22nd edition of International Onufri Prize
Stranger than Kindness – Mitrush Kuteli
December 15, 2016 - February 1, 2017
The National Gallery of Arts, with the support of the Albanian Ministry of Culture is proud to present the 22nd edition of international exhibition Onufri, titled “Stranger than Kindness – Mitrush Kuteli”, curated by the Albanian artist Fani Zguro. The exhibition will be held at the National Gallery of Arts, Tirana and part of this edition are also two special projects “Cinema” and “Taxi” (the latter originated by Anri Sala’s “No Formula One No Cry –Taxi”). Inspired from the Nick Cave and the Bad Seeds hit Stranger than Kindness, this edition is dedicated to the Albanian writer Mitrush Kuteli (1907-1967).
The participating artists are:
Hamra Abbas, Klodiana Alia, Luca Bolognesi, Guri Bulovari, Erik Bünger, Kajsa Dahlberg, Nico Dockx, Jakup Ferri, Ulrika Ferm, Regina José Galindo, Rä di Martino, Dora Garcia, Manuela Garcia, Yllka Gjollesha, Khaled Hafez, Pablo Helguera, Dejan Kaludjerovic, Ilir Lluka, Edson Luli, Christopher Milne, Haroon Mirza, Museo Aero Solar, Bruno Muzzolini, Ferhat Özgür, Klodian Pasku, Steve Piccolo, Leonard Qylafi, Pipilotti Rist, Damien Roach, Karl Ingar Røys, Anri Sala, Tomas Saraceno, Mariette Schiltz and Bert Theis, Arjan Shehaj, Bert Theis, Josephine Turalba, Esmé Valk, Daniëlle Van Ark, Desmond Xhixha, Helidon Xhixha, Shingo Yoshida, Ergin Zaloshnja
Fani Zguro was born in 1977 in Tirana. Lives and works in Berlin.
The press conference will take place December 15, 2016 at 13.00.
The exhibition will open December 15, 2016 at 18.00 and will stay open to the public from December 15, 2016 until February 1, 2017.
White Night in the Museum & "Primigenius" Eltjon Valle
29 November, 2016
On 29 November 2016 The Ministry of Culture and The National Gallery of Arts introduce to the general public “White Night in the Museum”.
Throughout “White Night in the Museum”, the public will have the opportunity to visit a collection of paintings, drawings and sculptures shown in the halls of National Gallery, thus interacting with the artworks of Albanian authors from before the war and the socialist realism period.
This special night in The National Gallery of Arts, unites with the tradition held by 120 european cities, in an evening starting at 18.00 p.m of November 29, till late after midnight.
Eltjon Valle, as the guest artist for the evening, will inaugurate his sculpture titled “Primigenius”, that will be placed and unveiled near the main entrance of the gallery.
Through this artwork, contemporary artist Valle brings his concern about ecology, environment and earth itself. Composed of two structures, this work comes as an earth fusion - sequel to the artists’ series dealing with earth and nature.
According to curator Angela Madesani, in “Primigenius”, the earth becomes subject matter of an aluminum casting, an attempt to bring to light the organic look, a vital one: a complex operation, where the sculptures once placed outside in contact with the environment, will have different reactions, not entirely predictable. The matter will continue to live, it will get warm, cool, its odor will change.
The press conference with artist Eltjon Valle will take place, Tuesday 29 November, at 13:00, in The National Galley of Arts.
Bashkim Ahmeti Izano
28 October - 25 November, 2016
From 28 October, until 25 November 2016, the National Gallery of Arts opens for the public the personal exhibition of Bashkim Ahmeti Izano. This personal exhibition brings to the National Gallery of Arts a series of artworks from recent years, to be shown for the first time.
The project leader Mr. Artan Shabani together with curator Ylli Drishti have selected over 90 oil paintings , giving the public a panorama of the artist’s creative journey for the last 9 years. According to the curatorial concept this exhibition contains two main series. The first series, mostly inspired from Albanian themes, are compositions, nudes and landscapes from Gjirokastra and the Jonian seaside as well as landscapes from New York, while the second series, dedicated to the Albanian writer Ismail Kadare, presents works dating as far as 10 - 15 years ago up until now.
These new works come at a consolidated stage of the artist’s career, where through artistic maturity he realizes his works with perfect mastery and an explosive ornamental coloring.
Bashkim Ahmeti Izano was born in Gjirokastra. After attending “Jordan Misja” Artistic Lyceum he graduated from the Fine Arts Academy in Tirana. He worked as a stage designer at Gjirokastara’s city theater and also at the Ballet and Opera Theate, and at the National Theater in Tirana. He also managed the interior design group of artists in some of the national museums in Albania, where he painted historical theme frescos. During this time period he opened a number of personal exhibitions and was part of Art Biennales as well as several National Exhibitions and Competitions. From 1988-1995 he worked as a painting professor at the Fine Arts Academy in Tirana. In 1995 he emigrated in the U.S., where now he lives and works as a freelance artist in New Providence, NJ. He has exhibited in New York, Pennsylvania, in his hometown of Gjirokastra, and Tirana.
The press conference will take place on 28 October 2016 at 11.00 a.m.
The exhibition will open the same day at 18.00 p.m.
7 October – 24 October, 2016
From 7-24 October 2016, The National Gallery of Arts opens to the public “Abagraphy”, a personal exhibition from the Albanian artist Abaz Hado. This exhibition of graphic artist Hado, follows a chronological nature, and is organized based on the artist’s creative periods and cycles. Turkish curator Beste Gursu has selected 140 graphic works, giving the public a full panorama of his creative journey. Hado’s graphic works come mostly in monochrome, and performed in linoleography, a technique he still works in even today. In his graphic works there is a strong sense of expression and movement. At the center of his work we find the life and image of the Albanian man. Hado also depicts current pressing social themes. He chooses to realize multi figure compositions, organizing them after a certain “code”. In some of his works the foremost attention goes to the foreground figures, with the background also a strong component of the work, while in others Hado chooses to highlight only the leading figures.
Abaz Hado is a multidimensional artist: a painter, a graphic artist and an art manager. He was born in Shijak in 1957. He studied Monumental Painting at the Arts Institute in Tirana but then specialized as an art critic. His works can be found in the collection of the National Gallery of Arts in Tirana and in numerous private collections in Italy, Japan, Austria, USA, Norway, Germany, Greece and England.
The press conference will take place Friday, 7.10.2016 at 10:00 am.
The exhibition will open Friday, 7.10.2016 at 19:00 pm.
Anthropo – Phenomenology
5 October – 20 October, 2016
From 5 – 20 October 2016, the National Gallery of Arts opens for the public “Anthropo – Phenomenology”, a personal exhibition of Oltsen Gripshi.
Curated by Mr. Andi Tepelena, this exhibition comes as a constant search of the artist, reflected in the way he sees and interprets culture and the identity of the human being, using the language of contemporary art.
The works, which come in a variety of techniques using the physical and substantial aspect of the medium, are introduced to us as a combination of oil painting, installation and video art.
Through a semiotic approach in his paintings, the artist takes a look at the chiaroscuros of contemporary man, probing deep into his sensitivities, emotions, fears, anxieties, Eros, timidity, age or virginity as a phenomenon in the Albanian society. His is a genuine radiography of the human being, in a frontal relation with reality and its phenomenology.
As curator Tepelena states, the theme of waiting, present in Gripshi’s work, creates a suspended situation between the geographical and intellectual boundary, and symbolically conveys the fragility between memory and oblivion, concept and imagination.
In addition to symbolic means, Gripshi’s exhibition is complemented by the exploration of such issues that bear corrosive institutional criticism, recalling at the center of attention the contemporary artist’s concern about environment, the politics’ demagogy, and social and cultural developments in Albania.
Oltsen Gripshi was born in 1984 in Peqin, Albania. In 2006 he graduates at the G.B Cignaroli Academy of Fine Arts, in Verona, Italy. In 2009 he graduates at Padova State University, finishing his Professional Master; in 2010 he completes a Second Level Specialization at the G.B Cignaroli Academy of Fine Arts, in Verona. From 2013 he is attending the doctoral school at the Center for Albanology Studies. He has been awarded many international prizes.
The press conference will take place, Wednesday, 5.10.2016 at 11.00 a.m.
The exhibition will open Wednesday, 5.10.2016 at 19.00 p.m.
19 August – 8 September, 2016
On 14 September 2016, at 19.00 hrs, the Albanian National Gallery of Arts and Yunus Emre Insitute in Tirana are pleased to open to the public the exhibition "LOOP" of Turkish artist Tulin Onat. This is the first exhibition of this artist in the National Gallery of Arts, Tirana.
The exhibition, which will stay open until 2 October 2016, will be opened under the aegis of Embassy of Turkey in Tirana, and will be sponsored by the IKASD (The Istanbul Society for Intercultural Art Dialogue) and Turkish Airlines.
Tulin Onat (b.1946, Istanbul) graduated from the advanced Painting Department of İstanbul State Academy of Fine Arts in 1971. So far she has had 37 personal exhibitions; has taken part in more than 200 group exhibitions in Turkey and abroad, and is recipient of numerous international awards. Her artworks are part of a number of private collections and museums.
Beste Gursu, the curator, maintains that Tulin Onat’s three-dimensional works, which become stronger due to the effects of abstracted forms, added depth and colours become so impressing and exciting that provoke a desire to touch. In addition, Onat positions the underlying wall not only as support for the work, but as part of it.
On Wednesday, 14 September 2016, 11.00 am, there will be a press and media conference in the National Gallery with Beste Gursu, the curator, and Tulin Onat, the artist herself.
After the vernisagge, the exhibition can be visited daily, until 2 October 2016, at the National Gallery of Art, Tirana, between 09.00 – 14.00 and 17.00 – 20.00.
15 September – 1 October 2016
The National Gallery of Arts in Tirana is pleased to open the personal painting exhibition of Aleksander Filipi. He belongs to the group of contemporary Albanian painters. Since his graduation from the Fine Arts Institute in Tirana in 1977, he has leaned towards compositional tableaus full of historical themes, Albanian legends and everyday life motifs.
Between 1978 and 1981, in collaboration with the artists Vilson Kilica, Anastas Kostandini, A. Nebiu and Josif Dobroniku, he was part of the group that accomplished a 440 m2 mosaic entitled “Albania”, part of the facade of the National Historic Museum.
Always figurative and expressive in his paintings, Filipi remains an important Albanian contemporary artist of the compositional tableau, focusing mainly on the human figure.
Filipi’s works have been displayed in various exhibitions and competitions in Albania and abroad, and are part of different private collections in Albania, Kosovo, Germany, Greece, Italy, France, Venezuela, Spain and United States. His work “Declaration of the Independence”, is exhibited at the house of The Albanian Parliament.
This exhibition will present a collection of 21 oil paintings, depicting the urban landscape of Tirana, and also a number of compositions from everyday life in the Albanian capital. These works were realized over a period of five years, between 2011 and 2016.
This is the artist’s second personal exhibition at the National Gallery of Arts after 24 years.
The exhibition will open on Thursday, 15 September 2016, at 19.00.
The press conference will take place on Thursday, Thursday, 15 September 2016, at 11.00 am.
19 August – 8 September, 2016
As part of the 2016 season at The National Gallery of Arts, “Alkan Nallbani: Explorers” will open on August 19,19:00, featuring 90 paintings, drawings and engravings that together explore central insights into the human existence, emanating from Nallbani’s experiences across Europe and the United States as part of the Albanian diaspora.
Brimming with optimism, Nallbani’s art moves from expressionism in his early work to more personal research in recent years, choosing simple moments of every day life as a means to explore the universal themes of mankind.
Alkan Nallbani: “Explorers” Alkan Nallbani was born in 1971, Berat, Albania. He graduated from the Academy of Fine Arts of Tirana and continued his education at the Academy of Fine Arts in Florence, Italy and at the Corcoran College of Art and Design, U.S.A. He has participated in numerous exhibitions in diverse countries throughout Europe and the United States. He lives and works in New York and Florence. His work has been included in the American Biennial of Graphic Arts in 2010 and the Biennial of Prague in 2009.
Credits “Alkan Nallbani: Explorers” is curated by Artan Shabani, Director, National Gallery of Arts Tirana and Esmeralda Dalipi, Curator.
Press Preview: Thursday, August 19, 2016, 11:00 a.m.
Ideals and Artworks
A selection of works from the collection of Ludwig Museum, Budapest
24 June – 14 August 2016
On 24 June 2016, at 19.00 the Albanian National Gallery of Arts and Ludwig Museum – Museum of Contemporary Art, Budapest are pleased to open to the public in the temporary exhibitions wing of the National Gallery the exhibition "IDEALS AND ARTWORKS / A selection of works from the collection of Ludwig Museum, Budapest". The exhibition reflects an ongoing collaboration between the National Gallery of Arts and Ludwig Museum – Museum of Contemporary Art, Hungary.
The selection, which includes some of the best known contemporary Hungarian artists such as László Fehér, László Lakner, Dóra Maurer, Sándor Pinczehelyi and others, gives insight into the recent past and contemporary art of Hungary through primarily photo - and multimedia-based works, often involving the figure of the artist.
According to the curator of the show Krisztina Szipőcs, the main point of the exhibition is “to show the ideas and thoughts behind the artworks, like ideologies, intentions and ideals - among them the communism, consumer society, nationalism, beauty ideals, religious thinking, freedom - which have changed a lot in the past 40 years. The pieces on show are documents of an era, imprints of the ideals and values that permeate everyday life and art.”
On Friday, 24 June 2016, 11.00 am, there will be a press and media conference in the National Gallery with the curator of the exhibition Krisztina Szipőcs, art historian, curator and deputy director of Ludwig Museum.
The art of Albanian motion picture design – Highlights from the kinostudio years
April 14, 2016
On April 14th at 19:00 (7:00pm), The National Gallery of Arts is pleased to announce the opening of the exhibition "The Art of Albanian Motion Picture Design – Highlights from the Kinostudio Years".
The exhibition will feature hundreds of original half-sheet and full-size designed motion picture posters, costume sketches and premiere programs from the ‘New Albania’ film studio (1952-1992). Produced by the National Gallery of Arts in co-operation with the Albanian National Film Archive (AQSHF), the Albanian University of the Arts and curated by Albanian-American filmmaker Thomas Logoreci, this one of a kind collection will showcase a selection of vividly colored, hand-drawn movie poster art, costume sketches and premiere programs that have rarely been seen by the public before. Though there are hundreds of other exceptional Albanian movie posters in the AQSHF collection, the emphasis in this exhibit will be artwork crafted by hand, not photographs.
Conceived to bring attention to Albania’s often ignored but rich motion picture tradition, this exhibition features defining artistic works created by talented Kinostudio craftspeople such as Sali Allmuça, Ksenofon Dilo, Myrteza Fushekati, Azis Karalliu, Bujar Luca, Kleo Nini, Namik Prizreni, Alush Shima, Astrit Tota, Dhimitër Theodhori and Shyqyri Sako.
Rounding out this special presentation is a documentary by the Irish critic and filmmaker, Mark Cousins. Titled HERE BE DRAGONS, this essay captures Cousins 2012 journey to Albania while considering the significance of preserving Albania’s motion picture legacy – the biggest test for Albania’s film archive in the next decade. It is the sincere hope of the National Art Gallery, the Albanian National Film Archive, the Albanian University of the Arts and the curator that this unique exhibition will acquaint the public, both national and international, with the vibrant tapestry of Albania’s cinema heritage.
This exhibit begins running for the public on Friday, April 15, 2016. A press conference will take place at the National Gallery on Thursday, April 14, 2016 at 11:00 am.
Project Director: Artan Shabani
Curator: Thomas Logoreci
24 Shkurt - 13 Mars, 2016
Më datë 24 Shkurt 2016, ora 18.00, Galeria Kombëtare e Arteve ka kënaqësinë të hapë për publikun ekspozitën vetjake të artistit Llambi Blido.
