Kairo Urovi

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	<title>Kairo Urovi</title>
	<link>https://kairourovi.com</link>
	<description>Kairo Urovi</description>
	<pubDate>Mon, 24 Aug 2026 17:54:10 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://kairourovi.com/Home</link>

		<pubDate>Mon, 24 Aug 2026 17:17:44 +0000</pubDate>

		<dc:creator>Kairo Urovi</dc:creator>

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		<title>Page 2</title>
				
		<link>https://kairourovi.com/Page-2</link>

		<pubDate>Mon, 24 Aug 2026 17:17:45 +0000</pubDate>

		<dc:creator>Kairo Urovi</dc:creator>

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		<title>Stray Dog</title>
				
		<link>https://kairourovi.com/Stray-Dog-1</link>

		<pubDate>Mon, 24 Aug 2026 17:54:10 +0000</pubDate>

		<dc:creator>Kairo Urovi</dc:creator>

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	Stray Dog (wip) 


Stray Dog is an ongoing body of work that reflects my personal journey back to my hometown, Shkoder (Albania), 13 years after my last visit and 4 years after my gender transition. 

Through self-portraits and constructed imagery, the photographs act as visual metaphors for my experience of being trans and queer - resisting categorisation while inhabiting states of ambiguity and becoming. Returning as a trans person to a country where queer visibility remains fragile and often contested intensifies this negotiation between presence and self-protection.
	

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		<title>The Grateful Snake and The Magic Case</title>
				
		<link>https://kairourovi.com/The-Grateful-Snake-and-The-Magic-Case</link>

		<pubDate>Mon, 24 Aug 2026 17:45:51 +0000</pubDate>

		<dc:creator>Kairo Urovi</dc:creator>

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	The Grateful Snake and The Magic Case (wip)

The interview and photographs are attributed to Bajram Hysa, a retired gardener who worked at Vila31 between 1980 and 1981. Vila31, formerly known as the home of Albania’s dictator Enver Hoxha, has recently opened its doors to an eclectic art residency. 

Compelled by his obsessive archival impulse, I interviewed him about his role at Vila31 and the 16 months he worked there. 
Hysa donated 8 objects from his collection to the Archive of Cultural Continuity (ACC), a collective whose aims are to collect and record the history of those who have passed and will pass through Vila31.

The ACC, however, observed inconsistencies in the nature of the objects that Hysa donated. They brought their authenticity and contextual relevance into question, placing Hysa’s collection in the section of ‘Speculative Materials.’

	
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