Identity Tissues, 2020, © Natasha Nedelkova. 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In Vietnam, Laos and Cambodia, countries subjected to the most relentless aerial bombardment in the history of human warfare, this is still the case.\u003C\u002Fp>\u003Cp>Since the end of the Vietnam War, over 120,000 people have been killed by the belated detonation of landmines and bombs. Drawing on the animist tradition, Tuan Andrew Nguyen’s work explores how such landscapes might be healed – from the unusual perspective of a bomb.\u003C\u002Fp>\u003Cp>Possessed of both mind and spirit, the bomb considers how it came to be where it is and what might bring it closure – after decades lying underground waiting to fulfil its mission. 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Rivalled only by that of the National Gallery, it encompassed hundreds of paintings and prints, tapestries, sculptures and mosaics.\u003C\u002Fp>\u003Cp>At that time owned and run by the state, the hotel became a major player in the art market, which was managed by state-subsidised art associations. Since the privatization of the hotel in 2008, the art has disappeared from the walls, much of it having been destroyed, lost or stolen. No state collection has emerged to replace the art – or to support the country’s artists. New Grand is a speculative response to the void.\u003C\u002Fp>\u003Cp>Which works would the Grand collect today? Which artists would it commission to engage with its empty walls and corridors? And which themes, which memories, which existential questions and desires would their works explore? Six young artists from Kosovo formulate a collective response to these questions: Blerta Hashani, Arbnor Karaliti, Lumturie Krasniqi, Mimoza Sahiti, Valdrin Thaqi and Ermir Zhinipotoku.\u003C\u002Fp>",[4039],{"id":4040,"name":4041,"alternativeText":66,"caption":4042,"width":1196,"height":1197,"formats":4043,"hash":4064,"ext":947,"mime":950,"size":4065,"url":4066,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":4067,"updatedAt":4068,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":4069,"documentId":4070,"publishedAt":998},988,"New Grand .JPG","Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",{"small":4044,"medium":4049,"xsmall":4054,"thumbnail":4059},{"ext":947,"url":4045,"hash":4046,"mime":950,"name":4047,"path":66,"size":4048,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_New_Grand_ead5a8d85f.JPG","small_New_Grand_ead5a8d85f","small_New Grand .JPG",64.13,{"ext":947,"url":4050,"hash":4051,"mime":950,"name":4052,"path":66,"size":4053,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_New_Grand_ead5a8d85f.JPG","medium_New_Grand_ead5a8d85f","medium_New Grand .JPG",219.21,{"ext":947,"url":4055,"hash":4056,"mime":950,"name":4057,"path":66,"size":4058,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_New_Grand_ead5a8d85f.JPG","xsmall_New_Grand_ead5a8d85f","xsmall_New Grand .JPG",11.07,{"ext":947,"url":4060,"hash":4061,"mime":950,"name":4062,"path":66,"size":4063,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_New_Grand_ead5a8d85f.JPG","thumbnail_New_Grand_ead5a8d85f","thumbnail_New Grand .JPG",111.86,"New_Grand_ead5a8d85f",236.87,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FNew_Grand_ead5a8d85f.JPG","2023-08-16T08:06:49.723Z","2023-11-15T12:27:33.172Z",{"en-US":4042},"cviy2l2zxdkltu3yet6dzqo4",[4072,4074],{"id":4073,"nationality":219},1766,{"id":4075,"nationality":182},1767,[],{"sortKey":3889,"id":615,"documentId":616,"names":617,"collectiveName":66,"annotation":66,"richText":4078,"locale":8,"images":4079,"nationalities":4118,"localizations":4121},"\u003Cp>Christian Nyampeta presents Sometimes It Was Beautiful in the abandoned cinema of Kino Rinia. A ghostly cultural site, narrowly saved from becoming a supermarket, it is widely remembered as the place that brought action films and Hollywood romances to Prishtina.\u003C\u002Fp>\u003Cp>Nyampeta’s work was inspired by Senegalese writer and film director Ousmane Sembène’s idea of cinema as a place for collective learning and a vehicle for social intervention.\u003C\u002Fp>\u003Cp>In the film, an unlikely gathering of people – among them politicians Yasser Arafat and Winnie Mandela, postcolonial theorist Leela Gandhi, playwright Wole Soyinka and filmmaker Andrei Tarkovsky – watches and critiques another film: the documentary I fetischmannens spår (In the Footsteps of the Witch Doctor), shot by Swedish cinematographer Sven Nykvist in the Congo in 1949.\u003C\u002Fp>\u003Cp>The interlude between hourly screenings of the film features excerpts from the artist’s trailer for his forthcoming work, Lovers in a Dangerous Spacetime. 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Photo © Manifesta 14 Prishtina \u002F Ivan Erofeev",3000,2001,{"large":4087,"small":4092,"medium":4097,"xsmall":4102,"thumbnail":4106},{"ext":1017,"url":4088,"hash":4089,"mime":950,"name":4090,"path":66,"size":4091,"width":953,"height":1286},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_IVER_7222_1_8d4ff970bd.jpg","large_IVER_7222_1_8d4ff970bd","large_IVER7222-1.jpg",449.13,{"ext":1017,"url":4093,"hash":4094,"mime":950,"name":4095,"path":66,"size":4096,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_IVER_7222_1_8d4ff970bd.jpg","small_IVER_7222_1_8d4ff970bd","small_IVER7222-1.jpg",74.39,{"ext":1017,"url":4098,"hash":4099,"mime":950,"name":4100,"path":66,"size":4101,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_IVER_7222_1_8d4ff970bd.jpg","medium_IVER_7222_1_8d4ff970bd","medium_IVER7222-1.jpg",272.36,{"ext":1017,"url":4103,"hash":4104,"mime":950,"name":4105,"path":66,"size":1931,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_IVER_7222_1_8d4ff970bd.jpg","xsmall_IVER_7222_1_8d4ff970bd","xsmall_IVER7222-1.jpg",{"ext":1017,"url":4107,"hash":4108,"mime":950,"name":4109,"path":66,"size":4110,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_IVER_7222_1_8d4ff970bd.jpg","thumbnail_IVER_7222_1_8d4ff970bd","thumbnail_IVER7222-1.jpg",132.86,"IVER_7222_1_8d4ff970bd",665.85,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FIVER_7222_1_8d4ff970bd.jpg","2023-08-02T10:34:29.680Z","2023-11-15T12:29:09.169Z",{"en-US":4083},"lgzndj8k7oddkr0vt3b8axju",[4119],{"id":4120,"nationality":382},1770,[],{"sortKey":3889,"id":611,"documentId":612,"names":613,"collectiveName":66,"annotation":66,"richText":4123,"locale":8,"images":4124,"nationalities":4166,"localizations":4169},"\u003Cp>Vigan Nimani has compiled an expansive archive of photographs. Many of them have been sourced from books, others he took on his travels. For a long time, the artist considered the archive from an aesthetic point of view, using the photographs as a source for his paintings.\u003C\u002Fp>\u003Cp>These are renowned for their unique depictions of modernist architectures, suspended between figuration and abstraction. The political stories that Nimani’s paintings also inevitably tell used to be of secondary importance to him. Yet the rapid erasure of modernist heritage under turbocapitalism has changed the nature of both the archive and his work.\u003C\u002Fp>\u003Cp>No longer a mere repository of material, the archive has become a crucial source of cultural memory and resistance: by capturing and conserving the tension, the harmony between the built and vegetal worlds.