Ekspozita e kuruar nga Ylli Drishti prezanton në mënyrë të përmbledhur dy periudhat kryesore të cilat ndajnë krijimtarisë së Llambi Blidos. Në periudhën e parë 1960 – 1990, krahas pikturës Blido ka realizuar edhe shumë grafika e vizatime pa lënë mënjanë karikaturën, por në këtë ekspozitë kjo fazë përfaqësohet kryesisht nga tablo në teknikën vaj mbi kanavacë, disa prej të cilave u është mohuar ekspozimi në kohën kur janë krijuar. Ato janë kritikuar për format moderniste, apo për trajtimin e temave të parëndësishme për kohën. Periudha e dytë e krijimtarisë së Blidos që nis në vitet 1990 e deri në ditët e sotme prezantohet në ekspozitë me vepra ku mbizotëron piktura abstrakte dhe figurative. Pas humbjes së shikimit krijimtaria e Llambi Blidos pësoi një reduktim, por artisti nuk ka ndaluar asnjëherë së punuari. Veprat shfaqen në këtë ekspozitë të ndara në cikle. Disa cikle të viteve të fundit shfaqin përpara publikut vizatimet e printuara të periudhës së realizmit ku imazhi abstrakt është punuar më pas në teknikën e pastelit. Ekspozita e vetjake e Llambi Blidos prezanton për publikun rreth 100 punime, dy nga të cilat janë pjesë e fondit të artistit prej 21 veprash që ruhet në Galerinë Kombëtare të Arteve.
Ekspozita e parë vetjake në GKA parashikuar në vitin 1988 u anulua pasi gjysma e veprave të tij u ndaluan të ekspozohen.
Vetëm në vitin 1992, Blido mundi të hapte personalen e parë në GKA dhe më pas të marr pjesë në disa ekspozita në grup. Llambi Blido ishte ndër nismëtarët ekspozitës “Nëntori” duke filluar nga viti 1998.
Krahas të qënit një piktor origjinal në artin figurativ shqiptar, gjithnjë në kërkim të përsosmërisë, Lllambi Blido i ka kushtuar vite pune edhe kritikës së shkruar mbi artin figurativ. Shkrimet dhe analizat e Blidos janë botuar në shtypin e kohës përpara viteve ’90, por edhe në disa nga periodikët e ditëve të sotme.
Konferenca për shtyp do të zhvillohet më datë 24 Shkurt, ora 11.00 në GKA.
10 - 21 shkurt, 2016
Galeria Kombëtare e Arteve, me datë 10 Shkurt 2016, ora 18.00, ka kënaqësinë të hapë ekspozitën retrospektivë të artistes Lumturije Dhrami.
Ekspozita e kuruar nga Ylli Drishti është një prezantim i plotë i krijimtarisë së Dhramit në grafikë në një periudhë 30 vjeçare (1956 – 1986). Në historinë e arteve pamore në Shqipëri, ajo renditet e para artiste femër e diplomuar për grafikë, e cila dha një kontribut shumë të rëndësishëm në zhvillimin e kësaj gjinije.
Në veprën e Dhramit mbizotëron grafika e thjeshtë, realiste e që komunikon me publikun. Pjesa më e madhe e artit të saj grafik shtrihet në periudhën e Realizimit Socialist, rrjedhimisht temat e subjektet në ciklet e punuara lidhen me këtë realitet ashtu si krijimtaria e shumë artistëve të tjerë që aplikuan grafikën.
Pavarësisht realitetit dhe atmosferës artistike, apo ndikimeve politike e sociale, Lumturije Dhrami përdori vazhdimisht elementët modern të grafikës dhe veprat e saj mbeten një vlerë e pamohueshme në artin pamor shqiptar.
Artistja ka realizuar disa cikle grafike me temë nga Lufta Antifashiste Nacional – Çlirimtare (“Shtypi illegal”,“Vdekje fashizmit, liri popullit”, “Greva e Kuçovës”); nga jeta dhe puna e ndërtimit të socializmit (“Epoka jonë”, “Fshatari”, “Gruaja që pi ujë”, “Agronomja”, “Rruga jonë”, ”Ndërtuesi”, “Punëtori i peshkimit”, “Ushtarët”). Disa vepra grafike ajo ia ka kushtuar figurave të njohura të historisë shqiptare.
Grafika shqiptare e rendit Lumturije (Shehu) Dhramin krahas artistëve të tjerë grafistë shqiptarë si: Pandi Mele, Safo Marko, Ibrahim Shehu, e më tej si: Musa Qarri, Vlash Prifti, Anastas Kostandini, etj
Konferenca për shtyp mbi ekspozitën do të zhvillohet më datë 10 Shkurt, ora 11.00.
Ekspozita do të qëndrojë e hapur deri më 21 Shkurt 2016.
January 21 - February 10, 2016
Më datë 21 Janar 2016, ora 18.00, Galeria Kombëtare e Arteve ka kënaqësinë të hapë për publikun ekspozitën vetjake të artistes Lumturi Blloshmi
Ekspozita sjell në fokusi e aparatit fotografik një fazë të rëndësishme të krijimtarisë artistike të Lumturi Blloshmit. Artistja vjen në këtë ekspozitë përmes fotografive të instalacioneve dhe performancave të realizuara pas viteve ‘90. Si një ditar i hapur, ato rikujtojnë mesazhet e fuqishme artistike dhe sociale që Blloshmi i ka transmetuar publikut në ekspozitat e saj personale, apo në grup.
Instalacione, apo performanca që kanë mbetur në kujtesë të shumëkujt si: Obsession - The Pyramid; The utopian Road; Ambiguity; The invasion of the space; Paradox; Duality; It’s a Wonderful Life; Is’t a men’s world, do të jenë pjesë e ekspozitës vetjake të Blloshmit.
Përveçse si një retrospektivë e 25 viteve të fundit të artit të saj, kjo ekspozitë vjen si një dëshmi e përforcuar se Lumturi Blloshmi është një nga artistet e para femra që solli mediumin e instalacionit dhe performancës në Shqipëri.
Puna e saj në artin pamor nisi në vitet 1973 – 1974, një periudhë delikate në artin shqiptar. Lumturi Blloshmi arriti të krijojë dhe t’i shmanget presionit të kohës duke u fokusuar tek peizazhi dhe natyrat e qeta. Në fillim të viteve ’90, Blloshmi kërkoi dhe gjeti një karakter tjetër artistik dhe u bë shumë shpejt pjesë e atyre artistëve që i dhanë frymëmarrjen e parë artit modern dhe postmodern shqiptar përmes performancave dhe instalacioneve.
Bio e shkurtër
Lumturi Blloshmi lindi në Tiranë në vitin 1944. U diplomua për pikturë në vitin 1968. Në vitin 1988 çeli ekspozitën e parë personale në Berat dhe po atë vit mori pjesë në Bienalen e Ankarasë (Egjypt). Gjatë viteve ‘89–‘91, çeli dy ekspozita vetiake në GKA. Midis viteve 1992- 2010 Blloshmi ka marrë pjesë në ekspozita të ndryshme në grup si në Selanik, Madrid, Lion, Budapest, Stamboll, Paris, Zyrih, Gjenevë, Modena, Hag, New York etj. Është fituese e konkursit ndërkombëtar “Onufri ‘94”. Vitet e fundit Lumturi Blloshmi është prezantuar me ekspozita në disa galeri private në Tiranë, Durrës, apo Korçë.
Ekspozita do të qëndrojë e hapur deri më 10 Shkurt 2016.
SiO2 – The Reason of Fragility
November 20, 2015 – January 03, 2016
The National Gallery of Arts is pleased to open the group show SiO2 – The Reason of Fragility, How Do We Spell The Word C-A-R-E When Staring At Glass? at 1800 on 20 November 2015. The exhibition brings together the final results of invited established artists and young emerging artists who have been selected from an open call for the 21st edition of the Onufri Prize, a competition organized annually by the National Gallery.
In this exhibition the curators VestAndPage (Verena Stenke/Andrea Pagnes) bring together the works of 23 artists from different countries of the world, including some of the most important contemporary artists of our time. In their curatorial statement VestAndPage write that:
“The formation and the constitutional aspects of contemporary art are unpredictable, unexpected, accidental and improbable. They are essentially "disorder" and radical mismatch, and often a result of a critical, divergent thinking contradictory or in opposition to the commonly accepted norms and aesthetic codes. Yet, art is not intended to block the flow of life, because the work of art - in a short stretch of time and space – is capable of projecting a focused vision of the human condition, marking the stages of its evolution or involution.
“So much of the foundation of contemporary artistic practice stems from the investigation of the properties of materials – glass, for example - and the de-contextualization of their ordinary function. In fact, for contemporary artists, to deepen the qualities of a material is not just a novelty search to produce an original artefact, it is rather an attempt to offer an autonomous interpretation of the world, albeit partial, which can contribute to help to make sense of the human existence.
In fact, the artistic image of the world cannot be adapted or compared to purely cognitive rational paths, because it represents a way of appropriation of the world that, in its specific and unique form, is possible only in the artwork.
“It is after bearing these considerations in mind that we can understand how a material such as glass - for its linguistic, symbolic and metaphoric potential and the intrinsic properties of fragility, transparency and resistance - is the most appropriate to indicate that an intuitive knowledge of art escapes any ‘correctness’ criterion, as its difficulties - its beauty - must be conquered by intuitive thought, and therefore must be realized as a result of a "vision of the essence."
It is exactly this concept that the exhibition aims to communicate, since in any way it may be judged, the experience of a vision of the essence of reality leads to a thought that art is not limited to the unsullied pleasure of pure aesthetic contemplation, but it is capable of generating a powerful reflection and consequent awareness on the multiple dimensions of meaning that are behind the human thought itself.”
On Friday, 20 November 2015 at 11.00 am there will be a press and media conference in the National Gallery, where the curators VestAndPage will explain in depth the exhibition and the artists.
The exhibition will stay open until 03 January 2016.
29 Nëntor - 9 Dhjetor 2015
Galeria Kombëtare e Arteve, me datë 29 Nëntor 2015, ora 18.00, ka kënaqësinë të hapë ekspozitën vetjake të artistit Artur Gorishti.
I njohur përgjithësisht si aktor filmi, Artur Gorishti ka guxuar edhe më parë t’i flasë publikut përmes ekspozitave, kryesisht fotografike, por këtë herë ai vjen në Galerinë Kombëtare të Arteve me një pasion jo aq të shfaqur, siç është piktura.
Ekspozita e cila vjen në Natën e Bardhë, kuruar nga Ylli Drishti do të prezantojë rreth 70 vepra të përzgjedhura nga 900 punime të artistit në një periudhë 25 vjeçare. Pikturat e grafikat, janë peizazhe, portrete, brendi, kompozime e miks media.
Krijimet e Gorishtit, janë brendia individuale e tij, e cila shpaloset si fletë libri, si një fjali, apo fjalë e shkruar nga një dorë që vërshon krejtësisht e lirë. Duket sikur pa qënë e planifikuar, shqetësimet, humbjet, “errësira” që ka përjetuar artisti, janë përkthyer në këto punë ku ndihet e vërteta, drita dhe optimizmi.
“Ajo që e bën konkrete veprën time, nuk është të menduarit se jam artist, por të qënit i përulur përpara fjalës së madhe ART, i përulur me dyshime dhe i brishtë si fëmija”, thotë Gorishti.
Tensioni i brendëshëm që shoqëron atë, enigma, mosdeklarimi i tij si artist, e karakterizojnë Gorishtin edhe në aktrim edhe në regji. Pas çeljes së ekspozitës në orën 18.00, në GKA do të projektohet filmi i realizuar nga Artur Gorishti “Breath”, i cili u vlerësua si filmi më i mirë debutes me metrazh të shkurtër në edicionin e 13-të të TIFF, e që do të konkurojë në disa festivale të rëndësishëm në Europë.
Artur Gorishti lindi në vitin 1962 në Tiranë. Në vitin 1982 u diplomua për topografi, por një vit më vonë nisi studimet për aktrim në Ish- Institutin e Lartë të Arteve në Tiranë. Po në vitin 1983 nisi edhe kariera e tij artistike si aktor, ndërsa sot numëron rreth 40 role. Pasioni për fotografinë nis në fillim të viteve 2000, duke e bërë Gorishtin protagonist në disa konkurse dhe ekspozita fotografike.
Prej vitit 2005 jeton në Montreal, Kanada ku ka aktruar në disa prodhime kinematografike dhe televizive.
Në vitin 2013 botoi librin me tregime “Dyert”, të cilat ka nisur t’i realizojë në pelikul si skenarist dhe regjisor.
Ekspozita do të qëndrojë e hapur deri më 9 Dhjetor 2015.
I gjeni një qytet Migjenit
22 Tetor - 16 Nëntor 2015
Më datë 22 Tetor, 2015, ora 19.00, Galeria Kombëtare e Arteve ka kënaqësinë të prezantojë për publikun në sallën e ekspozitave të përkohëshme, ekspozitën “Neomigjeniane - I gjeni një qytet Migjenit”
Ekspozita e kuruar nga Krenar Zejno përpiqet të krijojë një atmosferë migjeniane për publikun. Nëpërmjet veprave artistike të krijuara nga autorë të ndryshëm, brenda dhe jashtë vendit, në zhanre, teknika dhe periudha të ndryshme, ekspozita krijon një rrugëtim mes artit pamor dhe dëshmisë së shkruar të shkrimtarit në letërsinë shqipe, vazhdimisht koherente. Koncepti kuratorial për të shprehur një mesazh, një realitet, një ide, apo parashikim, përmes pikturës, e cila gjen vehten me ose padashje në kontekstin migjenian, ka bashkuar autorët në këtë eskpozitë edhe pse secili prej tyre nuk ka pasur këtë qëllim. Sipas kuratorit kjo ka ndodhur jo vetëm nga tundimi për të ekspozuar, por për të rrëmuar në më të padukshmen e veprës së tyre. Ky kërkim në artin pamor, sipas tij i dedikohet edhe vetë veprës së shkrimtarit, për t’u parë e kuptuar në të gjithë thellësinë e saj.
Ky do të ishte termi fjalëkyç i konceptimit kuratorial të kësaj ekspozite. Prej Migjenit është huajtur primati i tij për një koncept-emërtim, të cilin kur e lyp nevoja na vjen tashmë i gatshëm për përdorim: mjerim migjenian; imazhin përkatës: tablo migjeniane; hapësirën ku instalohet: skenë migjeniane; gjëndjen që e banon: dramacitet migjenian. Ndërkaq, në togfjalëshin ‘neomigjenian’, bashkëngjitur emrit prin një emërtesë që ka fituar prej kohësh qytetarinë si definicion i rrymave artistike me lidhje e përkime me artin e një periudhe të mëhershme, apo ndërlikime ricikluese mbi elemente të tij, risjellë në kohë të re, mbi një kontekst të ri.
Porse, edhe në lidhje me këtë, ekspozita që shfaqim nuk synon te një ndërlidhje e drejtpërdrejtë. Së pari, me kalimin prej shkrimit te pikturimi, nga fjala te imazhi, kapërcimi është apriori tjetërsues. Së dyti, s’është kërkuar një shpërfaqje analoge e mjerimit prekës dhe pikëllimit migjenian në objektin e një tabloje, por harkim dramatik në përmbajten e imazhit apo në formën dhe gjuhëzimin piktorik. Pra, nuk është qëllimi të ilustrohet vepra dhe marazi migjenian i skicimit letrar të dramës së mjerimit dhe vobektësisë së marrëdhënieve njerëzore si derivat i tij, përmes skicimesh prej arti pamor si derivate të inkursionit të shkrimtarit. As si vënie në shërbim të përndertë rikujtimi të tij përmes punësh të posaçme për këtë event. Edhe teksti “ I gjeni një qytet Migjenit”, kryer më parë e në tjetër kontekst, ripropozohet si pretekst metaforik i ngjarjes. Atëherë?!
