ARTIST PROFILE
- Kosovo (b. 1987 in Ferizaj)
- Currently in Prishtina and Doganaj, Kosovo.
- Visual Artist Arts University Bournemouth UK
CONTACT & LINKS
The importance of being a fairytale
- 2015
- Taxidermy fox, electronic devices, dark room, 100 cm long, 70 cm high Installation view: Tulla Culture Center, Tirana
The question that remains is: which is the fairytale that is so important? The allegory of the powerful sovereign with his paintbrush loaded with pain, or this stuck, lonely fox, projecting two brightly spots on the wall? / Vincent W.J. van Gerven Oei
-
_001.jpg?1530182900)
_001.jpg?1530183485)
_20blackthorn_20branches__20plastic_20grip._20Installation_20view_20Tulla__20Tirana_20-_20Albania_20copy.jpg?1521025382)
_20custom_20made_20shoe__20trousers__20installation_20view_20Tulla__20Tirana_20-_20Albania.jpg?1448531920)
_20traditional_20oriental_20wedding_20music_20instrument__20guitar_20jack__20installation_20view_20Lukas_20Feichtner_20Galerie_20-_202016_001.jpg?1521024995)
_20welded_20bicycles__20plastic_20flower_20pots__20concrete._20Installation_20view_20Dust_20Exhibiton_20Bournemouth_20UK.jpg?1448548763)
10 / 17
Selected Works | 2012 - 2018
_001.jpg?1530182900)
_001.jpg?1530183485)
_20blackthorn_20branches__20plastic_20grip._20Installation_20view_20Tulla__20Tirana_20-_20Albania_20copy.jpg?1521025382)
_20custom_20made_20shoe__20trousers__20installation_20view_20Tulla__20Tirana_20-_20Albania.jpg?1448531920)
_20traditional_20oriental_20wedding_20music_20instrument__20guitar_20jack__20installation_20view_20Lukas_20Feichtner_20Galerie_20-_202016_001.jpg?1521024995)
_20welded_20bicycles__20plastic_20flower_20pots__20concrete._20Installation_20view_20Dust_20Exhibiton_20Bournemouth_20UK.jpg?1448548763)
Selmani approaches the idea of perceived reality by deconstructing formations of social, political and cultural topics that have been embodied around him. At a young age, he was told to worship a country that no longer existed, which caused him to form a basis of scepticism towards any supposedly given reality. He later used this as a beneficial tool to reconstruct his beliefs into visual artefacts. In 1999, old simulacra have been replaced by new simulacra; the ornaments of a previous space have been refurbished in order to unfold with new meanings but also new uncertainties. Selmani confronts himself as a spectator of this “on-going event”, but rather positions himself as an actor, enacting his performances based on his personal histories, beliefs and doubts.