SORRË- (The crow bird in Albanian) is the title of the site specific installation created in the public school "Vaso Pashë Shkodrani" in Peja, Kosova
(location of the ARKIV Institute of Contemporary Art in Peja, founded in 2018 by artist Sislej Xhafa).
Sorre- crow bird is a very powerful sign, and there are many possible ways of interpreting the crow. Challenging the misconceptions surrounding this magnificent creature and using it as a powerful feminine voice I invite viewers to delve deeper into their understanding and perception of the Sorrë, but also understanding of a woman position within a society. While many negative connotations have been associated with the crow throughout history, these beliefs lack scientific support and are rooted in human fear. In fact, the crow holds sacred significance in various cultures. I'm Intrigued by the dichotomy between the crow's negative associations and its remarkable intelligence. Women have frequently been ascribed avian qualities in a derogatory manner, yet the crow stands as one of the most intelligent animals in the animal kingdom. Exhibition aims to shed light on the invisible woman. Sorre gives them a piercing voice.
At the very entrance to the school the audience is greeted by the deep sound of a crow's scream, that echoes repetitively through the space and invites them to pay attention to something hidden, yet very important, transcending the superstitions and the fear, starting a journey of introspection.
Sorre's scream becomes a metaphor for invisible and underestimated female power.
Using a battered parts in the classroom walls, even floor for artistic intervetion I invite public to discover the female faces, or just their parts, escaping through cracks. Those are portraits of important women from Kosova, woman in general, even my mother.
In addition to the mentioned interventions women unexpectedly occupy the areas that are traditionally reserved for men. At the entrance of the school, next to the main board with the name of the pasha after whom the school was named, I place eight boards with names of prominent female figures, but also their professions (from scientist, gynaecologist,, artist to the parachutist ..). Thus pointing to exceptional female figures who may never take Pasha's place, nor will a school be named after them. On the second floor, where there are framed portraits of important men, I dare to line up empty frames with women's names, without a figure. They shyly try to find themselves in that line