\u003C\u002Fp>",[4125],{"id":4126,"name":4127,"alternativeText":66,"caption":4128,"width":943,"height":944,"formats":4129,"hash":4160,"ext":947,"mime":950,"size":4161,"url":4162,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":4163,"updatedAt":4163,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":4164,"documentId":4165,"publishedAt":998},1489,"Vigan Nimani HR.JPG","Installation view © Vigan Nimani. 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Established by a collective of cultural workers from Kosovo, Albania, Romania and Germany, it specifically explores the relationship of tourism with the development and heritage of Southeast Europe – and with the art world at large.\u003C\u002Fp>\u003Cp>The first edition of the residency took place at the Albanian seaside resort of Radhima in the early stages of the pandemic. Taking advantage of the emptiness of a place otherwise overrun by tourists, the participants spent three weeks exploring the area.\u003C\u002Fp>\u003Cp>The sculptures, sound installations, videos and texts emerging from their enquiry reflect the eerie coexistence of picturesque seas and skies with the vestiges of the communist era, its militant paranoia still inscribed in the landscape and the memory of those who live there.\u003C\u002Fp>\u003Cp>The exhibition of the works was conceived as a travelling “tourist agency”. Beginning last autumn in Tirana, the show has meanwhile toured to Bucharest, Cluj and Radhima, evolving as it moves. The final stop on its itinerary was Prishtina.\u003C\u002Fp>",[4174],{"id":4175,"name":4176,"alternativeText":66,"caption":4177,"width":3311,"height":944,"formats":4178,"hash":4208,"ext":947,"mime":950,"size":4209,"url":4210,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":4211,"updatedAt":4212,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":4213,"documentId":4214,"publishedAt":998},992,"Off Season Collective HR_2.JPG","Touring exhibition, 2022, © Off Season Collective. Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",{"large":4179,"small":4184,"medium":4189,"xlarge":4194,"xsmall":4199,"thumbnail":4204},{"ext":947,"url":4180,"hash":4181,"mime":950,"name":4182,"path":66,"size":4183,"width":953,"height":954},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_Off_Season_Collective_HR_2_657e2b5dd7.JPG","large_Off_Season_Collective_HR_2_657e2b5dd7","large_Off Season Collective HR_2.JPG",337.04,{"ext":947,"url":4185,"hash":4186,"mime":950,"name":4187,"path":66,"size":4188,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Off_Season_Collective_HR_2_657e2b5dd7.JPG","small_Off_Season_Collective_HR_2_657e2b5dd7","small_Off Season Collective HR_2.JPG",55.91,{"ext":947,"url":4190,"hash":4191,"mime":950,"name":4192,"path":66,"size":4193,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Off_Season_Collective_HR_2_657e2b5dd7.JPG","medium_Off_Season_Collective_HR_2_657e2b5dd7","medium_Off Season Collective HR_2.JPG",196.37,{"ext":947,"url":4195,"hash":4196,"mime":950,"name":4197,"path":66,"size":4198,"width":974,"height":975},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_Off_Season_Collective_HR_2_657e2b5dd7.JPG","xlarge_Off_Season_Collective_HR_2_657e2b5dd7","xlarge_Off Season Collective HR_2.JPG",650.13,{"ext":947,"url":4200,"hash":4201,"mime":950,"name":4202,"path":66,"size":4203,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Off_Season_Collective_HR_2_657e2b5dd7.JPG","xsmall_Off_Season_Collective_HR_2_657e2b5dd7","xsmall_Off Season Collective HR_2.JPG",8.85,{"ext":947,"url":4205,"hash":4206,"mime":950,"name":4207,"path":66,"size":2819,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Off_Season_Collective_HR_2_657e2b5dd7.JPG","thumbnail_Off_Season_Collective_HR_2_657e2b5dd7","thumbnail_Off Season Collective HR_2.JPG","Off_Season_Collective_HR_2_657e2b5dd7",4322.89,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FOff_Season_Collective_HR_2_657e2b5dd7.JPG","2023-08-16T08:18:17.838Z","2023-11-15T12:31:37.394Z",{"en-US":4177},"e1i1bzuasm8kp7ibfahh9c9d",[4216,4218],{"id":4217,"nationality":1563},1776,{"id":707,"nationality":4219},"RO",[],{"sortKey":4222,"id":623,"documentId":624,"names":625,"collectiveName":66,"annotation":66,"richText":4223,"locale":8,"images":4224,"nationalities":4266,"localizations":4269},"p","\u003Cp>Adrian Paci has spent many years examining and re-examining what it feels like to wander the earth. Predominantly working with video and painting, he has probed what it means to leave and return, to want to leave and be held back, to leave and be lost, to stay behind, to walk on the spot, to meander.\u003C\u002Fp>\u003Cp>Set in rural Albania, \u003Ci>The Wanderers\u003C\u002Fi> contrasts two modes of walking, two modes of moving and being. Whereas the black-and-white video shows people and animals entering and leaving the frame randomly in slow motion, the colour video features a staged procession of people purposefully striding in the direction of the viewer: towards an unknown goal, an unknown place.\u003C\u002Fp>\u003Cp>The tension between the two temporalities and sets of imagery transcends the work’s Albanian context. It invokes the literary or philosophical figure of the wanderer, a human being adrift in the cosmos, as much as it does that of the migrant.    \u003C\u002Fp>",[4225],{"id":121,"name":4226,"alternativeText":66,"caption":4227,"width":3311,"height":944,"formats":4228,"hash":4259,"ext":947,"mime":950,"size":4260,"url":4261,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":4262,"updatedAt":4263,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":4264,"documentId":4265,"publishedAt":998},"Adrian Paci HR_1.JPG","The Wanderers, 2021, © Adrian Paci. Photo © Manifesta 14 Prishtina \u002F Atdhe Mulla",{"large":4229,"small":4234,"medium":4239,"xlarge":4244,"xsmall":4249,"thumbnail":4254},{"ext":947,"url":4230,"hash":4231,"mime":950,"name":4232,"path":66,"size":4233,"width":953,"height":954},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_Adrian_Paci_HR_1_21f5aa368f.JPG","large_Adrian_Paci_HR_1_21f5aa368f","large_Adrian Paci HR_1.JPG",378.14,{"ext":947,"url":4235,"hash":4236,"mime":950,"name":4237,"path":66,"size":4238,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Adrian_Paci_HR_1_21f5aa368f.JPG","small_Adrian_Paci_HR_1_21f5aa368f","small_Adrian Paci HR_1.JPG",48.76,{"ext":947,"url":4240,"hash":4241,"mime":950,"name":4242,"path":66,"size":4243,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Adrian_Paci_HR_1_21f5aa368f.JPG","medium_Adrian_Paci_HR_1_21f5aa368f","medium_Adrian Paci HR_1.JPG",211.52,{"ext":947,"url":4245,"hash":4246,"mime":950,"name":4247,"path":66,"size":4248,"width":974,"height":975},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_Adrian_Paci_HR_1_21f5aa368f.JPG","xlarge_Adrian_Paci_HR_1_21f5aa368f","xlarge_Adrian Paci HR_1.JPG",717.22,{"ext":947,"url":4250,"hash":4251,"mime":950,"name":4252,"path":66,"size":4253,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Adrian_Paci_HR_1_21f5aa368f.JPG","xsmall_Adrian_Paci_HR_1_21f5aa368f","xsmall_Adrian Paci HR_1.JPG",6.67,{"ext":947,"url":4255,"hash":4256,"mime":950,"name":4257,"path":66,"size":4258,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Adrian_Paci_HR_1_21f5aa368f.JPG","thumbnail_Adrian_Paci_HR_1_21f5aa368f","thumbnail_Adrian Paci HR_1.JPG",91.93,"Adrian_Paci_HR_1_21f5aa368f",4212.66,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FAdrian_Paci_HR_1_21f5aa368f.JPG","2023-07-31T11:20:15.839Z","2023-11-29T09:29:09.859Z",{"en-US":4227},"v9t250rmfqtxzcb3ix9627l8",[4267],{"id":4268,"nationality":1563},1815,[],{"sortKey":4222,"id":635,"documentId":636,"names":637,"collectiveName":66,"annotation":66,"richText":4271,"locale":8,"images":4272,"nationalities":4315,"localizations":4321},"\u003Cp>Yugoslavia was built upon the ideology of brotherhood and unity. Since it was composed of different republics and ethnicities, the socialist state relied on this interethnic guiding principle – coined during the Yugoslav People’s Liberation War (1941–1945) – to hold it together as one collective body.