Anna Bromley engages people from Kosova in conversation. Listening closely to the stories they tell, she accompanies her interlocutors along the paths their memories, tirades, reflections and speculations take them.

One person leads her to the next: a filmmaker, a festival director, two musicians and a sound engineer, a philosopher, a stage designer, a cultural journalist, a trans woman and her companion … Talking, giggling, munching and getting lost, they go to the village, to the cinema or to the much-loved restaurant Tiffany, plunging themselves into the past, meandering about in the present, pondering about the future.

The artist kicks of the series with a radio drama entitled Shaking the Syntax beginning with her teenage years in East Berlin as well as a radiowalk with Kaltrina Krasniqi on how she almost gets lost in the streets she wasn’t allowed to go to as a child.

Head out to the link below to listen to the first episodes and stay tuned as we release new ones in the weeks to come.

Radio drama, 31 min. Beginning with her own teenage years in East Berlin, which was conforming to a so-called West, the artist interweaves micro-stories from Kosovo that reveal the effects of identity politics on lived lives. For her essay-like storytelling, she distorts original sounds from archival recordings and fuses them into electroacoustic compositions. In words and sound, she imagines a hypothetical future that could be fed by the dreamed lives of the voices she has recalled. The radio drama serves as the prelude to nine sonic portraits: seven of human beings, and two of spaces. It includes research recordings with Kaltrina Krasniqi, Genc Salihu, Alisa Maliqi and Shkëlzen Maliqi.

All the way from the City Park passing by the Dodona Theater to Kino Rinia, 47 min. In the early morning, the city park is still cool. Kaltrina and Anna take an espresso among some elderly women and start walking. Back in spring, the filmmaker told Anna about her uncle, who directed the craziest plays in a self-organised theatre during the period of repression. Anna is curious so they stroll in the direction of this building.

A polemic in the sound studio, 24 min. With his message, Toton apologizes for his studio being without air-conditioning. Anna indicates that she is ok with it and looks for the location using the Google map pin that Toton had sent her. There was a photo in the message. An aerial view of a blue and white sunblind and a baobab tree, with café tables in its shade. This place is in the neighbourhood where Kaltrina fears it is about to become expensive. So far, it doesn't look like it is.

Breakfast in Prizren, 30 min. When Anna stood in front of the theatre with Kaltrina, it struck her that Alisa Maliqi’s gallery had the very same name. She wants to know more and has breakfast with Alisa and her partner Shkëlzen in Prizren. At Tiffany, of course – where else? Once back in Prishtina, she heads for the old town to see the archival exploration of the 1997 show at Shtatëmbëdhjetë (Foundation 17).

A video chat between Novi Sad and Pristina, 24 min. Was it Kaltrina who had mentioned Kafu? Whatever the case, Anna certainly had heard a lot about the charismatic musician and activist. For a couple of days, she would endeavour to contact him through every channel. The moment she mentions Kaltrina, the prompt reply comes with an invitation to visit him in Novi Sad. Because of border conflicts with Serbia, it is necessary to take a several-hour detour, so in the end Anna has a video chat with Kafu.

Up and down the stairs through the movie theater in Peja, 24 min. According to the Foundation17 crew, I should visit the young makers of the Anibar Animation Film Festival in Peja. While Peja is known for its mountain panorama, there is also the only railroad line in Kosovo. The worn-out Austrian train carriages take two hours to travel from the capital to the small town. The Anibar headquarters are in a massive vintage cinema. There they have a work by Sokol Beqiri, whom Shkëlzen and Alisa Maliqi featured in their Përtej exhibition in the days when he was still unknown.