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Dardan Zhegrova

@dardanzhegrova

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Orgiastic Rites #drawing #poem at @artnoble_gallery
Curated by @arnbrh

Courtesy: ArtNoble Gallery, Milan
Photo credit: M. Pedranti

How to save all of this, not like a memory but as a place
where we meet sometimes at night
not so bright, long talks in white. taken in Milan,Italy by @dardanzhegrova

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17 hours ago

Orgiastic Rites #drawing #poem at @artnoble_gallery
Curated by @arnbrh

Courtesy: ArtNoble Gallery, Milan
Photo credit: M. Pedranti taken in Milan,Italy by @dardanzhegrova

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11 days ago

Lucky’s Masks @artnoble_gallery / All together “Goodbye Master”
Curator Arnold Braho @arnbrh taken in Milan,Italy by @dardanzhegrova

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17 days ago

Lucky’s @artnoble_gallery #mask
Curated @arnbrh taken in Milan,Italy by @dardanzhegrova

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18 days ago

Dardan Zhegrova @dardanzhegrova has a thing for words (full #TenTen interview in link in bio!). Before the giant soft sculptures arrive, strange creatures appear, performances and theatrical installations are done, there is usually a poem: part memory, part fiction, part attempt to rewrite what actually happened.

Dardan is a former journalist who turned self-taught artist, and he has built a practice in which childhood, longing, lust, melancholy and queer desire move freely between text and object, past and present, the intimate and the performative. Always with a layer of #nostalgia.

For this TenTen, we talk about writing as a way of “coding reality,” why sadness can look cute, what nostalgia tells us when the present has stopped moving, and what journalism can do that art cannot. He tells us what he would preserve (and annihilate) in #Prishtina, why he no longer believes in soulmates, and why artists should still be in the business of making conservative societies uncomfortable. And when we ask who Dardan is, when you strip away the exhibitions, biographies and contemporary-art vocabulary, the answer is characteristically difficult to put into a box: a #shapeshifter. by @dardanzhegrova

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a month ago

#wavewriting #drawing #poem by @dardanzhegrova

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a month ago

CALL ON THE GLORY FOOTPRINTS - Sales Exhibition

Dardan Zhegrova (b. 1991, Prishtina, Kosova)

Dardan Zhegrova’s works are object- and performance-oriented, and are more frequently inspired by poems that serve as the standing point for the conception of a new work. His texts relate to partially fictional and actually experienced events, which are mostly recounted in a first-person perspective. Oftentimes the narrator addresses an (imaginary) counterpart, sought after by the artist. There are no pronouns like she and he – the narrative unfolds between the I and the You. Here the border between the artist as a subject and the person addressed often seems to blur. This dissolution of the conventions of a classical narrative form can also be seen in relation to structures of temporality in poetry, where the future, present, and past seem to merge. This collapse of the different boundaries in Zhegrova’s work also reflects his queer identity, which oscillates between female and male attributes, and deliberately rejects and transcends a normative understanding of gender. by @dardanzhegrova

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2 months ago

Amalia Vekri and Dardan Zhegrova at Haus N Athen, Athens
“We Kept On Dressing”
June 12 – July 17 2026
Photos: ©Nikos Katsaros, courtesy of the artists and Haus N Athen, Athens
@hausnathen @amalia_vekri @dardanzhegrova by @dardanzhegrova

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3 months ago

writing on a found image #archive #2017

“Yesterday I met your friend somehow I felt near you
Alone in white floating and trying to reach you, so maybe tomorrow we meet and we know about it - only by the look in the eyes.
When I’m thinking it’s really empty, only the idea of you melting…” by @dardanzhegrova

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3 months ago

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3 months ago

Collaborative work by Amalia Vekri & Dardan Zhegrova in the exhibition We Kept On Dressing.

Untitled, 2026, acrylic, ink, watercolour, coffee, marker pen on fabric, 25 m x 150 cm

Extract from Arnisa Zeqo’s text @arnisa_zeqo

“The drapery between and within bodies in Pompei, like a metaphysical skin creates an entry into a diﬀerent dimension. It functions like a connecting tissue, a narrative where acts and desire are playing a game of hide and seek. These elements of drapery are what binds the drawings and watercolours together in the exhibition ‘We kept on Dressing’. There is the evocation of the actual location, an old pyjama manufacturer, a place for cozy dreams. The installation created with found older fabric from the 1970s brings to life parallel dimensions of sex work and the changes on sexual imagination. It is like a skin where everything is slippery and everything suface. In the drawings of Dardan, the watercolours of Amalia, the fabric and in my own mental images diﬀerent techniques of the body are laid bare to be hidden and seen. Like in rowing, and the clothing used in the gym, the music perpetrating my ear, the techniques of the body within sexual consumption are entangled on many layers of expectation, practice and imagination. How can desire and intimacy be drawn, be present alongside the changing trends of quick consumption? Could perhaps the very lack of meaning, the immediate mediation of ‘scenes’ be a lens for opening up how the techniques of the body relate to aﬀect and emotion? Could this be a sort of revelation, like in a feverish dream?”

@amalia_vekri @dardanzhegrova by @dardanzhegrova

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4 months ago

We Kept On Dressing #exhibition with @amalia_vekri at @hausnathen / #drawings #fabricinstallation / #erotism
Exhibtion text by @arnisa_zeqo taken in Athens, Greece by @dardanzhegrova

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4 months ago