Not In The Forecast explores how artists appropriate, repurpose, and ‘steal’ – whether materials, spaces, or narratives – to construct meaning and navigate instability. The exhibition gestures toward cultural survival as a strategy of adaptation and remaking within shifting contexts.

 

BOJANIČ MAJA

The Institute for Mold Preservation imagines a fictional bureaucratic body monitoring mold in cultural institutions, turning microbial presence into a metaphor for susceptibility.

Her sound installation Managing a Mold Invasion: Guidelines for Disaster Response amplifies the whispers of erosion, preservation, control, and institutional knowledge.

For Maja Bojanić, there is a lot to say, but more for us to understand and let every bit of this experience sink in memory. And let the random yet exquisite moments of urbanity just slither into existence. 

 

SOLENIČKI ANTONELA

Antonela Solenički’s work draws from real encounters in Prizren, and her observations unfold like a menu to choose from, where each entry blurs the line between fiction and observation, revealing the ruptures that shape social life in cultural spaces.  

das ist kein hotel acts as a conceptual menu of short fictional stories based on real encounters, framing the experience of being a privileged foreigner. The stories navigate cultural translation, revealing the tensions and ruptures that shape artistic and social life in cultural spaces.

Her work das ist kein hotel is produced by Kurshsull Studio and published by Lumbardhi Foundation.

 

ŠTALCAR-FURAČ UNA 

Her performative intervention Another Brick in the Whole reflects on the uncertainty surrounding Lumbardhi Cinema's reconstruction.

Accompanied by four short videos, the work draws on the notion of liminality and threshold, where waiting becomes resistance, while structural neglect traps cultural spaces and their caretakers in cycles of collapse and renewal.

During Una Štalcar-Furač’s stay in Prizren, she immediately delved into the connecting points of what Prizren offers and her artistic practice. She is working on a performative and video intervention while reflecting on (in)visible cultural labor, resilience of cultural institutions, and the constant need for balancing different challenges that come as part of it.

 

TOMSICH FRANCISCO

During his stay in Prizren, Francisco Tomsich is working in a series of actions, collaborations, dialogues and events which deal with waiting and expectancy, (non-)monuments, remembrance, portrait and the politics of materials and scale in order to create bridges between images of past, notions of present and models of future, trying to approach the paradoxes of contemporary Kosovar culture and art-making while avoiding stereotypes and given-for-granted assumptions.  Kino Lumbardhi is a main node of encounters and contextual narrations, while the artworks which he is producing are articulated as chapters of a process initiated during the residency but aimed to keep on evolving and acquiring new meanings after it.

Work titles: Silent Works | Let’s take a walk, I will tell you a story about those who died, and we can talk about my art. Video installation. Co-produced by Lumbardhi Foundation in collaboration with Karanfile Haxhi 

Waiting Exercises (Acts I & II). Drawing, photography, sculpture, installation, action. In collaboration with Somer Şpat.

By combining site-specific interventions and performative gestures, he excavates suppressed histories, tracing what is remembered and erased, addressing the paradoxes of contemporary culture.