\u003C\u002Fp>\u003Cp>Drawing on the ancient philosophical concept of fraternal love, it was an ideology that foresaw the extension of the unconditional love between siblings to society at large – across the boundaries of class, gender, religion and ethnicity. In her research-based film essay, Marta Popivoda examines the ways in which this state-led solidarity was publicly performed, whether in the context of youth work actions, parades, sporting events or other public displays.\u003C\u002Fp>\u003Cp>Analysing found footage from 1945 to 2000, Popivoda looks for what it was that held the collective body together and what led to its disintegration. Why, she calls upon us to consider, did citizens so readily abandon the maxim of brotherhood and unity in favour of nationalism, individualism and capitalism? Was there, is there not something to be salvaged from socialism?   \u003C\u002Fp>",[4273],{"id":4274,"name":4275,"alternativeText":66,"caption":4276,"width":3311,"height":944,"formats":4277,"hash":4308,"ext":947,"mime":950,"size":4309,"url":4310,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":4311,"updatedAt":4312,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":4313,"documentId":4314,"publishedAt":998},571,"Marta Popivoda HR_1.JPG","Yugoslavia, How Ideology Moved Our Collective Body, 2013, © Marta Popivoda . 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Inspired by fellow composer and communist Cornelius Cardew, who never actually visited the country, Smith sought inspiration in the music and social structures to be found there.\u003C\u002Fp>\u003Cp>On his travels, he collected sound samples and sheet music from many sources. Folk, contemporary and revolutionary music were all of interest to him. These influences gave rise to the album Albanian Summer: An Entertainment which was performed by Janet Sherbourne and Jan Steele.\u003C\u002Fp>\u003Cp>Released on the Practical Music label in 1984, the album is at the centre of PykëPresje’s long-term research project of the same name. Aside from the music, what interests the collective are the conditions and context of the album’s evolution. Like Smith, who sought to reflect not only Albania’s vibrant music culture but also its egalitarian modes of production, PykëPresje seeks a more nuanced understanding of the legacy of socialist practice.\u003C\u002Fp>",[4325],{"id":4326,"name":4327,"alternativeText":66,"caption":4328,"width":1375,"height":1376,"formats":4329,"hash":4360,"ext":1017,"mime":950,"size":4361,"url":4362,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":4363,"updatedAt":4364,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":4365,"documentId":4366,"publishedAt":998},1223,"IVER0349.jpg","From Scratch: Albanian Summer Picaresque, 2022, © PykëPresje. Photo © Manifesta 14 Prishtina \u002F Ivan Erofeev",{"large":4330,"small":4335,"medium":4340,"xlarge":4345,"xsmall":4350,"thumbnail":4355},{"ext":1017,"url":4331,"hash":4332,"mime":950,"name":4333,"path":66,"size":4334,"width":953,"height":1286},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_IVER_0349_606ec1af1c.jpg","large_IVER_0349_606ec1af1c","large_IVER0349.jpg",796.93,{"ext":1017,"url":4336,"hash":4337,"mime":950,"name":4338,"path":66,"size":4339,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_IVER_0349_606ec1af1c.jpg","small_IVER_0349_606ec1af1c","small_IVER0349.jpg",122.06,{"ext":1017,"url":4341,"hash":4342,"mime":950,"name":4343,"path":66,"size":4344,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_IVER_0349_606ec1af1c.jpg","medium_IVER_0349_606ec1af1c","medium_IVER0349.jpg",481.84,{"ext":1017,"url":4346,"hash":4347,"mime":950,"name":4348,"path":66,"size":4349,"width":974,"height":1302},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_IVER_0349_606ec1af1c.jpg","xlarge_IVER_0349_606ec1af1c","xlarge_IVER0349.jpg",1382.6,{"ext":1017,"url":4351,"hash":4352,"mime":950,"name":4353,"path":66,"size":4354,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_IVER_0349_606ec1af1c.jpg","xsmall_IVER_0349_606ec1af1c","xsmall_IVER0349.jpg",17.51,{"ext":1017,"url":4356,"hash":4357,"mime":950,"name":4358,"path":66,"size":4359,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_IVER_0349_606ec1af1c.jpg","thumbnail_IVER_0349_606ec1af1c","thumbnail_IVER0349.jpg",226.95,"IVER_0349_606ec1af1c",6958.55,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FIVER_0349_606ec1af1c.jpg","2023-08-17T12:37:12.657Z","2023-11-15T12:32:00.436Z",{"en-US":4328},"v6wqjxbt966dqoyn40u9a1lk",[4368],{"id":4369,"nationality":219},1819,[],{"sortKey":4222,"id":599,"documentId":600,"names":601,"collectiveName":66,"annotation":66,"richText":4372,"locale":8,"images":4373,"nationalities":4406,"localizations":4409},"\u003Cp>The Mekong River is a body of water bearing great material and spiritual significance to the people who live along its banks. It flows from the Tibetan Plateau to the South China Sea, crossing through China, Myanmar, Laos, Thailand, Cambodia and Vietnam on its way.\u003C\u002Fp>\u003Cp>In Becoming Alluvium, Thao Nguyen Phan reflects on how the river has been affected by war, agriculture, overfishing and pollution. Intertwining myths and stories with factual events, her allegory draws on the thought and writings of Rabindranath Tagore, Marguerite Duras and Italo Calvino as well as traditional Khmer folktales.\u003C\u002Fp>\u003Cp>The artist combines found footage with animation and her own film material as part of an ongoing research project on the histories and possible futures of the river. Her contemplative enquiry unfolds over three chapters. Beginning with destruction, the story ends in regeneration and renewal.  \u003C\u002Fp>",[4374],{"id":4375,"name":4376,"alternativeText":66,"caption":4377,"width":1196,"height":1197,"formats":4378,"hash":4399,"ext":947,"mime":950,"size":4400,"url":4401,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":4402,"updatedAt":4403,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":4404,"documentId":4405,"publishedAt":998},1483,"Thao Nguen Pan_1.JPG","Becoming Alluvium, 2019, © Thao Nguyen Phan. Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",{"small":4379,"medium":4384,"xsmall":4389,"thumbnail":4394},{"ext":947,"url":4380,"hash":4381,"mime":950,"name":4382,"path":66,"size":4383,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Thao_Nguen_Pan_1_5cea4040b5.JPG","small_Thao_Nguen_Pan_1_5cea4040b5","small_Thao Nguen Pan_1.JPG",52.03,{"ext":947,"url":4385,"hash":4386,"mime":950,"name":4387,"path":66,"size":4388,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Thao_Nguen_Pan_1_5cea4040b5.JPG","medium_Thao_Nguen_Pan_1_5cea4040b5","medium_Thao Nguen Pan_1.JPG",190.04,{"ext":947,"url":4390,"hash":4391,"mime":950,"name":4392,"path":66,"size":4393,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Thao_Nguen_Pan_1_5cea4040b5.JPG","xsmall_Thao_Nguen_Pan_1_5cea4040b5","xsmall_Thao Nguen Pan_1.JPG",7.72,{"ext":947,"url":4395,"hash":4396,"mime":950,"name":4397,"path":66,"size":4398,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Thao_Nguen_Pan_1_5cea4040b5.JPG","thumbnail_Thao_Nguen_Pan_1_5cea4040b5","thumbnail_Thao Nguen Pan_1.JPG",93.46,"Thao_Nguen_Pan_1_5cea4040b5",206.88,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FThao_Nguen_Pan_1_5cea4040b5.JPG","2023-08-24T12:29:00.295Z","2023-11-15T12:32:49.583Z",{"en-US":4377},"ho10is0p82ikucfbhch0xemf",[4407],{"id":4408,"nationality":4034},1836,[],{"sortKey":4222,"id":783,"documentId":784,"names":785,"collectiveName":66,"annotation":66,"richText":4411,"locale":8,"images":4412,"nationalities":4526,"localizations":4532},"\u003Cp>Mitrovica is a divided city. 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. 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Pinchuk_49.jpg",113.33,{"ext":1017,"url":4505,"hash":4506,"mime":950,"name":4507,"path":66,"size":4508,"width":4436,"height":967},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_M14_S_Pinchuk_49_a71b3b3e93.jpg","medium_M14_S_Pinchuk_49_a71b3b3e93","medium_M14_S. Pinchuk_49.jpg",394.34,{"ext":1017,"url":4510,"hash":4511,"mime":950,"name":4512,"path":66,"size":4513,"width":4448,"height":981},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_M14_S_Pinchuk_49_a71b3b3e93.jpg","xsmall_M14_S_Pinchuk_49_a71b3b3e93","xsmall_M14_S. Pinchuk_49.jpg",16.62,{"ext":1017,"url":4515,"hash":4516,"mime":950,"name":4517,"path":66,"size":4518,"width":4454,"height":988},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_M14_S_Pinchuk_49_a71b3b3e93.jpg","thumbnail_M14_S_Pinchuk_49_a71b3b3e93","thumbnail_M14_S. 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At the same time, it imagines exit ways towards a multitude of possible futures.\u003C\u002Fp>\u003Cp>Encompassing video, sculpture, drawings, and artificial intelligence programs, the artist’s storyline intertwines with the museum’s own narratives of neolithic civilisation and militant resistance. Here, at the interface of past and future, Rahal orchestrates a rehearsal ground for cohabitations and kinships between human and extra-human forms of thought and being, staged on the borderlands of myth, machine, mind and memory.\u003C\u002Fp>",[4537,4579],{"id":4538,"name":4539,"alternativeText":66,"caption":4540,"width":1375,"height":1376,"formats":4541,"hash":4572,"ext":1017,"mime":950,"size":4573,"url":4574,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":4575,"updatedAt":4576,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":4577,"documentId":4578,"publishedAt":998},1362,"IVER1268-1.jpg","Final Forest, 2021, © Sahej Rahal. 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Known as “brother houses” they bear witness to the strength of family bonds and to a performative equality and solidarity – among men.\u003C\u002Fp>\u003Cp>Sisters are seldom included either in this practice or the family inheritance, thus ensuring their financial dependence on fathers, brothers, husbands and sons. \u003Ci>Sister Flats\u003C\u002Fi> invites us to imagine how things could be different, how wealth and power could be distributed justly, and the structures of oppression dismantled.\u003C\u002Fp>\u003Cp>Developed in dialogue with Kosovar feminist activists, Alicja Rogalska’s project proposes sisterhood as the place to start. Borrowing from immersive theatre, escape rooms and ethnographic museums, the artist sets her enquiry within the domestic sphere.\u003C\u002Fp>\u003Cp>The site of much gendered oppression, it may also hold within it the key to emancipation. On Mondays, when the space is closed to the general public, it will be used for legal advice sessions for local women. \u003C\u002Fp>",[4633,4664],{"id":106,"name":4634,"alternativeText":66,"caption":4635,"width":1196,"height":451,"formats":4636,"hash":4657,"ext":1017,"mime":950,"size":4658,"url":4659,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":4660,"updatedAt":4661,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":4662,"documentId":4663,"publishedAt":998},"IVER8709.jpg","Sister Flats, 2022, © Alicja Rogalska. Photo © Manifesta 14 Prishtina \u002F Ivan Erofeev",{"small":4637,"medium":4642,"xsmall":4647,"thumbnail":4652},{"ext":1017,"url":4638,"hash":4639,"mime":950,"name":4640,"path":66,"size":4641,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_IVER_8709_015328c1ee.jpg","small_IVER_8709_015328c1ee","small_IVER8709.jpg",54.01,{"ext":1017,"url":4643,"hash":4644,"mime":950,"name":4645,"path":66,"size":4646,"width":967,"height":1491},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_IVER_8709_015328c1ee.jpg","medium_IVER_8709_015328c1ee","medium_IVER8709.jpg",177.42,{"ext":1017,"url":4648,"hash":4649,"mime":950,"name":4650,"path":66,"size":4651,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_IVER_8709_015328c1ee.jpg","xsmall_IVER_8709_015328c1ee","xsmall_IVER8709.jpg",9.3,{"ext":1017,"url":4653,"hash":4654,"mime":950,"name":4655,"path":66,"size":4656,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_IVER_8709_015328c1ee.jpg","thumbnail_IVER_8709_015328c1ee","thumbnail_IVER8709.jpg",92.59,"IVER_8709_015328c1ee",193.2,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FIVER_8709_015328c1ee.jpg","2023-07-31T11:20:02.429Z","2023-11-15T12:33:29.477Z",{"en-US":4635},"z4xtqmbj0rt7stqclxfalyna",{"id":97,"name":4665,"alternativeText":66,"caption":4635,"width":1196,"height":451,"formats":4666,"hash":4687,"ext":1017,"mime":950,"size":4688,"url":4689,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":4690,"updatedAt":4691,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":4692,"documentId":4693,"publishedAt":998},"IVER8399.jpg",{"small":4667,"medium":4672,"xsmall":4677,"thumbnail":4682},{"ext":1017,"url":4668,"hash":4669,"mime":950,"name":4670,"path":66,"size":4671,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_IVER_8399_bfb8aa0895.jpg","small_IVER_8399_bfb8aa0895","small_IVER8399.jpg",78.41,{"ext":1017,"url":4673,"hash":4674,"mime":950,"name":4675,"path":66,"size":4676,"width":967,"height":1491},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_IVER_8399_bfb8aa0895.jpg","medium_IVER_8399_bfb8aa0895","medium_IVER8399.jpg",244.02,{"ext":1017,"url":4678,"hash":4679,"mime":950,"name":4680,"path":66,"size":4681,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_IVER_8399_bfb8aa0895.jpg","xsmall_IVER_8399_bfb8aa0895","xsmall_IVER8399.jpg",11.84,{"ext":1017,"url":4683,"hash":4684,"mime":950,"name":4685,"path":66,"size":4686,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_IVER_8399_bfb8aa0895.jpg","thumbnail_IVER_8399_bfb8aa0895","thumbnail_IVER8399.jpg",132.84,"IVER_8399_bfb8aa0895",260.51,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FIVER_8399_bfb8aa0895.jpg","2023-07-31T11:19:57.494Z","2023-11-15T12:33:38.004Z",{"en-US":4635},"nzdwk0k1f38ip74v7ipus3j2",[4695],{"id":4696,"nationality":4697},1873,"PL",[],{"sortKey":4534,"id":659,"documentId":660,"names":66,"collectiveName":661,"annotation":66,"richText":4700,"locale":8,"images":4701,"nationalities":4746,"localizations":4749},"\u003Cp>The RomaMoMA Library was created in 2021 to commemorate the fiftieth anniversary of the First World Romani Congress. It is dynamic and nomadic, engaging with local contexts wherever it travels.