This page contains information on projects currently underway, as well as a list of publications.
“‘Weak Monumentality’: Contemporary Art, Reparative Action, and Postsocialist Conditions,” RACAR: Journal of the Universities Art Association of Canada 46:2 (2021): 34–50, available here.
“Towards a Weakened History of Modernisms,” Umění/Art 2 69:2 (2021): 193–195
“‘I Lived without Seeing These Artworks’: (Albanian) Socialist Realism and/against Contemporary Art,” ARTMargins 10:2 (June 2021): 29–49, available here.
“Malvina Hoffman in the Balkans,” Getty Research Journal 13 (2021): 177–202, available here.
(Co-edited with the ARTMargins Online editorial collective) Art and Race in Contemporary Central and Eastern Europe, special issue of ARTMargins Online, January 2021, available here.
(Co-edited with Caterina Preda) Creating for the State: The Role of the Artists’ Unions, special issue of ARTMargins Online, October 2020, available here.
“Representing the Worker in Postsocialist Public Space: Art and Politics under Neoliberalism,” International Labor and Working-Class History 98 (Fall 2020): 43–76, available here.
“Monumentality, Counter-monumentality, and Political Authority in Postsocialist Albania,” International Journal of History, Culture, and Modernity 8 (2020): 150–187, available here.
“One on One: 200 Million Euro (2020) by Pleurad Xhafa,” ARTMargins Online, July 2020, available here.
“(Contre-)Patrimoine et Art Contemporain à Tirana,” La Belle Revue 10 (2020): 128–133, available here.
“‘I Will Speak in Their Own Language’: Yugoslav Socialist Monuments and Science Fiction,” Extrapolation 60:3 (December 2019), 299–324, available here.
“In the Valley of the Time Tombs: Monumentality, Temporality, and History in SF,” Science Fiction Studies 46:3 (November 2019): 490–510, available here.
“How Dumb Are Big Dumb Objects? OOO, Science Fiction, and Scale,” Open Philosophy 2 (2019): 552-565, available here.
“Rebirth and Absence,” DebatikCenter for Contemporary Art Texts series, June 2019, available here.
“The Dictator Visits the Studio: The Vlora Independence Monument and the Politics of Socialist Albanian Sculpture, 1962–1972,” Third Text (July, 2018), available here.
False Monarchy, exh. cat. (College Park, MD: Stamp Gallery, 2018), available here.
“‘What Matters is Revolution at the Historical Moment of Radical Contemporaneity’: Interview with Marina Grzinic,” ARTMargins Online, May 2017, available here.
“‘An Itinerary of the Creative Imagination’: Bunk’Art and the Politics of Art and Tourism in Remembering Albania’s Socialist Past,” Cultures of History Forum, May 2017, available here.
Editor, Collective Monument (College Park, MD: Stamp Gallery, 2017), available here.
“Dynamisms of Time and Space: The Synthesis of Architecture and Monumental Sculpture in Socialist Albania’s Martyrs’ Cemeteries,” Eesti Kunstimuuseumi Toimetised (Tallinn: Eesti Kunstimuuseum, 2016), available here.
“The Politics of Street Art in Albania: An Interview with Çeta,” ARTMargins Online, October 7, 2016, available here.
“The Monument as Ruin: Natality, Spectrality, and the History of the Image in the Tirana Independence Monument,” [sic]-A Journal of Literature, Culture, and Literary Translation, 2:6 (Summer, 2016), available here.
“Disa Mendime mbi Artin Bashkëkohor në Shqipëri: Nga Çështja e Historisë në Çështjën e Realizmit,” Peizazhe të Fjalës (April 2016), available here.
“Organic (Un)Ground in the Time of Biopower and Hyperobjects: Conceptualizing a Global Posthumanism in the Work of Xu Bing and Gu Wenda,” Journal of Contemporary Chinese Art 2:2+3 (2015), 195-215.
“Sali Shijaku’s Zëri i Masës and the Metaphysics of Representation in Albanian Socialist Realist Painting,” in Workers Leaving the Studio, Looking Away from Socialist Realism, exh. cat., edited by Mihnea Mircan and Vincent WJ van Gerven Oei (New York: Punctum, and Tirana: Department of Eagles, 2015): 25-39. Full catalog available here.
Review of Maks Velo, Grafika e Realizmit Socialist në Shqipëri / Socialist Realist Graphic Art in Albania, Tirana: Emal, 2014, 305 pp., ARTMargins Online, July 17, 2015, available here.
“Bestiary,” in Streams of Being: Selections from the Art Museum of the Americas, exh. cat. (College Park, MD: The Art Gallery, 2015), 12-13, available here.
“‘We Raise Our Eyes and Feel as if She Rules the Sky’: The Mother Albania Monument and the Visualization of National History,” in Lapidari, edited by Vincent WJ van Gerven Oei (New York: Punctum, 2015): 73-80. Full catalog available here.
“But at least I’ll be going to Albania soon…”, ongoing altered photography project, (Spring 2018– )
That’s When You Bring In [Crisis Humanities], curated by Alison Singer, public installation (Fall 2017)
HOW PAINFULLY AWKWARD OF A CONCEPTUAL ARTIST ARE YOU? TAKE THE QUIZ NOW!, co-curated with CW Brooks, Laboratory Gallery, College Park, MD (Spring 2017)
Swift Fantasies, curated by Gretchen Stricker, Laboratory Gallery, College Park, MD (Spring 2017)
Building Conceptual Art Through Diligence and Frugality, exhibition co-organized with CW Brooks, Laboratory Gallery, College Park, MD (Fall 2016)
Monumental Autopoeisis; performance realized at the opening reception of As Soon As I Open My Eyes I See A Monument
As Soon As I Open My Eyes I See A Monument, curated by Bart Pushaw, Laboratory Gallery, College Park, MD (Fall 2016)
Kthim tek Thelbi [Return to the Essence]; video performance in collaboration with Pleurad Xhafa (Summer 2016)
Lana Topiaries: A Morphology (Summer 2016)
Epopeja e Eskavatorit [Epic of the Excavator]; Collaboration with Çeta (Summer 2016)
E Ashtuquajtura ‘Vepra Arti’ [The So-Called ‘Work of Art’]; proposed projects (2016 – ongoing)
Cabinet: An Installation of Obsolete Furniture; curated by Cecilia Wichmann, Laboratory Gallery, College Park, MD (Spring 2016)