Genti Korini, Notes from the Upperground no. 3, 2019, ink-jet print, 35 3⁄8 × 23 5⁄8".

Genti Korini


Despite its title, Genti Korini’s exhibition “Notes from the Upperground” had nothing to do with Fyodor Dostoyevsky. Here, the “upperground” refers to the remarkable headstones that memorialize the lives of everyday people laid to rest in the cemeteries of Tirana, Albania. Korini’s almost-life-size color photographs, sharing the same title as the exhibition (all works 2019), withhold the particularities of the departed by documenting the reverse side of each headstone. Filling the main space of Bazament (a literally underground project room struggling to give visibility to artists in Albania, a country with virtually no institutional infrastructure for contemporary art), this Becher-esque procession of necropolitical silhouettes seemed to shape-shift between the nonobjective and the mimetic. They were exceedingly hard to place: Through a modernist lens, the stone monuments’ sleek designs

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