INFRARED ART Residency, is developed based on the nature of infrared light which is generally invisible to the human eye, but that can be felt as heat, and which can only be seen under certain conditions and with special equipment. In the same line of thought, the methodology of Infrared Art Residency is to identify community and human rights issues using “special” tools such as arts to see and tackle such issues. INFRARED through artistic residences aims to establish a public dialogue on certain issues by contributing to raising the critical thinking level of young artists on how to use art as a tool to act.


Infrared Exhibition: Given

Curator: Blerta Hoçia

Given: 1) The fenced area, 2) The weeds * - A small oasis of shrubs and herbs, the only ones that can resist the advanced degradation of this piece of city turned into nature.
It is in the nature of concrete to reveal the human and in the nature of herbs to grow everywhere. A new ecosystem created within this neglected bubble, waiting to become fruitful again in the urban metamorphoses. The long wait has resulted in some red bricks randomly compacted with each other, a bare wall that changes hue, pink, mint in pebbles and dirty white.

If we could see the earth outside of human influence, this small place could represent an idea of ​​the macrocosm of reality, as if it were a frozen space-time in the thousands of years of human development history, hiding from the beginning the potential of self-destructive human. Its toxic traces are documented throughout the current geological era where the anthropocentric vision for the environment and the terrestrial prevails.
A vision of nature as something foreign, outside the self. As something that can be domesticated according to arrogance. Anything that is not human can be in the service of human benefit. Is nature something given? Is nature a concept invented by humans, and consequently everything in it exists only in the form of human perception excluding its being an independent entity?
"The ecological value of the term nature is dangerously overrated , because Nature isn‘t just a term – it‘s something that happened to human-built space, demarcating human systems from Earth systems. Nature as such is a twelve-thousand-year-old human product, geological as well as discursive." (T.M Dark Ecology). As the philosopher Timothy Morton argues in Dark Ecology, nature thus understood, expresses an agrologistic approach to living, and consequently results in a view that excludes all views that are not human. Well, the weeds or shrubs mentioned above exist only in the dimension of our perception on these herbs or these shrubs. The agrologistic vision is the same of the first people who turned from gatherer- hunters to farmers - agronomists.
Human for human is a self-destructive formula. The vision we have of nature is that of boundaries, and the preferred way of existence of this system is to domesticate every non-human life forms, deepening the dividing line between humans and nature.
"Nature is best imagined as feudal societies imagined it, a pleasingly harmonious periodic cycling embodied in the cycle of the seasons, enabling regular, anxiety-free prediction of the future." (T.M 2016).
But this supposed lack of anxiety, its denial, is paradoxically what makes it (anxiety) ubiquitous in modern societies. The given nature carries within itself the ambiguity of the term, human nature, the nature of earth, the unnatural nature and so on. What is given resembles a mass of information which adds to the confusion. In the exhibited works they take the form of utopian or dystopian imaginations by exploring what is given and where it stands, the exact coordinates of the concept of nature. Clearly the title is a reference to the mysterious work of Duchamp Étant donnés: 1 ° La chute d'eau / 2 ° Le gaz d'éclairage, where through data 1) and 2) it is required to elaborate and discover an equation by transforming the visitor to a voyeur who sees the work through peepholes installed in it.
Turning into voyeur in the face of problems (data disclosure or equation discovery) is also characteristic and an integral part of our reality. And then the solitary gesture of the Duchamp visitor is multiplied and repeated in the endless loop of contemporary redeemed living. A familiar and foreign gesture at the same time, performed with anxiety in the cyclicality of the voyeuristic gaze towards ecological catastrophe.


* 𝘎𝘪𝘷𝘦𝘯: 1. 𝘛𝘩𝘦 𝘞𝘢𝘵𝘦𝘳𝘧𝘢𝘭𝘭, 2. 𝘛𝘩𝘦 𝘐𝘭𝘭𝘶𝘮𝘪𝘯𝘢𝘵𝘪𝘯𝘨 𝘎𝘢𝘴, 𝘔𝘢𝘳𝘤𝘦𝘭 𝘋𝘶𝘤𝘩𝘢𝘮𝘱 1946-1966


The second edition of INFRARED addresses pressing environmental issues by using art as a form to tackle these issues. Artists from Kosovo, Albania and Malta were part of Art Residency where they developed concepts and art works that can be seen in the INFRARED Exhibition.


𝗧𝗵𝗲 𝗘𝘅𝗵𝗶𝗯𝗶𝘁𝗶𝗼𝗻 𝘄𝗶𝗹𝗹 𝗯𝗲 𝗼𝗽𝗲𝗻 𝗳𝗼𝗿 𝘁𝗵𝗿𝗲𝗲 𝗱𝗮𝘆𝘀 8-9-10 December 2020, 𝗳𝗿𝗼𝗺 𝟭𝟭:𝟬𝟬– 𝟭𝟴:𝟬𝟬.

