ARTIST PROFILE
- Kosovo (b. 1987 in Ferizaj)
- Currently in Prishtina and Doganaj, Kosovo.
- Visual Artist Arts University Bournemouth UK
CONTACT & LINKS
Archaeology of Capitalism
- 2012
- Digital Photograph
- 12 x 12 cm
- 12x12 cm photographic prints
Selmani conducts an investigation into found objects that were taken from socially shifting landscapes. The photographs subtly focus on artificial structures of everyday life in order to unfold their facts and boost their fictions / Miha Colner
-
_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)
13 / 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 In 1999, old simulacra have been replaced by new simulacra; the ornaments of a previous space have been refurbished in order to unfold with new meanings but also new uncertainties.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.