Lakorja e gërshetuar e konceptit kuratorial, prej fjale dhe imazhi, shtrihet të lidhë njërin domen të shprehjes artistike me tjetrin, por rrjedhmisht edhe skajet kohore të këtij fillim shekulli me të përparshmin dhe anasjelltas. Dhe, për pasojë, edhe efektet e diskurin që implikon një vizion i propozuar nën këtë shenjues. Ajo çka, së paku si premisë, tentohet në ekspozitë, është instalimi interier/interior i një atmosfere migjeniane për vizitorin, dhe prania në punët e autorëve që e bëjnë atë, e një trajte poeticiteti. Përmbushja me të cilën, dihet, e shpie një skicë a bocet drejt një pune të kryer e, me gjasë, drejt të qenit vepër arti. Tekefundit, ç’do mund ta honorifikonte më efektvisht Migjenin se sa dëshmimi i poetikës së tij tek frymon edhe pas një shekulli dhe përmes veprash të një tjetër arti e të pavarura nga qëllimi për këtë. ‘Unë dhe ti, murgeshë, dy skaje po të një litari’... Poeti nuk është këtu pikëmbërritja te memoriali, por pikënisja nga memorja për tek empatia. E jo për artistët që ekspozojnë, por për vizitorët që i ekspozohen përballjes me veprat. Për një “lexim” nga një pikëvështrim i njëjtë e nën të njëjtën shenjë i autorëve dhe zhanreve të ndryshme, si mes tyre edhe me shkrimtarin. Dikush vendas, por që ka për atelie dhe objekt tabloje kontekstin apo lëndën e një vendi të huaj, dikush i huaj, që as nuk di për Migjen, mirëpo diku e has dhe e bart e rikonfirmon edhe atë. Një eskursus pamor nëpër ekspozitë, me ftesën nën sugjerimin për një perceptim të orjentuar të shenjës dhe elementeve të mundshëm përbashkues. Kësisoj, me parakushtin kuratorial për të mbathur, në daç këpucët llustarafinë, pasqyrë për mjerimin e të vocërrit, n’daç tollumbat e shqyera vertikalisht përpjetë, gati të përpijnë edhe idhullin e ledhave në lëkurë (...po, po, një ditë tollumbat kanë me e hangër mësuesin e tyne) e jo detyrimisht vërsnikun e zilisë horizontale përballë.
Iniciativa kuratoriale - edhe prej miradijes që arti nuk mundet ta këmbejë realitetin po veç ta bëj më të jetueshëm - nuk është apel për një ndjeshmëri e shprehje të re të shpresës apo të pashpresës sociale, por më së pari, shpresa dhe apeli për ndjeshmëri e shprehje të re artistike. E që të bëhen hesapet e një vepre arti dhe të përftohet interesi i kënaqshëm e i mbrothtë prej kësaj, lypset të pikaset diku shifra e saktë e saj dhe të njihet koeficienti i shumëzimit me të. Poema: pictura lokuens; pictura: poema silens.
Piktura në ekspozitë është mal që s’bëzan, pavarësisht dhe pafajësisht e pandjeshme ndaj përdorimit të vet në një kontekst (ndonëse ashtu si vepra e Migjenit mund të pësojë historinë e një përdorimi dinak kontekstual). Mirëpo, ja që metafora kuratoriale, për të thënë gjënë me anë të tjetër gjëje, është pranuar si ftesë për pjesëmarrje nga autorët, mbase edhe për një nevojë më tunduese se ajo e dëshirës për të ekspozuar: ekzigjencën për të mos kërkuar medoemos të drejtpërdrejtën deklamative në një vepër arti, por për të rrëmuar në nënshtresat e saj. E nëse një konceptim i tillë do t’i kryente sadopak një shërbim kësaj mundësie për të shquar të abstraguarën, sigurisht që kjo do t’ishte me voli edhe për vetë veprën e Migjenit, drejt kqyrjes së thellësisë matanë epitelit që mvesh skicimin e botës së tij në bocën e vet të papërfunduar. Përmbledhur pa mbetje, gjithë-gjithë në dy libra postume nga jo më shumë se dy vjet përvojtje e përvoje hovi dhe hareje shkrimi.
Në demarshin e aktives së Migjenit dhe ndoshta në krejt synimin intentio operis të veprës, asgjë s’bëzan më ndjeshëm e don të dalë në pah më shumë se sa akti i tij i zbathjes, në publik e në rrethana cilësuese, i brekëve legjendare të prapanikes patetike të shkrimtarisë. Nga pamja te gjuha, nga fjala te imazhi, marazi migjenian “shoh qartë e ma qartë/ e vuej thellë e ma thellë” u shkëput herët e s’mundi më gjatë të vuante aq thellë, sa ta rrotullonte mbarë vargun rreth vetes drejt një epifanie të anasjellë: vuaj thellë e më thellë, dhe shoh qartë e më qartë.
Shikim të mbarë e të qartë.
21 tetor - 15 nëntor 2015
Me datë 21 Tetor 2015, ora 19.00, Galeria Kombëtare e Arteve ka kënaqësinë të prezantojë për publikun në sallën e vogël të ekspozitave të përkohëshme, ekspozitën “Black Box” të artistit Bujar Luca.
Artisti franko-shqiptar, krijimtaria e të cilit është e mirënjohur në disa vende të ndryshme të botës, ku veprat e tij janë koleksionuar në qytete të mëdha si: Paris, Nju Jork, Londër, Moskë, Bruksel hap për herë të parë ekspozitën vetjake në Galerinë Kombëtare të Arteve në Tiranë.
Artisti vjen në GKA, për të “riatdhesuar” artin e tij, për të komunikuar dhe për të ndarë me publikun shqiptar atë ç`ka mundur të krijoj si një artist i cili ka jetuar nën diktaturën komuniste. Përms ekspozitës së tij në Tiranë ai do të tregojë atë çka mund të arrijë artisti i një vendi të Lindjes, kur krijon me kurajo dhe guxim, kur emocionalisht e udhëheq imagjinata, dija dhe talenti. Në këtë ekspozitë Luca prezantohet në teknikat: miks në letër dhe miks në telajo.
Arkitekti i njohur francez Etienne Poncelet e ka cilësuar Bujar Lucën një artist të vërtet, kompetent dhe njeri të kulturës…, “një bashkëbisedues jashtëzakonisht interesant…” shprehet Poncelet.
Bujar Luca është ndër artistët bashkëkohor shqiptar, i cili me artin e tij lartëson cilësinë e prezantimeve tona ndaj një publiku të mirëinformuar dhe të edukuar me artin bashkëkohor.
Bujar Luca ka punuar në Kinostudio “Shqipëria e Re”, deri në vitin 1990, vit që shënon largimin e tij nga Shqipëria. Nga ajo kohë punon, krijon dhe jeton në Paris, vend të cilit i ka kushtuar me pasion energjitë më të mira krijuese. Luca ka përfunduar studimet në Institutin e Lartë të Arteve në Tiranë, nga fundi i viteve 70. Ka punuar mbi 20 filma si krijues kostumesh dhe skenograf gjatë 13 vitesh. Kjo eksperiencë dhe ajo e grumbulluar gjatë 25 viteve në Paris kanë formuar personalitetin e tij artistik
Konferenca për shtyp mbi hapjen e ekspozitës do të zhvillohet më datë 21 Tetor, ora 10.30
Ekspozita do të qëndrojë e hapur deri më datë 15 Nëntor 2015.
10 September - 11 October 2015
On September 10, 2015 the National Gallery is pleased to open to the public in the temporary exhibitions wing the personal exhibition of the Albanian artist “Maks Velo – Retrospektive”
Gratë e Biblës
21 Shtator - 11 Tetor 2015
Me datë 21 Shtator 2015, ora 19.00, Galeria Kombëtare e Arteve, ka kënaqësinë të hapë për publikun në sallën e vogël të ekspozitave të përkohshme, ekspozitën "Gratë e Biblës", të piktorit Jorgaq Gogu.
Ekspozita e kuruar nga Ylli Drishti prezanton rreth shtatëmbëdhjetë vepra, të cilat vijnë si një cikël piktorik të realizuar nga artisti në periudhën 2014 – 2015. Tablotë e frymëzuara nga imazhet femërore të Biblës, janë të gjitha në përmasat 100 x 150 cm, në teknikën vaj në kanavacë.
Duke u inspiruar nga shkrimet biblike, nga ngjarjet e treguara që i ofrojnë atij imazhet, atmosferës biblike, piktori shfaqet përpara publikut sipas një gjuhe artistike vetjake, moderne dhe komunikuese. Karakteristikë e tablove të piktorit Jorgaq Gogu janë zgjidhjet kompozicionale, ku spikasin figurat monumentale me lëvizje të fuqishme me qëndrime ulur apo në këmbë. Në tablo figurat femërore dhe Krishti janë pikturuar në lëvizje të vazhdueshme, të vrullshëm dhe me nota të fuqishme grafike.
Cikli i veprave në këtë ekspozitë ofron një këndvështrim të tijin artistik mbi imazhet e “Gruas” në Testamentin e Ri, por piktura e Gogut pasuron mozaikun e arteve pamore bashkëkohore shqiptare.
Ekspozita e piktorit Jorgaq Gogut në GKA përkon me një vjetorin e vizitës së Papa Franceskut në Tiranë.
Piktori Jorgaq Gogu lindi në qytetin e Beratit. Studioi në Liceun Artistik “Jordan Misja” në Tiranë, nën drejtimin e pedagogëve Janaq Paço, Thanas Papa, Abdurrahim Buza dhe më pas punon për tre vite mësues vizatimi në qytetin e Kuçovës. Nga viti 1971, Jorgaq Gogu ishte piktor skenograf në Pallatin e Kulturës “Tekstilisti” si dhe piktor dizajni (modelist) në Kombinatin e Tekstileve, Berat. Vetëm pak kohë pasi u kthye në Tiranë, ai la Shqipërinë për të jetuar në Greqi. Gjatë qëndrimit në Athinë, bashkëpunoi me studion e skulptores së njohur greke Maria Papakostandinu. Pas rikthimit në atdhe në vitin 2004 e në vazhdim jeta e Jorgaq Gogut është përqëndruar vetëm tek piktura. Jorgaq Gogu ka marrë pjesë në ekspozitat lokale dhe kombëtare duke filluar nga viti 1965. Në vitin 1982 ai çeli ekspozitën e parë vetjake në pikturë dhe më tej realizoi 4 ekspozita të tjera kryesisht në Tiranë (MHK). Përveç vizatimeve me penë, kryesisht peizazhe nga qyteti muze i Beratit, ai ka realizuar edhe punime në skulpturë: relieve e skulpturë të rrumbullakët.
Konferenca për shtyp mbi ekspozitën do të zhvillohet të hënën, më datë 21 Shtator 2015, ora 11.00.
WHITE HOUSE BIENNIAL
Strategies and Tactics / Exhibition of Slovak videoart
July 30 – August 31, 2015
Martin Kochan, Landscapes-Painting, video, 2014
Artists: Anton Čierny, Pavlína Fichta Čierna, Iva Durkáčová, Oto Hudec, Martin Kochan, Daniela Krajčová, Tamara Moyzes, Ilona Németh, Lucia Nimcová, Tomáš Rafa, Shlomi Yaffe, Anabela Žigová.
On 30 July 2015, 19.00 the National Gallery of Arts is pleased to open to the public in its temporary exhibitions wing the exhibition "Strategies and Tactics / Exhibition of Slovak videoart". The exhibition reflects an ongoing collaboration between the National Gallery of Arts and the White House Biennial, an international artistic platform based in Athens, Greece.
The White House Biennial (WHB) was launched in 2010 in Athens, among dozens of demonstrations and austerity protests as an artistic reaction to the continuing period of the deep financial and ethical crisis in which the country where Democracy was born is going through. Exercises on Democracy, the current edition of the WHB, questions the revolutionary role of art and its power to affect sociopolitical changes, posing the crucial question of the definition and remodeling of Democracy.
Within the conceptual framework of Exercises on Democracy, the White House Biennial is going to present at the National Gallery of Albania, a multi-layered international program of activities, extended in two separate exhibitions. Strategies and Tactics, the first show, focuses on a wide range of Slovak video artists, under the curating of Lýdia Pribišová.
Strategies and Tactics
One could say that today artists are experts of a sort in conceiving new alternatives and finding inventive, unconventional ways of surviving. Our neo-liberal society, based on the dynamics of capital, hardly recognizes the symbolic or “intangible” value of art, artists being forced either to ally with the market or occupy a marginal position in society that does not allow them to make a living from their very profession, art. This situation compels artists to employ and develop innovative structures of existence. This topic appears in the work of many artists in a broad range of forms. They look for creative ways and tactics to find their way in society. In their works, they often relate to and thematise the tactics of survival of minorities and powerless people, such as immigrants, Roma, people persecuted by totalitarian regimes and so on.
The main theme of the exhibition, a selection of Slovak contemporary video art, is based on the contraposition of strategy and tactics. Distinctions between them were proposed by the French philosopher Michel de Certeau in his book The Practice of Everyday Life (1984).
Strategy, in military terminology, is the domain of established superiority and of influence that is already partially affirmed; it is the program of leadership of the collective towards major conquests; it is the long-term plan of those who have the time and general knowledge to create a theoretical formulation. Strategy is the identification of key campaigns that are necessary to accomplish the main objective. Strategy means control (of a city, of an institution etc). According to de Certeau, the development of strategy emanates the purview of power. The exercise of strategy is connected with a place that can be circumscribed as a proper and thus serves as a basis for generating relations with exterior subjects. He argues that tactics are opposed to strategy. The place of tactics belongs to the other. So since the user of tactics has no base, tactics depend on time. That means flexibility, a combination of heterogeneous elements. In contrast to strategy, de Certeau claims, tactics are the purview of the non-powerful. Tactics are more an adaptation to the environment, which has been created by the strategies of the powerful. It implies the creative processes as sharing and cooperation. Tactics are more partial, more contingent, consisting of adequate negotiation of the moment; they are the methods of the minority, actions that are intentional yet intuitive, and often more elastic and exploratory in relation to the objective. They are in a permanent and constant state of reassessment and correction.
The artists in this show use tactics of their own invention to detect and expose the strategies of mainstream society, and especially its utilitarian strategies. The artists’ counter-actions show empathy, humor and flexibility. Through these instruments, various political strategies are shown to be empty and self-referential. As the control of strategy is never perfect, art is helping to find these gaps in the system.
Thursday, 30 July 2015, 11.00 am, there will be a press and media conference in the National Gallery with the curator.
Lapidars and monuments
6 – 31 August 2015
On 06 August 2015, 19.00 the National Gallery of Arts is pleased to open to the public in its temporary exhibitions wing the exhibition "Lapidars and Monuments" of Robert Hackman, an Australian photographer. This is the first exhibition of this artist in the National Gallery of Arts in Tirana.
The exhibition shows a selection of about thirty-five colour photographs, in medium size, which have in their focus a personal photographic journey of Hackman in Albania during the last few years, his fascination with lapidars and monuments, and the Albanian post-socialist landscape. It is not the first time that Hackman undertake such an exploration. Last year he opened a solo exhibition at the National Historical Museum in Tirana that focused on the current state and metamorphosis of military bunkers built during the communist dictatorship in Albania.
It was during this outing focusing on the Albanian bunkers that Hackman "discovered" the next theme for his subsequent work. As Hackman himself puts it: “During these travels photographing the reuse and recycling of the military bunkers I became intrigued by the lapidars and public monuments. As each lapidar was unique in appearance Initially I thought them unlike the bunkers, which were replicated on an industrial scale. The bunkers were predominantly a replication of the same story regardless of their location, the lapidars each had an individual story and reason for existence.”