𝗟𝗼𝗰𝗮𝘁𝗶𝗼𝗻: 𝗦𝘁. 𝗠𝗶𝗴𝗷𝗲𝗻𝗶, 𝗻𝗼.𝟭𝟳, 𝗣𝗿𝗶𝘀𝗵𝘁𝗶𝗻𝗮 (𝗼𝗽𝗲𝗻 𝗮𝗶𝗿 𝗰𝗶𝗻𝗲𝗺𝗮 𝗼𝗳 𝗞𝗶𝗻𝗼 𝗥𝗶𝗻𝗶𝗮)


𝗣𝗮𝗿𝘁𝗶𝗰𝗶𝗽𝗮𝘁𝗶𝗻𝗴 𝗮𝗿𝘁𝗶𝘀𝘁𝘀:

Abi Shehu; Berat Bajrami; Bib Frrokaj; Bobb Attard; Laureta Hajrullahu; Lori Lako; Lumturie Krasniqi; Yll Xhaferi

Call for application


Today, in the light of the disturbing events we are all living through, it is important to speak and understand correctly the ecology and the environment in which we live. Environmental issues have not ceased to be important since romantics of the XVIII century with their call for return to nature, emphasized the industrialization of the world and rightly predicted the consequences of the industrial system of mass production which required uncontrolled growth of energy using fossil fuels. The future then is our history. The consequences of this philosophy of production, profit and exploitation are clearly seen and they weigh heavily from now until the breath of the most exposed classes and categories on the periphery of the world and decision-making. 

We have reached a point where emergency is the normality. It is true that we are trying to turn our heads back one more time to nature, with the difference now that it is no longer there, nature as we have conceived it does not exist anymore, and it took something as simple as a virus to remind us what we knew; that the earth and the environment are alive, we are organisms within other organisms, and the place where we breathe is the organism with which we live without clear boundaries separating each other (queer ecology theory). We need to be aware that the inside and outside does not exist. If they were true as concepts, then a virus or something else would not be able to infect and reproduce endlessly in living beings. Biological boundaries like geographical ones are constructs of the mind, everything has been and is interconnected.

The second edition of the INFRARED Art Residency comes with an open call dedicated to pressing environmental issues. It is essential to be able to share and testify each person's intimate experience. Considering the number of population per square meter, Kosovo is one of those developing countries with very high levels of polluted air, also with a significant shortage of waste management, the use of sustainable energy technologies and a high concentration of the most sensitive social categories in extreme difficulty. This situation is answered by an insincere awareness that denies and pukes the problem constantly.

The reality, precisely which we avoid, consists of microscopic grains of poisons and plastics, the fact that we are unable to see it with the naked eye does not mean that it is less dangerous.


INFRARED Art Residency has been developed based on the nature of the Infrared light which is generally invisible to the human eye, but that can be felt as heat and can only be seen under certain circumstances with special equipment. In the same line of thought, the methodology of Infrared Art Residency aims to identify different issues each year that concern the community. Therefore, INFRARED is also a thematic residency that includes all types of approaches, for the purpose of residence beyond artistic development. In this way INFRARED through artistic residencies aims to create a public dialogue on certain issues.

The second edition of INFRARED will address topics related to pressing environmental issues using art as a form to tackle and address such issues. Artists of all genders are invited to contribute to the topic of pressing environmental issues.

16 participants will be selected to be part of the 5-day program within the residency which will be held at the beginning of July, while 8 of them will be selected to be part of the INFRARED Art Residency. The residency will be held during September-October, offering the opportunity for an open space studio in Prishtina for those who will be selected. They will be supported to produce an artwork and they will be part of the collective exhibition after the residence.

Alongside the residency program, artists will continue to work individually, explore and realize their concepts independently. For this INFRARED runs a one-to-one mentoring scheme, as an optional add-on to the residency program. The process until the final realization of the works is overviewed by the mentor and curator of the exhibition Blerta Hoçia.


About the curator

Blerta Hoçia (1984 Tiranë) is an artist and curator from Albania, living in Pristina.

She completed her degree in Painting Techniques at the Academy of Florence, Italy. Previously she was curator at Miza Gallery, an artist-run space in Tirana and Head of the Archive at Marubi National Museum of Photography.

She has curated several exhibitions among them, SOFT MEAL Miza Gallery (2015), LONG LIVE Marubi Museum (2017), ONCE UPON A TIME AND NEVER AGAIN Humanitarian Law Center Kosovo (2019) OPEN CITY Nuit Blanche Prizren (2019)

She is an artist with several personal and collective exhibitions.

