The two-day conference / 23-24 July 2016 / Prizren / Kosova

The two-day conference “Contemporary Past. Historical future.” is the first step toward the Contemporary art biennale, that is going to be held on September 2017, in Prizren, Kosova. “Contemporary past. Historical future”, gathers selected artists, curators, gallerists, collectors, lecturer, and heads of cultural institutions, in a panel that aims to address cultural issues through art, political and economic perspectives. Inspired by today's changing world and it is initiated in order to take advantage and expand upon the increased artistic exchange and practice. Through a spirit of cooperation Autostrada Biennale seeks to awaken Kosova’s, region, creative energy and beyond. Collaboration between different experiences, questioning the problems and difficulties of the contemporary world is a groundbreaking of aspect of art today. It challenges and exchanges collaboration.

Session series organized under the "Contemporary past. Historical future" conference carries an effort to understand the role of art in ongoing social, political and economical activities in the contemporary world.

Is it possible to interpret the past with a contemporary reading? "Contemporary past. Historical future" can be presented as an attempt to read the story inside, with the help of multiple opinions, by pushing aside the uniformity of impossibility.

Often it is said that the past shapes the future. Always the obscurity of the future has been tried to be solved by investigating the past. But the future is in the future; it cannot be edited, predicted or even designed. The past is always presented as an historical section. And the future as a reflection of contemporaneity… But, can there be an opportunity to investigate the past with a contemporary view?

Reducing this polyphony to monotony means to fall into the mistakes of classical historicist readings; What the conferences and the biennale aims to do, is trying to add new sounds to the existing polyphony and to make possible to look at the historical readings by many different perspectives, with people from different disciplines. Rather than changing the city; it will be meaningful to discuss the necessity of the biennale to the city, by creating a rift in the temporal progression to see what is happening in our day and how relationships are being carried on.

Conference is aiming to contribute on thinking things again and again and giving opportunity to the past events to recreate themselves by their own expressions, by refusing to refuge to the way drawn before (methods). In this way, minor readings might be guide instead of major discourses. Leaving aside the duality of thoughts, it would be meaningful to discuss the cases on the horizontal plane; discussing on what can be done in the city by rescuing it from the stereotyped hierarchy. Effects of everyday experiences flowing from Prizren’s old and ruined houses, industrial zones which were important for the cities memory, factories which contributed to the development of the city, growing and uniformizing apartments windows are the lines that are going to be discussed.

Conference aims to create ideas about opportunities of joyful reading (with the help of the presents dynamism) and to make speeches about possible readings; without editing the future and without seeing the past as a standing mass. The biennale aims to talk about multi-layered phenomenon’s by people who deals from different disciplines; unsubstantially and randomly circulating rumors, silent whispers, events appearing and disappearing like a firefly, briefly screams of the ignored history which brought the city to our day.

Can a building be structured by using the cities multiculturalism and its architectural texture, while looking for an answer to the positives and negatives of the biennale to the city; in the globalized world where the art market is transformed to a great market consuming itself?

What is the luck of the city and the biennale when we consider their relationship between art and money, and insufficient number of exhibition venues? Is it possible to build a unique space by using cities positive atmosphere and without leaving things to luck? Is it possible to bring biennale to an attractive status; by constructing the city as an open-air display, by giving invitation to the unknown places behind hidden doors which could be opened by chasing the whispers?


Ali Akay / Ana Frangovska/ Anna Smolak / Edmond Hajrizi / Gëzim Paqarizi / Gregor Podnar / Iara Boubnova / Klod Dedja / Miran Mohar/ Nikolett Erőss/ Olson Lamaj / Osman Arayici / Petrit Halilaj / Sezgin Boynik / Sislej Xhafa/ Shkelzen Maliqi / Yehuda Safran / Zdenka Badovinac


Eliza Hoxha / Hajrulla Çeku / Rubin Beqo / Stefano Romano