Individual autonomous criticism is formed through a recursive and third-world relationship with technology. Wide access to different offline and online media, such as digital cameras, smartphones, computers, video game systems, social networks and interconnection platforms, has generated a more spatial and three-dimensional brain vision of the way we communicate with others. It has also influenced how We connect local and global ideas to express emotions, thoughts and disagreements. The project ‘Terminal Tears /The feminine urge to…’ presents ways to kill identity archetypes through technology as a weapon that cleans and reconstructs the memory of new generations. It contains a printed zine, with original work and screenshots through different platforms, plastic casted swords, video works and audio installation.
Individual autonomous criticism is formed through a recursive and third-world relationship with technology. Wide access to different offline and online media, such as digital cameras, smartphones, computers, video game systems, social networks and interconnection platforms, has generated a more spatial and three-dimensional brain vision of the way we communicate with others. It has also influenced how We connect local and global ideas to express emotions, thoughts and disagreements. The project ‘Terminal Tears /The feminine urge to…’ presents ways to kill identity archetypes through technology as a weapon that cleans and reconstructs the memory of new generations. It contains a printed zine, with original work and screenshots through different platforms, plastic casted swords, video works and audio installation.
Laureta Hajrullahu
Laureta Hajrullahu (b. 1997, Preshevë) is a Prishtina-based multimedia artist exploring privacy, gender, intimacy, digital ecosystems, video games, and (im)possible futures. Her work critically examines the boundaries between virtual and physical worlds, offering diverse perspectives on ‘reality.’ Hajrullahu’s art has been presented at numerous national and international exhibitions in the past, including Manifesta 14 Biennial, Gjon Mili at the National Gallery of Kosovo, Bazament Art Space in Tirana, FORUM STADTPARK in Graz, Tallinn Art Hall, Art Quarter Budapest, Toplocentrala in Sofia, and the Museum of Contemporary Art Montenegro. She is currently artist in residence at The Academy of Arts in Szczecin and she will have a solo exhibition at Vänersborgs Konsthall.
