Doruntina Kastrati (b. 1991, Prishtina) is an artist working mainly across sculpture, installation and moving image. Through her practice, Doruntina researches and focuses on the body and its relationship to biopolitical power. Specifically, she directs one’s attention to social and political issues of labor in the global context. In 2014, she was awarded the Young Visual Artist Award from the National Gallery of Kosovo, and she won the Hajde x 6 Award from the Hajde Foundation in 2017. She was a resident at the International Studio and Curatorial Program (ISCP) in New York in 2015, a resident at Art House in Shkodër in 2018 and at Initiators in Athens in 2018. Her work was recently shown at Manifesta 14, Pristina (2022); Life without buildings at ETH Zurich, curated by Adam Szymczyk with Elena Bally (2022), Autostrada Biennale, curated by Övül Ö. Durmuşoğlu and Joanna Warsza, Prizren (2021); “Bigger than Myself – Heroic Voices from ex Yugoslavia”, MAXXI Museum, Rome (2021); “Not Fully Human, Not Human at All” at Kadist Foundation, Paris (2021); “Tirana Patience”, National Gallery of Arts in Tirana (2020); “Public Heroes and Secrets”, curated by Hana Halilaj, The National Museum of Kosovo (2020), among others. She is representing the Kosovo Pavilion with her new sculptural and audio installation titled “The Echoing Silences of Metal and Skin”, for which she earned the Special Mention as National Participation to the 60th Venice Biennale.
Doruntina Kastrati (b. 1991, Prishtina) is an artist working mainly across sculpture, installation and moving image. Through her practice, Doruntina researches and focuses on the body and its relationship to biopolitical power. Specifically, she directs one’s attention to social and political issues of labor in the global context. In 2014, she was awarded the Young Visual Artist Award from the National Gallery of Kosovo, and she won the Hajde x 6 Award from the Hajde Foundation in 2017. She was a resident at the International Studio and Curatorial Program (ISCP) in New York in 2015, a resident at Art House in Shkodër in 2018 and at Initiators in Athens in 2018. Her work was recently shown at Manifesta 14, Pristina (2022); Life without buildings at ETH Zurich, curated by Adam Szymczyk with Elena Bally (2022), Autostrada Biennale, curated by Övül Ö. Durmuşoğlu and Joanna Warsza, Prizren (2021); “Bigger than Myself – Heroic Voices from ex Yugoslavia”, MAXXI Museum, Rome (2021); “Not Fully Human, Not Human at All” at Kadist Foundation, Paris (2021); “Tirana Patience”, National Gallery of Arts in Tirana (2020); “Public Heroes and Secrets”, curated by Hana Halilaj, The National Museum of Kosovo (2020), among others. She is representing the Kosovo Pavilion with her new sculptural and audio installation titled “The Echoing Silences of Metal and Skin”, for which she earned the Special Mention as National Participation to the 60th Venice Biennale.
SOLO EXHIBITIONS
| 2024 | The Echoing Silences of Metal and Skin, Kosovo Pavillion, Venice Biennale 2024 |
| 2023 | A picture of pistachios destroying the railroad tracks to cut off the path of delights, Eugster || Belgrade, Belgrade |
| 2021 | HERE (AIR CARRIES POISON BUT YET WE BREATHE), ChertLüdde, Berlin |
| 2020 | Public Heroes and Secrets, curated by Hana Halilaj, The National Museum of Kosovo, Pristina |
| 2017 | Red Landscape, curated by Vala Osmani, Stacion Center for Contemporary Art, Pristina |
GROUP EXHIBITIONS
| 2024 | But you, yourself, with your own hand must open this door, Westfälischer Kunstverein, Münster, Germany |
| 2023 | Liste Art Fair Basel |
| 2022 | Life, Without Buildings, curated by Adam Szymczyk, ETH Zurich TEMEL, curated by Hana Halilaj, Hessel Museum, New York It matters what worlds world worlds. How to tell stories otherwise, Manifesta 14, Pristina Art at Work, Moderna Galerija, curated by Zdenka Badovinac, Ljubljana |
| 2021 | Bigger than Myself. Heroic Voices from ex-Yugoslavia, curated by Zendka Badovinac, MAXXI – National Museum of 21st Century Art, Rome What if a Journey… curated by Joanna Warsza and Övül Ö. Durmusoglu, Autostrada Biennale, Prizren |
| 2020 | Not fully human, not human at all, curated by Natasa Petresin-Bachelez, Kunstverein Hamburg Not fully human, not human at all, curated by Natasa Petresin-Bachelez, KADIST Paris |
| 2019 | Long Distance Relationship, curated by Tadeo Kohan and Gabrielle Boder, Collectif Détente, Geneva Tirana Patience, curated by Natasa Ilic and Adam Szymczyk, The National Gallery of Arts, Tirana |
| 2018 | Untitled 2018, curated by Anne Langlois and Beniut- Marie Moriceau, Archaeological Museum, Elefsina |
| 2017 | The Future of Borders, curated by Manray Hsu, Autostrada Biennale, Prizren |
| 2014 | Young Visual Artist Award, curated by Erzen Shkololli, National Gallery of Kosovo, Pristina |
RESIDENCIES
| 2018 | Initiators – Athens, Greece Who Cares About Art – Art House, Shkodër |
| 2015 | ISCP – International Studio and Curatorial Program, New York |
BIBLIOGRAPHY
| 2022 | — Art at Work. At the Crossroads between Utopianism and (In)Dependence |
| 2021 | — RAB-RAB JOURNAL — Not Fully Human, Not Human at All — Bigger Than Myself. Heroic Voices from Ex-Yugoslavia |
AWARDS
| 2024 | Special mention as National Participation to the Kosovo Pavilion in 60th Venice Biennale |
| 2017 | Hajde x 6, Hajde Foundation |
| 2014 | Young Visual Artist Award, National Gallery of Kosovo |
SCREENINGS
| 2022 | Here at Arthouse, Shkodrë When it Left, Death Didn’t Even Close Our Eyes, Korça Film Festival, Albania Here at New Horizons, Wroclaw (Special Screening) |
| 2021 | When it Left, Death Didn’t Even Close Our Eyes at Dokufest, Prizren When it Left, Death Didn’t Even Close Our Eyes at KADIST, Paris |
TALKS
| 2022 | Kosovo2.0, Pristina ETH, Zurich |
| 2020 | Kunstverein, Hamburg |
| 2019 | The National Gallery of Arts, Tirana |
| 2015 | ISCP – International Studio and Curatorial Program, New York |