\u003C\u002Fp>\u003Cp>Comprising some 150 books on contemporary Roma literary, artistic and cultural heritage, the library’s growing collection showcases this rich Roma legacy, while critically interrogating the violence and oppression against the Roma in Europe. For its sojourn at the National Library of Kosovo, the RomaMoMA Library is accompanied by Farija Mehmeti, an artist renowned for her vibrant portraits of Roma women.\u003C\u002Fp>\u003Cp>In and beyond the community, women play a crucial role in fostering reproductive and mental health, and in passing down ancient knowledge on healing practices, spirituality, nature and the cosmos. Mehmeti’s subjects are inspired by everyday heroines, albeit often painted from her imagination.\u003C\u002Fp>\u003Cp>Strong and self-assured, they honour the past while fixing their gaze resolutely towards the future. On this occasion, the library is activated through Adjacent, the mobile knowledge device conceived for RomaMoMA by artist Daniel Baker.\u003C\u002Fp>",[4702],{"id":4703,"name":4704,"alternativeText":66,"caption":4705,"width":4706,"height":4707,"formats":4708,"hash":4739,"ext":1017,"mime":950,"size":4740,"url":4741,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":4742,"updatedAt":4743,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":4744,"documentId":4745,"publishedAt":998},1224,"IVER9375.jpg","Roma Women, 2022, © Farija Mehmeti . Photo © Manifesta 14 Prishtina \u002F Ivan Eroofev",8050,5369,{"large":4709,"small":4714,"medium":4719,"xlarge":4724,"xsmall":4729,"thumbnail":4734},{"ext":1017,"url":4710,"hash":4711,"mime":950,"name":4712,"path":66,"size":4713,"width":953,"height":1286},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_IVER_9375_52d9a30f5e.jpg","large_IVER_9375_52d9a30f5e","large_IVER9375.jpg",620.35,{"ext":1017,"url":4715,"hash":4716,"mime":950,"name":4717,"path":66,"size":4718,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_IVER_9375_52d9a30f5e.jpg","small_IVER_9375_52d9a30f5e","small_IVER9375.jpg",105.21,{"ext":1017,"url":4720,"hash":4721,"mime":950,"name":4722,"path":66,"size":4723,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_IVER_9375_52d9a30f5e.jpg","medium_IVER_9375_52d9a30f5e","medium_IVER9375.jpg",376.12,{"ext":1017,"url":4725,"hash":4726,"mime":950,"name":4727,"path":66,"size":4728,"width":974,"height":1302},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_IVER_9375_52d9a30f5e.jpg","xlarge_IVER_9375_52d9a30f5e","xlarge_IVER9375.jpg",1091.79,{"ext":1017,"url":4730,"hash":4731,"mime":950,"name":4732,"path":66,"size":4733,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_IVER_9375_52d9a30f5e.jpg","xsmall_IVER_9375_52d9a30f5e","xsmall_IVER9375.jpg",16.12,{"ext":1017,"url":4735,"hash":4736,"mime":950,"name":4737,"path":66,"size":4738,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_IVER_9375_52d9a30f5e.jpg","thumbnail_IVER_9375_52d9a30f5e","thumbnail_IVER9375.jpg",183.72,"IVER_9375_52d9a30f5e",6277.1,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FIVER_9375_52d9a30f5e.jpg","2023-08-17T12:45:55.289Z","2023-11-15T12:33:11.874Z",{"en-US":4705},"zb0gc6yzjdyf1xja6ztf3bwa",[4747],{"id":4748,"nationality":219},1882,[],{"sortKey":4534,"id":663,"documentId":664,"names":665,"collectiveName":66,"annotation":66,"richText":4751,"locale":8,"images":4752,"nationalities":4797,"localizations":4800},"\u003Cp>The Monument to Heroes of the National Liberation Movement was built under the rule of Josip Broz Tito in 1961. Popularly known as ‘The Triangle’, it was designed to consolidate the ‘brotherhood and unity’ – purportedly forged during the partisan resistance in World War II – of the various ethnic groups living in Kosovo. There have been persistent efforts to replace it with a monument dedicated to the story of Albanian resistance, as personified in the figure of Kosovo Liberation Army leader Adem Jashari.\u003C\u002Fp>\u003Cp>At a time when monuments in many parts of the world are being troubled – and frequently toppled – for their entanglement with ideologies, Ugo Rondinone’s temporary transformation of the grey monument into a brightly coloured one brings into sharp relief both the remarkable structure of the sculpture and the critical debate for which it stands. At the same time, the intervention brings forth an object of ‘beauty and contemplation’.\u003C\u002Fp>\u003Cp>Wrapping monuments in various colours of the rainbow – an age-old symbol of hope, joy and new beginnings – is a recurring element of Rondinone’s practice. With their open, poetic titles, the artist’s interventions in urban space invite people to think about the ever-changing culture of remembrance and togetherness and to ‘revel in the pure sensory experience of colour, form and mass’.\u003C\u002Fp>",[4753],{"id":4754,"name":4755,"alternativeText":66,"caption":4756,"width":4757,"height":4758,"formats":4759,"hash":4790,"ext":1017,"mime":950,"size":4791,"url":4792,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":4793,"updatedAt":4794,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":4795,"documentId":4796,"publishedAt":998},1485,"IVER8909.jpg"," not a word [...], 2022, © Ugo Rondinone. Photo © Manifesta 14 Prishtina \u002F Ivan Erofeev",5252,7874,{"large":4760,"small":4765,"medium":4770,"xlarge":4775,"xsmall":4780,"thumbnail":4785},{"ext":1017,"url":4761,"hash":4762,"mime":950,"name":4763,"path":66,"size":4764,"width":1286,"height":953},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_IVER_8909_5195818293.jpg","large_IVER_8909_5195818293","large_IVER8909.jpg",401.06,{"ext":1017,"url":4766,"hash":4767,"mime":950,"name":4768,"path":66,"size":4769,"width":961,"height":960},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_IVER_8909_5195818293.jpg","small_IVER_8909_5195818293","small_IVER8909.jpg",65.63,{"ext":1017,"url":4771,"hash":4772,"mime":950,"name":4773,"path":66,"size":4774,"width":968,"height":967},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_IVER_8909_5195818293.jpg","medium_IVER_8909_5195818293","medium_IVER8909.jpg",239.06,{"ext":1017,"url":4776,"hash":4777,"mime":950,"name":4778,"path":66,"size":4779,"width":1302,"height":974},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_IVER_8909_5195818293.jpg","xlarge_IVER_8909_5195818293","xlarge_IVER8909.jpg",736.35,{"ext":1017,"url":4781,"hash":4782,"mime":950,"name":4783,"path":66,"size":4784,"width":982,"height":981},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_IVER_8909_5195818293.jpg","xsmall_IVER_8909_5195818293","xsmall_IVER8909.jpg",9.95,{"ext":1017,"url":4786,"hash":4787,"mime":950,"name":4788,"path":66,"size":4789,"width":989,"height":988},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_IVER_8909_5195818293.jpg","thumbnail_IVER_8909_5195818293","thumbnail_IVER8909.jpg",115.52,"IVER_8909_5195818293",5080.17,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FIVER_8909_5195818293.jpg","2023-08-24T12:38:53.951Z","2023-11-15T12:34:28.078Z",{"en-US":4756},"bfu83ix7o6huwrjngdkg7idb",[4798],{"id":4799,"nationality":260},1886,[],{"sortKey":4534,"id":775,"documentId":776,"names":777,"collectiveName":66,"annotation":66,"richText":4802,"locale":8,"images":4803,"nationalities":4836,"localizations":4839},"\u003Cp>Which words, which grammars do people use to testify to brutality, to articulate the unspeakable, to formulate their quest for justice? Is there a specific vocabulary of violence or a language of healing common to societies of transition? And how might one go about discerning it?