Hackman is a professional photographer since the 2000s. Born in Australia, he moved to London in 1995, where he lives and works today. His work interest is focused on humanitarian, historical and religious issues. In the past he has worked for UNHCR, UNICEF, the Refugee Council, Refugee Action, and numerous other organizations. In addition to this work he also is attracted to landscape and abstract photography. Hackman has held various exhibitions in London, Belgrade, Brazil, Georgia, Albania and Australia.
Astratto e Collage
15 - 30 Korrik 2015
Me datë 15 Korrik 2015, ora 19.00, Galeria Kombëtare e Arteve, ka kënaqësinë të hapë për publikun në sallën e vogël të ekspozitave të përkohshme, ekspozitën "Astratto e Collage" të piktorit Agron Hoti.
Ekspozita e kuruar nga Ylli Drishti prezanton rreth 15 vepra, të realizuara në periudhën 2001 – 2015, pjesa më e madhe e të cilave të realizuara nga artisti për këtë ekspozitë. Punët janë në dy teknika; akrilik mbi kanavacë dhe kolazh.
Karakteristika themelore e tablove abstrakte të Hotit, është raporti që ai ka vendosur me ngjyrat e fuqishme në telajot e veprave të tij. Ai preferon tablo abstrakte dekorative, jo sipas skemave klasike, por që brenda tyre të ndjehet lëvizje, hapësirë dhe lojë e strukturave të njollave që ai krijon duke realizuar vepra me një fantazi jo të zakonshme.
Koleksioni i veprave të kësaj ekspozite shpreh energji pozitive dhe komunikon lehtësisht me publikun e çdo moshe. Piktura abstrakte e Agron Hotit të kujton artin tradicional shqiptar, por shpesh edhe mjeshtrat e mëdhenj të artit abstrakt botëror, duke i bërë tablotë e Hotit të veçanta, të papërsëritshme e me mjaft sens artistik.
Artisti ka krijuar disa cikle në collage si: Collage Monsieur 2009 – 2012, Astrato 2009 -20015, Cavalli , Citta diverse, Froud, Fumetti, Machine diverse, Pagani. Ciklet e tij të njohura si “Fumetti HOTI” kanë zënë vend në ekspozita të rëndësishme të çelura në Itali e jashtë saj.
Duke jetuar prej 14 vjetësh në Verona, në artin e Hotit ndjehet qartë ndikimi i këtij qyteti dhe arti italian bashkëkohor të cilat ndërthuren estetikisht me memorien artistike që artisti ruan nga vendlindja. Tradita e artit të veshjeve popullore shqiptare me ngjyra të fuqishme, ka ndikuar që ai të vlerësojë dhe përgjedhë ngjyrat kryesore që kanë si një lidhje të padukshme, të kuqen e zjarrtë, blunë, të verdhën e plotë e me dritë, të gjelbrën dhe grinë me nuancat e saj të panumërta.
Konferenca për shtyp do të zhvillohet më datë 15 Korrik, ora 11.00.
Ekspozita do të qëndrojë e hapur deri më 30 Korrik 2015.
6 - 19 korrik 2015
Me datë 6 Korrik 2015, ora 19.00, Galeria Kombëtare e Arteve, ka kënaqësinë të hapë për publikun në sallën e ekspozitave të përkohshme, ekspozitën vetjake të piktores Sofia Papadhimitri. Ekspozita e kuruar nga Ylli Drishti, vjen në GKA në bashkëpunim me familjen Papadhimitri, me rastin e 100 - vjetorit të lindjes së piktores.
Në ekspozitë janë paraqitur rreth tetëdhjetë vepra, të përzgjedhura nga krijimtarija e artistes korçare në harkun kohor 1936-1976, të cilat janë pjesë e koleksionit të GKA dhe familjes Papadhimitri. Punët janë në teknikën e vajit si dhe vizatime në karbon të cilat ekspozohen për herë të parë. Pikërisht këto vizatime i japin mundësinë publikut të njihet me formimin e plotë artistik akademik të artistes Papadhimitri.
Sofia Zengo Papadhimitri dhe motra e saj Androniqi Zengo, janë piktoret e para profesioniste në historinë e artit pamor shqiptar. Ato vijnë në artin e pikturës realiste të shekullit XX nga piktura ikonografike pasbizantine. Të dy motrat u edukuan artistikisht në një familje ikonografësh korçarë. Babai i tyre Vangjel Zengo, është ndër të parët piktorë që bëri kalimin nga arti bizantin në artin me temë historike dhe tema nga jeta e përditshme, proçes që shoqëroi edhe krijimtarinë e Sofias dhe Androniqi Zengos. Sëbashku me dy motrat e saj Androniqi dhe Sotiria, Sofia mori pjesë në pikturimin e kupolës së Mitropolisë së qytetit të Korçës (1944 - 1945).
Mes ndikimit të traditës familjare, por edhe edukimit akademik nga piktori impresionist Spiro Vikatos i cili ishte padagogu kryesor në Akademinë e Athinës ku ajo u diplomua në vitin 1939, Sofia Papadhimitri konsolidoi stilin realist, duke realizuar me vërtetësi portrete, peizazhe dhe natyra të qeta. Koleksioni i punimeve në vaj i Sofia Zengo Papadhimitrit arrin në rreth 300 punime. Në të gjitha këto piktura ndjehet dashuria e artistes për natyrën dhe njeriun e thjeshtë.
Konferenca për shtyp mbi këtë ekspozitë do të mbahet në GKA më datë 6 Korrik 2015, ora 11.00.
Ekspozita do të qëndrojë e hapur deri më datë 19 Korrik 2015.
Satirë në Sheshin "Skënderbej"
18 Qershor - 8 Korrik 2015
Me datë 18 Qershor 2015, ora 19.00, Galeria Kombëtare e Arteve, ka kënaqësinë të hapë për publikun në sallën e vogël të ekspozitave të përkohshme, ekspozitën "Satirë në Sheshin Skënderbej" të piktorit Lekë Tasi. Ekspozita e kuruar nga Suzana Varvarica Kuka prezanton rreth 45 punime të realizuara pas viteve 2000, në teknikat vaj, teknikë e përzier dhe vizatime.
Lekë Tasi vlerësohet si një piktor tradicional me kah drejt artit modern. Kjo është një arsye më shumë që punimet e tij, të prezantohen e të njihen më gjërësisht nga mjedisi artistik dhe intelektual shqiptar. Në këtë mjedis Lek Tasi shquhet si një zë i ndryshëm e modern në botën e pikturës tradicionale shqiptare dhe për këtë ai duhet të zërë vendin që i takon në historinë e artit shqiptar.
Deri në vitin 1975 piktori ekspozoi vetëm disa punë, edhe pse kishte një krijimtari shumë të pasur. Pas viteve 1990, tashmë si profesionist ai i`u drejtua jo vetem ekspresionizmit, por disa zhvillimeve të artit modern të shekullit XX. Ai pa me vemendje, me seriozitet dhe imtësi prurjet surreale, naiviste dhe të abstraguara.
Piktori dhe miku i tij Llambi Blido shkruan: “Muzikant dhe bir i një familjeje të persekutuar, Lekë Tasi e pati nisur rrugën e pikturës si nxënës i Nexhmedin Zajmit. Realizmi i thjeshtë i akuareleve të tij të viteve `50 ushqehej nga dashuria e përjetshme e këtij përmetari për Tiranën ku u rrit. Në çdo tablo të këtij autori, në etapën aktuale të pjekurisë së plotë, siç na vjen në këtë ekspozitë të vitit 2015 në GKA, çdo befasi, është në fakt befasi e fabulës. Atë ai e zhvillon me imagjinatën e tij dhe e realizon në lirshmëri falë aftësive kreative-improvizuese të admirueshme në çdo kënd të tablosë.”
Krijimtaria e Lekë Tasit është vlerësuar pozitivisht nga Galeria Kombëtare e Arteve dhe ai është bërë pjesëmarrës në dy edicione të Ekspozitës Ndërkombëtare “Onufri”, në vitet 2001 dhe 2004. Po kështu rëndësia dhe modernia në veprat e tij ka nxitur kuratorë të Galerisë Kombëtare të Arteve të organizojnë në mjediset e saj, ekspozitat e tij vetjake, në vitet 1992, 2003 dhe 2007.
Ekspozita do të shoqërohet me katalog ku përfshihen rreth 60 vepra në teknikat vaj, të përzier, vizatim, grafikë, akuarele dhe kolazh.
Konferenca për shtyp do të organizohet më 18 Qershor 2015, ora 11.00 në GKA.
Ekspozita do të qëndrojë e hapur deri më 08 Korrik 2015.
May 28 – June 28, 2015
On 28 May 2015 the National Gallery is pleased to open to the public in the temporary exhibitions wing the personal exhibition of the Albanian painter Sali Shijaku. This is his first personal exhibition at the National Gallery since the 1990s. Through 65 representative works, mostly in oil and mixed techniques, this exhibition introduces to the public Shijaku’s creative drive. The paintings in this exhibition come from the collection of the National Gallery and the painter's own studio. The exhibition is accompanied by a catalogue, which shows the development of Shijaku’s painting, starting in the 1950s, and still alive and natural these days.
The painting of Sali Shijaku is shown in this exhibition in two periods, in two distinctive attitudes and interpretations.
Before the 1990s…
The new painter, in the beginning of the 1950s, emerged on the Albanian visual scene when painting in Albania was built on modest but good enough academic models, developed by a generation of passionate professionals. Sali Shijaku entered the art scene with a desire to go beyond western academism. He accomplished this goal. Indeed, he went even further by also transcending another academism, the eastern one. In the early 1960s he set out with passion and artistic zeal, alongside other artists of the time, to transform the atmosphere of the decade; and today we think that they accomplished this task.
After the 1990s…
As a mature painter now, in the second decade of the 3rd millennium, Shijaku continues to paint by transforming his own world of painting. From the 1990s, for three decades now, he has conversed sensuously with colour through his supple fingertips. The painted subjects are simple, common; one sees them in everyday life, sees them in tales and told stories.
The painter Ksenofon Dilo writes that Sali Shijaku has often used a warm and joyous colour spectrum to paint a great number of portraits, landscapes, still-lives, and other compositions. The compositions of this period add to the character and features of his work as spontaneous and non-cerebral inspirations from life. They also reflect an enriched palette, which, after 1990s, gradually frees itself from the heavy forms of the pre-1990s.
The exhibition will stay open until 28 June 2015.
Ekspozitë personale "BUKUR"
4 - 14 Qershor 2015
Ekspozita vetjake e piktorit Rakip SHABANI i prezanton publikut shqiptar dhe atij të huaj krijimtarinë e artistit përmes 50 veprash nga më përfaqësueset, në teknikën e akuarelit. Punimet e sjella në këtë ekspozitë i takojnë studios së piktorit. Ekspozita përmban kryesisht imazhe peizazhesh nga zona të ndryshme të Shqipërisë, ku një vend të veçantë zë bregdeti i Vlorës. Artisti me pasion ka hedhur mbi letër imazhe nga Vranishti, Himara, Borshi, Elbasani, Vermoshi, Brari, Dajti, Thethi, Bënja, sipas një këndvështimi herë nga sipër, por më shpesh të atij klasik horizontal.
Rakip Shabani u diplomua në Institutin e Lartë të Arteve, Tiranë në vitin 1974 dhe ishte student i ateliesë së piktorit Sali Shijaku dhe Hasan Nallbani. Gjatë studimeve për skulpturë në Liceun Artistik, Tiranë nën drejtimin e skulptorit Shaban Hadëri, Shabani mori mësime në akuarel nga mjeshtri Abdurrahim Buza dhe më tej iu kushtua kësaj gjinie duke krijuar me qindra dhe qindra punime në këtë gjini mjaft të veçantë dhe delikate.
Piktori i ri, në fillimin e viteve 70, Rakip Shabani, ishte dhe pedagogu i pikturës në Shkollën e Mesme Artistike në Vlorë, ku krahas mësimdhënies, ai realizoi dhe kuroi me dhjetra muzeume historikë të zonës së Vlorës. Rakip Shabani hyri në art me dëshirën për të përshkruar imazhet e peizazheve shqiptare, duke udhëtuar pa u lodhur nga veriu në jug. Ai ia doli me sukses të realizonte mbi 40 ekspozita vetjake në Shqipëri dhe jashtë saj, punime që ai i realizoi në teknikën e vajit dhe akuarelit.
Në vitin 2006 Rakip Shabani çeli në GKA ekspozitën e tij vetjake të cilën ia kushtoi figurës së Ali Pashë Tepelenës, një ekspozitë me 40 punime në vaj dhe 4 akuarele.
Piktori i pjekur tashmë, me një eksperiencë mbi 40 vjeçare, vazhdon të krijojë duke transformuar botën e tij të pikturës, ku ai bën një bashkëbisedim të ndjeshëm me ngjyrat, duke krijuar punime të freskëta, me dritë e transparencë e duke renditur artistin në një prej piktorëve më të njohur akuarelistë shqiptarë
Krijimtaria e piktorit Rakip Shabani tashmë ruhet në GKA, në GA, Vlorë dhe në koleksionistë brenda dhe jashtë Shqipërisë. Në GKA ndodhen 24 punime kryesisht në teknikën e akuarelit peizazhe dhe portrete.
Punimet e mjeshtrit të akuarelit Rakip Shabani vazhdojnë traditën e akuarelistëve shqiptarë si Fadil Pëllumbi, Sadik Kaceli, Dhimitër Mborja. Punimet etij sjellin magjinë e paizazhit shqiptar me freskinë e ngjyrave dhe dashurinë e tij për pikturën.
Konferenca për shtyp do të mbahet më datë 4 Qershor 2015, ora 10.30 në GKA.
Ekspozita do të qëndrojë e hapur deri më 14 Qershor 2015.
With Love from Istanbul.
April 15 – May 17, 2015
On 15 April 2015, at 19.00, the National Gallery of Arts, the Turkish Embassy in Albania, and Yunus Emre Institute in Tirana are especially pleased to open an exhibition entitled "With Love from Istanbul", with works by one of the most renowned contemporary Turkish painters, Devrim Erbil. This is the first solo exhibition of the artist in Albania, and is curated by Beste Gürsu.
The exhibition shows a selection of around thirty paintings of various sizes, mostly acrylic and oil on canvas, which focus on the city of Istanbul. The great beauty of this city, both natural and man-made, has inspired artists for centuries and has a long history in Turkish art.
Devrim Erbil was born in 1937. He enrolled in the painting department of the State Academy of Fine Arts in Istanbul in 1955 where he first studied under Halil Dikmen and later in the studio of Bedri Rahmi Eyüboglu. By 1965 Devrim's unique painting style caught the attention of an international audience. He was awarded an art scholarship by the Spanish government to study painting in Madrid and Barcelona and then later continued his academic career in Paris and London. In 1968 Devrim was elected Turkey's "Young Artist Of The Year" and in 1991 he was awarded the prestigious title of Turkey's State Artist.
In addition to his painting career, Devrim Erbil has also dedicated himself to the development and promotion of the arts in Turkey. He served as President of the Turkish Association of Contemporary Arts and President of the Association of Visual Arts. Devrim Erbil also served as Director of the Istanbul Museum of Painting and Sculpture.
The artist also focused on academia. After a long career in various important posts he is currently a member of the Department of Painting of the Faculty of Fine Arts of Mimar Sinan University, Istanbul.
As the description about the artist’s work in the Christie’s auction house, where his paintings sell for tens of thousands of US dollars, tells us, “Erbil's earlier views of Istanbul strongly recall Matrakci Nasuh's illustrations- jewel-like naturalistic colours with a similar combination of the bird's eye view and horizontal elevation. In his later paintings the perspective and proportions become more naturalistic, whilst the colouring becomes monochrome and expressive.”
