Follow the exhibition along the Lumbardhi River through the city of Prizren. It spreads along that murmuring line, embedded in traditional and new houses, rooftops, river banks, alleyways, workshops, and removed monuments. Half-built buildings, invisible holes and everyday traps reveal themselves—rather than being signs of failure, they are an invitation for a necessary reciprocity, a critical search for incompleteness, dense moments where intimacy and infrastructure meet. Because what can continue to grow is what’s organically unfinished. And what is finished in the course of progress is generally exhausted.

In our first research trip to Prizren in the fall of 2020, we listened to stories in need of being heard: from artists, organizers, food ethnologists, a Romani activist, a heritage conservator, an urban sociologist, and a philosopher, among many others. The exhibition is our response to those stories, a proposal for a conversation between a host and a guest, where two ends of a road meet, connecting the local and the diasporic.

As you walk further down the river you will come across artworks about ruptures, unfinished plans, erased histories, sudden arrivals, and delayed departures; you will interact with pipes and tracks, fragments of desires and ways of maintaining life, with the way we build infrastructure and infrastructure builds us.