\u003C\u002Fp>\u003Cp>Lala Rašcic, known for her explorations of storytelling and oral history practices, probes these questions in her audio monodrama Conflict Syntax. Dot, Dot Dot. The video on show was produced as a tele-prompter for a live performance of the work.  \u003C\u002Fp>\u003Cp>The artist first performed a quantitative linguistic analysis on some two hundred interviews taken from the Testimony – Truth or Politics  archive. 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To make way for commerce, specifically the rubber trade, these ancient waterways were transformed into roadways – to devastating effect on the environment and the people who live there. Hundreds were slaughtered during construction.\u003C\u002Fp>\u003Cp>Embodying a “tree that walks”, Uýra Sodoma enacts the recovery of the rivers, the fertility of the soil and the rich diversity of plant life. Uýra is the alter-ego of Emerson, a non-binary indigenous biologist, ecologist, educator and artist.\u003C\u002Fp>\u003Cp>An at once archaic and futuristic hybrid figure, they work across multiple media including performance, photography, installation, lectures and classes. 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The recycling of scrap metal in particular plays a pivotal role in her practice insofar as her family has supported itself in this way for generations. In several performances, she destroys metal goods, whether vacuum cleaners or washing machines, to harvest the valuable parts.\u003C\u002Fp>\u003Cp>In Mercedes Matrix, Selman is joined by members of her family in dismantling a Mercedes Benz, a symbol of affluence and status across the Balkans and indeed much of the globe. She thus transforms their daily business into artistic labour, augmenting its symbolic value in the process.\u003C\u002Fp>\u003Cp>Here and elsewhere in her practice, Selman considers the complexities of the oppressions Roma people experience within the framework of what she calls “Superpositional Intersectionalism”. 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Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",{"large":5067,"small":5072,"medium":5077,"xlarge":5082,"xsmall":5087,"thumbnail":5092},{"ext":947,"url":5068,"hash":5069,"mime":950,"name":5070,"path":66,"size":5071,"width":953,"height":954},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_Selma_Selman_HR_3_79ec1f91fe.JPG","large_Selma_Selman_HR_3_79ec1f91fe","large_Selma Selman HR_3.JPG",323.2,{"ext":947,"url":5073,"hash":5074,"mime":950,"name":5075,"path":66,"size":5076,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Selma_Selman_HR_3_79ec1f91fe.JPG","small_Selma_Selman_HR_3_79ec1f91fe","small_Selma Selman HR_3.JPG",37.53,{"ext":947,"url":5078,"hash":5079,"mime":950,"name":5080,"path":66,"size":5081,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Selma_Selman_HR_3_79ec1f91fe.JPG","medium_Selma_Selman_HR_3_79ec1f91fe","medium_Selma Selman HR_3.JPG",171.41,{"ext":947,"url":5083,"hash":5084,"mime":950,"name":5085,"path":66,"size":5086,"width":974,"height":975},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_Selma_Selman_HR_3_79ec1f91fe.JPG","xlarge_Selma_Selman_HR_3_79ec1f91fe","xlarge_Selma Selman HR_3.JPG",666.24,{"ext":947,"url":5088,"hash":5089,"mime":950,"name":5090,"path":66,"size":5091,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Selma_Selman_HR_3_79ec1f91fe.JPG","xsmall_Selma_Selman_HR_3_79ec1f91fe","xsmall_Selma Selman HR_3.JPG",5.84,{"ext":947,"url":5093,"hash":5094,"mime":950,"name":5095,"path":66,"size":5096,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Selma_Selman_HR_3_79ec1f91fe.JPG","thumbnail_Selma_Selman_HR_3_79ec1f91fe","thumbnail_Selma Selman HR_3.JPG",71.48,"Selma_Selman_HR_3_79ec1f91fe",4788.82,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FSelma_Selman_HR_3_79ec1f91fe.JPG","2023-08-24T10:58:16.176Z","2023-11-15T12:39:31.060Z",{"en-US":5065},"h1dlz2k9v7i3xxiv53dsfj8v",{"id":5105,"name":5106,"alternativeText":66,"caption":5107,"width":1477,"height":1668,"formats":5108,"hash":5129,"ext":1017,"mime":950,"size":5130,"url":5131,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":5132,"updatedAt":5133,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":5134,"documentId":5135,"publishedAt":998},1478,"AM_Selma Selman at GAk Performance_033_web.jpg","Selma Selman performance during the opening weekend of Manifesta 14 Prishtina at the National Gallery.  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The digital archive tells the story of the region’s art through the lens of gender, from post-WWII through to the present day. Their goal is to explore ongoing debates on gender, agency, (in)equality, citizenship and feminist activism in post-state socialism.\u003C\u002Fp>\u003Cp>The period covered by the archive spans three generations: the so-called neo-avant-garde generation that operated within the toughest period of the communist regime; the second generation that emerged in the eighties and nineties having witnessed the Fall of Communism in their early career and the third generation who grew up during political changes that have reshaped the face of present-day Europe.\u003C\u002Fp>\u003Cp>Secondary Archive has collated more than 300 statements by female artists from Belarus, Czech Republic, Hungary, Poland, Slovakia, and Ukraine. All the artists in the archives were invited to participate in the exhibition at Manifesta 14. 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The initiative is supported by the Visegrad Fund.\u003C\u002Fp>\u003Cp>Click \u003Ca target=\"_blank\" rel=\"noopener noreferrer\" href=\"https:\u002F\u002Fmanifesta14.org\u002Fwp-content\u002Fuploads\u002F2022\u002F07\u002FMANIFESTA_Secondary_Archive_short_press_ENG.pdf\">here\u003C\u002Fa> to view the list of artists that took part in the project.\u003C\u002Fp>",[5205],{"id":5206,"name":5207,"alternativeText":66,"caption":5208,"width":5209,"height":5210,"formats":5211,"hash":5242,"ext":1017,"mime":950,"size":5243,"url":5244,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":5245,"updatedAt":5246,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":5247,"documentId":5248,"publishedAt":998},1365,"AM_Secondary Archive-Instalation shots_003.jpg","Secondary Archive, 2022, © Secondary Archive. 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She invites visitors and guests to join her in thinking and talking about landscapes of transition as they relate to memory, subjectivity and ecology.\u003C\u002Fp>\u003Cp>These are themes she explores in her analogue photography and video installations, which up until now have concentrated on the layers of time and perception that both form and inform her homeland.\u003C\u002Fp>\u003Cp>Albania is a country still coming to terms with the historic isolation and endemic paranoia of the communist era. It is a place characterised by stark contrasts: vast mountain ranges meet mushroom-like bunkers scattered across the countryside, while ramshackle houses in remote villages coexist with high-rise apartment blocks and hotels in the cities and along the coast.