On Wednesday, 15 April 2015 at 11.00 am there will be a press and media conference in the National Gallery, where the curator Beste Gürsu and the artist himself will explain in depth the exhibition and the artist’s oeuvre.
The exhibition will stay open until 17 May 2015.
Trup e shpirt
15 – 25 maj 2015
Me datë 15 Maj 2015, ora 19.00, Galeria Kombëtare e Arteve, hapë për publikun, në sallën e vogël të ekspozitave në GKA, ekspozitën fotografike “Trup e Shpirt" të fotografit nga Kosova Arton Humolli.
Ekspozita prezanton një cikël prej 29 fotografish bardh e zi, të realizuara nga artisti pesë vitet e fundit. Humolli ka vendosour përpara objektivit të aparatit fizikun gjysëm të zhveshur të femrës në përpjekje për të përcjellë mesazhe sociale dhe artistike duke evidentuar të bukurën, sensualen dhe forcën e saj.
Ekspozita do të qëndrojë e hapur deri më 25 Maj 2015.
Workers leaving the studio.
Looking away from socialist realism.
February 27 – April 5, 2015
On February 27, 2015, at 18:00, the National Gallery of Arts and The Department of Eagles have the special pleasure to open to the public in the temporary exhibitions wing the international exhibition “Workers leaving the studio. Looking away from socialist realism”, curated by Mihnea Mircan. The exhibition includes works by Irwin (Slovenia), Armando Lulaj (Albania), Ciprian Mureşan (Romania), Santiago Sierra (Spain), Jonas Staal (Netherlands), and Sarah Vanagt (Belgium), as well as an exclusive selection of works from the collection of the National Gallery of Arts.
According to curator Mihnea Mircan, “This exhibition is an attempt to articulate specific fragments of the collection at the National Gallery of Arts in Tirana and contemporary art projects whose concerns revolve around the notion of realism. It works through two hypotheses about the realism of socialist times, the two ways in which that discourse did not end. The heroic drive in those images, banishing metaphor but having it return as Freudian slip, undermines and corrodes their realist aspirations, and deflates the mimesis of a world 'to come.' On the other hand, the relations between artistic freedom and political subservience that underpin socialist realist art production radicalize an equation that contemporary engaged practices must also respond to, even if within a different regime of political interlocution.”
This exhibition is also supported by the Prince Claus Fund, Netherlands.
Music from an unknown source
January 15 - February 22, 2015
On 15 January 2015, at 18.00 hrs, the National Gallery of Arts, the German Embassy in Albania, and Deutschzentrum Tirana have a special pleasure to open to the public in the temporary exhibitions wing of the NGA the exhibition "Music from an Unknown Source" of one of the most renowned German and world artists of the 20th century, Sigmar Polke (1941-2010). This is the first presentation of this artist in Albania and comes as a result of close German-Albanian cooperation, with the support of IFA (Institut für Auslandsbeziehungen).
40 gouaches with a format of 70 x 100 cm, all dating from the year 1996, are the core of Sigmar Polke's exhibition bearing the name 'Music from an Unknown Source'. These pictures give insight into an artistic oeuvre which has a singular position in the contemporary art scene of today and belongs among the most significant of the German postwar era.
Since the early 1960s, Sigmar Polke, born in Oels in Silesia (then German, now part of Poland) in 1941, has been concerned with the relationship of the reality as contained in a picture and reality itself, the relation between art and daily life. In regard to this, he often takes an ironical position of some distance to things, which enables him to turn his attention – above and beyond issues of content – to the form and the material nature of painting.
In the gouaches of this exhibition, Polke makes the dripping and flowing of paint his theme, originating from the character of the watery gouaches. The controlled and uncontrolled 'allowing to happen' of physical phenomena plays an important role for Polke. Over the unpredictable flow of paint, the artist lays a regular and predictable screen system as an antipole – something very characteristic of him. Moreover, he gives the pictures titles that sound absurd, which in turn expand what has been presented in them, thus adding a poetic note, and which are exemplary in terms of Polke's stance as an artist.
The exhibition will stay open until 22 February 2015.
Thursday, 15 January 2015, 11.00 am, there will be a press and media conference in the National Gallery to explain in depth the exhibition and the artist’s oeuvre.
100 Years of Albanian Drawing
December 3, 2014 - January 5, 2015
The Albanian National Gallery of Arts is pleased to present to the public in its temporary exhibitions wing the exhibition the exhibition "100 Years of Albanian Drawing" from 3 December 2014. This is an exhibition curated by Suzana Varvarica Kuka and Artan Shabani.
It introduces for the first time 152 selected works, from 46 artists, from the vast collection of drawings of the National Gallery’s collection. The exhibition’s impression, apart from the nostalgia for times gone by and historical images, shows to the Albanian and foreign public the earliest beginnings and the creative efforts of Albanian artists. It compels the visitors to recognize the growing level of the Albanian draughtsmanship, whilst documenting its stylistic footsteps, dominated overall by realistic traits.
The exhibition "100 years of Albanian Drawing" displays a fine selection of highlighted themes and artists. It starts with the sketch ideas from 1890s of the traditional intellectual and multifaceted artist Kole Idromeno, one of the first Albanian draughtsmen, and closes with the modern, expressionist-abstract work of Merita Selimi from 1990s.
On 03 December 2014, 10.30 am, at the National Gallery there will be held a press conference during which its curatorial staff will present this exhibition more widely.
The exhibition will remain open until on 05 January 2015.
9 - 29 December 2014
The National Gallery of Arts is pleased to open to the public from 9 December 2014 a retrospective exhibition of one the founding fathers of Italian design, Vico Magistretti (1920- 2006). The exhibition is organized collaboratively by the Italian Institute of Culture in Tirana, the Foundation Studio Museo Magistretti in Milan and the National Gallery of Arts in Tirana.
The exhibition shows the long history of cooperation between Vico Magistretti and some of the most important Italian design companies such as ARTEMIDE, DePadova, Flou, Oluce the Schiffini. Besides drawings, designs and photos, the exhibition will display some historical icons of Italian design, such as lamps ECLISSE (for ARTEMIDE) and Oluce (for Atollo), which are part of MOMA's (New York) permanent collection and which won the Compasso d'Oro Prize, respectively in 1967 and 1979.
Prior to the opening of the exhibition there will be a presentation of Lorenzo Imbesi, Professor of Design at the University La Sapienza, Rome. Prof. Imbesi will make a brief description of the cultural phenomenon of Italian design and will stop later on Vico Magistretti’s work as a designer.
The exhibition will remain open until December 29, 2014.
29 Nëntor - 5 Dhjetor 2014
Holli protokollar, Kryeministria e Republikës së Shqipërisë
Ekspozita “Këndvështrime”, e cila çelet si një nga aktivitetet e shumta në kuadër të 70–të vjetorit të çlirimit, ka për qëllim të tregojë mbi të kaluarën dhe të tashmen dhe ti flasë publikut përmes imazhesh dhe veprash si mbi të vërtetën historike të shqiptarëve gjatë Luftës së Dytë Botërore, ashtu edhe mbi evolimin e gjuhës artistike dhe arteve pamore në dekadat që pasuan, por jo vetëm në Shqipëri.
Ajo është konceptuar që në fillim për të funksionuar si dualizëm, si dialog intelektual. Një pjesë e saj, ajo me vepra të fondit të GKA, fokusohet tek ajo pjesë e artit pamor shqiptar e cila pasqyron luftën çlirimtare sipas këndvështrimit specifik në vitet që pasuan, deri në vitin 1990, duke lënë gjurmë që nuk u zhdukën, (më pas, jo rrallë edhe u paragjykuan, por kjo është mëse normale në historinë e artit), dhe që vite e dekada më pas mbeten në kontekstin historik dhe memorien artistike të një kombi. Arti është një formë komunikimi mes brezash, një dëshmi e lënë nga një brez për tu njohur më pas nga të tjerët dhe kjo formulë vlen dhe për këtë rast. Gjatë Luftës së Dytë Botërore, shqiptarët luftuan për liri po aq vendosmërisht sa edhe kombet më të mëdhenj të Europës. Aktet dhe qëndresa e të gjithë atyre që dhanë jetën për çlirimin e Shqipërisë rivijnë nëpërmjet pikturave, vizatimeve dhe grafikave të artistëve shqiptarë të gjysmës së dytë të shekullit të 20, krijuar sipas një këndvështrimi të caktuar dhe diktuar. Për disa prej tyre ky art lindi vërtet si pjesëmarrje e drejtpërdrejtë në luftë; për disa të tjerë nga impakti që lufta la në fëmijërinë apo rininë e tyre. Edhe pse ndoshta pak të ekzaltuara nga një frymë heroike – e pashmangshme në rrethanat në të cilat u krijuan – këto vepra gjithsesi shenjojnë një qëndrim korrekt historik të shqiptarëve gjatë Luftës së Dytë Botërore, që duhet njohur nga të gjithë, sidomos nga një brez i ri i cili ka nevojë për një memorie të qartë dhe të dallueshme historike. Sidomos kjo pjesë e ekspozitës përfaqëson edhe një zbulim për ata të cilët vetëm tani kanë mundësinë të njihen me një periudhë hermetike të artit shqiptar.
Ç’ka prezantohet më tej përqëndrohet tek vepra artistësh shqiptarë dhe të huaj krijuar pas vitit 1990. Ndërtuar si një mikrokozmos më heterogjen, me një arkitekturë më pak solide, me kombinime, kundërvënie e mbivendosje të papritura të cilat rezonojnë mes tyre në mënyra të tilla që [ne besojmë] se transformojnë përballjen e vizitorit me arenat dhe strukturat artistike për komunikim personal e kolektiv, kjo pjesë e ekspozitës paraqet mundësinë e njohjes me atë art që vërtet reflekton atë për të cilën shqiptarët luftuan në vitet 1940-të: lirinë e mirëfilltë larg çdo lloj forme shtypjeje dhe diktati, larg klishesë së jetuar dhe klishesë së kërkuar për inerci të klishesë së jetuar, shumë, shumë larg një jete dhe arti të orientuar dhunshëm pa hapësirë dialogu dhe distance, frymëmarrje, kundërshtimi dhe kundërvënie, esenciale për eksperienca unike të transmetuara fuqishëm sidomos nëpërmjet artit.
Këtu, nëpërmjet një përballjeje stilesh dhe gjuhësh me veprat e pjesës së parë publiku ka mundësinë të reflektojë mbi Historinë, duke e parë bashkëjetesën e mediumeve dhe shprehive të ndryshme artistike si një materializim të idesë se këndvështrime dhe qëndrime specifike historike, artistike dhe intelektuale, mund të qëndrojnë pranë njeri–tjetrit pa luftuar gjithmonë për dominancë monolite. Veprat në këtë pjesë, ndoshta jo të gjitha të reja, por pak të ekspozuara, i japin mundësinë vizitorit që të vendoset në një pozicion unik për të vëzhguar raportet e marrëdhënieve njerëzore me historinë, nëpërmjet shprehisë artistike.
Duke u nisur nga ambientet në të cilat zhvillohet kjo mbetet një ide kuratoriale e fuqishme e zhvilluar në mënyrë modeste por që në përpjekjen e saj përfshin thelbin dhe tharmin e atyre krijimeve që manifestojnë vlera, ideologji dhe qëndrime estetike të ndryshme, të cilat komunikojnë me publikun në një mënyrë të tillë që ndezin dialogun për një reflektim të kthjellët e personal përtej efekteve me fotoshop e masmedia mbi pasojat e mirëfillta të historisë si proces dhe praktikë.
Artan Shabani, Fani Zguro
18 Nëntor 2014
Galeria Kombëtare e Arteve ka kënaqësinë t’ju ftojë të martën, datë 18.11.2014, ora 19.00, në premierën e performancës Agim (Dawn), prodhimi më i fundit i trupës ndërkombëtare Hodworks, fituese e Cmimit Rudolf Lábán si ‘performanca më e jashtëzakonshme bashkëkohore hungareze’ për vitin 2013.
Performanca në GKA jepet vetëm për një natë dhe është pjesë e Edicionit të 9 të ALBANIA DANCE MEETING FESTIVAL, iniciuar dhe drejtuar nga Gjergj Prevazi.
Në Agim, fokusi është mbi trupin e zhveshur të njeriut. Si një pjesë e guximshme dhe radikale, vepra kërkon një nivel të jashtëzakonshëm vetëdije, force dhe ndjeshmërie nga interpretuesit - ashtu siç pritet nga koreografi Adrienn Hód.
Trupa Hodworks u themelua nga koreografi hungarez Adrienn Hód në vitin 2007. Përveç anëtarëve të përhershëm, kjo kompani ndërkombëtare me bazë në Budapest punon me artistë të ftuar nga zhanre të ndryshme të artit. Hodworks mbledh krijues të ndjeshëm, proaktivë dhe vizionarë që punojnë sot me metoda krijuese dhe të përqendruara. Ata përqendrohen në trupin e njeriut, të çliruar nga kufijtë, skenat apo butaforitë. Veprat e Hodworks marrin gjithmonë drejtime të reja dhe progresive dhe janë rezultat i hulumtimeve komplekse bazuar tek improvizimi, i cili shfaqet në formë rreptësisht të strukturuar në skenë. Pjesët e tyre stimulojnë shpirtin dhe shqisat e publikut dhe i ftojnë të gjithë ti hapen të panjohurës.
Koreografia: Adrienn Hód Performuar nga: Emese Cuhorka, Júlia Garai, Csaba Molnár, Marcio Canabarro Muzika Live nga: Zoltán Mizsei Ndricimi nga: Kata Dézsi Co-producent: Trafó (Budapest)
15 October - 16 November 2014
On 15 October 2014 the National Gallery is pleased to open to the public in the temporary exhibitions wing a retrospective exhibition of one of the most renowned Albanian artists of the 20th century, Sadik Kaceli (1914 – 2000).
The exhibition "Retrospective" shows a selection of Kaceli’s works covering his entire creative period of about 70 years, from his first drawings in early 1920s to the very last painting of 1996. The exhibition features drawings, graphics, paintings in all their techniques and genres, as well as documentary correspondence with Henri Matisse and Andre Lhote and snippets of art criticism in Albanian press.
It is the first time that the artist Kaceli Sadik, who was awarded the title of People's Painter in 1994, appears so complete in a single exhibition.
The exhibition will remain open until on 16 November 2014.
19 September - 5 October, 2014
The National Gallery of Arts in Tirana in collaboration with the National Gallery of Kosova in Prishtina, and the support of the Albanian Ministry of Culture and the Ministry of Culture, Youth and Sports of Kosova, opened to the public on Friday, 19 September 2014, the exhibition “Retrospective” of Simon Shiroka. The exhibition was curated by Mr. Erzeni Shkololli, Director of the National Gallery of Kosovo and is composed entirely with works from the private collection of the Shiroka family.
Simon Shiroka (1927-1994) was born in Prizren, Kosova and is a great master in the art of the filigree technique.
The Albanian academic Eqrem Basha says “…from the folk tradition Shiroka took not only the silversmith’s workmanship and processing, but also figuration, popular ornamentation, ethnography, as well as the psyche and the beliefs of our people. What distinguishes his art besides the totems, the folklore, the mysticism and the artistic soul of this area and its people, is his special artistic spirit, who lovingly and with unusual fervour lived and ‘burned’ for them.”
The exhibition will remain open until October 5, 2014.
Between the sacred and the profane
17 September - 5 October, 2014
As part of the cultural programme organized in anticipation of the visit of Pope Francis in Tirana, the National Gallery of Art opened to the public on 17 September 2014, the exhibition “Lin Delija – between the sacred and the profane” curated by Gjon Radovani. The exhibition is a major survey of paintings and drawings of the painter Lin Delija, who was born in Albania in 1926 but spent the majority of his life in Italy, especially in Antrodoco, near Rome, where he died in 1994.
