"Parking" for a fresh start in AUTOSTRADA BIENNALE
Prizren hosted precursor events of AUTOSTRADA BIENNALE - International Biennale of Contemporary Art.
As an innovative highway, the first of its kind in Kosovo and region, Autostrada Biennale aims to awaken the creative energy of artists, challenging and encouraging cooperation. This organization represents a new platform for artistic projects, introducing Prizren on the map of contemporary art.
One of the selected areas was "Parking", a public parking, three floors below ground, that metaphorically represents a current state of stoppage, with the aim of a fresh start of various contemporary projects within the Biennale.
This gallery-parking, for one night was turned into a highly provocative space, as a public tension that grows slowly to propose new forms of communication through emergency arts and old conventional artistic structures in the Balkans. For 5 hours in a row, different presentations of artists were made, whose works are based on social perceptions.
The artists brought personal research pieces through performances: “Koncert në vitin 2014”- video art by Coony Karlsson Lundgren (Sweden), “Project which is not a project” by Obssesive Possessive Aggression-OPA (Macedonia), sculpture performance “New Life” by Ozan Unal (Turkey), video installation ‘’Reflektimi i karakterit” by Agron Blakçori (Kosova), installation performance “Movements: white” by Sanja Latinovic and Ranko Djankovic (Serbia), video installation “Reflexion” by Shpend Havolli (Kosova), performance “Between” by Boban Anastasi (Albania) as well as works “Post Fata Resurgo” and “Histeri removing” by Dy Zero Tre - Stefano Romano (Italy).
“The exhibition space is not common, and I feel that is a very progressive event that is changing. It's a double feeling and it is really interesting,” said Swedish artist, Conny Karlsson Lundgren, who through his works shed light on the boundaries between social, political and private identities.
“Parking”, that was intended to show that art always starts from zero, was conducted with curatorial partner M.A.M. Foundation, curator Klod Dedja.