2‍013

The series, Behold, documents war memorials across Kosova, from urban centers to remote valleys, that were established either by governmental bodies or the kin of the commemorated soldiers. What begins as an investigation into the distinction between state-sponsored and private memorials becomes a broader visual analysis of how collective memory is archived and manufactured. Hoxha accompanies these images with titles that replicate the text on the monument markers, preserving every error and fragment lost to decay, while displaying her photographs as panoramic cards—artifacts that function as archival records, mementos and souvenirs.