The exhibition “Lin Delija – between the sacred and the profane” is organized with the support of the Albanian Ministry of Culture and is the result of the cooperation between the National Gallery of Arts in Tirana, the Art Union Albania Association and some private collectors.
The exhibition will remain open until 5 October 2014.
O6 August – 07 September, 2014
The Albanian National Gallery of Arts is pleased to present to the public in its temporary exhibitions wing the exhibition “MANIPULATIONS” of the Albanian artist Adrian Çene from 6 August 2014. This is the first personal exhibition of the artist in the National Gallery and is curated by Suzana Varvarica Kuka.
Çene (b. 1969) is one of the modern Albanian artists. He attended the High Institute of Arts in Tirana, graduating in 1992. Currently he lives and works in Tirana, Albania.
Adrian Çene’s work has undergone various individual adaptations in search for a personal expression and in the last 20 years his art has been dominated by a Fauvist approach. In his paintings dominates the figurative expression of abstracted subjects, the rich contrast between colours and a thick drawing outline. However, around 2009, there was a change in his practice; he would superimpose, through drawing, his own imagined picture on a random given image. Initially such action came simply as an aesthetic diversion, but later became a prerequisite in defining the artist’s own work through the manipulation of advertising images. The recycling of these images once they were ‘consumed’ became the initial foundation of Adrian Çene’s ‘manipulation’. He felt that by manipulation through painting and highlighting those details that for him stood out more, he created a new reality, different from his earlier oil paintings, but close enough to the process and Fauve impression of his previous work. By dominating the information from the underlying picture and creating an abstracted and unrealistic image through the colouring in he distorted the primary image and changed its initial information, but did not blank out its original memory. The colours in these new works have a much more relaxed language, are less contrasting and incline towards decorative completeness.
The exhibition, which will stay open until 07 September 2014, contains 70 works tempera and acrylic on paper, as well as some larger scale watercolours.
31 July – 07 September, 2014
Curator ARTAN SHABANI
The Albanian National Gallery of Arts is pleased to present to the public in its temporary exhibitions wing the exhibition “e-mages” of the Albanian artist Helidon Gjergji, from 31 July 2014, 19.00 hrs. This is the first personal exhibition of the artist in the National Gallery. Gjergji was born in 1970 in Tirana. He received his first B.F.A. at the Academy of Arts in Tirana. He then received another B.F.A from the Academy of Fine Arts in Naples, Italy. In 1998-2000 he attended Northwestern University, Chicago to receive his M.F.A. From 2004 Gjergji lives and works in New York City.
The main work of the exhibition “e-mages” according to Gjergji consists in “a video slide show run by Ketevan Geladze, Stalin’s mom. She has carefully selected images from her family album (with a social media sensibility) and gracefully displays them accompanied by Shostakovitch’s Waltz (via Andrea Rieu).”
Gjergji says that the video is conceived as “a hyperreal matryoshka doll” and is first projected on a broken mirror and then is reflected in a deconstructed way on the wall.
“Pixture TV” (2003) and “The Blue Danube” (2004) are the two other works of this exhibition.
The exhibition will stay open until 07 September 2014.
11 – 27 July, 2014
The Albanian National Gallery is pleased to present to the public in its temporary exhibitions wing from 11 July 2014 the solo exhibition “SYMBOLON” of the Albanian artist Gazmend Leka. The works are all part of the private collection Josifi.
In this exhibition of 31 paintings Leka displays his artistic research of recent years. Here the symbolic sign is a visual language, giving us a new semiotic legacy independent of the historical narrative. “The legacy is not history even when on some occasions the two overlap. The legacy puts the past in service of the present; history views the past as the past. Understanding the past using the judgment of the past has never been easy.” (R. Raphael)… And here starts for the artist “the creative genesis”, transforming the histories under the metaphorical weight of the sign, where old cultures cross with new ones pushing the boundaries of the imagination towards metaphysical territories.
"SYMBOLON" is the metaphysical gesture of the artist who “gives and takes” with the public through the interaction of the image, where each one of us “case by case” can find himself/herself.
The exhibition will stay open until 27 July 2014.
NOORA GEAGEA featuring NIKO SAARELA, EGS
10 – 22 July, 2014
The Albanian National Gallery of Arts is pleased to present to the public the exhibition “FIVE” of Noora Geagea and EGS, both Finnish artists, from 10 July 2014, 19.00 hrs.
EGS’ works are based around world maps. Twisting and reshaping the topography until it proclaims his own name (albeit abstracted almost beyond recognition), the maps exemplify EGS’s inimitable chirographic style of graffiti, his ability to twist and reshape the letterform into infinite arrangements and shapes. With silver and black also being his favourite colours to write graffiti with – not only to help his letters stand out, but due to the fact they “cannot be fixed or camouflaged with other colours” – EGS use of the deep black Indian ink in his fine art work further connects these two modes of practice, forcing the viewer to see the equivalent purity and complexity of his graffiti images. Moreover, through using the tool of a syringe to paint, he intimates both toward the outcast role of graffiti as well as the backstage environments where this art is often created; in the dark alleys, the slums and wastelands littered with these objects.
The maps EGS has produced here are not only an abstracted versions of the world map however; they also play with the idea of Europeans conquering “new” continents and dividing them with pen and ruler, creating new countries and new conflicts with every stroke of their pen.
They reference the power of ink to effect our environments, the ability of paint to radically change the way we understand space.
Noora Geagea is exhibiting photography and video work based around cities. Her work is produced entirely in Tirana, Albania.
“Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else.” -Italo Calvino
Geagea has made five different works of art through photography and video. She wanted to tackle questions on travelling, documenting reality and find out how credibly she could make “portraits” of different cities from one city only, Tirana. The work is loosely based on Italo Calvino’s famous novel Invisible Cities. Cities have characters, they are personalities, and they serve as a mirror to our own worlds. She wanted to capture five entirely different portraits, characters, atmospheres and spaces of the five imaginary cities she fell for and was inspired by. Given the city’s fascinating and multifaceted nature, her work is homage to cities that are made up of memories, dreams, fears, and beautiful stories - just like all of us.
The exhibition will stay open until 22 July 2014.
29 May – 22 June, 2014
The Albanian National Gallery is pleased to present to the public in its temporary exhibitions wing from 6 February 2014 the solo exhibition of the Albanian sculptor Ilirian Shima, (d. 1964). He graduated in 1989 from the High Institute of Arts, Tirana, trained in the atelier of Profs. Thoma Thomai and Kristo Krisiko. This is his first personal exhibition in the National Gallery.Ilirian Shima handles skilfully the classical materials of sculpture: stone, marble, wood, and bronze and usually works in series. His sculptures, usually of unassuming size, are made superbly well using the established techniques of carving and bronze casting. His art evokes powerful emotions and offers quite elegant compositional designs.
The exhibition has over 40 artworks and shows works belonging to the 1990 – 2014 period. Testimony of his artistic vision from the earliest period is “Aenaon” (1990) and “Sisifos” (1998), whilst the research of the later stages is best shown in “Mediterranean Earth” (2014, triptych, bronze); “Eternity” (2014, plywood); “The Rape of Europe” (2014, bronze); “Horn harp” (2014, wood, strings and loudspeakers) and “Farajon” (2014, bronze).
A specials series in this exhibition is the one Shima has realized focusing on human reproductive organs. With considerable skill and artistic insight the sculptor has carved and cast powerful Dionysian symbols, widely used and worshiped in the Hellenistic and Roman cultures. For “Farajon”, which is part of this series, he was inspired by a phallic image found on an Illyrian earring dating from 4000 years ago. He subsequently created a remarkable work of masculine erotic art, which he considers as a symbol of the great procreative vigour of the Albanian nation. The artist has accomplished this work with imposing formal plasticity, creating light and space between shapes that intertwine with each other from top to bottom.
Artists from 1500s – 1900s
24 April – 18 May 2014
The Albanian National Gallery of Arts, from time to time has shown for the public curated exhibitions displaying works from the Gallery’s considerable collection of artworks from foreign artists. The exhibition "Classical Paintings, artists from 1500s – 1900s" was conceived focusing foremost on the quality of the artworks. Those selected, formed the group of the images, which, through the painted themes create a figurative atmosphere of a time long gone by. The early classicism brought by European painters, such as Italians, Hungarians, French and Romanian, can be evidenced by some common features such as: the time of creation, the themes and subjects covered, the renowned schools of the masters of art’s history, and their painting techniques. The end of 1940s in Albania marked the creation of the first art Pinakotheke, which later formed the National Gallery of Arts, an important institution of visual arts. Its first works, purchased and inherited in 1949, are a group of paintings from traditional, yet leading Albanian painters, and a collection of paintings from foreign artists, known and unknown. The latter formed the initial collection of foreign painters, which in time was enriched with other works. In 1999, the renowned Dutch artist Jan Dibbets, willingly and kindly, collected and donated an important collection of works to the Albanian National Gallery. The collection, which contains works from some of the most prominent artists of the 20th century, is now called “The Jan Dibbets Collection". The arrival of this group of works organized the structure of the foreign artists’ collection, increased the value and the importance of the institution, and repositioned the considerable fund of artworks in the visual and cultural heritage of the National Gallery.
The exhibition "Classical Paintings, Artists from 1500s – 1900s" is figurative; its concept endeavors to display the artistic level of the earliest collection of the National Gallery, which is determined by the place these foreign painters hold in art history, by the methods of comparison, evaluation and judgment on the style of renowned European artists such as Tiziano Vecellio, Peter Paul Rubens, and their students, and the schools of Guido Reni and Hyacinthe Rigaud, traces of whom are found in some paintings from anonymous artists in the collection of foreign painters.
The new key policy of artistic activities in the National Gallery is the education of contemporary public through culture. The new situation has brought about new awareness and new visions; by displaying the figurative riches and the artistic values of the Gallery’s art fund they make them active, tangible, visible. The engaging review of the paintings of foreign artists, known and unknown, the constant gathering and study of facts on the life and creativity of foreign painters such as Francesco Malacrea, Giuseppe Mantessi, Alfredo Müller, Antal Peczely, Umberto Zini, Guido Cadorin, and the identification of subjects and topics of the anonymous paintings, initiated the exhibition "Classical Paintings, Artists from 1500s – 1900s", which will serve in the continuous information of the Albanian public and its education with a European visual culture.
Suzana Varvarica Kuka
26 MARCH - 13 APRIL 2014
“HISTORY OF FRANCE TOLD THROUGH PUBLICITY”
National Gallery of Arts, temporary exhibition wing
The National Gallery of Arts, the French Alliance of Tirana and the Embassy of France in Albania are pleased to announce the opening of the exhibition “History of France told through publicity”.
Wednesday, 26 March 2014, at 19.00 h
The exhibition is part of the Francophone Spring program in Tirana and is going to be opened to the public from 26 Mach - 13 April 2014
The exhibition presents about 60 publicity materials (placards, ads published at French print media, labels of drinks and French cheese, etc.) which have been selected at the rich collection of the Forney Library/ Hôtel de Sens in France. The exhibition tells the history of France through a humoristic gallery of French heroes. It has had a great success during its presentation in Paris, where the exhibition was visited by more than 15 000 visitors.
Curator Fani Zguro
ALL ABOUT THESE... LADIES AND GENTLEMEN
National Gallery of Arts, Tirana in collaboration with Gallery On The Move
10 - 20 March 2014
at the National Gallery of Arts, Tirana
Shadi Habib Allah, Jennifer Allora & Guillermo Calzadilla, Halil Altindere, Maria Thereza Alves, Ziad Antar, Ivan Argote, Fikret Atay, Luca Bolognesi, Candice Breitz, Egle Budvytyte, Erik Bünger, Miguel Calderón, Francisco Camacho, Barbara Ceriani Basilico and Alessandro Mancassola, Minerva Cuevas, Hubert Czerepok, Kajsa Dahlberg, Dina Danish, Ra Di Martino, Jimmie Durham, Miha Erman, Jakup Ferri, Ulrika Ferm, Dora Garcia, Daniel Guzmán, Khaled Hafez, Ibro Hasanovic, Pablo Helguera, Judith Hopf, Jesper Just, Hassan Khan, Ali Kazma, Dafna Maimon, Dorit Margreiter and Anette Baldauf, Nathaniel Mellors, Haroon Mirza, Alban Muja, Museo Aero Solar, Bruno Muzzolini, Ahmet Ogut, Tomas Ochoa, Damián Ortega, Fernando Ortega, Ferhat Ozgur, Steve Piccolo, Agnieszka Polska, Mark Raidpere, Pipilotti Rist, Damien Roach, Aida Ruilova, Anri Sala, Hiraki Sawa, Mariette Schiltz and Bert Theis, Esme Valk, Danielle Van Ark, Shingo Yoshida, Akram Zaatari, Nick Zedd and Richard Kern, Brigitte Zieger and Philippe Fernandez
Once I used to watch the movies of Ingmar Bergman, now I paste notes taken from E-flux and Art-agenda. "All About These ... Ladies and Gentlemen" is nothing but an illustration of the images that set these notes in motion (Fani Zguro).
National Gallery of Arts Tirana presents "All About These... Ladies and Gentlemen", a video screening curated by Fani Zguro in collaboration with Gallery On The Move, from March 10 until March 20, 2014. "All About These... Ladies and Gentlemen" that got started at Viafarini Milan in 2013 and also was presented at Co/Pilot Istanbul in 2014, is a project that keeps on and changing in time. In every new presentation, will be introduced new artists and videos. The structure remains the same, while the information is replaced with other dates.
Special thanks to: Artan Shabani, National Gallery of Arts Tirana, Prometeo Gallery di Ida Pisani, Dora Garcia, Galerie Michel Rein, Astrit Cani, Kurimanzutto Gallery, Azra Tuzunoglu, Studio Sala, Galleria Kaufmann Repetto, Bruno Muzzolini, Adrian Paci, Galerie Chantal Crousel, Galerie Peter Kilchmann, Mariette Schiltz, Green Art Gallery, Galleria Francesca Minini, Ferhat Ozgur, Lo Schermo dell' Arte Film Festival, Gaia Fugazza, James Cohan Gallery, Monitor Gallery, Galerie Zak Branicka, Jacqui Davies.
"POSTERS & IDEAS"
06 February - 09 March 2014
The Albanian National Gallery is pleased to present to the public in its temporary exhibitions wing the solo exhibition of the Hungarian poster artist Péter Pócs, from 6 February 2014, 18.00 hrs. The exhibition shows a selection of his works focusing mainly on the cultural poster, but included are also some powerful personal peaks of the artist in the political poster. He is known for both at an international level. His images, most of the time in surreal scenes and interpretations, sculpted with deep seriousness and strong passions, find inspiration mostly in the history of Hungary, and especially in its political situation during the 20th century, but some of his works are very much universal, as in the case of posters that show the collapse of communism across Eastern Europe in 1989-1990.
Péter Pócs’ posters, which come about as a result of the use of a thoroughly original individual technique – sculptural maquettes photographed in dramatic theatre scenes – combine surreal personal iconography with cultural, historical, political and social elements mostly of a Europe in-between two worlds. When one sees the matter used to make them: clay, water, flour, salt, it is impossible to avoid the strong association with Adam's primordial creation, and his subsequent situation. Péter Pócs’ posters, of this modern demiurge, transcend the acute political-social problem that they immediately address and ask questions about our generational historical memory, or the human condition on stage or out of it, in life.
From the end of 1980s and continuing Péter Pócs is the winner of many international awards for his posters, making him today one of the most respected figures in this genre. This is his first exhibition in Albania. Through a rare and extremely generous gesture he is donating all the participating posters in the exhibition to the fund of the National Gallery.
