Deborah Schamoni

The works of Flaka Haliti captivate through their lightness and the artist’s ability to give political conditions a poetic form. With Every Window Thinks of Itself as Being an Opening, Haliti draws on a line from Etel Adnan’s poetry collection Sea and Fog (2012), making it the title of the installation she has conceived for the museum’s glass hall. For this new production, Haliti uses remnants of windows taken from a military hangar that once belonged to the Kosovo Force (KFOR) base in her homeland of Kosovo, today the site of the cultural institution Autostrada Biennale Hangar. The material of the eight monumental light panels is marked by decades of exposure to sunlight: their iridescent patterns make them appear like archaeological artifacts. Inserted into shimmering silver steel beams, they read simultaneously as enigmatic objects from another world. Haliti’s works invite us to reconsider the aesthetics of militarization, its pervasive presence, and its social consequences. In times of escalating tensions across Europe, her work could hardly be more timely.

Curated by Stephanie Eul