Nita Zeqiri: Continually struggle for survival in tough times

Foundation 17 is one of the many cultural organisations in Kosovo who are facing various challenges in everyday praxies as a result of the pandemic in the last two years, but also as a consequence of cultural policy and lack of financial sources for art and culture. Nita Zeqiri, Executive Director, speaks about achievements of Foundation 17 and its main projects, as well as about the situation of the independent cultural scene in Kosovo generally and the continually struggle of cultural and artistic organisations to survive and to further develop their activities.

– Foundation 17 was established in 2018 in Pristina as a nonprofit organisation with a mission to foster cultural activism for social development through the three main programs: Art & Culture, Civic Activism and Project Space. What are your the most significant projects and achievements? 

Nita Zeqiri: In the past three years Foundation 17 (Shtatëmbëdhjetë) saw many developments among which we would like to highlight the following: Opening of Project Space 17 and its consecutive public program of about 200 events with an estimate of 5.000 participants; implementation of four Metamorphosis editions; two research-based book publications as part of Metamorphosis project; Metamorphosis exhibition in Avignon (France); drafting of the documentation for including Kino Rina in the Cultural Heritage List for Temporary Protection; implementation of two editions of Infrared residency and exhibition, through which 30 artists benefited; implementation of Matanë residency in collaboration with Art House in Shkodra; implementation of three phases of Pikëpamja, including the basic module and the school through which 200 young people have benefited; publication of two books and the online platform as part of Pikëpamja project; signing the memorandum for utilizing the Hivzi Sulejmani House for Rezidenca 17; signing the memorandum for utilizing Kacallarët space, jointly with CHwB and Qendra Multimedia; presentation of Shtatëmbëdhjetë at Act Now Mayor-s Conference in Vienna; successful campaign on Kosovo Ideas, in support to Galeria 17, with a record of 192 supporters; opening of Galeria 17; opening of the first regional exhibition as part of Galeria 17; involvement of Shtatëmbëdhjetë in processes of advocacy and policymaking for arts and culture and public space; cooperation with individuals and organizations with an open democratic approach, with the joint aims of program implementation; development of the re-functionalization plan for out-of-function schools in Kamenicaregion, with a focus on Lisocka school.

– How has the pandemic influenced your activities and on the cultural scene generally in Kosovo?

Nita Zeqiri: The pandemic has greatly influenced our activities and the cultural scene generally. The lockdown restrictions meant that we had to close our spaces and cancel our public program. Even with the relaxation of measures, there were continuous limitations for in-person events ranging from 30% to maximum 50% of venue capacity, which in our case meant having events with very few people due to the low capacity of our physical space. Adding to this continues low funding and sponsorship, risking even the existence of our organization and creating struggles to survive for the majority of arts and cultural organizations. Eventually when it was possible we adapted our program to the hybrid model, combining the online and offline format of events, as did most arts and cultural organizations in the country. Some festivals canceled their editions, some switched to the online format and some had hybrid editions of their festival. Exhibitions were being launched without audience/opening. Cinemas and theaters faced restrictions even for a longer period of time, even when they were allowed to have an audience again it was with restricted measures. At points during the lockdowns, theaters were playing some of their old theater plays. So even when we were allowed to have events/activities it was quite difficult as we continuously had restrictives measures, and as expected  the public for a while continued to hesitate to participate in such public activities with a large number of people and in confined spaces.

Foundation 17, Metamorphosis II, artist Fitore Isufi KOJA, Flirting with leftovers, 2019, photo: Majlinda Hoxha

– What were the main problems of the independent cultural scene before the pandemic and what are new challenges that occurred during the health crisis?

Nita Zeqiri: The independent cultural scene was at a fragile state even before the pandemic due to limited public funding, limited sponsorships and brittle cultural policies. Most arts and culture organizations lack core funding and mainly operate based on projects, thus facing difficulties to have an all year around program and cover operational costs. The pandemic further aggravated this situation, risking the very existence of the independent cultural scene. We experienced how the lack of the funds and cutting of funds towards arts and culture became even more emphasized. The  independent cultural scene started to face even bigger problems and difficulties not only in programming and operating but also in fundraising. For instance in our case as Foundation 17, when we had to close our space based on the Government's decision to cancel public and non-public cultural activities. This  meant that we also had to cancel many of the space bookings from other entities that are a source of income for the operations costs of the space. Although we adapted some of the activities to the online format, the impact was not the same and the component of economic activity in the space was completely halted. Thus the component of economic activity that has helped generate revenue to cover partially the rent for the space  and partially the staff engaged in the space maintenance  was at risk. We had  difficulties to continue paying the full rent and staff involved in space. At the same time it was very difficult to raise funds to pay staff and rent for the space without holding activities during that  period, as all our funding was project based and continues to be project based. In addition many donors were  focusing on supporting areas that were more urgent and  directly impacted by the pandemic.  This same situation was faced by many organizations that are part of the independent cultural scene. Canceling of events and closure of the spaces for the public meant from many organizations that there is no income to pay rent, employees and artistic staff.

– The pandemic has particularly jeopardised across the region the already difficult position of freelance artists and cultural workers. What is the situation in Kosovo in that regard?

Nita Zeqiri: The position of freelance artist and cultural workers has been difficult and continues to be difficult, given the lack of the infrastructure and systematic support. With all cultural events being canceled, freelance artists and cultural workers faced great struggles as their planned engagements were either postponed, canceled or reformatted. Many often this meant also that they were also cut off from their income. There were and there are no policies or measures in place that foresee the provision of protection and (financial) support such as the case with the pandemic for freelance artists and cultural workers – other mechanism of grants/subsidies.