\u003C\u002Fp>\u003Cp>As part of her residency in Prishtina, she is pursuing a new line of artistic research around the city’s missing river, which was covered in the 1970s. 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Coined by Driton Selmani, this epigram is one of hundreds to fill the pages of his notebooks. At the moment he transferred it to a plastic bag, it became a love letter, one of the multitude of missives to everyone and no one the artist has been composing since 2018.\u003C\u002Fp>\u003Cp>The idea for this expansive body of work emerged out of the realisation that love is to be found as much in the shopping lists your partner sends you – buy four aubergines, a bottle of olive oil and something to go with the tea – as it is in a poem, a letter, a text or sext message.\u003C\u002Fp>\u003Cp>Covering topics from politics to ecology, from art to philosophy, the plastic love letters function as a kind of journal to last ten thousand years, as an ongoing documentation of everyday epiphanies and postulations, desires and anxieties.  \u003C\u002Fp>",[5342],{"id":5343,"name":5344,"alternativeText":66,"caption":5345,"width":1573,"height":944,"formats":5346,"hash":5376,"ext":947,"mime":950,"size":5377,"url":5378,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":5379,"updatedAt":5380,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":5381,"documentId":5382,"publishedAt":998},186,"Driton Selmani HR_2.JPG","Love Letters, 2018 – ongoing, © Driton Selmani. 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The two of them, in tandem? If you’re developing a post-apocalyptic video game, then the answer is yes. Delivering an ironic take on the genre, \u003Ci>Golf Club: Wasteland \u003C\u002Fi>offers to the gaming world a new scenario that even the least discerning newspaper reader would link to the golfer president and the space enthusiast.\u003C\u002Fp>\u003Cp>In contrast to many of its counterparts, Igor Simić’s video game exchanges the classic mix of combat and problem-solving for a singular game of golf. A global catastrophe, so the story goes, has wiped out ninety-nine per cent of humanity.\u003C\u002Fp>\u003Cp>Earth has become uninhabitable; the rich have fled to Mars. Wistful for the good old days on Earth, citizens of Mars listen and call in to the radio station Radio Nostalgia from Mars, while the ultra-rich head back down to Earth for a last round of golf.\u003C\u002Fp>\u003Cp>You, the player, get to be one of these people. As you swing and putt your way through the ruins, from brutalist monuments to shopping malls, you can piece together – hole by hole – what went wrong.   \u003C\u002Fp>",[5389],{"id":5390,"name":5391,"alternativeText":66,"caption":5392,"width":1196,"height":451,"formats":5393,"hash":5414,"ext":1017,"mime":950,"size":5415,"url":5416,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":5417,"updatedAt":5418,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":5419,"documentId":5420,"publishedAt":998},213,"IVER7490.jpg","Golf Club: Wasteland, 2018\u002F2021, © Igor Simić. 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Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",{"large":5433,"small":5438,"medium":5443,"xlarge":5448,"xsmall":5453,"thumbnail":5458},{"ext":947,"url":5434,"hash":5435,"mime":950,"name":5436,"path":66,"size":5437,"width":953,"height":1286},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_Saz_iso_HR_1_033b5f4447.JPG","large_Saz_iso_HR_1_033b5f4447","large_Saz'iso HR_1.JPG",429.4,{"ext":947,"url":5439,"hash":5440,"mime":950,"name":5441,"path":66,"size":5442,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Saz_iso_HR_1_033b5f4447.JPG","small_Saz_iso_HR_1_033b5f4447","small_Saz'iso HR_1.JPG",77.8,{"ext":947,"url":5444,"hash":5445,"mime":950,"name":5446,"path":66,"size":5447,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Saz_iso_HR_1_033b5f4447.JPG","medium_Saz_iso_HR_1_033b5f4447","medium_Saz'iso HR_1.JPG",262.22,{"ext":947,"url":5449,"hash":5450,"mime":950,"name":5451,"path":66,"size":5452,"width":974,"height":975},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_Saz_iso_HR_1_033b5f4447.JPG","xlarge_Saz_iso_HR_1_033b5f4447","xlarge_Saz'iso HR_1.JPG",769.64,{"ext":947,"url":5454,"hash":5455,"mime":950,"name":5456,"path":66,"size":5457,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Saz_iso_HR_1_033b5f4447.JPG","xsmall_Saz_iso_HR_1_033b5f4447","xsmall_Saz'iso HR_1.JPG",12.57,{"ext":947,"url":5459,"hash":5460,"mime":950,"name":5461,"path":66,"size":5462,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Saz_iso_HR_1_033b5f4447.JPG","thumbnail_Saz_iso_HR_1_033b5f4447","thumbnail_Saz'iso HR_1.JPG",133.79,"Saz_iso_HR_1_033b5f4447",4442.36,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FSaz_iso_HR_1_033b5f4447.JPG","2023-08-18T14:23:58.479Z","2023-08-18T14:24:19.471Z",{"en-US":5431},"lpe5n4ax5dqqwnjysmob19ki",[5471],{"id":5472,"nationality":1563},1996,[],{"sortKey":4846,"id":691,"documentId":692,"names":693,"collectiveName":66,"annotation":66,"richText":5475,"locale":8,"images":5476,"nationalities":5541,"localizations":5545},"\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. 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With his preference for the primitive, the blithe alterity of his child-like figurations, his landscapes, his lines, his use of colour, Salihamixhiqi was clearly drawn to the techniques and ideas underlying surrealism and art brut.\u003C\u002Fp>\u003Cp>In looking at his paintings and drawings, one immediately senses an affinity for the work of Paul Klee, Jean Dubuffet and Joan Miró. While there is no denying the interiority of his pictorial compositions, Salihamixhiqi seems to have been less fascinated by the unconscious per se than by the alternate universes it can bring to life.\u003C\u002Fp>\u003Cp>From the 1960s onwards, he dedicated himself to the creation of a more-than-human otherworld, referring to his practice as “the game”. Mapped out in thousands of works on canvas, cardboard and paper, it is an unbounded world as remarkable for its fluid coherence as for the affability and sociability of the creatures that inhabit it.   \u003C\u002Fp>",[5549],{"id":5550,"name":5551,"alternativeText":66,"caption":5552,"width":943,"height":944,"formats":5553,"hash":5584,"ext":947,"mime":950,"size":5585,"url":5586,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":5587,"updatedAt":5588,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":5589,"documentId":5590,"publishedAt":998},991,"Nusret Salihamixhiqi HR_1.JPG","Loja [Game], 1967, © Estate of Nusret Salihamixhiqi. 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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. Their mural encourages people “to reflect on the shared foundations of humanity”, to discover “what is similar, while making room for what is different”\u003C\u002Fp>",[5598],{"id":5599,"name":5600,"alternativeText":66,"caption":5601,"width":5602,"height":5603,"formats":5604,"hash":5635,"ext":1017,"mime":950,"size":5636,"url":5637,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":5638,"updatedAt":5638,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":5639,"documentId":5640,"publishedAt":998},1367,"AM_Sekhmet Institute_Instalation Shots_004.jpg","LOVE is LOVE is LOVE, 2022, © Sekhmet Institute with Ermira Murati. 