memory. culture. art.
Flaka Haliti

Flaka Haliti was born in 1982 in Prishtina. She graduated in 2005 on the “Faculty of Arts” at the University of Prishtina. In 2007/08 she worked as a guest teacher on “esthetics of space” at the Department of Architecture at the University of Prishtina. Currently she is a student at the Städelschule in Frankfurt/Main.

Selected Exhibitions:
Balls!Balls!Balls!, Stacion Center for Contemporary Art, Prishtina 2008
Winners/Losers, Our death/Other’s dinner, Stacion Center for Contemporary Art, Prishtina 2007

Selected collective exhibitions:
My Balls, Brussels Biennale -1, 2008/2009
Plazma, Siemens ArtLab, Vienna 2008
Pavarsia, National Gallery, Tirana, 2007
Pa Titull, NoD Gallery Prague, 2007
Kosovar Artists are the Avangarde of _________, Sparwasser HQ, Berlin, 2007
Prishtina Sounds (Audio Installation), National Museum of Kosova, 2006
Akademy REMIX, Portikus, Frankfurt am Main, 2005

Flaka Haliti on her work “Our death/Other’s dinner”:
It sounds only like a phrase in our place, but it is much more than that. It is a moment when Albanian families get together again, bringing back the social and traditional solidarity, but unfortunately even this time it is about a tragic moment for someone. For centuries within Albanian families, during the occasion of death and mourning, relatives would bring lunch and the others would bring dinner prepared in their homes to the bereaved house to share the pain.

Now we have a different case: this phrase is transferred into the opposite connotation of what it was used for before. With a totally new dimension, it is used as a title for an art creation with a totally different concept. “Should the victim get victimized for the second time if it is used as a concept for an artistic creation?”- is the question which is going to be raised through this video art. Each time we have visited an exhibition we have seen photos of victims, dead bodies of different ages or sculptures with blood stains on the clothes and remains which symbolized a massacred person, or we have heard a song which was dedicated to a victim who became a hero. How fair is that?! What is the reason that makes an artist to do so? Are there always positive intentions to honor the victim and relatives in order to bring them to a higher position, or without consciousness the artist comes to a point of victimizing the victim for the second time and offends ones relatives by giving them even a commercial dimension?! Now the proverb “Our death, Others’ dinner” is used as a metaphor, which shows that the one who cooks the dinner for misfortune of the other, in this case is the artist.

As a response to the raised question “Should the victim get victimized for the second time if it is used as a concept for an artistic creation?” I am exploring the social misunderstandings in the discourse of the victims and missing persons of the last war. I based the work on the tension between two “citations”, a video clip of a song from a rock band in Prishtina, “Jericho”, and a debate among the family members of victims the aforementioned song is about. Is it ethical to use the victims as a concept for an art piece, and where is the border for such an abuse in this case and other cases in art work? Considering the fact that the victims are in most cases misused in the context of everyday political life or they serve as a potential alibi for future wars, this video shows a sincere feeling of sadness for the missing.