Bardhi Haliti is a Kosovar graphic designer and researcher. He worked as a freelance designer in New York and Prishtina before obtaining a master’s degree from the Werkplaats Typografie, Arnhem in 2014.
He was a designer in residence at the Jan van Eyck Academie, Maastricht from 2015 to 16.
In 2011, Haliti cofounded REDO, an annual international graphic design event in Prishtina, and since 2013 serves as its program director. He lives in Amsterdam.
May 25 is now October 1 is an extensive research across Kosovar newspapers published between 1974 and 2018. The book documents sports activities that took place in seven identical sports halls in seven cities of Kosovo. The images have been cropped, zoomed in on, and paired together by similarity. The choreography is not meant to render them jewels or treasures, but rather to help find their meaning beyond their meaning within the now unfashionable sports halls. Through repetition, the images and texts reveal the space in which larger sociopolitical and cultural cycles are reflected.
The string of seven identical sports halls (as designed between 1974 and 1979, by Kosovar architect Miroslav Čočanović), that together form the main theme of Bardhi Haliti’s book, can be seen as a ’Totalisator Machine’ as well – a motorik repetition of seven identical elements, existing as a typological infrastructure, rhythmically linking together the seven main cities of Kosovo (Prishtina, Prizren, Gjakova, Mitrovica, Peja, Ferizaj, and Gjilan).
Despite the standardized sports halls, despite the numbered uniforms, despite the rules of the game (or, as we’d like to argue – because of the standardized sports halls, because of the numbered uniforms, and because of the rules of the game) these photos are filled with human emotions, dramatic expressions, dynamic movements, theatrical motions. The standard is nothing but a platform for its variation, and only in repetition the real unique gesture can be found. So yes – we dig repetition, and we dig Bardhi Haliti’s book.