“A Place in the Sun” is the title of the work in the Albanian Pavilion at the 61st edition of the Venice International Art Biennale. Realized by artist Genti Korini, curated by Małgorzata Ludwisiak, “A place...” is a fictional theater that explores the tension between reality and fiction. At the inauguration of the Pavilion, on Friday, in his speech, the Minister of Tourism, Culture and Sports of Albania, Blendi Gonxhja, emphasized that Albania’s participation in the Venice Biennale represents a moment of strategic importance for the affirmation of the country’s cultural identity on the international stage. He pointed out that the National Pavilion is a space where Albania articulates the way it understands itself and how it wants to dialogue with the world through contemporary art and critical thought.
Referring to the work of Genti Korini, Minister Gonxhja emphasized that "A Place in the Sun" challenges the boundaries of communication and perception, turning the pavilion into a space where language, history and imagination coexist in an experimental and reflective manner.
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Letter to the Reader — Why We're Asking for Your Support ContributeArtist Genti Korini has said his project aims to open a space where identity is not presented as a closed form, but as an ongoing process.
According to Korini, Zaum's use of experimental language and the structure of a "fictional theater" moves the viewer into a territory where meaning is not given, but is constantly created through the collision of images, sounds, and fragmented narratives.
"Albania in this work does not appear as a fixed image, but as an open space of interpretation, built on historical and contemporary projections," he is quoted as saying.
An important part of Minister Gonxha's speech was dedicated to the role of art as a transformative force in society. He stated that Albania is building a new model of cultural interaction, where art is not seen as decoration, but as a powerful tool for development, reflection and international dialogue.
He also highlighted the long-awaited reopening of the National Gallery of Arts, calling it a key institutional moment. According to him, the institution is transforming from an exhibition space into an active platform for production and co-creation, creating new opportunities for Albanian artists at the national and international levels.
The installation “A Place in the Sun” combines three-channel video, live performance, animation, puppetry and an original soundtrack, creating a “fictional theatre” that explores the tension between reality and fiction. The work draws on historical references and discourses on the representation of Albania in the early 20th century, including the ways in which the country was projected into the cultural and political narratives of the time. The pavilion thus becomes a critical and poetic space at the same time, where history is revisited through the artistic imagination.
At the conclusion of his speech, Minister Gonxhja thanked the artist, the curator and the production teams, emphasizing that the success of this pavilion proves Albania's ability to communicate directly and equally in the most important scenes of contemporary art.
The National Pavilion of Albania at the 2026 Venice Biennale will remain open to the public from May 9 to November 22, 2026, offering during this period a continuous space for exhibition, reflection and dialogue with visitors from all over the world.
The Kosovo Pavilion at this year's Biennial – which is characterized by a wave of controversy over the participation of Russia and Israel, which also led to the resignation of the Jury – opened on Wednesday, May 6. Brilant Milazim's work is titled "Strong Teeth" and is curated by Mexican José Esparza Chong Cuy. It is based on reception. The verse is illustrated in different formats. In the local context, it has many symbolisms. It is related to the war of almost three decades ago, the images of refugees and the red as an illustration of blood. It also teases today, where reception illustrates many things, even governance.
In the global context, Milazim's verse is a kind of reflection of refugees and conflicts around the world.
"I am feeling very proud and happy with the opportunity to present this work that is behind us that addresses fear. Work that is very closely related to Kosovo and is also universal," Milazim said at the inauguration of the Pavilion.
For the state of Kosovo, representation is of particular importance. In the 61st edition, it is the seventh representation of Kosovo, which debuted at the Biennale in 2013 with Petrit Halilaj.
"It is a special feeling to be here today, not only in the role I represent, but also to see the extraordinary work of our artist in a place where the whole world participates and the question always arises as to what sets you apart from others in relation to the representation you make or the artist's work," said Minister of Culture Saranda Bogujevci.
According to the curatorial concept, waiting has been shaped not only by displacement and war, but also by the prolonged postponement of full political recognition of Kosovo. Sovereignty, in this context, has never been an abstract principle. It has been experienced through documents that do not arrive, through borders that do not open, through permits that remain provisional. According to the concept, waiting, in Kosovo, has meant living in a state that exists, but that is constantly asked to justify its existence.
The Kosovo Pavilion is located in the church of Santa Maria del Pianto, a former monastery facing the northern lagoon of Venice. It is a space about 1.5 kilometers from the Arsenale, one of the main exhibition spaces where Kosovo has usually had its Pavilion.