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Constructed from found objects, such as portable wardrobes, suitcases, umbrellas or trolley bags, her creations exude mutability.\u003C\u002Fp>\u003Cp>They can transform in the blink of an eye from enclosures to extensions of the body and existing architectures. And they can collapse again just as swiftly. Todorova views the structures she makes as interactive movables, hybrids and clusters, as skins, shells, dwellings and parasites. She uses them to instigate performative situations and collaborative actions in public space.\u003C\u002Fp>\u003Cp>These invite discourse around the nature of community formation and the constant negotiation that sustains it. As a form of artistic research on solidarity and interdependence, Todorova’s practice charts the limits of the terrain which people can navigate and the scope of that which they can comfortably share and exchange.      \u003C\u002Fp>",[5654],{"id":5655,"name":5656,"alternativeText":66,"caption":5657,"width":943,"height":944,"formats":5658,"hash":5689,"ext":947,"mime":950,"size":5690,"url":5691,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":5692,"updatedAt":5693,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":5694,"documentId":5695,"publishedAt":998},985,"Miryana Todorova HR_3.JPG","Expanded Objects for Shared Living, 2012 - 2015, © Miryana Todorova. Photo © Manifesta 14 Prishtina \u002F Majlinda Hoxha",{"large":5659,"small":5664,"medium":5669,"xlarge":5674,"xsmall":5679,"thumbnail":5684},{"ext":947,"url":5660,"hash":5661,"mime":950,"name":5662,"path":66,"size":5663,"width":953,"height":954},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_Miryana_Todorova_HR_3_b010a79c5f.JPG","large_Miryana_Todorova_HR_3_b010a79c5f","large_Miryana Todorova HR_3.JPG",493.01,{"ext":947,"url":5665,"hash":5666,"mime":950,"name":5667,"path":66,"size":5668,"width":960,"height":961},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Miryana_Todorova_HR_3_b010a79c5f.JPG","small_Miryana_Todorova_HR_3_b010a79c5f","small_Miryana Todorova HR_3.JPG",88.32,{"ext":947,"url":5670,"hash":5671,"mime":950,"name":5672,"path":66,"size":5673,"width":967,"height":968},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Miryana_Todorova_HR_3_b010a79c5f.JPG","medium_Miryana_Todorova_HR_3_b010a79c5f","medium_Miryana Todorova HR_3.JPG",302.65,{"ext":947,"url":5675,"hash":5676,"mime":950,"name":5677,"path":66,"size":5678,"width":974,"height":975},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_Miryana_Todorova_HR_3_b010a79c5f.JPG","xlarge_Miryana_Todorova_HR_3_b010a79c5f","xlarge_Miryana Todorova HR_3.JPG",874.58,{"ext":947,"url":5680,"hash":5681,"mime":950,"name":5682,"path":66,"size":5683,"width":981,"height":982},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Miryana_Todorova_HR_3_b010a79c5f.JPG","xsmall_Miryana_Todorova_HR_3_b010a79c5f","xsmall_Miryana Todorova HR_3.JPG",13.84,{"ext":947,"url":5685,"hash":5686,"mime":950,"name":5687,"path":66,"size":5688,"width":988,"height":989},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Miryana_Todorova_HR_3_b010a79c5f.JPG","thumbnail_Miryana_Todorova_HR_3_b010a79c5f","thumbnail_Miryana Todorova HR_3.JPG",152.41,"Miryana_Todorova_HR_3_b010a79c5f",5040.72,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FMiryana_Todorova_HR_3_b010a79c5f.JPG","2023-08-16T07:55:57.177Z","2023-11-15T12:41:44.439Z",{"en-US":5657},"fweyw0zvksz0c0d1kjw3clcz",[5697],{"id":5698,"nationality":2806},2032,[],{"sortKey":5651,"id":723,"documentId":724,"names":66,"collectiveName":725,"annotation":66,"richText":5701,"locale":8,"images":5702,"nationalities":5745,"localizations":5751},"\u003Cp>Many people from Kosovo have fond memories of watching movies at the open-air cinema of Kino Rinia – at least those old enough to remember. It has been three decades since the space was regularly used as a cinema, and quite a while since it felt loved and lived in.\u003C\u002Fp>\u003Cp>Renowned for their sound research and transformative interventions in urban areas, \u003Cstrong>Sam Auinger and Hannes Strobl\u003C\u002Fstrong> – the two artists behind tamtam – respond to the acoustics and ambience of the space. Using soaring metallic sails that flatter and rustle in the wind, they create a musical instrument that is played by the elements in dialogue with the architecture.\u003C\u002Fp>\u003Cp>The sound the instrument makes is gentle and encapsulating, the shade it creates much yearned for. Though located in one of the noisiest parts of the city, their immersive environment engenders a sense of quietude. 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Often using a small hidden camera in his research-based practice, Vellahu filmed six troubled territories over a period of two years: Abkhazia, Northern Cyprus, Nagorno-Karabakh, Transnistria, South Ossetia and Kosovo.\u003C\u002Fp>\u003Cp>All six political entities were born of conflict; their landscapes, buildings and people bear the scars of their violent beginnings. To this day, the states are yet to achieve the autonomy they sought upon secession. International recognition proves similarly elusive.\u003C\u002Fp>\u003Cp>Vellahu’s incisive videos document the palpable tension between volatility and stagnation, frustration and transformation experienced by the people who live in these unstable conditions. 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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. Within the walls of this now dilapidated monument to martyrs and heroes, Sislej Xhafa has assembled the elements of an alternative narrative: a dysfunctional petrol pump, a chair, a solar panel charger, a mobile phone and a paid attendant. Entitled \u003Ci>frosted pocket\u003C\u002Fi>, the new story unfolds over the 100 days of Manifesta 14 Prishtina.\u003C\u002Fp>",[5946],{"id":5947,"name":5948,"alternativeText":66,"caption":5949,"width":5950,"height":5951,"formats":5952,"hash":5983,"ext":1017,"mime":950,"size":5984,"url":5985,"previewUrl":66,"provider":993,"provider_metadata":66,"createdAt":5986,"updatedAt":5987,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":5988,"documentId":5989,"publishedAt":998},1480,"IVER8182.jpg","frosted pocket, 2022, © Sislej Xhafa. 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They are unabashedly vulnerable and weirdly familiar in their hapless quest for intimacy.\u003C\u002Fp>\u003Cp>They know what it is to feel unrequited love and aching longing, to grapple with fragile identities in a world not yet comfortable with its queerness. In the video I kissed the kiss on your girlfriend’s cheek, it was still wet, Zhegrova plunges his artistic persona into a dreamscape of desire. Here he dares to express – and indeed to own – his yearning for a man who doesn’t love men.\u003C\u002Fp>\u003Cp>In Your enthusiasm to tell a story, a series of brightly coloured, human-sized voodoo dolls, the artist looks rather to magic to satisfy his longing. Whereas popular culture versions of voodoo revolve around pins and pain, Zhegrova’s voodoos are all about love. 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