The Fries Museum is presenting a group exhibition on the theme of ‘home’ from 28 April to 27 April What makes you feel at home somewhere, and what remains of this when you are away from home or if the place you call home has disappeared? And what does domestic happiness actually look like? Heem features contemporary work from the Fries Museum’s collection, including recent acquisitions by Pamela Phatsimo Sunstrum and Rory Pilgrim. The selection is enhanced by works from the Netherlands Collection. The exhibition opens concurrently with For Every Atom (featuring work by Semâ Bekirović) on Sunday 28 April in Leeuwarden. Admission to the museum is free on the opening day.
Having a home is a primal need and a fundamental human right, even if it is not always guaranteed. Seeking and creating a home is a universal urge and connects us all, human and animal alike. Yet home is not necessarily linked to a physical place. Indeed, for people who leave their home for whatever reason, it can take on an entirely different form. Various artists will reflect on this theme for the duration of the exhibition: from the ways we shape the places where we settle and the connecti
forcing , ethnic Albanians to leave their homes. A three-month NATO bombing campaign in compelled Milošević to back down. Even today, Serbia still does not recognize Kosovo’s independence, which was first claimed in In his photo and video works, Shkololli works with traditional folkloristic and ethnic tools and rituals that people still carry out, albeit always with a (post-)war metaphor in mind. Shkololli’s backdrops are often sites affected by the Kosovo war, and these produce a distancing effect in the beholder. Dilapidated or destroyed houses, ruins, and the remnants of a past life are juxtaposed with moments of extreme beauty under extraordinary conditions, giving rise to an overall impression of collages of the unreal. Beginning in , the war zone was controlled by the UN Interim Administration Mission (UNMIK), which was stationed in the country until This transitional phase brought to the fore the shattered dreams of an entire decade, but also a longing for a brighter future, both of which lie at the core of Shkololli’s artistic reflections. Various realities of the past, the present and the future intermingle so as to comment on the state of a nation whose independence as
The meaning and history of the name Erzen
Introduction
In the realm of personal names, each bears its own unique history, meaning, and cultural significance. The name Erzen is no exception. This article delves into the origins, history, and modern-day relevance of the name, aiming to provide a comprehensive understanding for those curious about its uniqueness.
Origins and Meaning
The name Erzen has a rich etymological background. It is primarily found in Albanian culture, where it carries significant connotations. The name itself is derived from the Albanian word “Erz,” which signifies wisdom or a person of noble character. In historical texts, the suffix “-en” is often added to personal names to attribute strength or endearment, enhancing the names overall meaning to wise one or noble person.
History and Evolution
The name Erzen has evolved over centuries, adapting to different cultural contexts and linguistic norms. Initially, it was predominantly found in ancient Albanian tribes, where it was used to denote individuals of high social standing or exceptional intellect. As time progressed, the name spread across various regions, carried by
Kathrin Rhomberg | Head of Kontakt Collection Erste Foundation
Kathrin Rhomberg, studied art history and classical archaeology and worked as curator and head of the exhibition office at the Secession, Vienna, from to From to director of the Klnischer Kunstverein, Cologne. Curated, among others, Manifesta 3, Ljubljana, (with Francesco Bonami, Ole Bouman and Maria Hlavajova); Projekt Migration, Cologne, (with Marion von Osten); Former West, Utrecht, Berlin, Istanbul, Vienna, (with Charles Esche and Maria Hlavajova); Sanja Ivekovi. General Alert. Works (with Nataa Ili), Fundaci Antoni Tpies, Barcelona, ; Ion Grigorescu In the Body of the Victim , Museum of Modern Art, Warsaw, ; Roman Ondk Loop, Slowakischer und Tschechischer Pavilion, Venice Biennale, ; 6. Berlin Biennale, ; Christoph Schlingensief.Fear of the Core of Things, BAK, basis voor aktuele kunst, Utrecht, ; Former West Documents, Constellations, Prospects, Haus der Kulturen der Welt (HKW), Berlin (with Maria Hlavajova); Petrit Halilaj, Pavilion der Republik Kosovo, Venice Biennale, ; Retrospective Jlius Koller, Museum of Modern Art in Warschau u
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