On Thursday, 6 February 2014, at 11.30 hrs, there will be a press conference with the curator of the exhibition, the art historian Peter Fitz, Director of the Kiscelli Museum in Budapest, who will explain in depth the exhibition.
The National Gallery of Arts gratefully acknowledges all sponsors for the generous support to make this exhibition possible: Vodafone Albania, International Commercial Bank (ICB) Albania, EDS Cultural Foundation and CCS Company.
Short Bio of the artist
Péter Pócs was born on 14 September 1950 in Pécs, Hungary. He graduated from the High School of Fine Arts in Pécs in 1971 as a gold- and silversmith designer. He has been working as a graphic designer since 1972 designing mainly cultural and some commercial posters. Subsequently, from the 80’s on -after the political changes- he has designed expressly political posters as well. His spiritual masters were Henryk Tomaszewski, Waldemar Świerzy and György Konecsni. His work is frequently represented at international exhibitions, biennials, triennials, and he has been awarded many Hungarian and international prizes for his posters. He is a regular participant of international invitational poster symposiums (Hommage à Max Ponti, 13 + Lautrec, Communication 2000, Hungarian Millennium, Toulouse Family, Children are the rhythm of the world, The letters of Bulgaria alphabet of Europe, Sarajevo 2014). He established his one-man studio called Poster Design Studio in 1991. He received the Hungarian Mihály Munkácsy Art Award in 1997. He founded the Hungarian Poster-loneliness Association in 2008. He got his Master Degree in Industrial Design at the University of West-Hungary in 2010. Recently he is working and living with his family in Tirana.
ONUFRI PRIZE XX
Praise Of Doubt
26 December 2013 - 02 February 2014
On December 26, at 18.00 hrs, The National Gallery of Arts is pleased to open the group show Praise of Doubt. This show is the principal result of the 20th ONUFRI PRIZE, a competition organized annually by the National Gallery, and named after the prominent Albanian medieval iconographer Onufri. The prize is the most significant public award for the visual arts in Albania, and is held under the aegis of the Ministry of Culture. The goal is to promote and support the vital role that art plays in raising public awareness and ability to “take the pulse” of our times.
The exhibition gathers together the entries by twelve shortlisted artists from different countries, chosen from among the 130 applications who responded to the Call for Entries.
Praise of Doubt, proposed by Italian curator Claudio Cravero for the new edition of the Onufri Prize, investigates some of the new artistic practices and areas of research, demonstrating their links to today’s changeable political situation, as a mirror of our constant doubt. In the selected artworks, doubt emerges as something that inevitably affects us all. At the social level, especially in the last decade, for the new generation (born between the mid 1970s and late 1980s) doubt has become a basic feeling, a vital instinct telling that generation which way to move. Also in countries that are now considered as the former Eastern Europe, where new forms of democracy seem to clash with a desire to experience Western models, artists have to make a choice between remaining rooted in the cultural context they were born and grew up in, or moving permanently abroad. So, dreams of change, of utopia, are in stalemate. And in this state of suspension, what prevails is the persistent feeling of doubt, coinciding with “being in the present”. Artists like Driton Selmani (Kosovo, 1987), Endri Dani (Albania, 1987) and Irgin Sena (Albania, 1982, he lives in New York) are “half way”, between a desire to create and build for their own countries, and a sense of delusion over former cultural and social promises. Nevertheless, in this global era of hyper-flexibility and hyper-speed, artists from Albania to Kosovo, but also from Italy to Egypt, are taking a new approach to tackle the present day. There is no particular significance to the medium employed, but rather to the in-depth search for meaning. Jasmina Metwaly (Poland, 1982, she lives in Egypt), Alban Muja (Kosovo, 1980), Ivi Topp (Albania, 1985, he lives in France) and Marzia Migliora (Italy, 1972) are torn between a political and a revolutionary era that does not seem to take them very far: it seems neither to delve into the past (in terms of nostalgia for yesteryear), but nor does it look to the future. This lack of long-term perspectives is influenced by “ghost tracks” from the remote past. Former dictatorships or various different coercive forms of politics, even though they are part of history, seem to wave from far beneath the surface.
Some of the doubts arising from Praise of Doubt comprise a sort of “free-zone”, where today’s artist condition must be defended as a “totipotent” and invulnerable space dedicated to freedom and transformation. This kind of “immunity” is visible in the statements by Ergin Zaloshnja (Albania, 1979), Flaka Haliti (Kosovo, 1982, she lives in Germany), and in the drawings by Elton Kore (Albania, 1981). In this connection, also the installations by Py Verde (Italy, 1981; France, 1986; they live in Belgium) and the video by Silva Agostini (Albania, 1979, she lives in Germany) suggest a place subordinated by a series of tensions and forces. They reflect perseverance and extreme physical exertion, reminiscent of a type-3 lever, where the effort is applied between the fulcrum and the load.
Praise of Doubt becomes a metaphor for being positively hesitant when we make a strong mental effort in the attempt to achieve effective, or ineffective, action.
On January 30th 2014, during a public event at Tirana’s National Gallery, a jury of well-known specialists in contemporary art and culture will award the ONUFRI PRIZE to 2013’s winner.
FAR AND CLOSE
18 November - 15 December 2013
The National Gallery of Arts is pleased to present the personal exhibition "Far and Close" of the Kosovan painter, writer and academic Rexhep Ferri, opening on 18 November 2013, in its temporary exhibitions wing. The exhibition is curated by Suzana Varvarica Kuka, an art researcher at the National Gallery of Arts and includes around 50 paintings, all oil on canvas. The works are part of a 50-year long evolving body of work, with the earliest, from 1967, entitled "Instruction". The atmosphere of the exhibition revolves around the idea of the title, "Far and Close", which encompasses an organic feeling generated from the developing art scene of the two Albanian- speaking countries since the start of the 20th century.
Rexhep Ferri was born in Kukes, Albania, on 10 October 1937. His family and he have lived across almost the entire massive of Northern Albanian Alps. Ferri completed his secondary art school studies in Peja in 1958 and completed a degree in Painting in 1966 at the Academy of Arts in Belgrade. His creative impulse has had a twin life, simultaneously working in painting and literature. In 1962 he published his first poems in the book "The late walkers" and in 1967 had his first solo show as a painter at the gallery of the Pristina Cultural Center. In 1974 he was appointed at the Academy of Figurative Arts in Pristina; in 2000 he was elected member of the Academy of Arts and Sciences of Kosova, where he currently works.
Rexhep Ferri belongs to the group of artists that created their own style, through careful study and research of Modernism. He successfully overcame its imposing early influences and was able to master his own visual language, where the pure figurative imagery stands out. In his painting the initial subject dissolves like an impression and his imaginary medium gains the ultimate power, standing out unambiguously amongst the endless riches of inner figurative experiences
THE JOURNEY / UDHETIMI
28 October - 14 November 2013
In the temporary exhibitions wing of the National Gallery will open to the public from 28 October 2013, 18.00 hrs, the solo exhibition of the Albanian painter George (Gjergj) Pali (d.o.b 1957) entitled "The Journey / Udhëtimi". He belongs to the generation of Albanian artists that graduated from the High Institute of Fine Arts in early 1980s. In 1988 he dramatically escaped from Albania. Now he lives and practices as an artist in Stamford, Connecticut, USA.
Pali brings in his first solo exhibition at the National Gallery a number of works produced recently, mostly in 2013, in his studio.
In the opinion of Vladimir Myrtezai, curator of the exhibition "Pali's creative output demonstrates an intensive artistic research, a fertile imagination, which combines well the genres of painting and collage. His work rests upon two main pillars: one is a current of subconscious reminiscence closely related to music, which he often transforms in a thoroughly instrumental form in his paintings, whilst the second comes from the author's traumatic journey during which he often considers the origin of life describing it through an openly tragic humor in his paintings.
PRINTS AND SCULPTURES
13 September - 23 October 2013
The National Gallery of Arts and British Council Albania are pleased to bring for the first time to the Albanian public a personal exhibition of one of the most internationally famous British artists, Henry Moore (1898-1986). This exhibition includes eighty-six works, of which eighty are framed prints, mainly etchings and lithographs created during the 1949-1983 period, and six are sculptural maquettes in bronze. The exhibition also includes nine contextual photographs of finished works. The prints are selected from the gift of over 200 prints the artist gave to the British Council Collection in 1984 to mark the 50th anniversary of its founding. The bronzes in this exhibition are of small size and Moore considered them as maquettes. Moore often produced small-scale models, prior to producing works in their final dimensions, so he could better study their shape. The photographs show the relationship Moore sought between sculpture and the surrounding landscape. Henry Moore is one of the British artists who has collaborated quite closely with the British Council. He has been fortunate that through the support of the British Council he has been able to exhibit his work around the world. Moore's works are in important museums and public spaces in major cities across the globe. He has been honoured with many awards and titles; one of the most important being the International Sculpture Prize at the Venice Biennale 1948.
TIMES AND PLACES: ISTANBUL
FROM THE ART COLLECTION OF THE CENTRAL BANK OF THE REPUBLIC OF TURKEY
30.05.2013 - 14.07.2013
The National Gallery of Arts is pleased to present the exhibition "Times and Places: Istanbul - From the Art Collection of the Central Bank of the Republic of Turkey", opening on 30 May 2013 in its temporary exhibitions wing. The exhibition is a collaboration between the Albanian National Gallery of Arts, the Central Bank of the Republic of Turkey, and the Yunus Emre Institute. The artworks in the exhibition belong to the Art Collection the Central Bank of the Republic of Turkey. The works have a common theme, the city of Istanbul with its landscapes and seascapes, which, according to the curator of the exhibition Prof. Dr. Kiymet Giray, has always inspired the Turkish artists. The works in the exhibition belong to a time span that starts at the dawn of the 20th century and continues until early 21 century. This exhibition apart from showing Istanbul as seen through the eyes of Turkish artists is at the same time an introduction in the history of painting in Turkey, seeing that the artists in this exhibition are some of the most important names of modern Turkish art. Some of the most renowned painters in this exhibition are: Ali Riza Bayezit, Hikmet Onat, Ibrahim Çalli, Devrim Erbil and Adnan Çoker.
The exhibition will stay open until 14 July 2013.
On Thursday, 30 May 2013, at 11.00 hrs, there will be a press conference with the curator of the exhibition, Prof. Dr. Kiymet Giray, who will explain in depth the curatorial concept of the exhibition.
Small territories of freedom 1968 - 1973
26 April - 27 May 2013
The National Gallery of Arts is pleased to present the opening of the exhibition Small territories of freedom 1968 - 1973 of the Albanian painter Alush Shima (b.1942) on 26 April, 19.00 hrs. This exhibition is a collaboration between the National Gallery and two Italian curators and critics, Prof. Arturo Calzona and Prof. Vanja Strukelj, who have focused in the early years of the artist's work, years that are doubly important. First, during those years the Albanian culture experienced for a short time a relative freedom to experiment. Second, these are the years of Shima's artistic formation.
The exhibition displays works that show the influences and the dialogue of Shima with the western modernist painting and its main artists. According to the critics Strukelj e Calzona, who take into consideration first the grounded academic formation of the artist, Shima builds his identity in comparison with the masters of the past, especially in close relationship with the work of Braque and Matisse, whose paintings become for the artist a territory to be explored.
The painting of Alush Shima is a synthesis of the modernist approach with his individual and familiar world. During the communist years Shima worked almost in complete privacy, developing his work and style away from the prying eyes, showing very little. The works in this exhibition are quite important for they come for the first time to the public, displaying a very interesting and hidden microworld that existed within the stern cultural world of the socialist Albania.
28.12.2012 - 03.02.2013
‘Perchance to Dream’
The National Gallery of Arts is pleased to host the 19th edition of the visual arts exhibition ‘ONUFRI’, opening on 28 December 2012, at 18.00 hrs. The exhibition is entitled ‘Perchance to Dream’ and is curated by the Italian curator Daniele Capra.
The title comes from a Shakespearean verse from Hamlet’s famous soliloquy. Capra has chosen this title because, according to him, there is a noticeable correspondence between an anguished and confused Hamlet found in a difficult personal circumstance yet, regardless, finds strength to think philosophically about the world and its enigmas. According to Capra the Albanian artists challenge and defy the difficult everyday reality, managing to offer personal solutions. But if Hamlet chose the road of vendetta to solve his personal problems, the artists in this exhibition propose and search for new ways and solutions to overcome them.
Artists participating are: Luçian Bedeni, Yllka Gjollesha, Genti Korini, Mariana Kostandini, Remijon Pronja, Alketa Ramaj, Violana Murataj, Arjan Shehaj.
The exhibition will stay open until 03 February 2013..
"14th - 20th century"
17 October - 29 November 2012
The National Gallery of Arts is pleased to present the iconographic exhibition "Albanian Icons", opening on 17 October 2012, at 19.00 hrs.
The exhibition brings to the public some of the finest examples of Albanian iconography, and for the first time in a collaboration with the National Museum of Medieval Art, Korca and the National Museum 'Onufri', Berat, the National Gallery will exhibit in its temporary exhibitions wing close to fifty icons, probably some of the most important examples from the three collections' holdings. Twelve icons come from the National Museum 'Onufri', Berat, eighteen icons and a Gospel cover come from the National Museum of Medieval Art, Korca, with the rest coming from the permanent collection of National Gallery of Arts, Tirana, who holds in its fund a significant group of icons, mainly post-Byzantine, dating from the 14th century up to the 20th century.
Albania has been an important centre of iconography in the Balkans and icon painting flourished in Albanian territories especially during the post-Byzantine period. This period, from the late 15th century up until the end of 19th century, sees a great number of distinguished icon painters such as Onufri during the 16th century; Onufri the Cypriot at the end of 16th and beginning of the 17th century; David Selenicasi covering both the end of the 17th and the beginning of the 18th century; Konstandin Jeromonaku, the Zografi brothers and Kostandin Shpataraku all belonging to the 18th century; the Cetiri family during the 19th century as well as the Zengo family at the beginning of the 20th century. All these talented icon painters have decorated lavishly the Christian Orthodox churches of Albania throughout the ages. This strong tradition of icon painting in Albania continued until 1964, year when religion was banned in the country. The icons in this exhibition belong to different centuries, from the 14th, up until the 20th century, thus in retrospect showing also the history of iconography in Albania. The icons painters featured in the exhibition are many, from the early anonymous icon painters to Master Onufri; Nikolla, son of Onufri; Onufri the Cypriot; Kostandin Shpataraku; Kostandin Jeromonaku; Kostandin and Athanas Zografi; Johan Cetiri; Vangjel Zengo and up to Spiro Xega, the painter of the "newest" icon featured in the exhibition, dated 1920.
"MADE IN BRITAIN"
Contemporary art from the British Council Collection 1980 - 2010.
01.06.2012 - 05.08.2012
The previous exhibition at the temporary exhibitions wing of the National Gallery did show works from one of the most renowned contemporary art collections in the world today, the collection of British Council. The collection, which dates from 1934 when the British Council itself came into existence, promotes British artists and the achievements of British art throughout the world. The exhibition "Made in Britain", did come at the specific request of the Albanian National Gallery of Arts, bringing in Tirana 111 works in painting, sculpture, graphics, installations and video-art, that were created during the last 30 years.
The 29 artists of this exhibition, (many of them exhibiting in Albania for the first time ever), are some of the most renowned and important names in the British visual art scene of the last decades. The exhibition reflected the changes the British society has undergone during the last thirty years as well as the influential and educational role art has played in its development and change. The artists in the exhibition were: Tomma Abts / Phillip Allen/ Keith Arnatt / Helen Chadwick/ Jake and Dinos Chapman/ Adam Chodzko / Mat Collishaw/ Tony Cragg / Martin Creed / Peter Doig / Angus Fairhurst / Matt Franks / Gilbert & George / Damien Hirst / Gary Hume / Michael Landy / Sarah Lucas / Kenny Macleod / Julian Opie / Bob and Roberta Smith / Wolfgang Tillmans / Mark Tichner / Gavin Turk / Mark Wallinger / Gillian Wearing / Boyd Webb / Gary Webb / Richard Wright / Wood and Harrison. The exhibition stayed open until 5 August 2012.
