Petrit Halilaj is a young contemporary artist, Petrit Halilaj was born in 1986. Artists Aubrey Levinthal, Michele 11, Sabrina Vitali, Musa N. Nxumalo, and Wendimagen Belete are of the same generation.
Galleries and Exhibitions
Petrit Halilaj is represented by two galleries, which are Kamel Mennour | London in the United Kingdom and Kamel Mennour | Rue du Pont de Lodi in France. Petrit Halilaj most recent exhibition recorded on Artland was at Kamel Mennour | London in the United Kingdom with the exhibition Mask. The exhibition was open from 28 June 2018 until 28 July 2018. Petrit Halilaj's other most recent exhibitions recorded on Artland include the exhibitions; Far Back Must Go Who Wants To Do A Big Jump (15 November 2019 - 28 February 2020) at ChertLüdde in Berlin and The garden bridge (10 August 2019 - 12 October 2019) at Kinderhook & Caracas in Berlin.
Petrit Halilaj in private collections
On Artland Petrit Halilaj's works can be found in the following collection: Marco Serraglio which, for instance, also has works by other prominent and critically acclaimed artists including Farhad Farzali, Won Sou-Yeol, and Choi Jun Kun.
Further Biographical Context for Petrit Halilaj
Born in 1986, Petrit Halilaj was primarily inspired by the 1990s. A group of artists working in the United Kingdom, who came to be known as the YBAs, or Young British Artists, defined the artistic culture of the 1990s. Affiliated loosely by their age and nationality, they were a varied collective of practitioners. A number of the YBAs attended the Royal College of Art and Goldsmiths in London, and were favoured by the ‘super collector’ of the time, Charles Saatchi. The most well known member of the group is Damien Hirst, and other members included Chris Ofili, Tracey Emin, Marc Quinn, Gavin Turk, Sarah Lucas and Sam Taylor-Johnson (née Sam Taylor-Wood). The YBAs became known for their use of shock tactics and sensationalism, alongside their use of throwaway materials, wild lifestyles and an attitude that was defiant yet enterprising. Due to the high amount of media coverage that they garnered, they dominated British art during the 1990s, and their work was epitomised in the group show ‘Sensation’. Relational Aesthetics, a term coined by curator Nicholas Bourriaud to describe the act of making art based on human relations and their social context, became a central idea in the 1990s. Works by artists including Douglas Gordon, Gillian Wearing, Philippe Parenno and Liam Gillick were described as key artists who worked to this agenda.