Either Fortress Hohensalzburg (on site) or online
What to bring
Laptop/tablet with camera and microphone, pens, brushes, or any other working/archival material.
Maximum number of participants
Participation fee € 860,– (reduced € 620,–)
Does hybrid material, as an undefined entity, carry enough agency to challenge a space, an audience, or any spatial encounter within a given environment? And if so, does it readily allow room for an equal right and a place for representation in any specified historical context? We will attempt to answer this question through using mixed media – across drawing, painting, photography and digital collage, right up to sculpture and performative spatial installation.
From this perspective, a sustained practice of queer methodology, as an interdisciplinary spatial form of expression, will seek to overwhelm all category definitions of art forms, to open up enough room for interpretation, for speculative "negative space" containing something which can (then) be offered to others as a new aesthetic experience.
The course, as fusion, encourages students to work not only aesthetically but also conceptually in adapting different political strategies, operating towards spatial relational rather than conditional modes of framing a production. Moreover, through group working and research, the course will explore, critically and practically, methods of rearrangement, appropriation, collage and other means of visual abstraction – as a way to find a language resistant to normative spatial demands, and to challenge the relation between object and subject within existing boundaries and conditions in a democratic domain.
"In-betweenness", as a "negative space" of being, enables one to resist and to navigate through different spatial and prescriptive demands – either by reacting/responding to it or by refusing to do so. Such an approach is a way of detouring, where the existing modes of visual production and knowledge can become fluid, and are therefore still susceptible to re-articulation and re-transformation.
In one-on-one and group meetings, we will investigate and discuss the idea of negativity as a method of resisting normative spatial demands that challenge the relation between object and subject, needs and desires. Also, in a diverse group of participants we will actively create time and space for this process to take place, enabling collective desires and understanding to grow, diminish or transform, taking democracy as a basic means of education.
Flaka Haliti’s artistic practice includes mixed media, sculpture, and spatial installation with a decidedly site-specific approach. Appropriation and rearrangement are continuous lines in her works, whereby new aesthetic patterns are created. Haliti emphasizes altered perceptions on a visual level as well as in conceptual methods, to engage in political reflection and geopolitical preoccupations. Mediated by the sensory and by visual fields, territorial boundaries and powers – such as national borders or the dispositions of associations like the UN or the European Union – are brought to negotiation. Importantly, her works steadily confront the languages of identity-construction in order to transcend its categorisations of gender or nationality while introducing detour as a game-plan of resistance. Occupying in-between states, Haliti furthermore challenges humanist perspectives and authority, over-representation and abstraction – not only on a visual level, but also in a conceptual approach through political strategies. Her practice operates as a dialogue between the notions of abrogation and appropriation – the one rejecting the standard and demands of systematic order, and the other making an adaptation of it. The result is the opening of a field for counter-poetics as an ongoing "in-betweenness" inside a dialectical performative space.
2021 Flaka Haliti, Kunstverein Friedrichshafen, Friedrichshafen (DE). WIND, Opernatelier, commissioned by Kunsthaus Bregenz and Bregenzer Festspiele, Bregenz (AT). Billboard Kunstinsel Lenbachplatz, commissioned by the Culture Department of the City of Munich, Munich (DE). 2020Watchu expect me to do when I lose my cool, Deborah Schamoni, Munich. 2018 Here – or Rather There, Is Over There, Kunsthaus Hamburg, Hamburg (DE); Kunsthalle Lingen, Lingen (DE); National Gallery of Arts, Tirana. 2016 My Gravity Slipped Away, S.A.L.T.S., Kunstverein Birsfelden, Basel (CH); 2015, Pavilion of Kosovo, 56. La Biennale die Venezia, Venice (IT). 2014 See a Face. Do You See A Face., mumok, Museum of Modern Art, Vienna.
Group exhibitions 2022 BREATHLESS, The Power Plant Contemporary Art Gallery, Toronto (CA) (upcoming). 2021Endless Express, EUROPALIA International, Brussels (upcoming). What If a Journey..., Autostrada Biennale, Prizren, Kosovo. The Endless Frontier, Baltic Triennial, Contemporary Art Centre, Vilnius. 2020 HURRICANES AND OTHER CATASTROPHES. Museum Lenbachhaus Munich. The clouds and the cloud, Museum für Gegenwartskunst Siegen, Siegen (DE). 2019 Shortlist exhibition of the Preis der Nationalgalerie 2019, Hamburger Bahnhof – Museum für Gegenwart, Berlin. HERE AND NOW, Transcorporealities, Museum Ludwig, Cologne (DE). 40,000, Small Sculpture Triennial, Fellbach (DE). 2018 Busan Biennale, Busan (KR). Symptoms of Society I, Guangdong Museum of Art, Guangdong (CN); Zhejiang (CN). 2016Political Populism, Kunsthalle Wien, Vienna. 2015 HOW TO GATHER?, 6th Moscow Biennale, Moscow.
Since 2013 PhD in Practice Program at the Academy of Fine Arts, Vienna. 2012-2013 Meisterschülerin, Städelschule, Frankfurt am Main (DE). 2008-2012 Städelschule, Prof. Judith Hopf, Frankfurt am Main (DE). 2002-2006 Bachelor in Graphic at the Faculty of Arts Pristina University, Pristina.
Teaching experience 2021Spatial Hijacks by Sculpture, course at: Salzburg International Summer Academy of Fine Arts.