On June 26, at "Hani i Dy Robërteve", the exhibition of artist Enesa Xheladini, titled "Know Yourself", curated by Shkëlzen Maliqi, opened.
Insights from three perspectives
In two of the works in which the outlined white color dominates; the lines become permanent signs of a movement that has no beginning or end. They are not simply traces on the surface, but are like internal flows that recall time, time that carves, time that erodes, time that passes indifferently. The lines, repeated but never identical, are a metaphor for everyday life, of the incessant effort to maintain form, while deep in the layers of the canvas everything is breaking. There is a discipline in the repetition, but also a fatigue hidden between the lines. Like wrinkles of life that cannot be erased.
In the painting at the forefront of the exhibition, we detect an invitation to walk in the mist of being. The large painting seems like a memory that refuses to take shape. It does not seek to be explained, but to be accepted as it is, an infinite expanse of softness, where forms appear and dissolve, like ideas that are not yet ready to be born. It is a space between clarity and oblivion, where the viewer immerses himself, not to find an answer, but to live the question. The smaller paintings next to it resemble fragmented signs of consciousness, fragments of human experience that remain suspended, without promising a solution. Here the painting is not an object, it is an experience, a continuous process of appearance and disappearance.
The overall view reveals an inexplicable network of internal connections between the works. Each painting is like a closed door that invites you to knock, not to enter, but to listen to the silence that remains after the knock. There is no laid-out narrative, no ready-made story. There are only layers, signs, and shadows that walk the border between presence and absence. The paintings speak the language of philosophical silence: that which cannot be said, but only felt. They are memories that no longer retain their original form, they are questions that do not require answers.
Invitation to accept
This exhibition, in itself, creates a space of reflection and introspection, where the viewer is not simply a passive observer, but becomes part of a deeper process of sensitivity and interpretation. It is a space that does not seek to provide direct answers, but to open new paths of thought and feeling.
Xheladini speaks through this exhibition about the complexity of human experience, about the layers of reality, memory and perception. There is no clear narrative, nor is there an instruction on how to “read”, and this is precisely what makes it powerful. It invites visitors to stop, to be silent, and to be willing to get lost in the textures, colors, and gaps, which often speak more than clear images.
The exhibition creates a tension between presence and absence, what appears and what remains hidden, hazy, like a memory that is never fully recalled. In this way, it can be perceived as a reflection on fragmented sensations, on the transience of time, and on how we create meaning in the midst of ambiguity.
It is also a space where the physical reality of the works blends with the atmosphere of dim lighting and silence, creating an almost intimate experience, where everything invites one to view slowly, with concentration, without rushing.
Ultimately, an exhibition like this doesn't need to be "explained," it's there to be felt, to be experienced. It's an invitation to enter into a quiet dialogue with oneself and with the space. A reminder that meaning isn't always obvious; sometimes it lies in what remains unexplained.
This exhibition is a journey into the essence of the intangible. The paintings are not just images, they are frozen moments of thought, traces of fragile experiences that have slipped through the hands of time. The beauty of the exhibition is that it takes you to a place where you are not invited to unravel, but to accept.
The text for the exhibition by Jeton Jagxhiu states, among other things:
“Enesa is an architect by profession and perhaps her only connection to painting is the way she creates. She builds her works like an engineer, from the ground up from elementary artistic units such as dots and lines. She is a constructivist par excellence and a detailist with maximum concentration. However, her paintings have no connection to her profession. With dots and lines she does not build anything. Her works are a reflection of her spiritual states, which she effortlessly shows us in the aforementioned exhibition. It is good to visit for yourself, because her works are much more complex than that. Perhaps only there can you get to know the creature Enesa a little better.”
/Express newspaper
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