ali tamo kuće nemam

The use of symbols (flags, catchphrases, car plates, graffiti art, song lyrics) mediates public discourse on what Kosovo is to Serbia, and this narrative—which is constructed and discriminatory—fabricates a 'hyperreality' that begins to dictate how we act as political agents on behalf of the state. These visual representations produce symbolic exchange and actions which prey on people's emotions and past traumas, failing to grasp the reality on the ground for Albanians and Serbs in Kosovo. The state, pop culture and mass media rather play us in the direction of what to believe, unfazed by the feeling of displacement and alienation that this narrative produces. The artist appropriates, distorts and disintegrates some of these materials that can be found, on Kosovo as the land of the Serbs. By giving oneself the liberty to engage with these symbols and create new variations and meanings out of them, she reclaims autonomy on this discourse. Mimicking internet phenomena such as 'meaningwave' and 'core core' and drawing from Baudrillad's theory of the four stages of the sign, the work focuses on the use of symbolic language and how it comes to produce a real, tangible effect.