Abstract
"The Then and There" is a dialogue between artist Flaka Haliti and architect Markus Miessen, published in MaHKUscript. Journal of Fine Art Research in 2016. The conversation delves into Haliti's artistic practice, exploring themes of political engagement, personal identity, and the influence of her Kosovar background on her work. Haliti emphasizes her approach of responding to provocations rather than initiating them, aiming to intervene in historical conditions that shape her life. The dialogue also touches upon the male-dominated art scene in Kosovo, the longing for Western recognition, and Haliti's representation of Kosovo at the Venice Biennale. Throughout, Haliti reflects on the balance between personal narrative and broader political contexts in her art, striving to challenge prevailing aesthetics and open up comprehensive readings of her narratives.
Key Questions About "The Then and There" by Flaka Haliti and Markus Miessen
1. What is the main focus of "The Then and There" dialogue?
The dialogue explores Flaka Haliti's artistic practice, discussing her responses to political provocations, the influence of her Kosovar background, and her approach to integrating personal identity with broader political themes in her art.
2. How does Flaka Haliti view the relationship between personal identity and political engagement in her work?
Haliti emphasizes that while she does not intentionally create political art, she responds to provocations that affect her personally, aiming to intervene in historical conditions and influence change through her artistic practice.
3. What challenges does Haliti identify in the Kosovar art scene?
Haliti notes that the Kosovar art scene has been predominantly male-dominated and lacks a formal art system or market. However, she observes that this is gradually changing, with more recognition being granted to female artists.
4. How does Haliti's participation in the Venice Biennale relate to her artistic approach?
Representing Kosovo at the Venice Biennale, Haliti aimed to challenge prevailing aesthetics associated with Eastern European artists by creating work that departs from local discourse and opens up to a global context, allowing for broader interpretations.
5. What is Haliti's perspective on the influence of Western recognition in Kosovar culture?
Haliti expresses a desire to focus less on the longing for Western recognition, instead concentrating on developing her practice in a way that challenges existing narratives and contributes to the evolving art scene in Kosovo.