13 April - 20 May 2012
In the temporary exhibitions wing of the National Gallery will open to the public, from 13 April until 20 May 2012, the exhibition of Ibrahim Kodra entitled “Fantastic Albania”, curated by Rubens Shima, Director of the National Gallery. The exhibition has been organized in collaboration between the National Gallery of Arts and the “Ibrahim Kodra” Foundation (Italy) on occasion of Albania’s 100 Years of Independence Anniversary. For this exhibition the curator has chosen works from the collection of “Ibrahim Kodra” Foundation in Italy, from the private collection of Mr. Kozma Dashi in Albania, from the fund of the National Gallery of Arts, as well as works from other private collections in Albania and abroad.
Ibrahim Kodra was born in Ishëm, Tirana in 1918. He spent his childhood in Albania in an atmosphere of political and economic hardship, most especially in the years following the end of the First World War. In the 1930s, having finished his general education, Kodra joined the newly opened art school in Tirana “The Albanian Drawing School”. In 1938, benefiting from the close relations of King Zog’s Albania to Italy, Kodra managed to get a scholarship to the Academy of Fine Arts of Brera, in Milan. He then moved to Italy to study painting with the esteemed professors Carra, Funi and Carpi. After his academic studies concluded, Kodra decided to stay on in Milan. Though this period coincided with the difficult end of the Second World War, Kodra opened his own atelier. Beginning from 1948 and continuing through the 1950s Kodra became part of important collective exhibitions organized in Italy and later on in Paris, France. His artistic career culminated in 1953 when he participated in the Exhibition of the University of Paris where his work was shown alongside Picasso, Chagall, Matisse, Modigliani and many others. From that moment on, Kodra became an established painter in Italy and beyond, exhibiting individually in various museums and galleries in Europe and eventually in New York, USA (Princess Hall Gallery, 1963).
In 1973 Ibrahim Kodra received the award of the French Academy of Arts, Sciences and Literature. He lived and worked until the end of his life (2006) in his atelier in Milan on Ragosta Square.
Ibrahim Kodra’s paintings are a strange combination of worlds: the original one carried over from his homeland, with its motives and history, often labeled oriental by the Italian press, coupled with the world of his western art influences born out of the avant-garde movements at the dawn of 20th century. It is this fusion that makes Kodra quite a unique artist. Art critic Carlo Bo has suggested that although Kodra comes from a different culture, he enters into a relationship with Western art and the Western world as an equal, resisting deference to its norms and aesthetics. If anything, he employs the language of the avant-garde (cubism and surrealism), to reinforce his different background and original language, which plainly shows its ancient past. Thus, Kodra’s Cubism is not an attempt to dismantle the object but to remake it, turning his painting into a high precision tool, helping to better understand and judge Western art and culture, choosing instead the path of a critical encounter with the latter.
7 March - 8 April 2012
In the temporary exhibitions wing of the National Gallery will open to the public, from 7 March until 8 April 2012, the exhibition of Orion Shima (d.o.b 1969) entitled “Counter-landscape”. In this solo exhibition at the National Gallery Shima brings a number of works produced in recent years, mainly acrylic paintings and works on paper, displaying the trajectory of his latest artistic research.
Francesco Poli, the curator of the exhibition, characterizes Shima’s latest works as follows: “Orion Shima’s recent paintings are a free, sensitive and profound expression of a melancholy and nostalgic interpretation of nature that seem to stem from memories, experiences and adolescent reveries. At the same time, metaphorically, it can be seen as a refined contemplation on the proper nature of painting as an irreplaceable language, something that generates a personal and genuinely poetic vision of universal value.”
150 YEARS OF PHOTOGRAPHY IN SPAIN SPANISH PHOTOGRAPHY AND SOCIETY IN THE 19TH AND 20TH CENTURY
14 October – 20 November 2011
The National Gallery of Arts is pleased to host the exhibition “150 years of photography in Spain”. The preview is on Friday, 14 October 2011, whilst the exhibition will be open to the public from 15 October until 20 November 2011 in the Temporary Exhibitions wing. This exhibition is the culminating visual work of nearly 20 years of continuous study by Publio López Mondéjar, who is also the curator of it. Mondéjar has managed to summarize 150 years of history of Spanish photography ranging from the completion of the first daguerreotype in Barcelona in 1839 to the contemporary photography of the 1990s. As the title suggests “150 years of photography in Spain” is not only a selection of the most beautiful, significant images printed in Spain during this period, but also an overview of the most important events in the history of this country. The exhibition is a comprehensive tour of the history of Spanish photography highlighting its key moments through the successive eras of portraiture, photojournalism, pictorialism, vanguardism, popular photography, and the anthropological documentary years of democratic transition. All this whilst bringing before us the Carlist Wars, the Morocco campaigns, the Civil War, the industrial development of the country, or characters and representatives of different social, artistic, intellectual and political classes of Spain. The exhibition contains 119 photographs and is divided into three chronological didactic parts: The first part, 1839-1900 shows: the early photography, the beginnings of photojournalism, the portrait and multiplication of images. Part of this period are the classic photographs of Clifford, Laurent, or Martínez Sánchez and others. The second part, 1900-1939 highlights topics such as: popular photography, new portraiture, graphic reportage, (with special attention to the Civil War), and pictorialism, through the photographs of Alfonso, Centelles, Ortiz Echagüe, Escobar, and many others. The final part, 1939-2000 touches upon: the photography of the early Franco years, the documentary revolution, photojournalism of the democratic transition, the anthropological documentary years of democratic transition of the 80s, the modernism, the post-modernism and the photography of the 1990s. Representative pictures of this period are, for example, those of Cristina G. Rodero, García Alix, Ramón Masats, and other noted Spanish photographers.
The Albanian National Gallery of Arts welcomes in its temporary exhibitions wing, from the 15th of June to 7th of August 2011, the photo exhibition of the well known British photographer Martin Parr. This is the first personal exhibition of Parr in Albania; it is also the first time that images from the series Albania 1990 show to the general public. As the important art critic Gerry Badger has written “Martin Parr is an exemplary photographic figure at the beginning of the twenty-first century. Not quite an out-and-out modernist, not quite a postmodernist, he is a leading light, indeed a founder, of the New European Colour Photography School, yet is also a member of Magnum, photojournalism’s premier agency.” This, according to Badger, makes Parr “familiar with the contemporary treadmill of the successful photojournalist,” but at the same does not prohibit him from working in a “conceptual” way, showing in art galleries as well as purely photographic galleries. Parr is a photographic man of great learning, “a genuinely versatile photographer, one who lives, sleeps, and breathes photography in all its manifestations, from base function to lofty art. Martin’s whole modus operandi... depends upon slipping deftly between photographic worlds, thereby instinctively addressing such issues as the role of the photographer, the status of the photographic image in our culture, and indeed the very nature of contemporary culture itself. Parr’s whole career, and more pertinently his imagery, asks questions about high and low culture, art and commercialism, the duplicity of the photographic image, and (not a whit incidentally) about the lives we live today.”
This important exhibition opening in the Albanian National Gallery is composed of three series: Albania 1990, Common Sense 1995/1998 and Small World 1989/2007. The photo-installation, Common Sense, is one of the largest Parr has ever completed in Europe, in this case using 270, slightly larger than A3 size images.
In 1990 Martin Parr travelled to Albania on the first tourist trip into the country after the fall of the Berlin wall. He says that: “this was an architectural tour and out of the 14 places, 12 turned out to be journalists.” He was able to roam freely early in the morning or when there was limited amount of time off. Although still quite recent these images depict a different world from the Albania we know now.
Common Sense 1995/1998
In 1999 Parr produced this grid of close up images, in the brightest of colours that depict the details of the modern western world that has become so familiar. From close ups of fast food, through to woman's jewellery, it is an index of the flotsam and jetsam of the contemporary world.
Small World 1989/2007
With his ongoing study of global tourism Martin Parr shows how the image of a famous resort is often a contradiction of the reality. With tourism as the biggest industry in the world, Parr shows us what a surreal world it has become, often drowning in people as sites become victims of their own success.
In the temporary exhibitions wing of the National Gallery will open to the public from 12 May until 5 June 2011 the exhibition of Ali Oseku, a renowned Albanian painter. Born in 1944 Oseku brings in his first solo exhibition at the National Gallery, a number of works produced in recent years, between 2009 and 2011. This work is characterized by an individual research which shows best the artist's long artistic experience and is the highest cultivation of his painting.
Oseku is a painter who in his work strives to show as key the artist - artwork relationship and employing an almost monochromatic spread of the paint on vast surfaces of the canvass, does so with simplicity. His paintings, all oil on canvass, are characterized by simplicity of treatment, extreme scarcity of images, and love for the colour as a basic painterly element. All these elements are put to work for the production of the pictorial space (or emptiness).
The artist seems to borrow the technique of Abstract Expressionism and employ it for production of a work that can be read simultaneously as non-abstract too.
The purpose of such painting is space and (or) its production, and not just that space where the creation (almost figurative) is reminiscent of the sky, the sea, the horizon, but of that infinite space the painter tries to produce within the canvass by dissolving the simple object of his painting, given away by the absence of orientation points he gives us to read it.
It is exactly the absence of a clear perspective, the lack of weight and body (as a physical object), the building of the real through abstraction (or the simultaneous expression of the two) that makes the painting of Ali Oseku a pure spiritual and philosophical expression. Horizons that we can vaguely detect in these paintings are in fact personal horizons where the being of the artist meets with the infinite and its concept.
03 – 27 MARCH 2011
From 4 March 2011, at the temporary exhibitions wing of the National Gallery will open to the public the exhibition of the Albanian artist Gazmend Leka (born 1953). The exhibition features 34 works from his recent years’ output, all in oil on canvas technique. The painting of Leka stresses the idea that painting is not merely an abstract arrangement of signs and colours, lines and planes, nor a direct transcription of nature, but a stratification of different meanings and messages. His somewhat melancholy paintings are inspired mainly by the European metaphysical paintings of the early 20th century and touch upon universal themes such as birth and death, eternity and myth, lost paradise and nostalgia. At the same time the artist's figure, visibly present in some of the paintings, signifies the situation of the human soul, immersed in the dynamics, but also in the absurdity of everyday life.
"Antoni Clavé" 04.11. 2010– 15. 12. 2010
Curated by: J. F. Yvars
Antoni Clave was born in Barcelona in 1913 and died in Saint-Tropez, France in 2005. He is one of the most renowned Spanish painters internationally and one of the pioneers of Spanish modern art. During the civil war he settled in France where he became one of the most famous illustrators and set designers of the period. In the 1950s he became a renowned painter and his work that leans towards abstraction draws attention to the material aspect of art. Clave was a virtuoso of texture and pigment, and by synthesizing these with light he created in his paintings atmospheres without gravity in formal relationship with his painterly rhythms. His art addresses the intuition and offers a perceptive delicate view. Besides painting he also applied assemblage and collage where his work gains an even greater strength. Antoni Clave comes to the Albanian National Gallery after a wide international recognition and extensive success, curated by J. F. Yvars.
"Jan Dibbets Collection" 08.10.2010 – 01.11.2010
Curated by: the National Gallery of Arts
The National Gallery of Arts owns a unique collection of contemporary art works collected and donated to it by the Dutch artist Jan Dibbets. In this impressive and thorough introduction of the collection the works are shown to the Albanian public after a careful study and re-evaluation process. The “Dibbets” collection contains quite familiar names from the international, modern and contemporary art scene that represent some of the most important currents and attitudes of art history of the years 1960-70 such as: Late Modernism, Conceptual Art, Minimalism, Land Art, etc. Among the artists whose works make up this collection can be mentioned: Karel Appel, Pierre Alechinsky, Markus Lupertz, Georg Baselitz, Giovanni Anselmo, Mimmo Paladino, Sol LeWitt, Richard Serra, Dan Graham, Mike Kelley, Joseph Kosuth, Daniel Buren, Edward Ruscha, Robert Barry, John Baldessari, Jan Dibbets, Christo & Jeane-Claude, Marina Abramovic, Gilbert & George, Bill Viola, Richard Long, Damien Hirst and many others. The collection is mostly made up of graphics, drawings, photographs, prints and the works are small scale, but they constitute a very interesting magazine of the artistic attitudes of the second half of the twentieth century.
Moods of 20th century". 21.04.2010 – 30.05.2010
The second part of the collection "Ca 'la Ghironda" entitled "Moods of 20th century" brings for the first time at the National Gallery of Arts well-known authors of the twentieth century, representatives of the main artistic movements of modernism and avant-gardes, since 1916 (Malevich) until early 1990, showcasing the changes and the diversity of artistic approaches of this period. This part of the exhibition shows works by: Adam Valerio, Livio Afro, Franco Angeli, Enrico Baj, Giacomo Balla, Alberto Burri, Massimo Campigli, Giuseppe Capogrossi, Carlo Carra, Roberto Crippa, Enrico Castellani, Sandro Chia, Enzo Cucchi, Pier Paolo Calzolari, Giorgio De Chirico, Fortunato Depero, Nicola De Maria, Gino De Dominicis, Lucio Fontana, Domenico Gnoli, Osvaldo Licini, Mafai Mario, Luigi Mainolfi, Mario Merz, Giorgio Morandi, Mattia Moreni, Gastone Novelli, Michelangelo Pistoletto, Carol Rama, Ottone Rosai, Mimmo Rotella, Antonio Sanfilippo, Gino Severini, Mrio Sironi, Ettore Spalletti, Tancredi, Mario Tozzi, Gulio Turcato, Giuseppe Uncini, Emilio Vedova, Francis Bacon, Jean-Michel Basquiat, Marc Chagall, Paul Klee, Fernand Léger, René Magritte, Kazimir Malevich, Joan Miro, Piet Mondrian, Pablo Picasso and Andy Warhol.
"Classical Splendours". 21.04.2010 – 30.05.2010
The National Gallery of Arts hosts the Italian private collection "Ca 'la Ghironda" from Bologna. "Classical Splendours" is the first part of this collection which includes works from the 16th, 17th, and 18th centuries, representing the eras of Late Renaissance, Baroque and Mannerism. Based on the original works and values it holds this exhibition is a first of its kind in the history of the National Gallery of Arts and brings in Tirana the works of: Francesco Raibolini, Annibale Carracci, Guido Reni, Giovan Francesco Barbieri, Marcantonio Franceschini, Giovan Battista Salvi, Giovan Battista Gaulli, Francesco Trevisiani, Baton Pompeo Gerolamo, Crescenzio Onofri, Belisario Corenzio, Luca Giordano, Bernardo Strozzi, Valerio Castello, Antonio Francesco Peruzzini, Giacomo Francesco Cipper and Anton Van Dyck.
Zef Shoshi. 19.03.2010 – 9.04.2010
Being one of the famous painters of the Socialist Realism period Zef Shoshi is a well known Albanian artist to the Albanian public. In this personal exhibition he reveals his painterly style, consolidated over the years, giving primacy to compact colours and solid light. The main motifs of the exhibition are the historical themes, as well as landscapes, mainly from the area of Zadrima, a place which has inspired many of his portraits and compositions. But the exhibition also carries a strong retrospective character; starting with the Self Portrait of 1955, followed up by a group of works made during the academic years of study in the Soviet Union and after (between 1960 and 1989), concluding with the last two decades of his work 1989 - 2009 which sheds considerable light on his latest work.