Her solo exhibitions include THE DEMIURGE, Siena Italy (2012), IN THE ABSENCE OF EXTERNAL FORCES DO NOT POSSESS MY OWN FORM Magma Florence, Italy (2013) and I THOUGHT OF YOU SO HARD Zeta Galeri, Tiranë (2016). She has participated in numerous collective exhibitions and art fairs, among them EMERGENZ, Berlin (2013), SUPERMARKET Stockholm (2015), PARALLEL VIENNA (2017), ARDHJE, Tiranë (2014, 2019) and MUSLIM MULLIQI PRIZE, Prishtinë (2018).

 In her artistic practice she focuses on the creative process of memory, how we deal with it in the intimate and as a society. Her work tends to create an ideal dialogue with the past. She works with personal archives as well as with digital or analog public archives.


Who can apply?

Shtatëmbëdhjetë is dedicated to bringing together artists of all genders and backgrounds, groups and collectives from all over Kosovo. We welcome applications from artists working in a wide range of creative disciplines, including: animation, architecture, performing arts, visual arts, design, dramaturgy, film, photography, literature, new media, music, performance, painting, ceramics, sculpture, print, textile, dance, video art, drawing and those who practice a range of creative disciplines. The residency is suited towards creative individuals, groups, collectives at various stages in their careers - up to the age of 30.


How can you become part of the INFRARED Art Residency?

To become part of the INFRARED Residency, you must complete the online application form and attach the accompanying documents in the form by June 1, 2020.

For questions related to the residency and application form you can write to us at


INFRARED on pressing environmental issues project is implemented by Foundation Shtatëmbëdhjetë and is financially supported by Prince Claus Fund and Goethe-Institut.


Curator: Blerta Hoçia

Looking at nature for a moment and the way it operates, we notice that there are some invisible, as well as temporary and permanent habitats. They are as extensions to the building and this is why probably they are not immediately recognized. In the case of nests - these bird habitats- the intervention is of exquisite delicacy.
According to French philosopher Gaston Bachelard “a nest – and this we immediately understand – is something temporary, but still makes us dream of safety. Why this uncertainty that is clearly evident does not stop this kind of dreaming?


" The word nest itself suggests something warm, protected and safe, and something protected and safe is thought to be also well hidden.

All of these characteristics that are met with the concept of nest. It is there, easily accessible but at the same time invisible to the inattentive eye. So the nests remain something that is added to another space without being noticed, under the same spirit of invisibleness with which are transformed also city spaces.This exhibition unfolds in a form of intervention in a space, respectively in spaces that are habitats or business places. Spaces that, as often happens in our cities, are small or big additions being attached to those already existing in a nightmare of habitats of real survival or of construction greed. Over time, these spaces with the physiognomy of temporary have been so well assimilated by the city that they have become invisible and irrevocably permanent.Our intervention consists in identifying those spaces that are significantly redundant. These sites will be transformed, during the intervention time, into exhibition spaces giving the artists of this and the upcoming editions of residency the opportunity to explore those parts of the added city. Isn't life itself perceived in it as excessive, overburdened and out of breath?The works of young artists who are placed in nests - additions, address precisely these themes and above all they can be seen as a manifestation of the right to exist, where the temporary and permanent lay in the lap of the struggle for survival. They interact within the fabricated settlement that is exploding from the tension of opposition and the result of this explosion is a big bang of buildings, illegal additions and appropriated public spaces.



Shtatëmbëdhjetë is pleased to announce the call for participation for the first edition of INFRARED Art Residency.

INFRARED Art Residency is a short term thematic residency that encompasses all sorts of approaches, for the purpose of the residency beyond artistic development. Young artists of all genders are invited to contribute to the theme of: social inclusion, human rights and community issues. The residency is laid out in the format of multi-day workshops, work sessions, talks and discussions. The format of the training residency will allow artists to identify a theme, work on the idea and conceptualization phase under the guidance of the mentors. Conceptualized works will be supported to be presented/ exhibited at the going local artistic intervention.

Alongside the residency program, young artists will continue working individually and explore their ideas independently. INFRARED also runs a one-to-one mentoring scheme, as an optional add-on to the residency program.

Who can apply?

Shtatëmbëdhjetë is committed to bringing together young artists of all genders and backgrounds up to the age of 29 from around Kosovo. We welcome applications from artists working in a wide range of creative disciplines, including: animation, architecture, ceramics, dance, design, drawing, film making, literature, music, new media painting, performing arts, photography, playwriting, printmaking, sculpture, sound art, textile art, video art, visual arts and those who practice a range of creative disciplines. The residency is suited towards creative individuals at various stages in their careers – up to the age of 29.

How to apply?

If you are interested in applying to INFRARED, please fill in the form below.Deadline for application: 30 October 2019


This grant is funded by the project ‘Luxembourg support for Civil Society in Kosovo’, financed by the Government of the Grand Duchy of Luxembourg and managed by Kosovar Civil Society Foundation (KCSF).This project is also supported by the Culture for Change program that is funded and managed by the European Union and is implemented by Qendra Multimedia and Goethe Institute.

Henrik Bariç no.5, Pristina Kosovo 10000

00383 49 170 078

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