Summer School as School 2023
The Public Program
August 16, 2023, 20:00

Everything We Do Is Really, Really Brilliant
Presentation by Driton Selmani

Venue: Boxing Club, Mark Isaku 8, 10000 Prishtina, Republic of Kosovo

Abstract

The work starts and delves into the intricate aspects of humanity's position and the weight it carries in an uncertain future. It offers a thought-provoking exploration of our often surprising predictions regarding the consequences of the algorithms we create, while simultaneously disregarding their potential impact on the surrounding environment. Entitled "Everything We Do Is Really, Really, Brilliant," this work emerges as a poignant warning, shedding light on the transformative trajectory of the human species.

Within the installation, the work presents a profound examination of the evolving nature of our relationship with the natural world. It exposes the unsettling shift from a deep-seated fear of nature to an unprecedented desire for control, even extending to the manipulation of nature itself. This narrative unveils a disconcerting truth: the very complexity that defines us as a species also renders us the least accountable for the consequences of our actions.

The centerpiece of this artistic endeavor is a captivating video installation that meticulously documents the powerful current of the Lepenc River, known for being the fastest-flowing river in Kosovo. By a twist of fate, the once pristine clarity of the river becomes obfuscated, serving as a metaphorical catalyst for questioning the future that lies ahead. This visual exploration seamlessly weaves together our collective fantasies and anxieties, converging them into a singular response: as beings situated on the precipice between the human and the divine, we, the human race, bear an immense responsibility for the days yet to come.

It is through this introspective journey that the installation beckons viewers to confront the intricacies of our existence and the implications of our actions. Even the simplest dance of our residual presence in the river assumes a profound significance, resembling a somber and symbolic ritual, perhaps even a final farewell. It emphasizes our deep-rooted connection to the natural world and underscores the weight of our role as custodians of the future. Ultimately, the work transcends its visual and conceptual dimensions, assuming the role of a curatorial vessel that carries the weight of contemplation and self-reflection. It invites viewers to engage in a dialogue with their own complicity in shaping the path ahead, inspiring a renewed sense of responsibility and a heightened awareness of the intricate interplay between humanity, nature, and the divine.

Biography

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 skepticism towards any supposedly given reality. He later used this as a beneficial tool to reconstruct his beliefs into visual artifacts. 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.