Mehmet Behluli - OH, MY LAND II...




22 May 2012 - 12 June 2012

Curator: Shkëlzen Maliqi, Sokol Beqiri


A poopy manipulation of Mehmet Behluli

It might seem strange the fact that Mehmet Behluli, one of the most active protagonists of the Kosovar contemporary art scene, presents a personal exhibition after 13 years. Since 1997 when he had two successive exhibitions, “Balkanik Fables” in Hani i Dy Roberteve and in Dodona Gallery, Behluli haven’t had a personal exhibition.  However, in the meantime, he has been very active as a professor and promoter of conceptual art while initiating or involving in almost every project and event that marked a time period of the greatest successes of the Kosovar art in the international scene. 

It can be said that the return of Professor Behluli is two-fold: in one hand, he once again reveals the pleasure of creating and presenting in front of the public, whereas, in the other hand, he is challenged to achieve this through full dedication on a classic medium – the painting. So, he goes back to the painting; however, only conditionally – even though known as a promoter of alternative media and means, Behluli has never lost his faith in painting as a medium. According to him, there is still plenty of room for conceptual approach and worthy visions and reflections on the contemporary in painting.

The new cycle of Mehmet Behluli, “Oh, my land…” (“O vendi im…”), presents a continuity of his ironic observations and his witty vision on reality.

For his scary and threatening pieces that he presents in his images, he always chooses blissful titles (“Balkanik fables”, “The house in the end of the city”, “Life is beautiful”, “Oh, my land…”) that put the viewer on a limbo – in the corner that divides hope from evils and disasters.

Behluli’s compositions are built on the basic symbols of security (home), beauty (flowers), life and harmony (sun), knowledge (books), etc. – which he portrays endangered or swallowed by the dark powers. In previous cycles, Behluli would soak the symbols of vitality and bliss with bituminous stains in order to tell the stories of devastating fortunes of governmental repression and wars.