Foundation17, Galeria 17, Curator Natalija Vujošević, Make me coffee make me a sandwich, 2021, photo: Atdhe Mulla

– How would you describe the cultural policy of Kosovo, especially during the pandemic? Was there any help for the cultural sector from the state institutions or local municipalities during the pandemic?

Nita Zeqiri: Kosovo has brittle cultural policies. We are looking forward to the law on culture which is in the making process, hoping that it will address some of the persistent and systemic issues that the cultural sector in Kosovo faces. Especially hoping that it will be the basis for more sustainable support, creating thus room for the cultural sector to further develop and to be sustainable. Because as we saw and experienced, the pandemic highlighted how weak the cultural sector is in terms of sustainability, with the majority of independent cultural organizations lacking core funding. Although during the pandemic there were attempts to provide support to the independent scene, through emergency funds schemes, it did not adequately meet the needs, nor address requests of the independent scene. This was also partly because: a) there were inadequate funds dedicated to the cultural sector, and b) receiving this support was conditioned with production, thus it did not address the difficulties created by the pandemic.

– There have been several initiatives in Kosovo's independent cultural scene during the past decades in order to form a network and work together with the aim to influence cultural policy. How important is networking and what is your position in that context?

Nita Zeqiri: One of Shtatëmbëdhjetë – 17 main values is collaboration. A collaborative approach informs everything we do, including our approach to internal management and leadership of the organization, our activities and programs and our engagement with the community and partners. We respect the diversity of perspectives that individuals and groups bring to the pursuit and achievement of our mission. And this is particularly important for cultural policy processes. We believe that networking and working together is crucial to create synergies and influence in cultural policy processes.

Foundation17,  Galeria 17, Curator Natalija Vujošević, Make me coffee make me a sandwich, 2021, photo: Atdhe Mulla

– You are running Public Space in Priština that serves as a co-working place, but also as a venue for various cultural and art events. How that space works, how many people/organisations are involved and how it is financed?

Nita Zeqiri: With our Space program our aim is to nourish and sustain spaces of thinking and action in the broadest sense of the word. These spaces take the form of interdisciplinary centers that combine the intellectual and the creative in order to provide a forum which is able to respond to relevant social issues. They provide a platform to engage in constructive dialogue by encouraging questions that seek to push boundaries and challenge conventional answers, and they support the creation of diverse and multi-faceted global perspectives as represented by the dynamic exchange and engagement of communities and artists. Shtatëmbëdhjetë manages three physical spaces: Project Space 17, Galeria 17, and Rezidenca 17.

Galeria 17 is a space which comes as a result of a need for inclusion and sustainability. In a motivated and talented independent art scene with a lacking art system, an experimental space is essential. Through its social engaged activity, Galeria 17 aims to become an active participant in ethical cultural policy making, ensuring inclusion and representation in a larger, national cultural agenda.

Rezidenca 17 is a residency program that is implemented several times throughout the year. Artists and curators are invited through open calls to join the local thematic residencies and international exchange residencies. Artistic residences contribute to the growth of networks among artists but also to research and production of art works which address social topics through various practices of contemporary art in addition to the conditions that these practices apply today.

Project Space 17 is a safe place that contributes to increasing cultural vitality through its range of events and activities in the format of a co-working and event space, and it plays the role of an inclusive platform where art and culture meet with activism to bring change.

Foundation 17, Galeria 17, Artist Nora Al Badri, Babylonian Vision, 2022, photo: Atdhe Mulla

– One of your strategic goals is to positively change society through the programs of arts and education, cultural activism and public space. What are your plans in this context?

Nita Zeqiri: With the Arts & Education program we aim to foster positive change in the society, empower community members of all genders, stimulate dialogue and public discussion on societal issues, by employing Arts & Education practice.

With the Cultural Activism program we aim to encourage and enable cultural activism through education, outreaches, artistic interventions and advocacy actions to create inclusive public spaces that in turn lead to social change.

With our SPACE program, we expect that: (a) alternative spaces managed by Shtatëmbëdhjetë are fully functional and serve as environments that inspire creative thinking and build community; (b) spaces are financially sustainable and operate independently, (c) new spaces are identified via scouting activities as means of creating extensions to the existing spaces, in new parts of the city and the community.

– What do you think about cooperation in the region and possibilities for such activities, having in mind difficulties for financing cooperation projects, but also a fragile political situation?

Nita Zeqiri: Regional cooperation is crucial despite the difficulties for financing cooperation projects, as only through such cooperation we can move forward and improve the situation of the independent scene. Cooperation is also crucial for sharing best practices and knowledge especially in overcoming barriers that we often face in our region.

*Cover photo: Foundation 17, Metamorphosis IV, artist Maksut Vezgishi - Parallel Voices, 2021, Atdhe Mulla

(SEEcult.org)

Ovaj tekst nastao je u saradnji s Kooperativom – Regionalnom platformom za kulturu u sklopu projekta REG.LAB.  Za sadržaj ovog teksta odgovaraju isključivo autori i partneri na projektu, te on ni na koji način ne odražava mišljenje Evropske unije. Projekat je sufinansiran sredstvima Evropske unije, program Kreativna Europa (2014–2020), u sklopu otvorenog poziva usmerenog na jačanje kulturne saradnje i konkurentnosti kulturnih i kreativnih industrija na Zapadnom Balkanu.

Project Regional Action Lab – independent culture as engine of mutual support and exchange in times of crisis (Reg Lab) is supported by the Balkan Trust for Democracy, a project of the German Marshall Fund of the United States and the USAID.