![]() The establishment of a new contemporary art museum with a post-1990s collection is currently awaiting parliamentary approval. ![]() According to a rather bombastic survey carried out by the nomadic biennial, the 2022 edition welcomed over 800,000 visitors, mostly local, and the Ministry of Culture has since announced the acquisition of 14 works created for the occasion, destined for the National Gallery of Kosovo, which is currently hosting a passionately researched Violeta Xhaferi retrospective, curated by Hana Halilaj. When Manifesta 14 descended upon Kosovo last year, contemporary art in the country experienced a turbocharged expansion. Courtesy: Autostrada Biennale photo: Tuğhan Anıt Both works, which speak of restorative imaginaries, organic growth and cyclicality, are continuations of projects created by the artists for the previous iteration of the biennale, which this year takes place in Prizren, Prishtina and Mitrovica with 17 new commissions.Īgnes Denes, Sunflower Fields, 2021–ongoing, installation view. This monumental installation, Who Speaks from the Dust, Who Looks from the Clay (2023), by Hera Büyüktaşçıyanm glows next to Sunflower Fields (2021–ongoing) by Agnes Denes, whose yellow petals are springing up at their own quiet speed around the building. Five streams of blue construction netting gush out from the openings of the former Brick Factory, as if to irrigate its deserted esplanade. It’s been two years since my last trip to Kosovo – I’ve returned for the opening of Autostrada Biennale. It’s noon and the sun is fierce in Prishtina.
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